#79.



Godspeed You Black Emperor! - Lift Your Skinny Fists Like Antennas to Heaven
(991 Points, 14 Votes)

Year: 2000

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #16 (year), #91 (decade), #815 (all-time)

AMG Says: "Lift Your Skinny Fists Like Antennas to Heaven, the much-anticipated follow-up to Godspeed You Black Emperor's Slow Riot, is a double-disc achievement of four works (each with multiple parts): "Storm," "Static," "Sleep," and "Antennas to Heaven." It is a windfall for any fan of ambient pop, orchestral rock, space rock, or simply lush string arrangements who understands how powerful love, melancholy, and frustration can be. The main complaint voiced by critics of Godspeed's music is that their works just repeat the same pattern: start out sparse and slow, build-build-build, crescendo. While there are certainly crescendos, there is no such predictable pattern repeated among the works on Lift Your Skinny Fists Like Antennas to Heaven -- it's loaded with dynamics, unexpected sections, strong emotions and beauty.

The album opener, "Storm," is a leap for GYBE! that, alone, makes this release worth getting. It's a rapturous work that rises with a potent melancholy, driven by heartrending emotions. "Storm" vents a powerful frustration (each listener can insert their own reasons why) with majestic screams of strings, guitars, and layers, resulting in a climactic and passionate soaring. It eventually winds down into an exhausted aftermath of piano, underlying drones, and frustrated rants. The second piece, "Static," is a wandering, isolationist piece of bleak expanses shaded with darker emotions, but the remaining two works raise the album back up to the impressive standard set by the opening cut, though with less furor and even more loveliness. "Sleep" opens with an elderly gentleman reminiscing about Coney Island, and his frank and amusing narration briefly recalls the recordings of David Greenberger and scenes from the documentary Vernon, FL. This narration is followed by a slow and melodic piece featuring a pseudo-theremin effect amidst all of the other instrumentation. "Antennas to Heaven" opens with someone playing acoustic guitar, singing "What'll We Do with the Baby-O," soon washed over with sound, which then gives way to a brief chorus of glockenspiels, and on.

During most of Lift Your Skinny Fists Like Antennas to Heaven, musical and emotional opposites alternate as regularly, and naturally, as breathing: delicate string work and rock-out guitar and drums, spoken word and walls of sound, gracious and possessed, tip-toes and cliff-diving, dark hallways and blinding sunshine."

Ranked Highest By: Dark Flame (#2)

Amazon Link

great disc, first disc is better but both are just superb. great band overall. even the last disc wasn't nearly as bad as everyone made it out to be. yanqui or whatever. good stuff just not as good

"Trimm Trabb" but the majority of 13 is nothing much to write home about.



#49.

Yeah, I was about to ask why anyone would prefer this to Ágætis Byrjun. It's decent, sounds nice (though hollow), and I count three really good songs (hmm, those'll be track 4, and the last two). The rest of it is too full of nothingness for my liking. Ágætis Byrjun floored me, but () just put me to sleep.

Still better than Takk, though. Three really good songs is better tha no really good songs.

Also, Breugel: Props on the Geogaddi love, but #2? I'm guessing Music has the Right to Children wasn't #1...

It's funny that these two albums are so close to each other, actually. They represent perfectly the year of disappointment that was, for me, 2002. Those, the Godpseed and QOTSA were the crew of albums that were good, but not as good as the albums before.

Also, Skinny Fists is fucking awesome, but the kind of thing I can only really listen to every couple of years.

well Battle for one. Trimm Trabb, Caramel, Trailer Park. Yeah actually i dig pretty much all of 13 more than those two songs (except for maybe Swamp Song). Probably because I just don't like the Lips at all.

I spent 2002 teaching and taking too much drugs in Japan. Most of my dreams featured dark, dystopian mangas soundtracked almost exclusively by Geogaddi. Listening to it now gives me passage to that surreal, disorientating yet immensely exciting part of my life.

I associate Music has the Right to Children with getting stoned in my Nan's kitchen is South Wales, thus it is 91st on my list. Sorry Nan.

I just love seeing that Lift Your Skinny Fists... beat out F#A#(infinity). Both are fantastic albums, to be sure, but Lift... is the better one. I'm also really pleased with myself for gettting the highest votes on each of them.

Top explanation, Bruegs.

A friend of mine was teaching in Japan at that time (still is, actually); something I wanna do.


Yeah, it's weird how Boards of Canada, possibly more than anyone else, really depends on associations. I remember when I got that album in, and felt ridiculously... cool.

I like to think I have a lot of cool music, but rare is the album that makes me actually think 'goddamn, I am cool now'. The first Korn album, in early 1996 did that for me. Four years later (yeah, fashionably late to the party, then), I got into Boards, during a period of going to Warp's old website, and feeling like I shouldn't be there. It was all a reaction to Kid A coming out and me wanting to pursue anything that might sound like that.

Anyway, I stuck on the album, and lay on my hall of residence bed. The curtains were open, and it got dark early at that time. So I was listening to this album, an almost completely new experience, street-lit darkness seeping into the room, and a pane of glass all that was separating me from the centre of Manchester.

I felt well cool.

Good to see more BoC fans here than I thought.

hells yeah.

You see, this still holds up. The first time I popped Invisible Touch into the tape deck I would have put a year’s pocket money on me being a mid-eighties reincarnation of Jimmy Dean. Admittedly I was only seven at the time.

#78.



Boredoms - Vision Creation Newsun
(993 Points, 14 Votes, One #1 Vote)

Year: 1999

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: n/a

AMG Says: "Vision Creation Newsun finds Boredoms moving even further away from the random noise that marked their early output and settling into a loose, jam-oriented aesthetic. The first two tracks (no song titles here, only symbols) find Boredoms further investigating pounding tribal rock with propulsive drumming, energetic guitar work, and vocal chants. The overall feel bears some similarity to Super Ae, with tracks that draw from Krautrock and psychedelia, but Vision Creation Newsun adds a folk element, including softer instrumental textures like hand percussion, lengthy cymbal washes, and acoustic guitars. Some passages even flirt with new age, as they weave bird songs and the sound of falling water into the mix. These delicate touches aptly demonstrate the sonic range of Boredoms, but some of these meandering pieces can get tedious. Still, the highlights are many. Guitarist Yama-Motor is the star here, and most of Vision Creation Newsun's best moments come from his hypnotic style and deep bag of effects. He is equally at home with the Spacemen 3-style feedback shriek of the second track as he is with the minimalist acoustic work that dominates the latter half of the album. The dual percussion of Yoshimi and ATR is also powerful, but when songs break into long drum solos, Boredoms will lose their more punk-oriented fans. This is not the left-field triumph that Super Ae was, but it's a strong album nonetheless."

Ranked Highest By: Gotcha! (also ranked #2 by The Eyes and #5 by Nic)

Amazon Link

good album

#77.



Ween - The Mollusk
(994 Points, 13 Votes)

Year: 1997

US Chart Position: #159

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: n/a

Rank on Our All-Time Albums List: #180

AMG Says: "On the surface, The Mollusk is a return to the panoramic, multi-genre extravaganza of Chocolate and Cheese, but in its own way, it's as much of a concept album as 12 Golden Country Greats. It just isn't as explicit about its intentions. Nearly every song on The Mollusk has a nautical theme, buoyed by a heavy progressive rock influence. Several songs deviate from the theme -- the synthetic new wave pulse of "I'll Be Your Jonny on the Spot" and the frenzied pseudo-country of "Waving My Dick in the Wind" are neither seafaring nor prog -- but there's an unmistakable watery undertow to the record. Perhaps the loose concept is the reason why The Mollusk is the most concise album in Ween's canon, but it's not what makes the record so impressive. Like Chocolate and Cheese, The Mollusk could seem like a comedy record to outsiders, but the songwriting and performances are so remarkably accomplished that it is just as listenable after the shock of the humor has faded away. "The Mollusk," "Mutilated Lips," "The Golden Eel," and "Buckingham Green" are all startlingly accurate send-ups of prog-rock, and they are better written than many of their inspirations. Similarly, the vulgar shanty "The Blarney Stone," the faux-Richard Thompson tragedy "She Wanted to Leave," and the sunny, Caribbean-flavored "Ocean Man" are terrific songs offering evidence that Ween are improving as songwriters and musicians with each record. Ironically, this array of silly jokes and musical parody is a richer and more diverse listen than most of its alternative rock contemporaries."

Ranked Highest By: Big Pink (#2) (also ranked #4 by Gotcha! and #5 by Dan, Pavement Ist Rad and Vurt)

Amazon Link

#76.



Built to Spill - Perfect From Now On
(1004 Points, 13 Votes, One #1 Vote)

Year: 1997

US Chart Position: #26 Heatseeker

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #22 (year), #185 (decade), #961 (all-time)

AMG Says: "Not many groups would take a major-label contract as a cue to put out an album where the shortest song is still a radio-unfriendly five minutes in length. For that listeners can thank their stars that Built to Spill isn't like many groups and Doug Martsch not like many artists. Perfect From Now On manages the amazing trick of being the band's best album to this point, Martsch and company using the opportunities for larger budgets and distribution to create an album at once inspiring and quietly emotional, not the easiest combination to pull off. With drummer Scott Plouf and bassist Brett Nelson as the other core performers, plus second guitarist Brett Netson and cellist John McMahon as key guests, the result is astounding all around. The length of the songs allows the band to create uniquely post-everything mantras, blending psych trances and drones, post-punk airiness and flow, and Martsch's affecting, tender singing and lyrics into a whole. Martsch's high tones and the guitar passion here helped fuel further comparisons to Neil Young -- to pick out one moment, consider the closing minutes of "I Would Hurt a Fly," feedback peeling out over the rhythm and strings -- but the Boise musician is his own man through and through. Selecting standout moments from such a solid disc almost defeats the purpose, but many examples still deserve further notice. "Stop the Show" builds to a dramatic, but not in the least bit hammy, shift from a roaring wash to a quick, clipped pace; Martsch's vocals and further sudden tempo switches are the icing on the cake. "Velvet Waltz" indeed plays at that musical pace, McMahon's playing and Martsch's heartbreaking, lovely lyrics and singing the core of a incredible song. "Untrustable/Part 2 (About Someone Else)" concludes a simply fantastic record."

Ranked Highest By: Bobzilla (#1)

Amazon Link

Big clusterfuck with the votes back there. Really close.

So Keep It Like a Secretmade the top 75? Awesome.

I've never heard Ween.

What are they all about?

#75.



Billy Bragg & Wilco - Mermaid Avenue, Vol. 1
(1015 Points, 16 Votes)

Year: 1998

US Chart Position: #90

UK Chart Position: #34

Charting Singles: n/a

Acclaimed Music Ranking: #18 (year), #163 (decade), #847 (all-time)

AMG Says: "During the spring of 1995, Woody Guthrie's daughter Nora contacted British urban folk troubadour Billy Bragg about writing music for a selection of completed Guthrie lyrics. This was no minor task -- Guthrie left behind over a thousand sets of complete lyrics written between 1939 and 1967 that had no music other than a vague stylistic notation. Bragg chose a number of songs to finish, as did Jeff Tweedy of the alt-country band Wilco (often with bandmate Jay Bennett). Nora Guthrie impressed a common goal upon them: Rather than recreating Guthrie tunes, they should write as if they were collaborating with Woody, creating new, vital music for the lyrics. Both artists completed more songs than could fit on Mermaid Avenue, which is neatly split between Bragg and Wilco, with Bragg taking lead on eight of the 15 songs. The results are almost entirely a delight, mainly because all involved are faithful to Guthrie's rowdy spirit -- it's a reverent project that knows how to have fun. There are many minor, irresistible gems scattered throughout the album, and most of them come from Bragg. Where Wilco's fine contributions sound inextricably tied to the '90s, both for better and for worse, Bragg's music sounds contemporary while capturing Guthrie's folk traditions. That's not to say Wilco's contributions are failures -- it's just hard to imagine Guthrie singing the plaintive "California Stars" or the plodding "Christ for President," neither of which quite fit the lyrics. Nevertheless, their hearts are in the right place; more often than not, they come close to the target, and their joyous playing invigorates Mermaid Avenue. The blend of Bragg's traditionalist sensibility and Wilco's contemporary style ultimately illustrates that Guthrie's words, ideals, and aesthetics remain alive in the '90s. It's a remarkable record that deserves a sequel."

Ranked Highest By: AsherFord (#3) (also ranked #5 by Johnny Boy)

Amazon Link

Excellent piece of work.

#74.



At the Drive-In - Relationship of Command
(1018 Points, 16 Votes)

Year: 2000

US Chart Position: #116

UK Chart Position: #33

Charting Singles: "One-Armed Scissor" (#26 Modern Rock US, #64 UK), "Invalid Letter Dept." (#50 UK), "Rolodex Propaganda" (#54 UK)

Acclaimed Music Ranking: #13 (year), #69 (decade), #653 (all-time)

Rank on Our All-Time Albums List: #320

AMG Says: "Welcome to the breath-robbing, heart-pounding Relationship of Command, an album many have been waiting for with red-faced anticipation since their last EP, the brilliant Vaya. On this 11-track masterpiece, so full of adrenaline and swarming moods, ATDI has created one of the most infecting and mind-blowing rock albums in a long time. While most of the tracks are of the more aggressive edge, this is undeniably the band's most focused and well put together and, therefore, best all-around album yet. "Quarantined" and "Sleepwalk Capsules" alone make this album worth purchasing: This music is seamless and inspiring. Electronic movements meshed into "Enfilade" stretch the texture of the album further, into the unique backup vocals of Iggy Pop on "Rolodex Propaganda." Amidst all the rock, there is the undeniably unique edge about ATDI's sound, something that has permeated through their music from the Hell Paso 7". Beautiful vocals bursting passion in quirky, abstract, and often thrilling lyrics, youthful energy, driving melodies, and a sense of beyond-the-moment urgency. Moving from Relentless to Grand Royal, as well as to the notorious and mostly infamous producer Ross Robinson, has not killed the band's spirit or sound, as many loyal fans feared it would in the pattern of Jawbreaker, Jawbox, among others. If anything, it has allowed the band to push themselves to new limits, to fulfill what they have been working for relentlessly for so long. This is not a band that could ever be insincere. You can see it in their eyes and feel it in their music and work ethic. ATDI is one of the saviors of true emotional straight-up rock!"

Ranked Highest By: Diesel (#3) (also ranked #4 by Petey)

Amazon Link

This seems quite emotive for the usually objective/distanced AMG. Is the review by that one guy that just stopped short of saying 30 Seconds to Mars were the greatest band ever?

awesome!

need more petey...

AMG and all their writers are brutal.

Mermaid makes for my third "Ranked Highest By", yay.

I didn't look at other people's lists enough to know, but how big is this board on Fountains of Wayne? Does their debut have any kind of chance at this point? I also wish I could remember the other records I put in my top 10 =/

fan-fucking-tastic~!!!!!!!!




and from here on out, whereever "New Adventures in Hi-Fi" places, I will be pleasantly surprised by how high it made it. I figured it would be right around 75 or so, so anything higher is definitely pleasing to me. Still, if it made a top 20 finish, i will be happy as a clam.

#73.



Jay-Z - The Blueprint

Year: 2001

US Chart Position: #1

UK Chart Position: #30

Charting Singles: "Izzo (H.O.V.A.)" (#8 / #4 R&B US, #21 UK), "Girls Girls Girls" (#17 / #4 R&B US, #11 UK), "Jigga That Nigga" (#28 / #1 Rap US), "Song Cry" (#23 Rap)

Acclaimed Music Ranking: #3 (year), #18 (decade), #229 (all-time)

Rank on Our All-Time Albums List: #343

AMG Says: "When Jay-Z dropped "The City Is Mine" in 1997 and claimed New York's hip-hop throne upon the Notorious B.I.G.'s demise, many smirked and some even snickered. Four years later in 2001, when he released The Blueprint, no one was smirking and no one dared snicker. At this point in time, nobody in New York could match Jay-Z rhyme for rhyme and nobody in New York had fresher beats -- and many would argue that Jigga's reign was not just confined to New York but was, in fact, national. Yes, Jay-Z had risen to the top of the rap game in the late '90s and solidified his position with gigantic hits like "Big Pimpin" and "I Just Wanna Love You (Give It 2 Me)." Furthermore, The Blueprint's leadoff single, "Izzo (H.O.V.A.)," dominated urban radio numerous weeks before the album hit the streets, generating so much demand that Def Jam had to push up the album's street date because it was being so heavily bootlegged. So when Jay-Z opens The Blueprint dropping rhymes about "runnin' this rap sh*t," it's not so much arrogance as it is a matter of fact. And by the time he brutally dismisses two of his most formidable opponents, Mobb Deep and Nas, less than ten minutes into the album, there's little doubt that Jay-Z's status as the top MC in the game is justified. But that's just one song. There are 12 other songs on The Blueprint -- and they're all stunning, to the point where the album seems almost flawless. Besides rhymes that challenge those on Reasonable Doubt as the most crafted of Jay-Z's career to date in terms of not only lyrics but also flow and delivery, The Blueprint also boasts some of his most extravagant beats, courtesy of impressive newcomers Kayne West and Just Blaze. Moreover, if the rhymes and beats alone don't make The Blueprint a career highlight for Jay-Z, the minimal guest appearances surely do. For once, listeners get exactly what they want: Jay-Z and nothing but Jay-Z, over beats so loaded with marvelously flipped samples the songs don't even need big vocal hooks. Besides, when you're already the top MC in the game, there's no need for crossover attempts. Half-satisfying albums like Hard Knock Life were the crossover attempts, and now that Jay-Z is "runnin' this rap sh*t," a fully realized masterpiece like The Blueprint is the glorious result."

Ranked Highest By: Vurt (#6)

Amazon Link

god, i feel like a jerk for forgetting this one. you dudes are otm here. probably the only wilco project i really like besides the summerteeth record, whcih i also forgot about shit

I really like the top 100 so far. Varied and surprising.

No Way. It's got to be at least top 20 if not top 10, given the number votes along with at least 3 top 10 votes and two #1's. Did Sam vote? If so, that's 3 #1's.



I had both top 20. Your vote would have helped. Just don't tell me you forgot to vote for Grandaddy or New Adventures in Hi-Fi as well.

i didn't really pay attention to too too many lists, so i will remain pleasantly surprised even if it is an obvious top 20 contender. i feel it's safest to brace myself for the worst, however, when it comes to voting on the SOMB.

Yeah, I wouldn't be surprised if it finished top 5

I myself don't know where it places (revealing the list to myself as we go, I know what won but little else), but three #1s doesn't mean shit when it comes to the top 20, that barely even gets you 1/6 of the points needed to place an album that high. I'd think you guys would have learned this by now.

And yeah, this stretch (~95 - ~75) is always the coolest part of the list, because you get lots of records that a bunch of people ranked high but didn't get that strata of mid-level support needed to push an album into the top 50. The coolness usually stats to taper off in the mid-60s.

LOL @ smashes! that didn't even chart.

I thought "Izzo" honestly charted a lot better than that. Weird.

Exactly.

#8 is bad?

I bought this blindly a few years back and popped it into my car cd player,
almost ran my car off the road it was that good.





Ween - The Mollusk[/size]
(994 Points, 13 Votes)


I was expecting this to be higher, but it's still a good placement.
Great, fun album.

Jay-Z's chart placements are almost inversely related to how good/well remembered his singles are. "Excuse Me Miss," "Change Clothes" and "Bonnie & Clyde '03" (his biggest, #4) were all top tens, while "Hard Knock Life," "99 Problems" and "Big Pimpin'" all languish around the 20s

#72.



M83 - Dead Cities, Red Seas & Lost Ghosts
(1026 Points, 16 Votes)

Year: 2003

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #16 (year), #131 (decade), #1119 (all-time)

Rank on Our All-Time Albums List: #383

AMG Says: "On the list as one of the most radiant keyboard albums, M83's absurdly lush Dead Cities, Red Seas & Lost Ghosts combines a small arsenal of antiquated synths and drum machines with a shoegaze aesthetic to create a giant starburst of sound and analog miasma. A French duo comprised of Nicolas Fromageau and Anthony Gonzalez, the pair's songs seem to evolve from one major chord to the next with tremendous velocity, always accumulating dense new layers of sound along the way. The keyboards throb, quiver, arpeggiate, and drone with such unbridled intensity that there's rarely any space (or need) for anything else. But while the shrill analog thrash of "America," the frenzied overload of "0078H," and the sustained crescendo of "Noise" certainly prove beyond doubt that guitars needn't be a prerequisite for post-rock dramatics, M83 are so much more than just a quiet-loud-quiet-loud outfit with a twist. As evidenced by the singsongy hymnal of "In Church," the sweetly sung vocals on "Run Into Flowers," and the provincial chimes of final track "Beauties Can Die," M83 is a keyboard band of the best kind: one with nuance, tone, thrash, and color."

Ranked Highest By: John the Cool Kid (#3)

Amazon Link

an album that I really only appreciated once I put headphones on.

otherwise it sounds thin through speakers for some reason.

GREAT album. Got to see them perform the whole thing live a couple of years ago, and it blew my mind.

#71.



PJ Harvey - Stories from the City, Story from the Sea

Year: 2000

US Chart Position: #42

UK Chart Position: #23

Charting singles: "Good Fortune" (#41 UK), "This is Love" (#41 UK), "A Place Called Home" (#43 UK)

Acclaimed Music Ranking: #4 (year), #31 (decade), #364 (all-time)

Rank on Our All-Time Albums List: #149

AMG Says: "During her career, Polly Jean Harvey has had as many incarnations as she has albums. She's gone from the Yeovil art student of her debut Dry, to Rid of Me's punk poetess to To Bring You My Love and Is This Desire?'s postmodern siren; on Stories From the City, Stories From the Sea -- inspired by her stay in New York City and life in the English countryside -- she's changed again. The album cover's stylish, subtly sexy image suggests what its songs confirm: PJ Harvey has grown up. Direct, vulnerable lyrics replace the allegories and metaphors of her previous work, and the album's production polishes the songs instead of obscuring them in noise or studio tricks. On the album's best tracks, such as "Kamikaze" and "This Is Love," a sexy, shouty blues-punk number that features the memorable refrain "I can't believe life is so complex/When I just want to sit here and watch you undress," Harvey sounds sensual and revitalized. The New York influences surface on the glamorous punk rock of "Big Exit" and "Good Fortune," on which Harvey channels both Chrissie Hynde's sexy tough girl and Patti Smith's ferocious yelp. Ballads like the sweetly urgent, piano and marimba-driven "One Line" and the Thom Yorke duet "This Mess We're In" avoid the painful depths of Harvey's darkest songs; "Horses in My Dreams" also reflects Harvey's new emotional balance: "I have pulled myself clear," she sighs, and we believe her. However, "We Float"'s glossy choruses veer close to Lillith Fair territory, and longtime fans can't help but miss the visceral impact of her early work, but Stories From the City, Stories From the Sea doesn't compromise her essential passion. Hopefully, this album's happier, more direct PJ Harvey is a persona she'll keep around for a while."

Ranked Highest By: RoBKoZ (#4)

Amazon Link

Masterpiece.




What speakers were you using?

#70.



The New Pornographers - Electric Version
(1035 Points, 19 Votes)

Year: 2003

US Chart Position: #12 Independent

UK Chart Position: n/a

Charting Singles: n/a

Acclaimed Music Ranking: #26 (year), #184 (decade), #1485 (all-time)

AMG Says: "Three years after the sonic honey of Mass Romantic, the New Pornographers come up smiling once more with their sophomore effort and Matador debut, Electric Version. These beloved indie rockers stick with the syrupy goodness found on their first album, but opt to turn the amps up for a brighter, slicker sound, hence the title. It's a kitschy play on the band's power pop, and Carl Newman and secret member Dan Bejar keep their clever lyrical twists in tune. Twiddling riffs and organs dance with Neko Case's sunny harmonies on the rollicking "It's Only Divine Right" and "From Blown Speakers." The energy is there, but Electric Version captures a new kind of energy from the New Pornographers. While Mass Romantic was a little more quirky in spirit, Electric Version is more polished. They took just under a year to create this album, so naturally a fresh confidence would transpire and "The Laws Have Changed" highlights the New Pornographers' musical growth. This album standout is bold as brass, drenched in Case and Newman's perky vocals. "All for Swinging You Around" takes things further with wacky synth beats and tripped-up percussion, Velocity Girl-style, but its the band's own glossed-over rock & roll on "Miss Teen Worldpower" that truly represents the smooth emotion and might behind the New Pornographers' sound. Electric Version is an enjoyable and easy listen, chock-full of hungry hooks and brimming with indie rock's classic humility."

Ranked Highest By: Kmac (#10)

Amazon Link

Their weakest album, by far.

This, however, bodes well for Mass Romantic.

I didn't realize there was so much Porno love on this board.

whatever the f that means.

I find it to be their strongest. It's all fantastic though.

The joke is too easy.