Monday, December 01, 2003
Top Ten Albums of 2003
Here it is, finally. It took me a long time to do the list this year. It was a weird year for me since I spent four and a half months of it in India, where it's pretty hard to find anything you would like to buy in the record shop. Alrighty, here's the finished product:
10. Logic Will Break Your Heart – The Stills. Many critics heralded this as a classic, a perfect album from a perfect band, or something like that. I wouldn’t go that far. This is a good record, very tired and love-worn. Influenced by a slew of 80s bands, the Stills take their cues from previous masters and channel them into artful tunes. It will be interesting to see where this band heads.
9. Room on Fire – The Strokes. It’s not a very big departure from their debut Is This It, but that’s OK, since that was a fantastic album. It’s amazing that they didn’t buckle under the pressure surrounding them during the recording of Room on Fire. The Strokes have added some new sounds and rhythms, and Julian Casablancas still tells interesting stories in his slightly tired, worn voice. They could have used another song or two to flesh it out, but maybe they’re just leaving us wanting more. And we’re wanting it.
8. The Decline of British Sea Power – British Sea Power. I’ve had about enough of those trendy bands that are popularized by the British press (namely, NME) because of their schtick. Granted, many of these artists also make great music, but wearing wacky outfits/matching colors/the same haircut/neckties doesn’t mean you’re a good band. British Sea Power happen to have a crazy stage set and dress in WWI military outfits. However, their debut album is definitely a grower. They sound a bit like Bowie, but not in a bad way. The lyrics are obscure (Shakespeare, Russian lit), paranoid, and sometimes whispered or howled, while the music is alternately frantic and beautiful. This one will crawl under your skin.
7. Phantom Power – Super Furry Animals. Yet another solid album from SFA. It is their most radio-friendly and accessible to date. We have come to expect the harmonies, politics, and witticisms from them, and they don’t fail to deliver. Standout tracks like “Venus and Serena” “The Undefeated,” and “Cityscape Skybaby” make up for the less-than-stellar “The Piccolo Snare” and “Golden Retriever.” I do miss the earlier days, with all of the wackiness, freak-outs, and chupacabras/aliens/revolutionaries/whatever. It’s a good album, but I think it fails to make as vital a connection to the listener as their previous releases.
6. Dear Catastrophe Waitress – Belle and Sebastian. B&S have come back from the faltering should-have-been-an-EP Storytellingwith an odd assortment of tracks on this album. There are some true masterpieces here, but sadly, there are some which just don’t quite make the grade. The first half of the album is amazing, but the second half struggles a bit. B&S have moved from the sixties into the seventies, and their new sound only works some of the time. Still, songs like “Piazza, New York Catcher,” “If She Wants Me,” and “Wrapped Up in Books” make this a worthy album. All long-time B&S fans surely welcomed the official release of “Lord Anthony,” a sleepy, beautiful song that claws at your heartstrings. This album is definitely a grower.
5. Us – Mull Historical Society. Colin MacIntyre has done it again – put together an eclectic masterpiece. From the West Coast harmonies of “Live Like the Automatics” to the pop balladry of “Am I Wrong,” this album is full of winners. The catchy melodies can be misleading, as this album tackles heavier subjects than just love and loss. Much like MHS’s previous album Loss, Us comments on commercialization and globalization, which is understandable coming from an artist who was raised on an isolated Scottish island. Like Colin MacIntyre, I think we all would like to feel “real, not confused.” Another great album.
4. Chutes Too Narrow – The Shins. Hooray for the amazing sophomore album! It’s impossible to dislike the Shins, who write catchy, beautiful music and seem like goofy, ordinary guys. Their second album is full of hooks, harmonies, and shimmering melodies. When James Mercer’s voice comes in on “Saint Simon” after the “la, la, la” harmonies, it’s as if the heavens opened with rays of glorious sunshine. The production is slicker than their debut, and the songs certainly don’t suffer for it.
3. Elephant – The White Stripes. A lot was riding on this album for the White Stripes. Could it possibly live up to the hype? The answer is yes… yes it can. What a great album. At once caustic and then caring, Jack White continues to sneak in surprisingly sweet songs like “I Want to Be the Boy to Warm Your Mother’s Heart” among the rockers. He uses the word “girl” so many times, you’d think this was a Backstreet Boys album. This band has continued to grow and evolve, which is fantastic considering they’re just a guitar and drums twosome. Even Meg White’s foray into lead vocals wasn’t that bad.
2. Give Up - The Postal Service. Is it the return of synthpop? You could wish for worse! The pairing of Death Cab for Cutie’s Ben Gibbard and Dntel’s Jimmy Tamborello has created some of the most shimmering pop music of the 21st century. From the syrupy “Such Great Heights” and “Brand New Colony” to bittersweet breakup song “Nothing Better,” it’s obvious that Gibbard has love on the mind and isn’t afraid to sing about it. Tamborello’s bells and whistles are a perfect fit to Gibbard’s soft, steady voice. As far as side projects go, this possibly the best one out there. Let’s hope they continue doing double duty.
1. Her Majesty the Decemberists – The Decemberists. What an amazing, sweeping, literary, wonderful album. Colin Meloy’s lyrics are antiquated yet amazingly fresh. From tongue-in-cheek humor to heart-wrenching beauty, this album has it all. This may be a sweeping generalization, but the shimmering chorus of “The Gymnast, High Above the Ground” has more heart in it than everything on the radio today combined. No song has threatened to draw tears this year like “Red Right Ankle.” If there is one misstep here, it is “Song for Myla Goldberg,” which is just a bit over the top… but if that’s a misstep, I’ll take one too! The lush, dense music is awash with percussion, organ, piano, and accordian, mixed with traditional guitar/bass/drums. With its vivid imagery, language of days gone by, and engaging stories, this album is truly a gem for those who enjoy escapism.
On the cusp:
Sleep/Holiday – Gorky’s Zygotic Mynci
Hail to the Thief – Radiohead
Ether Song – Turin Brakes
Disappointments:
Twelve Memories – Travis. I shouldn’t be surprised, but what a disappointment.
Escapism – Robbie Williams. Shut up. He has had some good albums in the past.
Single of the Year (tie):
“Hey Ya” – OutKast
“Cry Me a River” – Justin Timberlake
Single of the Year, India:
“”Kaanta Laga” – DJ Doll
Hilariously Terrible Song Destined to be a Cult Classic:
“Me and My Monkey” – Robbie Williams
I'm expecting lists from Victor, Mark, and Ryan, so I will post those later today, probably during lunch.
Here it is, finally. It took me a long time to do the list this year. It was a weird year for me since I spent four and a half months of it in India, where it's pretty hard to find anything you would like to buy in the record shop. Alrighty, here's the finished product:
10. Logic Will Break Your Heart – The Stills. Many critics heralded this as a classic, a perfect album from a perfect band, or something like that. I wouldn’t go that far. This is a good record, very tired and love-worn. Influenced by a slew of 80s bands, the Stills take their cues from previous masters and channel them into artful tunes. It will be interesting to see where this band heads.
9. Room on Fire – The Strokes. It’s not a very big departure from their debut Is This It, but that’s OK, since that was a fantastic album. It’s amazing that they didn’t buckle under the pressure surrounding them during the recording of Room on Fire. The Strokes have added some new sounds and rhythms, and Julian Casablancas still tells interesting stories in his slightly tired, worn voice. They could have used another song or two to flesh it out, but maybe they’re just leaving us wanting more. And we’re wanting it.
8. The Decline of British Sea Power – British Sea Power. I’ve had about enough of those trendy bands that are popularized by the British press (namely, NME) because of their schtick. Granted, many of these artists also make great music, but wearing wacky outfits/matching colors/the same haircut/neckties doesn’t mean you’re a good band. British Sea Power happen to have a crazy stage set and dress in WWI military outfits. However, their debut album is definitely a grower. They sound a bit like Bowie, but not in a bad way. The lyrics are obscure (Shakespeare, Russian lit), paranoid, and sometimes whispered or howled, while the music is alternately frantic and beautiful. This one will crawl under your skin.
7. Phantom Power – Super Furry Animals. Yet another solid album from SFA. It is their most radio-friendly and accessible to date. We have come to expect the harmonies, politics, and witticisms from them, and they don’t fail to deliver. Standout tracks like “Venus and Serena” “The Undefeated,” and “Cityscape Skybaby” make up for the less-than-stellar “The Piccolo Snare” and “Golden Retriever.” I do miss the earlier days, with all of the wackiness, freak-outs, and chupacabras/aliens/revolutionaries/whatever. It’s a good album, but I think it fails to make as vital a connection to the listener as their previous releases.
6. Dear Catastrophe Waitress – Belle and Sebastian. B&S have come back from the faltering should-have-been-an-EP Storytellingwith an odd assortment of tracks on this album. There are some true masterpieces here, but sadly, there are some which just don’t quite make the grade. The first half of the album is amazing, but the second half struggles a bit. B&S have moved from the sixties into the seventies, and their new sound only works some of the time. Still, songs like “Piazza, New York Catcher,” “If She Wants Me,” and “Wrapped Up in Books” make this a worthy album. All long-time B&S fans surely welcomed the official release of “Lord Anthony,” a sleepy, beautiful song that claws at your heartstrings. This album is definitely a grower.
5. Us – Mull Historical Society. Colin MacIntyre has done it again – put together an eclectic masterpiece. From the West Coast harmonies of “Live Like the Automatics” to the pop balladry of “Am I Wrong,” this album is full of winners. The catchy melodies can be misleading, as this album tackles heavier subjects than just love and loss. Much like MHS’s previous album Loss, Us comments on commercialization and globalization, which is understandable coming from an artist who was raised on an isolated Scottish island. Like Colin MacIntyre, I think we all would like to feel “real, not confused.” Another great album.
4. Chutes Too Narrow – The Shins. Hooray for the amazing sophomore album! It’s impossible to dislike the Shins, who write catchy, beautiful music and seem like goofy, ordinary guys. Their second album is full of hooks, harmonies, and shimmering melodies. When James Mercer’s voice comes in on “Saint Simon” after the “la, la, la” harmonies, it’s as if the heavens opened with rays of glorious sunshine. The production is slicker than their debut, and the songs certainly don’t suffer for it.
3. Elephant – The White Stripes. A lot was riding on this album for the White Stripes. Could it possibly live up to the hype? The answer is yes… yes it can. What a great album. At once caustic and then caring, Jack White continues to sneak in surprisingly sweet songs like “I Want to Be the Boy to Warm Your Mother’s Heart” among the rockers. He uses the word “girl” so many times, you’d think this was a Backstreet Boys album. This band has continued to grow and evolve, which is fantastic considering they’re just a guitar and drums twosome. Even Meg White’s foray into lead vocals wasn’t that bad.
2. Give Up - The Postal Service. Is it the return of synthpop? You could wish for worse! The pairing of Death Cab for Cutie’s Ben Gibbard and Dntel’s Jimmy Tamborello has created some of the most shimmering pop music of the 21st century. From the syrupy “Such Great Heights” and “Brand New Colony” to bittersweet breakup song “Nothing Better,” it’s obvious that Gibbard has love on the mind and isn’t afraid to sing about it. Tamborello’s bells and whistles are a perfect fit to Gibbard’s soft, steady voice. As far as side projects go, this possibly the best one out there. Let’s hope they continue doing double duty.
1. Her Majesty the Decemberists – The Decemberists. What an amazing, sweeping, literary, wonderful album. Colin Meloy’s lyrics are antiquated yet amazingly fresh. From tongue-in-cheek humor to heart-wrenching beauty, this album has it all. This may be a sweeping generalization, but the shimmering chorus of “The Gymnast, High Above the Ground” has more heart in it than everything on the radio today combined. No song has threatened to draw tears this year like “Red Right Ankle.” If there is one misstep here, it is “Song for Myla Goldberg,” which is just a bit over the top… but if that’s a misstep, I’ll take one too! The lush, dense music is awash with percussion, organ, piano, and accordian, mixed with traditional guitar/bass/drums. With its vivid imagery, language of days gone by, and engaging stories, this album is truly a gem for those who enjoy escapism.
On the cusp:
Sleep/Holiday – Gorky’s Zygotic Mynci
Hail to the Thief – Radiohead
Ether Song – Turin Brakes
Disappointments:
Twelve Memories – Travis. I shouldn’t be surprised, but what a disappointment.
Escapism – Robbie Williams. Shut up. He has had some good albums in the past.
Single of the Year (tie):
“Hey Ya” – OutKast
“Cry Me a River” – Justin Timberlake
Single of the Year, India:
“”Kaanta Laga” – DJ Doll
Hilariously Terrible Song Destined to be a Cult Classic:
“Me and My Monkey” – Robbie Williams
I'm expecting lists from Victor, Mark, and Ryan, so I will post those later today, probably during lunch.
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