Considering they make up one half of this site’s name (you know, the one you’re reading from just now), it’ll come as no surprise that we’re big fans of Biffy Clyro and who can blame us. Having went through multiple iterations in terms of sound (from angsty grunge to awe inspiring weird prog rock), the divide amongst fans about which album of theirs deserves the crown has went on for as long as the band have been around: hell, we’ve already done this before when this site was just a small wee thing but much has changed since then both with us and the biff.
Today is the day the questioning will die though as Ethan (@human_dis4ster), Jake (@jjjjaketh), Liam (@blnkclyr) and Oli (@notoliverbutler) definitively answer which record from the Ayrshire trio reigns supreme – it’s time to build this fucker stone by stone…
Quick disclaimer: This is, like, our opinion or whatever, dude. Disagree? The comments down below will house whatever rage you’re feeling.
7. Ellipsis (2016)
Liam [7th]: I still remember the slagging I got from Biffy fans when Wolves of Winter came out and I called it “more Biffy 3.0 than Biffy 2.5”, something that could be said for the entirety of this album. Ellipsis is by no means a bad album, featuring tracks that are honest to god great like In The Name Of The Wee Man, but it doesn’t feel unique enough to stand out from the previous three albums the band had dropped in this style – more disappointing than weak.
Oli [5th]: No, you’re stupid. Don’t care what you think, this might be Biffy’s softest record, but who can resist the charms of Medicine, People and Re-Arrange? The soulless, faceless consumers that have never loved and lost. I attach a special & emotional meaning to this record that makes it a cut above the rest for me.
Jake [7th]: Biffy’s latest is far from bad but it’s their weakest. In interviews prior to the album’s release, Simon Neil said Ellipsis was inspired by artists like Death Grips and Deafheaven, and when this turned out to not be true, fans of the band were understandably a bit ticked off. Songs like People and Herex are cookie cutter rock but there are some shining lights on the record in the form of Small Wishes and Wolves of Winter. The main event of the album is undoubtedly In the Name Of The Wee Man, which was, for some reason that is beyond this writer, relegated to a bonus track. It’s a furious jolt of adrenaline that, hopefully, we’ll get to see more of on LP 8.
Ethan [7th]: As time goes on, I dislike this album more and more and the same can be said about most of the tracks on here. Animal Style is exactly what I wanted from this record so when it turned out to be an anomaly, it made the rest of the album a bit of a chore. Clearly finding the band at an awkward stage in their career, Ellipsis just seems to lack any real urgency or ambition – it is hardly bad enough to ruin the band’s legacy but signals a need for a reinvention on their next venture.
6. Opposites (2013)
Oli [7th]: Much like myself, Opposites is bloated, unnecessary and largely forgotten about. Any Biffy list feels unfair because someone has to come last. Opposites produced a hearty handful of choice singles, but on the whole, felt a bit cumbersome & stodgy as a double album.
Jake [6th]: Double albums almost never work, but I think Biffy have come the closest ever to making a coherent one. Not to say Opposites is perfect, far from it with with tracks like Trumpet or Tap being weird for the sake of it as opposed to the natural oddity that Biffy tend to radiate and Opposite is just a bit bland. That’s not to say there’s not belters either: Accident Without Emergency is a soaring bit of stadium rock, as is setlist mainstay Different People, and tracks like Spanish Radio and Little Hospitals keep the weirdness factor at a cosy level. If some filler had been left on the cutting room floor, Opposites would be held in higher regard but as it is, it’s still a great, yet bloated record.
Ethan [6th]: The band, after the popularity of Only Revolutions, faced a dilemma with their sixth album, having to choose between continuing down a more commercial path or going back to their roots, and the band opted to do…both. A double album that contains more accessible tracks such as Biblical and Black Chandelier but also tracks that are reminiscent of their earlier years such as Trumpet or Tap, the band attempted to please both camps and unfortunately came up short on both. Still an adequate Biffy album, Opposites has many highlights but its length and inconsistency in quality and tone let it down.
Liam [5th]: I’ll be echoing the same sentiment as you lot have since, aye, there’s undeniably a bit of unnecessary flubber on this behemoth but when this beast roars, I’m left in awe; Victory Over The Sun manages to feel like an honest to god predator, a suspenseful intro paving the way for the chaotic hunt that makes up most of this track. In addition, Sounds Like Balloons is Biffy at their viscous best and while it may be a bit too polished, Biffy’s “pop rock” is miles ahead of most other rock bands. I have some attachment to this record, as I do with most of Biffy, but there’s a lot to love here for any fan of music, even if there’s some that you’ll pass on.
5. Only Revolutions (2010)
Jake [5th]: The true beginning of the mainstream Biffy we all know and love* (*have come to terms with), Only Revolutions is still a damn fine record. It manages to tow the line between “Weird Biffy” and “Straightforward Biffy” relatively well for the most part, songs like Born On A Horse with its driving synth and Cloud of Stink with it’s falsetto vocals are welcome spells of strangeness. But the weird is tucked in alongside some of the most straightforward Biffy songs to date in Mountains, God & Satan and Many of Horror. Still, straightforward doesn’t mean bad, not by a long shot, and this is a very strong pop rock record.
Ethan [5th]: The album that lost them hundreds of fans but gained them thousands, Only Revolutions was Biffy completely embracing their mainstream audience with huge singles such as Mountains and Many Of Horror. Their talent for instrumental structure and interesting lyrics was still there though it pales in comparison with their work before. An enjoyable listen rather than a truly great album, the album did its job as it propelled the band to arena status and made them Scotland’s biggest band but left fans like myself wanting a bit more and feeling cautious about the band’s future musically.
Liam [6th]: I feel like I’ll get butchered for having this below Opposites but where that album felt like it was trying to spice up the formula a bit, Only Revolutions kind of came off as that kid that copies someone (Puzzle) else’s homework and gets a grade below them. There’s some undeniable bangers on here, why else would I own it on vinyl, but this album’s peaks are only kinda high, compared to most other Biffy record where you feel like you’re getting vertigo.
Oli [3rd]: This is a fantastic album, and really began to prick up a few ears outside of their closed inner circle, culminating in a headline show at Wembley Arena, plus a support gig on one of Muse’s Wembley Stadium gigs (first time I saw Biffy, was mesmerised by the hard rock, shirtless Father Christmas called Simon Neil). Much as we like to poke fun at Matt Cardle’s version, Many of Horror is a banger, so it Mountains, so is God & Satan.
4. Blackened Sky (2002)
Ethan [4th]: Doing exactly what a debut album should do, Blackened Sky announced Biffy Clyro’s arrival and was bursting with potential. While their influences are easily distinguishable, this is common for a debut album and while that is probably its biggest weakness, Biffy added enough flavour of their own and their raw aggression and ambition overpowers the album’s flaws.
Liam [3rd]: Yup, it’s not the most original work ever made but that doesn’t mean that the sheer rawness of this angsty bastard isn’t deserving of critical applaud. Much like the rest of the original trilogy and Puzzle, there’s not one slip up, no weak moment to point out that feels like it could have been tweaked. While their fourth record had the saddest subject matter, Blackened Sky is my go to record when I want to feel miserable and enjoy it.
Oli [5th]: Justboy is the best Biffy song ever, fight me irl. Solid debut album from Biffy, introducing their electrifying brand of alt-rock to the world, and albeit not perfect by any stretch of the imagination, was the beginning of something very special.
Jake [4th]: What a charming wee record this is. The Biff’s debut wears its influences not just on its sleeve, but on every item of clothing it’s wearing. It’s obvious that the band had been listening to a lot of Nirvana, Pixies and Fugazi, and they channelled those influences to great effect on Blackened Sky. The loud/quiet/loud song structure on songs like Kill The Old, Torture Their Young and Stress on The Sky are complimented beautifully by the quieter songs like Christopher’s River and Scary Mary. Nothing groundbreaking, but a fantastic framework for The Biff to build upon.
3. Infinity Land (2004)
Liam [2nd]: Weird, erratic, random (but not the XD kind), Infinity Land would be the last record I’d recommend to first time Biffy listeners but that’s not to imply a lack of quality. Considering the underground success the band were experiencing at the time, it’s admirable that instead of going down the path they would trod half a decade later, Biffy chose to turn the dial up to 11 and make an album that, while sporadic in nature, was 100% them.
Oli [4th]: Another one where you pick it up because of how cool the cover art looks, which probably applies to the whole Biffy discography. Lyrically and sonically this was a much darker album compared to VoB and Blackened Sky, and got even crazier in terms of curveball riffs & manic time structures.
Jake [2nd]: I’d say Vertigo of Bliss was insane, and I mean it, but that must make Infinity Land a few steps above insane. Biffy just threw everyfuckingthing at this album, regardless if it made a modicum of sense, and by some miracle it worked. Si’s lyrics had always been a bit vague but the surrealness factor was turned up to 11 on Infinity Land, and it’s better for it. One of the most important rock records of the 21st century for me.
Ethan [3rd]: By far their darkest and perhaps their most obscure album, Infinity Land is maybe overlooked but personally I feel its Biffy at their most inventive. Simon Neil’s vocals are phenomenal as he adapts to each track with ease and his delivery is commanding no matter what is required of him. The album is unpredictable and exciting even on the 100th listen as tracks such as There’s No Such Thing As A Jaggy Snake are heavy but are laced with surprises and twists that make it, and the rest of the album, so intriguing.
2. Puzzle (2007)
Liam [4th]: Out of the first four albums, this is the one that I’ve listened to the least though a) that doesn’t mean much considering I’ve probably listened to them nearly a thousand times collectively and b) this is down to just how cathartic and emotionally charged Puzzle is. True, it’s a lot more friendly to new comers but to imply that means there’s a dip in quality would be naive and flat out wrong: Simon Neil’s lyrics are authentic as well utterly heartbreaking and with how varied the instrumentals can be on here, it allows for a truly enthralling journey of grief.
Oli [1st]: This was probably the record that began the tip from Biffy being time-signature weirdos to hard rock megaliths. For instance, Machines is a song that speaks to everyone on every emotional level, and there’s a good reason Living Is A Problem is still in the setlist today. This record is a record that I can listen to anytime, anywhere.
Jake [3rd]: The opening chapter of Biffy’s second trilogy is the saddest album in their discography. Written in the wake of the death of Simon’s mum Elanor, the album is far more straight forward from a songwriting perspective than anything they’d released prior. The lyrics obviously centre heavily around death and dealing with loss and the instrumentation ditches the strange time signatures and use of left field instruments that had been the calling card of the bands first 3 albums, and instead they elected to things simple. And it worked. A heartbreaking album.
Ethan [2nd]: Perhaps the pivotal moment in Biffy Clyro’s discography, Puzzle is a complete departure from Infinity Land, while still remaining heavy enough to keep longtime fans happy, Puzzle ventured into more accessible territory that widened their audience. For that reason Puzzle was a crossover success, and deservedly so as it contains some of Biffy Clyro’s most emotionally powerful songs and further showed their range and versatility as a band.
1. Vertigo of Bliss (2003)
Oli [2nd]: Definitely one of those records you pick up because of how cool the artwork is, VoB was fully immune to second album syndrome, becoming a furious hard rock odyssey that only further Biffy as alt-rock darlings. Simon Neil teased the intro to With Aplomb during their 2016 tour, and arenas full of people constantly blew their beans at the prospect of with aplomb.
Jake [1st]: VOB is a smashing big cacophony of insanity that is the benchmark from which all subsequent Biffy Clyro albums will be measured against. It’s just a very weird and very, very good slice of alt-rock/post-hardcore and it cemented Biffy from relatively early on in their career as a band not to be ignored
Ethan [1st]: On their follow up, Biffy perfected the approach they had taken on their debut and capitalised on it massively. Crossing over a multitude of genres, Biffy invented their own brand and produced a stellar collection of songs that still stand as many of their best. From the delicacy of All The Way Down to the ferocity of Now The Action is On Fire, the band showed every aspect of their potential on Vertigo of Bliss, including Simon Neil’s lyrics being at their most subtle and sincere.
Liam [1st]: This was the album for me that not only solidified why I want to write about music but why I adore it. Zany, unpredictable, clamorous and, most of all, entertaining, Vertigo of Bliss may not be Infinity Land’s equal in terms of how unstable it is, but it more than makes up for it with how it balances the ferocity of Blackened Sky’s performances and the beauty of Si’s lyrics.