40-39: December 16, 2007
38-36: December 17, 2007
35-33: December 18, 2007
32-31: December 19, 2007
30-29: December 20, 2007
28-27: December 21, 2007
26-21: December 23, 2007
20-16: December 25, 2007
15-11: December 28, 2007
10-6 : December 30, 2007
5-1 : December 31, 2007
Monday, December 31, 2007
5. The National - Boxer
The National's previous album, Alligator, showed a ton of potential, particularly in its best songs, but there were a few throwaways. Still, it garnered much critical acclaim and made its followup a highly anticipated affair. Boxer delivers on that potential, and even improves upon it to the point of being an almost perfect album.
"Fake Empire" is a brilliant opener, and perhaps the album's finest song, but that doesn't mean there's a dropoff in quality after that. There's not a single song here that isn't essential, with "Start a War" being its other major highlight, and the sum total is an intelligent and introspective album that leans towards indie rock's mellower, even more romantic, side.
4. Modest Mouse - We Were Dead Before the Ship Even Sank
Let's just get this out in the open right away...this is a tremendous album. All of the Modest Mouse loyalists who think their last two albums are disappointing need to just get a grip and accept that the band is evolving, and that doesn't necessarily mean selling out. There are plenty of quality indie rock bands who maintain a sound that is still accessible to more mainstream ears. It's just that Modest Mouse didn't used to be one of those bands, and now they are.
This is a brilliant album, that is strong throughout its entire 60+ minutes. Despite being more accessible than its predecessors, the trademark Modest Mouse quirkyness is still present in full force. Not to mention that the versatility that has always made this band so great is still on display, combining indie radio-friendly tunes like "Dashboard" and "Florida" with thrashing rockers "Fly Trapped in a Jar" and "Spitting Venom", and the pleasantly mid-tempo "Missed the Boat" and "People as Places as People".
3. Of Montreal - Hissing Fauna, Are You the Destroyer?
Of Montreal's sound had shown some potential to my ears for a while, but on Hissing Fauna, Are You the Destroyer? they really deliver. The subject matter here are the difficult times that band leader Kevin Barnes has gone through in the past few years, most importantly the breakup of his marriage and subsequent depression. Despite this, it's an upbeat and infectiously catchy pop album, that still manages to capture the despair of Barnes' recent experiences.
Highlights include album opener "Suffer for Fashion", the pop brilliance of the curiously titled "Heimdalsgate Like a Promethean Curse", and the hilariously bitter "She's a Rejecter", on which Barnes sings "There's the girl that left me bitter, want to pay some other girl to just walk up to her and hit her...but I can't, I can't, I can't!" Pure pop genius.
2. Band of Horses - Cease to Begin
Band of Horses' debut, Everything All the Time, was impressive, but their sophomore effort, Cease to Begin, is outstanding. I don't know of another album that starts as strong as this one, with the first four tracks, "Is There A Ghost", "Ode to LRC", "No One's Gonna Love You" and "Detlef Schrempf" all being certifiable eagles.
Despite the strength of the first half, the remainder still does not disappoint, as every minute of this brief 35-minute affair is absolutely breathtaking, highlighted by Ben Bridwell's soaring falsetto, plenty of reverb, and more shimmering guitar hooks than one could ask for. Positively stunning and goosebump inspiring. If you don't love this album...well, there's nothing I can do for you.
1. Cloud Cult - The Meaning of 8
I won't make the same claim regarding The Meaning of 8 that I did about Cease to Begin. This is not for everyone, but it certainly is, without a doubt, the album of the year for me.
The album's liner notes discuss the album's title in the context of Carl Jung's philosophy regarding the universal meaning of the number 8. However, the album's true meaning is revealed on its seventh track, "Your 8th Birthday", as singer Craig Minowa repeatedly belts out the name Kaidin, his infant son who died of unknown causes in 2002. Kaidin would've turned 8 this year.
The Meaning of 8 isn't the first time Minowa has included his son's death as at least the partial focus of an album, but this loss is never shared so eloquently as it is here. Admittedly, I have a soft spot for such subject matter, but this is my album of the year on the strength of its music as well...an overdose of cerebral, quirky and at times symphonic indie rock that is a pleasure for its entire 64 minutes.
The National's previous album, Alligator, showed a ton of potential, particularly in its best songs, but there were a few throwaways. Still, it garnered much critical acclaim and made its followup a highly anticipated affair. Boxer delivers on that potential, and even improves upon it to the point of being an almost perfect album.
"Fake Empire" is a brilliant opener, and perhaps the album's finest song, but that doesn't mean there's a dropoff in quality after that. There's not a single song here that isn't essential, with "Start a War" being its other major highlight, and the sum total is an intelligent and introspective album that leans towards indie rock's mellower, even more romantic, side.
4. Modest Mouse - We Were Dead Before the Ship Even Sank
Let's just get this out in the open right away...this is a tremendous album. All of the Modest Mouse loyalists who think their last two albums are disappointing need to just get a grip and accept that the band is evolving, and that doesn't necessarily mean selling out. There are plenty of quality indie rock bands who maintain a sound that is still accessible to more mainstream ears. It's just that Modest Mouse didn't used to be one of those bands, and now they are.
This is a brilliant album, that is strong throughout its entire 60+ minutes. Despite being more accessible than its predecessors, the trademark Modest Mouse quirkyness is still present in full force. Not to mention that the versatility that has always made this band so great is still on display, combining indie radio-friendly tunes like "Dashboard" and "Florida" with thrashing rockers "Fly Trapped in a Jar" and "Spitting Venom", and the pleasantly mid-tempo "Missed the Boat" and "People as Places as People".
3. Of Montreal - Hissing Fauna, Are You the Destroyer?
Of Montreal's sound had shown some potential to my ears for a while, but on Hissing Fauna, Are You the Destroyer? they really deliver. The subject matter here are the difficult times that band leader Kevin Barnes has gone through in the past few years, most importantly the breakup of his marriage and subsequent depression. Despite this, it's an upbeat and infectiously catchy pop album, that still manages to capture the despair of Barnes' recent experiences.
Highlights include album opener "Suffer for Fashion", the pop brilliance of the curiously titled "Heimdalsgate Like a Promethean Curse", and the hilariously bitter "She's a Rejecter", on which Barnes sings "There's the girl that left me bitter, want to pay some other girl to just walk up to her and hit her...but I can't, I can't, I can't!" Pure pop genius.
2. Band of Horses - Cease to Begin
Band of Horses' debut, Everything All the Time, was impressive, but their sophomore effort, Cease to Begin, is outstanding. I don't know of another album that starts as strong as this one, with the first four tracks, "Is There A Ghost", "Ode to LRC", "No One's Gonna Love You" and "Detlef Schrempf" all being certifiable eagles.
Despite the strength of the first half, the remainder still does not disappoint, as every minute of this brief 35-minute affair is absolutely breathtaking, highlighted by Ben Bridwell's soaring falsetto, plenty of reverb, and more shimmering guitar hooks than one could ask for. Positively stunning and goosebump inspiring. If you don't love this album...well, there's nothing I can do for you.
1. Cloud Cult - The Meaning of 8
I won't make the same claim regarding The Meaning of 8 that I did about Cease to Begin. This is not for everyone, but it certainly is, without a doubt, the album of the year for me.
The album's liner notes discuss the album's title in the context of Carl Jung's philosophy regarding the universal meaning of the number 8. However, the album's true meaning is revealed on its seventh track, "Your 8th Birthday", as singer Craig Minowa repeatedly belts out the name Kaidin, his infant son who died of unknown causes in 2002. Kaidin would've turned 8 this year.
The Meaning of 8 isn't the first time Minowa has included his son's death as at least the partial focus of an album, but this loss is never shared so eloquently as it is here. Admittedly, I have a soft spot for such subject matter, but this is my album of the year on the strength of its music as well...an overdose of cerebral, quirky and at times symphonic indie rock that is a pleasure for its entire 64 minutes.
Sunday, December 30, 2007
10. Andrew Bird - Armchair Apocrypha
For some reason, it took a few listens to really take to this one. I remember reading, earlier in the year on the Metacritic forums, that contributors were somewhat divided in whether or not to embrace Armchair Apocrypha's more guitar-based approach. The violin, Andrew Bird's primary instrument, while still featured, is not the primary emphasis, nor is his trademark whistling. But, these elements are all there, as are his cleverly odd lyrics with more than occasional scientific references, and they all come together to create another wonderful and cohesive collection of songs.
This is one of those albums that is so consistent that, it seemed everytime I listened to it, I changed my mind about my favorite songs. In the end, though, I'd say that "Imotosis", "Simple X" and "Scythian Empires" were the tracks that most frequently stood out, the latter two being among the songs with a greater emphasis on Bird's beautiful whistling.
9. Iron & Wine - The Shepherd's Dog
I really thought my admiration of Sam Beam and Iron & Wine had run its course. The debut, The Creek Drank the Cradle, was a masterpiece of stripped-down acoustic indie-folk. Nick Drake comparisons were thrown around loosely but not undeservedly. His work that followed, though, failed to live up to my expectations, partly because he had already perfected his formula, but also because the material just wasn't as good. The collaboration with Calexico, In the Reins, provided some hope, but I couldn't help but feel that Beam and Co. had run out of steam.
As it turns out, Iron & Wine have continued the momentum gained by In the Reins with their second best record yet, The Shepherd's Dog. Benefiting perhaps from the influence of Calexico, or from the fact that Beam replaced almost every member except himself, this album gets the full band treatment and pulls it off extremely well. While it still doesn't stray far from the original aesthetic of Iron & Wine, it is easily their most diverse record and I wouldn't even question anyone who considers it their best.
8. Sunset Rubdown - Random Spirit Lover
Spencer Krug is quickly climbing the ladder as one of my favorite musicians. If not for last year's Shut Up I Am Dreaming finishing at #11, this could have been the third straight year that an album on which he was featured made the top ten. Regardless, this is quite impressive, given it has all been accomplished in the post-downloading era.
That's what I've decided to call the time period from 2005 on. Just as Major League Baseball has the pre-segregation and post-segregation, and, of course, the pre-steroids and post-steroids, eras, music has pre- and post-downloading. Since the availability of massive amounts of music has become much more prevalent in this time period, making the top ten takes on greater meaning.
In the post-downloading era, only The Hold Steady, Sufjan Stevens, Andrew Bird and one other artist have made the top ten twice. Actually, that's quite a few, considering it's only three years we're talking about. Sunset Rubdown just misses that distinction, but no one has figured quite as prominently in all three years as Spencer Krug has, with Wolf Parade's Apologies to the Queen Mary being the third album I'm referring to.
7. Two Gallants - Two Gallants
Two Gallants' last album, What the Toll Tells, was good, but the singer's voice was even a little grating even for my taste. So, after a few too many listens, I grew a little tired of it, although I still honored it in my top 50. The songs on this, their self-titled third album, while not necessarily earning better reviews from the critics, are so good, in my opinion, that they overcome the same pitfall. In fact, the nature and subject matter of these songs make Adam Stephens' voice a perfect fit.
I've certainly listened to a lot of music that has addressed the subject, but this has to be my all-time favorite breakup album. It so exquisitely captures the typically competing feelings of bitterness, longing and regret that I considered sending a copy to a friend who ended a six-year relationship this year. But, that would've been risky, so I didn't. Still, if I were him, I would have found comfort in this album, as strange as that sounds, although I probably would have done so while drinking. So, I guess it's a good thing that the only breakup I experienced this year was from a 2+ month relationship.
6. The New Pornographers - Challengers
I'm not sure what it is that fans of this band are so disappointed with on this album. The formula has changed a bit...the music seems to be inspired by a mellower brand of pop than its more powerful predecessors. A.C. Newman claims it is a salute to early Roxy Music. I don't know enough about that band to really say either way...I'd be more apt to say I hear a little nod to E.L.O., although I'll admit that I seem to throw around that comparison a little too often. Regardless, all the ingredients that make everything New Pornographers sound so infectiously catchy are still here, and it makes for another brilliant album.
I've never been a fan of Dan Bejar, or his main band, Destroyer, the indie darlings that they are. I've always loved The New Pornographers despite him, on the strength of Newman's material, not to mention Neko Case's compelling voice. Maybe one of the factors that makes this album so great to me is that I actually really like Bejar's contributions, even to the point that I'm considering putting one of his songs on my year-end mix.
For some reason, it took a few listens to really take to this one. I remember reading, earlier in the year on the Metacritic forums, that contributors were somewhat divided in whether or not to embrace Armchair Apocrypha's more guitar-based approach. The violin, Andrew Bird's primary instrument, while still featured, is not the primary emphasis, nor is his trademark whistling. But, these elements are all there, as are his cleverly odd lyrics with more than occasional scientific references, and they all come together to create another wonderful and cohesive collection of songs.
This is one of those albums that is so consistent that, it seemed everytime I listened to it, I changed my mind about my favorite songs. In the end, though, I'd say that "Imotosis", "Simple X" and "Scythian Empires" were the tracks that most frequently stood out, the latter two being among the songs with a greater emphasis on Bird's beautiful whistling.
9. Iron & Wine - The Shepherd's Dog
I really thought my admiration of Sam Beam and Iron & Wine had run its course. The debut, The Creek Drank the Cradle, was a masterpiece of stripped-down acoustic indie-folk. Nick Drake comparisons were thrown around loosely but not undeservedly. His work that followed, though, failed to live up to my expectations, partly because he had already perfected his formula, but also because the material just wasn't as good. The collaboration with Calexico, In the Reins, provided some hope, but I couldn't help but feel that Beam and Co. had run out of steam.
As it turns out, Iron & Wine have continued the momentum gained by In the Reins with their second best record yet, The Shepherd's Dog. Benefiting perhaps from the influence of Calexico, or from the fact that Beam replaced almost every member except himself, this album gets the full band treatment and pulls it off extremely well. While it still doesn't stray far from the original aesthetic of Iron & Wine, it is easily their most diverse record and I wouldn't even question anyone who considers it their best.
8. Sunset Rubdown - Random Spirit Lover
Spencer Krug is quickly climbing the ladder as one of my favorite musicians. If not for last year's Shut Up I Am Dreaming finishing at #11, this could have been the third straight year that an album on which he was featured made the top ten. Regardless, this is quite impressive, given it has all been accomplished in the post-downloading era.
That's what I've decided to call the time period from 2005 on. Just as Major League Baseball has the pre-segregation and post-segregation, and, of course, the pre-steroids and post-steroids, eras, music has pre- and post-downloading. Since the availability of massive amounts of music has become much more prevalent in this time period, making the top ten takes on greater meaning.
In the post-downloading era, only The Hold Steady, Sufjan Stevens, Andrew Bird and one other artist have made the top ten twice. Actually, that's quite a few, considering it's only three years we're talking about. Sunset Rubdown just misses that distinction, but no one has figured quite as prominently in all three years as Spencer Krug has, with Wolf Parade's Apologies to the Queen Mary being the third album I'm referring to.
7. Two Gallants - Two Gallants
Two Gallants' last album, What the Toll Tells, was good, but the singer's voice was even a little grating even for my taste. So, after a few too many listens, I grew a little tired of it, although I still honored it in my top 50. The songs on this, their self-titled third album, while not necessarily earning better reviews from the critics, are so good, in my opinion, that they overcome the same pitfall. In fact, the nature and subject matter of these songs make Adam Stephens' voice a perfect fit.
I've certainly listened to a lot of music that has addressed the subject, but this has to be my all-time favorite breakup album. It so exquisitely captures the typically competing feelings of bitterness, longing and regret that I considered sending a copy to a friend who ended a six-year relationship this year. But, that would've been risky, so I didn't. Still, if I were him, I would have found comfort in this album, as strange as that sounds, although I probably would have done so while drinking. So, I guess it's a good thing that the only breakup I experienced this year was from a 2+ month relationship.
6. The New Pornographers - Challengers
I'm not sure what it is that fans of this band are so disappointed with on this album. The formula has changed a bit...the music seems to be inspired by a mellower brand of pop than its more powerful predecessors. A.C. Newman claims it is a salute to early Roxy Music. I don't know enough about that band to really say either way...I'd be more apt to say I hear a little nod to E.L.O., although I'll admit that I seem to throw around that comparison a little too often. Regardless, all the ingredients that make everything New Pornographers sound so infectiously catchy are still here, and it makes for another brilliant album.
I've never been a fan of Dan Bejar, or his main band, Destroyer, the indie darlings that they are. I've always loved The New Pornographers despite him, on the strength of Newman's material, not to mention Neko Case's compelling voice. Maybe one of the factors that makes this album so great to me is that I actually really like Bejar's contributions, even to the point that I'm considering putting one of his songs on my year-end mix.
Friday, December 28, 2007
15. Bloc Party - A Weekend in the City
I seem to have a tendency of discovering bands one album after their critical breakthrough. A few examples that jump to mind from 2006...Joanna Newsom, Cat Power, The Futureheads. The previously mentioned Beirut would also be a pretty good example of this, but Bloc Party would have to be considered an exception.
If I remember correctly, I wrote off Silent Alarm after one listen, but thankfully returned to it later in the year and had a decidedly different experience. I was captivated by their combination of hook-laden arty brit-pop and emotionally charged ballads. One of the common criticisms of A Weekend in the City is that it doesn't show off the band's versatility as much as the debut. Regardless, it's an impressive followup that builds on the their obvious strengths, the most important of those being wrapping heartfelt lyrics around powerful songs with gorgeous melodies. A prime example is Kele Okereke's declaration on "Waiting for the 7:18" that "If I could do it again, I'd make more mistakes, I'd not be so scared of falling...I'd climb more trees, I'd pick and I'd eat more wild blackberries". But, the album's most impressive moment, and possibly my song of the year, is the nostalgic "I Still Remember", which powerfully evokes images of the sadness of reminiscing about past regrets, but still somehow maintains a certain hopefullness.
14. The Apples in Stereo - New Magnetic Wonder
Ever since I first heard The Apples in Stereo, on 1997's Tone Soul Evolution, I've been waiting for them to make an album that combines the eclecticism and pop genius, respectively, of their Elephant 6 brethren The Olivia Tremor Control and Neutral Milk Hotel. Of course, my reference point wasn't that specific back then because I hadn't yet heard of either of those two other bands. However, I felt knew a little something about their potential.
Well, those overwhelming expectations may, in fact, be a little out of the Apples' reach, but New Magnetic Wonder comes about as close as they could possibly get. Since it's pretty obvious that they wear their Beatlesque pop influences on their sleeves, this would be their Sgt. Pepper's...an album with sounds all over the map, that combines catchy pop with psychedelic soundscapes, coming across serious at times and just plain fun-loving at others.
13. The Shins - Wincing the Night Away
Although it does seem that fans of The Shins are in different camps as to whether Wincing the Night Away is another blast of wonderful power-pop, albeit more slickly produced that its predecessors, or a disappointing sellout, about the only negative thing I can say about it is that it took four years to complete. Although not quite as good as Chutes Too Narrow, my personal favorite, or Oh, Inverted World, I would definitely fall into the former category. Despite a couple songs that I would consider throwaways, this album does not disappoint, especially on "Australia", "Phantom Limb" and "Turn on Me".
12. Okkervil River - The Stage Names
I knew Black Sheep Boy, my album of the year in 2005, was going to be a tough act to follow. The Stage Names proves that Okkervil River is more than capable of building on the momentum of that masterpiece...musically, at least. Conceptually is where this album falls way short of its predecessor, but that's really an unfair comparison. If you care to catch up on why I feel that way, you can do so here.
The highlights are impressive, and they include "Our Life Is Not a Movie or Maybe", "Savannah Smiles" and "A Girl in Port". I could have done without the pseudo-cover of the Beach Boys' "Sloop John B" that is "John Allyn Smith Sails", which closes the album. Given my affinity towards albums that start and end strongly, this may have prevented this one from cracking the top ten.
11. M.I.A. - Kala
After M.I.A.'s (aka Maya Arulpragasam) debut Arular, I figured she was a one-shot deal for me. Sometimes there's an intangible element that drives my enjoyment of a particular album or artist at a specific moment in time that can never be captured again. While I assumed that was the case with Arular, Kala turned out to be just as good, if not better.
Definitely outside of my realm, I have a difficult time describing what M.I.A. is all about, and it is certainly no easier to explain what it is I like about her music, but I do appreciate this description from allmusic.com:
"Kala and Arular are similar in that they are both wildly vigorous and wholly enjoyable albums, generous with blunt-force beats, flurries of percussion, riotous vocals (with largely inconsequential lyrics), and fearless stylistic syntheses that seem to view music from half of the planet's countries as potential source material."
I seem to have a tendency of discovering bands one album after their critical breakthrough. A few examples that jump to mind from 2006...Joanna Newsom, Cat Power, The Futureheads. The previously mentioned Beirut would also be a pretty good example of this, but Bloc Party would have to be considered an exception.
If I remember correctly, I wrote off Silent Alarm after one listen, but thankfully returned to it later in the year and had a decidedly different experience. I was captivated by their combination of hook-laden arty brit-pop and emotionally charged ballads. One of the common criticisms of A Weekend in the City is that it doesn't show off the band's versatility as much as the debut. Regardless, it's an impressive followup that builds on the their obvious strengths, the most important of those being wrapping heartfelt lyrics around powerful songs with gorgeous melodies. A prime example is Kele Okereke's declaration on "Waiting for the 7:18" that "If I could do it again, I'd make more mistakes, I'd not be so scared of falling...I'd climb more trees, I'd pick and I'd eat more wild blackberries". But, the album's most impressive moment, and possibly my song of the year, is the nostalgic "I Still Remember", which powerfully evokes images of the sadness of reminiscing about past regrets, but still somehow maintains a certain hopefullness.
14. The Apples in Stereo - New Magnetic Wonder
Ever since I first heard The Apples in Stereo, on 1997's Tone Soul Evolution, I've been waiting for them to make an album that combines the eclecticism and pop genius, respectively, of their Elephant 6 brethren The Olivia Tremor Control and Neutral Milk Hotel. Of course, my reference point wasn't that specific back then because I hadn't yet heard of either of those two other bands. However, I felt knew a little something about their potential.
Well, those overwhelming expectations may, in fact, be a little out of the Apples' reach, but New Magnetic Wonder comes about as close as they could possibly get. Since it's pretty obvious that they wear their Beatlesque pop influences on their sleeves, this would be their Sgt. Pepper's...an album with sounds all over the map, that combines catchy pop with psychedelic soundscapes, coming across serious at times and just plain fun-loving at others.
13. The Shins - Wincing the Night Away
Although it does seem that fans of The Shins are in different camps as to whether Wincing the Night Away is another blast of wonderful power-pop, albeit more slickly produced that its predecessors, or a disappointing sellout, about the only negative thing I can say about it is that it took four years to complete. Although not quite as good as Chutes Too Narrow, my personal favorite, or Oh, Inverted World, I would definitely fall into the former category. Despite a couple songs that I would consider throwaways, this album does not disappoint, especially on "Australia", "Phantom Limb" and "Turn on Me".
12. Okkervil River - The Stage Names
I knew Black Sheep Boy, my album of the year in 2005, was going to be a tough act to follow. The Stage Names proves that Okkervil River is more than capable of building on the momentum of that masterpiece...musically, at least. Conceptually is where this album falls way short of its predecessor, but that's really an unfair comparison. If you care to catch up on why I feel that way, you can do so here.
The highlights are impressive, and they include "Our Life Is Not a Movie or Maybe", "Savannah Smiles" and "A Girl in Port". I could have done without the pseudo-cover of the Beach Boys' "Sloop John B" that is "John Allyn Smith Sails", which closes the album. Given my affinity towards albums that start and end strongly, this may have prevented this one from cracking the top ten.
11. M.I.A. - Kala
After M.I.A.'s (aka Maya Arulpragasam) debut Arular, I figured she was a one-shot deal for me. Sometimes there's an intangible element that drives my enjoyment of a particular album or artist at a specific moment in time that can never be captured again. While I assumed that was the case with Arular, Kala turned out to be just as good, if not better.
Definitely outside of my realm, I have a difficult time describing what M.I.A. is all about, and it is certainly no easier to explain what it is I like about her music, but I do appreciate this description from allmusic.com:
"Kala and Arular are similar in that they are both wildly vigorous and wholly enjoyable albums, generous with blunt-force beats, flurries of percussion, riotous vocals (with largely inconsequential lyrics), and fearless stylistic syntheses that seem to view music from half of the planet's countries as potential source material."
Tuesday, December 25, 2007
20. Bright Eyes - Cassadaga
Conor Oberst is either a precocious genius or a pretentious asshole, depending on whose opinion you're soliciting. I would've thought myself to be in the latter camp until I heard I'm Wide Awake, It's Morning in 2005. Maybe asshole is a little strong, but emo- followed by a very unflattering and non-PC term questioning his sexuality is probably more accurate. However, Wide Awake was an absolute indie-pop meets roots-rock masterpiece, and Cassadaga proves to be a worthy followup. I can understand how his overly emotional, sometimes quivering voice and occasionally self-important lyrics can grate on people, but both of these albums have simply got better and better with each successive listen.
I've often remarked about albums that are anchored by a few outstanding tracks that keep me coming back to it, and eventually the rest of the material grows on me and proves to be almost as good. I would consider this to be the case with Wide Awake, but in this instance that momentum carried right on through to the next album. Cassadaga's standouts, "Four Winds", "If the Brakeman Turns My Way", "Soul Singer in a Session Band" and "Classic Cars", while not as overwhelming as those from its predecessor, certainly served that purpose as well. I'm even a big fan of some of the somewhat overdone stuff here, particularly "I Must Belong Somewhere", making this album truly worthy of top 20 status.
19. Kanye West - Graduation
I would have to say that Kanye West now qualifies as my favorite modern hip-hop artist, with two year-end list appearances in the last three years...although falling a bit short of the #18 ranking of last year's Ghostface Killah album, Fishscale, and of the distinction as my highest ranked hip-hop album ever.
Late Registration made my top 50 in 2005, but didn't rank nearly as high as this. I don't have access to all of my files right now, so I'm not exactly sure, but I think it came in at #43. I'm not sure if Graduation is that much better, or if it's just a matter of Late Registration being the album that set this one up for me. I do think, however, that this is a more consistent effort, as the latter contained a few songs that I loved, but definitely some moments that I could do without as well. In this case, Graduation's highlights, "Champion", "Good Life", "Can't Tell Me Nothing" and "Big Brother", are only offset by brief dropoffs like "Barry Bonds".
18. Ryan Adams - Easy Tiger
A sober Ryan Adams returns after a string of disappointing albums, or should I say from a spell of emphasizing quantity over quality in the past few years. Following the short-lived existence of Whiskeytown, Ryan's first solo album, 2000's Heartbreaker, was an absolute desert island disc, and it's followup, Gold, was quite good as well. Since then, it's been all downhill, with a few strong moments here and there, but with Easy Tiger, I'm ready to say he's returned to form and put out the second best solo album of his career.
Just about all of his talents are on display here, from the countrified "Goodnight Rose" and "Tears of Gold" to the rocking "Halloweenhead", but most of all on the tracks that are most reminiscent of his best work, "Oh My God, Whatever, Etc." and "I Taught Myself How to Grow Old". I'm sure Ryan isn't finished with his attempts to reinvent himself, but hopefully the increased focus he seems to have achieved here will continue. I'm fairly optimistic that it will.
17. Spoon - Ga Ga Ga Ga Ga
Spoon's 2005 album, Gimme Fiction, was where I jumped on the bandwagon. It was a solid effort, but only scratched the surface in helping me to understand what the fuss was all about. This was another case of a record that loyalists considered a minor disappointment, so it might not have been the best starting point. Ga Ga Ga Ga Ga, despite its weak title, does a better job of putting all of this band's talents on display.
While probably not considered to be quite as good as Girls Can Tell, this album shows off the band's versatility, with songs like the brassy "The Underdog" and the exotic "My Little Japanese Cigarette Case" breaking some new ground, while "Don't Make Me a Target", "You Got Yr. Cherry Bomb" and "Finer Feelings" deliver the band's standard formula to near perfection.
16. Arcade Fire - Neon Bible
All the hype that preceded the release of the Arcade Fire's 2004 debut, Funeral, was probably what ruined it for me. I'm sure, as has been the case with many of the artists billed as indie-rock's "next big thing", there were Neutral Milk Hotel comparisons a plenty. To me, their ambitious, emotionally charged sound simply failed to deliver.
Sometimes lowered expectations can prove to be a blessing in disguise, as Neon Bible is everything that Funeral was supposed to be, despite not receiving quite the attention and critical acclaim. "Keep the Car Running" is almost perfect, and easily one of my favorite songs of the year. The rest of the album simply flows where Funeral seemed to meander, making it easily the superior album...in my opinion.
Conor Oberst is either a precocious genius or a pretentious asshole, depending on whose opinion you're soliciting. I would've thought myself to be in the latter camp until I heard I'm Wide Awake, It's Morning in 2005. Maybe asshole is a little strong, but emo- followed by a very unflattering and non-PC term questioning his sexuality is probably more accurate. However, Wide Awake was an absolute indie-pop meets roots-rock masterpiece, and Cassadaga proves to be a worthy followup. I can understand how his overly emotional, sometimes quivering voice and occasionally self-important lyrics can grate on people, but both of these albums have simply got better and better with each successive listen.
I've often remarked about albums that are anchored by a few outstanding tracks that keep me coming back to it, and eventually the rest of the material grows on me and proves to be almost as good. I would consider this to be the case with Wide Awake, but in this instance that momentum carried right on through to the next album. Cassadaga's standouts, "Four Winds", "If the Brakeman Turns My Way", "Soul Singer in a Session Band" and "Classic Cars", while not as overwhelming as those from its predecessor, certainly served that purpose as well. I'm even a big fan of some of the somewhat overdone stuff here, particularly "I Must Belong Somewhere", making this album truly worthy of top 20 status.
19. Kanye West - Graduation
I would have to say that Kanye West now qualifies as my favorite modern hip-hop artist, with two year-end list appearances in the last three years...although falling a bit short of the #18 ranking of last year's Ghostface Killah album, Fishscale, and of the distinction as my highest ranked hip-hop album ever.
Late Registration made my top 50 in 2005, but didn't rank nearly as high as this. I don't have access to all of my files right now, so I'm not exactly sure, but I think it came in at #43. I'm not sure if Graduation is that much better, or if it's just a matter of Late Registration being the album that set this one up for me. I do think, however, that this is a more consistent effort, as the latter contained a few songs that I loved, but definitely some moments that I could do without as well. In this case, Graduation's highlights, "Champion", "Good Life", "Can't Tell Me Nothing" and "Big Brother", are only offset by brief dropoffs like "Barry Bonds".
18. Ryan Adams - Easy Tiger
A sober Ryan Adams returns after a string of disappointing albums, or should I say from a spell of emphasizing quantity over quality in the past few years. Following the short-lived existence of Whiskeytown, Ryan's first solo album, 2000's Heartbreaker, was an absolute desert island disc, and it's followup, Gold, was quite good as well. Since then, it's been all downhill, with a few strong moments here and there, but with Easy Tiger, I'm ready to say he's returned to form and put out the second best solo album of his career.
Just about all of his talents are on display here, from the countrified "Goodnight Rose" and "Tears of Gold" to the rocking "Halloweenhead", but most of all on the tracks that are most reminiscent of his best work, "Oh My God, Whatever, Etc." and "I Taught Myself How to Grow Old". I'm sure Ryan isn't finished with his attempts to reinvent himself, but hopefully the increased focus he seems to have achieved here will continue. I'm fairly optimistic that it will.
17. Spoon - Ga Ga Ga Ga Ga
Spoon's 2005 album, Gimme Fiction, was where I jumped on the bandwagon. It was a solid effort, but only scratched the surface in helping me to understand what the fuss was all about. This was another case of a record that loyalists considered a minor disappointment, so it might not have been the best starting point. Ga Ga Ga Ga Ga, despite its weak title, does a better job of putting all of this band's talents on display.
While probably not considered to be quite as good as Girls Can Tell, this album shows off the band's versatility, with songs like the brassy "The Underdog" and the exotic "My Little Japanese Cigarette Case" breaking some new ground, while "Don't Make Me a Target", "You Got Yr. Cherry Bomb" and "Finer Feelings" deliver the band's standard formula to near perfection.
16. Arcade Fire - Neon Bible
All the hype that preceded the release of the Arcade Fire's 2004 debut, Funeral, was probably what ruined it for me. I'm sure, as has been the case with many of the artists billed as indie-rock's "next big thing", there were Neutral Milk Hotel comparisons a plenty. To me, their ambitious, emotionally charged sound simply failed to deliver.
Sometimes lowered expectations can prove to be a blessing in disguise, as Neon Bible is everything that Funeral was supposed to be, despite not receiving quite the attention and critical acclaim. "Keep the Car Running" is almost perfect, and easily one of my favorite songs of the year. The rest of the album simply flows where Funeral seemed to meander, making it easily the superior album...in my opinion.
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