At first I had planned on taking a list of songs, much like the one you see below, and making a complete mix CD that would run together nicely and go through a series of different styles and blah blah blah. But, in the end, it’s probably just better to do it this way: a list of 25 songs that I’ve listened to the most so far this year (that were released on or before mid-July). In other words, the 25 songs that have set 2004 apart for me, along with some short blurbs that say little but exist nevertheless. I’ve put it in no specific order to save on all of the “this is better than this one!” bullshit that, of course, we’ll save for year’s end. This is only the half-year thoughts, after-all, so we can afford to be lazy.
I’ll also tag on a very thrown together list of my favorite thirty albums of the year so far (meaning that I removed any albums that are being released after the second week of July, even if they are sitting comfortably on my hard drive), though it’ll change drastically over the next few months.
25 Songs.
A.C. Newman: “The Town Halo” {From the Blue Curtain/Matador release The Slow Wonder}
Partly the cello riff that fuels it and partly the intensity of Newman’s vocal delivery, “The Town Halo” is far and away the most immediate and, arguably, catchy moment on Newman’s first solo release, The Slow Wonder—and that’s no small feat. What it really comes down to is that this is the best song on the best power pop album released this year, and if it doesn’t immediately grab you, it really is time to move on to another genre, because it isn’t likely you’re getting any better than this in 2004.
All Night Radio: “Daylight ‘Till Dawn” {From the Sub Pop release Spirit Stereo Frequency}
Though the rest of the album is frustratingly hit and miss (and, apparently, their last), the two songs that bookend the record—“Daylight ‘Till Dawn” and “All Night Radio”—are some of the better psych-pop tracks of the year by some distance. In the end, I pick “Daylight “Till Dawn” for the monumental chorus harmonies and far superior arrangement. It feels as if something fundamental is missing, even during its blissful chorus, but they’re obviously still getting quite a bit right.
Jim White (w/ Aimee Mann): “Static on the Radio” {From the V2 release Drill a Hole in That Substrate and Tell Me What You See}
Like Ron Sexsmith if he went through some of the worst benders of his life and tried to do his best Sparklehorse impression, Jim White’s recent duet with Aimee Mann (would anyone really argue the fact that she’s a much better singer than songwriter?) might still be a little too radio friendly or safe for some, though its morose production overtones and lovely chorus vocal interplay (rather than sticking to mere harmonies, they take their turns completing the melody) give it just enough edge to fully realize its intentions.
cLOUDDEAD: “Physics of a Unicycle” {From the Mush release Ten}
Another close call here between “Unicycle,” “Teen Keen Skip” and “Rifle Eyes.” But it’s “Unicycle” that I find myself going back to the most; though Ten would move away from their debut’s penchant for ten-section single tracks, it would be “Unicycle” that would incorporate aspects of their former work into their new succinct and more accessible (and I use this term loosely) form. Whereas “Dead Dogs Two” would fail because of its overemphasis on glitch-pop hooks, here we get all that is great about cLOUDDEAD: playful yet inventive vocal interplay and an original, intriguing production, surrounded by experimentation that somehow manages to rarely fall on its face.
Destroyer: “New Ways of Living” {From the Merge release Your Blues}
Long before the rest of Your Blues would eventually leak, three songs were posted on the Merge website: a revamping of “Music Lovers,” and two new tracks, “It’s Gonna Take An Airplane” and “New Ways of Living.” Even then, “Living” jumped out as being one of his most intriguing cuts since Streethawk, combining the unpredictable quality that had made This Night so confusingly addictive and the cogent, unforgettable melodies that he’s come to be known for. From the explosive opening to the triumphant sing-along chorus at the end, “New Ways of Living” remains one of the most captivating art-pop offerings of the year.
Madvillain: “Accordian” {From the Stones Throw release Madvillainy}
The first song I would hear from Madvillainy remains its most impressive; though centered around one of the album’s many short, repetitive loops (in this case, you guessed it, an accordian), Doom’s lax delivery just slides over Madlib’s production like pure ice, tossing out some of his best lines yet, effortlessly one after the other. Like pretty much all of Madvillainy, they keep it short and sweet, moving on to the next idea without so much as an afterthought. As the first real track on the album, it’s frustrating that they rarely come close to topping it, but it does say a lot that over half of what follows comes awfully close.
The Tragically Hip: “It Can’t Be Nashville Every Night” {From the Universal release In Between Evolution}
It’s hard to pick a single track from most Tragically Hip albums (“It’s a Good Life”/In Violet Light excepted), but “Nashville” sticks out on IBE as one of their most well-rounded songs in years. Whereas “It’s a Good Life” had perfected their slower art rock (in a way only rivaled by “Flamenco”), “Nashville” stands out amongst their large back-catalogue of mid-tempo rock. Though “You’re Everywhere” might have the record’s strongest chorus, “Gus: The Polar Bear from Central Park” the best guitar work and “Are We Family” the most moving melody, “Nashville” wins out if only because of how relentless its hooks are. Great stuff.
The Delays: “Nearer Than Heaven” {From the Rough Trade release Faded Seaside Glamour}
One of the albums that have grown on me the most since reviewing it, the Delay’s Faded Seaside Glamour may be a little sweet for most people’s tastes (the production is rather slick, and their affinity for Fleetwood Mac-style AOR rock isn’t going to help matters any), but when it hits its stride—like on “Long Time Coming,” “Hey Girl,” “You Wear the Sun” and “Nearer Than Heaven”—the results are incredibly hard to argue with. “Heaven” in particular uses Greg Gilbert’s vocal range (not to mention the terrific timbre he has) to great effect, and its soaring Brit-pop chorus is the best of its kind since Gay Dad’s “Joy!”
Asobi Seksu: “Asobi Masho” {From the Friendly Fire release Asobi Seksu}
An extremely short Experimental Jet Set-era Sonic Youth impression (it starts out exactly the same as “Screaming Skull,” in fact) it may be, but Asobi Seksu (it translates to “play sex,” if you’re wondering) pack more excitement into its minute and a half than most of their their debut combined. Yuki Chikudate’s vocals also sound far more at home on “Asobi Masho”—as opposed to downright boring cuts like “Stay”—, begging the question as to why they’d surround the track with hit-and-miss shoegaze.
Walkmen: “Thinking of a Dream I Had” {From the Record Collection release Bows & Arrows}
Most seem to refer to “The Rat” as Bows & Arrows‘ major achievement—and I’ll agree, it is a fantastic single—, but it was “Thinking of A Dream” that truly convinced me that the Walkmen had created something special with their sophomore record. Hamilton’s voice does it best to match the fierceness of the music backing him, from the insistent march of the percussion to the steady rhythm of the guitar and brilliantly recorded organ—all mixed together in an inebriated haze that briefly dismantles before building again to an overwhelming climax. Seven months later, this still remains one of my absolute favorites of the year, hands down.
The Heavy Blinkers: “Mother Dear” {From the Endearing release The Night & I Are Still So Young}
For all of the absolutely terrible chamber pop that gets tossed around in indie circles, it still amazes me that Halifax, Nova Scotia’s The Heavy Blinkers have been kept to the level of obscurity at which they remain, even after releasing three great albums since the turn of the millenium. “Mother Dear” is one of several highlights from their latest release, The Night & I…, and, as was the case on Better Weather‘s excellent “I Used to be a Design,” Ruth Minnikin takes over on the vocals, and her voice (equal parts Beth Orton and Chan Marshall, but with an odd slant) more than forgives the song’s soft-rock tendendices. Minnikin also does an incredible job on the record’s title track, which isn’t far away from matching “Mother Dear.”
Devendra Banhart: “Will Is My Friend” {From the Young Gods release Rejoicing in the Hands}
Any number of songs from Banhart’s incredible Rejoicing in the Hands could make this list (most notably “The Body Breaks,” “This is the Way,” the title track, “This Beard is for Siobhan” and “Insect Eyes”), but in the spirit of keeping this list to a trim 25 songs, I have to go with “Will.” Just as intimate and stirring as the rest of his work, Banhart takes the effortless three chord progression and, thanks to his unique timbre and delicate finger-picking, crafts a timeless ballad that, amazingly enough, isn’t anywhere close to being alone in its league on the record.
Chad VanGaalen: “Clinicly Dead” {From the Catch & Release/Flemish Eye release Infiniheart}
I pick “Clinicly Dead” not because it’s the best track from VanGaalen’s incredible debut (“After the After Life,” “1000 Pound Eyelids” and “Traffic” top it); in fact, it’s the most straight-forwardly “indie-rock” moment of Infiniheart’s eighteen tracks. The strange thing about his debut, for those that have not yet heard it, is that most of its best moments come from a series of builds from many single songs, something which simply cannot be replicated by removing a mere two minutes and placing it in another context. “Clinicly Dead” (sic), the album’s opener, manages to work just as well on its own, its insistent chorus hook more than making up—for a lot of what comes after it, at least—for its more by-the-books approach.
Camera Obscura: “A Sister’s Social Agony” {From the Merge release Underachievers Please Try Harder}
I never got around to reviewing this album for CMG (mostly because I ended up covering it for Stylus), but Camera Obscura’s ability to channel the most distinctive aspects of any number of groups is staggering—take your pick from Leonard Cohen, Simon & Garfunkel, Nick Drake, Belle & Sebastian, ’60s doo-wop and the Beach Boys, for starters. In the case of “Social Agony,” it’s their co-opting of a Belle & Sebastian instrumental approach with some beautiful Beach Boys/Four Freshmen inspired three-part vocal harmonies that makes it stand out on Underachievers, and for those that can get past the general sense of deja vu, it’s an addictive listen.
Joanna Newsom: “Clam, Crab, Cockle, Cowrie” {From the Drag City release The Milk-Eyed Mender}
I hated Joanna Newsom for quite some time, but, like a number of artists before her, it would eventually become everything that I had hated about her music that would convince my stubborn ass that I was wrong. “Clam” closes out her debut The Milk-Eyed Mender, and it incorporates everything unique and special about the record as a whole: the stark arrangement—consisting merely of a harp—and Newsom’s highly unique, child-like vocals (which showcases an impressive range on this track in particular) creature a soft, but still jarring, melody that gives the song the kind of maturity that is lacking from her voice and fairy-tale lyrics.
Mclusky: “Falco Vs. The Young Canoeist” {From the Too Pure release The Difference Between Me and You Is that I’m Not On Fire}
The most brutal song from their excellent third album, “Falco”—sung by bassist Jon Chapple, who I maintain is possibly the most entertaining bass player I’ve ever seen live, who also did the similar “Chases” on Mclusky Does Dallas—, with many thanks to Albini’s production, just fucking obliterates any other rock song I’ve heard this year, and definitely the group’s best track since “Lightsabre Cocksucking Blues.” “She Will Only Bring You Happiness” (their poppiest song since “Flysmoke,” but, unlike that song, it’s really fucking good), “Without MSG I Am Nothing” and “You Should Be Ashamed, Seamus” are also highly recommended, though neither of them bear much of a resemblance.
The Mountain Goats: “Quito” {From the 4AD release We Shall All Be Healed)
Another one of the album’s that, looking back, I gave a good 5% too high of a rating, Healed still had its share of career highlights, even if none of them would top Tallahassee‘s “Oceanographer’s Choice” or “No Children.” But it’s the short, distorted acoustic drive of “Quito” that remains the best coupling of John Vanderslice’s sometimes overbearing production and Darnielle’s subtle hooks; in fact, the distorted haze that surrounds the melody is just as important to the song working as well as it does, though the haunting cello in the background is equally as essential. “Palmcorder Yajna” also comes highly recommended, though something about “Quito” still sounds more. . . ‘listenable,’ I guess.
Andre Ethier: “Last Line” {From the Sonic Unyon release Andre Ethier With Christopher Sandes Featuring Pickles and Price}
Ethier, best known for his work with Deadly Snakes, released what is arguably his best work to date with his debut solo album, a throwback to another era for the Toronto singer/songwriter: this time, though the Dylan influence is still very much apparent, the raw, Rolling Stones rock and roll edge is replaced with a loose, Band atmosphere that, not surprisingly, sounds a lot like The Basement Tapes. “Last Line,” the album’s pinnacle, is a Crooked Fingers-esque ballad with parlour piano lines and a fantastic Tom Waits-by-way-of-Bob Dylan delivery, soaring past the kind of mere nostalgia that this project easily could’ve ended up as.
Minus Story: “Joyless, Joyless” {From the Jagjaguwar release The Captain is Dead, Let the Drum Corpse Dance}
A lot has been made of the E6 influence on the Minus Story’s third record, The Captain Is Dead, and it’s not hard to hear why; “Joyless, Joyless” takes the innocent, celebratory quality from Of Montreal’s better material and channels it through a fierce, invigorated reincarnation of Olivia Tremor Control, had Hart and Doss learned to combine their talents instead of making their contributions very clearly known as their own. In fact, it’s a larger pop epic than anything on the Circulatory System record (even though, yes, I know, that’s not what he was going for) and just better than any track from the Sunshine Fix debut, though little else on Captain lives up to it.
Rogue Wave: “Endgame” {From the Sub Pop release Out of the Shadow}
The last half run on Rogue Wave’s Shadow contains some of my favorite indie-rock of the year so far (“Sewn Up”->”Man-Revolutionary!”), and “Endgame” will probably be the track to convince most doubters that Zack Rogue is more than just a Ben Gibbard/Dave Martsch sound-alike with a mediocre ear for hooks. Only “Man-Revolutionary!” adopts an Elliott Smith sound more, though in the case of “Endgame,” it’s far closer to Smith’s more Lennonesque moments on Figure 8, wrapped in a playful synth arrangement and , like Minus Story above, an E6 style chorus that strongly echoes Of Montreal. The lyrics may hit on the saccharin side at times (“I’ll be lonelier tomorrow/ But I know it’s gotta be”), but it’s not nearly enough to detour from everything that’s great about it.
Animal Collective: “Winters Love ” {From the Fat Cat release Sung Tongs}
Though “Leaf House” is clearly Sung Tong‘s catchiest track, “Winters Love” still strikes me as the album’s most considered and accomplished piece. Driven by much the same inhale-exhale vocal scaling that gave “Leaf House” its Smiley Smile--on-way-more-acid feel, “Winters Love” splits itself in half; the first section quietly whispers in with some unassuming vocal harmonizing, tribal percussion and lightly strummed acoustic guitar before fading out. The second half, however, is the real meat of the song: numerous voices begin to interplay before the melody from the first section becomes re-introduced through a far more confident and energetic delivery. Like the rest of Sung Tongs, it’s completely tripped-out tribal folk music that’s as weird as it is brilliant, and it sounds like nothing else you’ll hear this year.
Tangiers: “Energy Jaws” {From the Sonic Unyon release Never Bring You Pleasure}
Though the second half of Pleasure is full of candidates for this list, the “this-needs-to-be-a-single” east coast pop (think Sloan, Joel Plaskett Emergency/Thrush Hermit, Super Friendz) feel of “Energy Jaws” really sticks out on the record, even despite being sandwiched between two of its other best cuts, “Ro Ro Roland” and “Tropical Ceremony.” There’s nothing flashy about the song—it’s three-chord rock with a few keyboard lines here and there—but it is one of the few “garage rock” tracks you’ll hear this year that you’ll actually want to hear again. And again.
The Blam: “Death or Glory” {From the Independent release Caveat Emptor}
Though I’m sure we’re all skeptical (or sick) of up-and-coming rock bands from New York City, The Blam (horrible band name, I know) sound little little you may expect; just as much influenced by early 4AD acts as they are by all the usual suspects,
“Death Or Glory” (to answer the first question, no it’s not a Clash cover) opens up the group’s newest release, Caveat Emptor (even more surprising is the fact that the record is independently released, though they could’ve been picked up by now, I’m not that sure), with a pop retelling of a simple post-punk riff that blossoms into one of the catchiest straight-forward rock songs of the year.
The Hidden Cameras: “In the Union of Wine” {From the Rough Trade release Mississauga Goddam}
In many ways, “In the Union of Wine” is the ultimate Hidden Cameras song; no lyrics about drinking piss (they’ve had, by my count at least, three songs about that now), no over-campy melodies, no vocal gargling (a la “B-Boy”) and no bland melodies. One of the few Hidden Cameras songs to hold the same kind of power on record as in a live setting, “Wine” combines the celebratory quality that Joel Gibb has always implanted into his best work (think “Boys of Melody,” “Golden Streams,” and “A Miracle”) with his best pop hooks to date, giving Mississauga Goddam one of its few edges over The Smell of Our Own.
Fiery Furnaces: “Chris Michaels” {From the Rough Trade release Blueberry Boat}
A massive pastiche of sections that certainly don’t always work (most of the lyrics on the track, or the album for that matter, venture into ridiculous territory, like the opening “taco lettuce crunch” line), “Chris Michaels” might not be the best track on Blueberry Boat, but I do find it to be the one track that manages to reflect the record as a whole (and what a fucked-up whole it is), and its last half has some of the catchiest indie-rock you’re likely to hear this year. The group combines Mr. Bungle’s fondness for genre jumping with less acid, a love of lyrical concepts and just an unreal ability to patch together a series of ideas while never losing the plot.
—
30 Albums.
30. The Organ: Grab That Gun
29. Polyphonic Spree: Together We’re Heavy
28. Sonic Youth: Sonic Nurse
27. Iron & Wine: Our Endless Numbered Days
26. Bonnie “Prince” Billy: Sings Greatest Palace Music
25. The Heavy Blinkers: The Night & I Are Still So Young
24. Sonic Youth: Sonic Nurse
23. Wilco: A Ghost is Born
22. Loscil: First Narrows
21. Andre Ethier: Andre Ethier with Christopher Sandes featuring Pickles and Price
20. Modest Mouse: Good News for People Who Love Bad News
19. Delays: Faded Seaside Glamour
18. The Mountain Goats: We Shall All Be Healed
17. Minus Story: The Captain is Dead, Let the Drum Corpse Dance
16. Jason Molina: Pyramid Electric Co.
15. Camera Obscura: Underachievers Please Try Harder
14. Madvillain: Madvillainy
13. Walkmen: Bows and Arrows
12. Mclusky: The Difference Between Me and You Is That I’m Not On Fire
11. Joanna Newsom: The Milk-Eyed Mender
10. The Tragically Hip: In Between Evolution
09. Sarah Harmer: All of Our Names
08. Destroyer: Your Blues
07. Fiery Furnaces: Blueberry Boat
06. cLOUDDEAD: Ten
05. Animal Collective: Sung Tongs
04. A.C. Newman: The Slow Wonder
03. Rogue Wave: Out of the Shadow
02. Chad VanGaalen: Infiniheart
01. Devendra Banhart: Rejoicing in the Hands
Other Stuff.
As for stuff to look forward to in the second half of 2004. . . new Arcade Fire (if you still haven’t heard their eponymous debut, get to it; Funeral should be incredible), Frog Eyes, Libertines, Dntel (supposedly), Postal Service, Spoon, Rufus Wainwright, Circulatory System, Vik Vaughn, and, best of all, the release of Smile. Judging by his recent solo album, however, we may have reason to worry. But if it comes off as good as the concert did, we’ll at least have a decent document of the finished thing; it’s not like he’s taping over the original sessions to record this new one, after all. We’ll always have the ’60s recordings to drown out any disappointment.
Then there’s the new Clinic (which leaked quite a while ago and is—as many can attest to, I’m sure—excellent), Interpol (it’s going to be a divisive follow-up, to say the least, but it’s no sophomore slump), Kings of Convenience (it’s patchy, but overall an impressive album), Guided by Voices (slightly disappointing, but a fit ending), the final Elliott Smith record, the new Tom Waits and yet another release from Devendra Banhart—which, if as good as Rejoicing in the Hands, will pretty much clench Banhart’s spot as a leading contemporary folk singer-songwriter. Then, in early January of ’05, we finally get a Destroyer/Frog Eyes recording; if they capture what they had live during their recent tour, it’ll completely kill the original Your Blues versions. As if we needed another reason to point out how ridiculous the production on that album is.
