Q Magazine recently conducted a readers' poll of the top 50 British Albums of all time. Who do you think was the first place finisher?
The Beatles?
No.
The Rolling Stones?
No.
Radiohead?
No.
...Blur!?!
No.
Oasis. The album? Their 1994 debut Definitely Maybe.
Okay...well what about second place?
The Beatles?
No.
The Rolling Stones?
No.
Radiohead?
No.
...Blur!?!
No.
Oasis.
Again?
Yes. Again. The album? The follow up record to their 1994 debut, (What's the Story) Morning Glory?.
OK Computer was third, The Beatles' Revolver was fourth, and The Stone Roses' eponymous debut was fifth.
This is an especially egregious poll because it's a readers' poll. Most would agree that if any band should have claimed the first two spots, it should have been The Beatles. Most would probably also agree that Pink Floyd and Led Zeppelin should have probably found their way into the top five. Perhaps a more contentious statement is that if Oasis was in the top five, Blur should have been, and higher. But seriously, do the Brits really and truly believe that anything the Stone fucking Roses ever did was better than Dark Side of the Moon or Houses of the Holy? Apparently so. I didn't get the memo.
Oh, and further disgraces include that Keane's Under the Iron Sea was in the top ten, above Dark Side of the Moon (both their albums were in the top 50), and Amy Winehouse is apparently responsible for one of the finest records to come out of the nation of the United Kingdom in the history of recorded music. The list, which was total bollocks, is as follows:
1. Definitely Maybe - Oasis
2. (What's The Story) Morning Glory? - Oasis
3. OK Computer - Radiohead
4. Revolver - The Beatles
5. The Stone Roses - The Stone Roses
6. Sgt Pepper's Lonely Hearts Club Band - The Beatles
7. London Calling -The Clash
8. Under The Iron Sea - Keane
9. Dark Side Of The Moon - Pink Floyd
10. Urban Hymns - The Verve
11. The Bends - Radiohead
12. Abbey Road - The Beatles
13. Hopes And Fears - Keane
14. Don't Believe The Truth - Oasis
15. Violator - Depeche Mode
16. The Queen Is Dead - The Smiths
17. A Night At The Opera - Queen
18. Whatever People Say I Am, That's What I'm Not - Arctic Monkeys
19. The White Album - The Beatles
20. Never Mind The Bollocks, Here's the Sex Pistols - Sex Pistols
21. Rubber Soul - The Beatles
22. Be Here Now - Oasis
23. Absolution - Muse
24. Rio - Duran Duran
25. Parklife - Blur
26. A Rush Of Blood To The Head - Coldplay
27. The Holy Bible - Manic Street Preachers
28. Origin Of Symmetry - Muse
29. IV - Led Zeppelin
30. The Wall - Pink Floyd
31. Up The Bracket - The Libertines
32. X&Y - Coldplay
33. Who's Next - The Who
34. Black Holes And Revelations - Muse
35. Back To Black - Amy Winehouse
36. Songs Of Faith And Devotion - Depeche Mode
37. Word Gets Around - Stereophonics
38. The Fat Of The Land - Prodigy
39. Different Class - Pulp
40. In Rainbows - Radiohead
41. Hunky Dory - David Bowie
42. Favourite Worst Nightmare - Arctic Monkeys
43. Everything Must Go - Manic Street Preachers
44. Wish You Were Here - Pink Floyd
45. Behaviour - Pet Shop Boys
46. Ziggy Stardust - David Bowie
47. Parachutes - Coldplay
48. Exile On Main Street - Rolling Stones
49. Unknown Pleasures - Joy Division
50. Let It Bleed - Rolling Stones
-PTC
Thanks to reader GCS for the tip.
Showing posts with label list. Show all posts
Showing posts with label list. Show all posts
Tuesday, February 19, 2008
Thursday, January 10, 2008
Rolling Stone's Top 100 Tracks
I have long since written off Rolling Stone. But their top 100 tracks of 2007 is worth a look. There are the requisite weak picks (it wouldn't be Rolling Stone without some red flags of that magazine's staff's atrocious collective taste), but I must confess I was surprised by the quality and depth of some of their picks. Here were some of the more quality picks:
4. Justice - "D.A.N.C.E."
11. Kanye West - "Stronger"
13. Of Montreal - "The Past Is a Grotesque Animal"
16. Spoon - "You Got Yr. Cherry Bomb"
17. Radiohead - "Weird Fishes / Arpeggi"
18. The White Stripes - "Icky Thump"
19. Feist - "1234"
20. LCD Soundsystem - "All My Friends"
22. Arcade Fire - "Keep the Car Running"
33. Kevin Drew - "Backed Out On The..."
36. 1990s - "Situation"
40. Dr. Dog - "Old News"
58. The Go! Team - "Grip Like a Vice"
61. Yeah Yeah Yeahs - "Down Boy"
64. Patrick Wolf - "The Magic Position"
74. Panda Bear - "Comfy In Nautica"
77. The Fratellis - "Chelsea Dagger"
79. The New Pornographers - "Myriad Harbour"
81. Okkervil River - "Our Life Is Not a Movie Or Maybe"
84. Dan Deacon - "The Crystal Cat"
86. Iron and Wine - "Pagan Angel and a Borrowed Car"
88. Datarock - "Computer Camp Love"
91. Liars - "Freak Out"
92. The National - "Mistaken for Strangers"
93. Band of Horses - "Is There a Ghost"
95. Clap Your Hands Say Yeah - "Satan Said Dance" (CYHSY sandwiched between Kylie Minogue and Fergie. Beautiful.)
98. Blitzen Trapper - "Wild Mountain Nation"
If, for whatever reason, you feel compelled to see the rest of this list, go here:
http://www.rollingstone.com/news/story/17601363/the_100_best_songs_of_2007
Of course, we hear at Never Learned to Swim put out a far more concise list of 2007's top tracks:
RJR:
1. “Missed the Boat” by Modest Mouse
2. "A Postcard to Nina" by Jens Lekman
3. "House of Cards" by Radiohead
4. "Atlas" by Battles
5. “And I Remember Every Kiss” by Jens Lekman
6. "I'm Not Going to Teach Your Boyfriend How to Dance With You" by Black Kids
7. "Slow Show" by The National
8. "Mistaken for Strangers" by The National
9. "15 Step" by Radiohead
10. "Your English Is Good" by Tokyo Police Club
11. “Dashboard” by Modest Mouse
12. "Plaster Casts of Everything" by Liars
13. "Our Life is Not a Movie or Maybe" by Okkervil River
14. "You Got Yr Cherry Bomb" by Spoon
15. "All My Friends" by LCD Soundsystem
16. "Around the World/Harder Better Faster Stronger" by Daft Punk
17. "No Cars Go" by Arcade Fire
18. "I Tell a Story About a Birth Control and Deal With A Retarded Heckler" by Patton Oswalt
19. "North American Scum" by LCD Soundsystem
20. "Hunting for Witches" by Bloc Party
21. "To Fix the Gash In Your Head" by A Place to Bury Strangers
22. "Brother In Conflict" by Voxtrot
23. "Stronger" by Kanye West
24. "A Hand to Take Hold of the Scene" by Okkervil River
25. "Rockers to Swallow" by Yeah Yeah Yeahs
Honourable Mentions:
"Gravity's Rainbow" by Klaxons
"1234" by Feist
"Keep the Car Running" by Arcade Fire
"Wham City" by Dan Deacon
"Middle Distance Runner" by Sea Wolf
"Tiger Trap" by Beat Happening
"Scythian Empire" by Andrew Bird
"(Even If You Die On The) Ocean" by Saturday Looks Good to Me
PTC:
1. “Slow Show” by The National
2. “Reckoner” by Radiohead
3. “John Allyn Smith Sails” by Okkervil River
4. “The Temptation of Adam” by Josh Ritter
5. “The Underdog” by Spoon
6. “1234” by Feist
7. “You Don’t Know What Love Is (You Just Do As You’re Told)” by The White Stripes
8. “Pagan Angel and a Borrowed Car” by Iron and Wine
9. “Start a War” by The National
10. “How Am I Not Myself?” by Shocking Pinks
11. “Missed the Boat” by Modest Mouse
12. “Black Like Me” by Spoon
13. “The Plot” by White Rabbits
14. “Angel in the Snow” by Elliott Smith
15. “Electric Feel” by MGMT
16. “Stereo (Mono Mono)” by The Brunettes
17. “A Postcard to Nina” by Jens Lekman
18. “Our Life Is Not A Movie Or Maybe” by Okkervil River
19. “Fiery Crash” by Andrew Bird
20. “Libraries” by Seabear
21. “Faust Arp” by Radiohead
22. “Is There A Ghost” by Band of Horses
23. “Middle Distance Runner” by Sea Wolf
24. “Sinister In A State of Hope” by Loney, Dear
25. “Song For Clay (Disappear Here)” by Bloc Party
Honourable Mention
“Firecracker” by Voxtrot
“All My Friends” by LCD Soundsystem
“Intervention” by Arcade Fire
“Plus Ones” by Okkervil River
“Ada” by The National
“15 Step” by Radiohead
“Down in the Valley” by The Broken West
“Falling Slowly” by Glen Hansard and Marketa Irglova
-PTC
4. Justice - "D.A.N.C.E."
11. Kanye West - "Stronger"
13. Of Montreal - "The Past Is a Grotesque Animal"
16. Spoon - "You Got Yr. Cherry Bomb"
17. Radiohead - "Weird Fishes / Arpeggi"
18. The White Stripes - "Icky Thump"
19. Feist - "1234"
20. LCD Soundsystem - "All My Friends"
22. Arcade Fire - "Keep the Car Running"
33. Kevin Drew - "Backed Out On The..."
36. 1990s - "Situation"
40. Dr. Dog - "Old News"
58. The Go! Team - "Grip Like a Vice"
61. Yeah Yeah Yeahs - "Down Boy"
64. Patrick Wolf - "The Magic Position"
74. Panda Bear - "Comfy In Nautica"
77. The Fratellis - "Chelsea Dagger"
79. The New Pornographers - "Myriad Harbour"
81. Okkervil River - "Our Life Is Not a Movie Or Maybe"
84. Dan Deacon - "The Crystal Cat"
86. Iron and Wine - "Pagan Angel and a Borrowed Car"
88. Datarock - "Computer Camp Love"
91. Liars - "Freak Out"
92. The National - "Mistaken for Strangers"
93. Band of Horses - "Is There a Ghost"
95. Clap Your Hands Say Yeah - "Satan Said Dance" (CYHSY sandwiched between Kylie Minogue and Fergie. Beautiful.)
98. Blitzen Trapper - "Wild Mountain Nation"
If, for whatever reason, you feel compelled to see the rest of this list, go here:
http://www.rollingstone.com/news/story/17601363/the_100_best_songs_of_2007
Of course, we hear at Never Learned to Swim put out a far more concise list of 2007's top tracks:
RJR:
1. “Missed the Boat” by Modest Mouse
2. "A Postcard to Nina" by Jens Lekman
3. "House of Cards" by Radiohead
4. "Atlas" by Battles
5. “And I Remember Every Kiss” by Jens Lekman
6. "I'm Not Going to Teach Your Boyfriend How to Dance With You" by Black Kids
7. "Slow Show" by The National
8. "Mistaken for Strangers" by The National
9. "15 Step" by Radiohead
10. "Your English Is Good" by Tokyo Police Club
11. “Dashboard” by Modest Mouse
12. "Plaster Casts of Everything" by Liars
13. "Our Life is Not a Movie or Maybe" by Okkervil River
14. "You Got Yr Cherry Bomb" by Spoon
15. "All My Friends" by LCD Soundsystem
16. "Around the World/Harder Better Faster Stronger" by Daft Punk
17. "No Cars Go" by Arcade Fire
18. "I Tell a Story About a Birth Control and Deal With A Retarded Heckler" by Patton Oswalt
19. "North American Scum" by LCD Soundsystem
20. "Hunting for Witches" by Bloc Party
21. "To Fix the Gash In Your Head" by A Place to Bury Strangers
22. "Brother In Conflict" by Voxtrot
23. "Stronger" by Kanye West
24. "A Hand to Take Hold of the Scene" by Okkervil River
25. "Rockers to Swallow" by Yeah Yeah Yeahs
Honourable Mentions:
"Gravity's Rainbow" by Klaxons
"1234" by Feist
"Keep the Car Running" by Arcade Fire
"Wham City" by Dan Deacon
"Middle Distance Runner" by Sea Wolf
"Tiger Trap" by Beat Happening
"Scythian Empire" by Andrew Bird
"(Even If You Die On The) Ocean" by Saturday Looks Good to Me
PTC:
1. “Slow Show” by The National
2. “Reckoner” by Radiohead
3. “John Allyn Smith Sails” by Okkervil River
4. “The Temptation of Adam” by Josh Ritter
5. “The Underdog” by Spoon
6. “1234” by Feist
7. “You Don’t Know What Love Is (You Just Do As You’re Told)” by The White Stripes
8. “Pagan Angel and a Borrowed Car” by Iron and Wine
9. “Start a War” by The National
10. “How Am I Not Myself?” by Shocking Pinks
11. “Missed the Boat” by Modest Mouse
12. “Black Like Me” by Spoon
13. “The Plot” by White Rabbits
14. “Angel in the Snow” by Elliott Smith
15. “Electric Feel” by MGMT
16. “Stereo (Mono Mono)” by The Brunettes
17. “A Postcard to Nina” by Jens Lekman
18. “Our Life Is Not A Movie Or Maybe” by Okkervil River
19. “Fiery Crash” by Andrew Bird
20. “Libraries” by Seabear
21. “Faust Arp” by Radiohead
22. “Is There A Ghost” by Band of Horses
23. “Middle Distance Runner” by Sea Wolf
24. “Sinister In A State of Hope” by Loney, Dear
25. “Song For Clay (Disappear Here)” by Bloc Party
Honourable Mention
“Firecracker” by Voxtrot
“All My Friends” by LCD Soundsystem
“Intervention” by Arcade Fire
“Plus Ones” by Okkervil River
“Ada” by The National
“15 Step” by Radiohead
“Down in the Valley” by The Broken West
“Falling Slowly” by Glen Hansard and Marketa Irglova
-PTC
Monday, January 7, 2008
Oh, to hell with it.
Here are some of the releases of note for this coming year:
THE GOOD
Stephen Malkmus - "Real Emotional Trash"
Malkmus is undeniably one of the greatest musical minds of our generation, besides being the indie messiah. Definitely listen to this one a few times.
Blur - Title TBA
The world needed this. Badly.
The Magnetic Fields - "Distortion"
Stephen Merritt habitually puts out great - if slightly quirky - records. "i" was a magnificent achievement, so this is probably one to pick up.
Hello, Blue Roses - "Hello, Blue Roses"
Dan Bejar is on fire. Can't be too sure about what to expect here, but that's nothing new from Mr Bejar. All that can be said is that it is worth your time to listen to anything he produces.
British Sea Power - "Do You Like Rock Music?"
It's always been a source of great surprise to me that nobody seems to have heard of BSP. Their previous two records were sensational, but largely unheralded by the general public. Album three would be a good time to jump on the bandwagon. There's plenty of room.
Ambulance LTD - Title TBA
Their self-titled debut showed immeasurable potential with tracks like "Primitive (The Way I Treat You)" and "Stay Tuned", and the New English EP continued on that trend. Barring the dreaded sophomore slump, this should be a hell of a record.
The Mountain Goats - "Heretic Pride"
One of the best lyricists in the world today is back to follow his much fuller, quite good "Get Lonely". In recent years, Darnielle has moved away from the four-track, lo-fi sound he championed to a more polished folk in the vein of Sufjan Stevens. This is one to look forward to.
Massive Attack - Weather Underground
God yes. If you don't pick this one up, or don't know why you should, you need to seriously re-evaluate your life.
Cat Power - "Covers II"
The first one was fun. No reason why the second one shouldn't be.
The Divine Comedy - Title TBA
One of the most underrated bands in rock today will put out yet another great album that not enough people will hear, and it will be a huge shame.
The Silver Jews - "Lookout Mountain, Lookout Sea"
New albums from indie rock mainstays like TSJ always deserve everyone's attention.
The Raconteurs - Title TBA
You should get excited about the second record from the most badass collective in rock and roll today. Another batch of songs penned by Brendan Benson with the guitar chops of Jack White and the one of the best rhythm sections around is a recipe for something delicious.
Wolf Parade - Title TBA
Like him or hate him, Spencer Krug is a genius. So stand to attention and listen up.
Shearwater - Title TBA
Will Sheff is arguably the best songwriter working today. Granted, a new Shearwater album is basically like a bunch of stripped-down Okkervil River B-sides, but then again, that's better than a vast majority of music that will be released this year.
THE BAD
The Mars Volta - "The Bedlam in Goliath"
They're back to say more nothing!
Nada Surf - "Lucky"
Watch. These musical chameleons will probably put out a dance-rock record.
U2 - Title TBA
Because we desperately needed yet another album full of self-aware, pompous arena rock. Thanks Bono!
Plain White Ts - Title TBA
They should probably call this "Riding on the Coattails of Our Last Single".
Louis XIV - "Slick Dogs and Ponies"
Unnecessary.
THE NOT SO SURES
Chris Walla - "Field Manual"
This had better be good. We've all been kept waiting long enough for the Death Cab guitarist/producer to get his shit together. Somehow, it's hard to shake the suspicion that this is going to be a Field Manual on little more than disappointing your fans.
Death Cab For Cutie - Title TBA
I'm sorry, but eventually, Ben Gibbard's songwriting is going to get bland and trite. The only question is when. It could be on this album, it could be later. Come May, we will all know.
Franz Ferdinand - Title TBA
Their sophomore effort may have been better than their debut - it's debatable; I don't think so, most critics would disagree - but it was unarguably less instantly listenable and more forgettable than their first. If the trend continues on this record, it will rightly get panned.
Coldplay - "Prospekt" (Working Title)
Coldplay have risen to worldwide acclaim, but seem afraid to alienate a single fan. Their last effort, "X & Y" was a largely bland, undoubtedly overproduced collection of songs that showed no growth. The only chance this album stands of being anything worth the hype is if these boys finally step out of their comfort zone.
In addition to these, we're overdue on releases from Tapes 'n Tapes, The Postal Service, and Noel Gallagher. "Chinese Democracy" is overdue too, but that doesn't really count anymore.
THE GOOD
Stephen Malkmus - "Real Emotional Trash"
Malkmus is undeniably one of the greatest musical minds of our generation, besides being the indie messiah. Definitely listen to this one a few times.
Blur - Title TBA
The world needed this. Badly.
The Magnetic Fields - "Distortion"
Stephen Merritt habitually puts out great - if slightly quirky - records. "i" was a magnificent achievement, so this is probably one to pick up.
Hello, Blue Roses - "Hello, Blue Roses"
Dan Bejar is on fire. Can't be too sure about what to expect here, but that's nothing new from Mr Bejar. All that can be said is that it is worth your time to listen to anything he produces.
British Sea Power - "Do You Like Rock Music?"
It's always been a source of great surprise to me that nobody seems to have heard of BSP. Their previous two records were sensational, but largely unheralded by the general public. Album three would be a good time to jump on the bandwagon. There's plenty of room.
Ambulance LTD - Title TBA
Their self-titled debut showed immeasurable potential with tracks like "Primitive (The Way I Treat You)" and "Stay Tuned", and the New English EP continued on that trend. Barring the dreaded sophomore slump, this should be a hell of a record.
The Mountain Goats - "Heretic Pride"
One of the best lyricists in the world today is back to follow his much fuller, quite good "Get Lonely". In recent years, Darnielle has moved away from the four-track, lo-fi sound he championed to a more polished folk in the vein of Sufjan Stevens. This is one to look forward to.
Massive Attack - Weather Underground
God yes. If you don't pick this one up, or don't know why you should, you need to seriously re-evaluate your life.
Cat Power - "Covers II"
The first one was fun. No reason why the second one shouldn't be.
The Divine Comedy - Title TBA
One of the most underrated bands in rock today will put out yet another great album that not enough people will hear, and it will be a huge shame.
The Silver Jews - "Lookout Mountain, Lookout Sea"
New albums from indie rock mainstays like TSJ always deserve everyone's attention.
The Raconteurs - Title TBA
You should get excited about the second record from the most badass collective in rock and roll today. Another batch of songs penned by Brendan Benson with the guitar chops of Jack White and the one of the best rhythm sections around is a recipe for something delicious.
Wolf Parade - Title TBA
Like him or hate him, Spencer Krug is a genius. So stand to attention and listen up.
Shearwater - Title TBA
Will Sheff is arguably the best songwriter working today. Granted, a new Shearwater album is basically like a bunch of stripped-down Okkervil River B-sides, but then again, that's better than a vast majority of music that will be released this year.
THE BAD
The Mars Volta - "The Bedlam in Goliath"
They're back to say more nothing!
Nada Surf - "Lucky"
Watch. These musical chameleons will probably put out a dance-rock record.
U2 - Title TBA
Because we desperately needed yet another album full of self-aware, pompous arena rock. Thanks Bono!
Plain White Ts - Title TBA
They should probably call this "Riding on the Coattails of Our Last Single".
Louis XIV - "Slick Dogs and Ponies"
Unnecessary.
THE NOT SO SURES
Chris Walla - "Field Manual"
This had better be good. We've all been kept waiting long enough for the Death Cab guitarist/producer to get his shit together. Somehow, it's hard to shake the suspicion that this is going to be a Field Manual on little more than disappointing your fans.
Death Cab For Cutie - Title TBA
I'm sorry, but eventually, Ben Gibbard's songwriting is going to get bland and trite. The only question is when. It could be on this album, it could be later. Come May, we will all know.
Franz Ferdinand - Title TBA
Their sophomore effort may have been better than their debut - it's debatable; I don't think so, most critics would disagree - but it was unarguably less instantly listenable and more forgettable than their first. If the trend continues on this record, it will rightly get panned.
Coldplay - "Prospekt" (Working Title)
Coldplay have risen to worldwide acclaim, but seem afraid to alienate a single fan. Their last effort, "X & Y" was a largely bland, undoubtedly overproduced collection of songs that showed no growth. The only chance this album stands of being anything worth the hype is if these boys finally step out of their comfort zone.
In addition to these, we're overdue on releases from Tapes 'n Tapes, The Postal Service, and Noel Gallagher. "Chinese Democracy" is overdue too, but that doesn't really count anymore.
Tuesday, December 18, 2007
Pra's Top Tracks of 2007
To compliment Ryan’s formidable list of tracks, here are what I, his humble co-blogger, thought were the best tracks this year had to offer:
1. “Slow Show” by The National
2. “Reckoner” by Radiohead
3. “John Allyn Smith Sails” by Okkervil River
4. “The Temptation of Adam” by Josh Ritter
5. “The Underdog” by Spoon
6. “1234” by Feist
7. “You Don’t Know What Love Is (You Just Do As You’re Told)” by The White Stripes
8. “Pagan Angel and a Borrowed Car” by Iron and Wine
9. “Start a War” by The National
10. “How Am I Not Myself?” by Shocking Pinks
11. “Missed the Boat” by Modest Mouse
12. “Black Like Me” by Spoon
13. “The Plot” by White Rabbits
14. “Angel in the Snow” by Elliott Smith
15. “Electric Feel” by MGMT
16. “Stereo (Mono Mono)” by The Brunettes
17. “A Postcard to Nina” by Jens Lekman
18. “Our Life Is Not A Movie Or Maybe” by Okkervil River
19. “Fiery Crash” by Andrew Bird
20. “Libraries” by Seabear
21. “Faust Arp” by Radiohead
22. “Is There A Ghost” by Band of Horses
23. “Middle Distance Runner” by Sea Wolf
24. “Sinister In A State of Hope” by Loney, Dear
25. “Song For Clay (Disappear Here)” by Bloc Party
Honourable Mention
“Firecracker” by Voxtrot
“All My Friends” by LCD Soundsystem
“Intervention” by Arcade Fire
“Plus Ones” by Okkervil River
“Ada” by The National
“15 Step” by Radiohead
“Down in the Valley” by The Broken West
“Falling Slowly” by Glen Hansard and Marketa Irglova
-PTC
1. “Slow Show” by The National
2. “Reckoner” by Radiohead
3. “John Allyn Smith Sails” by Okkervil River
4. “The Temptation of Adam” by Josh Ritter
5. “The Underdog” by Spoon
6. “1234” by Feist
7. “You Don’t Know What Love Is (You Just Do As You’re Told)” by The White Stripes
8. “Pagan Angel and a Borrowed Car” by Iron and Wine
9. “Start a War” by The National
10. “How Am I Not Myself?” by Shocking Pinks
11. “Missed the Boat” by Modest Mouse
12. “Black Like Me” by Spoon
13. “The Plot” by White Rabbits
14. “Angel in the Snow” by Elliott Smith
15. “Electric Feel” by MGMT
16. “Stereo (Mono Mono)” by The Brunettes
17. “A Postcard to Nina” by Jens Lekman
18. “Our Life Is Not A Movie Or Maybe” by Okkervil River
19. “Fiery Crash” by Andrew Bird
20. “Libraries” by Seabear
21. “Faust Arp” by Radiohead
22. “Is There A Ghost” by Band of Horses
23. “Middle Distance Runner” by Sea Wolf
24. “Sinister In A State of Hope” by Loney, Dear
25. “Song For Clay (Disappear Here)” by Bloc Party
Honourable Mention
“Firecracker” by Voxtrot
“All My Friends” by LCD Soundsystem
“Intervention” by Arcade Fire
“Plus Ones” by Okkervil River
“Ada” by The National
“15 Step” by Radiohead
“Down in the Valley” by The Broken West
“Falling Slowly” by Glen Hansard and Marketa Irglova
-PTC
Monday, December 17, 2007
Ryan Jay's top tracks of 2007
In response to Pitchfork's list of the year's top tracks and from the deep reaches of my holiday-addled brain, here are my favourite tracks from this year:
1. “Missed the Boat” by Modest Mouse
2. "A Postcard to Nina" by Jens Lekman
3. "House of Cards" by Radiohead
4. "Atlas" by Battles
5. “And I Remember Every Kiss” by Jens Lekman
6. "I'm Not Going to Teach Your Boyfriend How to Dance With You" by Black Kids
7. "Slow Show" by The National
8. "Mistaken for Strangers" by The National
9. "15 Step" by Radiohead
10. "Your English Is Good" by Tokyo Police Club
11. “Dashboard” by Modest Mouse
12. "Plaster Casts of Everything" by Liars
13. "Our Life is Not a Movie or Maybe" by Okkervil River
14. "You Got Yr Cherry Bomb" by Spoon
15. "All My Friends" by LCD Soundsystem
16. "Around the World/Harder Better Faster Stronger" by Daft Punk
17. "No Cars Go" by Arcade Fire
18. "I Tell a Story About a Birth Control and Deal With A Retarded Heckler" by Patton Oswalt
19. "North American Scum" by LCD Soundsystem
20. "Hunting for Witches" by Bloc Party
21. "To Fix the Gash In Your Head" by A Place to Bury Strangers
22. "Brother In Conflict" by Voxtrot
23. "Stronger" by Kanye West
24. "A Hand to Take Hold of the Scene" by Okkervil River
25. "Rockers to Swallow" by Yeah Yeah Yeahs
Honourable Mentions:
"Gravity's Rainbow" by Klaxons
"1234" by Feist
"Keep the Car Running" by Arcade Fire
"Wham City" by Dan Deacon
"Middle Distance Runner" by Sea Wolf
"Tiger Trap" by Beat Happening
"Scythian Empire" by Andrew Bird
"(Even If You Die On The) Ocean" by Saturday Looks Good to Me
-RJR
1. “Missed the Boat” by Modest Mouse
2. "A Postcard to Nina" by Jens Lekman
3. "House of Cards" by Radiohead
4. "Atlas" by Battles
5. “And I Remember Every Kiss” by Jens Lekman
6. "I'm Not Going to Teach Your Boyfriend How to Dance With You" by Black Kids
7. "Slow Show" by The National
8. "Mistaken for Strangers" by The National
9. "15 Step" by Radiohead
10. "Your English Is Good" by Tokyo Police Club
11. “Dashboard” by Modest Mouse
12. "Plaster Casts of Everything" by Liars
13. "Our Life is Not a Movie or Maybe" by Okkervil River
14. "You Got Yr Cherry Bomb" by Spoon
15. "All My Friends" by LCD Soundsystem
16. "Around the World/Harder Better Faster Stronger" by Daft Punk
17. "No Cars Go" by Arcade Fire
18. "I Tell a Story About a Birth Control and Deal With A Retarded Heckler" by Patton Oswalt
19. "North American Scum" by LCD Soundsystem
20. "Hunting for Witches" by Bloc Party
21. "To Fix the Gash In Your Head" by A Place to Bury Strangers
22. "Brother In Conflict" by Voxtrot
23. "Stronger" by Kanye West
24. "A Hand to Take Hold of the Scene" by Okkervil River
25. "Rockers to Swallow" by Yeah Yeah Yeahs
Honourable Mentions:
"Gravity's Rainbow" by Klaxons
"1234" by Feist
"Keep the Car Running" by Arcade Fire
"Wham City" by Dan Deacon
"Middle Distance Runner" by Sea Wolf
"Tiger Trap" by Beat Happening
"Scythian Empire" by Andrew Bird
"(Even If You Die On The) Ocean" by Saturday Looks Good to Me
-RJR
Monday, December 10, 2007
Album of the year rumblings
From outside the secure gates of Never Learned to Swim, other publications are readying their year-end coverage. Pitchfork launched full force with features with the year's great photos:
(http://www.pitchforkmedia.com/article/feature/47277-staff-list-the-year-in-photos)
as well as beginning a news round-up today:
(http://www.pitchforkmedia.com/article/feature/47433-the-year-in-news-part-1)
Album and song lists should pop up on said site within a few short days. One imagines that the classically Radiohead-fawning guys and gals over there will pick In Rainbows, but they seem to have a penchant for picking relative long shots for AOTY (The Knife - Silent Shout and The Rapture - Echoes in years previous).
Metacritic should begin their round-up of critics' lists for album of the year, as well as running their own aggregate stats, currently running:
1. Burial - Untrue
2. The Field - From Here We Go Sublime
3. Radiohead - In Rainbows
4. Stars of the Lid - And Their Refinement of the Decline
5. LCD Soundsystem - 45:33
6. Robert Plant and Alison Krause - Raising Sand
7. Les Savy Fav - Let's Stay Friends
8. The Arcade Fire - Neon Bible
9. Patty Griffin - Children Running Through
10. MIA - Kala
(http://www.metacritic.com/music/bests/2007.shtml)
PASTE are claiming that Boxer is the best album this year, without qualification. In fact, they've ranked In Rainbows a good measure farther down.
1. The National - Boxer
2. Arcade Fire - Neon Bible
3. Bruce Springsteen - Magic
4. White Stripes - Icky Thump
5. Feist - The Reminder
6. MIA - Kala
7. Wilco - Sky Blue Sky
8. Modest Mouse - We Were Dead Before the Ship Even Sank
9. Band of Horses - Cease to Begin
10. Iron & Wine - The Shepherd's Dog
Here's their complete list, courtesy of Stereogum:
(http://www.stereogum.com/archives/paste-picks-boxer-as-years-1.html)
One wonders what kind of crack they're smoking to have put Ryan Adams, Amy Winehouse, and Wilco in the top 25.
Now-defunct Stylus offered the first list this year already (thanks, Stereogum):
(http://www.stereogum.com/archives/stylus-says-goodbye-but-not-before-giving-us-the-f.html)
1. LCD Soundsystem - Sound of Silver
2. Miranda Lambert - Crazy Ex Girlfriend
3. Panda Bear - Person Pitch
4. Lil Wayne - Da Drought 3
5. The National - Boxer
6. Kanye West - Graduation
7. Spoon - Ga Ga Ga Ga Ga
8. MIA - Kala
9. The Field - From Here We Go to Sublime
10. Radiohead - In Rainbows
We're big fans of Weezy F here at NLtS, kudos to Stylus for an imaginative list. And you already know our thoughts on this year's releases:
1. Radiohead - In Rainbows
2. Okkervil River - The Stage Names
2. The National - Boxer
4. Jens Lekman - Night Falls Over Kortedala
5. Spoon - Ga Ga Ga Ga Ga
6. Sea Wolf - Leaves in the River
7. Modest Mouse - We Were Dead Before the Ship Even Sank
8. Bloc Party - A Weekend in the City
9. White Stripes - Icky Thump
10. Arcade Fire - Neon Bible
(http://neverlearned.blogspot.com/2007/11/top-albums-of-2007-5-1.html)
We'll let the reader decide. As they say, the truth will out. Stay tuned for our continuing coverage at year's end along with our standard content.
Tuesday, November 20, 2007
Top albums of 2007: 5-1
The top five albums of the year. Without further ado:
5. Spoon – “Ga Ga Ga Ga Ga”
7/10 on Merge
Metacritic: 84
Q: 80
Pitchfork: 85
Britt Daniel and Jim Eno have come miles from "The Way We Get By" in only two albums. From lo-fi GBV-like material, the songwriting/production duo have grown into studio geniuses pumping out pop gems approaching the order of 21st century Brian Wilsons. Finally working with a full compliment of bells and whistles, Spoon shine like never before. It is hard to find a weak moment and finding strong ones is only a drop of the needle away. Opener "Don't Make Me a Target" and closer "Black Like Me" are especially fine. Provided you're the kind of listener that tires of endless hooks and Daniel's sometimes sluggish vocals, the 56 minute record drags on a bit. An optimist might see "Five Gas" as "more to love". Certainly, one of the year's best. The mind reels at the thought of their upcoming European tour with Explosions in the Sky.
-RJR
4. Jens Lekman – “Night Falls Over Kortedala”
10/9 on Secretly Canadian
Metacritic: 80
Q: 40
Pitchfork: 90
Have you heard? Phil Spector and Brian Wilson had a lovechild. They named it Jens. And now it writes music. Really fantastic music. Many people were rightly put off by Lekman’s previous record, “Oh, You’re So Silent, Jens”. It was just so...barren. On “Night Falls”, Lekman has made up for this shortcoming with interest. Lekman paints with broad sonic strokes as far as instrumentation is concerned, employing brass and strings to do the bulk of the labour. Lekman pulls liberally from a wide variety of genres, and this is where many lesser artists would falter. But his experience from “Oh, You’re So Silent” serves him well in this respect; Lekman refuses to be overwhelmed and proportions his various influences masterfully. He deftly, effortlessly adds dashes of doo-wop, jazz, and classical to his mixture. But the critical aspect of this record, ultimately, is Lekman’s command of melody. Into the panoramic arrangements Lekman weaves intricate melodies with pinpoint precision, aware of every note and every lyric. This is not to say that the melodies are overly complex, just that every note has a purpose (or at least sounds like it does, and that’s hard to fake). Despite all this (or maybe owing to it), “Night Falls” is not for everyone. The Phil Spector schtick is laid on a bit thick at times, and while some (this contributor among them) find that endearing, others might find it trite or contrived. But as a straight ahead piece of music, like it or not, “Night Falls Over Kortelada” commands our attention and respect.
-PTC
2. Okkervil River – “The Stage Names”
8/7 on Jagjaguwar
Metacritic: 82
Q: 80
Pitchfork: 87
The surprise success of this year. Releases from Spoon, Modest Mouse, The White Stripes were bound to be winners, but Will Sheff's self-professed "mid-level band" have stumbled between mediocrity and genius for a couple of albums now. "Black Sheep Boy" had moments of greatness, but rambled too much. "The Stage Names" is the epitome of consistency, never getting sloppy or bloated. Okkervil River are playing as a tight-knit group and for the first time not just keeping time for the vocals. And Sheff cements himself as a great modern pop lyricist in the vein of Colin Meloy, John Darnielle, and Jeff Mangum. His characters are complex and witty, if a little road-weary. "Plus Ones" and "John Allyn Smith Sails" are the year's great inside jokes. Jim Eno's hand in production is evident enough, but OR carry more gravitas and are a little less eager to please than Eno's full-time band.
-RJR
2. The National – “Boxer”
5/22 on Beggars Banquet
Metacritic: 86
NME: 70
Pitchfork: 86
Very few people knew who these Brooklyn-via-Cincinnati rockers were before this year. “Alligator” was hailed by critics as a grower and in some cases even a masterpiece, but many listeners were unconvinced of this band’s merit (though this blogger was not among them). “Boxer” has all but completely silenced the skeptics. Lush instrumentation (anchored by Bryan Devendorf’s stellar drumming) coupled with Matt Berninger’s smoky, quietly tortured vocals weaves bleak, heart-breakingly beautiful tales of urban-corporate malaise. The National have returned to their (slightly) more expanded instrumental palette: this album features more acoustic guitar than “Alligator” did (a reversion to their earlier work), along with brass and strings (the latter arranged by Padma Newsome). Whether you’re talking about the insistent pound and grind of “Mistaken for Strangers,” the achingly beautiful “Slow Show” - a song which boasts the best coda of the century - or the droning melancholy of “Ada,” this album is a wondrous achievement from a band that has only begun to discover itself. Berninger’s lyrics shine as some of the best penned this year (with the exception of the embarrassing “Racing Like A Pro”). This is a complex, untraditional, thematically sprawling concept album: Berninger’s concerns are not of a sinister government or an oil war (though those things may concern him, I don’t know), but of something far more significant: a populace crippled by apathy, by a total lack of agency or ambition: “we’ll stay inside ‘til somebody finds us / do whatever the TV tells us.” These fears prove far more moving than the run of the mill anti-war, “Fuck the Republicans and fuck this war” rant, it forces us to look at something we don’t look at often enough: ourselves.
-PTC
1. Radiohead – “In Rainbows”
self-released on 10/10
Metacritic: 89
BBC: 90
Pitchfork: 93
There is little more to be said about "In Rainbows" from a critical point of view. I am so taken with its charms that rather than review it, I'd rather use my time to hasten its canonisation. Not since I began to think about music in a substantive way has an album come out this excellent. It's almost certainly the best album since the release of Radiohead's own "OK Computer". It made every other album this year look like child's play. The year's only other musical, nay, cultural event of similar magnitude was the Daft Punk world tour, tickets for which climbed into the hundreds of dollars. "In Rainbows" could be yours for free. Or $80. Or $15. Turning on critics complaining that the songs were just recycled "OK Computer"-era demos and questioning their relevance, Radiohead set the bar impossibly high for every other artist and listener. Let's hope they spill the beans on World Tour 2008.
-RJR
I’ll spare you the prologue (it would be lengthy, believe me). The latest release from the most influential and important band of our generation leaves next to nothing to be desired. This record is quite simply stunning from beginning to end. From the 5/4 stomp of “15 Step” to the final piano chords of the stunning closing track “Videotape,” this exceptional record grabs the listener and holds on with a vice-like grip. Radiohead has given us the gift of the most cohesive, uniformly spectacular album we’ve seen all year. This album shows a return to basics, but it is a move motivated by artistic vision, not necessity. The exceptional “Faust Arp” is a quick acoustic number that would have made The Beatles weak in the knees. “Reckoner” supports a relatively simplistic musical motif, weaving a gossamer guitar line between stark piano. Indeed, this standout track exemplifies the sort of maturity that Radiohead have arrived at: they are sophisticated as always, but on “In Rainbows,” they leave the listener to discover the nuances him or herself, which makes for a far more satisfying listening experience. Radiohead has learned the value of economy on this album. It is a far more frugal effort than any of their other albums. The band feels no need to overtly reinforce the profundity of the meaning this album bears. On “OK Computer” and “Kid A,” Radiohead showed signs of a certain breed of insecurity: their music was meaningful because it was difficult to access, but there was a lot behind it once you finally managed to sort it out. On “In Rainbows,” the music is meaningful because Radiohead knows it is. It is the sort of record that only the greatest band in the world can release. Simply put, “In Rainbows” is the closest thing this year - and maybe this century - to flawless.
-PTC
5. Spoon – “Ga Ga Ga Ga Ga”
7/10 on Merge
Metacritic: 84
Q: 80
Pitchfork: 85
Britt Daniel and Jim Eno have come miles from "The Way We Get By" in only two albums. From lo-fi GBV-like material, the songwriting/production duo have grown into studio geniuses pumping out pop gems approaching the order of 21st century Brian Wilsons. Finally working with a full compliment of bells and whistles, Spoon shine like never before. It is hard to find a weak moment and finding strong ones is only a drop of the needle away. Opener "Don't Make Me a Target" and closer "Black Like Me" are especially fine. Provided you're the kind of listener that tires of endless hooks and Daniel's sometimes sluggish vocals, the 56 minute record drags on a bit. An optimist might see "Five Gas" as "more to love". Certainly, one of the year's best. The mind reels at the thought of their upcoming European tour with Explosions in the Sky.
-RJR
4. Jens Lekman – “Night Falls Over Kortedala”
10/9 on Secretly Canadian
Metacritic: 80
Q: 40
Pitchfork: 90
Have you heard? Phil Spector and Brian Wilson had a lovechild. They named it Jens. And now it writes music. Really fantastic music. Many people were rightly put off by Lekman’s previous record, “Oh, You’re So Silent, Jens”. It was just so...barren. On “Night Falls”, Lekman has made up for this shortcoming with interest. Lekman paints with broad sonic strokes as far as instrumentation is concerned, employing brass and strings to do the bulk of the labour. Lekman pulls liberally from a wide variety of genres, and this is where many lesser artists would falter. But his experience from “Oh, You’re So Silent” serves him well in this respect; Lekman refuses to be overwhelmed and proportions his various influences masterfully. He deftly, effortlessly adds dashes of doo-wop, jazz, and classical to his mixture. But the critical aspect of this record, ultimately, is Lekman’s command of melody. Into the panoramic arrangements Lekman weaves intricate melodies with pinpoint precision, aware of every note and every lyric. This is not to say that the melodies are overly complex, just that every note has a purpose (or at least sounds like it does, and that’s hard to fake). Despite all this (or maybe owing to it), “Night Falls” is not for everyone. The Phil Spector schtick is laid on a bit thick at times, and while some (this contributor among them) find that endearing, others might find it trite or contrived. But as a straight ahead piece of music, like it or not, “Night Falls Over Kortelada” commands our attention and respect.
-PTC
2. Okkervil River – “The Stage Names”
8/7 on Jagjaguwar
Metacritic: 82
Q: 80
Pitchfork: 87
The surprise success of this year. Releases from Spoon, Modest Mouse, The White Stripes were bound to be winners, but Will Sheff's self-professed "mid-level band" have stumbled between mediocrity and genius for a couple of albums now. "Black Sheep Boy" had moments of greatness, but rambled too much. "The Stage Names" is the epitome of consistency, never getting sloppy or bloated. Okkervil River are playing as a tight-knit group and for the first time not just keeping time for the vocals. And Sheff cements himself as a great modern pop lyricist in the vein of Colin Meloy, John Darnielle, and Jeff Mangum. His characters are complex and witty, if a little road-weary. "Plus Ones" and "John Allyn Smith Sails" are the year's great inside jokes. Jim Eno's hand in production is evident enough, but OR carry more gravitas and are a little less eager to please than Eno's full-time band.
-RJR
2. The National – “Boxer”
5/22 on Beggars Banquet
Metacritic: 86
NME: 70
Pitchfork: 86
Very few people knew who these Brooklyn-via-Cincinnati rockers were before this year. “Alligator” was hailed by critics as a grower and in some cases even a masterpiece, but many listeners were unconvinced of this band’s merit (though this blogger was not among them). “Boxer” has all but completely silenced the skeptics. Lush instrumentation (anchored by Bryan Devendorf’s stellar drumming) coupled with Matt Berninger’s smoky, quietly tortured vocals weaves bleak, heart-breakingly beautiful tales of urban-corporate malaise. The National have returned to their (slightly) more expanded instrumental palette: this album features more acoustic guitar than “Alligator” did (a reversion to their earlier work), along with brass and strings (the latter arranged by Padma Newsome). Whether you’re talking about the insistent pound and grind of “Mistaken for Strangers,” the achingly beautiful “Slow Show” - a song which boasts the best coda of the century - or the droning melancholy of “Ada,” this album is a wondrous achievement from a band that has only begun to discover itself. Berninger’s lyrics shine as some of the best penned this year (with the exception of the embarrassing “Racing Like A Pro”). This is a complex, untraditional, thematically sprawling concept album: Berninger’s concerns are not of a sinister government or an oil war (though those things may concern him, I don’t know), but of something far more significant: a populace crippled by apathy, by a total lack of agency or ambition: “we’ll stay inside ‘til somebody finds us / do whatever the TV tells us.” These fears prove far more moving than the run of the mill anti-war, “Fuck the Republicans and fuck this war” rant, it forces us to look at something we don’t look at often enough: ourselves.
-PTC
1. Radiohead – “In Rainbows”
self-released on 10/10
Metacritic: 89
BBC: 90
Pitchfork: 93
There is little more to be said about "In Rainbows" from a critical point of view. I am so taken with its charms that rather than review it, I'd rather use my time to hasten its canonisation. Not since I began to think about music in a substantive way has an album come out this excellent. It's almost certainly the best album since the release of Radiohead's own "OK Computer". It made every other album this year look like child's play. The year's only other musical, nay, cultural event of similar magnitude was the Daft Punk world tour, tickets for which climbed into the hundreds of dollars. "In Rainbows" could be yours for free. Or $80. Or $15. Turning on critics complaining that the songs were just recycled "OK Computer"-era demos and questioning their relevance, Radiohead set the bar impossibly high for every other artist and listener. Let's hope they spill the beans on World Tour 2008.
-RJR
I’ll spare you the prologue (it would be lengthy, believe me). The latest release from the most influential and important band of our generation leaves next to nothing to be desired. This record is quite simply stunning from beginning to end. From the 5/4 stomp of “15 Step” to the final piano chords of the stunning closing track “Videotape,” this exceptional record grabs the listener and holds on with a vice-like grip. Radiohead has given us the gift of the most cohesive, uniformly spectacular album we’ve seen all year. This album shows a return to basics, but it is a move motivated by artistic vision, not necessity. The exceptional “Faust Arp” is a quick acoustic number that would have made The Beatles weak in the knees. “Reckoner” supports a relatively simplistic musical motif, weaving a gossamer guitar line between stark piano. Indeed, this standout track exemplifies the sort of maturity that Radiohead have arrived at: they are sophisticated as always, but on “In Rainbows,” they leave the listener to discover the nuances him or herself, which makes for a far more satisfying listening experience. Radiohead has learned the value of economy on this album. It is a far more frugal effort than any of their other albums. The band feels no need to overtly reinforce the profundity of the meaning this album bears. On “OK Computer” and “Kid A,” Radiohead showed signs of a certain breed of insecurity: their music was meaningful because it was difficult to access, but there was a lot behind it once you finally managed to sort it out. On “In Rainbows,” the music is meaningful because Radiohead knows it is. It is the sort of record that only the greatest band in the world can release. Simply put, “In Rainbows” is the closest thing this year - and maybe this century - to flawless.
-PTC
Monday, November 19, 2007
Top albums of 2007: 10-6
We've cracked the top ten! The real gems start here, with a classic or two thrown in. We'll continue our format of (more or less) alternating reviews from our contributors until we get to our record of the year, which one of us couldn't possibly sum up by his lonesome.
10. Arcade Fire – “Neon Bible”
3/6 on Merge
Metacritic: 87
Q: 100
Pitchfork: 84
Along with LCD Soundsystem, this was the year's big, hype-filled record. It was the album that was supposed to destroy the music business and rebuild it their own Canadian image. While it didn't quite do that, "Neon Bible" managed to avoid being a victim of the success of "Funeral". It is just as exuberant as the first record (witness "Keep the Car Running", especially live), though it replaces tenderness with paranoia. Fear ultimately drags "Neon Bible" down. A vague, apocalyptic fear of George Bush pervades nearly every song, but never really coalesces into a political statement of any eloquence. The lyrics play on hippie standards like poverty, globalisation, and war, but without humanising them at all or really making a point. Arcade Fire seem terrified of their critics as well. Win Butler and crew pile on track after track of hi-fi organ, strings, and vocals soaked in unparalleled amounts of reverb, but to what end? To hide a lack of melody? The depth of creative malaise here is obvious when the album's best song is a rehashing of early EP track "No Cars Go". Somewhere in the recording of "Neon Bible", Arcade Fire ran out of ideas entirely and it shows. But they still are Arcade Fire, and their fudgeings are passable and their original ideas are rapturous.
-RJR
9. The White Stripes – “Icky Thump”
6/19 on Warner Bros
Metacritic: 80
NME: 90
Pitchfork: 80
“Icky Thump” is the product of three weeks in the studio (a relative lifetime for the Stripes), and it may well be the best White Stripes album to date. It is certainly the record that best weds (or proves, depending upon your perspective on his previous releases) Jack White’s songwriting - not to mention instrumental - talent with lush instrumentation (Wurlitzer? Brass?! Acoustic guitar?!? Bagpipes?!?!?), singable melodies (who knew?), and slick production, all the while maintaining the improvisatory caprice of their earlier records. Jack White’s voice has never sounded so good, his guitar playing is incomparable as per usual, but most importantly, he has learned the value of restraint - as “300 MPH Torrential Outpour Blues” will show. No one should be heard to say the White Stripes are losing steam. Quite the opposite, they seem here to be on top of their game. “Get Behind Me Satan” found the Stripes throwing in the kitchen sink and leaving out the electric guitar to avoid being pigeonholed as a band centred around and dependent upon Jack White’s guitar talent. But that’s precisely what they are. And that’s not a bad thing. “Icky Thump” shows that Jack and Meg have realised that as well. And not a moment too soon.
-PTC
8. Bloc Party – “A Weekend in the City”
2/6 on Vice
Metacritic: 65
Q: 60
Pitchfork: 75
It is a scary commentary on the pressures and mixed incentives of the music industry that, with only their second album, Bloc Party have met a crossroads. They are an art rock band at heart. But with their audience turning more and more bro-like and their songs appearing in sports games and Guitar Hero, they risk being Muse-d, hijacked by masculinity. At a show last year, frontman Kele Okereke stopped a song to quell some moshers, reminding them "people are here to listen to music". This year, at a smaller venue, he made no such effort. AWitC is a fittingly mixed album. The songs range from the "Silent Alarm" style "Song for Clay" and "Hunting for Witches" to drum machine-fuelled "The Prayer" to the ballads fleshing out the last few tracks. The lyrical content is conflicted as well, with Okereke questioning his nationality ("Where Is Home"), charm ("The Prayer"), and sexuality ("I Still Remember"). The fault lines running through the band thematically and stylistically make AWitC one of the most honest releases of the year. Fabulous production and an excellent vocal performance from Okereke complimenting the already excellent guitar work and rhythm section carried over from "Silent Alarm" help as well.
-RJR
7. Modest Mouse – “We Were Dead Before the Ship Even Sank”
3/20 on Sony
Metacritic: 77
Q: 80
Pitchfork: 78
I have not been moved - really moved - by a Modest Mouse record since the breathtaking “The Moon and Antartica”. They got lazy, they fell into a routine (a deadly trap for a songwriter to whom creativity means more than selling records), and their records were single-driven - “we’ll all float on all right” - and uninspired. “Good News for People Who Love Bad News” petered out quickly after an excellent first three songs, From “Bury Me With It” on, the record is hugely unmemorable (I had to check and see what that song was called). The addition of Johnny Marr was quite possibly the best thing that has happened to Modest Mouse, like, ever. From the very first track, the rollicking “March Into the Sea”, this record boasts an energy, intensity, and sense of artistic urgency that none of their other records has ever had - not even “The Moon and Antarctica.” The pelagic theme of the album is fitting; every song has its own lilt, its own sway: “Dashboard” and “Missed the Boat” in particular. This record is the work of a band that has learned to play to its strengths but are still growing into themselves. Don’t be surprised if Modest Mouse still have a few tricks up their sleeve; I think this record is a portent of things to come.
-PTC
6. Sea Wolf – “Leaves in the River”
9/25 on Dangerbird
It’s been a busy twelve months for Alex Brown Church and the amorphous coterie of companions he calls a backing band. He released a lovely if slightly rough around the edges EP and went on a largely ignored tour. Then he blind-sided the music world with this phenomenal LP. “Leaves in the River” is a record of deceptive complexity, brimming with meaning, and above all, honesty - a quality which is tragically lacking from 99% of records released nowadays. His songwriting is impeccable, his songs brim with a simplicity that borders on innocence (another quality you won’t find in corporate rock, which is totally anathema to the success of the uncorrupted). Church has tact and nuance down to a science. Even on the more “upbeat” tracks like “Winter Windows,” the album is careful not to overextend itself. Church never strays from his comfort zone, but opts to coyly toe its border instead, which is precisely what an artist should do on a debut. This fantastic record starts his young and exceptionally promising career off on the right foot.
-PTC
Another day, another five albums. The reviews you've all been waiting for tomorrow!
10. Arcade Fire – “Neon Bible”
3/6 on Merge
Metacritic: 87
Q: 100
Pitchfork: 84
Along with LCD Soundsystem, this was the year's big, hype-filled record. It was the album that was supposed to destroy the music business and rebuild it their own Canadian image. While it didn't quite do that, "Neon Bible" managed to avoid being a victim of the success of "Funeral". It is just as exuberant as the first record (witness "Keep the Car Running", especially live), though it replaces tenderness with paranoia. Fear ultimately drags "Neon Bible" down. A vague, apocalyptic fear of George Bush pervades nearly every song, but never really coalesces into a political statement of any eloquence. The lyrics play on hippie standards like poverty, globalisation, and war, but without humanising them at all or really making a point. Arcade Fire seem terrified of their critics as well. Win Butler and crew pile on track after track of hi-fi organ, strings, and vocals soaked in unparalleled amounts of reverb, but to what end? To hide a lack of melody? The depth of creative malaise here is obvious when the album's best song is a rehashing of early EP track "No Cars Go". Somewhere in the recording of "Neon Bible", Arcade Fire ran out of ideas entirely and it shows. But they still are Arcade Fire, and their fudgeings are passable and their original ideas are rapturous.
-RJR
9. The White Stripes – “Icky Thump”
6/19 on Warner Bros
Metacritic: 80
NME: 90
Pitchfork: 80
“Icky Thump” is the product of three weeks in the studio (a relative lifetime for the Stripes), and it may well be the best White Stripes album to date. It is certainly the record that best weds (or proves, depending upon your perspective on his previous releases) Jack White’s songwriting - not to mention instrumental - talent with lush instrumentation (Wurlitzer? Brass?! Acoustic guitar?!? Bagpipes?!?!?), singable melodies (who knew?), and slick production, all the while maintaining the improvisatory caprice of their earlier records. Jack White’s voice has never sounded so good, his guitar playing is incomparable as per usual, but most importantly, he has learned the value of restraint - as “300 MPH Torrential Outpour Blues” will show. No one should be heard to say the White Stripes are losing steam. Quite the opposite, they seem here to be on top of their game. “Get Behind Me Satan” found the Stripes throwing in the kitchen sink and leaving out the electric guitar to avoid being pigeonholed as a band centred around and dependent upon Jack White’s guitar talent. But that’s precisely what they are. And that’s not a bad thing. “Icky Thump” shows that Jack and Meg have realised that as well. And not a moment too soon.
-PTC
8. Bloc Party – “A Weekend in the City”
2/6 on Vice
Metacritic: 65
Q: 60
Pitchfork: 75
It is a scary commentary on the pressures and mixed incentives of the music industry that, with only their second album, Bloc Party have met a crossroads. They are an art rock band at heart. But with their audience turning more and more bro-like and their songs appearing in sports games and Guitar Hero, they risk being Muse-d, hijacked by masculinity. At a show last year, frontman Kele Okereke stopped a song to quell some moshers, reminding them "people are here to listen to music". This year, at a smaller venue, he made no such effort. AWitC is a fittingly mixed album. The songs range from the "Silent Alarm" style "Song for Clay" and "Hunting for Witches" to drum machine-fuelled "The Prayer" to the ballads fleshing out the last few tracks. The lyrical content is conflicted as well, with Okereke questioning his nationality ("Where Is Home"), charm ("The Prayer"), and sexuality ("I Still Remember"). The fault lines running through the band thematically and stylistically make AWitC one of the most honest releases of the year. Fabulous production and an excellent vocal performance from Okereke complimenting the already excellent guitar work and rhythm section carried over from "Silent Alarm" help as well.
-RJR
7. Modest Mouse – “We Were Dead Before the Ship Even Sank”
3/20 on Sony
Metacritic: 77
Q: 80
Pitchfork: 78
I have not been moved - really moved - by a Modest Mouse record since the breathtaking “The Moon and Antartica”. They got lazy, they fell into a routine (a deadly trap for a songwriter to whom creativity means more than selling records), and their records were single-driven - “we’ll all float on all right” - and uninspired. “Good News for People Who Love Bad News” petered out quickly after an excellent first three songs, From “Bury Me With It” on, the record is hugely unmemorable (I had to check and see what that song was called). The addition of Johnny Marr was quite possibly the best thing that has happened to Modest Mouse, like, ever. From the very first track, the rollicking “March Into the Sea”, this record boasts an energy, intensity, and sense of artistic urgency that none of their other records has ever had - not even “The Moon and Antarctica.” The pelagic theme of the album is fitting; every song has its own lilt, its own sway: “Dashboard” and “Missed the Boat” in particular. This record is the work of a band that has learned to play to its strengths but are still growing into themselves. Don’t be surprised if Modest Mouse still have a few tricks up their sleeve; I think this record is a portent of things to come.
-PTC
6. Sea Wolf – “Leaves in the River”
9/25 on Dangerbird
It’s been a busy twelve months for Alex Brown Church and the amorphous coterie of companions he calls a backing band. He released a lovely if slightly rough around the edges EP and went on a largely ignored tour. Then he blind-sided the music world with this phenomenal LP. “Leaves in the River” is a record of deceptive complexity, brimming with meaning, and above all, honesty - a quality which is tragically lacking from 99% of records released nowadays. His songwriting is impeccable, his songs brim with a simplicity that borders on innocence (another quality you won’t find in corporate rock, which is totally anathema to the success of the uncorrupted). Church has tact and nuance down to a science. Even on the more “upbeat” tracks like “Winter Windows,” the album is careful not to overextend itself. Church never strays from his comfort zone, but opts to coyly toe its border instead, which is precisely what an artist should do on a debut. This fantastic record starts his young and exceptionally promising career off on the right foot.
-PTC
Another day, another five albums. The reviews you've all been waiting for tomorrow!
Friday, November 16, 2007
Top albums of 2007: 13 & 11
Our relentless storm of year-end coverage continues today with our smallest set of reviews. In the interest of keeping the top 10 intact, we'll stop at 11. Two ties, for 11th and 13th place flesh out this post:
13. Seabear – “The Ghost That Carried Us Away”
7/16 on Morr
When people think of Iceland, they think of Sigur Ros. Nobody thinks of Seabear, an unknown band out of Reykjavik that has quietly released a better experimental folk album than hacks like Devendra Banhart can dream of. This is the very definition of a dark horse - surprise standouts await the listener at every turn. Tasteful, proper, charming, and moving. Absolutely beautiful in its unpretentiousness, “The Ghost That Carried Us Away” wears its heart on its sleeve, to captivating effect.
-PTC
13. LCD Soundsystem – “Sound of Silver”
3/20 on Capitol
Metacritic: 86
Q: 90
Pitchfork: 94
James Murphy is one of the "it" guys in music right now. Nike wants him, he's touring with Arcade Fire, and his name comes up just as quickly as Kanye West where omages to Daft Punk are concerned. From "Sound of Silver", it's hard to see why. Much of the punk flavor from his self-titled debut is gone as Murphy turns heavily toward electronica. For fans of electronica, this is a plus, as sprawling compositions with are embraced over more song-like tracks. Track length increased with additions of longer introductions and extensive codas. All but dropping both halves of his nearly singlehandedly created dance-punk genre has allowed James Murphy to become one of the great electronic composers on the scene.
-RJR
11. Iron and Wine – “The Shepherd’s Dog”
9/25 on Subpop
Metacritic: 84
Pitchfork: 86
NME: 70
Sam Beam has proven his mettle with “The Shepherd’s Dog,” cementing his place among the top echelon of musicians of this decade. Boldly eschewing his safe, finger-picking folk mould, he brings elements of rockabilly, jazz, and soul to this latest release, proving that he is making the music that he wants to make rather than just cranking out the music his fans want to hear. Artistic integrity aside though, it’s a hell of a record to listen to.
-PTC
11. A Place to Bury Strangers – “A Place to Bury Strangers”
8/7 on Killer Pimp
Metacritic: 84
Pitchfork: 84
Approaching the technical sophistication of Liars with twice as much verve and fabulous texture and atmosphere. Explosions in the Sky fronted by Ian Curtis with a shot each of My Bloody Valentine and Jesus and Mary Chain. All these things and more. One of the most visceral releases of the year and just outside the top 10, but damned if I'm going to call them the "loudest band in New York".
-RJR
13. Seabear – “The Ghost That Carried Us Away”
7/16 on Morr
When people think of Iceland, they think of Sigur Ros. Nobody thinks of Seabear, an unknown band out of Reykjavik that has quietly released a better experimental folk album than hacks like Devendra Banhart can dream of. This is the very definition of a dark horse - surprise standouts await the listener at every turn. Tasteful, proper, charming, and moving. Absolutely beautiful in its unpretentiousness, “The Ghost That Carried Us Away” wears its heart on its sleeve, to captivating effect.
-PTC
13. LCD Soundsystem – “Sound of Silver”
3/20 on Capitol
Metacritic: 86
Q: 90
Pitchfork: 94
James Murphy is one of the "it" guys in music right now. Nike wants him, he's touring with Arcade Fire, and his name comes up just as quickly as Kanye West where omages to Daft Punk are concerned. From "Sound of Silver", it's hard to see why. Much of the punk flavor from his self-titled debut is gone as Murphy turns heavily toward electronica. For fans of electronica, this is a plus, as sprawling compositions with are embraced over more song-like tracks. Track length increased with additions of longer introductions and extensive codas. All but dropping both halves of his nearly singlehandedly created dance-punk genre has allowed James Murphy to become one of the great electronic composers on the scene.
-RJR
11. Iron and Wine – “The Shepherd’s Dog”
9/25 on Subpop
Metacritic: 84
Pitchfork: 86
NME: 70
Sam Beam has proven his mettle with “The Shepherd’s Dog,” cementing his place among the top echelon of musicians of this decade. Boldly eschewing his safe, finger-picking folk mould, he brings elements of rockabilly, jazz, and soul to this latest release, proving that he is making the music that he wants to make rather than just cranking out the music his fans want to hear. Artistic integrity aside though, it’s a hell of a record to listen to.
-PTC
11. A Place to Bury Strangers – “A Place to Bury Strangers”
8/7 on Killer Pimp
Metacritic: 84
Pitchfork: 84
Approaching the technical sophistication of Liars with twice as much verve and fabulous texture and atmosphere. Explosions in the Sky fronted by Ian Curtis with a shot each of My Bloody Valentine and Jesus and Mary Chain. All these things and more. One of the most visceral releases of the year and just outside the top 10, but damned if I'm going to call them the "loudest band in New York".
-RJR
Thursday, November 15, 2007
Blender goes there.
Oh no they dih-ent. I'll give you all a chance to digest this before I post my response.
http://www.blender.com/guide/articles.aspx?id=2974
-PTC
http://www.blender.com/guide/articles.aspx?id=2974
-PTC
Wednesday, November 14, 2007
Top albums of 2007: 20-15
Here is the next set of albums we've ranked. The list, as you can see, isn't flowing quite out in groups of five, due to ties and whatnot. Anyway, here we go, a few more of the year's very best.
20. Kanye West – “Graduation”
9/11 on Roc-a-fella
Metacritic: 79
Q: 60
Pitchfork: 87
The best hip-hop album of the year. Mr. West must have done something special to rise from the most decadent, commercially-driven genre of music and be among the folk, rock, and house on this list. He certainly has, and while his third solo album isn't great, history and the music industry's self-promotion will inevitably cement it as a classic. Of course, the highlight of the album and popular music this year is "Stronger", a profound recontextualisation of the Daft Punk anthem. It's a shame that millions of listeners are unaware of the source material, much less the Edwin Birdsong original.
-RJR
19. Andrew Bird - "Armchair Apocrypha"
2/08 on Righteous Babe
Metacritic: 85
Q: 70
Pitchfork: 83
The quirkiest man in indie rock (a difficult title to win) has returned to follow his excellent “Mysterious Production” with “Armchair Apocrypha,” a collection of songs that show that Bird has grown up. Rather than highlighting his singularity by way of letting his obtuse lyrics take the forefront (as he did, to lovely effect, on “Mysterious Production”), he has turned his attention to arrangement and song craft. He is less reticent to pull out the electric guitar and throw in the kitchen sink, and thank heaven for that. Instead of “Mysterious Production” Redux, this record is far more nuanced, more subtle and confident than its predecessor was, and certainly more so than most other records released this year.
-PTC
18. Feist - "The Reminder"
5/01 on Interscope
Metacritic: 79
Pitchfork: 88
Q: 40
The cutest girl in indie rock (okay, maybe it’s a tie between her and Jenny Lewis...but that’s neither here nor there) knocked everyone - from Steve Jobs to your friendly co-bloggers - flat with this work of art. Feist couples the gritty sophistication of Broken Social Scene with her own brand of squeaky clean pop sensibility. Tack on the Feist’s sugary sweet voice and knack for understatement, and presto, you’ve got “The Reminder.” But don’t be fooled by its name; this is not a record any of us are going to forget any time soon.
-PTC
15. Sunset Rubdown - "Random Spirit Lover"
10/09 on Jagjaguwar
Metacritic: 76
Pitchfork: 85
Alternative Press: 50
“Random Spirit Lover.” is an exhausting record to listen to, clocking in at just under an hour. But it is, without a doubt, the most unique record of the year. It is far more energetic and honest than its self-aware predecessor. What proved infuriating about “Shut Up I Am Dreaming” was that Krug seemed so hell-bent on proving that he was an innovator that he forgot to write a listenable record. Here, he has settled into himself, and the result is a record that actually is brilliant. The record is true to its name - it is charmingly erratic and incurably effervescent. This is Spencer Krug doing what he wants, not what he thinks a side project should sound like. He is no longer trying to escape his Wolf Parade roots, but instead tastefully incorporates them here.
-PTC
15. Battles - "Mirrored"
5/22 on Warp
Metacritic: 86
Pitchfork: 91
NME: 80
Say what you will about Battles, say what you will about this record, few releases this year make you listen more closely than “Mirrored” does. It is challenging in every sense of the word, but that makes it ultimately fulfilling. You don’t need to like it to appreciate its merit as music. And the record is rife with innovative flashes of brilliance. Battles are not going anywhere, so you may as well get used to the sound.
-PTC
15. Justice - "Cross"
6/10 on Vice
Metacritic: 81
Pitchfork: 84
NME: 60
Aping the Daft Punk aesthetic is a better technique than sampling them wholesale, judging by this list. In a genre where everyone aspires to copy Guy and Thomas, Gaspard and Xavier do a better job than just about anyone else. The album throughout articulates such grand notions about where dance music has been and is headed that it simply cannot be ignored.
-RJR
Our album of the year coverage will continue in future posts.
20. Kanye West – “Graduation”
9/11 on Roc-a-fella
Metacritic: 79
Q: 60
Pitchfork: 87
The best hip-hop album of the year. Mr. West must have done something special to rise from the most decadent, commercially-driven genre of music and be among the folk, rock, and house on this list. He certainly has, and while his third solo album isn't great, history and the music industry's self-promotion will inevitably cement it as a classic. Of course, the highlight of the album and popular music this year is "Stronger", a profound recontextualisation of the Daft Punk anthem. It's a shame that millions of listeners are unaware of the source material, much less the Edwin Birdsong original.
-RJR
19. Andrew Bird - "Armchair Apocrypha"
2/08 on Righteous Babe
Metacritic: 85
Q: 70
Pitchfork: 83
The quirkiest man in indie rock (a difficult title to win) has returned to follow his excellent “Mysterious Production” with “Armchair Apocrypha,” a collection of songs that show that Bird has grown up. Rather than highlighting his singularity by way of letting his obtuse lyrics take the forefront (as he did, to lovely effect, on “Mysterious Production”), he has turned his attention to arrangement and song craft. He is less reticent to pull out the electric guitar and throw in the kitchen sink, and thank heaven for that. Instead of “Mysterious Production” Redux, this record is far more nuanced, more subtle and confident than its predecessor was, and certainly more so than most other records released this year.
-PTC
18. Feist - "The Reminder"
5/01 on Interscope
Metacritic: 79
Pitchfork: 88
Q: 40
The cutest girl in indie rock (okay, maybe it’s a tie between her and Jenny Lewis...but that’s neither here nor there) knocked everyone - from Steve Jobs to your friendly co-bloggers - flat with this work of art. Feist couples the gritty sophistication of Broken Social Scene with her own brand of squeaky clean pop sensibility. Tack on the Feist’s sugary sweet voice and knack for understatement, and presto, you’ve got “The Reminder.” But don’t be fooled by its name; this is not a record any of us are going to forget any time soon.
-PTC
15. Sunset Rubdown - "Random Spirit Lover"
10/09 on Jagjaguwar
Metacritic: 76
Pitchfork: 85
Alternative Press: 50
“Random Spirit Lover.” is an exhausting record to listen to, clocking in at just under an hour. But it is, without a doubt, the most unique record of the year. It is far more energetic and honest than its self-aware predecessor. What proved infuriating about “Shut Up I Am Dreaming” was that Krug seemed so hell-bent on proving that he was an innovator that he forgot to write a listenable record. Here, he has settled into himself, and the result is a record that actually is brilliant. The record is true to its name - it is charmingly erratic and incurably effervescent. This is Spencer Krug doing what he wants, not what he thinks a side project should sound like. He is no longer trying to escape his Wolf Parade roots, but instead tastefully incorporates them here.
-PTC
15. Battles - "Mirrored"
5/22 on Warp
Metacritic: 86
Pitchfork: 91
NME: 80
Say what you will about Battles, say what you will about this record, few releases this year make you listen more closely than “Mirrored” does. It is challenging in every sense of the word, but that makes it ultimately fulfilling. You don’t need to like it to appreciate its merit as music. And the record is rife with innovative flashes of brilliance. Battles are not going anywhere, so you may as well get used to the sound.
-PTC
15. Justice - "Cross"
6/10 on Vice
Metacritic: 81
Pitchfork: 84
NME: 60
Aping the Daft Punk aesthetic is a better technique than sampling them wholesale, judging by this list. In a genre where everyone aspires to copy Guy and Thomas, Gaspard and Xavier do a better job than just about anyone else. The album throughout articulates such grand notions about where dance music has been and is headed that it simply cannot be ignored.
-RJR
Our album of the year coverage will continue in future posts.
The top 25 records of 2007: Summary and HM-21
2007 was a year full of surprises. So many bands surprised us with magnificent records, so many others disappointed us terribly. But that’s par for the course. Populist music has its pitfalls, but also its benefits, as Okkervil River so adeptly proved with “The Stage Names.” The music industry most definitely does need to take a very careful look at itself, but so too do the consumers: the top ten songs in the iTunes Music Store is populated by the likes of Flo Rida, Soulja Boy Tell ‘Em, Finger Eleven, and Matchbox Twenty (what?).
Listeners are lazy, so the industry doesn’t need to have standards anymore. There are those of us who still care about a quality product, those who shun Soulja Boy in favour of Sunset Rubdown, who say a resounding “Fuck you” to Rihanna and spin Radiohead instead. But our numbers are dwindling. It is reassuring to know, however, that in the midst of this bleak scene, listing the 25 best albums of this year was still a difficult feat. It is a reminder that just like those of us who care about listening to good music, there are some who still care about making it. We can only hope that such artists will still be around in a year’s time.
-PTC
Another year gone by. Mainstream music has seemed to slip further into the abyss. Corporate rock continues to be on the march toward the complete domination of soccer mom-friendly ballads. Pop Lolitas-turned-pop prostitutes known now only by first names rule the top 40. The Backstreet Boys put out a new album. Britney Spears put out a new album! A song about how to deal with women that aren't willing to sleep with you by some kind of Soldier person topped the charts for weeks. Just off the radar, Radiohead pulled their album release stunt. Apparently frustrated by musical and political malaise, old favourites like Rage Against the Machine, Smashing Pumpkins, Daft Punk and the Stooges reunited to play festival after festival without so much more than token new material. The best tours from newer artists were mostly hangovers from last year's best albums, from The Decemberists and The Hold Steady, especially.
Even with so little original music, there were a few gems this year and we'd like to summarise them here. We've aggregated our picks for the top albums of this year and list them in ascending order five a day, with a complete list at the end. With the exception of the winner, one of us shares some thoughts about each album. In addition, we'll include date of release, the label responsible, and some idea of reception by other critics (aggregator Metacritic, Pitchfork Media, and a British publication, preferably Q Magazine).
-RJR
And the best records this year:
Bonus! Two albums just off of the top 25 list:
Explosions in the Sky – “All of a Sudden, I Miss Everyone”
2/20 on Temporary Residence
Metacritic : 80
Q: 70
Pitchfork: 60
After last year's limited release of The Rescue EP, fans of Explosions weren't really sure what their favourite Texas post-rockers would do next. They had embraced all manner of new instruments, shorter songs, and even some vocals. Perhaps a full album of Rescue-like material would have been too much of a leap, but "All of a Sudden" seems a bit too conservative. It plays up all of the beautiful, stormy guitar and percussion from their first three albums, though a bit more restrained and melodic than "The Earth..." and "Tell the Truth". It is certainly an excellent listen (especially live at Coachella this year) and really cements the Explosions aesthetic but it won't attract any new followers and without some changes, the band will have a hard time staying vital.
-RJR
Voxtrot - "Voxtrot"
5/22 on Playlouder
Metacritic: 71
NY Times: 80
Pitchfork: 59
The backlash - or maybe disappointment is a more fitting term - surrounding Voxtrot’s first LP was predictable. After the outrageous success of their series of EPs, the anticipation surrounding their full-length debut built to such absurd levels that no record would have ever really lived up to everyone’s expectations. People expected the same thing they got from the EPs - bite-sized twee tidbits that were easy to digest and difficult to forget. But Voxtrot was out to create a real album, not just a collection of songs. Their aim was clearly to craft a record that had some kind of arc, not just merely a static hodge-podge of safe, predictable, clever indie-pop. Do some of the songs fall flat? Sure. But this record shows a band that is not afraid to learn, and that will hold Voxtrot in very good stead on records to come.
-PTC
Today's five records:
25. !!! – “Myth Takes”
3/6 on Warp
Metacritic: 76
Q: 60
Pitchfork: 80
Nic Offer's bicoastal band remains vital despite the recent turn to more sample- and synth-based dance music. "All My Heroes Are Weirdos" and "Must Be the Moon" are highlights, with some of the best grooves in memory. The album in general is a move toward maturity, with the compositions tightening up quite a bit. All of this is carried off with whimsy that could only come from !!!. I missed them there, but by all accounts, they had the best performance at Coachella. !!! are often overlooked or dismissed, but "Myth Takes" is much more than a name.
-RJR
23. A Sunny Day in Glasgow – “Scribble Mural Comic Journal”
2/13 on Notenuf
Pitchfork: 80
Drowned in Sound: 90
This is undoubtedly the best record you never heard this year. A Sunny Day In Glasgow offers forth a scintillating collection of ambient noise pop that will shock you into rapt silence. The ebbs and flows of this record pull the listener gently along, calm - almost meek - but always insistent, always commanding attention. Don’t make the mistake of dismissing this record as structureless background noise, because you will miss out on one of the most enjoyable - and underrated - listening experiences this year has had to offer.
-PTC
23. Arctic Monkeys – “Favourite Worst Nightmare”
4/24 on Domino
Metacritic: 82
Q: 100
Pitchfork: 74
I cannot imagine a more hyped (some say over-) band on an independent label than Arctic Monkeys. Sometimes the hype is warranted, like on "Teddy Picker" or most tracks from "Whatever...". Certainly it is overwrought at times, like on lead single "Brianstorm" and their live show, which is disappointing at best. On net, they are a competent and often creative band . While the strength of their excellent debut was largely a function of Alex Turner's songwriting and versatility in tempo, "Nightmare" has much more banal lyrics and problems with speed. The band seems to rush through each song, trading the observation of the first album for nervous rants. Still one of the best straight-ahead rock albums of the year, it would have benefited from another year in production.
-RJR
21. Josh Ritter – “The Historical Conquests of Josh Ritter”
8/21 on Sony
Metacritic: 79
Q: 80
Pitchfork: 57
“If this was a cold war, we could keep each other warm.” Why hasn’t anyone thought of that line before now? This record is a clinic in pop songwriting technique. Few artists adhere so shamelessly and stubbornly to convention as Ritter does, and fewer still can make those conventions sound original and fresh. Ritter effortlessly transitions from pop gems like “Right Moves” to the introspective, understated ballads, like the stunning standout track, “The Temptation of Adam.”
-PTC
21. Liars – “Liars”
8/28 on Mute
Metacritic: 79
Q: 60
Pitchfork: 85
This is Liars fully realised. In time, this is likely to become one of the most loved noise rock albums ever and is among the best this century. Coming down from the great "Drum's Not Dead", "Liars" managed to pull off being both more avant-garde and accessible, venturing into wilder guitar territory, but sharpening and shortening by a full 12 minutes. Pity they were paired Interpol on tour, as Liars certainly must have upstaged the band that created "No I in Threesome".
-RJR
Stay tuned: five more albums tomorrow!
Listeners are lazy, so the industry doesn’t need to have standards anymore. There are those of us who still care about a quality product, those who shun Soulja Boy in favour of Sunset Rubdown, who say a resounding “Fuck you” to Rihanna and spin Radiohead instead. But our numbers are dwindling. It is reassuring to know, however, that in the midst of this bleak scene, listing the 25 best albums of this year was still a difficult feat. It is a reminder that just like those of us who care about listening to good music, there are some who still care about making it. We can only hope that such artists will still be around in a year’s time.
-PTC
Another year gone by. Mainstream music has seemed to slip further into the abyss. Corporate rock continues to be on the march toward the complete domination of soccer mom-friendly ballads. Pop Lolitas-turned-pop prostitutes known now only by first names rule the top 40. The Backstreet Boys put out a new album. Britney Spears put out a new album! A song about how to deal with women that aren't willing to sleep with you by some kind of Soldier person topped the charts for weeks. Just off the radar, Radiohead pulled their album release stunt. Apparently frustrated by musical and political malaise, old favourites like Rage Against the Machine, Smashing Pumpkins, Daft Punk and the Stooges reunited to play festival after festival without so much more than token new material. The best tours from newer artists were mostly hangovers from last year's best albums, from The Decemberists and The Hold Steady, especially.
Even with so little original music, there were a few gems this year and we'd like to summarise them here. We've aggregated our picks for the top albums of this year and list them in ascending order five a day, with a complete list at the end. With the exception of the winner, one of us shares some thoughts about each album. In addition, we'll include date of release, the label responsible, and some idea of reception by other critics (aggregator Metacritic, Pitchfork Media, and a British publication, preferably Q Magazine).
-RJR
And the best records this year:
Bonus! Two albums just off of the top 25 list:
Explosions in the Sky – “All of a Sudden, I Miss Everyone”
2/20 on Temporary Residence
Metacritic : 80
Q: 70
Pitchfork: 60
After last year's limited release of The Rescue EP, fans of Explosions weren't really sure what their favourite Texas post-rockers would do next. They had embraced all manner of new instruments, shorter songs, and even some vocals. Perhaps a full album of Rescue-like material would have been too much of a leap, but "All of a Sudden" seems a bit too conservative. It plays up all of the beautiful, stormy guitar and percussion from their first three albums, though a bit more restrained and melodic than "The Earth..." and "Tell the Truth". It is certainly an excellent listen (especially live at Coachella this year) and really cements the Explosions aesthetic but it won't attract any new followers and without some changes, the band will have a hard time staying vital.
-RJR
Voxtrot - "Voxtrot"
5/22 on Playlouder
Metacritic: 71
NY Times: 80
Pitchfork: 59
The backlash - or maybe disappointment is a more fitting term - surrounding Voxtrot’s first LP was predictable. After the outrageous success of their series of EPs, the anticipation surrounding their full-length debut built to such absurd levels that no record would have ever really lived up to everyone’s expectations. People expected the same thing they got from the EPs - bite-sized twee tidbits that were easy to digest and difficult to forget. But Voxtrot was out to create a real album, not just a collection of songs. Their aim was clearly to craft a record that had some kind of arc, not just merely a static hodge-podge of safe, predictable, clever indie-pop. Do some of the songs fall flat? Sure. But this record shows a band that is not afraid to learn, and that will hold Voxtrot in very good stead on records to come.
-PTC
Today's five records:
25. !!! – “Myth Takes”
3/6 on Warp
Metacritic: 76
Q: 60
Pitchfork: 80
Nic Offer's bicoastal band remains vital despite the recent turn to more sample- and synth-based dance music. "All My Heroes Are Weirdos" and "Must Be the Moon" are highlights, with some of the best grooves in memory. The album in general is a move toward maturity, with the compositions tightening up quite a bit. All of this is carried off with whimsy that could only come from !!!. I missed them there, but by all accounts, they had the best performance at Coachella. !!! are often overlooked or dismissed, but "Myth Takes" is much more than a name.
-RJR
23. A Sunny Day in Glasgow – “Scribble Mural Comic Journal”
2/13 on Notenuf
Pitchfork: 80
Drowned in Sound: 90
This is undoubtedly the best record you never heard this year. A Sunny Day In Glasgow offers forth a scintillating collection of ambient noise pop that will shock you into rapt silence. The ebbs and flows of this record pull the listener gently along, calm - almost meek - but always insistent, always commanding attention. Don’t make the mistake of dismissing this record as structureless background noise, because you will miss out on one of the most enjoyable - and underrated - listening experiences this year has had to offer.
-PTC
23. Arctic Monkeys – “Favourite Worst Nightmare”
4/24 on Domino
Metacritic: 82
Q: 100
Pitchfork: 74
I cannot imagine a more hyped (some say over-) band on an independent label than Arctic Monkeys. Sometimes the hype is warranted, like on "Teddy Picker" or most tracks from "Whatever...". Certainly it is overwrought at times, like on lead single "Brianstorm" and their live show, which is disappointing at best. On net, they are a competent and often creative band . While the strength of their excellent debut was largely a function of Alex Turner's songwriting and versatility in tempo, "Nightmare" has much more banal lyrics and problems with speed. The band seems to rush through each song, trading the observation of the first album for nervous rants. Still one of the best straight-ahead rock albums of the year, it would have benefited from another year in production.
-RJR
21. Josh Ritter – “The Historical Conquests of Josh Ritter”
8/21 on Sony
Metacritic: 79
Q: 80
Pitchfork: 57
“If this was a cold war, we could keep each other warm.” Why hasn’t anyone thought of that line before now? This record is a clinic in pop songwriting technique. Few artists adhere so shamelessly and stubbornly to convention as Ritter does, and fewer still can make those conventions sound original and fresh. Ritter effortlessly transitions from pop gems like “Right Moves” to the introspective, understated ballads, like the stunning standout track, “The Temptation of Adam.”
-PTC
21. Liars – “Liars”
8/28 on Mute
Metacritic: 79
Q: 60
Pitchfork: 85
This is Liars fully realised. In time, this is likely to become one of the most loved noise rock albums ever and is among the best this century. Coming down from the great "Drum's Not Dead", "Liars" managed to pull off being both more avant-garde and accessible, venturing into wilder guitar territory, but sharpening and shortening by a full 12 minutes. Pity they were paired Interpol on tour, as Liars certainly must have upstaged the band that created "No I in Threesome".
-RJR
Stay tuned: five more albums tomorrow!
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