Posted on May 19th, 2010 in Music

100 best albums of the aughts, part 4 (#70-61)

On to part 4 of my 100 best albums of the aughts list.

You can find part 1 here, part 2 here and part 3 here.

#70
The Brian Jonestown Massacre – And This Is Our Music (2003)
Tee Pee Records
Anton reached his zenith a few years before this release, but his remarkable ability to channel his heroes (the Stones, et al.) is still readily apparent here. In addition to typically brilliant BJM tunes (‘When Jokers Attack’), Newcombe delves into a druggy instrumental world, which he further explores on subsequent material.
#69
PJ Harvey – Uh Huh Her (2004)
Island
PJ Harvey brings back the sexy, grungy danger of her early albums, but with it comes a more sophisticated—and daring—sense of songwriting. Uh Huh Her runs the gamut of her strengths, from the Harvey-shrill of ‘Who the Fuck?‘ to the Sade-like quasi-R&B of ‘Shame‘; and of course, that Rodleen-Getsic moan that Harvey is known for. (Also one of my favorite album covers.)
#68
Silversun Pickups – Carnavas (2006)
Dangerbird
From the big-muffed guitar fuzz to the Celtic-inspired typeface, Carnavas is a no-holds-barred celebration of [The] Smashing Pumpkins. However, the songwriting has enough originality to leave it at that. A celebration. This record is unquestionably modern; it may wear its inspiration on its sleeve, but that doesn’t have to be a bad thing.
#67
Pinback – Blue Screen Life (2001)
Ace Fu Records
I generally prefer the simplistic production of Pinback’s earlier records to the dense, orchestral feel of their recent material, because it gives Rob Crow’s signature guitar lines room to breathe. Crow’s distinct melodic flavor is impossible not to recognize at this point in his career, and Blue Screen Life is an unrivaled showcase of his ability to craft gorgeous vocal harmonies backed by rapid-fire guitar melodies.
#66
Mazarin – We’re Already There (2005)
I and Ear Records
Quentin Stoltzfus’s nasally delivery will remind you of The Walkmen or The Wrens, but Stoltzfus’s music is slightly more charming, if more sad. The entire record contains an almost innate hopelessness. ‘Louise‘, in particular, is one of the saddest songs I’ve ever heard. That’s not to say the album is riddled in despair, though, because it isn’t; Stoltzfus’s voice gives it a lovely, even endearing quality.
#65
The Magnetic Fields – Distortion (2008)
Nonesuch Records
Stephen Merritt gives his sarcastic (‘Too Drunk to Dream‘), sexualized (‘Three-way‘) songs the Psychocandy treatment; the result is an oddly sunny-sounding record…hollow and distortion-drenched, made whole by Merritt’s distinct baritone. Merritt’s genius is hard to overstate, and Distortion is genius more often than not. (The album cover is regrettable, though, to say the least.)
#64
Band of Horses – Cease to Begin (2007)
Sub Pop
I think this is what I always wished My Morning Jacket sounded like. If such a quality as an Americana Anthem exists, Cease to Begin has it. Ben Bridwell has a gift for writing monster choruses (‘Is There a Ghost‘, ‘Ode to LRC‘, ‘Cigarettes, Wedding Bands‘) that could burn the roof off of any arena. (Bonus points for naming a song after former NBA cult-hero Detlef Schrempf.)

#63
Wolf Parade – Apologies to the Queen Mary (2005)
Sub Pop
Isaac Brock’s darlings did not disappoint on their highly-anticipated debut. [Dan] Boeckner and Spencer Krug share the same frantic, ambiguous frog-warble (sort of a Canadian-sounding version of Brock), giving standouts like ‘You Are a Runner and I Am My Father’s Son‘ and ‘Grounds For Divorce‘ a punch-packed frenzy that also seems tidily subdued.

#62
Japandroids – Post-Nothing (2009)
Unfamiliar Records
Japandroids (one of my all-time favorite band names) mix Beach-Boy harmonies with lo-fi production and a healthy dose of punk energy to create something…exciting. This lo-fi pop-punk sound is the current vogue in indie rock, and Japandroids are head and shoulders above the rest, thanks to superior songwriting that doesn’t need the lo-fi production to make the songs listenable. More bonus points for one of my favorite album covers.
#61
The Notwist – Neon Golden (2002)
Virgin
In 20 years, The Notwist have evolved from heavy metal to gloomy indie pop to ego-stroking electronica. Neon Golden marks the period just before the latter. Genre-bending stunners like ‘Pilot‘ and the title track will stick with you for weeks. Stay away from the U.S. release, though, which tacks on three boring and completely forgettable tracks.
Posted on May 12th, 2010 in Music

100 best albums of the aughts, part 3 (#80-71)

On to part 3 of my 100 best albums of the aughts list.

You can find part 1 here, and part 2 here.

#80
I Love You But I’ve Chosen Darkness – Fear Is On Our Side (2006)
Secretly Canadian
Excellent post-hardcore out of Austin, Tx.; Fear is on Our Side feels like the logical progression of what Interpol’s later records should have sounded like. It’s a slow-moving crawl with a striking unease that sounds best on cold, rainy nights. This record hasn’t aged as well I thought it would, but its best songs (‘Lights‘, ‘At Last is All‘) remain powerfully nostalgic for me.
#79
Ariel Pink’s Haunted Graffiti – Underground (2007)
Vinyl International
Underground is technically the first entry in Ariel Pink’s Haunted Graffiti series, but was the last—most of his material originally saw only limited release on cassette—to see a widespread release. Pink’s outsider-art tendencies are less blatant here (less fractured, less psychedelic/insane), but the songs are still unabashedly lo-fi, and definitely among his best.

#78
Juno – A Future Lived In Past Tense (2001)
DeSoto Records
A Future Lived In Past Tense delicately balances the line between gorgeous post-rock and furious post-punk; encompassing mammoth crescendos, shimmering guitar lines and even some traces of early emo. ‘Up Through the Night‘ sounds suspiciously like the Twin Peaks theme, though not in any way related to it. Juno (now defunct) had such an amazing ability to combine aggression with tenderness…that this record maintains a tremendous sense of urgency almost a decade later.

#77
Tom Vek – We Have Sound (2005)
Go! Beat Records
The abrasive production on We Have Sound is among my all-time favorites—with nods to 70s protopunk (Richard Hell, Television, Suicide), and early-80s post-punk (Public Image Ltd., Talking Heads). It’s brash, melodic and entirely in the wrong time period. Still, as out-of-place as this record sounds in the 2000s, something gives it a semblance of modernity amidst its throwback vibe.
#76
Benoît Pioulard – Précis (2006)
Kranky
Précis is one of the most haunting, graceful albums I have ever heard. Pioulard draws on his history of field recording to add touches of ambiance and atmospheric electronics to every available note and passage. Between stunning breathtakers like ‘Ext. Leslie Park‘ and ‘Palimend‘, he inserts found-sounding segues that could moonlight in a Gus Van Sant film.
#75
BOAT – Let’s Drag Our Feet (2007)
Magic Marker
BOAT interweaves Pavement-at-a-carnival vocals with frequent trips to falsetto-land; melodies and choruses enter and exit like 6th- or 7th-grade girlfriends; songs-within-songs abruptly change time and switch tempo…yet, the record flows flawlessly. Let’s Drag Our Feet is a post-Pavement record brilliantly updated for the new millennium.
#74
65daysofstatic – The Fall of math (2004)
Monotreme
Since this release, 65dos has sadly gone the way of more conventional post-rock, but this album still destroys everything in its wake. The pulsating, mechanized drums and apocalyptic melodies give it a fevered intensity somewhere between Lou Reed’s Metal Machine Music and Explosions in the Sky. There’s just no bullshit here—the songs are short and to the point (in post-rock terms), with no extraneous detail to diminish their strength(s).

#73
The Distillers – Coral Fang (2003)
Sire
Another album that I now unfairly undermine due to lackluster later material (Brody Dalle’s awful subsequent band, Spinnerette). Dalle’s guttural punk vocals are effortless and fiery-intense—a quality Courtney Love has been trying to recapture for over a decade now. I more-than-loved this record when it was released, and it still maintains a strong emotional attachment.
#72
Engine Down – Demure (2002)
Lovitt Records
Engine Down was and still remains one of the more underrated bands in recent memory. Keeley Davis [one of my favorite musicians working right now] is the king of minor chords and dissonant melodies, and Demure is no exception—Davis’s harmonies are as instantaneously recognizable and fervent as ever. Demure has more in common with the understated zeal of Denali than Engine Down’s ensuing self-titled magnum opus, but it’s an absolutely necessary listen regardless.
#71
Ariel Pink’s Haunted Graffiti – The Doldrums (2004)
Paw Tracks
The first of Pink’s records released on Paw Tracks, The Doldrums is fragmented; [possibly] insane; sporadically brilliant, weird, and oftentimes both. (Think kaleidoscopic GBV melodies tagged with LSD and doused in Valium.) I came late to the Pink party, but after listening to all of his proper records, this stands out at the top.
Posted on May 12th, 2010 in Music

100 best albums of the aughts, part 2 (#90-81)

On to part 2 of my 100 best albums of the aughts list.

You can find part 1 here

#90
Handsome Furs – Face Control (2009)
Sub Pop
Handsome Furs sound like a post-punk version of Wolf Parade. Face Control is even more instrumentally bare than its predecessor, and that’s a good thing. (Dan Boeckner’s songwriting is so strong, it doesn’t need added frills.) This record brings to mind vintage 80s post-punk (particularly The Sound’s From the Lion’s Mouth—one of the most overlooked albums of the 80s.).
#89
Weezer – The Green Album (2001)
Geffen
The Green Album has been unfairly criticized for not rehashing the reference-laden, blissful distortion of The Blue Album nor the Albini-esque bite and emotional openness of Pinkerton. That criticism is entirely unwarranted in my opinion—this record is as catchy as Weezer has ever been. It may be somewhat bland lyrically, but, it’s Weezer! Minus a few witty references and some irony and sarcasm, this is quintessential Weezer. Fittingly, the night after I wrote this, I got into an argument with a dude at a bar who said everything post-Pinkerton sucked. Wrong.
#88
Spoon – Gimme Fiction (2005)
Merge
Gimme Fiction is prototypical Spoon; as groove-laden as ever, poppy, subtly hypnotizing, and damned enjoyable. Britt Daniels’ voice (and delivery) is especially engrossing; when added to his rhythmic jazz- and reggae-influenced guitarplay, it becomes downright intoxicating. Gimme Fiction is not Spoon’s best, but it is far from their worst.
#87
Bear In Heaven – Beast Rest Forth Mouth (2009)
Hometapes
Bear In Heaven combine bits of psychedelia and electronica with colossal, shoegazey choruses. Parts of Beast Rest Forth Mouth hint at MBV, Boards of Canada, Aphex Twin—at times even bringing to mind Brian Eno. Don’t let that confuse you, though; this album is quite cohesive and sounds distinctly “new”.

#86
The Draft – In a Million Pieces (2006)
Epitaph
The Draft is basically Hot Water Music sans-Chuck Ragan. But, as much as I love Ragan, I’ve never been able to dive too deeply into Hot Water Music. Admittedly, it’s probably heresy to acknowledge, but I prefer this over the band’s Ragan-fronted era (similarly, I prefer the post-Danzig Misfits). In a Million Pieces is in no way revolutionary, but it’s a solid, well-written and anthemic record.
#85
Against Me! – As the Eternal Cowboy (2003)
Fat Wreck Chords
Against Me’s lackluster, overproduced recent material has unfortunately clouded my opinion of their earlier work. I say unfortunate because whenever I go back and listen, I remember that this is an outstanding folk-punk (punktry?) record with no immediate weaknesses. I also love the ridiculously clever song title, ‘Cliche Guevara‘.

#84
Deftones – White Pony (2000)
Maverick
I still remember staying up all night and leaving early to buy all three versions of White Pony on the day of its release; it was (and still remains) Deftones’ most ambitious record. Chino’s vocal stylings are as schizophrenically divine as ever, and his lyrics are typically fragmented and ambiguous (both good things). It really is too bad Deftones got lumped into the unfavorable (and ill-fitting) “nu-metal” genre.
#83
Deerhunter – Microcastle (2008)
Kranky
The difference between Deerhunter and Atlas Sound is pretty negligible to me. (Deerhunter has slightly less ambiance, I suppose.) Regardless, Bradford Cox’s fingerprints are all over this; his best songs (‘Nothing Ever Happened‘, ‘Never Stops‘) are absolutely dripping with layered melodies. (Play them loud!) Bonus points for one of my favorite album covers.
#82
Yeah Yeah Yeahs – Fever to Tell (2003)
Interscope
Probably the most noticeable aspect of Fever to Tell (with YYY’s recent albums as context) is its simplistic, raw (mids, mids and more mids!) production. Karen O’s art diva cachet was already oozing through the seams, though, and accordingly, several classics (‘Rich‘, Maps‘, ‘Pin‘) and probably the most underrated song in YYY’s catalogue (‘Y Control‘) will keep this record from being forgotten.
#81
Local H – Twelve Angry Months (2008)
Shout! Factory
A concept album about a 12-month breakup written by Local H? Yes, please. As usual, Scott Lucas’s lyrics are biting, snarky and brilliant. (“Give me my Zeppelin CDs you know you took them I know you did/Where’s my Pretenders record you know the one the one with ‘Kid‘/Wheres all my AC/DCs my Interpol my Libertines/Where’s all my Kyuss records you never liked them untill you met me“) Mix that with Local H’s typically thunderous riffs and an hair-raising, climactic 8-minute closer, and you have an outstanding record.
Posted on May 11th, 2010 in Music

100 best albums of the aughts, part 1 (#100-91)

I was recently inspired by my friend to make a list featuring the top 100 albums of the aughts. You knew I would instantly have to make my own, right?

Thus! The following albums are my favorites from the year 2000-09. There are a few caveats; namely:

– This list is not meant to be academic! Importance; or significance; or otherwise albums that I am “supposed” to like do not mean added/weighted rank. Instead, I focused just on how much I alone adore them—like, by myself. You know? So you will probably notice some glaring omissions. (As much as I appreciate Animal Collective and The National, I just don’t find myself listening to them very often.)

– These were HARD(!) to rank. The albums at the top of the list are all basically perfect, but you could still probably make a convincing argument on reordering several of the top choices and I’d have a tough time refuting.

– No EPs allowed. No remixes either. Just regular-ol’ long-play goodness.

– There are no albums from 2010. The year is not done, sillies!

– I also found a ton of albums that I had completely forgotten about. That is always awesome.

On to the list(!!!) ( !!! is not on the list). #100 through 91:

#100
Clap Your Hands Say Yeah – Clap Your Hands Say Yeah (2005)
Self-Released
It seems like ages ago when Blognation erupted in flames over this album. I still enjoy it, but not quite as much as when it first came out. (Neo-David Byrnian vocals seem oddly placatory in 2010.) ‘Upon This Tidal Wave of Young Blood‘ remains an ridiculous anthemic closer that will overtake your soul, though.
#99
Ambulance Ltd. – LP (2004)
TVT Records
Ambulance LTD is like Yo La Tengo Lite. This LP (aptly named … LP) takes a tour of indie rock’s guitar-centric past but transcends it with ridiculously catchy choruses (‘Anecdote‘) and hints of Lou Reed (‘Primitive‘). ‘Heavy Lifting‘ is the song that originally put me in the Ambulance, but the rest of the album begins to reveal itself after more listens as well.
#98
Vincent Gallo – When (2001)
Warp Records
Vincent Gallo has always been polarizing and narcissistic, but he’s also damn talented; and he always seems to be at the forefront of art culture—notably, playing in a band with an uknown Jean-Michel Basquiat in the early 80s. Gallo’s voice is surprisingly gentle (his dad was also a singer), and these songs are charming and delicate; similar to the tracks he composed for the Buffalo ’66 soundtrack, but more fully realized.
#97
Atlas Sound – Logos (2009)
Kranky Records
Bradford Cox is one of indie rock’s more prolific musicians right now; but surprisingly Logos was his only release in 2009. The album features guest spots from Noah Lennox and Laetitia Sadier, both of whom fit in nicely with Cox’s vision. Bradford’s penchant for dreamy, trance-like melodies is manifest beautifully.
#96
Liars – Liars (2007)
Mute Records
The very nature of what makes Liars great is also what prevents me from listening to their records as much as I’d like; that is, the deconstructionist, No Wave vibe so present in their music. Liars dangle hooks like bait only to pull them away at the last second. The songs on this album are slightly more accessible (eg. ‘Sailing in Byzantium‘) than some of their others, but it’s a challenging (and rewarding) album nonetheless.
#95
Local H – Whatever Happened to P.J. Soles? (2004)
Studio E Records
Local H combine witty lyrics (I particularly love the wry cynicism of ‘California Songs‘) and rock-your-ass-off riffs to make a two-person band sound twice as big. They also know when to hold the punches, though. The 10-minute quasi-ballad ‘Buffalo Trace‘ seems to meander aimlessly before ultimately turning on the shred for a Through The Fire And Flamesesque outro.
#94
Primal Scream – Evil Heat (2002)
Sony
I prefer the darker, machine-like tone of Primal Scream’s later material to the more critically acclaimed dub-influenced psychedelia of their earlier records. ‘Rise‘ was apparently originally titled ‘Bomb the Pentagon‘, but was changed after the 9/11 attacks, which I think is kind of idiotic—why are you writing a song called Bomb the Pentagon if you don’t mean it?
#93
The Life and Times – Suburban Hymns (2005)
De Soto Records
Allen Eppley expands on his work with Shiner—more hooks, more layers, less math rock; however, his thick, smoky vocals remain. Eppley has always excelled at writing melodies, but this album ups the ante, especially on its excursions into dreamy, post-shoegaze balladry (e.g., ‘Muscle Cars‘).
#92
Phoenix – It’s Never Been Like That (2006)
EMI
I’m not as high on Phoenix as some, but they definitely have their place in my listening repertoire. Wolfgang Amadeus Phoenix solidified their jump from cult heroes to legitimate indie stars, but I actually prefer this album—it’s slightly sexier; and if you have ever seen these dudes’ dress, you know just how sexy they can be.
#91
Grandaddy – Sumday (2003)
V2
Sumday isn’t as instantly memorable as other Grandaddy albums, but it’s a great record in its own right. Strangely, despite the wintry album cover, hopeless song titles (e.g., ‘Saddest Vacant Lot in all the World‘) and typically isolationist lyrics, Sumday just doesn’t sound as depressing as Jason Lytle can often be. (There’s a glimmer of hope here.)