to its overriding aesthetic or individual vision may well treasure", and selected "All Alone" and "Dare" as highlights. Accolades "Feel Good Inc.", the lead single from Demon Days, won the Best Pop Collaboration with Vocals accolade at the 48th Grammy Awards. The album was nominated for British Album of the Year at the 2006 Brit Awards, but lost to Coldplay's X&Y. Demon Days won the accolade for Best International Album at 2006 Danish Music Awards and made the band win the accolade for Best Group at 2005 MTV Europe Music Awards.Demon Days was voted the 21st best album of the year in The Village Voices annual Pazz & Jop critics poll for 2005. The album was chosen as the tenth best album of 2005 by NME and the 2nd one for Q magazine. Glide Magazine listed the album on its Best Albums of the Decade, ranking it at 46. Spin ranked Demon Days as the fourth best album of 2005, while Mojo ranked it at number eighteen on their year-end list and hailed the album as a "genre-busting, contemporary pop milestone." NME placed it 98th on their list of 100 greatest albums of the decade. Uncut ranked it at 75 on their list of top 150 albums of the decade. Complex included it on their list of 100 Best Albums of the Complex Decade, placing it at number 43. The Guardian listed the album on its Top 50 Albums of the decade, ranking it at 11. Spin later included it in their list of The 300 Best Albums of 1985–2014. In 2016, Q ranked Demon Days as one of The Greatest Albums of the Last 30 Years. In 2020, the album was included at the 100 Best Albums of the 21st Century list of Stacker, being ranked at 27. Legacy Despite its only modestly positive reception at release, Demon Days is now considered to have left an indelible mark on alternative music and has since been variously hailed as "iconic", "classic", "timeless" and a "modern masterpiece". Multiple writers have noted how Demon Days' commentary was prescient for outlining social and environmental issues in the following years of the 21st century. In an eleventh-anniversary retrospective, Angus Harrison wrote for Noisey UK that while at the time the record was perceived as "corny, ranty, and hysterical," and even "pretentious twaddle," it is now viewed as "scarily prescient" and "a thrilling allegory set