Would be my favorite album of all time if Godspeed never existed. Still, every single song brings so much to the table in terms of production, texture, lyrics, performance, and pure raw emotion that I'm still finding things to love about it 3 years after hearing it for the first time.
Seriously, I can't think of a bad moment on here. Even the interludes and ambient passages are genius.

I'd say at least this'll make the skeptic anti-sjw community realize how dumb they sound, but considering the positive reception this is getting on YouTube they probably think this is fucking Shakespeare

1 like = 1 donation to sargon of akkad's "institutional racism isn't real" campaign

An experience so thrilling, with a payoff so devastating, you don't even realize it's a 20 minute song with 5 minutes of ambient harsh noise. It's like the ending is the much deserved aftermath after a mass destruction. One of the most grand displays of pure musical force I can think of.

Although way less accessible and catchy than most of her other stuff, Biophilia instead crafts an out-of-body experimental world that will leave listeners with a mix of awe and confusion for years to come.

Janelle goes from Alternative R&B pioneer to underdog pop star to make a set of thought-provoking bangers

Definitely overrated and a little inconsistent as a full listening experience, but still undeniably ambitious and well-crafted.
(but that Chris Rock skit really tanked the tone and flow of the whole thing tbh)

Incredibly tight indie rock songwriting with electric performances. It's really just engaging the whole way through and has only gotten better in the 4 years since its release

Probably Moodie Black's greatest display of skill and atmosphere. The pure technicality of K-Death's delivery will have underground rap fans foaming at the mouth, and the production will pull in the rest. Really my only problem is that it can get a bit same-y at times, but the good far outweighs the bad.

YOTS manages to be one of Death Grips' most abstract, genre-blurring releases yet, while featuring their most traditionally "respectable" songwriting yet. I'm honestly surprised this didn't get the same critical buzz as their other albums considering how textured and cohesive it is as a listening experience.
Still wacked-out and terrifying in its own way, but I think it has the potential to win over more snobby music critics who've doubted Death Grips in the past.

also just trying to fix the number

edit: nice
edit #2: goddamnit
edit #3: nice

Why doesn't this have more reviews? Get on that shit guys.
Josin's debut album is a serene, otherworldly exercise in art-pop, neo-classicism, and electronic music. Josin's fragile falsetto, uncannily similar to that of Thom Yorke, soars over sparse microbeats that gradually build to enveloping atmospheric soundscapes. Songs like Healing and Burning (For a New Start) keep this beautiful atmosphere while incorporating more driving beats, while Evaporation and the mesmerizing closing track Backing ... read more

A little more inconsistent than I'd hope, but when this album's on it is ON. No One's Easy to Love, Seventeen, and Hands are all awe-inspiring tracks and will definitely come out as some of the best of this year, but other songs like Malibu, Comeback Kid, and Jupiter 4 are either underwhelming or just not fully developed.
John Congleton brings such a cool feeling to this album, but his style is probably the last I'd expect to mesh well with Sharon's. Again, a lot of songs on here work, but ... read more

So I've tried my best to get into this but I just can't all the way through. It's an album with a lot of potential. [10 Good Reasons for Modern Drugs] is a genuinely fantastic song that I would call one of the best of this year, but the rest of the album just doesn't live up to that. There isn't really a song on here that I overtly dislike, but after a certain point the mixing makes the whole thing sound way to monotone and washed out to grab my attention. I can respect the ambition that went ... read more

I'm still in the camp of people who don't really get the hype around Deerhunter, but there were some pretty well written songs on here. Still not anything super standout except for a handful of tracks, but I can kind of see what they're going for at least.

Edit: Everything I said is still true but it's gotten worse. It just keeps getting more annoying. Also in wake of the whole tattoo thing I'm exclusively referring to this song as Japanese BBQ Finger

Ehhhh this isn't the one. I'm all for dumb-fun party songs but this was just fucking bizarre to listen to. The sample doesn't fit the vibe of the song at all. Actually I don't even really know what vibe this song is going for. I get that Ariana's in her "my relevancy is at its peak and critics ... read more

Honestly don't really know what the goal of this album was. I'll always appreciate how weird it is that AWOLNATION became so popular in the world of toned down car-commercial rock, but they've simultaneously contributed to that scene wit a good amount of the stuff they've done. There's a few left hooks here and there on this album, but it's easily AWOLNATION's least memorable release. At least Megalithic Symphony threw in a Sail or Kill Your Heroes every now and then, but this album feels so ... read more

I've always given this EP praise, but I've realized more and more lately that I still haven't given it the full praise it deserves. As the years go on, this EP only ages better in the place it holds in Safe To Say's discography. The abrasive, manic, dream-like, catchy as all hell sound of this EP becomes more significant with each listen.

I think before, I only viewed this album as a stepping stone. It served as the transitional period between the DIY pop-punk of With Everything In Between and ... read more

Safe To Say build on the tight songwriting and emotional turmoil of Hiding Games with an album that, while certainly feeling more polished and accessible, finds the band on new grounds. They experiment not only with Brand New esque Indie Emo, but with elements of noise rock and a dash of doom metal.
The album crafts a cohesive concept that flows extremely well from track to track, and shows off the versatility and tight songwriting the group has to offer. So many details and flourishes are ... read more

A year after first listening to this album, and I can definitively say it's a masterpiece. Not only did it blow me away, with so many musical moments that haunt/amaze me to this day, but it changed my entire opinion of Radiohead as a band. It made me go back and relisten to OK Computer and In Rainbows, both albums that slightly underwhelmed me at first, and realize the beauty in them. It gave me a new appreciation for a band I hadn't given that much thought to, and quickly became one of my ... read more

I definitely get why it's a fan favorite. It's a lot more visceral than most Radiohead while still being able to pull off tracks like Videotape in a way that doesn't break the flow of the album.