Until, like, 1 PM Eastern tomorrow or something, you can get one of the greatest CDs of last year free online from the record label. Cool stuff!
Hullo again, the epicness continues, in the hopes to get to #1 before New Year’s. I don’t really need to do a recap of yesterday’s list cos it’s right down there (*points at post below*), but I’m going to anyway because I’m a Virgo. (*snort*)
THE LIST, THUS FAR
50. Fall Out Boy - Folie a Deux
49. Oasis - Dig Out Your Soul
48. Owl City - Maybe I’m Dreaming
47. Of Montreal - Skeletal Lamping
46. Counting Crows - Saturday Nights and Sunday Mornings
45. Sigur Rós - Með Suð í Eyrum Við Spilum Endalaust
44. The Raconteurs - Consolers of the Lonely
43. Juliana Hatfield - How to Walk Away
42. Lil Wayne - Tha Carter III
41. The Kills - Midnight Boom
So then, on to the next chapter. Ready? Okay then.
40. Man Man - Rabbit Habits
The third album by the Philadelphia group comes twirling out of the mist like a rabid carnival performer, drawing from elements of European folk music, Swordfishtrombones-era Tom Waits and the broad umbrella of experimental rock. The result is something akin to the soundtrack to a Tim Burton film about gypsies–it’s noisy and playful, creating a dark, cartoony atmosphere where barked lines like “you strut like a stallion but you fuck like a mule” seem fitting and natural. The album is layered, adventurous and consistently interesting–the kind of unapologetic sound a band like Vampire Weekend claims to aspire to without reaching.
39. Shugo Tokumaru - Exit
Pop music is often a very simple thing, but the most striking aspect of this third album by the Tokyo-based singer/songwriter is how many crazy moving pieces it seems to have, all without losing a basic pop appeal. Winds, tonal and rhythmic percussion, keyboards and guitars all get layered over each other in dense arrangements that manage to all work together without sounding overly cluttered. The result is experimental, but in the same way Brian Wilson was experimental–nothing exists for the sake of itself. And the album isn’t entirely dissimilar from Beach Boys style sunshine, but with a bedroom-recording feel and a distinctly Asian spin–one that’s charming without beating you over the head.
38. Lambchop - OH (Ohio)
By album number ten, one knows basically what to expect from the Nashville octet, but it’s still impressive how artfully it’s delivered. Kurt Wagner’s low speak-singing perfectly suits his strangely elocuted story songs, full of loaded lines like “They said I was a ditzy housewife and I have crude opinions of unpracticed men” (from “National Talk Like a Pirate Day”). The backing for these tales is lush and soft–clean guitars swell and fade in twain with gentle piano and string lines. Even the most energetic songs have a mellow, laid-back feel that takes a cue from the engaging voice, but the melodies and arrangements are among the richest the band has created this decade, and no one else really does what they do at all, let alone as well.
37. Bonnie “Prince” Billy - Lie Down in the Light
After two very impressive efforts–the lean, muscular Superwolf with Matt Sweeny and the textured, ambitious The Letting Go with Dawn McCarthy–Will Oldham pulls things in a bit, turning in a set of country-folk tunes that are some of his lightest work under the BPB name. Foiled vocally this time out by Ashley Webber (formerly of The Organ), Oldham’s voice sounds strong, which supports the brighter flavor in the lyrics as a whole (as opposed to, say, I See a Darkness). The music is built around acoustic guitars, but given flavor by a ton of neat touches, like the cool winds on “(Keep Eye On) Other’s Gain.” With each new turn, Oldham continues to impress and this record stands among his strongest material, even if it’s subtler than its predecessors.
36. Drive-By Truckers - Brighter Than Creation’s Dark
Calling a 19 track, 75 minute album “stripped back” seems counterintuitive, but Drive-By Truckers are a pretty indulgent band to begin with. That’s served them well (name another band that could actually pull off a 2-disc rock opera about Lynryd Skynyrd, seriously), but here they’ve returned to the more traditionally southern side of southern rock in their most straight-up country record since Pizza Deliverance. The result is an extremely accomplished band playing to their obvious strengths–the three vocalists frame their gin-soaked songs with their own distinct characters and the record never drops, even across its epic length, which is pretty damn impressive. Few bands of this type have had a career near this consistent and this album marks another in a string of great efforts from this Georgia collective.
35. Panic at the Disco - Pretty. Odd.
It’s true that the territory on this record has been mined before–bands have been ripping off The Beatles since the mid ’60s–but there are two things that make this record actually work. First, the fact that it’s such a sharp turn from the band’s skittering, a-melodic debut–there’s a real sense of artistic growth, even if it just means drawing from better influences. More important, though, is the light-hearted naivete the thing is soaked in. This is the sound of kids (half the band was not yet of drinking age when this was made) hearing the greats for the first time and thinking “Hey, I should try that!” without any of the context that burdens most groups. And seen in that light, the result is surprisingly catchy (see: “Mad as Rabbits”) and even pretty (see: “Northern Downpour”). I’d be loathe to call it great art, but I’m not ashamed of the fact that I listened to this album a lot this year, and given how much I dislike the first one, that bears recognition.
34. TV on the Radio - Dear Science
In trying to think of ways to describe this record, the best term I can come up with is “neo new-wave.” It draws a lot from the same kind of art rock affectations as new-wave: snaky, mechanical rhythms, funk and jazz influences, etc, but balances this out with a warmer, more emotive edge (listen to “Golden Age” and try not to picture an NYC block party). Album number three seems to have perfected what the Brooklyn quintet were after on Desperate Youth, Bloodthirsty Babes and Return to Cookie Mountain. The album is coherent and entrancing and I can see why other lists have rated this one a lot higher, but I think, like the prior two, it’s going to take me a little time to really get my head around it. I kinda like that, though, that there’s more to this than is apparent right away.
33. The Mighty Underdogs - Droppin’ Science Fiction
The first album by a sort of underground hip-hop supergroup (featuring Lateef the Truth Speaker, Gift of Gab and Headnodic), this record is a dense and dizzying affair–the sound of three distinct talents playing off each other in complex and fascinating ways. The production is outstanding, incorporating thick layers of sound and melody across trip-hop rhythms (DJ Shadow even guests on “UFC (Remix)”)–even absent the accomplished emcees, the record never gets boring. And the rapping itself runs the gamut from the more straightforward social consciousness of “Folks” or “So Sad” to the crazy, wild escapism of “Gunfight” or “Science Fiction.” Even if it’s hard to find footing at times, it’s music like this that keeps hip-hop vital and interesting, even to someone for whom it’s still a slightly foreign culture.
32. The Gutter Twins - Saturnalia
If you didn’t know, the Gutter Twins is a dream-team collaboration between Mark Lanegan and Greg Dulli, two of the most atmospheric and enduring musicians to come out the grunge heyday. The result, naturally, is an atmospheric, dark record with huge presence. Dulli takes the lead in the project and the thing drips with the gothic trashiness he does so wonderfully, but it’s infused with a guttural strength that’s Lanegan’s forte. The duo’s slightly twisted stories (”It’s alright to drag the lake and find the things you love”) get filtered through epic yet hazy guitars, throbbing bass and brooding strings. It’s a supreme night album, equal parts chilling and sensual, and bodes extremely well for any future collaboration these two might get to.
31. Titus Andronicus - The Airing of Grievances
Marshall covered this one pretty well, but I’ll throw my two cents in. It’s true Patrick Stickles does bear certain resemblance to Conor Oberst–he’s young, literarily smart, and beholden to strong emotions that cause him to wail out naked lines like “There is nothing I’ve ever done I didn’t learn to be ashamed of.” But unlike Mr Oberst, he’s not depressed about things–he’s pissed the fuck off. The songs on this album plummet forward like war marches, guitars and other sounds flying everywhere like wild sparks. Even during slow moments, as on “No Future, Part One,” there’s an impressive space and weight to the proceedings that create a force to be wrangled with. I’m immensely curious what the follow up to this fierce, intelligent headphones record will be–if it’s near this strong, this band could be huge.
Okay then. Three more days to go! (Phew.)
Because now is as good as time as any!
I figured I’d post my Best of ‘08 post before Sarah, because hers is going to be a lot more complete than mine.
Here goes!
Titus Andronicus - The Airing of Grievances
I have a full review here, but that said, The Airing of Grievances is a really full on awesome record. It’s complete with existential crises, Camus references, and really great borderline shoegaze guitar work. And it even has a Don’t Dread on Me flag on the album cover. The things you miss when you don’t buy CD copies!
Ted Leo + The Pharmacists - Treble in Trouble + Rapid Response
Ted Leo released to EPs this year, Treble in Trouble and Rapid Response. Both are very political and very much in the style of classic Ted Leo. Coming from someone who usually doesn’t do well with crazy wild political songs, Ted Leo still manages to blow me away. The songs all have that infectious sound found on Chisel albums, too, which is always nice.
REM - Accelerate
REM’s released some really bad music recently. Fortunately, Accelerate isn’t part of it. And maybe it’s just that I always wanted to forgive them, but I actually really liked Accelerate as a CD.
Like Accelerate, I haven’t seen Third on as many Best Of lists for the year as I thought I would. But that doesn’t matter! Third’s a really strong release and it’s what introduced me to the band, so I owe it some thanks.
Girl Talk - Feed the Animals
I think all that needs to be said is: wow, sampling. Also, I feel the need to post the link to this Girl Talk blog entry here
Dandy Warhols - …Earth to the Dandy Warhols…
Like Feed the Animals, …Earth… is just really, for the most part, fun to listen to. I can’t complain. And seeing them live on the tour for supporting the album was great too. Just completely fun.
Have a Nice Life - Deathconsciousness
This is probably my favorite release of the year. I mentioned it earlier this year, actually. But even now, on December 12th, I haven’t listened to anything that’s surpassed it. It sounds great on repeat listens and it’s a very charming, in a dark way, record.
Well, sort of new. Titus Andronicus (previously profiled here) has released a cover of a song from a band called Spider Bags. They swear that Spider Bags is a terrifically awesome amazing band. I haven’t listened to them, but I’ll have to check them out now.
You can listen to, and download (!!!), the new song here. There also seems to be a bit of an interview included. You can listen to the original version by Spider Bags here.
Hat tip to El Pitchfork.
Wow.
So I haven’t even finished listening to this record yet, but…
Wow.
So this is really cool, right? Titus Andronicus and their CD The Airing of the Grievances are really cool! And I’m furious I don’t live in San Diego to see them with Ted Leo + The Pharmacists!
I’d heard about them a few months ago through Pitchfork or something. I remember thinking, “So, they have a track called Albert Camus [mah favorite author]. I should check this out.” But I didn’t/forgot until last night when I was looking around the GameFAQs Alternative board.
Titus Andronicus is a loud rock and roll band for fans of noise rock, shoegaze, garage rock, and, well, good music. Let’s face it. Titus Andronicus is for fans of good music! On GameFAQs, it was described as, “Bright Eyes if Bright Eyes was a rock band.” Having not been able to sit through a Bright Eyes record, I wouldn’t know. But we can say that that’s an adequate description if that means anything to anyone.
The band takes its name from a really gory Shakespeare tragedy that I have also, perhaps not by coincidence, not sat through! But I could sit through The Airing of the Grievances several times. Titus Andronicus manages to write some really bleak, (verbally) gory songs while managing to keep this infatuating pop sound. It’s great. Really great. Really fucking great! But since people have always been obsessed with comparing bands to one another, I should perhaps give this a more sportsman-like try than to say, “Wow, so I heard they sound like this band I’ve never had the taste for — according to someone on the internet that I don’t even know, anyway!” Their vocalist sounds a lot like J. Spaceman in a few songs. And if Spiritualized wrote a lot more songs like Borrowed Your Gun (or any of their other more gripping, loud, rockin’ songs), there would be even more similarities between Spiritualized and Titus Andronicus in terms of overall sound.
A sampling can be found here, so that you don’t have to suffer through more comparisons and, “Hey, this sounds sort of like…” statements.
Titus Andronicus - Titus Andronicus
Throw my guitar down on the floor
No one cares what I’ve got to say anymore
I didn’t come here to be damned with faint praise
I’ll write my masterpiece some other day
(Fuck everything, fuck me)I’m repeating myself again
Innovation, I leave to smarter men
Pretty melodies don’t fall out of the air for me
I’ve got to steal them from somewhere
But it doesn’t matter what you do
Or how hard you try
Now there’s nothing left for me to do except die
When they cut you up
And tell you that it’s not going to hurt
But they are not going to stop until they see you go to sleep in the dirtThere’ll be no more cigarettes
No more having sex
No more drinking until you fall on the floor
No more indie rock
Just a ticking clock
You have no time for that anymore
You better watch where you run your mouth
Because you know what they’ll say to youThey’ll say
Your life is over
