There is no year

"et album, der er så rigt på variation, stilarter og input. Men ligeledes er helt sit eget og har sin klare musikalske mørkerøde tråd, der gør There Is No Year til Algiers' bedste album indtil videre ... Mageløs gospel-goth".

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"There are so many diverse sounds on 'There is No Year'. It helps that the band are influenced by so many different genres that they can easily float between them without changing their sound. Discordant guitars and rapid-fire beats comprise most of the album, but lithe piano and pared-back instrumentation weave its way in, ensuring the record's tone is evened out. 'Chaka' belongs in the '70s, with its disco-influenced synths, guitars and simple drum beats. This balance means the band's lyrical message are delivered with more clarity.The band continue to be radical, but rather than being reactionary, `There is No Year' is precise, thoughtful and powerful".

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"Algiers tager deres politiske punkgospel i en ny retning på 'There Is No Year' ... Det er umiddelbart svært at komme på et nutidigt rockband, der er lige så åbenlyst politisk som Atlanta-kvartetten Algiers. Siden 2012 har de forenet musikalske udtryk som postpunk, soul og gospel for at fremkalde en slags protestmusik ... Tidligere har de inkorporeret elementer fra elektronisk musik, særligt industrial, og denne tendens skrues der yderligere op for på 'There Is No Year' ... Det er ikke fordi, tempoet er hæsblæsende gennem hele albummet. Det er faktisk på de sange (...) hvor gruppen holder igen for tålmodigt at opbygge en til tider næsten postpunk-apokalyptisk verden, at albummet er bedst. Men overordnet set er 'There Is No Year' en rodet affære ... Algiers omfavner industrial på 'There Is No Year', der på trods af store armbevægelser aldrig trænger igennem med sit budskab".

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"There Is No Year largely features cut-up ideas and phrases from lead singer Franklin James Fisher's long poem Misophonia (meaning sounds that produce extremely negative reactions, like rotten ASMR). The poem isn't great, but the music is as electrifying, unpredictable and chaotic as ever. It gets stranger and stronger towards the end, where Algiers' gothic gospel funk finds the right balance of doomy melodrama, metallic Motown and floor-pounding post-punk. In a different timeline, they'd be on their fifth Peel session and first on the bill for the Nirvana tour, but here we are; we make the best of what we're left with".

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