2011 CDs of the Year

Our unscientific, un-market-based countdown to the Top 20 CDs of 2011 begins with a story. I have never really ever learned the lyrics to “It’s the End of the World As We Know It (and I Feel Fine),” but that’s never stopped me from trying to sing it. Not at a bar in Japan, but at an R.E.M. concert. Mims, Etouffe and I probably saw the odd looking lads from Athens, GA 4 times in the 80s. That was before everybody hurt. In the 90s, we drifted apart, though, I still felt obliged to buy every one of their CDs. Usually, they were uneven and unexceptional. And then a funny thing happened last year: they released their best record in years (Collapse Into Now) and then broke up. Oh, and I also tried to get Mike Mills to fund a TV Show we’re producing. He didn’t, and unfortunately, they didn’t make this list. Soldier on, lads. Ye be missed. Now, on to the Countdown.

Fleet Foxes: Helplessness Blues (Sub Pop)

The beardos from Seattle took their game up a notch with this beautiful, heartfelt tribute to golden apples. Robin Pecknold must sing about eating apples 20 times on this record. Oh, and working in fields. Let’s hope he doesn’t give up writing songs to “plow some bean fields” anytime soon. Title track is easily song of the year, but you won’t go wrong with “Lorelai” and “Battery Kinzie” for your digital device. 80s actor equivalent: Timothy Hutton.

Fountains of Wayne: Sky Full of Holes (Yep Roc)

Can you finally forgive them for “Stacey’s Mom?” I think so. By far their best work. Each song is a gem of hooks and storytelling. “A Dip in the Ocean” and “Someone’s Gonna Break Your Heart” are perfection ear confection. Sorry, that phrase is trademarked. 80s actor equivalent: Anthony Michael Hall.

Sloan: The Double Cross (Yep Roc)

So I couldn’t stay mad at these tardy Canadians. So they can’t show up on time for their fans. I’m over it because of their indomitable power pop and exquisite harmonies. Check out “The Answer Was You” and “Your Daddy Will Do” and tell me you don’t want to be a prom DJ. 80s actor equivalent: Keifer Sutherland.

British Sea Power: Valhalla Dancehall (Rough Trade)

These guys must feel like their generation’s Oasis: 2 brothers who are huge at home but struggle to find an audience in the States. Don’t know why? They write great, guitar pop with interesting lyrics and catchy choruses. Wot gives, Wot? Check out “Who’s In Control” and “Luna”. You’re welcome. 80s actor equivalent: Dudley Moore.

Bon Iver: Bon Iver (Jagjaguwar)

Slight departure from “For Emma, Forever Ago” in that it sounds a lot like a Sufjan Stevens record. He even names his songs after places, and still sings in falsetto. Still, a gorgeous record that relies more on keyboards than just a Cabin Boy and his guitar. Check out “Calgary” and “Perth” for the flavor of the record. 80s actor equivalent: John Cusack.

Dale Earnhardt Jr. Jr.: It’s a Corporate World (Warner Bros)

Corporations are people, my friend. Long before the Mittbot 2000 uttered those words, these smartasses were making electronic music fun. You’ll hear Beatles influences, but mostly from Paul, and some Animal Collective. All in all, enjoyable, especially “Skeletons.” Wow. 80s actor equivalent: Jon Cryer.

Ryan Adams: Ashes and Fire (PAX AM/ Capitol)

Finally, the follow up to “Heartbreaker” we’ve been waiting for. Probably helped that Glyn Johns produced. Probably why it sounds like a record from the 60s. Some beautiful stuff on here, soft ballads and hooky pop. Thank god he gave up the jam band crap. Try the title track and “Chains of Love” for your jogging or yogging. Might be a silent “j”. 80s actor equivalent: D.B. Sweeney.

Real Estate: Days (Domino)

The best Neil Halstead record in awhile! I’m just sorry I missed them live. At least my friend Dennis was there to take 500 pictures. They looked great, and if this record is any indication (and it is) they probably sounded great too. “It’s Real” has been stuck in my head for months, and while it is the highlight of the record the rest is pretty great too. 80s actor equivalent: River Phoenix.

Wye Oak: Civilian (Merge)

Another show I missed last year! As a duo, I’m not sure they can capture the textures of this record live, but I guess I’ll never know. And yes the Cat Power and Jesse Sykes comparisons are fair, but the song writing is definitely top notch. Still loving “Hot as Day” and “Holy Holy.” This one stayed in heavy rotation. 80s actor equivalent: Elizabeth Perkins.

The Boxer Rebellion: The Cold Still (Self Released)

I was going to buy this record anyway, but when I found out one of the Huntsman girls promoting it I rushed my order. True story. Yes, I hear the Radiohead and Coldplay references, but mostly I hear the Blue Nile. Strong release from start to finish, but “Step Out of the Car” and “The Runner” are suburb pop nuggets. 80s actor equivalent: Charlie Sheen.

Matthew Sweet: Modern Art (Missing Piece)

Healthy portions of power pop are always what the doctor prescribes. He even has a song called “Late Nights With the Power Pop” to prove it. In a more just world, Matthew Sweet and members of Velvet Crush who back him up would playing the halftime show at the Superb Bowl. Download the Beatlesesque “Ivory Tower” immediately. 80s actor equivalent: John Candy.

Lonely Dear: Hall Music (Polyvinyl Records)

The Swedish Sufjan delivers a twee-de force complete with recorder and xylophone solos. Fortunately, he avoids sounding precious because of the Scandinavian depression lurking beneath the melodies. Check out “Calm Down.” Gorgeous. 80s actor equivalent: Ally Sheedy.

Okkervil River: I Am Very Far (Jagjaguwar)

The lit majors from Austin continue to put out excellent novel/ records. As if to prove that they are working on a major art form, the songs all clock in around the 5 or 6 minute mark. Which is a great thing, because it allows Will Sheff space to craft his narratives. “Your Past Life is a Blast” and “Piratess” are the standout tracks. 80s actor equivalent: Andrew McCarthy.

The Black Keys: El Camino (Nonesuch)

When you have the balls to name your record after the perfect car/truck hybrid you better deliver the goods. And boy, do they. This duo cranks it to 11 and suffuses “Lonely Boy” into your head like some political propaganda. Play the blues, Edge. 80s actor equivalent: Mickey Rourke.

Beirut: Riptide (Pompeii Records)

The third and most accessible record from 21-year old Zach Condon. Yes, he’s still carrying that 1930s Paris vibe, but not so much a Gypsy vibe (or Roma, if you prefer). This is a wanderer’s record as he sings a lot about returning home. See “Vagabond.” Or better yet, hear it. Oh, snap! 80s actor equivalent: Martin Short.

Wilco: The Whole Love (dBpm/ Anti)

Jeff Tweedy keeps dabbling in the dark side but quickly returns to the light to offer flourishes of “Summerteeth.” Record opens with 7 ominous minutes of the “Art of Almost,” and as the Nils Cline guitar is gently weeping takes you to the joyful “I Might.” “Dawned on Me” and the title track are also standouts. 80s actor equivalent: Michael Keaton.

Iron and Wine: Kiss Each Other Clean (Warner Bros.)

Sam Beem me up, Scotty. Sorry for that. Any who. Who is singing Dad rock now? Long gone are the whispery plucking days of yore. Iron and Wine give each song the full production treatment, and I can live with that. I can even lurve it. Prettiest song of the year? “Godless Brother in Love,” however, “Tree by the River” and “Me and Lazarus” are awesome as well. 80s actor equivalent: Michael Gross.

TV on the Radio: Nine Types of Light (Interscope)

It is hard to believe how much these guys still listen to David Bowie and Peter Gabriel. Which is why a lot of this sounds like it was found in vault and recorded in the early 80s. Anti-Reagan, 1984, Blade Runner. Anyone? A slower, more introspective record that will occasionally rock out. Try “No Future Shock” and “New Cannonball Blues” for your workout routine. 80s actor equivalent: Wesley Snipes.

Yuck: Yuck (Fat Possum)

What happens when two Pavement loving Brits meet each other at a teen kibbutz in Israel? Hilarity ensues, and a great record naturally. If droney feedback and killer hooks are your thing, as they should be, then you’re in Yuck. Sorry, again. Enjoy “Georgia,” “Get Away” and “The Wall” (not a Pink Floyd cover) and stare upon your shoes. 80s actor equivalent: The Coreys – Haim and Feldman.

Times New Viking: Dancer Equired (Merge)

Okay, I’m going to stop beating myself up for missing shows last year, but, really, what’s my excuse? Upon further review, I think I should move this CD up closer to the top ten. Every song is a standout, in a Guided By Voices meets Dressy Bessy way. I particularly love “Want to Exist” and “Fuck Her Tears,” but just buy the whole thing. And, as always, you’re welcome. 80s actor equivalent: Judge Reinhold.
Honorable Mentions: Pains of Being Pure at Heart

Girls (Etouffe swears by it)
Elbow

Wildflag

Adele

2010 CDs of the Year

We get asked all the time how to tell if one should join their local Tea Party Terrorist Organization. Our response is always the same: do you mind being called a “tea bagger,” and do you own any of the music on the following list? If you answered yes and no in that order, well, you probably shouldn’t have asked, you damn tea bagger! To the list!
Sufjan Stevens: The Age of Adz (Asthmatic Kitty) – Probably could have called it “Oregon” and shut up the haters. However, this record marked a new direction for the twee lad with the historical bent. First of all, no banjos and secondly little to no religion. Best Stereolab record ever. 80s artist equivalent: The Three O’Clock.
The National: The National: High Violet (4ad Records) – Her Mims and Etouffe’s choice for Number Uno. I probably would have agreed if any of the band members had come over for a snappy after their brilliant show. Still, a great record from start to finish, though, they have just about moved away from the guitar rock of “Alligator” and are strictly chamber pop, with the exception of “Bloodbuzz, OH.” They even get an assist from Sufjan. 80s artist equivalent: The Call.
Beach House: Beach House: Teen Dream (Sub Pop) – Fleet Foxes without the beards, washboards and jigsaws. Beautiful melodies, and just enough haunting distance to evoke tortured artist status. “Teen Dream” might be the best Roman Polanski-inspired album ever. “Norway” will sale lots of cars. 80s artist equivalent: Kate Bush.
Miles Kurosky: Miles Kurosky: The Desert of Shallow Effects (Majordomo) – Former Beulah frontman returns from a prolonged case of brain cloud to record the best power pop record of 2010. In a just world, the R-n-R HOF would be commissioning his bust. Doubt me? Check out “I Can’t Swim.” You’re welcome. 80s artist equivalent: Nick Heyward.
Jenny and Johnny: Jenny and Johnny: I’m Having Fun Now (Warner Bros) – Johnny is the best boyfriend Jenny Lewis has ever had. Or at least the best at creating catchy pop gems. “Scissor Runner” has been on constant rotation in my head for 6 months. But the entire album is a winner, which hasn’t always been the case with JLew. 80s artist equivalent: X.
Spoon:Spoon: Transference (Merge) – The coolest band in America might just be getting cooler, and better. Bouncy bass lines and a link to neo-soul. Thank goodness they didn’t call themselves “Cuddle.” The Marty Scorsese of the future will use “The Mystery Zone” in a stylish mobster movie. 80s artist equivalent: Smiths.
Arcade Fire: Arcade Fire: The Suburbs (Merge) – A Grammy, huh? Well, they give those things out I guess. Another angsty record from displaced Americans this time singing about themes like suburban sprawl and confused kids. Sounds like a Rick Moody book. 80s artist equivalent: Psychedelic Furs.
Frightened Rabbit: Frightened Rabbit: The Winter of Mixed Drinks (Fat Cat) – This record is why William Wallace gave a crap in the first place. Jangly guitars, malty lyrics and just a slight hint of anthemic rock. Plus, they give Michael Phelps a great idea. 80s artist equivalent: Simple Minds.
Shout out Louds: Shout Out Louds: Work (Merge) – You know, there are other things coming out of Sweden besides Stieg Larsson books and Absolut Peppar. How about quirky pop music with just a hint of Scandanavian melancholy. Add “The Candle Burned Out” to your i-ears immediately! 80s artist equivalent: Depeche Mode.
New Pornographers:
New Pornographers: Together (Matador) – Carl Newman is blessed with a melody machine for a brain. If he wrote supermarket books he’d be Janet Evanovich. Fortunately, Neko Case gets a little more face time this time around, and Dan Bejar makes his usual awesome contribution. Can these folks make anything sound catchy? Check out the trucker anthem, “If You Can’t See My Mirrors.” 80s artist equivalent: Rockpile.
Belle and Sebastian: Belle and Sebastian: Write About Love (Matador) – Stuart Murdoch is still in his Dusty Springfield period, but at least he remembered what he does best: write the saddest songs. Not sure about the duet with Norah Jones, though, the duet with actress Carey Mulligan works a lot better. Thank goodness he is still promoting literature with “Read the Blessed Pages.” 80s artist equivalent: Aztec Camera.
Kanye West: Kanye West: My Beautiful Dark Twisted Fantasy (Def Jam) – Making up with George Bush was the first step, now if he could only win over Obama. Surely this record is on constant shuffle on AF1. Bombastic production and tortured rants are the keys to Yeezy’s appeal. Working in guest spots from Nikki Manaj, John Legend and Bon Iver don’t hurt either. Neither does a profane comedy bit from Chris Rock. However, he should not have responded to the fish stick rumors. 80s artist equivalent: Andre Cymone.
Band of Horses: Band of Horses: Infinite Arms (Columbia) – “Laredo” is by far the song of the year, though, sometimes the band wanders into Soul Asylum territory. Over 3 records, Ben Bridwell has proven that he can write great songs, just not a wire to wire superb record. Still, love the vocal harmonies. They just need to add some hand claps and a Hammond B3. 80s artist equivalent: Plimsouls.
Tokyo Police Club: Tokyo Police Club: Champ (Mom and Pop Music) – Made the list based on the strength of their fantastic opening for fellow Canadians New Pornographers, but solidified their standing with this retro New Wave disc. Not sure which is a better song: “Favourite Food” or “Favourite Colour.” Start with “Big Difference.” 80s artist equivalent: Love and Rockets.
The Hold Steady: The Hold Steady: Heaven is Whenever (Vagrant Records) – Still the best band in the States, however, not their greatest effort. Their last record, “Stay Positive” introduced us to new, more mature characters in Craig Finn’s song/poems, this release keeps the aging process going. There’s a lot to like on this, especially “Sweet Part of the City” and “Rock Problems.” Finn needs to go back to reading the Beats. 80s artist equivalent: The Replacements.
The Softpack: The Soft Pack: The Soft Pack (Kemado) – A damn, nice surprise. Poppy, garage rock with hints of surfer guitar. Opens strong with “C’mon” and “Down on Loving,” and stays interesting throughout. Production has an 80s Carolina Mitch Easter feel. These songs should be selling beer. 80s group equivalent: dbs.
Gorillaz: Gorillaz: Plastic Beach (Virgin) – Damon Albarn is the collaboration king, and his comic soul hip hop project just keeps getting bigger. With guest spots from Lou Reed, De La Soul, Bobby Womack and 2 of the living members of the Clash, Plastic Beach keeps the sound fresh and interesting. While it lacks a catchy hit like previous Gorillaz records, still enjoyable through and through. 80s artist equivalent: Big Audio Dynamite.
Sleigh Bells: Sleigh Bells: Treats (Mom and Pop Music) – If Jason Statham were creating a female fronted band he might have concocted Sleigh Bells. Crank it to 11. Fans of MIA will be disappointed by the lack of bullet sounds. Still “Rill Rill” is one catchy song. 80s artist equivalent: Sugarcubes.
Broken Bells: Broken Bells: Broken Bells (Sony) – I can see why Danger Mouse wanted to ditch the blwarf in Gnarls Barkley, but did James Mercer really feel constricted in his band The Shins? I guess his band mates don’t appreciate his tasty falsetto. Interesting pop collaboration, as both guys play all of the instruments. Couple of really great songs, including “The High Road” and “The Ghost Inside.” 80s artist equivalent: ABC.
Teenage Fanclub: Teenage Fanclub: Shadows (Merge) – The Fannies are still beating the Byrds’ drum circle, even if the kids (Fleet Foxes) are doing it with more soul. As usual, the Gerard Love songs stands out, particularly “Into the City.” The man could find a melody in his ear wax. Third Scottish band to make the list. You know what that means. Sammy Hagar is going to front the newly reformed Big Country! 80s group equivalent: Blue Nile.

2009 Best of List

20 Essential CDs to Own and Worship

Why engage in yet another meaningless list of pop music trivialities? How dare you? Because it is important to remember that before 9/11 changed everything, the Beatles had already “been there, done that.” For the purposes of this list, I’ve limited the entries to 1 per artist, otherwise you would be reading the entire Beatles catalogue and that wouldn’t be fair. I have tried to not to be “Rolling Stones-ish” with my tribute to the 60s, but, c’mon, the big three all started there. Once you get past the killer B’s, it is all smooth sailing from there. Also, I know a lot of you (well, the 2 or 3 of you who will actually read this) may take exception with some of my omissions (no Kinks, no Floyd, no Nirvana). If that’s the case, please submit your own list and I will happily publish it along side mine. Now – on to the party…
Beatles Beatles: Revolver (Capitol) – By 1966, the lads weren’t merely content to “Hold Your Hand” or “Drive Your Car,” they had more important things to worry about. Namely creating the first proper album that had a coherent, yet ground breaking production sound. Hard to top.
The Byrds: Mr. Tambourine Man (Columbia) – Perhaps even more influential than the Beatles, Roger McGuinn and company created the perfect hybrid of folk, rock and roots Americana. Their jingle/jangle sound is still the most omnipresent force in modern music, which explains why most people who start a band either buy a 12-string Richenbacher or a mandolin.
The Clash: London Calling (Epic) – Punk rock arrived and it brought dub with it. The Clash took the dangerous underpinnings of the punk rock movement and created a political salvo aimed at the Tories and Margaret Thatcher. Mick Jones also had the good sense to liberally apply some melody.
X: See How We Are (Electra) – I had the pleasure to ask John Doe what his favorite X album was and he listed the one I also have chosen. While every X album had some signature moments, they didn’t really piece together a great record until their last (until they reformed 10 years later to put out the pedestrian “Hey, Zeus!”)
David Bowie: Hunky Dory (EMI) – The beginning of the alien stage of Dave’s ever evolving persona, but also his most singer/songwriter work. Putting this record in context of the Apollo missions makes it even more compelling.
Beach Boys: Pet Sounds (Capitol) – Spawned an entire host of imitators obsessed with studio wizardry. The difference being the dedication Brian Wilson put in to his symphonies for God. Makes every best of list because it is that good.
Wilco: Summerteeth (Reprise) – If you wanted to rebel against being labeled Alt-Country, then this gorgeous artistic statement was the answer. This album renewed my faith in music and was the cornerstone to my 5 years as host of the Radio Philistine.
The Cure: Kiss Me, Kiss Me, Kiss Me (Elektra) – Who knew this would become the most influential record of the past 20 years. This record has influenced everything from emo to electronic to industrial to post modern New Wave, and yet it holds up as still sounding new.
REM: Reckoning (IRS Records) – Before declaring that “Everyone Hurts,” REM single handedly started the college rock scene and built a grassroots movement that still inspires music geeks. Too bad if you never saw them live when they played small venues.
Bob Dylan: Blood on the Tracks (Columbia) – By 1974, Dylan had undergone several iterations of what was to become a legendary career and almost completely distanced himself from his folkie days. I almost went with “Blonde on Blonde,” but I just think “Blood” is his best work.
Neutral Milk Hotel: In the Aeroplane Over the Sea (Merge) – While most of the Elephant 6 movement focused on recreating Sixties psychedelia, NMH took the road least traveled weirdly. This love letter/ sci fi treatise to the life and death of Anne Frank is one of the most enjoyable records of despair ever recorded. The band has a great time pulling out eclectic Americana instruments to really fill out the sound.
Neko Case: Fox Confessor Brings the Flood (Anti) – While founding the sound that has come to be known as “country-noir,” Neko Case has crafted some of the best vocal recordings of the past decade. However, she really hit her peak as a storyteller with this record.
/td> Lloyd Cole: Don’t Get Weird on Me Babe (Capitol) – It took British crooner Lloyd Cole to discover the inspiration in short story master Raymond Carver. These songs inspired by the work of Carver carry those drunken losers through broken dreams, bad romances and, of course, lots of ice.
Hooverphonic: Blue Wonder Powder Milk (Sony) – While Air gets most of the credit for bringing Euro trip-hop/ electronica to the world, it was Belgium’s Hooverphonic that created the best record of the genre. Creepy songs about strangers and cocktails, the music is ethereal and danceable.
Husker Du: Candy Apple Grey (Warner) – Bob Mould may be the last, great guitar hero. While everyone else in the 80s went soft, the Huskers released their inner screams and committed it to vinyl. This is Plastic Ono Band with melodies.
/td> The Replacements: Tim (Sire) – Paul Westerberg created a sound that would later dominate alternative rock, inspiring legions of imitators from Soul Asylum to Buffalo Tom to the Goo Goo Dolls (get over it).
Teenage Fanclub: Songs from Northern Britain (Columbia) – These loverly lads from Scotland blend pitch perfect harmonies and soulful melodies and create perfect pop bliss. They may also have single-handedly inspired the sort of “Lad Lit” responsible for books like “About a Boy.” And that’s fine by me.
Wings: Band on the Run (Capitol) – For all of the doubters who thought Paul was fluff came this release that rejuvenated a love for all things Beatles. This record bridges the 70s to the British Invasions of the early 60s and the early 80s. For bonus points, Paul was almost killed (again!) in Africa while recording this record.
Beulah: The Coast is Never Clear (Velocette) – Unfortunately released on September 11th, this record was the perfect antidote to the East Coast blues. Another band loosely tied to the Elephant Six collective, Beulah were more California cool then psychedelia. And yet they never appeared on the “O.C.”
Radiohead: Kid A (Capitol) – This was the most difficult choice, and not just because it was the 20th CD, but because I had 3 great Radiohead discs to choose from. I settled on “Kid A” because I think it improved upon the framework of “OK Computer” and really showcased the genius of this band.
Now you can ask: what were the ones that just missed the cut? 

Lou Reed “New York”

Matthew Sweet “Girlfriend”

Belle and Sebastian “If You’re Feeling Sinister”

Talking Heads “Speaking in Tongues”

World Party “Goodbye Jumbo”

Smiths “Louder Than Bombs”

Guided by Voices “Do the Collapse”

Old 97s “Fight Songs”

Stone Roses “Untitled”

Cornershop “When I Was Born for the 7th Time”

U2 “War”

Cheap Trick “Live at Budokan”

ELO “A New World Record”

Jayhawks “Smile”

2008 CDs of the Year

The emphysema-ish last lap of the Bush years seemed to have had an effect on the careers of Indie Rockers as much as it did on banks. Some popped, some failed. Will there be a bailout? Will Obama name a Secretary of Psyche Pop or will the merger of Citi Financial and American Idol mean the end of choice? Don’t ask us; we just put together the definitive top 20 list. Suck it, Simon. You too, Theodore.

hold-steady Hold Steady: Stay Positive (Vagrant Records) – Look who grew up. Craig Finn, Beat Poet of the teen druggie crowd is now singing about dead women and interrogation techniques, fortified wine and John Cassavetes. While the subject matter has matured, it is the inspired playing of guitarist Tad Kubler and keyboardist Franz Nicolay that really stands out. Good news, kids, the best band in America just got better. If you haven’t seen them live, then you probably still have your hearing. Download the entire CD!
fleet-foxes Fleet Foxes: Fleet Foxes (Sub Pop) – The hairiest band from Seattle delivered the best 4 part harmonies since 2 of the Wilson brothers died. Every song is like a long lost gem from some mountain community that reveres animals and sing for their supper. The musicianship is not show-offy, but every song is a delight. And the singing will definitely stay with you long after you’ve taken off the needle. Start with these songs: “White Winter Hymnal,” “Blue Ridge Mountains” and “Meadowlarks.”
shearwater Shearwater: Rook (Matador Records) – Jonathan Meiburg sings like the reincarnation of John the Baptist. He has a holy, unworldly voice that he uses to sing about, well, birds mostly. The one-time keyboard player for Okkervil River, now fronts an Austin combo that borders on the dramatic. Unfortunately, not as much banjo playing on this record as their previous release, but at least there is The VOICE. Check out “Rooks” and “The Snow Leopard” for instant fun.
matthew-sweet Matthew Sweet: (Shout Factory) – If Jeff Lynne is the 5th Beatle, then Matthew Sweet is the 5th Byrd. His 12-string Rickenbacher is back in action, and he has never sounded better. He even wrote what should have been his biggest hit with “Byrdgirl,” a pop gem if ever there was one. His 2-disc project of covers with Susanna Hoffs seems to have paid off with a new found appreciation of 60s melody. Still puts on a great live show! As Eric Cartman might say, “Sweeeeet.” Download these songs immediately: “Byrdgirl,” “Let’s Love” and “Feel Fear.”
brit-sea-powr British Sea Power: Do You Like Rock (Rough Trade) – The answer is a resounding yes! The brothers Wilkinson share songwriting chores on this record, with brother Yan writing the more literate rockers and while Hamilton writes the catchy hooks. BSP went for a huge majestic sound on this one and didn’t disappoint. The guitar gods will be satisfied. Give your ears a treat with “Atom,” “A Trip Out” and “Lights Out for Darker Skies.”
vampire-weekend Vampire Weekend: Vampire Weekend(XL Recordings) – The most fun record of the 80s was released in 2008. Some wise acre kids from Columbia University made bouncing up and down fun again. Maybe it was the hint of the islands that made this sound like a long lost Haircut 100 record. Let’s hope they can produce a follow up equally as infectious while still singing about grammar like the sublime “Oxford Comma.” Try “Cape Cod Kwassa Kwassa” and “Campus” for good measure.
sun-kil-moon Sun Kil Moon: April (Caldo Verde) – Mr. Personality returned in 2008 and actually released a fun record. Well, fun for him. He still sings about ghosts a lot, but now there seems to be some hope in his arsenal. When not stuck in some Twilight Zone episode set in Ohio with a dead girlfriend, Mark Kozelek actually seems to be taking in life with renewed interest. Even his guitar playing seems hopeful. Start with “Moorestown” and move on to “Lost Verses,” you’ll be glad you did.
elbow Elbow: The Seldom Seen Kid (Geffen) – Upon first listen I dismissed this as derivative “Trick of the Tail” era Genesis. But then I remembered how much I liked that record. I love the British bar band blues that incorporates lush orchestration on occasion. Singer Guy Gravey has a whiskey-treated voice that drips with feeling, and the band rocks when they need to like on “Grounds for Divorce.” Order up some “Weather to Fly” and “Starlings” while your at it.
tv-on-the-radio TV on the Radio: Dear Science (DGC/ Interscope) – This would have been higher on the list if lead singer Tunde Adebimpe hadn’t appeared in the film “Rachel Getting Married.” Still, what an awesome Prince record this turned out to be. Other singer and beard model, Kyp Malone loves to break out the falsetto. Gold stars also to producer/ guitarist David Sitek for keeping it interesting. Haven’t you bought this yet? Start with “Dancing Choose” and “Crying,” and get your ass moving.
beck Beck: Modern Guilt (DGC Records) – The best record Danger Mouse produced in 2008. Largely an electronic record with tasty beats, it contains overtones of the minor chord “Sea Change” era Beck. Known for mashing up the Beatles’ “White Album,” Danger Mouse borrows heavily from that masterwork in creating a powerful soundscape. Sadly, Jason Falkner’s bass only appears on 2 songs. Personal favorites include “Chemtrails,” “Modern Guilt” and “Profanity Prayers.”
sloan Sloan: Parallel Play (Yep Roc Records) – Canada’s quirkiest 4-piece returns with yet more power pop brilliance. Maybe not as ambitious as last year’s 30 song masterpiece, but what could be? The only band to employ 4 equally adept songwriters, this record has plenty of melody to you bouncing. It actually sounds like a lost jewel you might find in your crazy uncle’s collection from the early 70s. For starters, try the “Believe in Me,” “All I Am is All You’re Not” and “I’m Not a Kid Anymore.”
old-97s Old 97s: Blame It On Gravity (New West Records) – Welcome back, old friends. Rhett Miller took time out from his busy schedule to make a great new Olds record. If his solo records have lacked anything it is the country twang of his roots. This might be the last hurrah of Alt-Country, but what a way to go. Their best since “Fight Songs.” In this era of hope, let’s go with “The One,” “My Two Feet” and “No Baby I.” You’re welcome.
airborne-toxic-event Airborne Toxic Event: Airborne Toxic Event (Major Domo Records) – Since they took their name from a passage in Don DeLillo’s masterwork “White Noise,” I expected this to be more literary. Not so, but not necessarily a bad thing. A rocking good time from an L.A. band that owes more to Pulp and Blur than Papa Hemingway. Supposedly a great live show as well. Stay tuned for “Wishing Well,” “Does This Mean You’re Moving On?” and “Sometime Around Midnight.”
gnarls-barkley Gnarls Barkley: The Odd Couple (Atlantic) – The second best record Danger Mouse produced in 2008. Cee-Lo Green proves he’s no Oscar Madison as his vocal performance seems to improve with each song. The album moves from soul to rock to pop with just enough hip-hop grooviness to keep it interesting throughout. This proves to me that Danger Mouse must work on the next Wes Anderson film. Load up on “Run (I’m a Natural Disaster),” “Surprise” and “Blind Mary.”
mgmt MGMT: Oracular Spectacular (Sony) – Lots of bands tried to reinvent dance last year, but only one really nailed it. Produced by David Fridmann, it suffers the obligatory comparisons to the Flaming Lips. While there are elements of psyche to it, the whole record seems like a re-working of everything good about 80s music with “Some Girls” era Mick Jagger on vocals. Love “Kids,” “Electric Feel” and “Of Moons, Birds & Monsters.”
lil-wayne L’il Wayne: Tha Carter III (Cash Money Records) – If I had a milli for every crazy thing this guy blurted out of his scatological mouth I’d be a milli heir. This could have been a better record had he left off some of the goofy novelty/ pornographic songs. Wayne proves himself to be a thoughtful, intelligent lyricist with something to say, especially on his New Orleans opera “Tie My Hands” featuring Robin Thicke (yeah, I know.) Shout out to my man T-Caul for defending the public and buying me this CD. You no doubt already own “Lollipop” and “A Milli,” now try “Mr. Carter” and “Phone Home.”
death-cab-for-cutie Death Cab for Cutie.: Narrow Stairs (Atlantic) – Ben Gibbard is still sad, and that’s a good thing. Probably in rebellion to their major label contract, Gibbard wrote the song of the year with “I Will Possess Your Heart” and extended it for over 8 minutes to dissuade air play. Nice move. One might say the band is getting a little Brian Wilson-y in the studio, but we might say that’s a good thing. “I need an army of didgeridoo!” Also big fans of “You Can Do Better Than Me” and “Long Division.”
okkervil-river Okkervil River: The Stand Ins (Jagjaguar) – More of a compendium than a follow up to last year’s “The Stage Names,” this record picks right up with more insights into the trials and tribulations of performing artists with Will Sheff’s tongue planted firmly in his cheeky mouth. Sheff is going to have to bite the bullet one of these days and write a book, but until then he can just keep making great records. Stand outs (see what I did there?) include “Singer/Songwriter,” “Pop Lies” and “Lost Coastlines.”
earlimart Earlimart: Hymn and Her (Shout Factory) – A slap in the face to M. and Zooey? Perhaps, but Aaron Espinoza is too busy worshipping the late Elliot Smith to worry about the competition. He and singer, Ariana Murray, have moved so far away from their earlier Grandaddy-influenced stuff that you can almost hear George Martin arranging the strings. Strong Twins Peaks influence as well, which, of course, gives them a gold star. Song of the year candidate “For the Birds” is a good place to start, then move on to “Face Down in the Right Down” and “Hymn and Her.”
american-music-club American Music Club: The Golden Age (Merge) – Friend of LePhil, Mark Eitzel has reassembled Vudi and the boys for one more brush with greatness. Gone but not forgotten is the slo-core sound of their early 90s releases, and replaced with a fuller, more orchestral sound, especially on the elegiac “All The Lost Souls Welcome You to San Francisco.” Eitzel’s voice has never sounded so beautiful, either. Check out “The Sleeping Beauty” and “One Step Ahead.”
Honorable Mention: 

Coldplay

Alejandro Escovedo

Frightened Rabbit

Los Campesinos

Kayne West

R.E.M.

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