Listening statistics & highlights
Tap a bar to see the albums behind it
Tap a bar to see the albums behind it
| Album | You | Global | Diff |
|---|---|---|---|
|
Haunted Dancehall
The Sabres Of Paradise
|
5 | 2.37 | +2.63 |
|
90
808 State
|
5 | 2.69 | +2.31 |
|
Orbital 2
Orbital
|
5 | 2.7 | +2.3 |
|
Snivilisation
Orbital
|
5 | 2.7 | +2.3 |
|
Phaedra
Tangerine Dream
|
5 | 2.73 | +2.27 |
|
m b v
My Bloody Valentine
|
5 | 2.73 | +2.27 |
|
Second Toughest In The Infants
Underworld
|
5 | 2.85 | +2.15 |
|
Leftism
Leftfield
|
5 | 2.89 | +2.11 |
|
Lazer Guided Melodies
Spiritualized
|
5 | 2.92 | +2.08 |
|
Music Has The Right To Children
Boards of Canada
|
5 | 2.92 | +2.08 |
| Album | You | Global | Diff |
|---|---|---|---|
|
Kind Of Blue
Miles Davis
|
1 | 4.04 | -3.04 |
|
Time Out
The Dave Brubeck Quartet
|
1 | 3.82 | -2.82 |
|
Birth Of The Cool
Miles Davis
|
1 | 3.64 | -2.64 |
|
Bayou Country
Creedence Clearwater Revival
|
1 | 3.63 | -2.63 |
|
Blonde On Blonde
Bob Dylan
|
1 | 3.48 | -2.48 |
|
The Köln Concert
Keith Jarrett
|
1 | 3.39 | -2.39 |
|
At Fillmore East
The Allman Brothers Band
|
1 | 3.36 | -2.36 |
|
Home Is Where The Music Is
Hugh Masekela
|
1 | 3.35 | -2.35 |
|
Hot Rats
Frank Zappa
|
1 | 3.35 | -2.35 |
|
Channel Orange
Frank Ocean
|
1 | 3.34 | -2.34 |
Tap an artist to see their albums
| Artist | Albums | Average |
|---|---|---|
| Radiohead | 6 | 4.67 |
| Pink Floyd | 4 | 4.5 |
| Michael Jackson | 3 | 4.67 |
| Pet Shop Boys | 3 | 4.67 |
| Prince | 3 | 4.67 |
| My Bloody Valentine | 3 | 4.67 |
| Beatles | 7 | 4.14 |
| Spiritualized | 2 | 5 |
| New Order | 2 | 5 |
| Depeche Mode | 2 | 5 |
| The Chemical Brothers | 2 | 5 |
| The Flaming Lips | 2 | 5 |
| Orbital | 2 | 5 |
| LCD Soundsystem | 2 | 5 |
| Arcade Fire | 3 | 4.33 |
| Björk | 3 | 4.33 |
| The Cure | 3 | 4.33 |
Tap an artist to see their albums
| Artist | Albums | Average |
|---|---|---|
| Miles Davis | 4 | 1.25 |
| Bob Dylan | 7 | 2 |
| Ali Farka Touré | 2 | 1.5 |
| Bee Gees | 2 | 1.5 |
| Emerson, Lake & Palmer | 2 | 1.5 |
| Grateful Dead | 2 | 1.5 |
| Creedence Clearwater Revival | 3 | 2 |
| Van Morrison | 3 | 2 |
| Joni Mitchell | 4 | 2.25 |
| Steely Dan | 4 | 2.25 |
Like weird Queen. I appreciate the musicianship but the constant key and tempo changes and erratic nature of the arrangements meant I couldn’t settle into this at all, I was on edge the whole time.
It’s ok, nice production but no real standouts
I didn’t really understand any of the songs, but god damn the production is SILKY
This was a pleasant surprise. Normally I’m not a fan of country (bar the odd song) but the inclusion of gospel singers and the overall melancholy of the songs is something that appealed to me.
I imagine seeing these live would’ve been great fun, but sat in my living room listening to a whole album didn’t really do it for me.
Sorry Adele, you’ve got a great voice and Hello is a belter but this album was a slog to get through. Bland, boring mush.
Reading their wiki entry I had high hopes on liking this album. Boy was I wrong. The whole thing sounds like a normal, indie / alternative band wrote some proper songs, but then gave the multitracks to someone with no idea how to use Pro Tools, who re-edited, rearranged and repitched everything completely at random. Its one saving grace is “Stillness Is The Move” which was really quite nice. Even as a fan of the experimental (I gave Einstürzende Neubauten a 3!) I found this to be a horribly painful listening experience. “Stillness Is The Move” gives it the one star.
I do feel bad only giving this a 2 because her voice is 5/5 but I don’t like the songs at all
I wouldn’t call what is on this album “songs”. It’s basically Tom Waits talking shite whilst some musicians tinker around in the background. One of them is him describing what he had for breakfast. It gets two stars purely on Waits voice alone, which has an almost ASMR like quality to it.
A beautiful, organic, lush, warm, lovely hug of an album.
Not really my cup of tea but The Faith Healer stood out a mile against the rest, such a brilliant, weird almost experimental track, loved the pulsing synth bass and the drums teasing but never quite kicking in. Wish they’d have done more in this vein.
The songs are fine but this was a slog to get through
There really hasn’t been a ‘band’ (I use this term loosely) quite like The KLF before or after their inception. This is maybe not their best album (for me that would be Chill Out) but this is probably their most cohesive, that being said it’s definitely an album of two halves. The first side is pure Stadium House. What Time Is Love still evokes that pure ecstatic ‘hands in the air at 3am’ rave energy. Personally I would’ve preferred the single mix of Last Train To Trancentral but the version on here is still good if a bit more subdued (RIP Ricardo Da Force). The second side.. at the time it flummoxed a lot of people including me (country music on a dance album??) but the passing of time has proven that once again they were just WAY ahead of the curve. I’ve since grown to love the second half and this would be a 5 star album but for me No More Tears goes on far too long and isn’t interesting enough to warrant its 9+ minute runtime. Everything else is a banger and stands (along with Altern-8’s Full On Mask Hysteria, The Prodigy Experience and 808 State - Ex:El) as a perfect capsule of a time, place and culture that I was so happy to have experienced first-hand.
I’m really glad this exists but doubt I would ever listen to it again
I was really excited to listen to this one, I quite like a lot of the Beach Boys and reading so many superlative reviews of this one, but my God that was just awful - disjointed, fragmented half finished ideas squashed together, a total racket. Can’t help but think there’s a case of the emperors new clothes here.
Started off really strong but around the half way point it all started to sound very samey, and it went on for way too long, especially Last Call which at 12 minutes really needed to do something other than loop the same 4 bars for the whole track.
I’ve given this 5 stars but want to acknowledge that not every track is a 5 star track. Time to Get Away and Sound of Silver aren’t particularly strong even within LCDs own catalogue never mind compared with other artists. But the middle 1-2 punch of Someone Great and All My Friends more than compensates and are probably LCDs best tracks. The rest are 4 stars. And it’s impossible to listen to Get Innocuous without imagining I’m Nico Bellic walking through Liberty City.
I respect what went into making this album but the overall experience of listening to it left me feeling cold
Note: I listened to the original UK release not the US version. OK so it hasn’t aged particularly well in terms of its production but these guys along with 808 State, Orbital and NJoi were the first to prove that you could do dance music as a live band not just DJing, and I don’t think The Shamen get anything like the credit they should (the Synergy live show was groundbreaking). Their ‘peace love and unity’ message was seen as new-age hippy druggy bullshit, but honestly I’d rather listen to uplifting positivity than yet another West Coast rapper bang on about guns money and hoes. The Shamen were way ahead of their time, Progen, Hyperreal and Make It Mine are all time classics.
Like weird Queen. I appreciate the musicianship but the constant key and tempo changes and erratic nature of the arrangements meant I couldn’t settle into this at all, I was on edge the whole time.
This record is a perfect example of why all ratings are subjective and mean nothing outside of your own head. I have no idea if this is “good” or “bad”. I recognise Syd Barrett’s contribution to one of the greatest bands of all time. But the two questions I ask when rating an album are - how much did I enjoy it, and how much would I want to listen to it again? And I’m really sorry Syd, but this gets a 1.
Average rating is 0.22 points below global average.
Album origins are grouped into three buckets: US, UK, and everything else. “Other” means the artists you rate highest are from outside the US and UK.