2008 Year-End List #5: Favorite Albums #20-1

Moving right along, here is the second half (you can find the first half here) of my 40 favorite albums of the year. You have been waiting all year for this, now here it is: numbers twenty through one.


(20) Devotion - Beach House (Carpark)
As the great snoozefest of '08, Beach House's sophomore outing, Devotion, is shockingly good. Surprising, as the band's fortes are organ drones, some secluded, twangy guitar, unnoticeable percussion or organ beats and the most tired of melodies. That's all there is to it. Yet, somehow, these songs are remarkable. The organ is huge and haunting, and I give Victoria Legrand's sense of sleepy melody an A+. Beaut.
Top jams: "Wedding Bell," "Turtle Island," "Astronaut"


(19) Dear Science - TV on the Radio (4AD/Interscope)
Upon first listen, I thought for sure this was going to be album of the year for me. Well, I was way off. Don't get me wrong, Dear Science is great and all, and easily TV on the Radio's most fun record. But, that's just the thing. 2006's Return to Cookie Mountain sucker punched me right in the belly, catching me unawares and compelling me to vomit affection all over it. I didn't know what hit me. It was strange and difficult and huge, and it only got better with each listen. Dear Science is easy-peasy. Every song is accessible, whether it be an upbeat and loud track, or a slightly experimental ballad. For me, the party tracks are the most difficult ones, and that is only because they aren't as good (with the exception of "Crying," which is simply awesome, in spite of its stupid title). Like I said, this is a very good record with very good songs and very good production. I just prefer Return to Cookie Mountain's version of TV on the Radio.
Top jams: "Crying," "Lover's Day"


(18) We Brave Bee Stings and All - Thao with the Get Down Stay Down (Kill Rock Stars)
My experience with this album could be comparible to that of last year's Papercuts album that I loved so much (Can't Go Back). They both appeared out of thin air, and barely any of my friends were knowledgeable of their existence. All I really know about Thao and her backing band, the Get Down Stay Down, is that they done good with We Brave Bee Stings and All. This is indie pop at its finest and most concise. The instrumentation (guitar, bass, drums, some keyboards) and structure of these songs are so basic, but Thao's quirky vocals and lyrics make things interesting. Throw in some nice guitar licks, a good drummer and some subtle horns and keys lightly sprinkled throughout, and we have ourselves a mighty fine record.
Top jams: "Big Kid Table," "Yes, So On and So On," "Fear and Convenience"


(17) Hercules and Love Affair - Hercules and Love Affair (DFA/Mute)
When it comes to electronic dance music, I just don't give a shit. But, when my friend Zach Curd recommends a brand new album (which never happens), I HAVE to check it out. I believe this is what they call disco, or even house music, right? Maybe both? Anyway, it took me a while to realize it, but Hercules and Love Affair are awesome, as is this self-titled album. There are some weird instances, like when Antony sings on several tracks (his voice is creepy). But, this is a really fun, good and funky dance album that I just cannot ignore. I can't believe I'm saying this, but it just might be my favorite dance record since Daft Punk's Discovery.
Top jams: "Time Will," "Hercules Theme," "Athene," "Iris"


(16) Let the Blind Lead Those Who Can See but Cannot Feel - Atlas Sound (Kranky)
Under his Atlas Sound alias, Bradford Cox shows us exactly what a bedroom pop album should be with Let the Blind Lead Those Who Can See but Cannot Feel. The lonesome-at-home recording venture is limiting, sure, but if the right equipment and amount of time are at hand, then imagine what can be accomplished. Let the Blind... is a prime demonstration of this. Bradford fucks around with song structure, recording procedure, tape experiments and various instruments and sounds, and creates something beautiful, challenging and worthwhile. If you haven't, listen to it with headphones.
Top jams: "Recent Bedroom," "River Card," "Quarantined," "Cold as Ice"


(15) The Chemistry of Common Life - Fucked Up (Matador)
I haven't listened to anything nearly as aggressive as The Chemistry of Common Life since the early 2000s, when I dug on more technically minded heavy bands such as The Blood Brothers, Botch, Shai Hulud and Strongarm. I never thought I would have gotten into a record like this again, but here I am. Though, it's not like Fucked Up have persuaded me to get passionate about punk rock and hardcore and other hostile genres of music again. There's just something about this particular album. It is simply bad ass huge, the drummer is awesome, and the guitars are ENORMOUS and at times sound utterly beautiful. These things combined with all the little quirks like flutes and keys and Vivian Girls singing back up vocals make The Chemistry of Common Life a behemoth of a punk record. It makes me want to have a violent yet unifying party with all my friends, where we wrestle and fight and laugh and love all at the same time. Fucked Up vocalist Pink Eyes will be our shouting ringleader.
Top jams: "Crooked Head," "No Epiphany," "Twice Born"


(14) Alopecia - Why? (Anticon)
I had no idea what to expect when I first heard Why's Elephant Eyelash during the summer of 2006. I was under the impression that Yoni Wolf and friends were just bizarre hip hop dudes. Little did I know that lyrical flow was only one minute detail of the band. I instantly loved Elephant Eyelash's bright indie pop as the backing to Yoni's melodic rap-sing, so Alopecia's darker, dirgier sounds took a bit for me to get used to. Seeing some of these songs performed live really helped (it's offensive how good Yoni's brother is at the drums). The album was a steady grower for me, and I have come to appreciate it for its less appealing yet still impressive musical tirade as much as its jaw-dropping lyrical flow.
Top jams: "Good Friday," "The Hollows," "Fatalist Palmistry," "Brook & Waxing"


(13) Real Emotional Trash - Stephen Malkmus and the Jicks (Matador)
90s indie rock's crowned prince returns with his forth album under his birth name, and it is truly a rock 'n roll album. Elements of Pavement can still be found in pretty much every song, but Stephen Malkmus seems to be moving away from slacker god status. Instead, he is making a home as an indie rock guitar hero. As for this Real Emotional Trash, it is half Pavement and half jammy bar band. This actually sounds like, and is, a great combination. The album's validity is turned up a notch thanks to some superb drumming, two outstanding pop songs, and a bunch of jammy ones that I can tolerate, let alone enjoy listening to.
Top jams: "Hopscotch Willie," "Cold Son," "Gardenia"


(12) Sea From Shore - School of Language (Thrill Jockey)
Sea From Shore was the first Field Music related release of 2008, coming from David Brewis, brother of The Week That Was' Peter Brewis. I am only slightly surprised that I prefer School of Language to TWTW, thus far. While Peter brought the beauty and catchiness to Field Music, Sea From Shore is proof that David brought the subtle complexity and quirky and original drumming. The album is all (mostly) rockin' guitars, weird time signatures and changes and distorted THUNDERDRUMS. Not to mention the songs are really good and melodies wonderful (though David is not his brother). Nice forays into writing albums on your own, Brewises. Now get your heads out of your asses, kiss and make up, and bring Field Music back, please. Make sure to wash your faces first, though.
Top jams: "Rockist, Pt. 1," "Disappointment '99," "This is No Fun"


(11) At Mount Zoomer - Wolf Parade (Sub Pop)
I had been anticipating the arrival of a second Wolf Parade album for quite a while by the time At Mount Zoomer was released. 2005's Apologies to the Queen Mary was an album of all albums, and by that I mean it is one of my absolute favorites over the past several years. I would say that At Mount Zoomer is an appropriate sophomore album, though not even close to Apologies' level of grandness. It is approrpriate in the way that Wolf Parade still sound like the band they once were in some ways, but have also taken some daring leaps of faith into new lands of sound, experimentation, structure and fantasy. What I love about the record is that the cheesy sounding yet catchy as shit synth melodes still show their faces from time to time, depending on the song. Also, much like on Apologies, all of Dan Boeckner's songs are awesome. Spencer Krug delivers some jams, like "Bang Your Drum," albeit the end of it sounding like a section of the original score to The Princess Bride, but Boeckner is moreso my guy. I blatantly do not like this nearly as much as that classic debut, but I shall not consider it a disappointment.
Top jams: "Soldier's Grin," "Language City," "Bang Your Drum," "The Grey Estates"


(10) Microcastle/Weird Era Cont. - Deerhunter (Kranky)
"BLAH BLAH BLAH, Deerhunter are the greatest newer band in all the world." That's what all the "important" music critics seemed to be saying, until all of a sudden they decided that TV on the Radio and Fleet Foxes were better. I never wanted to buy into the Deerhunter hype, and I still don't, entirely. But Microcastle is outstanding, so how could I avoid it? I'm not familiar with the band's earlier work, but from what I gather, this is way more up my alley anyway: slightly shoegazey, psychadelic indie pop as opposed to what, like noisy and spacey post-rock? Ah... complicating genres. Anyway, as of this year, I will not deny that Deerhunter are writing and recording albums that are both great and important. And, Microcastle's physical release tag-on, Weird Era Cont. is no detractor of that. I don't think it's as good (less complete, messy), but I don't think it's supposed to be. It is still worth investigating due to their being some sweet songs with cool ideas. Also, it is a neat way to show their appreciation for their fans, and that is commendable.
Top jams: "Agoraphobia," "Never Stops," "Nothing Ever Happened," "Operation," "Calvary Scars II/Aux. Out"


(9) All Together - Pattern is Movement (Hometapes)
Here is my random/out of the blue album of the year, right here. I knew nothing, I took a risk, and it turned out for the best. Pattern is Movement are two big, burley, bearded dudes, one behind some keyboards, the other behind a drumkit. The keyboards mix and match between Fender Rhodes and RPG-fairy-dust-twinkle-synth. And, for only two people, their sound is complex on this recording, as the songs are fleshed out with various string and horn arrangements. The melodies are slightly out there (in a good way), and dude's voice is great. Plus, this drummer is a rhythmic gargantuan. A spectacular surprise.
Top jams: "Bird," "Right Away," "Sea Captain," "Sound of Your Voice"


(8) Canopy Glow - Anathallo (Anticon)
Anathallo have ventured beyond Floating World's drama and fairy tales (which I loved) and are veering closer to the world of pop song. Canopy Glow still has traces of the drama (just listen to "The River," "Sleeping Torpor" and "Bells"), but all of the songs are much more about the grooves and textures instead of complex structures and the aspect of aural community. These changes are very much welcome ones to my ears. Floating World still rests deep inside of my heart, but I think Canopy Glow is the better album.
Top jams: "Noni's Field," "Northern Lights," "All the First Pages"


(7) Red, Yellow and Blue - Born Ruffians (Warp)
I see how Born Ruffians could be considered obnoxious, mainly due to the piercing, high pitched shout-sang vocals and all the clickity-clackity rim shots. However, these are things I really like about the band and their debut full length, Red, Yellow and Blue. Without them, they would be your run of the mill indie rock band who write pretty good songs. With them, they are a fascinatingly quirky band who somehow manage to be totally weird by using the most basic of rock band instrumentation (guitar, bass, drums), and also write really great songs. I have not stopped enjoying this since the beginning of the year.
Top jams: "Hummingbird," "Foxes Mate for Life," "In a Mirror"


(6) Heavy Meadows - Javelins (Suburban Sprawl)
With Heavy Meadows, Javelins have claimed the title as my favorite local band. Without question. This record is majestically mine. It jams with the artsy 80s, touches on The Sea and Cake, and is accentuated by some MBV. That the band is local and their record is on par with some of the real greats of the year is quite a feat, and makes me proud. I'm tellin' ya, I can feel a Javelins craze on the horizon. Just you wait.
Top jams: "Heavy Meadows," "The Pounding," "Roman Saints"


(5) You & Me - The Walkmen (Gigantic)
When I saw The Walkmen open for Spoon back in April, I knew their upcoming record was going to be nothing short of great. You & Me might have exceded most of my expectations (it's still up in the air if I can consider this my favorite album of theirs). What is missing is an all out jam of jams, like "We've Been Had" and "Everyone Who Pretended to Like Me is Gone" from the album of the same name, or "The Rat" and "Little House of Savages" from Bows & Arrows. "In the New Year" is the closest thing, which is a-ok, as it is an exceptional song. You & Me presents a spookier version of The Walkmen. They are floating around, indecisive, and they decided to create a really ALBUM album. This is the result, and what an album it is.
Top jams: "Donde Esta La Playa," "In the New Year," "I Lost You"


(4) Car Alarm - The Sea and Cake (Thrill Jockey)
Here is an album by The Sea and Cake. Car Alarm is exactly what I would expect as a follow-up to their 2007 masterpiece, Everybody. There are some similar elements between the two (pop sensibility, for one). In addition , there are some throwback moments, namely the blippity synth pattern on "Weekend," which hearkens back to The Fawn. The list goes on. All I'm saying, is THIS IS A RECORD BY THE SEA AND CAKE, whom I love with everything that is in me. I rest my case.
Top jams: "A Fuller Moon," "On a Letter," "Weekend," "Window Sills"


(3) Offend Maggie - Deerhoof (Kill Rock Stars)
I am slowly but surely getting to understand this Deerhoof band. It must be getting easier. Well, actually, I don't know about that, but at the very least, Offend Maggie has been the easiest album of theirs for me to fall for. Why? I think it's because underneath the unignorable vocals and other little weirdisms, two things that I really like are combined. They are 90s Chicago emo guitar chords and classic rock guitar sounds. A number of Offend Maggie's songs sound like The Who trying to play Cap'n Jazz or Joan of Arc songs. Seriously, I'm not even kidding. This is why it was easiest for me to get this album, and over time this understanding bloomed into immense admiration. I shiver and get the goosebumps when I think of the guitar playing and especially the drumming on these songs. What else has done that all year? Nothing.
Top jams: "Offend Maggie," "Family of Others," "Jagged Fruit"


(2) Water Curses EP - Animal Collective (Domino)
I know this is only an EP, but I HAD to include it, at such a high ranking, too. I believe, in my heart of hearts, that as of late December in 2008, Water Curses is the best thing Animal Collective has ever released. It only consists of four songs, all of which are gorgeous, awesomely strange in their own right, and most importantly, perfect. I need not explain any further.
Top jams: "Street Flash," "Cobwebs"


(1) Vampire Weekend - Vampire Weekend (XL)
Here it is, my favorite record of 2008. Are you disappointed in me? Am I some kind of trendy hipster dolt? Noooo... Vampire Weekend and their self-titled nugget of awesome is just that great! I totally buy all the hype! It isn't quite perfect, but that is only because the first six songs make it so incredibly top heavy that it's not fair. The songs during the second half are not forgettable by any means, but paired up against the first half, it's no contest. This said, I cannot refute the evident greatness of an album that I have listened to so often. And this is the one. The album I spent the most time with, the album I loved and tended to and sang along with more than any other. It's seen me through the good and the bad, snowy snow and sunny sun. Thanks be to you rich, prep school, sweater wearing dudes, for you just fucking nailed it in 2008. I hope against hope that this is not the end of your brilliance. Please ring true!
Top jams: "Mansard Roof," "Cape Cod Kwassa Kwassa," "M79," "Campus"

2008 Year-End List #4: Favorite Albums #40-21

Finally, it starts: My 40 favorite albums of 2008. This year was shockingly good. 2007 was outstanding, and I was expecting barely anything great to come out this year. I was terribly wrong.

While several albums were released in 2007 that came to be potential life long classics, and I was completely confident in my top 20 list, this year there is so much more. Only one classic, but 19 other albums that I absolutely flipped out about, and 20 others that I simply loved or had a strong liking for.

Anyway, I'll stop rambling and begin with numbers 40 through 21.


(40) Sea Lion - The Ruby Suns (Sub Pop)
I did not spend nearly enough time with this record. I love the blatant calypso feel of the first three tracks and the sudden shift to synthier, more grandiose lo-fi pop. "Morning Sun" is truly bizarre.
Top jam: "Tane Mahuta"


(39) Fate - Dr. Dog (Park the Van)
My passion for this record has gone back and forth, and most recently I have not been as impressed with it as I was back in say, October. That's not to say I don't like it anymore or anything. It is obvious that these guys love The Beatles, and that's a good thing, duh. Nothing original, but still a nice, solid pop album.
Top jam: "The Rabbit, the Bat and the Reindeer"


(38) Chemical Chords - Stereolab (4AD)
Back in May my friend Anthony subjected me to Stereolab for the first time, and I was floored. I figured Chemical Chords would without question be a bone blower. I was sadly mistaken. I am most bummed about how the record is a little too cohesive: most of the songs run together in a sort of monotony. Fortunately there are some redeeming characteristics that still merit this at the 38th position on my list, namely the vintage analog love the band have given to these recordings and the Brian Wilson-esque arrangements.
Top jam: "Self Portrait With Electric Brain"


(37) I Was Raised on Matthew, Mark, Luke and Laura - Pas/Cal (Le Grand Magistery)
Truly a mind boggler on first listen, this came to be one of two entirely overwhelming-yet-good albums that were released this year. For one, most of the songs are too long (no song as poppy as any of these should be any longer than four minutes, and a lot of these are five). Secondly there is just way too much going on. Too many instruments and an overabundance of sections per song (in 2007, Field Music had mastered this within a three minute timeframe). In spite of all of this, I am still infatuated by how lush and complex these songs are, even after I just finished complaining about it. The songs are beautiful elaborations on piano-driven indie pop, and the band's skill level is top notch.
Top jams: "The Truth Behind All the Vogues She Sold," "Cherry Tree (Suite Cherry Pt. 2)"


(36) Something for All of Us - Brendan Canning (Arts & Crafts)
I believe the Broken Social Scene guys are losing it. To this day, You Forgot It in People is one of the greatest albums I've ever come across. The self-titled is a great follow-up and all, but in my opinion, is nowhere near as good. And, this extended break they're taking to record all these solo albums is getting tiresome. Kevin Drew's sounded more like YFIiP than Broken Social Scene did, but it was painfully long and masturbatory. With Something for All of Us, Brendan Canning has recaptured that energy that was the reason us fans originally loved BSS, but still, something just isn't right. Maybe it's too straightforward? I think that is the main issue here. There are good rock songs like "Churches Under the Stairs" and "Hit the Wall" (which is especially awesome), and a few pretty tracks, but what is missing is true inspiration. Still, it's music written and recorded by guys in Broken Social Scene, and I will continue to buy into that.
Top jam: "Hit the Wall"


(35) Phylactery Factory - White Hinterland (Dead Oceans)
This came out of nowhere. I don't even remember what initially peaked my interest, but Phylactery Factory was a welcome surprise. Some moments are reminiscent of Vince Guaraldi's piano work, and every song is aurally attractive. It's lengthy for a nine track album, and pretty much everything is a little too drawn out, but I can forgive that due to its simplistic beauty.
Top jams: "Dreaming of the Plum Trees," "Hometown Hooray," "A Beast Washed Ashore"


(34) The Devil, You + Me - The Notwist (Domino)
Nothing on The Notwist's long awaited return comes even close to touching anything on their magnificent Neon Golden. Originally I thought "Good Lies", which was the first track released, was a sure sign of good things to come, but The Devil, You + Me is a total snoozer. However, much like Phylactery Factory, the beauty found deep within was enough to sway me into digging it.
Top jam: "Gloomy Planets"


(33) Plunder, Beg, and Curse - Colour Revolt (Fat Possum)
Finally, Colour Revolt have backed up the promise of their self-titled debut EP, and it is a terrifying doozy. Within, one will find a bad ass three guitar attack, some great rhythmic decisions from a good drummer and some of the most intense and intimidating vocals of the year. All of this is spiced up with a taste of the south and some frightening fire 'n brimstone quandaries. It took me a while, but I get it. Now I have these guys to thank for instilling in me the fear of God yet again.
Top jams: "Moses of the South," "Swamp," "Ageless Everytime"


(32) Women - Women (Jagjaguwar)
I am confident that if I started listening to this record earlier than I had, it would be ranked at a higher position on this list. There are a few noise tracks that are barely tolerable, but "Cameras," "Black Rice" and "Group Transport Hall" are phenominal pop songs with some nasty, lo-fi production via Chad VanGaalen. "Shaking Hands" is a fantastic tribute to 90s midwest emo, which was the most pleasant surprise amongst several pleasant surprises.
Top jams: "Black Rice," "Group Transport Hall," "Shaking Hands"


(31) In Ghost Colours - Cut Copy (Modular/Interscope)
I don't consider In Ghost Colours so much of a dance album as a really fun, mostly electronic pop album. The first half consists of straightforward, almost mainstream radio pop songs. This isn't necessarily a bad thing as these are solid. The dancier tracks start trickling in during the second half, and there are some prize jewels. Sure, "Hearts on Fire" obviously is a great song, but "Far Away" and "Strangers in the Wind" are even better.
Top jams: "Far Away," "Strangers in the Wind"


(30) The Globe - The Silent Years (Defend/First Date)
I'm not entirely familiar with The Silent Years' debut album, but I can still tell that adding three members of Detroit's defunct Rescue as their base instrumentation was the best idea. The result is great pop songs, a plethora of intriguing textures and some mind-altering structural and rhythmic trickery. Throw in Radiohead's The Bends and even some Sunny Day Real Estate for good measure, and you have one of the best albums to come out of Detroit in recent memory. Two complaints that aren't crucial at all: there are no real standout cuts, and Josh Epstein's voice may be a little too good.
Top jams: "Ropes," "Goddamn You!," "The Axiom"


(29) April - Sun Kil Moon (Caldo Verde)
I was extremely weary at first when I found April's 11 tracks clocked in at almost 80 minutes. Miraculously, the songs seem to fly by in nowhere near that amount of time. I don't know how that works. I could see how this could be considered boring, but every song is gorgeous enough and Mark Kozelek's guitar playing great enough for no real dull moments, at least for this listener. And, in spite of the title, with every listen I can't help but reminisce about all my favorite fall memories, which always makes for a nice, bittersweet experience.
Top jams: "Moorestown," "Tonight in Bilbao"


(28) Swimming - French Kicks (Vagrant)
I have two issues with this, French Kicks' fourth full length. First off, I miss Doug Boehm's production work. The band recorded Swimming on their own, and the production is uneven, to say the least (and I'm not going to get into it). Secondly, they seem to be known as this bland and boring band (which I have always disagreed with), and I cannot deny that this is their most boring record. This said, it is still a French Kicks album, and it has most of the elements I anticipate from a typical French Kicks release, just done in a different way. The fact that most of the songs are so slow (boring) and the way everything sounds so distant puts a spin on their sound that caught me off guard. Unlike their past two records, Swimming was a grower, and when I finally got it, I really got it.
Top jams: "Abandon," "Over the World," "All Our Weekends," "Sex Tourists"


(27) Stars of Stage and Screen - The Pop Project (Suburban Sprawl)
Put simply, this is an awesome pop record. The band's name says it all. The Pop Project take different sub-genres of pop music and either fuse some together all in one track, or switch things around from song to song. "Secondary Players," "House of Books" and "You've Won the Lottery" are prime examples of the former, and "Coerce," "Another Kind of Love" and "Stand In" the latter. The geekiness put on display throughout is very charming, and what a bonus that all four members are absolute masters at their craft.
Top jams: "Never Got the Breaks," "The Longest Time," "House of Books," "You've Won the Lottery"


(26) Furr - Blitzen Trapper (Sub Pop)
Furr is not as zany or all over the place as last year's Wild Mountain Nation, and I think that's what makes this the better record. Blitzen Trapper's overall sound is still intact (backwoods country music mixed with your modern indie pop), but it is more contained and mature. It's missing a mega-jam like WMN's "Futures and Folly," but there are still some monumental peaks, and the album's consistency is a plus.
Top jams: "God + Suicide," "Saturday Nite"


(25) For Emma, Forever Ago - Bon Iver (Jagjaguwar)
Yes, yes. I know Bon Iver blew Pitchfork's mind with this little record a year ago. I wasn't born under a rock. Lay off. Don't you know it was re-released by Jagjaguwar this year? That's when I finally decided to see what all the hype was about. It turns out For Emma, Forever Ago isn't stupid boring folk fluff like I was expecting. The songs are totally good, and this dude's voice is awesome. I don't usually get into the whole cabin-porch-in-the-woods production (of course Nick Drake nailed it on Pink Moon), and I know it's a folk mainstay, but it is what makes this record.
Top jams: "Lump Sum," "Skinny Love," "Re: Stacks"


(24) Soft Airplane - Chad VanGaalen (Sub Pop)
Soft Airplane is another album where more time spent with it would have led to it ranking higher on the list. There are some regrettable tracks like the maddening racket of "Frozen Energon" (and I think "TMNT Mask" is fairly obnoxious), but most everything else is pure gold. VanGaalen plays weird and inspiring bedroom pop, showcasing a balance between pure indie rock and expansive folk music. Soft Airplane also completed the task of forcing me to pay attention to the lyrics (which so rarely happens), which encourage the listener to use their imagination, yet still exhibit mesmerizing visuals. A lot of the words are eerie, morbid, violent and extremely fascinating. About a month ago I saw a video for "Molten Light," which is probably the most morose song, musically and lyrically, and it forever creeped me the fuck out.
Top jams: "Willow Tree," "Inside the Molecules," "Molten Light," "City of Electric Light"


(23) Your Anchor - Lackthereof (Barsuk)
Lackthereof is the side project of Menomena's Danny Seim. I have this to say about his 2008 record, Your Anchor: I like it a lot more than I did his band's critically acclaimed 2007 release, Friend & Foe. I'm not exactly sure how, or why. Your Anchor lacks variety, and it is an incredibly sparse record; there is not much going on. There is just some inexplicable charm about it. I know I like these songs better than Friend & Foe's (which I also thought lacked variety, in a way). The drumming and the lo-fi production sound good. There is a cover of The National's "Fake Empires," and it's kind of shitty (and also too soon). I just don't know what to say. I really enjoyed this quirky pop record that doesn't really have much to offer, and I can't clarify why. Sorry.
Top jams: "Chest Pass," "Last November"


(22) In Ear Park - Department of Eagles (4AD)
I was really excited about In Ear Park the first few times I heard it, then it struck me: "Wait just a minute, this is tiresome." I took a break from it, and came back again fairly recently, and changed my mind again. I mean, it's a little sluggish, but completely original. A lot of the songs are set to this beautiful fantasy world mood, and are a bit wintery, which is very cool. These are olde towne songs. Whatever that means. Lastly, three of the guys who played on the record are in Grizzly Bear (one of which is a real member of Department of Eagles), so in all honesty, this really just sounds like an in-between Grizzly Bear album. Obviously, I am fine with this.
Top jams: "Teenagers," "Floating on the Lehigh"


(21) The Week That Was - The Week That Was (Memphis Industries)
My boys, the brothers Brewis, have supposedly all but killed Field Music (the band who recorded and released my second favorite album of 2007). I am still disheartened, but this year they have been trying to make up for it by splitting in two and recording separate projects. Peter's The Week That Was proves that he was Field Music's Paul McCartney, while David is maybe John Lennon. His self-titled debut (featuring friends, like HIS BROTHER AND EX-BANDMATE DAVID) is a much more straight and narrow affair than FM, and highlights the lush string arrangements and pop simplicity he offered his old band (the simplicity only slightly). What's interesting about the album is that about half of it brings to mind pop acts like The Beatles and later XTC, while the rest sounds like pieces to an original film score (not a specific one). Like I said in my top 20 songs of 2008 list, as long as Peter is writing songs like "The Airport Line," (and also as long as the Brewis bros. are creating music in some capacity), I think I can cope. It's just not the same.
Top jams: "The Story Waits for No One," "The Airport Line," "Come Home"

2008 Year-End List #3: Honorable Mention Albums

I did it. I comprised a top 40 albums of the year list. And honestly, I probably could have done a top 50, as here I am listing ten albums that didn't make it into the top 40, but that I still like better than the 100 other albums I listened to this year. My only excuse for not including these in a top 50 list is that I was struggling to put these in any order. So, I am just listing them in alphabetical. I hope that's okay.

Soon, my top 40 will be revealed, but first, here are 2008's ten honorable mentions.


Everything That Happens Will Happen Today - David Byrne & Brian Eno (Todo Mundo)
Whenever there is a reunion album, I automatically assume it will turn out pretty shitty (disregard Dinosaur Jr.'s 2007 return to glory, Beyond, for that is an exception). I'm not sure if I'd consider Everything That Happens Will Happen Today a reunion exactly, but it's close enough, and it sure ain't shitty. It isn't great or anything, but it is an acceptible return collaboration for these two behemoths of cutting edge music made in the late 1970s. As I stated on Christmas Eve, "Strange Overtones" is my favorite song of the year, and there are definitely some gorgeous tracks, but the rest is hit or miss. "I Feel My Stuff" is horse shit.
Top jams: "Everything That Happens," "The River," "Strange Overtones"


Fantastic Gusts of Blood - Child Bite (Suburban Sprawl)
Child Bite play weird, aggressive, fun, angry party music. Typically, that wouldn't really be my thing, but there is enough to like about these songs. There is quirky and intelligent drum banging that I drool over, and the warbled vocals are extremely entertaining. The guitars, bass, synth and various wind instruments each have their shining moments in which they arrive. And there are some simply good songs laced throughout.
Top jams: "Venom Bowl, Kids Guts," "Banana Gorgon," "The Rainbow Church," "Jewels Rules"


Narrow Stairs - Death Cab for Cutie (Atlantic)
At first, I liked this way more than I was expecting to. I was a huge Death Cab for Cutie fan for the vast majority of my young adult life thus far, and still hold three of their records very close to my heart, but in retrospect, Narrow Stairs is a major disappointment. It was time for them to make sure everyone knew they were on a major label, but were still artists and in charge, so they recorded "I Will Possess Your Heart," which is just pure garbage. Ben Gibbard's use of vibrato and way more falsetto have ruined him, but still, there are enough solid moments of Death Cabsyisms to keep the rest of the album out of the dumpster.
Top jams: "No Sunlight," "Cath...," "Long Division"


Trouble in Dreams - Destroyer (Merge)
It's true that Trouble in Dreams sounds just like the follow-up to 2006's Destroyer's Rubies, but I don't mind so much when bands do a repeat album as long as it's good. Here is a decent example, even though Rubies blows this out of the water. Maybe half of these songs are good, two of which are borderline great. The rest is too dramatic and just too much of the same.
Top jams: "Blue Flower/Blue Flame," "Dark Leaves Form a Thread"


The Evening Descends - Evangelicals (Dead Oceans)
What an insane record. It's all over the place and similarly weird to mid-to-late 90s Flaming Lips. The weirdness is pretty overbearing at times, and all the songs are jumbled together, but if you can weed through all of that and get to the instances of brilliance, well then, there you go. I caught some of those moments, but not enough due to the lack of time I spent with this. One last thing: Singer dude reminds me of my boy Kevin McGorey a little bit.
Top jam: "Bloodstream"


Keep Your Eyes Ahead - The Helio Sequence (Sub Pop)
I became interested in The Helio Sequence after I found out that this is the drummer who played on Modest Mouse's Good News for People Who Love Bad News. He's still got it, and this album is actually pretty good, but it's just too safe, especially for a Sub Pop release.
Top jam: "You Can Come to Me"


High Places - High Places (Thrill Jockey)
Now this is a cool sounding record! I get a little lost in the African and Caribbean pulses and the blandness of Mary Peason's voice (although I have grown accustomed to it as it is charming and inoffensive, and also I am in love with her). But, there are a lot of neat, original ideas here. The synthetic sounds mixed with random, household percussion is one of them.
Top jams: "The Storm," "From Stardust to Sentience"


Lovers Prayers - Ida (Polyvinyl)
This is an Ida record. It is mellow, at times a little boring, really pretty and (way) too long. What more do you expect?
Top jam: "Worried Mind Blues"


Pershing - Someone Still Loves You Boris Yeltsin (Polyvinyl)
SSLYBY play pop music too perfectly. There is no room for error, which is kind of a shame. Sure, some of the songs are structured in interesting ways, and their talent is undeniable, especially when it comes to melodies. My main concern is that dude's voice is way too nice and pretty. It makes me think of Christian bands like Switchfoot and Copeland and stuff, which is unfortunate.
Top jams: "Dead Right," "Modern Mysteries"


Elephant Shell - Tokyo Police Club (Saddle Creek)
Part of the reason I really wanted to like Elephant Shell is because I feel like it's a little bit of a black sheep. I will not deny this. Thankfully, I ended up very far from hating it in spite of its slight nu-emoness (which is still too much). These kids definitely are talented and I'm interested to see what they come up with next. If Hot Topic gets behind them though, we're through.
Top jams: "In a Cave," "Nursery, Academy"