Listed below are the best albums of 2018 as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 3 hours ago).
"People are always on their asses about sounding to much like Led Zeppelin. You know what I say, "SO F'n WHAT!" I like Led Zeppelin, so yes I enjoy this music and they are talented and I hope they keep sounding like Led Zeppelin for their entire long career. Long Live GVF! Oh and this is a Awesome...""People are always on their asses about sounding to much like Led Zeppelin. You know what I say, "SO F'n WHAT!" I like Led Zeppelin, so yes I enjoy this music and they are talented and I hope they keep sounding like Led Zeppelin for their entire long career. Long Live GVF! Oh and this is a Awesome debut album."[+]Reply
"I like this album quite a bit. it's certainly not very standard for the Decemberists. In fact, if you told me that this was an unearthed Colin Meloy synth-pop project from 1985 I wouldn't be all that surprised. "Once In My Life" in fact reminds me of Talk Talk's 1984 hit "It's My Life" (partly be...""I like this album quite a bit. it's certainly not very standard for the Decemberists. In fact, if you told me that this was an unearthed Colin Meloy synth-pop project from 1985 I wouldn't be all that surprised. "Once In My Life" in fact reminds me of Talk Talk's 1984 hit "It's My Life" (partly because of titular similarity, but mostly because of a vaguely similar sounding synth lead and groove). There is a lot of variety here though; Severed, Sucker's Prayer, and Everything is Awful are my other favorites on the album, and all seem to present a distinctly different sound.
85/100 (Very Good)"[+]Reply
"My personal AOTY. I also think that this has been the best year for Damon ALbarn. I feel like everything that he did with all of his projects this decade were buildups to The Now Now and this album. Everyday Robots was pretty substantive. Filled with political, personal, and emotional themes. How...""My personal AOTY. I also think that this has been the best year for Damon ALbarn. I feel like everything that he did with all of his projects this decade were buildups to The Now Now and this album. Everyday Robots was pretty substantive. Filled with political, personal, and emotional themes. However, even though the themes were strong and distinct and the album was consistent, was it really that memorable, unique, or interesting? I don't think so. That album had a very dull aesthetic, and the musical style was clear but it was so BORING and didn't have any replay value. The Magic Whip felt more emotional, memorable, and catchy, but it was still more of an album focused on themes and lyrics rather than creativity. It had a nice aesthetic, but the songs were quite plain at times. Lots of emotional tracks, though, and some of them were absolutely beautiful. Then there was Humanz. Extremely catchy, energetic, lots of replay value, blending of genres, and it felt like the songs had more character and emotion than the other projects. But the themes and lyrics were WEAK. The album wasn't musically coherent. It barely had a direction. It's OK to experiment, but Humanz REALLY had no fully realised elements to it even if it had more standout tracks. Also, the production was really simplistic and it sounded to basic and bare than the eccentric and intricate instrumentals on Plastic Beach. The Now Now. A stronger direction, more intricate instrumentals, strong and direct lyrical themes, some of Damon's most genuine and heartfelt lyrics, a really authentic yet creative and fun project that has tons of replay value. It's such a great blend of what Damon had done in the 2010's. The strongest tracks are easily the last four, being some of Damon's most beautiful, moving, and emotional tracks that summarize his career as a musician and he really reflects on his whole life in such an outstanding way. This album feels like those four tracks brought into the length of a full album. It's so seamlessly incredible and it has Damon ALbarn's most well-written instrumentals ever. This band seem like the best musicians to bring out the best of Damon ALbarn's vocals. The best songs are by far the more emotional/political/personal tracks such as Merrie Land, Lady Boston, Ribbons, and The Poison Tree, which is a BEAUTIFUL track that feels like it's dedicated to everyone that Damon Albarn has lost in his musical career. I know why ALbarn thinks this is some of his best music ever, because it truly is incredible. Lyrically and musically it's a flawless project. It has such distinct themes yet it experiments in different genres. It's like Everyday Robots but this time around it's truly Damon ALbarn doing everything that he does best as a songwriter. "[+]Reply
"I was beginning to doubt he had another great album in him, but by golly, he's done it again. And I dare say this is an even finer album than his debut. Sweet Saviour and Long Time Waiting are the immediate highlights for me."Reply
"I personally don't find this album very engaging. While it sounds nice, and has some interesting song progressions, it really doesn't feel like the songs or the album as a whole go anywhere. Her belching vocals at times is really grading too, and while it doesn't happen often it still sounds anno...""I personally don't find this album very engaging. While it sounds nice, and has some interesting song progressions, it really doesn't feel like the songs or the album as a whole go anywhere. Her belching vocals at times is really grading too, and while it doesn't happen often it still sounds annoying and whiney more than emotional.
It's a nice start, and I'm curious about what she does next, but overall it's okay folksy singer-song writer acoustic stuff, good for background music but I struggle to say I fully enjoyed this."[+]Reply
"Feb20. 'Shit Mirror' is a pretty cool start to the album. It apparently features The Cult's Ian Astbury, but his voice is so hidden in the mix there is no way I would have picked it without reading it was there. 'Ahead of Ourselves' is a little repetitive, but sounds like older NIN with a drum lo...""Feb20. 'Shit Mirror' is a pretty cool start to the album. It apparently features The Cult's Ian Astbury, but his voice is so hidden in the mix there is no way I would have picked it without reading it was there. 'Ahead of Ourselves' is a little repetitive, but sounds like older NIN with a drum loop, programmed music that kicks into gear for an abrasive chorus.
I have no idea how to describe the instrumental 'Play the Goddamned Part' other than to say it sounds like a building piece from a soundtrack. And the saxophone was a surprise. The start of 'God Break Down the Door' starts as some techno, drum and bass mix, and if it was not NIN I'd have skipped from the start. As it was, it did not really grab me. Different though, as they mix saxophone and Reznor sings in a 'lounge' voice. A little late guitar makes the song more interesting.
'I'm Not of this World' sounds like some futuristic machine has just been left on and recorded. 'Over and Out' starts as an upbeat electronic track, that again, if this was not a NIN album I would skip. The slow, David Bowie inspired vocals did not do it for me, but I am sure that is the appeal for other listeners. In all, these last 2 tracks are too long. This is actually my least favourite album of the trilogy. 2/5"[+]Reply
"An absolute atomic bomb of a debut, Street Worms represents Viagra Boys in their purest form, before they started mixing genres and more overtly political messages into their music (Welfare Jazz and Cave World respectively). There's nothing wrong with any of that, of course, if the songs are exce...""An absolute atomic bomb of a debut, Street Worms represents Viagra Boys in their purest form, before they started mixing genres and more overtly political messages into their music (Welfare Jazz and Cave World respectively). There's nothing wrong with any of that, of course, if the songs are excellent, but devoid of any of that stuff, Street Worms successfully stands on its own. It's a wild, saxy, good time all the way through. "[+]Reply