Top 10 Albums of 2000 - #1: Simple Kid - 2

It's rare that an album comes completely out of nowhere to impress me this much, but it happened twice this year, Panda Bear being one, this being the other. I first came across this before he opened for BRMC a few months ago, and I wanted to know whether I should get there in time for the opening act. It sounded good, I went, and was blown away. I immediately (legally) downloaded the album and couldn't stop listening to it for the next two weeks.

Virtually all self-recorded, he walks the line between traditional (Ballad of Elton John) and experimental (You); Bluegrass (Little King Kong), and metal (Mommy and Daddy); Folk (Old Domestic Cat), and Indie (Serotonin). Yet somehow, this has generated almost no buzz whatsoever. Not a single mention on Pitchfork. The new album doesn't even have an Amazon review. It's like I'm in some alternate universe where I'm the only person that's heard of this guy.

Start to finish, this album is a masterpiece. Some tracks stand out more than others, but they're nicely placed so that the album doesn't really reach a crescendo until the penultimate track, Mommy and Daddy, where Ciarn McFeely shows off his metal chops, no small feat for a one man act. Within the first week of owning this, I knew it was the best album of the year. It's simply fantastic.

Here's Serotonin, Ballad of Elton John, and Self Help Book.

Top 10 Albums of 2000 - #2: Panda Bear - Person Pitch

Another 2007 revelation, inspired by a Song of the Day post back in April, this was one I listened to a few times and thought was good. Then I got the urge to listen to it again sometime around October and was blown away. The opening triumvirate of Comfy in Nautica, Take Pills, and Bros are probably the three best opening tracks on any album I've ever heard, rivaling even OK Computer.

These songs are sounds, but not noise. They sound both carefully crafted and pulled from the ether at the same time. It's pure sonic bliss for the first 20 minutes. It gets a little goofy/experimental from there on, but closes nicely with Ponytail. It's hard to write too much about this one. It's unlike almost anything I've ever heard, but still quite familiar. It's just basically fantastic.

Here's Comfy in Nautica, Bros, and someone's video for Take Pills:

Top 10 Albums of 2000 - #3: Spoon - Ga Ga Ga Ga Ga

Now we get to a band who's sound has really evolved over time. Their very early work was much more Pixies influenced, much rougher. It's a sound so foreign to their newer fans that they don't even play stuff from Telephono in concert anymore, or at least they haven't at any of the shows I've been to in the last few years.

The result of that evolution is Gax5, and it's arguably their best to date. I say arguably because I think it's a question of peak value vs. consistency. "You Got Yr. Cherry Bomb", "the Underdog", and "Finer Feelings" are as good as anything they've ever done, and maybe the best three songs to appear on the same album. That said, I don't think it's consistently good as Gimme Fiction. Start to finish, I'll take their last album. I'm not a huge fan of "the Ghost of You Lingers", "Eddie's Raga", or "Japanese Cigarette Case", and they tend to stick out surrounded by such excellent tracks. But the quality of those top three, along with "Don't You Evah" and "Black Like Me" push this into the upper echelon of 2007 releases.

Here's Don't You Evah, Black Like Me, and Cherry Bomb.

Top 10 Albums of 2007 - #4: Super Furry Animals - Hey Venus!

It's kind of strange to think about a favorite band as being "under the radar", then realizing that they've got eight full length albums, a rarities collection, and a singles compilation. Generally bands that stay under the radar don't stick around long enough to be that prolific. But Hey Venus! marks the bands eight album, and fourth in the last five years or so.

Much like their last album, Love Kraft, Gruff Rhys shares the vocal duties with Huw Bunford ("Battersea Oddessy") and Cian Ciaran ("Carbon Dating", which sounds a lot like his Acid Casuals song "Bowl Me Over"). This might be their most pop-friendly album since, well, maybe ever. After the brief introduction of "Gateway Song", the album launches into the two most consumer friendly tracks on the album, "Run Away" and "Show Your Hand", before settling down with the mellowed out "Gift that Keeps Giving".

Like a lot of SFA albums, except for maybe Rings Around the World and Phantom Power, it tails off a little bit at the end, and you'll probably find yourself listening to the first seven tracks a lot, and the last four tracks not so much. That's not to say they aren't great tracks, but they tend to require the right mood, whereas a song like "Run Away" sounds good no matter what you're in the mood for. There are no real epic, defining tracks here, like Love Kraft's "Lazer Beam", Phantom Power's "Slow Life", or Rings' "Receptacle for the Respectable" or "Run, Christian, Run". But start to finish, it's on par with all of those albums.

Here's Run-Away; Show Your Hand (you have to sit through a minute or so of chat, but you'll get a cool glimpse of "God, Show Me Magic"); and the Gift that Keeps on Giving.

Top 10 Albums of 2007 - #4a: Earlimart - Mentor Tormentor

Alright, mea culpa, I forgot this one when I put my original list together, and I'm shoehorning them into roughly the spot they would have had if I hadn't been an idiot. Now that that's out of the way...

Earlimart returns with the third full-length of the Aaron Espinoza fronted era, and start to finish, it's their strongest outing to date. They've retained the knack for finding just the right ambient noise to back their stronger tracks, and even amplified by touring (briefly) with a string quartet. This is most notable on "Answers & Questions". They've moved away somewhat from the feedback heavy tracks like "Unintentional Tape Manipulations" and "Lost at Sea" from previous albums, and moved toward more piano and softer vocals, which suits not only Espinoza's ability, but Ariana Murray's, who contributes lead vocals on "Happy Alone", and shares them on "the World".

There's nothing here as sumblime as "Heaven Adores You" from the last album (though "Answers & Questions" is close), but the album is their most consistent to date. Every track is solid, and the pacing is excellent. No videos this time, but you can stream the whole album at their site.

Top 10 Albums of 2007 - #5: The Broken West - I Can't Go On, I'll Go On

The first full length from The Broken West, once known as the Brokedown until they found out they shared the name with a Chicago band. They hold the record as the band I've seen the most in a single year. I saw them initially when they opened for the Walkmen early in the year, then a month or so later when they headlined. They came back in the summer to play the Taste of Randolph Street festival, and hit the town once again with the Whigs in late October. The nice thing about listening to indie stuff is that one can actually afford to see the same band a bunch of times in the same year.

This is simply good, straightforward indie pop/rock, and it's very impressive for a debut. And it's very West Coast. While bands like Beulah captured the San Francisco Sound, the Broken West are much more L.A. Laid back groovy pop-songs like You Can Build an Island and Slow are set among the driving pop beats of So It Goes and On the Bubble, and the almost country sounding Abigail.

There's really not much more I can say. It's not complicated. It's not groundbreaking. This album just does what it sets out to do very, very well. Here's the studio version of Down in the Valley, a live version of So it Goes, and a live version of You Can Build an Island:

Top 10 Albums of 2007 - #6: The Apples in Stereo - New Magnetic Wonder

After a five year hiatus, which saw side projects from both Hilarie Sidney and Robert Schneider, as well as the end of their marriage, the Apples In Stereo returned with arguably their best album yet, and while Sidney is no longer a full fledged member of the band, she lends vocals to a couple of the many excellent tracks on this album.

Every AiS record has sounded a little bit different than the one before. From the jangly pop of Tone Soul Evolution and Fun Trick Noisemaker, to the lilting pop of Her Wallpaper Reverie, to the feedback drenched Beach Boys melodies of Velocity of Sound, they've managed to alter their sound just enough to let you know that they had evolved since the last time you heard them. New Magnetic Wonder showcases Schneider's experiments with vocoders and other bits of technology, while still calling back to their past, maintaining the framework of melodic psych-pop that has shaped every album to a varying degree.

There's a little bit of everything here. The opener "Can You Feel It" would have sounded at home on Fun Trick Noisemaker. The more raw "Skyway" follows, a track that could have had a home on Velocity. "Same Old Drag" and "Play Tough" bust out the harmonies that were so prevelant on Tone Soul, while "Sun is Out" opens as a lo-fi low tempo track right out of Wallpaper, before becoming a campfire style sing-along. Sidney pitches in with Sundaal Song and Sunday Sounds. It's like a greatest hits album of all new material, if that makes any sense.

The album is replete with short little song breaks (Don't download this album unless you can get it for one price, and don't get it from Emusic). There's 24 tracks, but it plays as something closer to a tradition 12-14 track album. And typical of AiS, it's all stuff that really transfers well live. They put on a great show, and they're someone you should check out if you get the chance.

Here's Same Old Drag; Can You Feel It?; and a live acoustic version of Skyway:

Top 10 Albums of 2007 - #7: Radiohead - In Rainbows

A majority of the buzz surrounding this album was centered on Radiohead's method of delivery. What was somewhat left out was the fact that this is another really, really good album, probably their best since OK Computer which, let's face it, is probably an insurmountable piece of work for Radiohead. It's one of the three best albums of all time, and all of those people who say they like The Bends better are lying, and simply trying to be contrarian.

For those unaware, Radiohead offered this album for download a few months ago through their own website. For how much? Whatever you were willing to pay, including $0 if you were a dick. I paid £5, which I thought was fair. I'd much rather purchase music from the artist when possible, which is why I tend to stream a lot of stuff via Rhapsody, then wait until I see a band live to buy the CD whenever I can.

Unlike the last three albums on the list, this album feels like a bit of a departure for Radiohead, but it's hard to tell, since they've kind of been all over the map lately. However, they've toned down the experimentation a bit, and this album seems more instantly accessible than the previous three, though it's more down the path of Hail to the Thief than either Kid A or Amnesiac. Starts off quickly with 15 Step and Bodysnatchers, which are my two favorite songs on the album.

For the first time since OK Computer, it's not a chore to listen to an entire Radiohead album beginning to end. Here's the first two tracks mentioned above, plus Jigsaw Falling Into Place.

Top 10 Albums of 2007 - #8: The Shins - Wincing the Night Away

One of the biggest changes from the first two Shins albums to this one seems to be a little tweak in production. James Mercer's vocals have moved just a tiny bit more to the forefront. I don't necessarily think is either a positive or negative development. I kind of liked the first album's production, which made them seem like more of a collaborative affair, but you can definitely tell that the success of the band has allowed them to upgrade their recording.

Like albums 9 and 10 on this list, there's some gentle evolution here compared to the first two albums, but it's still very much a Shins record, and if you were to see them live, it wouldn't necessarily be readily apparent which songs were from which "era". But there's comfort in consistency, so I don't really think that's a negative. It's different enough to be fresh, but similar enough to be familiar (and I swear I didn't read the Pitchfork review right before using the words "comfort" and "familiar").

Sleeping Lessons and Australia are as good as anything they've ever done, and Phantom Limb was an excellent choice as lead single, as it introduced the bands' sound to new listeners very well. Beginning to end, there's a slow point or two. The "Black Wave/Split Needles" combo isn't may favorite part of the album, but I think they scored on their forays into new sounds on Sea Legs and Red Rabbits.

Here are Sleeping Lessons, Australia, and Turn on Me w/ Anita Robinson (Viva Voce) on the David Letterman show.

Top 10 Albums of 2007 - #9: New Pornographers - Challengers

Why it's in the top 10: Much like the #10 album, this was highly anticipated, and the show they played in July at Pitchfork prior to it's release only served to whet my appetite. And much like Ted Leo, you know what you're going to get with New Pornographers: Melodic power pop, terrific hooks, a mix of high energy up-tempo tracks and the occasional ballad.

Why it's not rated higher: All the same caveats apply about this being a particularly crowded field and whatnot. When putting this list together, a main criterion was simply how much I listened to the album, which was especially difficult considering most of the albums listed came out in the span of about two months. Sometimes this one had a hard time cracking the rotation, though there were certain songs that got played over and over again (like Myriad Harbor).

While it's an excellent album, it's not the transcendent masterpiece of the type that populate the top of the list. For my taste, it tended to go a little too heavy on the ballads or slower numbers. I count at least five. It was lifted by some excellent Bejar, including Myriad Harbor, which may be one of his best NP tracks to date, and the Spirit of Giving, his NP foray into down-tempo numbers. Quite honestly, they could put out a full Bejar album and I'd be perfectly happy. For my tastes, he's my favorite NP composer, and I think he's at his best when he's writing his NP material (except for maybe Streethawk, which is my favorite Destroyer album).

Ultimately it fits in pretty well with the rest of the New Pornographers oeuvre. 20 years from now, it may be difficult to tell which album a given song comes from. They haven't exactly undergone a Beatles-like transformation over four albums. And there's nothing wrong with that. They keep producing great music, and this album is another in that line. Here's some live stuff: Myriad Harbor, Mutiny I Promised You, and My Rights Vs. Yours from David Letterman:

Top 10 Albums of 2007 - #10 Ted Leo and the Pharmacists - Living with the Living

More than anything, this album suffered from timing, and high expectations. I didn't really start listening to Ted Leo until last summer (2006) at the Pitchfork Festival, but subsequently devoured both Hearts of Oak and Shake the Sheets. This was one of the most anticipated albums of 2007 for me. And while it's still a very good album (mediocre Ted is better than 99% of what's out there now), it didn't quite live up to the expectations I had following the previous two albums. Perhaps I was exiting a Ted phase at the point in time.

Still, all things considered, it really is an excellent album. It's got all of TL/Rx trappings. And infectious brand of indie punk with boundless energy, devastating hooks, and it plays great live. Still, when all was said and done, it just seemed like I didn't listen to it all that much this year. As I re-enter a Ted Phase, that will probably change.

Standout tracks are Sons of Cain, Colleen, The Unwanted Things, and the World Stops Turning.

Here's Bomb. Repeat. Bomb.; Sons of Cain (Live); and Who Do You Love (solo).

Begin the Countdown - Top 10 Albums of the Year

A few caveats. First, some of you may be surprised to learn that I don't get paid to review music. Shocking, I know, but it's the truth. As such, I don't routinely get free music sent to me. Second, partially due to the last point, I can't really review stuff I haven't listened to, so everything on this list consists of CDs I've either bought, or albums downloaded legally. Finally, there's a lot of stuff I've left out, because this has been a banner year for stuff I listen to. A lot of really top notch bands released new albums, which contributed mightily to the record number of shows I saw this year.

I'm going to start this list off with this year's honorable mentions. These albums are just outside the top ten. Some are surprises because I didn't expect to like them this much. Some are surprises because I didn't expect them to fall out of the top ten, but that's how good this year's crop was. So without further adieu (in alphabetical order):

Nicole Atkins and the Sea - Neptune City
Saw her open for the Raveonettes in October, and to be honest, if this had been something I'd heard on the radio, or saw on TV, I would not have picked them out as a band I'd listen to. But the live performance was really terrific. And the whole album is really entertaining. Here's the title track.


BRMC - Baby 81
A bit of a return to their hard rock roots, which is good and bad, considering the last album, the rootsier "Howl" had really grown on me. Anlthough this has some really good stuff on it, it's not my favorite BRMC album, and didn't quite rise into the top 10 this year. Here's Weapon of Choice:


Interpol - Our Love to Admire
Big surprise for me here, as I really like this album a lot, and it's probably number 11, but just wasn't quite good enough to crack the top 10. They put on a really good show, but it was at a really crappy venue, and the sound suffered as a result. Probably slid a bit due to the lyrics. I'm not usually a big lyrics guy, but some of these songs were kind of dopey on the lyrical end, especially Rest My Chemistry, which is essentially about whether Paul Banks can find the strength to screw a groupie. Anyway, here's another with questionable lyrics, No I in Threesome.

Grant Lee Phillips - Strangelet
For me, this album suffered from timing. I got it right around the time I was listening to a bunch of other stuff, and as the year comes to an end, I realize I haven't listened to it as much as I would have expected, but it's his best album since Mobilize. It's the most musically diverse and the most fun to listen to. Here's Raise the Spirit.


Rogue Wave - Asleep at Heaven's Gate
Another one I would have figured would be in the top 10, but was edged out by a crowded field. After a longer than expected hiatus while they waited for drummer Pat Spurgeon to heal from a kidney transplant, Zach Rogue and crew returned with their third album, and much like the first two, it's very good. Put on a very good show as well. Here's Lake Michigan.


The Whigs - Give 'Em All a Big Fat Lip
These last two are both albums that came out in 2006, and both from bands that I stupidly skipped seeing, even though I had tickets (they were opening acts), and I hadn't taken the time to listen to their albums enough before the shows. First up is this album from the Whigs, a trio from Athens, GA. I've since grown to really like it, and as the year ends, it's been in regular rotation the last few weeks. None of the Youtube videos are very good, so I'm posting the bad recording of my favorite song off of this album, the title track. They have a new album due out next month. Here's Give 'Em a Big Fat Lip.


Viva Voce - Get Yr Blood Sucked Out
Another 2006 album, though they did just re-release their previous two albums, 2003's Lovers Lead the Way, and 2004's The Heat Can Melt Your Brain. Still, this album is their masterpiece so far, and the video below is the best song off that album, and probably one of the three best songs to which I was introduced this year. It's From the Devil Himself.


So that's it for the honorable mentions. Tune in tomorrow for #10.