Top Albums of 2008:
1. Third by Portishead
Very few of these selections will come as surprises to regular readers, this first one included. Third isn't an album that I instantly loved, which was kind of disheartening. I remember listening to Dummy for the first time and how utterly new and engrossing it was to me at the time. Third isn't like that. Its electronic brutality, apparent on tracks like "Machine Gun" and the latter half of "The Rip" can, on first listen, be exhaustive. With some time alone with this group of songs, though, that brutality slowly shifts into a kind of sensuality as gentle and sumptuous as, say, "Roads" (my favorite Portishead song). The work you put in on your first few spins of this record will yield an incredible listening experience down the road. Trust.
Highlight(s): Machine Gun, Silence, The Rip
Weak Spot(s): Deep Water
2. Chances by Jill Barber
The best word for this album is probably "effortless." The concept seems trite- a short collection of 50s-style love songs crooned by the classically beautiful Barber, and packaged as something of a throwback album. On first listen, though, it becomes very apparent that to use the word "concept" to describe this album is entirely fallacious. A "concept album" implies a kind of once-off, masquerade album that assumes a particular sound, aesthetic and structure distinct to a particular genre, era, or audience. The sound on this record, though, seems like a natural progression for Barber. When you hear the title track, You have a hard time imagining her singing anything else- this is where her voice belongs. Wonderfully produced and orchestrated by Les Cooper, Chances is Barber's most satisfying release to date and makes me stupidly happy every time I listen to it.
Highlight(s): Chances, Oh My My
Weak Spot(s): Some less-than-perfect programming choices: "Old Flame" shouldn't follow "Be My Man" (picky much?)
3. Acid Tongue by Jenny Lewis
A ripper of a follow-up to Lewis' first solo record, Rabbit Fur Coat, released in 2006. Where Rabbit Fur Coat excelled was in the deeply nuanced and constantly surprising songwriting of Lewis herself, highlighted supremely by the plaintive title track and on the slightly more ruckus "The Charging Sky" and "The Big Guns." Where the album stumbled, though, was in a lack of forward energy on the remainder of the tracks. After the jangling, rollicking opening to the album, I felt kind of let down by the tepid, ultra-slow burn of the rest of the collection. Acid Tongue makes up for these missteps by taking the whole works into the deep south and retuning with a serious boot stomper of a good time. Tracks like "Jack Killed Mom" and "Acid Tongue" show off Lewis' serious lyrics chops while still delivering the loose, brassy, rough sound of southern rock. Very enjoyable- Rabbit Fur Coat if you fried it and served it with grits.
Highlight(s): Carpetbaggers, Jack Killed Mom
Weak Spot(s): Bad Man's World
4. Man Descending by Justin Rutledge
I’m on an unofficial quest to find the achiest and breakiest of all achy and breaky folk and country being made today. I find this kind of music profoundly comforting for reasons that are totally beyond my powers of explanation. Not rap, not rock and roll, not even punk can make alcoholism and heartache seem as surreally glamorous as folk music. Lil John, Keith Richards and Sid Vicious, for me, have absolutely nothing on some wineo sitting in some bar off some highway in some state that probably grows potatoes singing about how booze is the only thing that’s reliable in this crazy world anymore. As a note, I’ve just realized that I have really shitty life goals. But anyways, that freakish fascination with alcoholic country is part of why I love this album. It seems to be a genuine recreation of the conflict between Godliness and destruction that weighs down so much of the classic country and folk I grew up on, despite being generally (sort of) upbeat. But I think the root of my love for this music comes from the fact that we live in a period where every review of every album claims that the given artist is “defiantly unclassifiable” or some such nonsense. Justin Rutledge is, I think, defiantly classifiable. He creates classic country in an overcrowded country supergenre that’s merged with pop and rock in what is, I feel, probably the worst thing to happen to man kind…like…ever. He isn’t alt-folk, anti-country, alterna-blues or post anything. He makes really excellent folk country music with serious soul, artistry and skill, in a time when transcendence is slicker than whale shit in an ice flow *.
Highlight(s): Alberta Breeze, St. Peter
Weak Spot(s): ...
*Disclaimer: I think boundary breakers are rad, but only when the breaking of boundaries serves to individualize the music being made, not necessarily when the breaking of boundaries is done simply in the interest of creating “crossover appeal.” This is why Taylor Swift sucks so bad.
*Disclaimer: I think boundary breakers are rad, but only when the breaking of boundaries serves to individualize the music being made, not necessarily when the breaking of boundaries is done simply in the interest of creating “crossover appeal.” This is why Taylor Swift sucks so bad.
5. This Riot Life by Veda Hille
I’ve talked about this album a great deal on this blog so far, and with very good reason- It’s straight up exciting to listen to. I’ve listened to some seriously messed up music in my short time, but none of it has ever sounded so refreshing and fundamentally new as This Riot Life, despite the fact that nearly the entire album is based off of traditional hymns and, on more than one occasion employs conventionally classical arrangement and orchestration techniques. It just seems completely new and never stops being fun for me. “Ace of the Nazarene,” almost shrilly satirical stands directly opposed against the almost choral “Constance” and “CowpersFolly” which are all challenged by the absolutely bizarre and theatrical “Soapland Serenade” about the girls who work in a “full release” spa. It sounds completely pretentious and deliberately inaccessible, and, on the first of those two counts, I’d probably agree. It’s totally insane, totally artsy fartsy, completely schizophrenic, but relentlessly fun and exciting. A fantastic album. Also, Veda wins hands-down for coolest album cover this year, if not in the history of man.
Highlight(s): Constance, Ace of Nazarene, Lucklucky
Weak Spot(s): This Spring
Top Songs of 2008:
Look. You just have to accept it- there has probably never been a sassier song or music video in history. This song is awesome. So awesome that I’m even willing to forgive the almost inexcusably annoying Beyonce/Sasha Fierce marketing gimmick that she pulled on this album. This habit for rock stars to adopt a split personality has (unfortunately not by me) been referred to as the “poppelganger.” I wish I’d thought of that so bad. Oh well…"Single Ladies" is awesome- you know it, I know it, we all know it, we might as well accept it.
“New Romantic” by Laura Marling:
“New Romantic” by Laura Marling:
Probably the most impressive thing about this song is the fact that I’m older than Laura Marling, yet she has more soul, maturity and experience in her songwriting than I think I ever will. “New Romantic” has incredible lyrics which are just as witty and surprising as they are downtrodden, and Marling’s loose, gentle, effortless delivery is at once soothing and heartbreaking. These are the incoherent but poignant 4 am ravings of anyone who’s ever been hurt.
“Paper Planes” by MIA:
This song is not technically from 2008, coming from the album Kala, released in the summer of 2007, but nonetheless, “Paper Planes” exploded when released as a single last February and deserves some mention here. I love this whole album, and I think that “Paper Planes” is an ideal example of why it’s so great. On Kala, MIA has taken common hip hop tropes and narratives, but manipulated them to make them personally and politically relevant. In “Bamboo Banga,” for example, when she repeats “we’re knocking on the doors of your hummer hummer,” she’s using a common symbol of American wealth, especially in the rap community, and placing it in the context of Third World degradation, implying street children running alongside a Western car, pounding on the doors as it passes. Similarly, in “Paper Planes,” she assumes the decidedly Western role of “bona fide hustler,” yet still pumps gas, and constantly references the challenges of Third World living- “pirate skulls and bones,” “lethal poison through their system.” What “Paper Planes” did for hip hop was to recontextualize it and, in the process, completely undermine and change it. Here, following the stereotypical “hustler” role seems absurd when people are stuck pumping gas, dealing with lethal poisons and bombs. Also, it’s hella catchy and fun.
“Wanderlust” by Bjork:
Also not from 2008, but again, released as a single in April of this year. I don’t even really know what to say about this song, other than that it’s really great. Bjork has called it the heart of the album it’s drawn from, Volta, and I’m inclined to agree. The “relentless” craving that saturates the song underscores the liminality implied on the rest of the album, especially on tracks like “Earth Intruders” and “The Dull Flame of Desire.” In the context of the album, “Wanderlust” works beautifully, helping the nameless revolutionary protagonists introduced in “Earth Intruders” march onward throughout the collection.
“Fabulous” by Dan Mangan:
This is probably the best song to listen to on a bad day. Ever. Mangan growls his way through this track like a really sad drunk at the tail end of a really shitty party, telling people things they don’t want to know in ways they don’t want to listen to. If you can listen to him sing “wishing the world would fuck off” without somehow feeling better (or at least self-righteous), you are surely made of stone.
“Jack Killed Mom” by Jenny Lewis:
This song is probably the highlight of Lewis’ Acid Tongue. The lyrics teeter between funny and seriously disturbing, and they’re laid over a rollicking, southern saloon rock track that seems to highlight both of these characteristics. I hesitate to say that the song is fun, simply because the subject matter is 100% not awesome, but dammit if I don’t find myself honky-tonking with the best of them every time I hear it. There’s just something about the song that’s totally magnetic, and its explosive momentum is far beyond anything seen on Rabbit Fur Coat.
“Help I’m Alive” by Metric:
I’m basically in love with Emily Haines, and this song has reminded me why. Her unaffected, totally dead-pan lyrical delivery has always been one of Metric’s signatures and it shines on this track. When Haines sings “If I stumble, they’re gonna eat me alive,” she seems absolutely stoic about the whole experience. Even on the great chorus/refrain “can’t you hear my heart beating like a hammer,” there isn’t any attempt at a grand, swooping, star-search moment. It just kind of is. I don’t know why this kind of delivery makes it sound so good. By all accounts, it should make it boring as fuck, but “Help I’m Alive” somehow makes stoicism into a killer slow-burn that I’m ass-over-tea kettle for.
“Elephants” by Rachael Yamagata:
I loved Yamagata’s last album, Happenstance, and have been waiting eagerly since its release in 2004 for even a little hint of something more from this soulful balladeer. Her new album, Elephants…Teeth Sinking Into Heart has finally arrived, and on this double disc, Yamagata explores both her tender and feisty sides. “Elephants” is drawn from the first disk and is the perfect show case of Rachael’s amazing ability to squeeze blood from a stone. I’m not really sure I understand the huge conceit about elephants and lions that she carries throughout the song, but it’s all worth it just to hear her nearly silent delivery of the final stanza, “So to those of you falling in love, keep it kind, keep it good, keep it right. Throw yourself in the midst of danger, but keep one eye open at night.”
“Coyotes” by Brian Borcherdt:
This song is what would happen had Eliot Smith been sadder and slower. Borcherdt puts an enthralling new twist on the guy-and-guitar routine by stripping back acoustic folk songs to their absolute bare bones and giving Michael Stipe a run for his money in terms of cryptic lyrics. This is ideal dead-of-winter-middle-of-the-night music: slow, sparce, moody, dark, lonesome, and all kinds of great.
“Jerk It” by Thunderheist:
The people responsible for this song maintain that “Jerk It” simply means “dance,” and nothing more. Whether or not you believe that, the song is still awesome. The low-key vocal delivery helps turn this “booty poppin” track into both a pleasurable listen as well as a great dance floor beat. In my opinion, at-home good and club good are notoriously at odds in a lot of electronic and dance music. I don’t usually dig electronic because I just can’t stand listening to it at home. People tell me “but at the club, it’s great.” This is usually true, but I kind of feel swindled when I have to get all dressed up, pay 20 bucks cover and have a few drinks in me before I can stand to listen to a song. I’m a lazy, lazy man. “Jerk It” solves my conundrum- great to listen to on its own and a perfect track for the clubs. Canadian rap FTW!
“Gunpowder and Lead” by Miranda Lambert:
I was only going to put 10 songs on this list, but I heard this song for the first time in ages last night, and remembered that it’s probably the only thing this year to rival the sassiness of “Single Ladies.” Again coming from a 2007 album, (Crazy Ex-Girlfriend), “Gunpower and Lead” makes murder seem like more fun than ever before. Lambert wails “I’m going home, gonna load my shotgun, wait by the door and light a cigarette. He wants a fight well now he’s got one, he aint seen me crazy yet.” These aren’t terribly uncommon sentiments in radio country, even in the pop-country-rock morass mentioned earlier, but when Lambert threatens “His fist is big but my gun’s bigger- he’ll find out when I pull the trigger,” I believe it.
“Paper Planes” by MIA:
This song is not technically from 2008, coming from the album Kala, released in the summer of 2007, but nonetheless, “Paper Planes” exploded when released as a single last February and deserves some mention here. I love this whole album, and I think that “Paper Planes” is an ideal example of why it’s so great. On Kala, MIA has taken common hip hop tropes and narratives, but manipulated them to make them personally and politically relevant. In “Bamboo Banga,” for example, when she repeats “we’re knocking on the doors of your hummer hummer,” she’s using a common symbol of American wealth, especially in the rap community, and placing it in the context of Third World degradation, implying street children running alongside a Western car, pounding on the doors as it passes. Similarly, in “Paper Planes,” she assumes the decidedly Western role of “bona fide hustler,” yet still pumps gas, and constantly references the challenges of Third World living- “pirate skulls and bones,” “lethal poison through their system.” What “Paper Planes” did for hip hop was to recontextualize it and, in the process, completely undermine and change it. Here, following the stereotypical “hustler” role seems absurd when people are stuck pumping gas, dealing with lethal poisons and bombs. Also, it’s hella catchy and fun.
“Wanderlust” by Bjork:
Also not from 2008, but again, released as a single in April of this year. I don’t even really know what to say about this song, other than that it’s really great. Bjork has called it the heart of the album it’s drawn from, Volta, and I’m inclined to agree. The “relentless” craving that saturates the song underscores the liminality implied on the rest of the album, especially on tracks like “Earth Intruders” and “The Dull Flame of Desire.” In the context of the album, “Wanderlust” works beautifully, helping the nameless revolutionary protagonists introduced in “Earth Intruders” march onward throughout the collection.
“Fabulous” by Dan Mangan:
This is probably the best song to listen to on a bad day. Ever. Mangan growls his way through this track like a really sad drunk at the tail end of a really shitty party, telling people things they don’t want to know in ways they don’t want to listen to. If you can listen to him sing “wishing the world would fuck off” without somehow feeling better (or at least self-righteous), you are surely made of stone.
“Jack Killed Mom” by Jenny Lewis:
This song is probably the highlight of Lewis’ Acid Tongue. The lyrics teeter between funny and seriously disturbing, and they’re laid over a rollicking, southern saloon rock track that seems to highlight both of these characteristics. I hesitate to say that the song is fun, simply because the subject matter is 100% not awesome, but dammit if I don’t find myself honky-tonking with the best of them every time I hear it. There’s just something about the song that’s totally magnetic, and its explosive momentum is far beyond anything seen on Rabbit Fur Coat.
“Help I’m Alive” by Metric:
I’m basically in love with Emily Haines, and this song has reminded me why. Her unaffected, totally dead-pan lyrical delivery has always been one of Metric’s signatures and it shines on this track. When Haines sings “If I stumble, they’re gonna eat me alive,” she seems absolutely stoic about the whole experience. Even on the great chorus/refrain “can’t you hear my heart beating like a hammer,” there isn’t any attempt at a grand, swooping, star-search moment. It just kind of is. I don’t know why this kind of delivery makes it sound so good. By all accounts, it should make it boring as fuck, but “Help I’m Alive” somehow makes stoicism into a killer slow-burn that I’m ass-over-tea kettle for.
“Elephants” by Rachael Yamagata:
I loved Yamagata’s last album, Happenstance, and have been waiting eagerly since its release in 2004 for even a little hint of something more from this soulful balladeer. Her new album, Elephants…Teeth Sinking Into Heart has finally arrived, and on this double disc, Yamagata explores both her tender and feisty sides. “Elephants” is drawn from the first disk and is the perfect show case of Rachael’s amazing ability to squeeze blood from a stone. I’m not really sure I understand the huge conceit about elephants and lions that she carries throughout the song, but it’s all worth it just to hear her nearly silent delivery of the final stanza, “So to those of you falling in love, keep it kind, keep it good, keep it right. Throw yourself in the midst of danger, but keep one eye open at night.”
“Coyotes” by Brian Borcherdt:
This song is what would happen had Eliot Smith been sadder and slower. Borcherdt puts an enthralling new twist on the guy-and-guitar routine by stripping back acoustic folk songs to their absolute bare bones and giving Michael Stipe a run for his money in terms of cryptic lyrics. This is ideal dead-of-winter-middle-of-the-night music: slow, sparce, moody, dark, lonesome, and all kinds of great.
“Jerk It” by Thunderheist:
The people responsible for this song maintain that “Jerk It” simply means “dance,” and nothing more. Whether or not you believe that, the song is still awesome. The low-key vocal delivery helps turn this “booty poppin” track into both a pleasurable listen as well as a great dance floor beat. In my opinion, at-home good and club good are notoriously at odds in a lot of electronic and dance music. I don’t usually dig electronic because I just can’t stand listening to it at home. People tell me “but at the club, it’s great.” This is usually true, but I kind of feel swindled when I have to get all dressed up, pay 20 bucks cover and have a few drinks in me before I can stand to listen to a song. I’m a lazy, lazy man. “Jerk It” solves my conundrum- great to listen to on its own and a perfect track for the clubs. Canadian rap FTW!
“Gunpowder and Lead” by Miranda Lambert:
I was only going to put 10 songs on this list, but I heard this song for the first time in ages last night, and remembered that it’s probably the only thing this year to rival the sassiness of “Single Ladies.” Again coming from a 2007 album, (Crazy Ex-Girlfriend), “Gunpower and Lead” makes murder seem like more fun than ever before. Lambert wails “I’m going home, gonna load my shotgun, wait by the door and light a cigarette. He wants a fight well now he’s got one, he aint seen me crazy yet.” These aren’t terribly uncommon sentiments in radio country, even in the pop-country-rock morass mentioned earlier, but when Lambert threatens “His fist is big but my gun’s bigger- he’ll find out when I pull the trigger,” I believe it.
