All-Time Music Charts

VinylSurrender lists the best music of all-time from 1950 to the present day, compiling charts of the most popular tracks and releases throughout this period.

Each track has it's own statistics page with standard information such as album, artist, year of release, genre, mood, etc, as well as specific chart positions.

Logged in visitors can vote for any of the tracks listed in the all-time music charts using their allocated monthly quota, or by adding site content in order to get more votes and further influence the site.

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Album Frozen Niagra Falls by Prurient (2015)
Running semi-naked through the woods, chased by a knife-wielding mad-man, frothing at the mouth, eyes bulging, tightly gripping - the BLADE! - hovering, slashing, a millimetre from our sweaty flesh and then it rips... into our shirts, slashing again and again until we fall, slowly at first, but ever faster and faster downwards into the black void, spinning, with its intensely dark imagery, vividly portrayed on the mammoth 10:17 opener 'Myth of Building Bridges', quite brilliant it is, threatening to engulf us in our own fear but never demonic enough to condemn our souls forever. Purient manages to unleash his own fears, hatred, anxiety, come-down hellish emotions into something clear and easily discernible, but without getting hot-headed and too eager to please. An album as shiny, scary and lean as a glistening alien skull, dripping liquid sweat, capable of unnaturally enticing its victims into evincing about-turns and reversing into the nearest cubicle. Anyone that can make the sound of an eviscerated unnatural life-form seem exhilarating should be highly commended, but first things first... can you get through an entire album of this stuff? Yes, easily, it's an hour well spent, but will a second CD be so easy to get through (tracks 9-16 or 2.01 to 2.08)? No, it's a galaxy too far away, especially the 'Frozen Niagra Falls (portion one)' and '(portion two)' tracks, which are pretty much screeching noises, much like an unfiltered transmission from "the commercial spacecraft Nostromo on its return trip to Earth", volume turned up high. For all that, it's a very good release and defies listening conventions to the extreme - the full ten minutes of track ONE are absolutely fascinating, making you want to dig deeper and deeper into its sound, but there's only so much you can take of the demonic vocals and brain-cell expanding effects on some of the tracks, it's such a divergent listen though, and very refreshing, piercing and wildly different, plus it's got an extra CD if you really love it that much - a clean, pure sound, with smatterings of crowd-talk babbling and distant laughter in places, you never know what you're in for or what's going to come next and, after giving this album several months, to listen to it, mull over it and then come back to it again and again, I conclude its amazing-ness. Perhaps not for everyone, in a nails screeching down a blackboard sort of way, but very engrossing and fascinating for everything else. (Richard)  
Album Apocalypse, girl by Jenny Hval (2015)
I never imagined in a million years this album would even attempt to be as good as this, but after that shock, is it ambient spoken word or poetry? That's the fundamentals of track no.1, 'Kingsize' at 2:25 minutes, with its spoken references to the USA and large dicks, but you certainly know you're in for an interesting listen. Track 2 is more conventional and has some beautiful singing and piano, but is slightly more intriguing than enjoyable. What's the "soft dick" repeated for, and "we don't have to fuck, just lie here" referring to? Perhaps reflecting the importance of soft dick instead of rampant sex? There's no obvious "dicks" on track 3, but a "c*nt" later on, but whereas the lyrics get less easy to understand, the musical beauty enhances, and any initial misgivings I had about listening to this recording are quickly dispelled and I can tell by even as a cursory listen that it's going to be a worthy effort. On track 3, 'The Battle Is Over' it starts to get warm, focused and fabulous, as though the stress and pointlessness of mundane realities can actually seep away through your pores, out of your eyes or your orifices, relieving the pressures of life through the narrative and instrumentation. But can an album like this keep your interest over ten whole tracks and persist? Yes, like waves washing over the shore with this is 'Heaven' and the lovely 'Why This?'. Relaxed but not completely still, with a soft, warm drumbeat to offset the high-pitched vocals, perfectly. It's absolutely lovely. // Some comparisons to Bjork have been made, and I can see that, but whereas Bjork has an off-key, almost clipped (annoying) quality to her vocals, Jenny Hval's voice is better and reaches those top notes with ease, if not entirely un-screechingly in places. That's something to do with the liberated Scandinavian (as opposed to Icelandic) expression maybe, with the instrumental dynamics being comparable but not the vocal range, nor the crescendo or pantomime Bjork theatrics, but instead being much more restrained. All in all, a super-surprising listening experience, reminding me that it's always worth taking a risk when it comes to listening to music instead of sticking to what we know, and to venture out and find something new, to try it out, experiment, be awed, surprised. Yes, sometimes you get bored and disappointed by parting with your time, money and actual self, but sometimes you come across new and fresh, and worthwhile experiences. My only concern is track 10 at 10:00 minutes, which should anchor the album beautifully, and does to an extent, but is far too ambient and mysterious with its wallowing rhythms and distant whale-sounds, subtle violin screeches... two minutes... perhaps an attack of bees, some crashing branches, a splintering window maybe, potentially squalling out a rendition of 'The Black Angel's Death Song' by the Velvet Underground, but after all nothing more than ten minutes of ambient noodling to unnecessarily pad out an amazing album. (Richard)  
Album Music Has The Right To Children by Boards of Canada (1998)
MHTRTC is a classic electronic album, but although it's held dear in many of our hearts there's still an unexplainable and unknown quality to it when you consider it's such a major electronic achievement. One of the album's most notable qualities is the way it splits itself into interlude-track from the start, with the tracks having a crunchy, meaty beat and the interludes consisting of little more than vocal ditties and tunettes thrown in to offset the more conventional electronica, in a hip-hop album sort of way, giving the listener some reprieve. Things change though at the half-way point where the interludes start to run more freely with the three continuous tracks 'Kaini Industries', 'Bocuma' and 'Roygbiv', each running very short but distinct tunes in themselves. But besides being one of the most atmospheric and beautiful electronic albums out there, beauty in itself doesn't justify a great or classic album, but instead a combination of many things such as the frequent surprises, little tunes and feel-good moments surreptitiously hidden away, plus the frequent chattering of children's voices popping up all over the place with expressions like "I l-o-v-e you...", "Yeah, that's right... (giggles)" plus cheerful renderings and an overall feel-good factor that emits happiness and hope. If you look at the album cover on its own though, with its shimmery blue and family photo faces erased and nondescript, the eerie and potentially disconcerting instrumentals, MHTRTC has all the ingredients for a dark and sombre experience, but somehow turns itself on its head by being an extremely uplifting and positive experience, an album that is wondrously content and very reassured, but most importantly thoroughly enjoyable and effortless all the way through. The weakest point is track 7 'Turquoise Hexagon Sun' which meanders rather pointlessly, but it's followed by three cleverly engineered interludes, then back onto heftier tracks like 'Aquarius', 'Pete Standing Alone' and arguably one of the most beautiful lead-out sequences on record. A thoroughly captivating listen with many little surprises, that appears to be rather gloom-tinged on the surface but in reality has a very positive outlook. (Richard)  
Album Danger In The Club by Palma Violets (2015)
Palma Violets haven't matured one iota and their music still sounds brashly under-produced and uncaringly chucked together in a hap-hazard manner, but that doesn't make it any less enjoyable when it sounds like they've had such a good time making this record, which is pretty enjoyable in a sloppy half-arsed and can't play our instruments sort of way, a bit like The Clash. They mostly sound like they couldn't give a monkey's arse, just like the The Damned or Doctor & The Medics in an exuberant Rocky Horror Show moment, which is all the better for it on 'Hollywood (I got it)', 'Danger In The Club' and the semi-intense 'Matador', but it depends on what sort of mood you're in, and whether you're up for The Ramones in a less than serious but sometimes brilliant sort of way, including all the good bits and rubbish bits, in this mostly accomplished but rather sloppy recording. Palma Violets were raved about a few years ago as the saviours of British pop/rock, and let's face it, they haven't really delivered on that and are certainly not on a par with peers like Parquet Courts in terms of penetrational and punky intensity, but instead sound more like a budget-orientated version of The Vaccines with a splash of The Clash and maybe a bit of The Libertines and some other, good but couldn't give a shit half-arsed indie/rock/pop bands thrown in. There's even some strange wimbo-way Adam-and-the-anting ranting/rapping stuff going on here and there, which is mighty deranged in a Haysi Fantayzee fashion, but I still like it, but would have preferred a condensed best of 10 tunes instead of this sprawling 17 tracks' worth, which is far too long, far too silly and not at all digestible in a single sitting, if ever. (Richard)  
Album Painted Shut by Hop Along (2015)
A good and consistent indie album with an off-the-cuff style, sweet-yet-raspy vocals, tight guitar work and really good band inter-communication. The sort of album that lets you tune-in and rock out for 40 minutes, but which doesn't have any stand-out moments either. Recommended if you enjoy low appeal, tightly put together indie rock. My only criticism is the omnipresent, unrelenting vocals that completely own this record, instead of laying off and giving the musicianship some time to breath. Its rudimentary appeal and lack of extraordinary qualities is quite refreshing in a guzzle-it-down cheap white wine kind of way. (Richard)  
Album Colours of The Night by Peter Broderick (2015)
Take a look at that album cover, listen to the first few bars of the opening track 'Red Earth' and you just know you're in for a harsh, sparse and bleak listen, even something deep and profound, feeling your way through the dense undergrowth at night while getting progressively lost. In reality, after the subdued and rather beautiful first track you'll hardly get a scratch, as the rest of the album is more reminiscent of a slightly uncomfortable trek through the nettles at the bottom of the garden. Forget the cover and the initial impressions entirely; this is a pleasant, chirpy-happy sort of album in a David Byrne 'Marching Through The Wilderness' sort of way, with some lovely songs about normal to-ings and fro-ings. No search parties required and not what I was expecting (or hoping for) at all. (Richard)  
Album Sprinter by Torres (2015)
Torres gets it right on this release. She absolutely rocks in places in an independent woman, aggrieved Alanis Morrissette sort of way, with her similarly self-conscious rock-out disposition which doesn't shake the foundations but has some really terrific ideas and lots of variation. It's a complete listen that opens up enormously on second outing, with excellent lyrics and lucid presentation, nice guitar work and fabulously expressed individuality that puts itself across so well. Many female artists have released 'solo' namesake albums in 2015, with varying results in a very saturated market, but this is stand-out material with little sign of fashionable folk. The minor issue is the amount of overly drawn out and mournful ballads in striking contrast to the grittier rock numbers, with their slow build up, pounding guitar crescendo, slow-down and start it all over again formula, which after several plays tempts the skip button into frequent use. Track 7 is an overly mournful 7:02, and Track 9 an even more mournful 7:48, which could have been clipped into interludes, keeping the album length down to a tight 35 minutes. It's a good listen but far too indulgent to classify as a consistently great album, although the stand-out title track 'Sprinter' and the penultimate track 'The Harshest Light' are both excellent, even the beautiful ballad 'A Proper Polish Welcome' deserves a special mention, as Torres keeps the vocals simple instead of trying to be that rock chick. (Richard)  
Album Welcome Back To Milk by Du Blonde (2015)
The key to appreciating an album is to listen to it several times and not hit the skip button too often and, over time, learn to love the filler material that glues the album together as a whole and makes the good tracks sound even better. 'Welcome Back To Milk' needs your focus because if you use skip too much you'll end up with a handful of rather average indie songs and not much else, instead of the really good and cohesive album that it actually is, but which can also be a bit of a grind as it's sometimes a less than serious listen, full of smutty, tongue-in-cheek lyrics and often bombastic orchestration, with smatterings of 'Kimono My House' by Sparks on 'Chips Go' and 'Mind Is On My Mind' for example, which doesn't always work. Overall it's a good album, just not a great album because great albums tend to open up, expand and continue growing with each listen, enabling you to discover the inner charms, whereas WBTM is sometimes too throwaway and childish, especially because of the "knees up, knees up mother Brown" and "Jekyll's in the kitchen sucking off Hyde" lyrical experiments, but it still remains a really enjoyable indie rock album by Beth Jeans Houghton and her Du Blonde band, which seems very accomplished and pretty varied for an artist who seems to have sprung out of nowhere... but who's actually been around for quite a while. (Richard)  
Album 1000 Palms by Surfer Blood (2015)
I used to like Surfer Blood a lot, a while ago when they were fresh and had bite but... what has happened here? This is forgettable at best. OK, the album has some nice tunes like 'Island', but what's happened to the vitriol guys? This is mediocre surfer rock for sensible guys 'n' gals wiggling and whistling along the promenade on summery afternoons, and track no. 4 'Feast/Femine' is where you really notice how blandly horrid it is - such a PLEASANT listen, but I'm sure if you turned up the volume to max you'd still be unable to hear it. Funnily enough, even though I wasn't expecting any major developments from Surfer Blood, this tame effort is dispiriting, and on second appraisal, it doesn't improve at all, reeking of scheduled recording company "let's cut something nice and mainstream that the dippy general public will love to bits" boys, instead of just doing its own thing. Seek out 'Island' but pass on the tepid thanks-givingly-nice rest. It's quite unbearable and I was half expecting Jim Kerr from Simple Minds to come crashing through the screen in a cheesy "don't, don't, don't you forget about me" explosion of euphoria, but didn't happen because it's not a tenth as good as that. It's a skip, skip, skip experience for me, until track no.8 'Dorian' which is bearably OK (I guess). (Richard)  
Album Born Under Saturn by Django Django (2015)
It's quite a long album at 13 tracks, so if you're not able to buy into it right from the start you're not going to put up with it for the next hour or so. Fortunately the semi-epic 5:55 minute opener 'Giant' gets things off to a good (yet un-magnificent) start, followed by the equally enjoyable Peter Gunn-esque 'Shake And Tremble', emitting a vibe that energetically pervades throughout the rest of the album with its modern-day Beach Boys harmonising and ever so off-key, slightly out-of-tune pitch that you'll either love or hate, almost backward sounding in places like 'Panda Bear Meets The Grim Reaper', but not quite as good or ground-breaking. A worthy effort with lots of up-tempo fun loving moments which revolves around the excellent stand-out track 'First Light'. But there's something about the album that might get on your nerves due to its unrelenting determination to make sure you're having a good time, a bit like the sort of friend who tries so hard to please but only succeeds in irritating half the time because of their over exuberance, which sometimes makes it hard to get seriously enthusiastic about this record. It's still good in places though and could be excellent accompaniment to an Electronic Arts sports game on a console, maybe in the future. (Richard)