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chaosincurate · 20 days ago

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chaosincurate's Top 20 Albums of 2024

First things first

This is a post from my blog, chaosincurate.blog, adapted for Tumblr. I've done my best to format it as well as I possibly can, but I simply have more options on my website, so for the best experience, check it out over there. For those of you who are still sticking around, I also have a playlist available on YouTube, Spotify, or Apple Music containing the songs I'd recommend from each of these entries, if you'd prefer to consume the list that way. Here's the smartlink for that!

What an incredible year it's been... Well... For music anyway. We've had the true breakthrough of the new wave of pop music with the likes of Charli xcx, Chappell Roan, and Sabrina Carpenter seeing great success in very different but somehow connected ways (perhaps simply in their unanimous agreement that a mixture of fun and misery is healthier than the zeitgeist constantly bouncing between the two), we've had indie artists that have been on the brink of something amazing finally achieving that something great, and saving my favourite for last, rap... Well if you can read this you were around this summer. You don't need me to tell you how big a year it was for rap. This has all made making this list very difficult, and I'm certain that I haven't yet gotten around to some albums that would have made it on here if I had. But of the music I've listened to this year, this is my subjective take on the 20 best albums of the year.

Machine Girl - MG Ultra

Kind of like: Nothing I've heard. It's a totally new sound to me. Songs to try: Until I Die, Grindhouse, Hot Lizard

First on my list of the top 20 albums of the year is this overwhelming digital hardcore album. I was making an active effort to discover more electronic music this year and this album made me glad I did, because I never really considered that it could sound like this. Abrasive, exciting, and fast, sure, I expected all that going in, but the emotion in this one really surprised me. It's super angsty throughout, albeit with some self-awareness, and that extends to the vocals too, which are honestly far more unclean than I think I'd usually be up for, but the digital soundscape makes it go down easier for me for some reason.

Lupe Fiasco - Samurai

Kind of like: Little Simz, A Tribe Called Quest Songs to try: Cake, Samurai, Mumble Rap

I feel like this is one that might grow a lot on me with repeat listens, but for now it's sitting in a respectable 19th. For the purposes of a list like this it may just be too thoughtful for it's own good. As short as it is, I don't know that I've had enough listens to properly take everything in. The loose concept is a fun one though: Amy Winehouse's hypothetical foray into battle rapping. It doesn't stick to that concept super closely, but it revisits it when apt to make occasional points, from what I've gleaned.

While most of this album seemingly requires deeper listening than I have given it, the sound is immediately respectable. The low-key jazzy instrumentals make this album one of the most laid-back hip-hop listens I've had, while also providing the perfect platform for Lupe Fiasco's intricate and thoughtful lyricism to shine.

The Cure - Songs of a Lost World

Kind of like: Disintegration-era The Cure, Beach House, Slowdive Songs to try: Drone:Nodrone, A Fragile Thing, And Nothing Is Forever

I would love to say this is a return to form for a band that has clearly demonstrated that they are virtuosos in the multiple styles they have embodied over the years, and in many ways that's true -- if they were to continue their recent form, as I see it at least, they would struggle to make the top 20 of even a weak year for music -- but they are still weighed down by silly things that ruin their chances of an album of the year shout for me.

For one, and this is very much a personal preference, I'm not a fan of the way they do meta self-reference. There's nothing too wrong with it in theory, but in practice I can't help but cringe whenever I hear the words "This is the end of every song we sing", which is made worse by the fact they were the first words we heard from the album, with it being the introductory line for both the lead single and the album's opener. Again, that point is clearly a me thing, because I'm yet to see anyone else mention it negatively and some people have even brought it up as a positive, but it definitely influenced it's placement on this list.

The other, more important issue is the production. And to be clear, I think this style of production has it's place (it suits Drone:Nodrone for example, and A Fragile Thing is ironically left largely unharmed by it) but the mix being so immediate and warm doesn't seem to suit the tone of the album or The Cure as a band seeing as they tend towards either chirpy guitar-driven music or oppressive soundscapes. Maybe they had that in mind and wanted to accommodate both styles with this choice, but it ends up as the worst of both worlds and it feels like the mix isn't playing to any of the music's strengths.

While I am disappointed though, it's more so in response to unreached potential as opposed to genuinely poor quality. The fact remains that while the album wasn't able, in my opinion, to place itself on the podium for the band's best work, it is a respectable contribution to their discography and is well worth a listen for fans of both The Cure and goth rock more broadly.

The Last Dinner Party - Prelude to Ecstasy

Kind of like: Humbug by Arctic Monkeys, Florence + The Machine, Wet Leg Songs to try: Nothing Matters, Beautiful Boy, The Feminine Urge

A very promising debut for The Last Dinner Party has given them well-deserved acclaim and popularity as they bring back the 00s rock sound with a classical, ornate flair and aesthetic. The lyrics and vocals are exceptional and the instrumentals are exciting, but they are being held back from a top 10 placement for me by 1. an impressive year for music in general, and 2. a slight lack of originality.

Now, there is something unique about this band musically, there had to be for me to rate them as highly as I have, but I think they could easily afford to ramp that up in the next album without sacrificing the commercial success they've received. If they can exaggerate that ornate spin (or whatever unique style they pursue in their next album) and properly incorporate it into their sound as opposed to it mostly being a backdrop, they could even have an album of the year on their hands, provided their next release doesn't come out in such a crowded year. That being said, if you're interested in an alternative rock album, especially one with a classical flair, you'll struggle to find better this year.

Honeyglaze - Real Deal

Kind of like: For the First Time by Black Country, New Road, Slint Songs to try: Pretty Girls, Safety Pins, Don't

I was surprised after listening to this album (which was my first exposure to the band) that they weren't strongly linked with the new rock movement in the UK consisting of bands like Black Country, New Road; Squid; and black midi. To me, there were clear similarities, particularly with the first of those examples. It's absolutely a little more tender than the other bands there outside of Ants From Up There, but the mixture of low-key bright guitar passages and the bassy, distorted sounds along with strange lyrics with mundane imagery reminds me a lot of Black Country, New Road's first album and to a lesser extent Squid's work too.

That being said, once again, I feel like there isn't quite enough originality on display here to blow me away. All three of those bands at the forefront of this movement have carved out a clear, unique direction for themselves, but this is still very similar to that first BC,NR album. The band do still feel fresh though, so I'm sure they aren't done exploring their sound yet and I'm optimistic their next album will be an improvement on an impressive outing.

Bob Vylan - Humble as the Sun

Kind of like: Punkier slowthai stuff, IDLES Songs to try: Dream Big, GYAG (Get Yourself A Gun), Hunger Games

Bob Vylan's new album is a great blend of genres, in particular those that are historically associated with working classes in the UK, perhaps attempting a modern London Calling effect, and the sounds are navigated pretty well. Primarily though, this is a punk album, and I think that is where a lot of the album's drawbacks appear.

First and foremost, they do succeed with flying colours in the most important area for the genre: righteous, working class anger. From Hunger Games' critique of the exploitation of the impoverished for the sake of "games" (seemingly inspired by a This Morning "Spin To Win" segment, in which callers were met with a spinning wheel to determine the prize they'll receive with one of the sections on the wheel during a time of great economic upheaval read "energy bills" and later "household bills" before being scrapped entirely), to the sympathetic frustration towards people who accept the systems that keep them poor and their place within it in Dream Big.

While I can't criticize the themes Bob Vylan touch on though, I do feel as though it's preaching to the choir a bit. If you aren't familiar with the concepts that they touch on here, it will go over your head as it is assumed that you already understand them to a certain extent. If you do understand these concepts though, the album just doesn't really challenge you very much. It just doesn't feel like it's enlightening anyone politically at all, which feels like a big flaw for a punk album, as understandable as it is with the internet creating a massive schism in understanding of political ideas.

Essentially, while this album is a great listen and can be pretty cathartic, if Bob Vylan want to improve on their next album I would personally suggest that they need to figure out who they're supposed to be talking to. If they're talking to the politically unaware, they need to present their messages more wholly. If they are talking to people who are more politically aware, they need to start critiquing more nuanced issues or universal issues in a more nuanced way. As I mentioned with the previous albums, this is still a great listen and there's a lot of promise here, but it feels like it's lacking the purpose that a punk album desperately needs to excel.

If you're a fan of the punk sound and don't really care much about the lyrics being politically important (if you're a fan of pop-punk for example), you'll probably get a real kick out of this album. Otherwise, it might still be worth a shot, but it's a strange one to recommend because it's hard to gauge who it appeals to.

Fontaines D.C. - Romance

Kind of like: Food for Worms by shame, Bright Green Field by Squid Songs to try: Starburster, Favourite, Sundowner

Fontaines D.C. have already made a name for themselves with Skinty Fia as sleeper giants of the modern post-punk scene, and with this album they keep their streak alive with another great album. While it might not carry the weight of some of their songs off their last album, they've begun to explore their sound a lot more freely with their gothic influences anchoring them and keeping the album relatively cohesive despite the band venturing into neighbouring sub-genres like shoegaze and The Cure-esque pop.

While some of those ventures work better than others for me personally (as much as I try I can't really seem to make shoegaze click for me), they are undeniably well-executed, making this not only a great album in it's own right, but a great jumping off point for people trying to find out more about indie music. Not that you need to be a beginner to appreciate this album though. It's versatility may suit newbies better than those whose tastes are more well-defined, but if you're a fan of indie music this could easily be seen as a great love letter to the weird descriptor-turned-genre too.

Nia Archives - Silence Is Loud

Kind of like: Honestly, I don't know, this style is new to me Songs to try: Killjoy !, Forbidden Feelingz, Unfinished Business

If I learned one thing about my taste in music this year, it's that I love some thoughtful dance music. To be clear, I don't say that as a slight against escapist dance music, it just isn't for me, and I thought that was true of more or less the entire genre before this year. This album wasn't the first to prove me wrong there, but it was crucial to my learning that lesson for good.

I had previously assumed that, even when there were lyrics, they would pretty much always be taking a backseat to the music, that it just wouldn't matter what the songs are about, but every song here has comparable or better lyrics than the average pop song, and that was enough to get me hooked on the infectious, rapid beats and Columbo samples.

beabadoobee - This Is How Tomorrow Moves

Kind of like: Being Funny in a Foreign Language by The 1975, Phoebe Bridgers, Olivia Rodrigo Songs to try: Beaches, Take a Bite, Ever Seen

Admittedly, on first listen I didn't really like this album all that much. My main issue was the mix. It seemed really warm and kind of like everything was pushed forward and it felt too immediate. On repeat listens though, I've come to appreciate that as an intentional decision that invites the listener in for what is a very intimate, vulnerable listen. Probably the most vulnerable of all of beabadoobee's albums.

I also came to really appreciate the running theme of rejecting the passive approach to the enjoyment of life, a theme which is most prevalent on Beaches where she urges the listener "don't wait for the tide just to dip both your feet in", and to go out and do what you can to enjoy life right now instead of waiting for the perfect moment. On first listen, I thought it was more or less just this track that touched on the idea, but on repeat listens, whether intentional or just a product of Bea's mindset during the album's creation, I found it popped up quite a lot.

If you're a fan of the twee indie pop style that has really seemed to take hold in recent years, this is a great example of it that you should absolutely check out.

Billie Eilish - HIT ME HARD AND SOFT

Kind of like: The Marías, Phoebe Bridgers, SZA Songs to try: BIRDS OF A FEATHER, LUNCH, CHIHIRO

Billie Eilish hit it out of the park with this one. I honestly thought I was over her music as I gradually lost interest in the majority of her first album and skipped her last one almost entirely, but this was spectacular and reminded me exactly what I fell in love with in the first place.

As ever, the production is a standout feature here. It's a lot more low-key than her previous work, but that doesn't mean there aren't interesting decisions being made throughout the entire album, from the feedback on CHIHIRO, to the "You moved on" beat switch and "Caught on camera" filter on the outro of L'AMOUR DE MA VIE, it's yet another production masterclass here.

But of course there's more to the album than just that. Billie Eilish's vocals are spectacular here, and we know how well she can do those tender whisper vocals, but she experiments with her style on quite a few occasions here, with slightly more direct pop vocals on LUNCH and the occasional belting on a few songs. On top of that, the lyricism continues to focus on a far broader range of topics than your average pop album, and many of the melodies are diabolically infectious.

It doesn't quite appeal to me consistently well enough to make it as one of my personal album of the year contenders, especially in such a packed year, but it is an exceptional album at it's best and I would have no problems understanding why someone might call this their album of the year.

Jean Dawson - Glimmer of God

Kind of like: The Weeknd, Yves Tumor Songs to try: Darlin', You're Bleeding Everywhere, Play Dead

I've been waiting for a few years for Jean Dawson to really impress me, knowing he had it in him, and finally I think I can say he has. You may have noticed with the previous write-ups that we're starting to get to the point where either the albums are dragged down by a couple songs I don't rally like, or they just don't quite have the quality to be album of the year contenders but for me, the issue preventing this album from making it is simply bloat. I think it's noticeable that 15 songs isn't necessary to say what this album needs to say, and some of the songs that repeat certain themes aren't quite as good as the rest of the album, which frustratingly means the album suffers from a mere lack of restraint. Everything else was there.

That being said though, the album does have something to say. I can't say I quite understand the specifics of the narrative (it seems to follow a mob boss or someone similar who dies and comes back to life), but it absolutely comes through as a cautionary ode to mortality. It's been said many times before that death gives life meaning, and this album seems to take that and add nuance, confronts the fear of death and gives counterpoints (such as the opener which, in the context of the album, essentially asks "where is the meaning in the life of an awful man who dies early and is forgotten?"). All the while, though, it takes great care to ensure that death isn't necessarily glorified, just confronted as something that inevitably happens and should be made the most of.

While this isn't especially close to being my favourite album of the year, it is close to my most replayed (second most, I think), which speaks to it's quality. The exciting thing about this is that I still get the sense Jean Dawson can do even better. A little bit more restraint, or a little more narrative depth and he could make a clear album of the year contender with his next outing.

Foxing - Foxing

Kind of like: Model/Actriz, Nine Inch Nails Songs to try: Hell 99, Gratitude, Barking

Next we have one of the most interesting rock albums I've heard in a long time. There's a strange sense of space across this album that really just works. Unfortunately for me, that space is hard to describe, but the crucial thing I want to be understood is that it very much feels intentional and professional, not like the typical, amateurish space that makes it feel like something is missing musically.

The intent behind that space is likely found in the lyrics, as there is a recurring theme of meaninglessness and ennui across the record. That theme makes itself very clear on Hell 99's angst at a stunted society, where you can find the incredible lines "I thought the future would be all things set on fire but now everything worth immolating is insured". While I don't personally agree with the hopeless picture this album paints, I can't help but marvel at the impressive final result. If you're interested in artsy, noisy rock music, this is the best example of that all year by far.

Vampire Weekend - Only God Was Above Us

Kind of like: Death Cab for Cutie, Ants From Up There by Black Country, New Road, Elliott Smith Songs to try: Classical, The Surfer, Hope

Vampire Weekend's new album brings a maturity and modernism to their classic sound, with improved lyrics that thoughtfully touch on the political and personal alike, backed by far more interesting production than ever before.

There's a very particular vibe about this album that is hard to pin down. A strange mix of maturity and youth. I'm not really sure how to describe it, but it means that there is plenty of wisdom to be found, but also an new and interesting artistic vision to back it up. Their sound is very much a revisiting of their first few albums, but altered to suit the band now. It feels a little more grown-up and thoughtful, but again it must be stressed: still fun and full of energy.

This is definitely a great listen for anyone who likes the original Vampire Weekend sound and may have been alienated (as I was) by their last effort, and may even be a good starting point for prospective Vampire Weekend fans too.

Los Campesinos! - All Hell

Kind of like: Gang of Youths, Death Cab for Cutie, Arcade Fire Songs to try: The Coin-Op Guillotine, A Psychic Wound, To Hell in a Handjob

All Hell is the sound of a middle-aged punk losing their faith but keeping their fight, swinging fists hopelessly and reflecting on the next generation of radicals and the trajectory of the political space they helped build. It is someone who has done a lot of thinking about the external and the political being forced to reckon with the internal and personal.

To be clear, Los Campesinos! aren't really a punk band, and although they always had a radical vibe about them, they were mostly depicting personal stories in their art, but here, by explicitly mentioning some of their political stances with a clarity that they never have before, they paint the opposite picture: a picture of a punk doing some self-reflection.

As always, the lyrics are exceptionally endearing, thanks to the subtle comedy that strikes the balance between getting a chuckle and not overpowering the message ("Do you still have that one tattoo? // That's how it works, of course you do"), and the nerdy football references that are always woven into their work, adding a layer of personality.

This is one of those albums that, while critically speaking there isn't much about it that is particularly special, it has a certain je ne sais quoi about it. It's a fantastic album for indie fans who like anthems and introspective cuts alike.

Geordie Greep - The New Sound

Kind of like: black midi, Squid, The Smile Songs to try: Holy, Holy; Blues; Through a War

black midi but make it jazzy.

If that's your dream sound, you're in luck because that's The New Sound. Geordie Greep creates a soundscape of high-class debauchery to lambast many a pathetic archetype of masculinity, albeit in an occasionally sympathetic manner. In particular Blues feels like an understanding critique. It is unflinching in it's mockery of this person, but when you hear lines in the outro like "admit you have tried to cry and can't", whether intended or not, you can't help but have some sympathy for this person who has lost touch with their humanity and is now dripping with insecurity.

And I think that is ultimately the main theme of the album: the insecure bravado of masculinity. The simple lies of Blues, the entirely manufactured image of importance and sex appeal in Holy, Holy, the oppression of Through a War, and on and on it goes. And as mentioned already, the balance is perfect between criticism and well-placed sympathy, and it creates a seamless experience that on the surface doesn't feel like you're being told anything until you take a step back and see how often this theme pops up. It's expertly done.

If you think you'd enjoy a jazz-rock album that embraces a little chaos and approaches the topic of masculinity with equal amounts of humour and sincerity, this is your dream album, but I'd also recommend it to anyone interested in that section of indie rock that bands like black midi inhabited.

Tyler, The Creator - CHROMAKOPIA

Kind of like: Childish Gambino, Mr. Morale & The Big Steppers by Kendrick Lamar, By the Time I Get to Phoenix by Injury Reserve Songs to try: Noid, Hey Jane, Balloon

This is yet another album that is able to get a great balance between being thoughtful and staying fun, and that makes the 53 minutes this takes up feel like half that while justifying every second. And through it all, the idea of identity is constantly being explored, leaving a lasting impact as well as the immediate satisfaction that comes from listening to an album this good.

Last time I tried listening to Tyler, The Creator I listened to Flower Boy, and enjoyed it in the moment but never really revisited it or thought about it again. It was plenty interesting, but it wasn't catchy or profound enough (at least as far as I could tell on first listen) to stick with me. Maybe the album would have grown on me by now and deserves a revisit, but the point is as soon as I heard this album, it all clicked. I understood why Tyler was so highly acclaimed, and every word connected, every musical choice seemed clever, and the album worked on every level.

It's an incredible album and if it came out in most other years it would at least be the best rap album of the year for me, but as it stands, its just sneaking onto the podium. As for who this is for, I think it's pretty broadly appealing, so if you're a fan of thoughtful rap that balances the experimental with the accessible, or if you're new to the genre and want to find out what it's all about, this seems like a great fit for you.

JPEGMAFIA - I LAY DOWN MY LIFE FOR YOU

Kind of like: There's no one like Peggy Songs to try: don't rely on other men, Exmilitary, SIN MIEDO

It may ring hollow when Peggy tries to make it sound like he'd kill a nazi now that he's collaborated with one, but the production, and the energy of his performance is as powerful as ever. This is why you're only as cancelled as your next project, because my hesitation surrounding listening to a JPEGMAFIA album after the Ye shit dissipated by track two. I still don't like that he worked with someone who said he liked Hitler, but I take a very personal approach to "cancelling" based on my comfort with engaging with each person's art, and I just can't be uncomfortable when the music is this good. Or at least it's going to take him personally doing something reprehensible and even then it would probably be a painful experience.

So much of what makes this album incredible is the production. From the expert sampling ("BIG BOOTY HOES! UP WITH IT!"/sampling a fucking door on don't rely on other men), to the flawless infusion of rock and even hardcore elements into his sound, it all just works so unbelievably well.

The recommendation bit will be very straightforward here: this is a must-listen for rap fans. Depending on what type of rap fan you are there's a chance you might not like it (there isn't much in the way of thoughtfulness in the lyrics here), but I believe you have to at least dip your toes in.

Charli xcx - BRAT

Songs to try: Sympathy is a knife, Everything is romantic, Von dutch

You probably already know BRAT. You might have even had a BRAT summer. Or maybe you spent the summer loathing the fact that you couldn't escape this cultural phenomenon of an album outside of the brief moments of reprieve Not Like Us granted you. But love it or hate it, you thought about it, and I think that's the essence of BRAT.

"If you love it, if you hate it I don't fucking care what you think"

Made by an artist who has constantly been bubbling under ever since their shift to a more experimental sound, with even her most commercial release not quite getting the star-making success you might expect from someone with the critical reception and dedicated fan-base she had, this album feels like a product of frustration and insecurity. There are themes on this album that seem to conflict with eachother when taken at face value, but that really come together to sell the feeling the album appears to be going for; that being the switching between "I'm that bitch" tracks and "am I though?" tracks.

This dialectic is perfectly summed up with two clear examples: Von dutch and I might say something stupid. The former is the standard braggadocios fare, with Charli opening the song with the lines "It's okay to just admit that you're jealous of me" and only getting cuntier from there, whereas the latter is a thoughtful and vulnerable introspection into her position in the music industry at the time, being "perfect for the background", and popular enough to be afraid for her privacy (amongst many other things), but not popular enough to really reap any of the rewards of fame.

I'm not sure there's much point recommending this to anyone considering the marketing campaign probably meant that if you were going to like it, you'd know by now, but if you've been holding off on it, it's worth a shot.

Kendrick Lamar - GNX

Kind of like: Quintessential West-Coast Hip-Hop Songs to try: tv off, squabble up, luther

This is rough. I absolutely love this album. It's far from Kendrick's best, but I was so convinced a week after this came out that it'd be my album of the year, and I still like it just as much, but I just ended up enjoying my number 1 a little more. That isn't to take away from this album though. It seems to have everything you could possibly want from Kendrick apart from a clear concept. It has bops, bangers, and jams; it has great lyrical displays; it has unique performances and flows... Despite being one of the biggest albums of the year following a November release, I genuinely think this album is still underrated.

Because the album isn't really a conceptual masterpiece by Kendrick's standards, I'd like to put the focus on what the album does do exceptionally well: individual tracks.

First, I'd like to discuss squabble up. This is the point in the album where the tone has been set with wacced out murals and things really start to pick up, and Kendrick does just that superbly, with catchy bars and inflections ("I feel good get the fuck out my faaaaace") as he celebrates his place as the biggest, most respected rapper in the world and urges other rappers to step it up, which maybe isn't the most unique concept, but it hits different here thanks to the undeniability of it. The only other person that has any claim to the crown right now is Drake, who despite everything is still doing numbers, but with his reputation ruined, the claim is hardly strong. Ultimately it's that context that gives this song it's power. It's not your typical rap confidence, it's the king putting his kingdom on notice.

Then there's reincarnated, arguably Kendrick's best song to date. This is what I had in mind when I mentioned lyrical displays earlier. There are great bars across the album, but this is pure poetry. Kendrick uses the concept of reincarnation to discuss the ways fame and success influences people towards evil and self-destructive indulgence (like the sentiments depicted on man at the garden). Once this pattern is demonstrated, Kendrick turns to himself and shifts the song into a direct self-critique. The song has so much sympathy in it, but also demonstrates a lot of accountability. It recognizes the way these talented people are lead astray, but also doesn't allow that to be used as an excuse for hurting people. It's just such an interesting concept that was executed with the perfect levels of maturity and discomfort required to make it hit home.

Other than that, I just want to touch on SZA's incredible vocal performance. Every time she appears on the album she absolutely kills it. She might have the smoothest vocals I've ever heard and the most satisfying melodies too. It never gets old.

Every time Kendrick releases something it's a must-listen for rap fans, and this one is no different, except for it's greater accessibility, meaning even the more casual listeners should be getting involved with this one.

Magdalena Bay - Imaginal Disk

Kind of like: Jubilee by Japanese Breakfast, Caroline Polachek, yeule Songs to try: Image, Killing Time, Cry for Me

I really love this album. On first listen I kinda liked it, but it wasn't close to my album of the year. On second listen I loved it, and it was a contender. On third listen, it was my album of the year. On fourth listen, it's become one of my favourites of all time.

Every hook is so infectious, all the melodies are captivating, the production is constantly keeping itself fresh with new elements that fit perfectly, the lyrics are quirky in the best way and serve the themes of the album really intelligently and with enough of a hands-off approach in regard to meaning that it is particularly subjective in this case (much like David Bowie's "Heroes", the subjectivity of which I gushed about in it's own post). I just can't find a flaw in the album right now. It is such an overwhelmingly exciting listen, and every time I listen to it, or even just one of my favourites from the album on its own, I can't help but to grin like an idiot.

The way I feel when I listen to this album is why I love music. This is what it's about. It's impactful, and because I have a pessimistic interpretation of the album, I often find myself feeling both depressed and manic towards the end of the album. Smiling and dancing while sad tears well up in my eye. It's ecstasy and sorrow. It's a masterpiece.

I'll attempt to be restrained in my recommendations despite my urge to recommend it to everyone who can hear things, and with that sensibility in mind, I would still say this would work for a lot of people. Poptimists would probably love it, indie fans of most stripes will probably enjoy it, and I've seen fans of prog getting really into it as well. I think the fact that it is both catchy and immediate as well as incredibly thoughtful and dynamic really makes it hard to think of people that wouldn't enjoy it. Mostly though, if you like your music to be experimental in a way that rarely sacrifices it's immediate appeal, this is for you.

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