Tapes on the Floor's Favorite Albums of 2013

Congratulations on living through 2013. No seriously, congrats. It wasn't an easy year. There were some great times, to be sure, but there were doubtlessly some moments within the past twelve months that made you question the point of it all. Luckily, amid the political squabbling, unprovoked violence, global warming and lackluster summer blockbusters, there was a crate of records that helped to lift your spirits when the going got tough. Listed below are the ten albums that helped get me through the past 365 days. Put them to good use in 2014.

Tapes on the Floor's Favorite Albums of 2012

I'm a bit late on the delivery of my list of favorite albums this year, but the list itself was one of the easiest I've ever made. That's not to say that 2012 was so devoid of quality music that only a select few records made themselves worthy of inclusion. Rather, it felt as if there were loads of great records released over the past year, but only a few of them truly amazed and inspired me. So, roll up your sleeves, pour yourself a beverage of your choosing and join me as I attempt to explain to you why I liked these albums more than all those other albums. For variety's sake, they're in reserve alphabetical order this time around.

Tapes on the Floor's Favorite Albums of 2011

In compiling my favorite albums this year, I tried to think back and include records that deserved to be heard in their entirety. It's been interesting to observe how the music business has slowly slipped back towards a single-driven mentality, precipitated by on-demand listening and fragmented purchasing options. Increasingly, there aren't a whole lot of reasons to put much thought into crafting a cohesive, long-playing listening experience. Which is why it's all the more impressive when a group is able to make their entire record mesh in the kind of way that almost forces you to take it all in at once. Assembled here are the albums of 2011 that pulled me in and didn't relinquish my attention until the conclusion of their running time.

Tapes on the Floor's Favorite Albums of 2010

After taking almost the entire year to carefully consider the music that would appear on this list, I'm now ready to reveal my favorite records of the year—and not a day too soon. 2010 was another corker as far as music goes, but I feel as if I've been saying that every year for a while now. The truth is, I listened to more things this year than ever before, and while I loved quite a bit of it, the records on this list are the standouts that truly stuck with me. So here they are, my favorite albums of 2010 listed alphabetically by artist.
















Write About Love - Belle and Sebastian
It's probably bad form to call Write About Love Belle and Sebastian's comeback record—they never really left or went on hiatus, it just took four years between releases. However, even for a group who practically wrote the book on twee indie-pop, the musical landscape of 2010 is a far cry from that of 2006. This makes the fact that Belle and Sebastian haven't really changed one bit all the more delightful. They're still complaining about their day-jobs ("Write About Love") and making grandiose demands ("I Want the World to Stop") atop the bouncing strains of catchy, upbeat arrangements. "Make me dance/I want to surrender," croons Stuart Murdoch on the record's opening track—it's hard to come up with a better summation than that.
















Brothers - The Black Keys
I've always been a strong proponent of the Black Keys—much like myself, they're Ohio boys with a penchant for the blues. With this in mind, it should come as no surprise that I think that Brothers is their strongest effort since Rubber Factory. This record finds the duo melding the raw sound of their earlier recordings with the production values of their latter-day output—a near-perfect balance of old and new with a cohesive direction. Whether it's the swirling organ and earnest falsetto present on "The Only One" or the bellowing low-end of "Howlin' For You," Brothers proves that the Akron twosome still have a few tricks up their collective sleeve.
















Black Sands - Bonobo
There's at least one album I put on my list each year that I feel I really have no right talking about. I'd never heard of Bonobo (British producer Simon Green) until this record fell into my lap earlier this year, but his orchestral trip-hop arrangements instantly made me a fan. Black Sands is an electronic album planted firmly in the analog world, buoyed by a seemingly classically trained ear for melody that transcends the hook-obsessed state of modern electronic music. The danceable beats of "Kiara" and "1009" stand shoulder to shoulder with the meticulously composed instrumentals of "El Toro" and the record's title track. It's a juxtaposition that requires delicate control, but one that Green pulls off successfully and to great effect.
















Forgiveness Rock Record - Broken Social Scene
For the sprawling Canadian collective's fourth act, the group traveled to Chicago to record with John McEntire at Soma studios. The result is another art-rock opus featuring an ample cast of players and guests. For a band that has split off in so many different directions in the years since their last record-proper, it's refreshing to hear all these people bringing their influences into the fold and playing off each other in the same place. The variety is key, bouncing from anthemic Kevin Drew-fronted numbers like "World Sick" and "Forced to Love" to the soft trills of Lisa Lobsinger on "All to All" to Emily Haines' decidedly subdued "Sentimental X's." McEntire's production work negates any sonic disparity, making for an album bound together by an intense love of music in all its permutations.
















Halcyon Digest - Deerhunter
For a person such as myself who has always been intrigued with bits and pieces of each subsequent Deerhunter and Atlas Sound release, Halcyon Digest is the perfect blend of both projects' at-times disparate sensibilities. Under the direction of maestro Bradford Cox, the group takes their usual shoegaze-y sound and injects it with a bit more of the pop spirit of Cox's solo work. The result is a record that doesn't sound drastically different from the band's previous efforts, but one with many more memorable moments—be it the sax solo on "Coronado" or the synth-heavy repose of "Helicopter". Under the watchful eye of producer Ben Allen, it all comes together in a way that injects new life into the weird and wonderful melodies this group is capable of.
















Tommy - Dosh
What is there left to say about an album and artist that I've gushed about for the better part of this past year? Dosh's latest loop-filled release keeps the creative wheels turning, resulting in a record that holds new surprises at every turn. There's the fast-paced collage of an opener "Subtractions," which seems to throw in just about every trick in the book. Just down the line is the atmospheric "Airlift," which I suppose you could peg as Dosh's contribution to the 'chillwave' fad. Closing out the record is "Gare de Lyon," an expansive and fitting tribute to the album's namesake—the late soundman Tom Cesario. Tommy is a portrait of an artist putting familiar tools to new tasks, all the while finding new ways to excite and amaze.
















Skit I Allt - Dungen
I like to think that Dungen's latest record was conceived in a haze of pot smoke, amid stacks of Camel and King Crimson records. From the sound of it, my assessment can't be far from the truth, as the Sweden-based outfit's record is another slightly stoned take on the '70s prog-rock sound. Ringleader Gustav Ejstes populates each track with a sense of nostalgic wonder, drawing from a palette of fuzzed-out guitars, percussive organs and trilling flute. As should be the case, there is no lack of distinct and memorable melodies, evident on tracks like "Skit I Allt" and "Marken Lag Stilla". As indebted to their forbearers as this collection of songs may be, on this record Dungen lovingly crafts the sound into something that nearly transcends that association.
















Cosmogramma - Flying Lotus
On his sprawling sci-fi, jazz-tinged, hip-hop exploration, LA best scene producer and musician Steven Ellison creates one of the most alluring pieces of art to come out this generation's liberal cut-and-paste mentality. Flirting with everything from oriental melodies to sweeping orchestral overtures, FlyLo layers entirely disparate sounds between ample helpings of glitchy synths and sporadic beats resulting in a unique blend of classical and modern sensibilities. It's an interstellar voyage from start to finish, never dwelling on one musical thought for too long and packing in appearances from folks like Thom Yorke and Ravi Coltrane. That it succeeds is a credit to Ellison's off-beat musical mind, but its unlikely cohesion is something akin to magic.
















What We Lose in the Fire We Gain in the Flood - The Mynabirds
Laura Burhenn set out to make a modern Motown masterpiece, and with the help of producer Richard Swift, she succeeded. What We Lose in the Fire is the kind of record that oozes with soul, bouyed forward by Burhenn's awe-inspiring voice and pitch-perfect instrumentation. The slow-burning opening track sets the mood, augmenting a fairly simple arrangement with accents like a swirling organ and glistening horn section. "Numbers Don't Lie" sounds like some long lost Motown 45, preserved in all its dusty, jangly glory. It's a hodge-podge of influences and call-backs but a record that manages to pay its dues while still offering something all its own.
















High Violet - The National
Maturation is a natural part of life—even bands do it, and on the Nationals latest release you can hear them doing just that. High Violet is a record bereft of the sonic energy found on Alligator and portions of Boxer, replaced instead with an earnest serenity befitting of Matt Berninger's calm baritone delivery. That's not to say that the group's penchant for big musical moments has dissipated entirely, as tracks like "Terrible Love" and "Afraid of Everyone" deliver those in spades. However, more subdued cuts such as "Bloodbuzz Ohio" and "Runaway" come away as being the most memorable—perfect showcases for the kind of refined instrumentation the band has become known for. Growing up—hard as it may be—has never sounded this good.
















One Of Us - Pomegranates
A couple of minutes into the opening title-track of this record, it becomes abundantly clear that Pomegranates have struck upon a sound that is uniquely their own. It's a moment they've been building towards ever since the reverb-drenched strains of their 2008 debut, but on One of Us, it all solidifies into something undeniably magnificent. Shifting from the psychedelic stomp of songs like "50's" and "Prouncer" to the subdued ambiance of "White Fawn" and "Venus," the group strikes a balance between energetic release and calculated poise. In between the space-y atmospherics are songs that transcend their trappings and a band reveling in a strain of pop-rock that sounds like no one else.
















White Noise Bed - Santah
I forget exactly how I felt when I discovered the awful truth about Santa, but I'll never forget how I felt upon first hearing the excellent debut release from a band called Santah. The young group of players turn in a record that sounds wise beyond their years—a brilliantly cohesive folk-rock statement rife with moments of sheer musical bliss. It would be tempting to say that it's all the brainchild of frontman Stanton McConnell, but the growling organ care of Tommy Trafton and firmly anchored bass lines of Otto Giovanni betray this as an intensely collaborative undertaking. It's a record that ebbs and flows but never dips in quality, making for some of the year's most enthralling listening.

Happy New Year!

Tapes on the Floor's Favorite Albums of 2009

I finally got around to this, a few weeks later than I would have liked, but this year I really needed the extra time to pick my favorites. As I mentioned before, this is the first year I've ever had to set a limit for myself while writing my favorite albums list. I'm not sure if this speaks to the overall quality of 2009 releases or my inability to pick favorites, but I knew I had to narrow things down some. The albums on this list are records that I became attached to almost immediately, and that have stayed in heavy rotation far past their initial release. I narrowed it down to 10, and they're presented here alphabetically by artist:

Set 'Em Wild, Set 'Em Free - Akron/Family
While I've certainly enjoyed some of their work with Angles of Light, I can't say that I've ever been a huge fan of Akron/Family. All that changed the moment I put on this record and heard the opening strains of "Everyone is Guilty". This record takes all the psych-folk leanings of their previous work, pumps up the volume and puts it in a pretty rock n' roll package. That's not to say that the group's more nuanced, finger-picked acoustic tunes are left by the wayside, quite the opposite in fact. There are enough sing-a-longs here to make you feel as if you're sitting around a campfire with the band, more participant than listener. It's a feeling best summed up in the lyrics of the song "River": 'You and I and a flame make three'.

Keep It Hid - Dan Auerbach
Who knows what possessed Auerbach to take these particular songs and strike out on his own, but the resulting album was well worth the trouble. It's not that these songs couldn't have been perfectly good Black Keys tracks, it's just that the end result is a bit different sounding than usual. And therein lies this album's charm, from the soft strains of the acoustic album opener "Trouble Weighs a Ton" to the the southern rock swing of "My Last Mistake". All of this is anchored by Auerbach's most important instrument: his voice, which still sounds like its pulled straight off of some old blues record. Something tells me this won't be his last solo outing, but we probably won't see another for a few years. Fine with me, I'm still enjoying this one for all it's worth.

Embryonic - Flaming Lips
After two back to back career-defining albums, the Lips' 2006 record At War With the Mystics was a bit of a letdown. Thankfully, I think Wayne and the rest of the guys felt the same way, which is how, in 2009, we ended up with one the group's weirdest albums in years. It sounds thrown together in the best sense, an album that isn't overly produced or planned out, like we're listening to the band in the studio making their own completely unfiltered brand of rock and roll. Sonically, there are some amazing moments on this album, from the pulsing krautrock of "Convinced of the Hex" to the swirling distorted groans of "Worm Mountain". It's a record that has a very definite sound to it, one that successfully combines just about everything this band is really great at doing. And, if the title is to be believed, this is only the beginning of the Flaming Lips' rebirth.

Veckatimest - Grizzly Bear
Nevermind that small Massachusetts island, to me the name Veckatimest will forever be synonymous with the sound of a band that sounds completely comfortable in their own skin. Grizzly Bear embraced every characteristic that makes them unique and crafted an album that is blatantly unapologetic. The pop sensibility demonstrated on this record is staggering; these are songs in which every note is carefully placed for maximum impact. First, there's the unrequited longing of "Two Weeks", set against a bouncing, jovial keyboard melody. Then, the outright confessions of "Ready Able" riding atop swirling guitars and minimalist rhythm. And finally, the sweeping crescendos of "While You Wait for the Others", the centerpiece of a record overflowing with noteworthy moments.

The Visitor - Jim O'Rourke
Eight years after his last Drag City release, O'Rourke finally saw fit to bless us with another record. The Visitor consists of a single, 38-minute instrumental track, meticulously arranged and performed exclusively by O'Rourke. It's admittedly a challenging record to listen to, as it's best experienced in one rather long sitting. But if you're an O'Rourke nerd like myself, it's one of the most rewarding listening experiences you can have. It's a veritable symphony, replete with shifting movements which build, repeat, and evolve throughout the course of the track. O'Rourke's inclusion of small nods to his prior work is the icing on an already sumptuous cake. The Visitor is O'Rourke at his best; an extremely enjoyable ride through the mind of a man who is nothing short of a musical genius.

Let's Build a Roof - LAKE
For a group that started off as a Fleetwood Mac tribute band, LAKE sure have come into their own. Let's Build a Roof is collection of succinct pop rock songs, all constructed around the theme of forging ahead and creating something beautiful. It's a fitting message for an album that truly seems to embody the ethos it imparts. Towards the beginning of the record a track called "Madagascar" acts as the manifestation of reluctance, with it's echoing refrain of 'I wanna give up'. By the album's conclusion, an extremely catchy rhodes and saxophone driven number called "Don't Give Up" provides the juxtaposition to that prior sentiment. A rotating cast of male and female singers lend further contrast, all atop spotlessly clean production work care of K-Records mainstay Karl Blau. LAKE takes songs that could easily come off as coy or disingenuous and adds the feeling needed to make them truly inspirational.

The Eternal - Sonic Youth
In my mind, Rather Ripped was Sonic Youth's version of the straight ahead rock record, whereas The Eternal finds the band sounding more like themselves than they have in quite some time. Guitarists Thurston Moore and Lee Ranaldo continue to mature, finding new ways to make noise part of their songs, not the foundation upon which they are built. Kim Gordon is in particularly fine form here, providing the lead vocals on two of the album's more upbeat tracks, "Sacred Trickster" and "Malibu Gas Station". Another highlight is "Poison Arrow", which is a good summation of what the band is currently capable of. Much like John Fahey's swirling cover art, this record is a blend of the band's sounds and textures from throughout the years. It doesn't exist to draw comparisons, but to show that Sonic Youth is just as formidable now as they always have been.

Beacons of Ancestorship - Tortoise
The forefathers of the Chicago post-rock scene return once again with a record that sounds quite different from anything they've previously done, yet still absolutely recognizable as a Tortoise album. The synth-heavy opening track "High Class Slim Came Floatin' In" provides a pretty good indication of the electronic tone this record takes. Keyboard blend into guitars which in turn blend into drum machines creating a dense sound-scape that quickly becomes something much different than the sum of its parts. Tracks like "Penumbra" and "Monument Six One Thousand" sometimes sound like sketches or pure experimentation, but fit within the context of this record. Tortoise is a group unafraid of trying something different, and on this record you can hear that joy of sonic discovery.

Tight Knit - Vetiver
Frontman Andy Cabic has a knack for writing songs that are quiet and understated, yet brimming with an emotional warmth and depth that's lacking in much of modern folk music. Tight Knit collects ten such songs, beautifully recorded and produced to bring out even more of that aforementioned warmth and depth. Whether it's the dual acoustic guitars of "Rolling Sea" or the clinking triangle of "Sister", every detail of these recordings is beautifully realized. On one of the album's more upbeat tracks entitled "Another Reason to Go", Cabic flirts with a sort of funk-folk hybrid complete with a horn section, and the amazing thing is that it works flawlessly. On Tight Knit, you can hear Vetiver springing to life in the studio, turning in one of the best records of the year from a band whose best work is likely yet to come.

Wilco (the album) - Wilco
The more I hear this record, the more I feel like it may be the quintessential Wilco album. Granted, it's not my favorite of their discography, but every time I listen to it, it creeps up that ladder a bit more. This is Wilco (the band) playing songs that are uniquely their own. I don't think anyone else could get away with writing a song about their band, but "Wilco (the song)" works as an ode to fans and a distillation of what this group is all about. There's a sense of adventure present here, manifesting itself in the unconventional arrangement of "Deeper Down" and the driving staccato stabs of "Bull Black Nova". There's also an encompassing familiarity, exemplified in the classic rock stomp of "You Never Know" and the alt-country twang of "I'll Fight". It's a record that sums up what Wilco is capable of while simultaneously exploring new sonic territory.

Tapes on the Floor's Favorite Albums of 2008

Every visit to just about every music related blog or website over the past week has reminded me that I need to cash in on the end of the year list craze once again. Most of the lists I've seen thus far are pretty samey; lots of buzz bands and albums, the safe picks, and not much in the way of anything else. So, if you're looking for a list with Bon Iver, Fleet Foxes or Vampire Weekend on it try one of these. If I've still got your attention, here's my take (in no specific order) on what's worth your time and money from the past year in music:

Wolves & Wishes - Dosh
I had to double check and make sure this record actually came out this year because I haven't seen it on a single 'Best of' list I've read thus far. That would make this album my number one most criminally under-appreciated record of the year. With Wolves & Wishes, Dosh expands his musical palette beyond that of his previous record The Lost Take. The same basic ingredients are still present; namely the Rhodes keyboard, a drum set and a looping pedal. But just as The Lost Take took Dosh into the realm of rock, Wolves & Wishes finds Dosh exploring more experimental territory. The song "First Impossible" is essentially nine minutes of droning guitar, made interesting by the way Dosh takes this sound and manipulates it, segueing into various different beats. "Bury the Ghost" features a vocal appearance from Bonnie Prince Billy, backed by a tribal drum beat and solo clarinet. However, the real meat of the record are songs like "If You Want To, You Have To", "Wolves" and "Capture the Flag" which show just how versatile of an instrument a looping pedal can become, creating catchy, unique songs that showcase all of Dosh's musical talents. If you're a fan of The Lost Take, or of the keyboard arrangements on Andrew Bird's last record (which were provided by Dosh) you owe it to yourself to check out one of this year's best albums.

Real Emotional Trash - Stephen Malkmus & The Jicks
None of Malkmus' post-Pavement output has ever really interested me much; I'd come to the conclusion that the guy reached his musical peak with the group and was now content to fade into obscurity with sub-par solo albums. However, something really clicked for me after listening through Real Emotional Trash in its entirety. This is an album that Malkmus never could have made with Pavement. It's full of drawn out, jam-heavy rock songs that were never Pavement's strong suit. But with the Jicks as is backing band. Malkmus makes this seem like what he was born to do. One of the greatest things about this record is that it sounds like a band just playing through its songs; there aren't a bunch of overdubs or overly complex arrangements. Nowhere is this more apparent than on the albums title track which is ten minutes of uninterrupted jamming backed by an extremely competent rhythm section. Malkmus' vocals and unique intonation take center stage on tracks like "Cold Sun" and "Out of Reaches", reminding you that this guy can still write and sing. Real Emotional Trash is a group at its best, and the perfect antidote to the glut of over-produced rock albums on the market today.

Dreaming of Revenge - Kaki King
Kaki King is way better at playing the guitar than you will ever be. She excels at a hybrid picking/finger-tapping technique that makes her sounds like she's playing multiple guitars at once. Dreaming of Revenge fleshes out this sound even further by backing her with drums and bass as well as overdubbing some immaculate solo work. The record is divided into instrumental and vocal-infused tracks, with the instrumental work solidly outnumbering the vocal efforts. At times, she's a pensive singer-song writer, as evidenced in songs like "Life Being What It Is" and "2 O'Clock". At other times, Kaki King is the unabashed rocker, providing both the vocal and guitar prowess that pushes a track such as "Pull Me Out Alive" to the next level. However, my favorite aspect of Kaki King's work are her post-rock tendencies which are brilliantly displayed in "Montreal" and "Air and Kilometers". This is a musician who's last record was produced by post-rock legend John McEntire, so she obviously knows what she's doing. Dreaming of Revenge was a great find for me in 2008, and I certainly look forward to hearing more from Kaki King in the future.

Dear Science - TV on the Radio
TV on the Radio have outdone themselves on their latest release, crafting a record that is every bit as fresh and different as 2006's acclaimed Return to Cookie Mountain. Dear Science is an unabashed pop record; it's got dance beats and catchy hooks. But what really makes it so exciting to listen to is that it takes the pop formula and turns it on its head. There is no other band out there that sounds anything like TV on the Radio, and this album seems like the realization of that fact. "Golden Age" takes a stilted rhythm, layers on some falsetto, Casio-handclaps and a horn section, and somehow manages to sound incredibly natural. All of this is underlined by smart lyrics that decry war, embrace love and suggest music as the solution to the world's problems. Just as Return to Cookie Mountain was an ode to a nation in ruins, Dear Science is a tribute to hope and reconciliation. Dear Science cements TV on the Radio as the Talking Heads of our generation; a group that is totally unafraid to make unconventional pop music with a strong message.

The Odd Couple - Gnarles Barkley
Gnarles Barkley's St. Elsewhere always struck me as the perfect one-off for both Danger Mouse and Cee-Lo. Then "Crazy" happened and everyone took notice. Expectations for their sophomore release The Odd Couple were understandably high and, while it didn't have a hit on the magnitude of "Crazy", it's a much better album than its predecessor. Danger Mouse's production is on the mark, capturing exactly the mood that each song requires. He casts Cee-Lo as the tortured soul man in "Who's Gonna Save My Soul" and "A Little Better" just as easily as he takes him into the realm of gospel in "Going On" and "Suprise". It's an album that deserves to be listened through in its entirety, if only to fully appriciate the bountiful and abrupt changes in scenery. Danger Mouse treats each Gnarles Barkley record like a movie, as evidenced by the film projector heard at the beginning and end of each album. He has a story to tell, and Cee-Lo is always the versatile leading man. This effort may not have been a blockbuster success, but it's sure to find its place as a cult classic for years to come.

Chemical Chords - Stereolab
Most people's main complaint with Stereolab is that everything they do sounds pretty much the same. Chemical Chords probably won't convert anyone with this opinion, but it does manage to stand shoulder to shoulder with some of my favorite Stereolab albums of the past. This one compares nicely to Dots and Loops, sharing its emphasis on electronic backing and processed drum beats. Chemical Chords finds Stereolab sounding just as aimless as ever, but in that great kind of way that makes it the perfect background music. High points of the record include the brass infused "Three Women" and "Self Portrait with 'Electric Brain'" as well as the xylophone driven melody of "Silver Sands". My only regret is that this record finds Tim Gane and company playing things fairly safe. In my mind, the Stereolab classics are from the Jim O'Rourke/John McEntire produced era where the band was trying new things to mixed, but often enjoyable results. We may never hear that side of the group again, but Chemical Chords is a reminder that Stereolab is still great at what they do best.

Attack & Release - The Black Keys
The Black Keys have gotten a bad wrap as of late. I found Magic Potion just as boring and predictable as everyone else, but their newest effort didn't deserve some of the harsher criticism it received. Attack & Release breathes new life into the Black Keys formula, thanks to the production work and guidance of Danger Mouse. Really, the only logical next step for the Black Keys was to expand their palette beyond the staid drum and guitar combo. Danger Mouse was able to do this in a tasteful manner that I doubt any other producer could have accomplished. The record still sounds distinctly like the Black Keys, but hearing the organ kick in throughout the last few second of opening track "All You Ever Wanted", it's clear that this is the band at a new level. My favorite moment on the record is the song "So He Won't Break" which finds the band channeling a sort of neo-soul groove, backed by a steady pounding beat and intricate, layered guitar work. In essence, Danger Mouse takes what the Black Keys are good at and casts it in new lights, resulting in their freshest record since Rubber Factory.

Með suð í eyrum við spilum endalaust - Sigur Rós
Listening through this one for the first time, I was found myself feeling unimpressed. This was far from the ingenious, lush, interlocking arrangements that had populated Takk. However this one grew on me fairly quickly. It's Sigur Rós doing something they haven't done very often as of late; trying something different. From the opening strains of "Gobbledigook" it's clear that this record is an entirely different animal. Most of the songs on this record are just the core members of the band playing songs, without much accompaniment. Another big difference is the abundant use of a brass section; a departure for the band, whom have relied on a string section for their past two albums. It results in a more regal and bold sound for the group, and is a stark contrast to their previously orchestral tendencies. Perhaps the weakest points on this album are when Sigur Rós attempts to go back to the well with the songs "Festival" and "Ára bátur". Both tracks push the nine minute mark, and are plodding affairs that build up to a grand climax within the last few minutes. In "Ára bátur" that climax includes a full orchestra and a choir backing the band which, even for Sigur Rós, seems like overkill. Perhaps inspired by the acoustic sessions they recorded for last year's double EP Heim/Hvarf, Sigur Rós has gone, for the most part, back to the basics on this record, and the results speak for themselves.

Favorite Albums of 2007

Let me get you up to speed; yesterday we took a look at some albums that should have been on today's list, if not for a few missteps or the simple fact that they didn't make it out this year. It's always interesting to look back through the year's music and rediscover a few neglected tunes, or realize just how much you're (still) listening to releases from the past year. I'm always a little bit worried that I'm neglecting new music; I've done a much better job of keeping up with new releases this year, but I'm the still kind of guy who also likes to complete the back catalogs and find interesting old stuff to listen to. Anyways, here it is; my favorite albums of the year arranged alphabetically by title:

Armchair Apocrypha - Andrew Bird
This one has been criminally overlooked on all of the year-end lists I've looked through so far. Bird's latest not only tops his previous record, the critically lauded Mysterious Production of Eggs, but also substantially improves upon the unique style which powers his work. The addition of Dosh into Bird's inner circle of collaborators is one of the most perfect matches ever made, and the results are some of the best tracks on the record.

Boxer - The National
The subdued arrangements and flat vocals are an acquired taste, but once this one grows on you it's hard to stop listening. The National deliver a hauntingly beautiful record that strays from the all out rock of their previous release, instead concentrating on building an atmosphere and accentuating the subtleties.



Challengers - The New Pornographers
I initially panned this one for not living up to it predecessor, the high energy whirlwind of Twin Cinema. Since then, I've come to appreciate this as the Porno's maturing, so much so that the few bombast moments left in the wake sound forced in comparison. A.C. Newman and company have become an entirely different animal; this is the album where the New Pornographers stop sounding like a supergroup and start sounding like a band.

Drums and Guns - Low
Low's latest takes the band back to their slowcore roots, shying away from the more rock-oriented direction of their 2005 release The Great Destroyer. The songs are just as beautiful and sparse as ever, vocals in the foreground with instruments providing texture and context. Drums and Guns brings the slowcore genre comfortably into present day, with pertinent lyrics and the same old haunting sound.

Ga Ga Ga Ga Ga - Spoon
By now, Spoon is a well oiled machine and any album they decide to put out is met with impossibly high expectations. The band's latest manages to deliver, providing a marked improvement over it predecessor. Britt Daniel upholds his title as reigning master of the pop-rock song, and even manages to inject a little bit of studio weirdness without seeming pretentious. Jim Eno also gets a shout out for immaculate production, and some of the most precise drumming around.

I'll Follow You - Oakley Hall
I discovered this group just in time for their inaugural Merge release, which was good timing on my part. I'll Follow You tones down some of the noisier elements of the group, likely to appeal to a wider audience, but keeps all the alt-country vibe intact. From the vocal harmonies to the Skynard-esque guitar solos, it all makes for one heck of a solid record.



In Rainbows - Radiohead
With only ten day's notice, the world's premiere reclusive rock band released their best album since OK Computer. In Rainbows doesn't fizzle out (Hail to the Thief) or get too weird for it's own good (Kid A), it just delivers in spades. The band has never sounded better, so much so that it might even be worth picking up the forthcoming physical release, if only for the miniscule jump in sound quality.

Liars - Liars
The art-rockers tone it down a notch and release their best record to date. There's still plenty of deft studio manipulation and a healthy dose of electronics, but it's all packaged into some of the most rocking songs the band has ever wrote. It's a dark, at times abrasive, record but it's one of the most continuously enjoyable listens of the year.



Mirrored - Battles
Before this year the term 'math-rock' would have been met by most (myself included) with blank stares and disinterest. Battles' first full-length puts the genre firmly on the map with an album that sounds as fun as it is nonsensical. Somewhere between kraut-rock and aimless noodeling, Mirrored is one of the more unique records to hit my speakers this year.

Neon Bible - Arcade Fire
While not quite on par with their impeccable debut, the Canadian rockers' second release is far from a sophomore slump. Neon Bible is a bigger, bolder statement from a group that has the talent to make such melodrama work in their favor. The instrumentation, from booming pipe organs to swelling strings, is just as lush as it needs to be. I'm still listening to it well after its early 2007 release, so just like its predecessor; it has some staying power.

Sky Blue Sky - Wilco
Not the weird record that everyone expected for Nels Cline's first trip into the studio with the band, but certainly not a disappointment by any means. The album oozes with the ambience of laid back classic rock, while the spiraling solos on tracks like "Impossible Germany" and "Side With the Seeds" plant it firmly in the present. It's the next unexpected evolution from a band that seems comfortable in any number of genres.

The Good, The Bad & The Queen - The Good, The Bad & The Queen
I think many people wrote this album off as just another one of Damon Albarn's side projects, which doesn't make much sense because Albarn has an amazing track-record within the side-project arena. Couple that with the fact that this is more of a British supergroup than anything, and you're in for a very interesting record. Albarn and company churn out what can only be described as apocalyptic brit-pop. It's dark and seething at times, but all catchy as hell.

Favorite Albums of 2006

While sifting through this year's releases to compile this obligatory list, one thing became glaringly obvious to me; I don't listen to very much new music anymore. I blame this mainly on my predominantly used-record buying habits; why buy the newest release when you can get 3 older albums for the same price? Sure, I sampled plenty of the buzz albums this year (care of the many high quality MP3 blogs now infesting the web), but I couldn't bring myself to spend the money to hear them in their entirety. There's always next year, right? In any case, here are my picks from 2006:

Born Again in the USA- Loose Fur
I always thought the first Loose Fur album was kind of a one-time deal, so it was amazing to me that this follow up even got made. Gone are the winding jams of their first release, replaced with concise songs that sound like outtakes from Jim O'Rourke and Wilco albums. And when you're as good as these guys, even your outtakes are killer.



Mobile- Glenn Kotche
I never thought I'd include a solo percussion album on my list, but his one really deserves to be heard. Kotche churns out some of his most accessible work to date, with "Mobile Pt. 1&2" easily nabbing the award for the year's catchiest riff. Also, who can argue with a consistently impressive 12 minute drum solo?



The Gun Album- The Minus 5
Who knew the Minus 5 could make a great alt-country album? While not as cohesive as their previous release Down With Wilco, this one has its moments. Scott McCaughy and Peter Buck draw an impressive group of collaborators (Wilco, Colin Meloy, John Wesley Harding) and go to town with the alt-country vibe.



At War With the Mystics- The Flaming Lips
I wasn't thoroughly impressed with this record when I first got it. But I think seeing these guys live on two occasions this summer helped me change my mind. Most of the songs on this album are just as over-blown and epic as the Lip's live show. It's not as consistently good as Yoshimi but as a whole, it's one of the more entertaining anti-war albums you'll ever hear.


Rather Ripped- Sonic Youth
It was kind of weird hearing Sonic Youth being played on the radio this summer, but it's a testament to the more pop-like tendencies of this album. And it's by no means a bad thing; it's reassuring to hear that these guys can still reign in their more noise-oriented tendencies and create a great accessible record.



Chulahoma- The Black Keys
While I couldn't really get into their Nonesuch records debut Magic Potion, I really dug the blues on their final Fat Possum release. A tribute to the late bluesman Junior Kimbrough, Chulahoma oozes with his signature slow-burning style. Auerbach turns in some really nice vocal work and surprisingly over-dub heavy guitar interplay, while Carney shows some restraint from his usual primal pounding. I can't think of a better send off to the label that launched these guys.

The Crane Wife- The Decemberists
Call me crazy, but I've never really considered myself a Decemberists fan until I bought this album on a whim and it changed my mind. A mix of prog-folk and a smattering of classic rock influences, The Crane Wife is a consistently interesting listen. While a few tracks suffer from production that leans too far towards generic indie-rock, the overall quality of Meloy and company's arrangements redeems the record.