Albums 30 –
21
===
30.
Ms. John Soda: No P. or D. (Morr Music)
The Acher
siblings have the midas touch; whether it was the pure genius of Neon Golden
last year or this, the female glitch-pop sister album, it seems they can
do no wrong. While not as energetic or impressive as the aforementioned glitch-pop
opus, the restrained, quiet beauty of No P. or D. is positively undeniable.
Brimming with warmth and darkness by turns, its intimate bedroom feel makes
for a more personal listen, and on headphones it’s absolutely gorgeous. It
doesn’t have the same kind of variation as Neon Golden, but you don’t
need to vary up your sound too much when you hit on a fairly beautiful theme
any way. A flawed sleeper masterpiece, it’s worth every penny.
29.
Deerhoof: Apple O’ (Kill Rock Stars)
There are
a couple artists here representing the Japanese delegation to rock and pop
music. Deerhoof, after the stunning Reveille of a couple years ago,
show that, while not as zany as they were back then, they are nonetheless
tighter, and more than worthy of bearing the flame of inventive quirk rock.
Couple their Japanese-schoolgirl vocals, thanks to Satomi Matsuzaki, with
their ripping guitar hooks and ingenious, tight pop arrangements, and you’ve
got a formula for slightly more predictable, but nonetheless head-rocking
pop bliss. It seems they just can’t stop dishing it out.
28.
Clearlake: Cedars (Domino)
Underestimated
because of its apparent simplicity, Cedars is the kind of album that
doesn’t seem particularly striking until you actually give it a close listen,
several times. After that it becomes apparent that Clearlake have no real
desire to explode any Brit-pop scene or bring you around to a revelation –they
just want to make a really beautiful, simple pop album. And don’t confuse
simple with simplicity –the hooks here are excellent, the layers subtle,
and the overall work one that seems effortless while actually being remarkably
detailed and well-constructed. It’s clean, tight, and has some of the best
melodies of the year; think Coldplay with some guts, and better songwriting.
27.
The New Pornographers: Electric Version (Mint)
This has
been one of the worst-aging records of the list. It started out in the top
15, now it’s dropped a great deal. But the thing is, it’s still an excellent
album, and with any luck, the beginning of The New Pornographers as a serious
group. The band’s songwriting talent is more than apparent, and they have
a solid number of excellent melodies at their disposal. Their pop sensibilities
are, in short, some of the finest of any group out there, not to mention that
they have a large number of extremely talented people contributing to each
of their efforts, Neko Case not being the least of these. They’ve lost some
of their spontaneity, though, and that’s what’s caused Electric Version
not to age so well –in the end, it’s an excellent effort, but the biggest
danger for the New Porno’s is predictability. Gleeful pop only survives as
a burst-of-inspiration, unpredictable style. It’s what made Mass Romantic
so successful; I only hope they hold on to it.
26.
The Exploding Hearts: Guitar Romantic (Dirtnap)
What a huge
tragedy that these enormously talented kids passed earlier this year in an
auto accident. Their huge potential was only hinted at in this enormously
fun, spontaneous and joyful work of unpretentious power pop. With hooks shooting
out in all directions, a perfect restraint of solos, and unbridled energy
and enthusiasm, their nostalgia didn’t smell in the least of ripping anyone
off. They just loved the Clash, the glam rock ridiculousness of the 80’s,
and they showed it in a tight bunch of excellent songs. Hopefully someone
will be able to carry the flame that these guys lit; the next guy will have
big shoes to fill.
25.
Blood Brothers: Burn Piano Island, Burn (Artist Direct)
Hardcore
being an alienating genre for obvious reasons, I am consistently surprised
with how many spins I continue to give this disc. The reason is that these
guys aren’t angry motherfuckers using their music to channel their inexplicable
vengeance back at you; they’re just a bunch of kids who can thrash guitars
and throw big, vicious hooks at you with all the abandon of guys who just
love playing music. Their little kid shouting duels are more endearing than
anything else, and their lyrics, when decipherable, are very-near senseless,
while hinting at some kind of ugly suburban underbelly. But more than anything
else, it’s their surprisingly complex songs, indefatigable energy, and ruthless
abandon that make this hardcore album not only bearable, but excellent.
24.
Iran: The Moon Boys (Tumult)
This is,
to this day, one of the most obscure, challenging listens I’ve ever had; and
not challenging as in, they make incomprehensible shit that I try to justify.
More like, I’m struck by its genius, but it has been extremely difficult for
me to say why I think it is so genius. But the thing is, it sounds wholly
original. Layered with tape fuzz, sometimes to the point of threatening to
drown the whole mix, the album seems to be have been made by blackened souls
in a seedy bedroom. But at the same time, it’s so different, so striking,
in some places, so heartbreakingly beautiful, that when this album opens the
door to you and motions to you, coked-out eyes sagging, to come in, you feel
like…well you just have to. Its beauty is obscure, its subtlety profound,
and its ethic spontaneous. It is, in a few words, angular, great, devious,
razor-sharp rock.
23.
Lightning Bolt: Wonderful Rainbow (Load)
I just wrote
a short review of it, so here’s the skinny on why it’s a sweet album, as I
said it before: “Brash, ridiculous, and inner-ear shattering, Wonderful
Rainbow will mess with your head and knock you flat on your ass. Not for
the faint of heart, it’s noise-rock at its most raw and uncut, using only
a drum set that goes to the ER after every show and a bass guitar that can’t
even be taken to the ER because after every song it most likely spontaneously
combusts.
The formula
for Lightning Bolt is simple; math-rock drumming coupled with squeals and
rhythmic hysteria that just don’t sound like they could come from rock’s typically
neglected instrument. Oh yeah, and some manner of vocals that aren’t even
intended to be deciphered…they may not even be in the English language.
But the undeniable skill of the two major elements coupled together is striking,
and despite some messiness is absolutely stunningly well-coordinated. The
variations Lightning Bolt toy with, the dynamic shifts of pace, and the sheer
unpredictability of their songs make them a force to be reckoned with, because
if you don’t notice, you might wake up in a flattened house.” Yeah, that
just about says it all.
22.
Basement Jaxx: Kish Kash (Astralwerks)
So…fuck
people who don’t like to have fun. Kish Kash wins, hands down, the
title for most fun album of the year. But to deny that it has any depth beyond
pure danceability and surface sweetness would be grossly unfair. The album
twisted genres like crazy, bending the steel fences of the old boundaries
of rock and techno and funk into its own crazy house of joy for you to party
in. Bringing in guitars to complement “old” techno formulas, as
well as a ton of guest stars (from Dizzee Rascal, who will probably make a
“Best of 2003 That I Missed” list later on, to JC from ‘N Sync –
I don’t fucking care that he’s from a boy band), the album’s only real flaw
is failing to really maintain a solid coherence. It carries a few themes all
the way through, but basically, it’s the party mix that’d too good for you
to be able to make. It has tons of hooks, tons of element-interplay, and all
the while shakes your ass round your hips like a hyper-orbiting moon. An excellent
release – don’t listen to those who’d say that just because it’s fun it must
be substance-less. Buy it, and give it a good few spins for yourself.
21.
Prefuse 73: One Word Extinguisher (Warp)
The cut-up
hip hop splicer drops another excellent effort. Shifting effortlessly in and
out of moods, with superlative organization and mixing, Prefuse 73 bends the
funk/hip-hop/techno boundaries with ease. While it’s obvious that there’s
a lot of effort put it, nonetheless the whole thing seems like it was a breeze
to put together, and it’s only a testament to the skill behind the album.
Incorporating guest appearances and samples from an insane number of old school
and new school sources, it’s a hip hop journey through a funk rock wonderland.
While it lags in a couple places, the overall movement of the album makes
for an extremely compelling listen and further proof that these one man shows
can set off some serious fireworks.
