Much like last year, 2004 hasn’t been a banner one for rock. At least the genre’s fully lost any hegemony it may have once had (take a look at the year-end lists in the papers) and split into two niche markets: adult alternative and NY/SF-centered hipster postpunk-dance. Stalwarts of the former — U2 and R.E.M.- have kept up their profiles with releases this year but have slipped into nostalgia acts. The latter continues to takes the worst from Gang of Four, add what passes in art schools as political commentary and then champion the result as the return of danceability in indie rock (when in fact it’s quite uptight rhythmically). Still, it’s hard to deny that postpunk rock and early 80s electronic music are still energizing a lot of good music out there, some of which has made it to the list below.
I’ve linked to band websites and their sample MP3 tracks where available. (You can Save Target/Link the MP3 files to your harddrive directly from the link if you like, except for the Ambulance, Ltd, which requires free registration).
1
The Contrast
Fade Back In
It breaks no musical ground and singer-guitarist David Reid’s vocals and lyrics come perilously close to adult alternative territory at times. But these twelve guitar pop songs caught my mood perfectly this year. Textured guitar, power pop hook after hook, and a dynamic variety of tunes made this my hands-down favorite. [Sample tracks: Give Me One More Chance, Forget It]
2
Guided by Voices
Half-Smiles of the Decomposed
Quintessential mid-90s indie rockers decide to call it quits and produce the best set of tracks they’ve put out since 1997’s Mag Earwhig! It’s the album they’ve been looking to make since then: well-produced with enough of their lo-fi sensibility in the mix. The big-chord anthems are still there, only there’s also texture (”Everybody Thinks I’m a Raincloud”), atmosphere (”Window of My World”) and a good dose of wistfulness (”Huffman Prairie Flying Field”) tossed in. Simply wonderful. [Samples: Everybody Thinks I’m a Raincloud (When I’m Not Looking), Gonna Never Have to Die]
3
Franz Ferdinand
Franz Ferdinand
It’s great when a hyped album lives up to it all. They go from postpunk (”Jacqueline”) to glam (”Michael”) to disco (”Come On Home”) to all three (”Take Me Out”) with a genre-blending glee that in part accounts for their popularity. They’re to the 2000s rock revival what Supergrass was to Britpop. Oh, and they have great graphic design, too.
4
Ambulance, Ltd.
Ambulance, Ltd.
Maybe they can’t decide if they’re trying to recreate 1969 or 1989, but I think the shoegaze and Velvet Underground combination on this was a winning one. At the very least it was well executed, with a set of songs that grows on you the more you listen to them. And it’s a testament to an album when the instrumental track is one of my favorite. [Sample: Primitive (The Way I Treat You) - reg. Required]
5
A.C. Newman
The Slow Wonder
Solo entry from New Pornographers’ wonderkid Carl Newman. It follows the same trajectory of a New Pornog’s release (1-2 punch at the beginning, turn down the intensity, work back up to a great finish), but the arrangements here are less busy and the ambitions toned down to good effect. In fact, it’s hard to imagine an atmospheric piece like “Come Crash” working so well elsewhere. [Samples: Miracle Drug, Drink to Me Babe, Then]
6
Graham Coxon
Happiness in Magazines
If you’re the sort of person who’s been put off of solo releases from Blur guitarist Graham Coxon because they seem to copy the worst, most boring tendencies from American indie music without the best, then this album’s for you. He’s back with Blur producer Stephen Street and penning radio-friendly guitar-rock singles. And he’s clearly been inspired by what’s been going on in the British music market, especially the popularity of garage rock and the White Stripes: “Girl Done Gone” is a “Ball and a Biscuit”-like blues riff, whereas “Ribbons and Leaves” sounds like Badly Drawn Boy covering “This Protector.” Through it all, we’re treated to Coxon’s trademark Paul Weller-inflected guitarwork. A treat for those bemoaning Britpop’s death.
7
The Slats
Pick it Up
The best postpunk songs you haven’t heard this year. This trio from Iowa City is indie enough that my local Newbury Comics doesn’t carry this album, but I’m not sure why they’ve gotten lost in the shuffle. This CD splits its affection for Gang of Four-ish discord-pop and 80s American punk and no-wave. At times the result doesn’t work, but equally often the DIY energy blows the Brooklyn competition away. [Samples: Teena, Automobile]
8
British Sea Power
Decline of British Sea Power
Comparisons to Joy Division and Echo and the Bunnymen abound, but in my mind BSP share some of the anarchic exhuberance of the Make Up or the theatrical vocals and Brit-rock sensibility of Pulp. Clocking in at nearly an hour, it doesn’t always sustain a high, but I’d put “Apologies to Insect Life” and “Carrion” up against any of this year’s tracks.
9
the Comas
Conductor
This Chapel Hill band delivers more of that Merge sound. Except they’re not on Merge. Their use of samples, keyboard washes and judicious production give their indie-rock pop songs a nice wash of atmosphere without compromise the hooks (or the drive) beneath. [Samples: Science of Your Mind, The Last Transmission]
10
Electrelane
The Power Out
I have to admit this one didn’t live up to my expectations after seeing them live. But it’s nice to see that someone’s bringing some Raincoats sensibility to Electroclash (cf. their song “Only One Thing is Needed”) Or vice versa. (”On Parade”). Just skip the children’s choir in Track 3, which is the most misguided, cringe-inducing thing, well, since Ride used a children’s choir on Carnival of Light.
And now, a few miscellaneous categories.
Singles: A few bands have released promising singles and EPs: Robbers on High Street (Fine Lines) were just the thing to tide me over until Spoon releases their next album. It’s all here in these 6 tracks: the classic riffs, the reverb, the gravely vocals. I could criticize for being derivative, but these songs really do stand on their own. Also Longcut, the Bravery, and the Prosaics had great guitar EPs.
Reissues: Some great re-releases lately, from Pavement’s Crooked Rain (who knew their B-sides were so good?) to the Pale Saints discography (shoegaze that’s been inexplicably overlooked by history). And of course the 80s discovery that’s obsessed me and my friends, the Sound.
Most overrated: Could words capture how dreadful Polyphonic Spree are? Why would anyone want to resuscitate Jesus Christ Superstar? Without the camp?! Also, I’m wondering if Camera Obscura has been paying their royalty check to Belle and Sebastian. With song titles like “Suspended from Class”, we’re fully in self-parody territory.
Worst Cover Artwork: Ash, Meltdown.
Worst Album Title: Julia Hatfield, In Exile Deo.
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