2007 - Year in Review
Music Year in Review 2007
Some Loud Thunder - Clap Your Hands Say Yeah - 5.6
They mastered internet buzz with their self-titled debut a couple years back, but their sophomore album just doesn’t stack up. The album lacks the carefree feel that dominated the first album; instead feeling forced almost the whole way through. There are moments (say, “Satan Said Dance”), though, that bring you back, and when they’re on it feels like visiting a happy memory from your past. Here’s to hoping the band can make some memorable moments in the future.
Easy Tiger - Ryan Adams - 7.9
This disc was on the verge of making the “Top Picks” of the year, but fell just off because of its inconsistency and inability to really dig in. The problem lies in all the varied styles, rather it be the overt country, complete with slide guitar, (that always seems to break up a string of 3 or 4 solid tracks), the “Love is Hell”-style touching ballads, or the Rock ‘n Roll-style shakers. There’s two standout songs on the disc, the first being the absolutely impossible to get out of your head (no matter how ridiculous you sound) upbeat “Halloweenhead”. The lyrics seem cheesy, and the “Guitar Solo” yelp of Adams seems outdated and corny, yet it all fits together perfectly for what would’ve been a great single. The second great song on the disc, “Oh My God, whatever, etc.” fits more into the “Love is Hell” genre - quiet, introspective, and sad about a girl. Adams plays the role of everyman to perfection in the song, suffering through listening to lovers on the other side of his apartment wall by night, working a dead end job by day - But there’s always tomorrow. There are other solid tracks on the album - the honest “Rip Off” comes to mind - but there’s just too many styles to swallow on the disc. Still it’s unquestionably Adams’ best disc since “Cold Roses”, and possibly since “Love is Hell”.
Traffic and Weather - Fountains of Wayne - 6.1
I’ve been anxiously awaiting a new Fountains of Wayne album ever since discovering the pure listening joy of their last original LP “Welcome Interstate Managers”. I stand by my comment made for that album, that this is what pop music should truly sound like. The music is still pure sugar, but this album isn’t nearly as good as its’ predecessor. While the lyrics were never the most important factor driving the goods, they fall to the point of ridiculous on this album, to the point where they can no longer be overlooked. I’m convinced they wrote the song “92 Subaru” after they realized that “Subaru”, “Blue”, and “You” all rhymed. And while a band like Sublime can pull off a song about Marijuana, FOW simply look idiotic (Planet of Weed). If you care - at all - about what’s being sung about, you’ll probably want to avoid the album. If you just want to be able to enjoy the sounds, it’s still perfect for that (and explains why I always get “Yolanda Hayes” stuck in my head).
Is Is - Yeah Yeah Yeahs - 8.0
Sure it’s only an EP (consisting of 5 songs), but it’s worth mentioning simply because they reclaim a little of their punk flare from their debut album that they lost on their 2nd disc. I thought the band might fade off into some sort of dumbed down pop musings, but this album proves they’re moving back in the right direction. It’s too bad they couldn’t come up with 5 more slow-burning gems, as it would’ve shot up to one of the best albums of the year.
Let’s Stay Friends - Les Savy Fav - 7.7
Let’s Stay Friends is a somewhat indie meets punk sounding record, with songs that vary quite a bit from screaming thrashers to laid back melodies. Most of the rockers appear on the first half of the album, and it is easily the stronger half, as, at its best, the album recalls the glory days of the Clash. However, as noted, the second half wears a little thin, as the songs are simply not as solid. Keep the first 4 songs on repeat on your ipod, though, and you should remain a happy listener.
Neon Bible - Arcade Fire - 7.6
This album is popping up on a lot of critics’ list for top albums of the year, but I’m not as sold as they are. While Fire’s first album matched themes with adjusting to the world while growing up with guitars and percussion that drove the point home, the new album has a grander scheme and seems a little less focused. The themes on their original focused mainly on the struggles of loss while growing up, where as the new album is all over the place, seemly drifting towards worldwide politics and religion. What’s worse is that they’re not great at getting across their criticism (“Mirror mirror on the wall, show me where them bombs will fall”, or “Not much chance for survival, if the neon bible is right” Are two such examples.) and often leave you asking, “Wha…huh?” The band can still put out an emotional wallop, though, on songs like “Keep the Car Running” and “No Cars Go”, where they once again sound like what they’re singing about truly matters to how their lives turn out.
Into the Wild - Eddie Vedder - 6.7
The soundtrack to the motion picture is also Vedder’s first solo album. The album is obviously closely tied to the movie, so don’t go in expecting a lot of varied themes or grungy rockers. It’s also really short, clocking in at less than 30 minutes. The music consists mostly of acoustic guitar, occasional drums and ukulele, and Vedder’s baritone. The lyrics all center on the movie, mainly about getting away from it all and retreating from society. It’s a great cd for an afternoon beer, sitting on a porch somewhere in the sun when you should be working. However, its length and unwavering tie to its source material keep this as more of a “niche product” than an absolute own. However, any Pearl Jam fan will want to get their hands on “Hard Sun”, “Guaranteed” (for which Vedder is up for some Oscars, Golden Globes, etc), and “Society.”
We All Belong - Dr. Dog - 8.0
Though mostly a forgettable listen, We All Belong is quite an enjoyable time. Sounding something like a modern-day take on the Beatles, the band excels at making an accessible and simple rock sound. There’s a lot of “oooooo”’s and “ahhhhh”’s all over the place, akin to the Beatles’ experimental stage. It would just be tough not to like songs like “Worst Trip, “The Girl” or the title track, and there is very little negative to say about the album. You might not find yourself pining for your next listen, as there is little excitement to be found on the album that will stick in your head after your last listen, but it’s a solid album through and through.
Zeitgeist - Smashing Pumpkins - 7.8
I really thought this album was going to be quite a drop from previous Pumpkins efforts, as it is basically just Corgan with a new band (albeit back with original drummer Jimmy Chamberlin). How could it really be the Pumpkins without James Iha or D’arcy? However, the album stands up quite well to the later Pumpkins albums, and is probably even better than a couple of them. Don’t let me fool you, it’s no Siamese Dream, but it is one of their heavier albums, and songs like “Tarantula” and “Doomsday Clock” undeniably rock out. Sure there’s some annoying filler (see: Starz, United States), but it’s still a return to later-day Pumpkin form for Corgan and Co.
Icky Thump - The White Stripes - 8.2
This cd starts out on fire; enough cannot be said about the opening title track. Guitar riff after guitar riff, crazy lyrics (I personally love the “la la la la la…” excerpt), weird little bridges - the song is just out of its mind. Then after that song ends, you’re treated to “You Don’t Know What Love Is (You just do as your told)”, a song as catchy as they’ve ever done, with spiteful Dylan-esque lyrics. After the first two tracks, you’ll realize that the disc was worth its price, no matter the rest of the content. This is probably a good thing, as it goes through quite a lull, until the last 5 songs pull it out. “Rag and Bone” is a fun take on buying up used things, and “I’m Slowly Turning Into You” gets back to White’s annoyed vocals and fun guitars. The album closes with “Effect and Cause”, which is probably their best ending to date. However, as stated, there is a 5 or 6 song stretch that just doesn’t measure up to Stripes standards, and it keeps the album from being “album of the year” material.
Our Love to Admire - Interpol - 6.4
There is something comforting about hearing lead-singer Paul Banks’ voice for those that have gotten into Interpol’s previous albums. His voice and style is so distinctive that when listening you know right where your ears have landed. Unfortunately this disc doesn’t match Antics or have an emotionally stirring song like “NYC”. What it does have is one of the catchiest songs of the year in “The Heinrich Maneuver”. Find a way to get your hands on that track, you can pass on the rest.
Graduation - Kanye West - 8.0
Kanye may be the first hip-hop artists where I don’t have to offer up a “for a hip-hop album it’s…” - his album’s are good on their own merits, even when compared to other genres. This album starts out fantastic - in fact if the album were cut to tracks 1-6, it would be in my “top picks”. It’s amazing that a popular rap artist came to the realization that rapping about things other than, well, what rap artists always rap about, that they could appeal to a wider audience. Match that with top-notch production (Is anyone better in the genre than Kanye?) and you’ve got yourself a great formula. That’s why it’s such a disappointment that the second half of the album falls flat. After the jaw-dropping first six tracks, the listener is treated to the ghastly “Barry Bonds” and “Drunk n Hot Girls”, which are not only steps back, they’re possibly the worst two songs Kanye has ever done. Why not just drop them from the album entirely? The album recovers a little with “Everything I Am” and the Chris Martin featured “Homecoming”, but it nevertheless can’t match the level of the opening. Despite the giant whole in the middle of the album and its inability to completely regain its footing, this is still probably the best album of the year for the genre (depending on what genre you put M.I.A in).
Under the Blacklight - Rilo Kiley - 8.1
Their last cd, More Adventurous, claimed my “Top album” spot a few years back, so I was obviously pretty excited for their new release. A so-so solo album from lead singer Jenny Lewis dulled my interest slightly, but this album is definitely better than Lewis’ solo effort. The main asset is still Lewis’ remarkably hypnotizing voice, and when paired with a good song, you end up with quite a track. The songs here aren’t as strong as on More Adventurous, and if that album’s title was indicative of the music on it, then this album should have been called Even More Adventurous! First single “The Moneymaker” sounds like something you’d hear in a seedy underground bar, and the following track, “Breakin’ Up”, delves deep into disco. It wouldn’t be fair to say that the experimental tracks are a downfall on the album, as most of them are rather strong cuts. However, there is something unsettling about the album as a whole that keeps it from being a must-buy. A couple of the songs seem, well, uninteresting, to say it nicely (See: Close Call, Dreamworld), and the lyrics on the album as a whole are not a strong point (Though the line “Does your daddy own a shotgun?” in the older-man-falling-in love with teenager track “15” cracks me up every time). All in all, it doesn’t quite live up to More Adventurous, but it’s still a strong album.
Cassadaga - Bright Eyes - 7.9
When I listen to the new disc from Oberst, I usually come away with the feeling, “You know, there’s nothing wrong with this cd at all, it’s perfectly fine.” And that’s the problem. It’s not fantastic, it’s fine. There’s really not a bad song on the disc (perhaps “Middleman”), but nothing really stands out either. As a whole, it’s a sound that follows I’m Wide Awake, It’s Morning, and much like that disc, many of the songs get better as they go, though none of them come to an apex the way the songs on the previous disc did. I have a feeling I’m punishing the album more simply because I’ve come to expect magic out of Bright Eyes on every disc, and this one simply doesn’t blow my socks off. But fans of Oberst should still definitely pick it up. After all, it’s perfectly fine.
In Rainbows - Radiohead - 8.3
My opinion never varied as much this year as it did on In Rainbows. After downloading (from Radiohead’s website for whatever price you saw fit) I thought it was more Radiohead craziness that really didn’t sound much like music. Not much later I thought it was pure genius, one of the best of the year. I’ve settled on somewhere in between. It’s definitely their best since OK Computer, but they haven’t completely regained their form yet. It would be nice if Thom Yorke could show some more emotion, as he does at the end of “Bodysnatchers”, because otherwise his voice begins to drone on in track after track. “All I Need” is a nice little ballad, and the cd ends strong with a slightly upbeat “Jigsaw Falling Into Place” and the show stopping closer “Videotape”. I’m happy with the disc overall, and for those scared off by Radiohead’s ventures into the unknown, it’s safe to get back on board again.
Year Zero - Nine Inch Nails - 8.4
One thing is certain - no PR ever worked so well at getting me stoked for a cd as much as the viral marketing used to promote Year Zero. Web sites from the future starting popping up relating to the cd with codes and riddles and kept NIN fans on high alert for months before the disc released. The music itself all centers on this alternate future. This was both cool and a little jarring, as Trent Reznor has primarily focused on his own inner turmoil for his source material since he created the band. The disc does tell a story, seemingly ending in disaster (a sequel is planned for 2008), and it’s at its best when going into personal struggles by people living in the future world. “The Good Soldier” tells the story of a soldier hoping he’s fighting on the right (God’s) side, but having some doubts. The stunning ballad “In This Twilight” delves into an apparent couple’s last night together before their city gets blown up. When there is emotion in the disc, the tracks soar; take that emotion out, and you’re left with good industrial music without a soul. Songs like “Meet Your Master” and “God Given” both rock hard, but don’t offer the psychological impact that some of Reznor’s previous efforts boasted. One exception to the rule is the fun (can a NIN song be “fun”?) “Capital G”, decrying the hypocritical leader of the future country - or more than likely the current one (“he signs his name with a Capital G”), with lyrics like “Don’t give a sh*t about the temperature in Guatemala/Don’t really see what all the fuss is about/Ain’t gonna worry about no future generations and I’m sure somebody gonna figure it out”. The disc is defiantly a must for NIN fans and for anyone looking for a great concept album. But I must admit I’m looking forward to hearing more about Trent’s problems with the world.
BEST ALBUMS OF THE YEAR
Sky Blue Sky - Wilco - 8.5
Sure, it sounds like music for the elderly or an elevator. But boy is it really good music for either scenario. It’s not something I expected, after their last album, A Ghost Is Born, was one of my least favorite albums I’ve bought in the last 10 years. But after listening to the peaceful first single, “What Light”, I decided to give them another chance. I’m glad I did, as the disc is a completely different sound from Ghost. Put simply, it’s basically adult contemporary music with really simple lyrics (a dramatic departure from their recent confusing words). It’s perfect music for a quiet Sunday, or for a rest home (I really can’t argue that). But it perfectly accomplishes what it set out to do, which is, really, a cd to relax to.
The Stage Names - Okkervil River - 8.7
This was an album that came out pretty early in the year, and despite great reviews, I kept putting off picking up. Eventually I came across the video for the album-opening “Our Life Is Not a Movie or Maybe” and was immediately impressed with the perfect vocals and music to the point that I finally picked up the disc that day. Most of the rest of the songs on the stellar disc aren’t quite as addictive, though they’re almost all excellent. The lyrics are strong, ranging from a girl who gets around a bit too much (“Plus Ones”), to a father finding his daughters’ diary (“Savannah Smiles”), to a couple that has been unfaithful to each other seeking out counseling (“A Hand to Take Hold of the Scene”). However, the lyrics really aren’t the star of the show, as it’s the up-tempo songs, with just the right amount of melodies and simple, yet catchy, guitars that really grab a hold of the listener and make them come back for repeated listens. It’s easily one of the best cd’s of the year from front to back.
Ga Ga Ga Ga Ga - Spoon - 8.9
This is one of those rare discs that gets better as the album proceeds and ends with possibly the best two songs on the whole thing. “Don’t Make Me a Target” opens the album nicely, a by-the numbers tune that sounds just like you’d expect from Spoon. The band then does some experimenting with “The Ghost of You Lingers”, an airy ballad with vocals coming out of the shadows. It’s not a bad song, but it does seem an odd choice for the 2nd track, as you feel like you’ve just gotten started and you’re not sure where the disc is going at this point. They get back to a more traditional sound the rest of the cd, starting out with “You Got Yr Cherry Bomb”. It’s the first song on the disc you really get a taste of the excellence to come - sure it’s nothing fancy, but the steady percussion and solid vocals are perfectly laid down and do a great job of showing the true star of the cd - the songwriting. From this point in the cd on, the songs are just good. They’re catchy but not pop, by-the-numbers but not boring. My personal favorite is the catchiest song on the disc, “The Underdog”, as hand claps follow the warning-chorus “You’ve got no fear of the underdog, that’s why you will not survive!”, however the album is full of solid songs, and others will probably love “You Got Yr Cherry Bomb”, or album closers “Finer Feelings” and “Black Like Me” more. All in all, this may not be a cd you go around shouting “You have to hear this!” to your friends, but it’s something you’ll probably find yourself listening to a lot.
Young Modern Station - Silverchair - 9.1
“Are you listening or are you faithless like the others?” An excellent question lead singer Daniel Johns offers up on “Waiting All Day” from Young Modern Station. I can think of no other band that has suffered more from assumptions made about them from prior albums than Silverchair. While most still think of the band as cute 16 yr olds or Nirvana rip offs, they have truly ditched any remnants from their 90’s days. What remains is an overly polished pop/rock band that often focuses on orchestra, psychedelic, and harmonic sounds. Tracks 2-5 are where the goods are on this album, starting with single “Straight Lines”. It starts out as a keyboard-backed pop song, as Johns sings falsetto, until about half way through where the music speeds up and Johns goes back to his own range. It’s a good introduction to what much of the album is about, full of melody and production. Better yet, in what is possibly the best song I heard all year, is the third track, “If You Keep Losing Sleep.” The best description I can come up for this song is that it sounds like a deranged circus ring-leader got a hold of a microphone and paraded around a cartoon orchestra that knew exactly what was going on in his head. Maybe that doesn’t sound appealing, and it is definitely experimental for the band, but the changes in pace, wacky vocals, and terrific closing adds up to a mixture of joy and excitement. It’s something you really should try and hear at least once. Track 4, “Reflections of a Sound” is the weakest of the excellent 4 song block, as it starts with a somewhat cheesy intro, before going into a psychedelic ballad. It sounds a bit like what fellow Aussie’s The Vines have been trying to pull off in their Beatles impersonations, but Silverchair do a much better job with it. The next track is really two songs mashed together - “Those Thieving Birds” and “Strange Behavior”. If “If You Keep Losing Sleep” wasn’t song of the year, then it could possibly be this track. It starts out soft and beautiful, as Johns croons “Those leaving words, hang strong from an emptiness”. The “Strange Behavior” portion of the track then kicks in, a near perfect rocker. Admitting “This is tearing me apart” and that he should be “Not only liked but loved as well”, it’s not difficult to ascertain his state of mind, but the song doesn’t come across as depressing. Rather it seems an assessment of his character - “When I’m paranoid I see walls behind walls behind walls/When I’m overjoyed I see falls over falls over falls”, as if to say, “Sure, when I’m sad I’m sad, but I can reach some high highs as well, if only you’d quit letting me down.” The song then morphs back over to “Those Thieving Birds”, as Johns makes one more plea for his lover to stick around.
After track 5, the album becomes much more predictable, as catchy rock song after catchy rock song follow. There is little deviation the rest of the way, so your enjoyment of the rest of the cd will probably hinge on if you are ok with over-produced rock. “Mind Reader” is a fun romp, regardless, as it is the only time Johns gets aggressive on the whole disc, singing what most men have probably thought at one time or another to their significant other, getting madder with each subsequent chorus “Don’t know what you want, No I’m not a mind reader! Baby, Come On!” Dylan, it’s not, though it’s fun to hear him let loose.
Australians have been buying up Silverchair albums in droves for some time now. It really is time for the rest of the world to follow suit.
Kala - M.I.A - 9.1
“M.I.A. coming back with power! ” M.I.A belts as her new album opens, and she couldn’t be more right. After her critically acclaimed debut, Arular, came out a couple years back, I’m sure I wasn’t the only one wondering if she could possibly match the honest beat-box rhymes on her second disc. The fact that Kala is not only better than her debut, but absolutely blows it out of the water is all anyone really needs to know. From the straight ahead energy of the opener, to the jungle noises of “Birdflu”, to the wonderful violin/disco of “Jimmy”, to the gunshots-as-drums of “Paper Planes”, this album is full of noises and styles that are new and old, and it never really fails. Sure there is a little bit of a lull when M.I.A. hands over the microphone to a guest, such as on “Mango Pickle” and “Hussel”, but it never ruins a song, and only makes it that much more exciting when M.I.A gets her turn again. There are at least two standout tracks on the disc, the aforementioned “Jimmy” and “Paper Planes”. It’s amazing the anxiety added to the former by the violin, as if something big is going to happen, and soon. It’s the most straight-forward song on the disc, and M.I.A seems to work more on her vocals here than on any other track. The other great song off the disc is “Paper Planes”, a laid back tune featuring a sample of The Clash’s “Straight to Hell.” The chorus mish-mash of gunshots and a cash-register is disturbing yet, well, awesome. There is a list of other strong songs on the disc - Birdflu, Boyz, and XR2 come to mind - but it’s good the whole way through. The only downside to the disc is that M.I.A. doesn’t sound like anything else, so the first few listens to anyone who has never heard it before may be a bit disorienting. Her discs aren’t easy to pick up and appreciate right away. If you’re thinking about giving it a shot (and you probably should), you may want to find a couple songs online to ease into it. When you’re ready, jump into the whole thing.
Sound of Silver - LCD Soundsystem - 9.2
This is a dance album through and through, but don’t think you have to be a dance music fan to like this cd. The album’s lyrics include a wide range of emotions leaving you laughing, sad and lonely, or exuberant. The music is full of synth with occasional guitar and drums, and almost always upbeat (the lone exception being the album closer “New York, I Love You But You’re Bringing Me Down”). The first song does a great job of getting into the groove of the album, with a fast pace synth beat, though the vocals here are strangely monotone. By the end the backup singer is urging you to “Get Innocous!”, though the album is far from uninteresting. The disc really gets going on track 3, “North American Scum,” a sarcastic rant against Americans thinly veiling contempt for Europeans looking down on the continent. Its strength is in its humor (deadpanning “For those of you who still think we’re from England/We’re Not. No.”) and pure fun. The album is even better when the songs get serious on the back to back tracks “Someone Great” and “All My Friends.” The former is a sad and dreary take on someone close to the narrator dying or leaving (it could also be taken as a break-up song and be equally effective), walking the listener from finding out the news (“Nothing can prepare you for it/The voice on the other end”), to having to get through sunny days when feeling the exact opposite (“The worst is the lovely weather/I’m stunned it’s not raining”). “All My Friends” follows, and is another of those songs that could easily be titled “Song of the Year.” Once again in storyteller mode, the song progresses through planning to get together with your friends to the party itself, ending in the triumphant refrain “If I could see all my friends tonight!” It’s heartfelt the whole way through, lamenting the rareness of such occasions and admitting if such nights will shorten one’s life by five years that they would still be well worth it. Other songs don’t offer as much emotion impact, but are still fun, such as the cry on “Watch the Tapes”, “We’re all high, high, high on wiggling hips!” It comes to a close on the aforementioned “New York I love you…”, as singer (and sole-member) James Murphy laments the “Billionaire Mayor” who is now “convinced he’s a king” and feeling “like a rat in a cage pulling minimum wage.” The track is quite a departure from all the sonic beats of the preceding 8 tracks, but it somehow still feels an appropriate closer.
All in all the album boasts a great cd to listen to on almost any occasion, full of fun, heartbreak, and celebrations. It just barely, barely, edges out M.I.A. and Silverchair, but it’s definitely earned its title - “Album of the Year.”