In the immortal words of Soul II Soul: Back to life, back to reality / Back to the here and now, yeah. The holidays have come and gone once again, and the middleCoast offices are back open for bizness.
To finalize the mC staff member
Best (and/or Worst) Lists of 2007, we present the conclusion of the:
Top 20 Albums of 2007 (Nos. 10-1)Number Ten (10)
Artist: The New Pornographers
Album: ChallengersLabel: Matador
Release Date: August 21, 2007
On their fourth full-length, the Canadian supergroup puts on a clinic in how to craft brilliant pop music. Neko Case and Dan Bejar, fresh from making two of the best albums of 2006 on separate projects, reunite with Carl Newman and the boys to produce a mature and cohesive collection of power pop and rock anthems few bands of today even attempt. "My Rights Versus Yours" is quintessential New Pornographers, while "All the Old Showstoppers" and "Unguided" are bittersweet tales that will challenge even the most afflicted shoegazers to raise their eyes and fists to the sky.
Number Nine (9)
Artist: Spoon
Album: Ga Ga Ga Ga GaLabel: Merge
Release Date: July 10, 2007
Album title notwithstanding, Spoon have created their best album to date with
Ga [et cetera]. Wallpapering our ears with sounds stemming from Motown ("You Got Yr. Cherry Bomb" and "The Underdog") to Memphis ("Don't Make Me a Target"), the design remains complete and beautiful. Whether pounding on the keys or crooning into the mic, Britt Daniel finally gives us everything he's got, holding back only when appropriate ("The Ghost of You Lingers"), and the precision and detail Spoon has become so gifted at cultivating into pop tracks manifests itself in some of the most soulful rock in years.
Number Eight (8)
Artist: Band of Horses
Album: Cease to BeginLabel: Sub Pop
Release Date: October 9, 2007
In 2006, Band of Horses burst onto the Indie Rock scene with one of the top releases of the year,
Everything All of the Time. Despite that success, co-founder Mat Brooke departed in order to spend time with his other band, Grand Archives, leaving Ben Bridwell to begin again. Now, with new Horses Rob Hampton and Creighton Barrett, Bridwell gives us a sophomore release replete with all the swirling sing-alongs, good ole boy twang, and heartfelt ballads that made the debut so tantalizing
. On "Ode to LRC" when Bridwell exalts in his crystal clear tenor, "The world is such a wonderful place", the beauty of melody and harmony make us inclined to believe this simple truth.
Number Seven (7)
Artist: Yeasayer
Album: All Hour SymbolsLabel: We Are Free
Release Date: October 23, 2007
With the most promising debut of the year, Brooklyn's Yeasayer mix and match a veritable smörgåsbord of influences and derivatives. "Sunrise" and "2080" are psychedelic pop gems in the vein of The Beta Band or Spiritualized, but tracks like "Ah, Weir"and "Many Waves" venture into experiments in Middle Eastern and African musics. Combined with their pitch-perfect harmonizing, they manage to pull off the rare album that is simultaneously art-/experimental-/post-rock AND accessible. Despite the journey through such worldly sounds, at no point does
Symbols feel pretentious or condescending. Instead, the kool kids are friendly and inclusive, and we can all tag along for the ride.
Number Six (6)
Artist: Blonde Redhead
Album: 23Label: 4AD
Release Date: April 10, 2007
The haunting melancholy that drenches
23 seems to make for perfect rainy-day music. The alternating vocals from Kazu Makino and Amedeo Pace provide a tender framework for their lush and yearning tracks. Each song feels consistently and continually anxious, like the jilted lover counting the days passed since loneliness struck. What surprises, though, is the point when that dejection and despair start to feel good. Attachment to the gloom fills the void and becomes cathartic, and soon the album sounds just as lovely even on a sunny day.
Number Five (5)
Artist: Peter Bjorn & John
Album: Writer's BlockLabel: Wichita
Release Date: February 6, 2007 (US)
When was the last time you could hear a song - a song featuring whistling, no less - over and over and over again on the radio, in commercials, in movies and still NOT get sick of it? "Young Folks" miraculously pulls off this feat, and it may not even be the best song on
Writer's Block. After the brief instrumental opening of the title track, "Objects of My Affection" leads off the album with a coming-to-terms anthem, declaring a heartening self-awareness. We then get to enjoy the aforementioned "Young Folks", followed by similarly poppy "Amsterdam", which (perhaps intentionally) leads into the mellow "Start to Melt". The next few tracks continue the wistful dream-pop before another standout, "The Chills", alters the direction of the final few songs with its echoing vocals laid over percussion and bass-driven melody that calm and quiet the soul. The mingling of the earnest and energetic pop with the brooding atmospherics will ensure the album's place as a modern-day classic.
Number Four (4)
Artist: LCD Soundsystem
Album: Sound of SilverLabel: Capitol
Release Date: March 20, 2007
Disco-punk king, James Murphy, makes the best music around for white kids to dance to. What he's also managed to accomplish with
Sound of Silver, though, are some of the most touching pop tunes of the year. The humor in "North American Scum", for example, when Murphy points out that "New York's the greatest if you get someone to pay the rent" balances with the bittersweet elegy of "Someone Great" because at the surface and at the base are the sonic grooves that keep moving forward. Bringing Side 1 to a conclusion (not accidentally) is "All My Friends", a new wave throwback that would fit alongside the best New Order track. The transition from adolescence into adulthood is a difficult one rife with poor decisions and a tendency to latch onto immature behaviors; what comes across with "All My Friends" is the acceptance of mistakes and realization that there aren't really any right answers, so there can't be any wrong answers, either. So just keep dancing.
Number Three (3)
Artist: The National
Album: BoxerLabel: Beggars Banquet
Release Date: May 22, 2007
I could've easily rearranged my Top 3 albums in any order, as
Boxer is quite possibly the best of the year. Matt Berninger's plaintive baritone recalls Leonard Cohen, as do many of the short stories disguised as songs. The dense arrangements and emotive tones call for deep introspection, while the intimate and personal lyrics provide the basis for each listener to relate in his or her own way. The album contains wholly different meanings for each listener taking the time to pay attention. By being dramatically specific, The National's reach widens and expands to dramatically universal territory.
Number Two (2)
Artist: Arcade Fire
Album: Neon BibleLabel: Merge
Release Date: March 6, 2007
When the revolution comes, Arcade Fire will be on the front lines, leading the charge. The ebullience and theatrics of
Neon Bible alternate between anthemic arena-rock and the state-of-affairs despair. "Keep the Car Running", "Intervention", and "No Cars Go" certainly provide a fair comparison to Springsteen, as do the multi-instrumental orchestrations permeating throughout. Win Butler and company maintain their originality, however, with experiments into more progressive song structure and arrangements, such as "Black Wave / Bad Vibrations" and "Ocean of Noise". The result is a lush and enthusiastic collection of fist-pumpers that play like gospel music to indie kids. Music is undoubtedly a religious experience, and Arcade Fire open their arms wide to inspire faith.
Number One (1)
Artist: Radiohead
Album: In Rainbows (Disc One)Label: self-released
Release Date: October 10, 2007 (online)
I've hesitated writing about
In Rainbows for a couple months now. First of all, the novelty of Radiohead's online release allowing fans to choose their own price has come off as revolutionary and a slam against record companies. Whether or not this method will result in any sort of industry sea change is still to be determined. Unfortunately, the hullabaloo surrounding this topic has detracted from the music itself. Which is my other hesitation in writing on it. As a Radiohead fan, it's quite difficult to critique without any bias. The original 10 tracks of Disc One have played over and over again in my home and in my head. What I'm trying to determine is if my initial reaction is accurate. You see, I'm inclined to say that
In Rainbows is very simply the best Radiohead album yet. What that means, then, is that
In Rainbows is better than
OK Computer and better than
Kid A; and in this humble fan's opinion,
OK Computer and
Kid A just happen to be two of the greatest albums ever recorded in the history of modern music. So to say that
In Rainbows is better than those two classics is to also say that it is one of the greatest albums of all time. A difficult claim to make just three months after its release.
What I will claim is that
In Rainbows is the band's most mature and sophisticated album to date. Combining the digital-rock gloom of
Kid A, the subtle textures of
OK Computer's balladry, the jazz-inspired wanderings of
Amnesiac, and the night rain-drenched cool of Thom Yorke's
The Eraser,
In Rainbows finally feels like the next logical step for the world's foremost musicians. Yorke's pained but hopeful lyrics and vocals, Jonny Greenwood's post-classical compositions, and Phil Selway's underrated beats that keep pace for songs that live outside of time - all anchored by Nigel Godrich's production - are simultaneously advanced and grounded.
Certainly, parallels to previous albums exist: the digi-rock of openers "15 Step" and "Bodysnatchers" recall "Idioteque" and "Myxomatosis (Judge, Jury & Executioner)", respectively, while closer "Videotape" shares the minimalist denouement of
Kid A finale, "Motion Picture Soundtrack". But there is a buoyancy to the new tracks that hadn't existed so fully on prior albums. The paranoia remains, and maybe gravity does always win, but it doesn't always have to get you down. Even this album's title implies a light at the end of the tunnel: in rainbows we glimpse those shades of vibrant color that shine through the bleak landscape after the storm.
-JasonToo
The Acorn make music best described as: Of the Earth. Or, Earthy. Organic, if you will (but not in the annoying marketing-ploy version of the term). Their brand of Americana is admittedly eschew, as they hail from Ottawa, but like their Canuck compatriots - Broken Social Scene, Arcade Fire, Wolf Parade - their sound is small-scale epic, focusing on the specific to signify the universal. Simple melodies over chants, stomps, and dense (but balanced) arrangements featuring instruments from various regions, as well as field recordings, give them an all-natural vibe. The Acorn likely fit into whatever box you'd also categorize Fleet Foxes or Firewater or Beirut, but in the end they just happen to be really great indie rock.
Glory Hope Mountain is the latest release, out through Paper Bag Records. At heart it is a concept album from singer/songwriter Rolf Klausener about his mother, Gloria Esperanza Montoya (hence the album title). In a stunningly intimate portrait, Klausener tells of how Gloria was orphaned in her native Honduras - her mother's death in childbirth and her father's abuse - and her subsequent journey to Montreal in the '70s. Klausener's rendering of her life, however, is a subtle weave, and there is no heavy-handedness in the dealing of the material.
