30. Imogen Heap- Goodnight and Go
Imogen Heap was one of the best live acts I saw this year; a characterful, one-woman army of synthtastic musical splendour. Her recorded work generally lacks the vitality and character that she exudes on stage, but of all the songs I’ve heard, ‘Goodnight and Go’ comes closest to doing her justice. Shimmery, Bjork-ish electro-pop par excellence.
29. Built To Spill- Conventional Wisdom
Although their music is, on first impression, your typical energetic American indie-rawk, I’ve always got the impression Built To Spill really want to write Led Zep style rock epics. Some unusually incisive lyrics and great guitar work has always lifted them above the competition, and both are in evidence here. But the thing that clinches it for me is when the instrumental guitar melody randomly morphs into a jaunty little ditty underpinned by a bassline that sounds like it was swiped from a Bavarian beerhall. That kind of thing cheers me up way too much.
28. The Earlies- No Love In Your Heart
“These Were The Earlies” was, in my honest opinion, an criminally overlooked album. Even though NME gave it 10/10, it didn’t really get the sales an album of that calibre warranted. A multi-instrumental 8-piece outfit, they fuse West Coast harmonies, chilled orchestral pop and proggy psychedelia with wonderfully blissful results. The first single from “The Enemy Chorus” is very much centred around the latter aspect, with lots of squelchy synths, trippy vocals and a whole variety of weird electronic beeps and bleeps coming together to form a new-age symphony that’s part Brian Wilson, part Flaming Lips and part really bad acid trip.
27. Cold War Kids- We Used To Vacation
It’s hard to pinpoint CWK’s sound exactly, but if I were forced at gunpoint to try, I’d venture at a weird and wonderful mix of vaudeville piano, jangly guitars, enthusiastic percussion and Nathan Willett’s strangled, melodramatic vocals. Part indie rock, part Stax-soul, part Louisiana blues, part Rufus Wainwright-style piano balladeering- they’re a band that are almost impossible to pigeonhole. This theatrical little piece is underlayed with some vicious social commentary; our narrator is an alcoholic trying to justify why he’s returned to the bottle despite the damage it’s done to his family. His repeated assertion of “it’ll all blow over in time” as a response to his actions shows a desperate man unable (or unwilling?) to take responsibility for himself- stronger stuff than your average Take That ballad, that’s for sure. It’s an acquired taste but for my money, Cold War Kids are undoubtedly one of the most striking new talents of 2006.
26. Cansei de Ser Sexy- Let’s Make Love And Listen To Death From Above
Sexy Brazilian singers? Check. Name-checking cult indie bands in song titles? Yup. A bassline more infectious than AIDS? Hell yeah. In fact the only thing stopping this funktastic slab of tongue-in-cheek disco being in my Top 10 is that their pronunciation of “above” as “abuve” really gets on my tits.
25. Gnarls Barkley – Crazy
Well, what can you say really? It may have not so much been played to death as repeatedly beaten in the head with a sledgehammer whilst its corpse was brutally violated by a plumber named Steve, but there’s no denying that Crazy was one of the defining moments of the year. Cee-Lo’s stunningly soulful voice combined with Danger Mouse’s superlative beats make fantastic bedfellows; it’s just one of those songs that sounds instantly classic from the very first time you hear it.
24. Midlake- Young Bride
Moving away from the Mercury Rev-inspired sounds of their previous work, it’s obvious that up-and-coming indie darlings Midlake have drawn on influences from the 70’s, most notably the more folky works of Simon and Garfunkel. The lusciously rich strings overlaid with incongruous big band percussion are the initial draw to this impressive offering, but it’s the sense of nostalgia at the heart of this song; a subtly haunted quality that infuses Tim Smith’s lyrics that stays with you. Very promising.
23. The Fratellis- Chelsea Dagger
Despite my litany of bad luck in seeing these Glaswegian glam-rockers live (cursed dissertation deadline!), I just can’t bring myself to think ill of this unashamedly sleazy old-school stomp-a-thon. It’s those bloody “do-do-do’s” that do it, insidiously burrowing inside your brain like maggots - dirty, squirming little maggots that will gorge on your sanity like I gorge on bakewell tarts. Just accept it: resistance is futile.
22. Metric- Poster Of A Girl
A sexy, synthy disco romp courtesy of Broken Social Scene’s Emily Haines, well and truly shed of her ice-maiden persona; one only has to see this wild-eyed, hyperactive Canadian blonde leaping about and enthusiastically pummelling her keyboard when performing this live to be certain of that. The dark 80’s keyboards sound like a cross between the Killers and the Cardigans, her sultry indie-kid baiting lyrics are fun to behold, but it’s when those bitchin’ staccato guitars kick in when this song really kicks ass. A far cry from “Anthems For A Seventeen Year Old Girl,” that’s for sure.
21. The Knife vs. Ratatat- We Share Our Mothers Health
The Swedish synthmeisters responsible for the sublime ‘Heartbeats’ (popularised by Jose Gonzalez’s acoustic cover) combine forces with superlative NY remixers Ratatat with mesmerising results. A stripped down version of the discordant techno-techno-techno of the original, Ratatat’s crunchy, crisp beats and distorted guitars lend warmth (of a sort) to Karin Dreijer Andersson’s glacial Scandinavian vocals but there’s still something oddly unsettling about this clinical, hypnotic slab of superior electro-pop. It also, strangely enough, reminds me of the Ice Cap Zone theme from Sonic 3. Go figure.
20. Peter, Bjorn and John- Young Folks
Another slice of sublime Swedishness, Victoria Bergsman’s wistful, understated vocals and a melancholy whistled chorus contrast fantastically with the funky, bongo-driven beat that underpins the song. If Serge Gainsbourg ever had the urge to write indie-club floorfillers, they might sound something like this.
19. The Sleepy Jackson- God Lead Your Soul
In 2003, this obscure Australian four-piece released the psychedelic/alt-country masterpiece “Lovers,” one of my favourite albums of all-time. The follow-up “Personality” emerged three years later and was an entirely different beast to its predecessor; head honcho Luke Steele evidently spent the intervening time moulding himself on legendary producer Phil Spector. Barring his penchant for murdering B-movie actresses, of course. Allegedly. The problem is that although his nasal vocals worked with the country-tinged debut, they don’t always gel so well with the Wall Of Sound harmonies he’s attempting on the new album. Nonetheless, when he does hit the mark, he does it with style and “God Lead Your Soul” sounds like a slightly askew lost Mamas and Papas classic, complete with the sweetest harmonies this side of the 60’s. Takes a while to get going but when it gets there…sheer bliss.
18. Camera Obscura- Lloyd, I’m Ready To Be Heartbroken
Camera Obscura may make Belle and Sebastian look like Slayer, but their gorgeously gentle Scottish pop nimbly avoids the pitfalls of tweeness and instead simply sounds like every great 60’s pop song you’ve ever heard distilled into three minute blasts of pure loveliness. As a result, no one could accuse them of trailblazing originality, but what they lack in innovation they more than make up in sheer charm. And I mean that in the best possible way- listening to a Camera Obscura song is like lying in a big pile of soft, fluffy cushions whilst watching a beloved childhood movie, possibly whilst gorging yourself to death on Cadbury’s Chocolate Buttons. “Lloyd...’s” upbeat Northern Soul sensibilities may seem uncharacteristically energetic for such a delicate band, but Tracy-Anne Campbell is as endearingly melancholic (and romantic) as ever and it’s a fine showcase for their terrific songwriting talent.
17. Beirut- Postcards From Italy
Zach Condon is a bastard. He’s two years younger than me, and he’s lived the kind of life that puts the likes of mine to utter shame. Skiving off from his New Mexico hometown as a teen, he wound up in Paris where he met a travelling Serbian orchestra who impressed him so much that he transcribed their work note-for-note. As you do. Returning to America, he employed this unusual influence to create “Gulug Orkestar,” an album that combines the vocal style of Rufus Wainwright with the music of a grizzled Balkan bandleader - all tinpot trumpets, lively percussion and gypsy strings. All of these elements are found in ‘Postcards To Italy,’ a Mediterranean-tinged, ukelele-driven delight shot through with real bohemian vitality. Damn good live as well, the talented git.
16. Little Man Tate- Sexy in Latin
Little Man Tate songs may not be exquisite musical compositions with deep, incisive lyrics; they may refuse to pay lip-service to concepts of originality or artistic merit but damn mum, they aren’t half catchy. Musically lying between the Kaiser Chiefs and Pulp, these Sheffield lads have an enviable ear for simple yet outstandingly infectious riffs that instantly latch onto your consciousness and refuse to let go. There doesn’t seem to be a thing such as a bad LMT song, but ‘Sexy In Latin’ wins by dint of being one of the catchiest, bounciest songs to come out of this country since the heyday of Britpop. It’s just a matter of time before they’re one of the biggest bands in Britain, just you wait and see.
If you’ve read this far, award yourself a cookie. Or half a carrot, if you’re on a post-Xmas diet.
15. Boards Of Canada- Dayvan Cowboy
And now for something completely different. Electronic soundscapes aren’t normally my thing at all, but there’s a real mystic quality about the mesmerising ‘Dayvan Cowboy’. A hypnotically rhythmic drum beat lies at the core of this euphorically chilled-out song; the swirl of a wind-machine and trancey electronic grooves flow together to evoke …colossal vistas, extending beyond every visible horizon; cerulean blue skies unhindered by clouds nor birds, the distant lapping of waves on a unseen beach. It does sound poncy, but this song creates a sense of vastness quite unlike any song I’ve ever heard. Just lie back, close your eyes and let your consciousness float away…
14. Cat Power- The Greatest
Chan Marshall is one of the very few people whose voice can bring me to the verge of tears (Celine Dion is another, but that’s for entirely different reasons…) Rough-hewn yet achingly fragile, it’s as if she’s pouring all her troubled soul into her singing and it hits me at an emotional level that few other artists can. Most of her best work centres around sparse arrangements which bring her vocals to the forefront (you HAVE to check out the heart-breaking ‘Good Woman’), but The Greatest’s reserved yet subtly celebratory orchestration perfectly compliments the poignancy of her voice. A friend of mine once described her as our generation’s Dusty Springfield, and as grand a comparison as that is, it’s one that’s well warranted.
13. I’m From Barcelona- We’re From Barcelona
This year’s Polyphonic Spree, and not just because they’re less a band than a full-blown musical cult. This mighty 29-piece collective (who are incidentally from Stockholm, not Barcelona- the lying bastards) have managed to produce the happiest, clappiest song I’ve heard since Tim DeLaughter’s robed nutters first blew my mind in 2003. Total nonsense, doubtlessly, but so irrepressibly cheerful it could make Morrissey smile.
12. The Decemberists- The Crane Wife 1 and 2
Inspired an ancient Japanese folk tale, this beautiful 10-minute epic is Colin Meloy’s masterwork. Hitherto, I’d liked the Decemberists but wasn’t exactly a fanboy, but this song really impressed me. ‘The Crane Wife’ maintains the folky energy of their previous work but signals a change in direction from accordian-led shanties into lush Sufjan-style balladry. The fifth minute in particular is one of the most gorgeous musical moments of the year, with its judicious amount of “ba-ba-ba-ing” (always a winner in my book) backed by snare and a delightful little glockenspiel line. The second half of the song isn’t quite so immediate; in many ways it reminds me of Death Cab For Cutie’s “Transatlanticism” with its slow-burning build-up to an exultary climax. Perhaps they could have done a bit more with the ending, which isn’t developed to its full potential, but it’s a small niggle that shouldn’t detract from the loveliness of this musical epic.
11. Hope Of The States- The Good Fight
“Left”, when all’s said and done, was a disappointment. Although it certainly wasn’t a bad album per se, the idea to jettison their magnificent post-rock instrumentals for NME-friendly indie-pop-by-numbers was a calamity of New Cokeian proportions. But this song stood amongst their very best work – a defiant, full-blooded call to arms; the kind of stirring anthem that in days past men would go to war to (and in days more recent, inspire them to wave Zippo lighters in a thoroughly un-saftey-conscious fashion). The chorus of “…and despite it all, we’re doing alright, our friends by our side, we fight a good fight…” had a sadly ironic edge given that the band were to split only weeks later- nonetheless, for a band both steeped in militaristic bombast yet strangely sentimental when the mood took them, there could not have been a more fitting swansong. I’ll miss the gloomy buggers.
10. Regina Spektor- Fidelity
A departure from the mostly piano-based works of earlier albums, the beguiling Miss Spektor adds some Imogen Heap-style beats and pizzicato-pop backing to create what is perhaps her most accessible work yet. True, this will disappoint fans who miss the neo-classical grandeur of ‘Us’ or the eccentric jazz stylings of ‘Chemo Limo,’ but despite the more mainstream sound, her voice is as quirky and characterful as ever- as are her lyrics. Indeed, shorn of the self-indulgence she’s occasionally slipped into in the past, her undeniable talent shines even brighter. A superb introduction to this fabulous artist for those who haven’t heard her before, and something a bit different for us more established fans.
9. Los Campesinos! - You! Me! Dancing!
Los Campesinos! are a group of Cardiff Uni students who’ve already been tipped as the great indie hope of ‘07. With the ramshackle keyboards and earnest wide-eyed vocals of The Research, the attention span-deprived hyperactiveness of Architecture in Helsinki and the effortless energy of (a mellowed-out) Arctic Monkeys, they produce a joyous brew that’s not particularly original, but thoroughly delightful all the same. If they manage to instil the rest of their work with the same genuine joie de vivre on offer here, then they’re sure to live up to their incredible promise.
8. Liam Frost and the Slowdown Band- The Mourners of St. Pauls
I don’t tend to be a big fan of male singer-songwriter types. I personally subscribe to the school of thought that the likes of James Blunt and Jack Johnson solely exist to fill up the record collections of middle-aged Daily Mail reading housewives or those imaginationally-devoid types that think they’re bohemian for listening to ‘guitar music’. So, even after hearing the praise heaped on this song I approached with trepidation. At first, my fears were justified- guy with raspy voice plays guitar; whoop-di-doo. But all of a sudden, it swells into one of the most exquisitely beautiful tracks I’ve heard all year. Appropriating Louis Armstrong lyrics is a sure way to get on my good side; I’m also a sucker for sweeping strings and twinkly pianos. But I think what completely won me over were the ‘Go! Team’ style chants that pierce the otherwise poignant mood and lend a peculiarly uplifting edge to a wonderful song. As perfect a tribute to a late father as one can imagine.
7. Final Fantasy- This Lamb Sells Condos
Mr. Owen Pallett of the lands of Canadia may be a very talented man, but he isn’t exactly cool. His second LP, “He Poos Clouds” is a concept album about the eight schools of magic in ‘Dungeons and Dragons’; something that not even the best PR guys could package as remotely ‘hip’ or ‘down with the kids’. Lucky it’s a fantastic record then. “This Lamb Sells Condos” is probably my favourite song off the album; a deviation from Owen’s typical violin/loop-pedal set up with its bouncy harpsichords and pianos. But it’s the ending that’s a particular marvel- a bitter, bitchy argument between a husband and wife read over shimmering strings and a children’s choir. It may sound pretentious, but it’s extremely effective and quite witty to boot. Note to Neil Hannon: this is how literate chamber-pop should be done.
6. Emmy The Great- The Secret Circus
With a boastful moniker like that you’re just asking for trouble- but Emmy more than lives up to her name. Occasionally her voice is a bit too shrill for my tastes (though nowhere as bad as Joanna Newsom), but the beautifully surreal flights of imagination displayed in her songs marks her out as an unique talent- and what’s more, she’s pretty witty to boot. ‘The Secret Circus’ begins as your typical acousticy ballad, albeit one blessed with some darkly quirky turns of phrase: “You told me that no matter where I went would be a prison, that the world is harsh; I know it is but it only hurts, it only hurts if you say ‘ow.’” But then she begins to describe the eponymous circus, her voice filled with a child-like wonder- a ramshackle orchestra marches centre-stage; a snare drum, a horn, a cello, a violinist spiriting us to this magical carnival where we “saw bears and there were tigers.” Alas, it’s not long before we’re thrown back into the sad dreariness of reality where dreams and fantastical circuses don’t really come to life- no matter how hard we try to hold on to the illusion. The poignant hum of a male choir, like something out of a 40’s black and white movie provides the only accompaniment as she sadly reflects, “then they faded into ether, and it’s no surprise; I guess I didn’t hear the call for when the curtain died….” It’s something that’s really quite special to behold.
5. Intervention- The Arcade Fire
A very, very late addition to this list but dammit man, it’s the freakin’ ARCADE FIRE! The first song released from the upcoming album/religious artefact “The Neon Bible,” it has done much to quash fears that AF wouldn’t be able to recreate the magic that made “Funeral” such a classic. Truth be told, I wasn’t all that impressed at first- Win’s lyrics are uncharacteristically clumsy at times and the Springsteen-influenced melody line didn’t capture me in the same way the ‘Fire’s best work has. But I’m the sort that always notices the negatives before the positives sink in. In fact, it only took a few listens before I was completely converted- it may have been Regine’s divine echoing harmonies during the last minute of the song, or it may have been that massive organ blast, but at some point it all just clicked and all was right with the world once more. It’s still not one of their best works, but if this is any indication of the quality of the sophomore effort, well…let’s just say my Album of 2007 is already a done deal.
4. TV On The Radio- Wolf Like Me
As David Letterman exclaimed on witnessing their performance on his show last month- “TV On The Radio- that’s all you’re looking for!” So intense it’s like being repeatedly punched in the face by pure awesome, Tunde Adebimpe’s impassioned delivery, some relentlessly scuzzy guitars and a stunning percussive energy makes “Wolf Like Me” less a song than a shot of undiluted musical adrenaline. Plus, the lyric “Babydoll, I recognise, you’re a hideous freak inside” is one I’m certain will serve me well with the laydees for years to come. Howlingly brilliant stuff.
3. The Flaming Lips- The Yeah Yeah Yeah Song
I remember that “At War With The Mystics” leaked a week after I’d booked tickets to see the ‘Flips for the first time, and naturally I was curious to see whether their new work would keep up the impeccably high standards set by “The Soft Bulletin” and “Yoshimi Vs. The Pink Robots” So I promptly downloaded the torrent, loaded up WinAmp and played the first track. Then I played it again. And again. It took me half an hour to remember there were other tracks on the album (which, for the record, was very good- especially Pompeii und Gotterdammung). But none of them had the same ability to completely bypass my brain and awaken my long-subdued alter-ego “Crazy Dancing Twat Boy”. It’s so simple, yet so ridiculously catchy- you certainly don’t have to be a Mensa member to remember the lyrics “yeah, yeah, yeah, yeah, yeah, yeah, yeah!” Add in some seriously cranked up bass and eye-watering falsettos (so much fun to emulate!) and you’ve got a song so exuberant, so rapturous, so downright enjoyable that it’s patently clear Wayne Coyne was sent down from the heavens to bring unadulterated joy upon the Earth. And on the evidence here- dear God, has he succeeded.
2. Sunset Rubdown- They Took A Vote And They Said No
One of the handful of records I’ll listen through without skipping a single track, it’s a damn shame “Shut Up I Am Dreaming” (my Album of the Year) never got released this side of the pond. “They Took A Vote…” is a perfect example of the wonderful eclecticism on offer from this sublime Wolf Parade side-project- a unhinged concoction of uptempo, circus-like accordian melodies and sinister lyrics straight out of a Tim Burton flick. I mean, it’s all about a kid whose eyes are going to be ritually sacrificed by a bunch of superstitious elders so “the fire never dies”. What fire? Who the hell knows- but the boy loses his freakin’ eyes anyway! Spencer Krug’s David-Byrne-with-his-balls-in-a-vice yelp just adds to the unsettling madness; the overall impression is of some demented crossbreed of the Arcade Fire and Gogol Bordello. Which is self-evidently one of the most awesome concepts ever.
And finally (drum roll please…)
1. Guillemots- Trains To Brazil
For the whole of 2006, I’ve been troubled by a most strange and terrible affliction. It lies dormant for days, but without warning it suddenly rears its ugly head. It’s got so bad that I can’t even leave my house without the fear that I will be suddenly overcome by the irrepressible urge to sing the trumpet part from ‘Trains To Brazil’.
There’s just something about that “BAA-BAAAAA-BAA-BA-BABA-BABA-BAA!” that inspires me to emulate it whether I go; whether I’m strutting manfully down the streets of Watford, enduring the soul-rending commute on the London Underground
or fighting hordes of Vietcong on the streets of Da Nang. It’s frankly rather embarrassing. But anyway- back to the song. As a piece of 4-minute pop, it’s nigh-on perfect; a gloriously effervescent romp reminiscent of ELO’s ‘Mr Blue Sky,’ but a hell of a lot better. As you may have gathered from my rambling preamble, the joyous bursts of trumpet that punctuate each verse are particular highlights but the whole package is delectable; from the infectious big-band percussion to Fyfe Dangerfield’s impassioned, idiosyncratic vocals. But it’s the fact it still manages to effortlessly put a grin on my face after a year of solid play that seals ‘Trains To Brazil’s’ place as my hands-down favourite tune of Space Year Twenty-O-Six.
OK! That’s it! It’s over! Nothing to see here! Bugger off!
No comments:
Post a Comment