Albums 10 –
1
 
===

10.
White Stripes: Elephant (V2)
The sheer awesomeness of the opening trifecta cannot be ignored; “Seven
Nation Army” is arguably the single of the year, “Black Math”
simply burns, and “There’s No Home For You’re here” is “Dead
Leaves and the Dirty Ground” with Phil Spector production and a guitar
solo not unlike a feline death rattle. Yikes. Tracks 4-9 are pretty bitchin’
too. The next five songs come off as surprisingly flat retreads or failed
experiments (“Little Acorns”…da fuck?), thus the lower score.
But it still rawks something fierce.

9.
Fountains of Wayne: Welcome Interstate Managers (S-Curve/Virgin)
I picked this one up at the start of summer, figured I’d listen to it for
a few weeks, and that’d be it. That I still spin it at least once a week came
as a pleasant surprise. If nothing else, the album is almost too perfect…too
polished…with hooks that feel as if they’ve been concocted in laboratories
after years of painstaking research on the human ear. “Stacy’s Mom” (and its hilarious video) seems to have finally garnered some of the attention
that these guys deserve. Hyper saturated (and boy this record is saturated)
power-pop is a relatively easy genre to perform, but extremely difficult to
perform well. Every chorus on this record sounds good sober, and downright
incredible when you’re soused.

8.
Tindersticks: Waiting for the Moon (Beggars Banquet)
Smash Mouth sells more records that these guys, and that’s a damn shame. Once
somewhat accurately described by Pitchfork as “slow-core R&B with
an inky black center,” nobody sounds like Tindersticks, and few bands
have been so consistent over the years in releasing great records. Lead vocalists
Stuart Staples (creepy baritone) and Dickon Hinchliffe (relatively soothing
tenor and string arrangements) dish up another solid outing rife with burgundy
wine, black curtains, and expertly arranged string and horn arrangements.
Unquestionably bleak, but enjoyable nonetheless. What other band could open
a record with “My hands around your throat/if I kill you now, well they’ll
never know” in the guise of a tender lullaby?

7.
Shins: Chutes too Narrow (Sub Pop)
Such tunesmiths these guys are! Nearly every song is a complex puzzle unto
itself, yet nothing is ever less than catchy and instantly memorable. Proving
that Oh, Inverted World was far from a fluke, James Mercer re-establishes
himself as one of indie’s finest songwriters, and with a golden throat to boot.
 

6.
Super Furry Animals: Phantom Power
(XL)
The feedback laced power-pop of SFA’s earlier records has mostly been excised
in favor of slower tempos and more intricate arrangements. This works to their
advantage, and Phantom Power is probably the Furries most “album-like” record to date. Nothing feels out of place, tracks seamlessly blend into one
another, and the result is something akin to an early 70’s Beach Boys record.
Lyrics are politically charged, but never overbearing, and unlike 2001’s overrated Rings Around the World, it never drags. The sonic equivalent of the
token “lazy-river” ride at your local water park.

5.
Stephen Malkmus & the Jicks: Pig Lib (Matador)
This one was firmly entrenched in the CD player for practically all of the
spring and early summer months. Probably the man’s best work since Wowee
Zowee. Even with some added prog-rock flourishes, Pig Lib is refreshingly
restrained and tasteful, yet could be the output of no other artist. And variety
is in abundance. Check the incredibly catchy choruses of “Do Not Feed
the Oyster”, the sweaty wah of the sensuous “Sheets” and the
certified prog-rock epic “1% of One”, which may or may not be a
tribute to Rush’s “Jacob’s Ladder.”

4.
South: With the Tides (Kinetic)
Their first record was good, if flawed. Their sophomore effort tightens the
screws, adds some skepticism, cranks up the guitars, and is a lot better.
If there’s something to be said about Coldplay (who I actually don’t dislike)
it’s that maybe they’ll inspire some of their fans to seek out acts like South
and Clearlake; bands that are similar to Chris Martin and co. on the surface,
yet far more accomplished and daring.

3.
My Morning Jacket: It Still Moves (ATO)
A late September purchase after not ever having heard the band, this one came
as a complete surprise. My Morning Jacket somehow manage to incorporate everything
I love about Neil Young and the Allmans with that brand of reverb-heavy psychedelic
rock that appears to be so en vogue these days (e.g. Flaming Lips, Mercury
Rev). Frontman Jim James’ high lonesome croon is an instrument unto itself,
and the band proves very capable of kicking out the jams over the course of
12 songs and 75 minutes. Runs a little long towards the end, but eminently
enjoyable.

2.
Radiohead: Hail to the Thief (EMI)
Not a big surprise, but when you’re hot, you’re hot. Thom remains paranoid,
Johnny remains ingenious, Colin and Phil remain the most inventive rhythm
section in modern rock, and Ed remains happy to be along for the ride. In
essence, just another day at the office. But it’s a hell of an office.

1.
Blur: Think Tank (EMI)
Figuring that Graham leaving + Damon’s ego + Gorillaz success + Fatboy Slim
production would make for an unholy mess of an LP, high hopes I did not have.
Then the notorious Stephen Thomas Erlewine of All Music Guide fame goes and
gives it an insulting 2 stars three weeks before the actual record hits the
shelves. But after using SlSk to acquire the simply awesome, dub-heavy, fever
dream that is “Ambulance,” I kept the faith. Coxon’s departure apparently
had a lot of positive effects on this band, such inspiring Damon to compose
his best ballads since Parklife and forcing Alex James into a leadership
role that he’s always been capable of, dropping Lee Perry-worthy rivers of
bass to back up his claim that Think Tank does indeed “have hips.” The result is unquestionably the finest latter day (read; post-Great Escape)
Blur album, and quite possibly the best of their career. Think Tank
is atmospheric, groove-driven, surprisingly heartfelt, and considering the
surrounding circumstances, far better than it has any right to be. My most
listened to album of 2003.