Well. It’s been nearly a year since blizz-ogged on this page. But, I’m inspired by the STiTP/Kerchief Valhalla list, to post my own top 10 of the year. Like I do sometimes, I have to mention albums that are supposedly AWESOME but haven’t got my lazy-ass around to listening to.
Top 10 Albums of 2007
10. Y.A.C.H.T., I Believe in You. Your Magic is Real*
This one needs an asterisk. It took till ’07 for me to find, and fall head-over-heals with the bleeps, bloops and diary entries of The Blow. Early into 2007 Blow’s beatmaker, Jona Bechtolt, marooned singer/songwriter Khaela Maricich to pursue solo work under the name of YACHT. Since then, I’ve been left alone in a corner with no new Blow to enjoy. Bechtolt’s “solo” I Believe in You… consoled me – just like the friend whose consoling words don’t help but you appreciate them anyway.
9. Wilco, Sky Blue Sky
One guy calls it “dad rock” and gives it a deece review and suddenly everyone’s off the Wilco wagon. Poppycock! This album is the real deal. In the last decade we’ve seen Tweedy grow from the guy that wrote the couplet “We should take a walk / But you’re such a fast walker, whoa-oh”, to becoming a abstract Dixie Cup Aquarium Drinker, to a Wheel/Bug/Hummingbird, to Jeff Tweedy. After all the band shifts, style shifts (fan base shifts?) Wilco emerged this year, confident in their LP’s, walking softly and carrying a big catalog. Tweedy sings sweetly, simply and directly after a few years of his free-associative and abstract lyrics. The band’s kraut-rock exercises have been distilled into a few efficient jam-outs. There’s just something impressive about Nels Cline, an avant-jazz squall guitarist, reigning in his tendencies enough to play a simple, clean Allman-brothersesque guitar duet. As Lisa Simpson once said – “It’s the notes they’re not playing.”
8. Flosstradamus / Kid Sister
Does not releasing a “proper album” mean you can’t get any love on year-end lists anymore? Not in this crazy inter-blag world. Although, technically, there’s no proper album out, DJ/Mash-up kids Flosstradamus and one of the duo’s kid sisters – Kid Sister, are churning out the jams. The bumpin’ beats, hip-hop mashups, old-school rhymes, and indie-happy samples have been Chicago dance/bar favorites for a while now, but it’s time for the big time. SxSW lost their brains for Floss’ remix of Matt & Kim‘s Yea Yeah, meanwhile Kid Sister’s “Pro Nails” found it’s way onto Kanye‘s Can’t Tell Me Nothing mixtape and the rest will be history… by the end of next year. Watch your back though Flossy, The Hood Internet‘s quick on your tail. (Photo Credit: Everyoneisfamous.com)
7. Bishop Allen, The Broken String
It’s been nearly half a decade since Bishop Allen dropped the self-released Charm School LP – an album whose hooks and lines you’d catch yourself singing constantly. The groups ring-leaders, Christian Rudder and Justin Rice, recorded the album with a microphone, a pre-amp, and ProTools while trying hard not to annoy their Bishop Allen Drive neighbors in Cambridge, MA. They’re a dynamic and fairly prolific pair… aside from the band both have cultivated what seems like their own brand — Rudder writing the hilarious entertainment section of the now-defunct SparkNotes.com, and co-creating the equally hilarious dating site (OkCupid) while both Rice & Rudder are pseudo-stars of the burgeoning “Mumblecore” film scene (Rice starring in Mutual Appreciation and Rudder as the love interest in Funny Ha-Ha). The Broken String is a triumph of sorts, a culmination of a plan that started more than a year before its release – to support the band by self-releasing an EP each month for an entire year. Each month was a new surprise – a new track that was a sure-fire hit, and the LP, while lacking some of the DIY charisma of the individual EPs, is an album full of pure pop gold. Bishop Allen are as fun as every, but stretch their creative boundries with a latin-tinged “Like Castanets” and the dramatic flair of “The Monitor”.
6. Radiohead, In Rainbows
Perfect timing. Every few years people start forgetting about these Oxfordshire lads they come along and blow the lid off of everything. This time it was more context than content, but the album is solid, and exciting. Most exciting, at least to me, is Thom Yorke using the word “I” again. An interesting question to be posed – Is it a coincidence that the most direct, “pop” album Radiohead has put out in a decade is the one that they’re giving away to listeners for whatever they want to pay? I.E., would a challenging album along the lines of Kid A compromise the ultimate commercial success of the album? If so, does operating “free” from the Music Industry effect an artists creative process just as much (or more so) than operating within the system? It’s a temple-tapper.
5. Kanye West, Graduation
What a hilarious twist. Kanye, throwing fits at MTV Europe Awards about Justice vs. Simian winning Video of the Year, learned a few lessons about Euro Dance Pop. 1) Synths can be cool 2) Pasty White People can be cool 3) Daft Punk is fucking cool.
4. Architecture in Helsinki, Places Like This
There were hankerings. After the last few loops around the U.S., AiH had subtly shifted from a twee band you could dance to, to a dance band you could drink chamomile tea to. Half the band disappeared and all of the sudden these Aussie’s were doing fun chant-along world beat tunes. Cameron Bird, who’s vocal stylings on their debut LP Fingers Crossed rarely raised above a childish whisper, now growls and yalps and screams – the fun juvenile spirit is still present in the band but now it’s like their at recess.
3. LCD Soundsystem, Sound of Silver
Regardless of the criticism that Sound of Silver is nearly a song-for-song repeat of their debut LP, it still sounds better than nearly everything else out there. James Murphy, and his DFA clan can churn out the beats, that much is known. But if S.O.S. is a duplication of LCD Soundsystem it’s its doppelganger – imbedding criticism and actual emotion into dance tracks. Sarcasm and cynicism is a refuge (and a cash crop in Williamsburg) and Murphy trumped expectations by turning the scene’s discoball mirrors back onto themselves.
2. M.I.A., Kala
Dude. This some crazy shit. “Paper Planes” is easily my favorite song of the year — with or without gunshots. I LOVED Arular when it dropped and I’m so pleased that her follow-up is just as bombastic, vaguely political, vaguely danceable, but wholly original. I guess I’m happy we live in a cultural climate that an album as globally scatter-brained as this can find such a wide, receptive audience.
1. The National, Boxer
I’m not a lyrics man. In fact, I’ll really only pay attention to the lyrics if the song sufficiently interests me. Lucky for The National, the urgent, heavy but not inaccessible sound begs you to read into their lyrics. Boxer’s content, just like its sound, is dark and brooding, but offers glimpses of romance, desperation, charm, and touchstone imagery. Beyond the discussion of the album’s cryptic Willy Loman storyline, what can’t be stressed enough is that the album is a true pleasure to listen to. A great album all the way through, and an LP that begs you replay it as soon as the last measure ends.