The Top 31 Albums of 2008 (Pt. 2)

#20: Ladytron: Velocifiero – For all the praise poured on Ladytron over the years, it wasn’t until Velocifero that I really think I figured out what the band was all about. Does that mean I absolutely adore it and listen to it a few times a week? Hardly. But for once, I can say that Ladytron is enjoyable if you’re in the right mood. That mood doesn’t come around too often, but every now and then you just want some thick, wet….synths. What? What did you think I would say?

#19: Headlights: Some Racing, Some Stopping – Headlights’ debut album was a masterpiece of indie rock with some really catchy and meaningful songs. In 2006, it easily made it into my Top 10. This year, the band tried something different, which is always appreciated. They took off a bit of the polish, focused in more on a particular sound, and took Erin Fein off of lead vocals quite often. The result is a satisfying album that is just barely outdone by its predecessor.

#18: Dieter Schoon: Lablaza – If there’s one album in the Top 20 that absolutely no one has ever heard, it’s probably this one. Do yourself a favor and download “The Harbour’s Cold” or “Jethead” and find out what you’re missing. Lablaza is a inventive vision of electronic music that deserves to be heard outside of the artist’s native Sweden.

#17: Crystal Castles: Crystal Castles – I should make myself absolutely clear when I say that Alice Glass is an absolutely worthless piece of garbage. Well, her vocals at least. For as brilliant as Crystal Castles’ debut is, there are just moments when she comes in and ruins everything with her whiny screams. Fortunately, tracks are more than skippable, and if you do yourself the favor of not loading those songs on your iPod you’ll find that the rest of this album is absolutely amazing. This coming from a guy who up until about a year ago swore off of most types of electronic music.

#16: Sia: Some People Have Real Problems – Sia’s third LP is easily her best, and fortunately, her most commercially successful. Throwing away much of the melancholy from her past albums, Sia returned with a triumphant, exuberant record that displays the full talent of her voice and, in my book, clears her a spot right up towards the top of the greatest vocalists of all time. You’ll laugh, you’ll cry, if only on the inside, and you’ll keep listening to it for months. Just an awesome album.

#15: My Morning Jacket: Evil Urges – Note to Jim James: lose the falsetto, it doesn’t work. Honestly, MMJ’s frontman’ s vocals were sketchy enough as it was, but the Prince impression is severely lacking. The best moment’s from Evil Urges were reserved for when the band was doing what they always do; play great, southern-tinged rock music.

#14: The Notwist: The Devil, You + Me – In my review for this album I stated that it doesn’t necessarily succeed expectations as much as it does defy them. I’ll stick to my guns on that one, for as much as The Devil falls short of the band’s 2002 masterpiece Neon Golden, it is still an amazing album that I think most were not expecting. The band’s addition of strings and prominent guitars make for an interesting if not entrancing listen.

#13: Fleet Foxes: Fleet Foxes – If there were one reason why you should read this list, it’s for this: Fleet Foxes is not #1. Take a deep breath. Get it all in there because you won’t see that often in 2008. Now I loves me some Fleet Foxes, that’s why they beat out some of my favorite bands to make it this far on the list, but their debut is not the perfect album that many are making it out to be. It is focused, moody, it makes you feel like taking a trip to Appalachia, but as far as bringing out emotion, action, thoughts out of the listener, there are others that just did it better this year. They are as follows….

#12: The Streets: Everything is Borrowed – Sometimes music critics just sort of blow my mind. For they most part, they had nothing but praise for Mike Skinner’s first two LPs and nothing but disdain for his last two. I’ll go ahead and advocate the opposite, because to me, the artist has finally come into his own. He’s finally making songs that are more universal, more catchy, could actually be considered hip hop. Everything is Borrowed is far from perfect, and it may not be as emotionally gripping as his past albums, but to call it a dud would just be an injustice.

#11: Portishead: Third – The only album I rated with a 9 this year that fell out of the top 10, Portishead’s comeback album still deserves a hell of a lot of credit. Were I a depressed college kid, this album would have easily been closer to the top of my list. But 2008 was a good year for me, and I found myself happier than I’ve been in quite a few years. As such, it doesn’t seem right for me to move this album higher when I just couldn’t devote myself to the doom and gloom that it bleeds. Still, if you find yourself with black hair, black clothes, and a razor blade fantasy, check it out. At least you won’t be 100% stereotypical.

Moods- Unfocused

Sometimes you just don’t have the patience or focus for a 18-minute long play epic rock track.  So I’ve made a playlist with 20 songs, none of which are longer than 1:59.  It’ll go by quick, just like you like it to.  Just like this introduction.

Moods – Frenetic

I’m doing this week’s Moods all Jill style.  That includes a definition.  That’s what makes it awesome!

Frenetic – adj. – fast and energetic in a rather wild and uncontrolled way.

So if you just so happen to be in a frenetic mood today, here’s a playlist to make sure you stay that way.  Each song has its wild and uncontrolled moments, and each is sure to please.  So enjoy this playlist, person.  I worked hard on it.  Kinda.

Frenetic

Portishead: "Third"

A 10-year hiatus is enough to make even the most optimistic fan doubtful. Portishead decided to stop making music together back in the late nineties, so it’s hard to believe that there were many people out there holding out hope for a comeback by the time the band started to reemerge in 2005. But now, basically 11 years after their last studio album was released, the trip hop pioneers have been gracious enough to give us another fantastic album; whether we were expecting it or not.

From the very beginning, long time fans will notice that Third has a very different feel from their previous two albums. The album begins with a seemingly insignificant soundbite of a man speaking in Portuguese. He speaks of the Wiccan “Rule of Three,” which is similar to the “golden rule” in Christianity or Karma in Eastern religions. Essentially it means that any energy put out by a person will be returned to him, be it good or bad. The lyrics of the song reflect this cyclical idea. Beth moans in the song’s chorus, “Did you know when you lost?/ Did you know when I wanted?/ Did you know what I lost?/ Did you know what I wanted?” It is a haunting way to reintroduce yourself to the world, but in many ways its sets the tone for Third.

On “Hunter,” a neo-noir masterpiece, Beth’s vocals float hauntingly over acoustic guitars and a jazz kit. In the chorus, Beth coldly questions, “And if I should fall/ would you hold me?/ Would you pass me by?” The song breaks down several times with a jarring 4-note synth line that serves to add to the song’s already frightening nature. “Nylon Smile” is more in line with Portishead of old, with a very cool reverse-synth line that carries throughout the song’s 3 1/2 minutes. Beth sings of self-doubt and her need to change into someone that she can stand. She sings, “I struggle with myself/ hoping I might change a little/ hoping that I might be/ someone I want to be.” It’s a beautiful song despite its depressing subject matter.

“The Rip” is a personal favorite of mine, being the first song on the album that got stuck in my head. In the song’s first half, Beth sings, “Wild white horses/ they will take me away/ and the tenderness I feel/ will send the dark underneath/ Will I follow?” over a simple acoustic guitar and what sounds like an oboe in the distance. Those lyrics are gorgeous, people. Also gorgeous is then the acoustic guitar that is soon replaced with a moog-ish synth sound. It’s one of the album’s cooler moments and I can’t get enough of it!  It’s followed by “Plastic,” a less poppy, darker affair.  Its chorus is complemented by bombastic drums and a thick electronic buzz-saw of a bass.  The production here is incredible, taking seemingly incompatible parts and making them sound fluid and natural.

“We Carry On” takes a bass-heavy, industrial beat and carries it throughout its length, adding in sketchy guitars and minimalist drums as it progresses.  It’s one of Third‘s most memorable songs, if only for its persistence.  Where other songs tend to be somewhat reluctant, this one charges out of the gate and never lets up, forcing the listener to perk up and listen intently.  “Deep Water” is the album’s only “upper.”  Featuring nothing but a ukulele and vocals, it is a hopeful song about overcoming adversity.  Beth sings in a childlike whimper, “I’m drifting in deep waters/ alone with my self doubting again/ try not to struggle this time/ for I will weather the storm.”  It’s one of my favorite songs on Third, mostly because it’s a glimmer of hope in an album that is as bleak as they come.

“Machine Gun,” the album’s first single, features a commanding drum loop and Beth’s haunting vocals almost exclusively.  Beth is left to harmonize with herself, and the end result is truly affecting.  Still, the song can get a bit repetitive by the time the haunted house synths come in at the 4-minute mark.  It’s a decent song, to be sure, but there is better on Third.  Case in point: “Small,” the album’s longest and most chilling track.  It starts out softly, with Beth crooning, “If I remember the night that we met/ tasted a wine that I’ll never forget/ open the doorway and saw through the light / motions of movement, and I felt alive.”  It slowly builds, adding an upright bass and harmonies before busting out with one of the album’s trip-hoppiest chord progressions.  After several minutes of uptempo grooves, the instrumentation once again drops out, leaving only the bass and vocals.

“Magic Doors” gives the albums one of its catchier tunes, and it’s one of the few that I can even picture myself singing along to.  It features Third‘s most upfront arrangement, with lush instrumentation throughout, including, a steady drum beat, synths, a piano, and bass.  It’s a great song, and a wonderful change of pace.  The band slows things back down for the closer, however, and it’s simply stunning!  “Threads” is a song that is brilliantly arranged, with nothing feeling excessive or lacking.  It changes pace unpredictably, and features Beth’s best vocal performance on the album – possibly ever!  The moment comes at about the 4:05 mark when Beth begins singing with every ounce of her being.  To be honest, the first time I listened to  Third, I wasn’t that impressed with Beth’s vocals.  I felt like she spent too much time trying to sound like a floaty witch, even when the music didn’t require it.  But this one moment completely negated my concerns, and made me realize just what she was trying to accomplish with her vocal stylings. 

If Third could be described in a single word, that word would be “claustrophobic.” From the very beginning to it’s amazing conclusion, Third is an album that exudes hopelessness and despair. Listening to it, I can’t help but close my eyes and picture the band playing inside of a tiny cell, desperately longing to be free.  There are glimpses of hope – beams of light shining through a tiny cell window – but the overall mood that is conveyed with Third is incredibly bleak.  As such, many of the more radio-friendly sides of Portishead have been shed to make way for a sound that is much more raw, more emotional and real. Whether this album is even definable as “trip hop” is debatable. I have heard the term “torture chamber pop,” applied too, which is definitely headed in the right direction. As it stands though, Third is a difficult album to define, and Portishead should be credited with that.  It is an album whose technical merits are outdone only by the emotional shadow that it casts on its listener.  It is unlike anything I’ve ever had the pleasure of hearing, and it is a journey that absolutely needs to be experienced!

Key Tracks:

1. “Hunter”

2. “The Rip”

3. “Deep Water”

4. “Magic Doors”

5. “Threads”

9 out of 10 Stars

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Weekend Recommendations (4/11/08)

Cale’s Recommendations

Portishead: Third
Preorder from Amazon | Insound

I just got my promo copy of this in the mail this week, and while I wasn’t completely sold on it on my first listen, it’s slowly growing on me. It’s released April 29th, and I think it’s worth mentioning. You should definitely consider picking this one up when it’s released.

The Honorary Title: Anything Else but the Truth
Buy from Amazon | Buy from Insound

Dntel: Life Is Full of Possibilities
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Erin’s Recommendations

Of Montreal: The Sunlandic Twins
Buy from Amazon | Insound

I own 3 albums of Of Montreal and out of those three, The Sunlandic Twins is by far my favorite. I find that a lot of the songs on this album are lighter than on others and I generally like singing these more. Not to mention, “Wraith Pinned To The Mist And Other Games” is so recognizable now from the Outback Commercials, I feel like they could easily win over new fans. I play it all the time for people at work and they start singing the jingle… All this to say, The Sunlandic Twins is my favorite Of Montreal album and my favorite for the week.

Sufjan Stevens: Come On Feel the Illinoise
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Jaymay: Autumn Fallin’
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The Top 25 Alternative Rock Albums (Albums 25-21)

It’s March, and here at Audio Overflow we’ve decided to commemorate the month with month-long coverage of the best alternative rock music of all time. Alternative rock means a lot to us. It was the music of our youth (whether we wanted it to be or not), it influenced our future musical tastes, and it oftentimes means a whole lot more to us than all that great music that our parents told us we missed out on. Yes, we at Audio Overflow have crazy-mad nostalgic love for alternative rock, and throughout the month of March we hope to rekindle that long-lost flame for you as well. For the next several weeks, all Retro Reviews, Video of the Weeks, and Top 5 Fridays will be alternative-rock themed. In doing so, we hope to reintroduce you to the best and worse that the genre has to offer.

On Saturdays we’ll be counting down Audio Overflow’s Top 25 Alternative Rock Albums, which, of course, begins today – right now, actually. As a brief disclaimer, I’d like to point out that Jill, Erin, and myself all have vastly different opinions on music; what makes it good, and what makes it memorable. Personally, though I’m a big fan of indie rock music, which could actually be classified as alternative, I shied away from a lot of stuff that I felt didn’t capture the spirit of the alternative rock movement in the late 80s and early 90s. The following list, therefore, is sometimes wildly varied and sure to bring a few surprises. But we hope you enjoy it nonetheless.

#25 – Portishead: Dummy (1994)

Jill says: “Oh gosh, this album is sexy. I’m not ashamed to admit it: it’s a total hookup album. Unless you’re listening to it at 3 a.m. in the dead of winter lost on a windy, icy, snowy Oklahoma road looking for your Aunt Donna’s house that you should have been at 5 hours previously. Then it’s just oddly comforting, if Trip-Hop can be oddly comforting.”

Cale says: “A strange album that can be both soothing and chilling. Beth Gibbons’ voice is the force that carries this noir-influenced album to the great heights it achieved years ago.”

#24 – Oasis: (What’s the Story) Morning Glory? (1995)

Cale says: “Undoubtedly one of the most influential and important alternative rock albums of my childhood. I remember bringing this CD (which I stole from my sister) to school one day and being the most popular kid in the class! It was one of the first times that I was introduced to rock music that didn’t assault my ears with distorted guitars, and for that I cherish it.”

Erin says: “A good album with a lot of good songs. It reminds me of high school. Oasis always seemed like they were our version of “The Beatles””

#23 – The Killers: Hot Fuss (2004)

Cale says: “In our nominating process for this list, I wound up being the only one who voted for this album, undoubtedly because it’s one of the most recent albums featured. That doesn’t take away from its greatness, however. I first stumbled upon The Killers in the wee hours of MTV programming several years ago and picked up this album later that same day. It is effortlessly entertaining from start to finish and a great re-imagining of alternative rock music!”

#22 – Counting Crows: Recovering the Satellites (1996)

Erin says: “True it’s mellow alternative, but it still fits. The counting crows have some classics and Recovering the Satellites is definitely their winner.”

Jill says: “”Monkey” for sentimental reasons. “Catapult” because it’s just awesome. “A Long December” because the first line of it is so very, very true for me. It’s “Another Horsedreamer’s Blues” though, that does it for me. It’s a song that tells a story and it’s one I can never ignore. There’s just little bits and pieces through out the entire album that I can, and easily do, apply to my entire life.”

#21 – Tori Amos: Little Earthquakes (1992)

Jill says: “It’s like every other song is the song you should listen to on this album. I purposely skip “Winter” because it’s one of two Tori Amos songs that have the power to make me put my head down on my desk and make me sob. I have never been able to figure out which is better, “Silent All These Years” or “Precious Things”. Both so powerful and so stirring. Maybe they’re both equally amazing.”

Cale says: “Joan Osborne who? Tori Amos was the female singer-songwriter of alternative rock…and still kinds is.”

Tune in next Saturday for pick 20 – 16.

Go News Go! – The Weekly News Recap

Why do we all look like worms?

• You had me at “Natalie Portman”
• Oh No! Gwenno’s hair!
• It’s like….Stars….live.
• Yay! New Portishead! Get those razors sharpened.
• Mars Volta album gets dated!
• Poor, poor, OiNK.
• Bonnie “Prince” Billy covers everone!
• The greatest thing you’ll never see.
• Chris Walla tears homeland security a new one!
• Harmonix announces final Rock Band track list. Hello New Pornographers!

Is it because we are made of long, stringy, goo?