10. Bitte Orca - Dirty Projectors
(Domino 2009, Dave Longstreth)
Innovation doesn't always lead to success no matter how creative you are, and on previous efforts Dave Longstreth and Dirty Projectors have often created intriguing works but found themselves too often venturing into the extremes of inaccesibility. Bitte Orca sees a fundamental shift, it feels no less creative, imaginative or remarkable but suddenly the Dirty Projectors have presented the world with an album full of sharp addictive melodies and ground breaking pop music. Only a cursory listen to the brilliant album opener Cannibal Resource unveils the great strength of Bitte Orca. Amber Coffman and Angel Deradoorian's sweet high pitch harmonies take the role of the entire orchestra providing beautiful instrumentation and a adding a great depth and contrast to the melodies of Longstreth. In conforming to convention and presenting more traditional song structures, more welcoming to uninitiated, Longstreth has not lost his core sound he has instead found a way to transform and subvert traditional conventions.
After the layered vocal arrangements of the openers Cannibal Resourse and the warped guitar of Temecula Sunrise the crunch of a conventional guitar lick becomes a surprising thrill on the brilliant The Bride before we are treated to the first r'n'b ballad of any interest in what seems like an eternity Stillness Is The Move. It's at this point that you realise just how hard Bitte Orca is to describe, it's been a common complaint among critics, Bitte Orca is an album that makes you look stupid, that sentence alone proves my point. The harmonies and burbling electronica combine with rich orchestral undercurrents creating a beautiful europhia but it's almost impossible to define in conventional terms, even on Dirty Projectors most conventional album to date. Two Doves is one of the albums clear highlights, it has a approachable enough plucked guitar lick but the infusion of sharp stagger classical jabs and swift fleeting timing changes provides the music with a tense sensation which is almost at odds with Ambers high floaty croon, the end results is a luminescent sweet pop song that shouldn't work but of course does. It's at this point you realize the ultimate triumph of Bitte Orca is that, Dave Longstreth has managed to produce a fiercely challenging and intelligent album whose abrasive edges are smoothed by it's own undoubted beauty. Therefore Bitte Orca can be strange, challenging and defiantly different without making it's potential audience feel like outcasts or unwelcome visitors.
9. The Pains Of Being Pure At Heart
- The Pains Of Being Pure At Heart
(Fortuna Pop! 2009, TPOBPAH)
Another entry in the top twenty five and another reference to My Bloody Valentine, I don't know why but the shoe gaze asethic appears to be thoroughly back in vogue. Thankfully, the influence here is subtle, similar to those seen on Primary Colours earlier in the countdown, the glorious hazy dream pop contrast gives The Pains Of Being Pure At Heart a glorious pop punch and their melodies a wonderful sleepy and demure charm. Rather than providing a exploration of noise and beauty the foggy haze ascends over their impeccably tight indie pop jaunts. Young Adult Friction burst out early in the record with a sense of fond retrospection, it sounds like detached reflective pogo-along hymn, at the start you could be mistaken for thinking this was the best track the View had ever written, but then of course after thirty seconds you realize no it can't be because this isn't shit. The guitars jag and bounce relentless throughout the album, and it almost makes you sad, you feel as though we've missed out on a generation of potentially brilliant guitar music. Pains Of Being Pure At Heart have seamlessly blended the dreary day dreams of MBV and Pavement with the Strokes and Libertines' post-punk 21st Century jangle, you can't help but feel this is what the last ten year of music should have sounded like. There's even a healthy dose of The Stone Roses in the mix as the straight lo-fi jaunt of This Love Is Fucking Right! manages to feels distinctly like the offspring of UK pop and US alt, resulting in a glorious union. The whole of The Pains Of Being Pure At Heart does bear the scar of it's influences, it never feels challenging, and while it's certainly distinct in the current pop market, it doesn't feel particularly fresh or new, if there's one word to describe this album it's cosy, it fits like a warm slipper. Now in the world of rock and roll the world "cosy" is about as abhorrent as any imaginable, but by the time you've ploughed through ten tracks each more catchy, more bouncy and more irresistible than the last, artistic nit picking seems fruitless. Similar to The Strokes Is This It The Pains Of Being Pure At Heart have crafted a debut so direct and so punchy that any criticism seem pointless. To create such an assured work so early in one's career is simply a feat to be applauded not dissected.
8. XX - The XX
(Young Turks 2009, The XX)
Their is no doubt as to 2009's most staggering album, the long awaited debut of London's The XX was a record that stopped you dead in you're tracks. Everything about their debut had a rich emotional power, every subtly guitar lick, every pound of the bass drum, and each down beat melonconic croon. The albums intro a two minute instrumental track set the tone, it resonate ominously, it was gloriously minimalistic but it's winding central riff and pounding drum arrangement was designed to fill wide open spaces, not with blistering noise but with sheer atmosphere. It was that one word that encapsulated the entire album, atmosphere, this was an album that loomed large, it was emotionally tense and powerfully haunting as the two duelling vocalist slowly elided together. As a result the albums emotional core is hard to define, it has an incredible immediacy, and it has the feel of dispear and desolation but it's simply too harmonious and too accessible to ever be a downer.
The albums has two truly great facets, first the gorgeous interplay between the male and female vocals, both wonderfully dead pan but with each coo carrying the air of faint hope. Second the subtle guitar work, the riffage is minimal, and the arrangements are sparse and rhythmic but the real strenght is the timing, every time you want a clang of emotionally terse guitar to chime or the big concluding thud of bass pedal to emerge it always does. The end sensation is not predictability but a deep rooted sense of satisfaction, everything is truly in it's right place, each track evolves naturally giving you the climax you desire, without ever over stepping the mark or encroaching on the strong captivating vocal performances. As a result the album creates a magical atomsphere, far richer than the relatively bare bones arrangements would suggest, it's all to do with timing and pitch, the thudding blurry thud of bass on Fantasy is a perfect example, combining with a ghostly strained riff it creates grand imagery of eerie uncomfortable surroundings. The XX aren't afraid to let tracks linger even in the space of three or four minutes tracks are allowed to brood; the gorgeous Shelter is in no rush, they allow every syllable to sink into you're subconscious. Minimalism is The XX's friend, and it's their weapon of choice, they feel shy, reluctant but most importantly truthful and this decision to choose bare bones honesty over rock and roll gusto serves them well, creating an intelligent honest powerful and spooky masterwork.
7. The Fame Monster - Lady Gaga
(Interscope 2009, Darkchild)
It's tricky when running you're own blog, not to repeat yourself, when reviewing The Fame Monster earlier in the year, I lavished an almost unending stream of praise upon this very album, I felt I said everything that needed to be said, capturing a moment in Lady Gaga's evolution. However it's been a couple of months since I last sampled The Fame Monster, and I wonder does my assessment still hold true, does this record still thrill? The answer is of course a defiant hell yes! The Fame Monster still seems like the awakening of a true pop icon, and album that shows Lady Gaga's potential not just as a vapid iconoclastic celebrity but as a true artist, whose shock tactics now pale in comparison to her undoubted hit making capability. The scariest facet of The Fame Monster was it's consistency, the quality set by album opener and uncontainable single Bad Romance is held throughout, and while the obvious Madonna references still abound, the strength of this collective work points more in the direction of Bowie. Not in terms of the crazy outfits but in terms of the mad cap creativity.
The improvement on The Fame is marked, her debut seemed like a necessary breakthrough, a victory of style over substance with a series of irresistible hits carrying cleverly postured filler. The Fame Monster is the opposite; it is a thirty minute lightening bolt of slick and irresistible electro pop. The songs feel richer, the arrangements are sharper and the melodies inescapable. The songs are no longer structured around potential dance routines and opportunities to strike a pose; the tracks are now shaped from beginning to end to create emotional peaks and those perfect fist in the air moments. Monster lives up to it's name as a monster of a pop track, Alejandro is still hilarious and Speechless contrasts Gaga's own sense of the ridiculous with genuinely epic song writing sweeps. Speechless is perhaps the albums scariest moment, we all knew Gaga and her crew could make the club bangers but in this ballad she shows a flare for cinematic and inventive, who would have expected to see orchestral arrangements and folk stomps on The Fame? Every last inch of The Fame Monster suggests that come 2020 Lady Gaga will be this decade and this generations enduring Icon. And to think this was just a set of throwaway tracks to flog a few copies of her debut album, who knows what's she capable of on her true follow up to The Fame.
6. Two Dancers - Wild Beasts
(Domino 2009, Richard Formby)
One of the greatest accomplishments in all of the arts whatever you're medium is to take the grotesque and make it beautiful. Wild Beasts accomplish that feat with assured ease on their sophmore effort Two Dancers. Two Dancers is an album that sees the emergence of a remarkable song writing talent in the form of Hayden Thorpe. Moving to Leeds obviously did Wild Beasts a power of good as Two Dancers feels like a concept album with Hayden Thorpe examining in great almost Shakespearean verse the ills of society, however this is not a condemnation, this is an exploration; we are given these rich narratives through the eyes of the common thug, whether he be brutally beating a rival, taking part in a visceral gang rape or simply putting the erh...boot in booty call (and yes that does actually form the chorus of Fun Powder Plot). What makes this album remarkable is how these themes are explored, this depraved world of gangs, blood shed and rape are explored not in furious gritty post-punk indie but instead in europhic shimmering rhythms and through a desperate almost heavenly yelp combined with a warm welcoming if subtly sinister croon. The interplay between the dead pan vocals and the feral falsetto grate at first but in time create a heavenly contrast on an album that defies expectation by becoming almost instantly accessible.
The album starts at lightening pace and the three punch combo of Fun Powder Plot, Hooting And Howling and All The King's Men leave you stunned by an infeasibly brilliant opening. This tremendous opening is concluded with the alcohol fuelled We've Still Got The Taste Dancing On Our Mouths a truly intoxicating track that's beauty is contrasted hilariously with it's menace "Us Kids Are Cold And Cagey Rattling Around The Town, Scaring The Oldies Into Their Dressing Gowns", his lyrical structure is so charming you can't help but feel a roguish affinity with his tales of inner city depravity. The album concludes with a more sombre and reflective pace with the albums two part title track, providing a pause for thought mentally, before blowing us away with one last should have been classic single This Is Our Lot. Two Dancers by it's end is an album set apart by it's lyrically approach; a style that is so distinct, refreshing and unique it's only matched by the sweet subtly of it's arrangements; it's insightful, powerful, challenging, beautiful and most importantly crammed full of divine pop sentiments, no band has achieved this feat so successfully since messieurs Morrissey and Marr parted ways. High praise, thoroughly earned.
15. Flashmob - Vitalic
(Pias 2009, Vitalic)
Dance and electronica acts across the world are often troubled by albums, while a good first offering or a pair of club bangers may be enough to guarantee sales those looking for true critical credibility and historical relevance are always faced with an up hill battle. After the brilliance of the more revolutionary than it first appeared OK Cowboy, I'm sure many wondered if they'd ever hear from Vitalic again or whether his debut would collect dust in all the trendiest of record collections. Thankfully four years later Vitalic returned to the fold with a second full album, and for once in the shallow world of techno this truly was a "full album". Carefully crafted to achieve emotional highs and lows, and create those perfect fist in the sky moments, unlike fellow legends Daft Punk Flashmob was not filled with gloried samples to be thrown in the mix when played live, this was an album of thirteen meticulously arranged tracks. This wasn'tjust fodder for a live show this was an album that if played in full would create the perfect experience. While Vitalic may have achieved the mighty task of creating a dance LP where you don't find yourself reaching for the skip button every other moment, he needed to do more, he had to supply a plentiful supply of club bangers and euphoric climaxes. Luckily those big fist in the air moments are in plentiful supply, the album opens with the huge riffage See The Sea (Red) which subside divinely teeing you up for the near deafening explosion of pure noise that provided the crescendo for the albums masterful title track. While it's always the power of the noise and the sheer volume of the electro riffing that allows Vitalic to rock our world he still finds space to show of some Daft Punk-eske pop sensibilities on the ironically down beat One By One, and some low key electro fuzz steals the show on See The Sea (Blue). However the albums undoubted highlight comes in the form of the irresistibly groovy and surprisingly hilarious Terminator Benelux it maybe the most convention bass line on offer but it never fails to thrill especially as it drops into the gorgeous Second Lives. All in all Flashmob is an album of wonderfully crafted electro noise and slick grooves perfectly combined to create a fast following and exhilarating experience for it's listeners.
14. Psychic Chasms - Neon Indian
(Lafse 2009, Alan Palomo)
Whenever anyone talks about Neon Indian and Psychic Chasms the whole discourse becomes lost in some overall contrived discussion of the eighties, what it meant to us, how it shaped our child hoods, and basically this retrospective nonsense either ends up with a kind of regretful longing or a uninteresting critical cultural dissection. Afterall anyone over the age of seventeen can point to a Snes, a game boy, and can recite the classic eighties movies, innovations and more importantly aspirations, but all this discussion seems to miss the point. Retrospective day dreams of the past will always stir emotions, they remind us of our childhood, and ultimately either disappoint or enthuse, but really if you can't see beyond the Mac tools and Nintendo day dreams screw writing a review go listen to the Nostalgia Critic or The Angry Video Game Nerd and have some fun save yourself the bother. Because while Neon Indian's reference aren't remotely well hidden, nor are their influences (Ratatat and M83 anyone?) this is an easy album to nit pick. Yet the same could be said of The Horrors and Girls but few sought to criticise those LPs, because they we're wowed by the music, and like those afore mentioned acts Neon Indian never fails to wow. In just half an hour of music they create an album that flows like an artificial dream we're drench in sunlight and the moons glow but it's from some alien source, fresh from the Starship Enterprise's holodeck. Psychic Chasms is an album of light electronic psychedelia that allows you to lay back and take it easy, what it may lack in sublty and artistic nuance it comfortably compensates with a never ending supply chill out grooves and hazy hooks. It also avoids that most deadly of pitfalls for chill out music, it never bores, it has enough jagged effects and ninento bleeps to make sure you're brain stays thoroughly switched on as you loose yourself in a Deadbeat Summer.
13. Album - Girls
(True Panther Sounds 2009, Chet White)
If there's one act above all others that it's chronically uncool to be influenced by in the 21st century it's Elvis Costello, in many ways this is a great tragedy, as Costello's first three albums are sublime exercises in weighty emotional but perfectly crafted pop, but try getting one of you're hall mates at uni to give him a spin, and marvel at the blank expressions on their faces. Girls take it a step further, not only do they have more than a hint of the Costello Album has a strong dose of The Beach Boys and a positive whiff of Paul McCartney, inbetwixt the odd dabble with shoegaze (which miraculous has become the sound of 2009?). However, while these reference points may appear rather lame on paper; on record Album is tremendous with it's neat and subtly arranged musical sweeps it pulls of the remarkable feat of seeming both incredible cosy and refreshing daring at the same time. Album's true strenght lies in it's song writer and lead vocalist Christopher Owens who manages to combine feel good sunshine indie pop with intense internal neurosis. The album is overwhelmed by tragedy and heartbreak and Owens voice carries a surprising resonance. When he allows his inner depression pour out unflitered the result is a track like Laura Marie which manages to outstrip the bare emotional pull of Glasvegas self titled debut, which is no mean feat. Elsewhere Owens smart sharp but never overbearing lyricism combines with the sunshine pop to create a record of irresistible charm. Lust For Life kicks off Album and feels like a mission statement "Oh I Wish I Had A Boyfriend, I Wish I Had A Loving Man In My Life, I Wish I Had A Father, Maybe Then I'd Turn Out Right, Now I'm Just Crazy, I'm Totally Mad, I'm Just Crazy, I'm Fucked In The Head" his scathing depressive sarcasm is beautiful offset by a soft ooh ahh melody and it's this contrast that encapsulates the record as a whole. From then on the album builds to the divine seven minute centrepiece Hellhole Ratrace the albums true work of genius and emotional tipping point. Despite what Glasvegas taught us in 2008 it turns out in 2009 that deepest dispear can sound surprisingly dreamy, and thanks to Girls it turns out that old themes and older references presented in a new light can rock you're world allover again.
12. Two Suns - Bat For Lashes
(Parlophone 2009, David Korsten)
With so much blinding noise populating the list so far it feels almost heavenly to hear Natasha Kahn tender and chilling voice power seductively through my head phones. Two Suns opens with a track by the name of Glass listening to it now, on it's own merits this one track makes me regret not placing this sweeping and soulful album atop my list. Riding on a thuding drum line and some ethereal sweeps Glass builds a tumultuous strength, while Kahn's voice grows in stature it never threatens to blare or scream, yet the unmistakable emotional pull has more power than the loudest cry or the sweetest croon could ever hope to achieve. This power; a mix of tribal rhythm, feminine fragility meets strength and a taste of the surreal elements of nature captured in the best folk music; are all masterfully displayed by the albums artwork, it tells you all you need to know about this record, a perfect blend of imagery and musicality.
Natasha Kahn's influences aren't particular well hidden, references to all of the most power leading ladies of the past twenty years are present, a smidge of Bjork, a dab of Tori Amos, and breath of PJ Harvey, are layered alongside a touch of Scott Walker, to create the most beautiful album of the year, and while at times Two Suns may not feel remarkably fresh, it always feels staggeringly affecting. The arrangements are constantly beautiful, and the peaks take on a near spiritual dimensional raising the sheer emotional pull of Kahn's voice to levels that seemed unattainable on the inconsistent Fur And Gold. The imagery of the sun and moon are strong across the entire album, it has a natural, sensual pull to it, it feels earthy and dreamy, human and yet mystical at the same time without ever threatening to feel forced. It seems tragic that Florence And The Machine continue to soar towards super stardom while Two Suns and Natasha Kahn continue to shy away from mainstream attention, thankfully something tells me this lady won't be going any away anytime soon.
11. Humbug - Arctic Monkeys
(Domino 2009, Josh Holme & James Ford)
Oh boy oh boy those Arctic Monkeys boys sure do know how to deflate expectation, but perhaps in 2009 they took it a step too far, what should of been one of the years most anticipated albums arrived with more of a whimper than a bang, a series of low key online broadcast provided the hype, and unless you were paying particular attention, I wouldn't be surprised if you missed out on Humbug's release all together. This low key no glitz no glamour approach seemed to suit the Monkeys down to the ground, as they offered up an album that was destined to alienate much of their core fanbase. This I suspect is what they wanted, less bums in seats but a more discerning more loyal set of fans, less pressure to live up to, less expectation and more artistic anticipation of their next offering. Humbug may have appeared a mild attempted at commercial suicide, after all while this felt a million miles from Whatever People Say... the song writing remained too strong to even consider Humbug a failure.
Those who stuck around saw the earthy friday night thrills of Whatever replaced by a deeper more accomplished sound, Humbug was a rich album that brooded, grooved and most importantly it took it's time. There was no rush, no urgency, tracks like Crying Lightening and Potion Approaching were allow to linger an develop, the climaxes were no longer a series of lightning fast punch lines in their stead were lush groove laden sweeps. This was music that was impossible to mosh to but music that you could wrap your soul around. Alex Turner's lyricism became rich, heartfelt and moving, rather than capturing the moment he was conjuring up great imagery. The album would be carried by three tracks whose power remain undeniable, and all three were sweeping open ended ballads, the next evolutionary step from the gorgeous 505. Secret Door, Jeweller's Hand and the mind blowing Cornerstone were the Monkey's new emotional core, rather than jumping up and down and yelping "You Know Nothing" Monkey's fans found themselves swaying hand on heart and crooning "She Swan Out Of Tonight Phantasm" and "I Smelt You're Sent On The Seatbelt, And Kept My Short Cuts To Myself". So they may have lost a few thousand fans, but Humbug shows the tell tale signs that Alex Turner has the potential to become a true time out of mind, a once in a lifetime songwriter, and I for one cannot wait for their forth offering.
20. Kingdom Of Rust - Doves
(Heavenly Records 2009, Doves)
Doves have to be this decade's unluckiest band; afterall no act has released as many sure fire hit singles as Doves, only to watch each and every one of their brilliant slices of pop poetry fail to make even the mildest imprints on the charts. Thankfully it's never seemed to get them down, they still push on, boldly producing an unbroken run of staggering albums despite the continued mainstream apathy. Doves simply aren't cool, I'm sure the Williams brothers were hardly surprised to see Kasabian, The Enemy, Oasis & Coldplay soaring to the top of the charts with their more simplistic brand of pop music but when The Seldom Seen Kid saw Elbow garner mainstream acceptance they must have given up the ghost. I mean how can Elbow be cool and Doves not be? Well whatever the reason it remains beyond my understanding as 2009's Kingdom Of Rust was a sublime series of infectious beautifully crafted pop tracks, that was not only subversive and inescapably infectious but also saw the Doves push the boundaries of their sound harder than ever before creating their most daring work to date. On the downbeat but addictive album opener Jetstream Doves experimented with slick electro beats with far greater success than anything Franz Ferdinand managed on Tonight, while on the refreshing urgent House Of Mirrors Doves managed more menace and bolsh than any Kasabain offering. Yet of course as is always the case it was the two singles Kingdom Of Rust and the spell binding Winter Hill that plucked at our collective heart strings and saw our jaws smacking harshly against the floor. So it would appear that world's continued loss is our gain as Doves continue to be one of this decades most consistently brilliant acts.
19. The Big Pink - A Brief History Of Love
(4AD 2009, Robbie Furze)
A Brief History Of Love almost took too long to arrive, I was bored of it before I'd even heard it, infact after hearing the staggering singles and leaks Dominos, Crystal Visions, Too Young To Love, At War With The Sun and of course the transcendent Velvet I'd effectively played the album to death before I'd even heard the albums final six tracks, I'd moved on, infact were it not for a kindly reminder from a certain Miss Allen's Twitter (I've got to mention her less) I wouldn't have even bought this album. Thankfully with some prodding from Lily I purchased A Brief History Of Love and haven't regretted that decision for a second. Those tracks that I'd long since abandoned grabbed me once more, when Crystal Visions first creeps and squelches through your speakers, your almost underwhelmed, another U2 & Eno influenced act *sigh*, and yet the track grows, becomes irresistible, suddenly it's as if Billy Corgan were fronting Ireland's finest; only that what the Big Pink had managed to create was somehow more epic than either of those Stadium sized superstars. By the time Too Young To Love winds its way onto the scene your already lost in the lush electronic grooves and thudding percussion, and as the track slithers with a Eastern glimmer you can almost imagine George Harrison smiling down from upon high with a tear in his eye. Surprisingly for an album layered with gorgeous grooves and walls of burbling electro noise it's the subtle and tender moments that are A Brief History...'s finest. The desolate desperation of the beautiful title track is powerfully affecting, and of course the album's true stand out and signature track Velvet still sends a shiver down my spine, and I have to admit I take a deep breathe every time that chilling first vocal emerges. The track has an unholy power it feels as though the spectres of a thousand lost loves are trapped in the ragged yet ethereal arrangement. While A Brief History Of Love could never match this level of emotional intensity across the other ten tracks, the Big Pink did manage to form one of the most powerful and most importantly fun debuts of this decade, well worth the wait.
18. Crack The Skye - Mastadon
(Reprise 2009, Brendan O'Brien)
Who would have thought back in 2000 when Nu-Metal seemed so thoroughly entrenched that by the end of the decade Progressive Metal of all thing would be cool? I mean it's been a rough old decade for Metal, it still seems like the whole genre is waiting for a giant kick up the arse, for the next Metallica to emerge, for Metal to have it's own Arctic Monkeys, but hell before it finds it's own Monkeys it'll need it's own version of the Strokes, but alas the world still waits. Thankfully while the mainstream has waved good bye to Metal, and Metal has waved good bye to Nu-Metal and Emo, a group of hard working, creative and most importantly hard rocking virtuosos have been blazing there own trail, France's Gojira showed that Death Metal was still relevant, and Dillenger Escape Plan and more importantly the brilliant Mastodon kept the good ship Prog sailing in the right direction. On Crack The Skye Mastodon seemed to have finally cracked it (sorry), combining a sense of the epic verging on OTT, with a respectful nods to metals past and a forward thinking creativity and technical wizardry to produce something that was as much food for thought as it was fuel for the world's mosh pits. The albums storming opener Oblivion reminded us of Ozzy Osborne's croon but the spiralling guitar work and the ability of the track to branch of from the beaten track set it in another galaxy all together from Sabbath. It was this ability to let tracks fly of the handle that made Crack The Skye an instant classic, Quintessance started with high pitched croons and subtly layer acoustic guitar work before exploding into an opened epic full of pummelling and full steam ahead bluster. The real trick to Mastodon's success was their ability to explore these gargantuan soundscapes creating mini metal operas without losing a central sense of urgency that tied together even the most pretentious elements of their work; this skill was best displayed in their three part epic and album centre piece The Czar a track that should sink under it's own pretensions but instead effortlessly soars above them (are you taking notes Coheed And Cambria?). All in all, Crack The Skye was a more complete, more artistic and down right more interesting album than either the excellent Leviathan or the then definitive Blood Mountain, a true triumph.
17. Tarrot Sport - Fuck Buttons
(ATP 2009, Andrew Wetherall)
Toto were damn sure as hell not in Kansas anymore. That is the feeling I'm immediately struck by when I listen to Tarrot Sport it's a record that transports to instantly, like you've been beamed in Star Trek from your sturdy sleek utilitarian star ship to some ethereal plane. The landscape that surrounds you shimmers beautifully it almost blinds you as it's glow resonates around you, yet there's a constant threat and encroaching thud of precussion before your blinded and deafened by the scorching all encompassing noise. It all sounds like over the top hyperbole but there is a certain near religious experience to Tarrot Sport, as the Fuck Buttons explore sound, exchanging their trademark yelps and scratchiness for the almost heavenly neon glare of the synathizer they have forged a truly illuminating album. There is no other word for it, Tarrot Sport is hard to define upon traditional lines, and I've never proclaimed to be a great expert in the avante garde but their is such sheer beauty in this work that the one clear image in my mind is light. A sharp definite light a blinding glimmer, that may cause you to shield your eyes but in that brief second in which it catches you, you see everything albeit fleetingly in a different way, it's a perception of sound of image that you may never uncover again, and it's remarkably rewarding. Tarrot Sport has a similar effect to My Bloody Valentine's Loveless it's an album of undoubted beauty but you never really feel like listening to it twice, it's a moment in time, it's like a great piece of abstract art you see it, you perceive it, and you react to it. Many will find Tarrot Sport perplexing, abrasive and even hideous but that is the power of the work, when you surrounded you self in the monotonous shimmer of Space Mountain you will either reach your own emotional response or it will disgust you. In that sense Tarrot Sport suffers from over analysis, it's not an album to be discussed, you must simple experience it and react, the potential reward is more than worth the minimal risk of disappointment.
16. Primary Colours - The Horrors
(XL 2009, Geoff Barrow)
An important reminder to all those young bands out there who struggled with their début offering; the mighty Radiohead's first offering was not the earth shattering The Bends it was in fact the generic and flaccid Pablo Honey. The Horrors were obviously well aware of this fact, as after the near disaster of the painfully indebted and tragically underwhelming Strange House they collected themselves and set about evolving as musicians, because after all no matter how perfect you may look not all bands can arrive fully formed some get better with age. Luckily when The Horrors sophmore effort was released in 2009 the world still thought of them kindly and they were more than happily to fulfil all that they had previously promised. Everything about Primary Colours felt better, more considered and more often than not brilliant. Even the album artwork carried the air of the iconic. Bringing in Portishead's Geoff Barrow on production was clearly a shrewd move as Primary Colours sounds like a million bucks, it's slick, it's sharp but it's still as the dirty sicky garage groove that made the Horrors so captivating in the first place. The Horrors have clearly decided to trade in the shock rock of Birthday Party meets The Misfits and Television sound for the wonders of shoegaze. The results are surprisingly thrilling, as the album now becomes full of swirling hazy noise, on Three Decades it almost treds too close a pastiche were it not for Faris dazzling vocal performance, his voice is now less cartoonish, more fragile and surprisingly endearing, and unlike the My Bloody Valentine and Spaceman 3 The Horrors firmly have their feet on the pop pedal. Faris wheels off one gorgeous ghostly hook after another and it's hard to think of a more perfect pop song than Who Can Say in 2009, and could it have come from a more unlikely source? This combination of a soothing and addictive lyrical tongue with eternally intriguing musical arrangements is a clear winner. The Horrors show just how far they have come with the closing epic Sea Within A Sea a true musical journey that shows an continued evolution of sound that seemed beyond the Horrors just two years ago. They may still wear their influences on their sleeves but when you're making music this good who cares? NME may have got a little carried away but this album deserves all the praise that's been bestode upon it, after the heavy critical backlash the Horrors have more than earned it.
So how did this decades final year fare in terms of albums? Well surprisingly well, while like much of the 21st Century it failed to produce many truly iconic albums the type that historians will be pointing to in fifty years time, it did continue this decades theme of creating a remarkably high standard of truly beautiful and jaw dropping albums from a wide variety of genres. While most of this years top end albums were forged away from the mainstream but do not fear a few of the popular cultures big hitters make their presence felt, in a year dominated by the artistic fringe. So anyway enough foreshadowing lets get down to business (I'll try and be more concise than usual, but I make no promises).
25. Junior - Royksopp
(Wall Of Sound 2009, Royksopp)
I've always been sceptical of Royksopp, they are so beloved, so well received that a part of me always wanted to dislike them, inspite of their brilliant production work, but the sheer strength in depth of Junior was impossible to deny. I found myself instantly grabbed by the spacious Royksopp Forever which despite it's horrible title is a thing of sheer beauty with a string arrangement so well judged it brings a wonderful tranquillity to a sparse and subversive beat which grows in menace as each effect is stacked creating a gorgeous piece of electro opera. Yet this stand out does not define the rest of the album, Junior sees Royksopp combining their talents, bring both the downbeat and spacious to the table and blending with their radio friendly near saccharin pop. The new middle ground sound surprisingly thrills smoothing the extreme edges of their previous sounds and creating a far less grating product. The album was of course highlighted by the three big singles the Robyn assisted The Girl & The Robot, the sugary Happy Up Here, and the staggering This Must Be It. But despite the clear highlights it's that rarest of quantities: consistency that makes Junior truly stand out.
24. Only Built 4 Cuban Linx...Pt. II - Raekwon
(EMI 2009, Raekwon, RZA & Busta Rhymes)
It's been over ten years since Raekwon's staggering debut Only Built 4 Cuban Linx but in 2009 I'm sure many hip hop fans and critics alike where asking themselves did we really care about Raekwon anymore? Did the world need a squeal to one the '90s defining albums? Surely this was just a cheap cash in to boost an artist whose critical credibility was on the downslide, and most importantly would kids listening to Lil'Wayne, Jay Z and Kanye still be thrilled by Raekwon? Of course now looking back at the end of the year these questions seemed foolish, ...Cuban Linx Part II was a more than worthy successor, while it couldn't surpass it's predecessor it served as the perfect next chapter to one of hip hop's great narratives. This time rather than running from the mafiaso crime game Part II saw Raekwon and Wu Tang exploring every aspect of gang life, from cooking crack to executing rivals and running from the cops. While the album seemed to lack the clear moral tone of it's predecessor, it maintains the cinematic epic feel with it's slick beats and cleverly arranged skits, while the narrative is less coherent it is nevertheless compelling and the albums scope is unparalleled in contemporary hip hop. Yet at it's heart the albums greatest strength is it's knowingly old school sound, after all this isn't a set of retrospective newcomers, this is the former kings of the game, reminding us they may not be rocking to electro squelch or dub step but they don't need to worry about sounding contemporary or cutting edge because in today's market Wu Tang's finest has never sounded fresher or more epic.
23. Fever Ray - Fever Ray
(Rabid 2009, Karin Dreijer Andersson)
2009 was a promising year for electro fans, we were all anticipating the big releases from Royksopp and Vitalic but few would have been aware of Fever Ray, the debut album from a new act that wasn't all that new at all. After crafting some of the decades most beautiful, danceable and oft challenging music no one should have underestimated Karin Dreijer Andersson. As one half of The Knife she had achieved legendary status and the unrelenting adoration of the worlds critics, but it had been three years since The Knife's staggering Silent Shout how was she to follow such a creative peak? Well in effortless fashion it would seem; Fever Ray shares many similarities with the Knife it's textures remain steely, harsh and almost alien and of course they still come together beautiful but Fever Ray felt more relaxed, more spacious, more patient and perhaps more human. It was filled with charm rather than steely cool, When I Grow Up and Dry And Dusty felt remarkably fragile and tender despite the ping pong bass effects and starry arrangement, at their core these tracks were loveable and tender, highlighted by the fragile and strained vocals. It was as if the strangeness and inaccessibility of The Knife had being ripped away revealing a loveable often comical heart (trust me it's there buried under the ice cool beats) and best displayed on the wondrous Seven as Karin strains "We Talk About Love, We Talk About Dishwater Tablets, And We Dream About Heaven" it's not exactly Lily Allen but it's undeniably earnest and touching. Fever Ray may have been a little more downbeat and perhaps a little less thrilling but what it lack in punch it gained it atmosphere and emotional resonance.
22. It's Blitz! - Yeah Yeah Yeahs
(Interscope 2009, Nick Launey & Dave Sitek)
There are few sounds in this world sexier than Karen O's ice cool croon, and when Zero was unleashed upon the world at the end of 2008 it seemed Karen had found the perfect vessel for her irresistible tongue as Nick Zimmer supplied the most divine of crunching riffs and soaring synths. Of course little did we know then that just a few months down the line the unholy dance floor beast Heads Will Roll was laying in wait. The grooves were irresistible, it's as if the Yeah Yeah Yeahs had created a direct link to the nations hips and they were commanding us to dance our collective arses off. So within two tracks the Yeah Yeah Yeahs have successfully grooved us into oblivion what could possibly follow that act? Well with Shock Shock they simply wowed us, Karen's vocal performance was impeccable and the track grows in stature as the band let it burble and develop until it becomes an understated yet sprawling epic, powerful and truly touching, a remarkable feat for a track that's starts of so sweet and so disarming. It's at this point that you realize that you no longer miss Zimmer's trademark guitar, the synths and the carefully crafted arrangements are far more engrossing. It's amazing that a band that made it's name with it's feral rage would reach their artistic high water mark when tamed. In taming their sound the Yeah Yeah Yeahs have stumbled across true brilliance, when Karen O unleashes herself in the music and loses the plot mid stream the contrast between the slick and the uncontrollable is exhilarating even on a track as polished as Dull Life. Yet when thinking back to It's Blitz! now the truly memorable moments are it's sprawling ballads Skeltons and the heart breaking Runaway, the later while unable to match the epic pop punch of Maps miraculously manages to up the emotional ante creating the YYYs most affecting and powerful track to date.
21. Guns Don't Kill People Lazers Do - Major Lazer
(Downtown 2009, Diplo & Switch)
When ever I assemble these list I've always been accused of making some real head scratching decisions (Hit Me Baby, Kala and The Soft Bulletin spring to mind) but it almost always stems from my desire to put smiles on people's faces or more specifically to have a smile put on my face by music. So I'll always elevate the status of feel good music, and while the idea of putting Guns Don't Kill People Lazers Do above Fever Ray seems bizarre in hindsight it's wholy justified. While the quality undoubtedly lies with the latter it's simply no where near as much fun as Major Lazer, and that is the key to this record; fun. When two of the world's best deejays and producers Diplo and Switch combined forces to produce an album, everyone was more than a little excited, and of course we were all more than a little deflated when we heard they'd be creating a dancehall record? I mean seriously could there be a less credible genre? Well what we should have known then and what we all recognize now is that Diplo and Switch never fail, and by creating Major Lazer and redefining the dancehall sound they created one of the year's most fun and frivalous records. Instantly accessible from the first listen Guns Don't Kill People... boasted the slickest beats and the smoothest production and a unparrelled feel good factor, every track carried it's own unique charm and it's own signature groove whether it be the down tuned bass of Lazer Theme or the looped Santigold vocal on the excellent Hold The Line. The whole album was buzzing with an insatiable energy characterised by a conveyor belt of guest stars who were doing anything but going through the motions. Ultimately how could I possibly deny an album that had the sickest beats in town, now enough talking lets drop Pon de Floor and have a dance shall we? Just try and resist.
Okay so it's been a bit hectic lately, what with the holidays and the social life picking up a bit in recent weeks I haven't had much time. But between now and the new year I intend to get through the usual procession of end of year awards and a few end of decade awards. So for those of you who are wondering the Singles Of The Decade Countdown has been suspended until the new year, apologises to anyone who is that desperate to find out the results.
Anyway the features I intend to publish this week are:
Album of The Year
Single Of The Year
Icons Of The Decade
Match of The Year
And The Corrections to the Albums Of The Decade.
I'll be starting with the Album Of The Year countdown and interspersing it with the icons of the decade thread.
Okay, so sorry for the lack of activity, I intend to start churning out the updates forthwith.
So despite throat infections and a month devastated by doctor's notes and gig cancellation there was more than a few question marks hanging over Lily Allen's last headline solo gig for "a long time". Thankfully Lily was in remarkably good voice, with no signs of autotune and without a back track insight. Lily's voice may have lacked nuance but she never had that in the first place and she was powering out notes all night long. The prospect of a Lily Allen gig was always interesting to me, I've seen her at festivals three times in past, and each time she excelled and proved herself to be a festival favourite and accomplished live performer, but that was with a drunk rowdy and mixed crowd, how would she fare alone? Well firstly, she drew a crowd of mostly girls (surprise surprise) of all ages, with a fair chunk of men, but as a group of six guys and two girls, we didn't exactly fit in with the rest of the clientèle. So did Lily's act appeal across the traditional boundaries of sex? Of course it did, launching into a booming version of Everyone's At It Lily looked a natural on the big stage, and while she's certainly not a showman, you'll never mistake her for Lady Gaga or Beyonce, she gave a set that was remarkably honest and relatable but garnished with enough showmanship and glitz to appeal to those with poppier sensibilities. Lily was clearly a little drunk as she later admitted and looked rather stoned, but it only added to her carefree appeal, as she's glided and stomped across the stage. She created a sexy, charming, girly, tough and in your face vibe all at once, and her greatest skill remains her ability to make intimate connections with her audience, she has the stage show of a superstar but she feels like you sexy self deprecating best mate, a self assured but pleasingly humble star.
Musically this was undoubtedly the best performance I've seen from Lily, her voice was loud clear and true, and she let the music do the talking, often laughing at her own one liners, and with hits like Littlest Things, LDN, The Fear and a beefed up D'n'B inspired Smile it spoke volumes. Lily is certainly an act who cares alot about her live show and gives great value for money, whether it be pouring pints for her fans or creating big mixes and creative arrangements for her tracks, she gets everything possible out of her back catalogue. She also wisely chose her covers; the now established and thoroughly brilliant mix of Oh My God & Everything's Just Wonderful was given an airing, as was The Kooks Naive appealing to both her pop and indie fan base with room left for Britney Spears' Womanizer a track that's simply undeniable live. Each cover had Lily's unique spin and her intonation is always hilarious, the way she delivers the line "The Only Thing Growing Is Our History" always cracks me up, as if she's subtly mocking the Kaiser Chiefs clumpsy songwriting. Surprisingly for a final solo gig Lily decided to debut some new materiel, which was based around politics and her state of confusion at the world's big topics, built around the a simple but catchy piano line it pointed towards the future of Lily's song writing; as she retreats from London, settles down and enjoys being in a relationship the next big test will be in maintaining her connection to her audience as she becomes more detached, and moves to broader themes where she is perhaps less well informed (I'll be discussing this at lenght in a future article). Elsewhere we got a taste of the past as Lily decided to give Knock 'Em Out a rare airing, a track that defined her early sound but as she said herself seems like it was written by a very different girl from the one who stands in front of us today. It was a nice touch and Lily seemed genuinely reflective as she remember standing on this same stage all those years ago, and it served to illustrate how hear song writing remains a genuine reflection on her life, her age and her environment, giving her work and her live show the feel of a 21st first century social documentary.
Ultimately despite a her undoubted influence and strong albums Lily will always flourish as a live performer where she can make the direct connection to her audience, any cynical question about her act or her lyricism are instantly dismissed when you see the real Lily drunkenly staggering across stage like a goofy and irresistible sex kitten or grinding and giggling alongside UK MC Professor Green. Most of all, this possibly final Lily Allen show highlighted by her two greatest strengths, her winning and addictive personality and her mammoth back catalogue of hits, even the lower key introspection of 22 and the naive but surprisingly powerful Fuck You are transformed into huge anthemic and intelligent crowd pleasers, that are beefed up by a hard working band who really bring ooompfh to the table. BUT you can forget everything, the sexy outfits, the playful personality, the goofy dancing, the guest rappers, the drum and bass remixes, the hit parade, the tender touching ballads because even if you took all of that away it'd still be worth seeing Lily Allen for one reason: Not Fair. The track is an enduring anthem and it's one of those tracks you must hear live before you die, and how often do you say that about pop music these days? The track is transformed live into a seven minute disco plaided anthem, it bubbles, you can pogo, you can dance, you can singalong you can do whatever the fuck you want but this track will take hold of you (even if it's just a cheeky laugh at her gesticulating lying in the wet patch and giving head). It truly is a masterful arrangement, from the remix half way through, to the subtle dropping of the beat on the penultimate chorus to create a soul and booming final sing along, it's just the perfect live pop experience. So if this is the final time we see Lily's name atop the bill, it was one hell of a way to go out, with Lily harnessing her greatest attributes, her openness and honesty, letting us into her world, being and open book, creating an emotional connection and then wowing us with a plethora of the decades most subversive hits. A triumph.
I think everyone was more than a little curious as to how exactly Julian Casablancas's meandering, confused but continually intriguing solo debut Phrazes For The Young would translate live. Everything about the record suggested that it was far more suited to a set of headphones than a packed out venue. Yet surprisingly in between all the sci-fi blips, warbling ballads and extended experimentation laid a surprising amount of bouncy and often visceral grooves. Julian will never be the world's greatest singer, he'll never be a judge on the X-factor but the carefree vigour with which he attacked his tracks is unparalleled. Starting with lead single 11th Dimension Julian turned the flamboyant Prince tinge sci fi epic into the visceral ravings of a mad man and Julian screech out every last syllable as if a dagger were piercing his lungs and every last lyric were his last blood curdling cry. Venturing into the crowd on more than one occasion it was clear Julian was having a hell of time and he seemed far more relax and charismatic on stage than he has in comatose tv interviews.
The albums more lively tracks 11th Dimension, River Of Breaklights and Out Of The Blue went down a storm live transforming into Ramones-eske stomps. It's amazing that after all the festival headline slots Julian has never engaged in spectacle or major level showmanship he's always kept to the rough around the edges garage rock fury of '70s New York underground scene. Other tracks faired less well, Ludlow Street was more of a dirge than a rallying cry and with a set clocking in at around fifty five minutes (despite using a B-side and a New Track) Julian hardly offered value for money. Furthermore the entire gig was undermined by a horrifically bad microphone that left most of Julian's verse inaudible, which was a shame as Julian seemed to be in surprisingly good voice. However these minor quibbles weren't enough to sink a truly raucous, entertaining and remarkable varied set, which was highlight by a downbeat keyboard sing along version of The Strokes You Only Live Once and a Ramones-afied take on I Wish It Could Be Christmas Everyday. So while Julian was far from perfect he still managed to pull out all the stops and put on an entertaining and fast paced vintage rock and roll set, that despite all the self-indulgence and sci-fi gimmickry fell honest, gritty and reassuringly earnest.
500. Last Train Home - Lost Prophets
(Columbia 2004, Eric Valentine)
499. Booo! - Ms. Dynamite feat. Sticky
(Public Demand 2001, Sticky)
While Ms. Dynamite would eventually come to fame of the back of a sharply written, deeply trouble but glorious aspirational album that appealed in equal measure to kids in hackney and mothers in Tesco, it's easy to forget that Ms. Dynamite blew up on the underground scene with the monstrous Booo! While in many ways she was a pioneer it's so easy to forget that once upon a time Ms. Dynamite was ice cool and while the So Solid Crew were storming the charts those with an ear to the streets and a more developed musical pallette were looking towards Booo! Remarkably eight years removed from UK Garage Booo! still sounds remarkably fresh and Sticky's beat is a beast and Ms. Dynamites cocky yet dispearing flow remains divine, the flourishes may sound date but this is a track that's lost none of it's punch. Hear It Here
498. Somewhere Only We Know - Keane
(Island 2004, Andy Green)
Keane may well have been the wussiest band of the twenty first century, as tame as The Feeling were they at least had a guitarist right? Well while Keane will never be rock and roll bad arses they nevertheless managed to forge a string of beautifully crafted hits. While it's easy to make fun of their soft and sugary melodies when hearing Somewhere Only We Know it's hard to think of any act who has managed to better them. Keane have faded in recent years as they've seek to broaden their sound and appeal, but if they were to return to the type of majestic songwriting displayed on Somewhere Only We Know they will find themselves with little to worry about. Hear It Here
497. Trains To Brazil - Guillemots
(Fantastic Plastic Records 2005, Fyfe Dangerfield)
So you wake up it's your birthday your feeling good and you switch on the news only to discover that your home country has just been attack by terrorists, people are dead and your left emotionally confused. Of course the day was 7/7 and the events of that day, in particular the police shooting of de Menezes inspired Fyfe to write Trains To Brazil. Aside from the obvious reference to Brazil, the track's real message was not a political commentary but a life affirming message to live for the moment and make the most of your life, because it could end at any moment. Trains To Brazil still sounds glorious all these years on, it still charms and thankfully it still inspires. Hear It Here
496. Busy Doing Nothing - Love Is All
(What's Your Rupture? 2006, Love Is All)
Ever feel like a track perfectly encapsulates your life? If any song were to perfectly surmise how I feel emotionally and philosophically right now it's this track: Busy Doing Nothing. Aside from being a superbly crafted and uniquely arranged three and a half minute pop powerhouse of a track, Busy Doing Nothing truly hits the nail on the head lyrically. It perfectly encapsulates a feeling that everyone has felt at one time or another, we have all these goals, ideas, all this things we want to achieve, clothes to buy, movies to watch, albums to hear, causes to fight for but we can somehow never find the time, and yet we never quite manage to do anything either, we're busy doing nothing, and with a helping post-Rapture yelp Love Is All capture human life in all it's beautiful futility. Hear It Here
495. Hail Destroyer - Cancer Bats
(Metal Blade 2008, Greg Below)
In 2008 Hardcore found it's new heroes as Cancer Bats not only created one of the years best albums but with relentless touring and a visceral and surprisingly groovy live show soon became kings of the underground and even threaten to knock Gallows from their scene leader thrown, with or without out an NME endorsement. Hail Destroyer itself wasn't the best or most interesting track on the album of the same name, but it was urgent and incredibly anthemic, it felt like an incendiary anthem, the national anthem of the Cancer Bats fan nation and unsurprisingly it became the sing along stable of their brutal and unrelenting live show. Hear It Here
494. A Letter From God To Man
- Dan Le Sac vs. Scroobious Pip
(Sunday Best 2008, Dan Le Sac)
A Letter From God To Man while about as subtle as a sledgehammer still feels like a mammoth track, a epic rant of relentless fervour, as Dan Le Sac plays the role of God laying down all his fury and confusion over how human being have misused his name and have ruined the earth. While the sentiment was hardly new, Dan Le Sac's deliver was top notch and the choice to sample Radiohead's Planet Telex was shrewd, and the final punch line that this was not infact a A Letter From God To Man instead it was an apology to mother nature for creating the human race. Hear It Here
493. Personal Jesus - Marilyn Manson
(Interscope 2004, Tim Skold)
By 2004 it had become apparent to everyone except Manson himself that his act had run it course and he really wasn't good for much these days, even his once vaunted live show had deteriorated to an embarrassing extent. Thankfully he was wise enough to slap together a greatest hit and return to his one true love; the brooding European synth pop of the '80s. While his interpretation of Personal Jesus added little to the original track he did imagine to bring impeccable style to the video and get a whole new generation hooked on the sublime pop music of Depeche Mode, the Saturdays would soon follow suit. Hear It Here
492. Outta My Head (Ay Ya Ya) - Ashlee Simpson
(Geffen 2007, Timbaland)
Sometimes there's just no justice in the world, while Ashlee Simpson maybe an untalented hack, she isn't even half the pathetic shill that her sister Jessica is, and yet while Ashlee with the help of Timbaland produced a insanely fun and surprisingly hilarious pop single Outta My Head found herself booed and bottled in concert, her sister producers an war crime level cover of These Boots Are Made For Walking and soars to the top of the charts. With a gorgeous beat Outta My Head was a playful and knowing goof ball pop single, that feels like an unappreciated gem. Hear It Here
491. Shakespeare - Akala
(Illa State 2006, Akala)
So in the battle of the UK undergrounds two pioneering siblings it's Akala that's ended up on top, beating his sister (Ms. Dynamite) in the countdown (and he has one more track yet to come). Shakespeare was a statement of intent, this track felt vital, this was a smart intelligent and powerful voice battling to break through, unfortunately Akala was almost too good to break through a gimmick dominated scene, but he made a hell of an impression on the critical world. As Akala put it himself this was "Shakespeare with a nigger twist...It's William back from the dead, but I'm black and I rap instead", the flows on this record were unbelievably tight, it was witty, and packed a hell of a punch, it's one of those few tracks that even on repeated listen retains the power of it's first impression. Shakespeare had it all, an ice cool underground beat, a swagger that reigned supreme on the grime scene and a chorus as infectious as the best D-12 record. Arguably the finest single to come from the UK's underground this decade. Hear It Here
490. Dark Of The Matinee - Franz Ferdinand
(Domino 2004, Tore Johansson)
"I'm On BBC Two Now, Telling Terry Wogan How, I've Made It And What I've Made Is Unclear Now" hmmn...looking back that line not only sounds as fantastic but somewhat telling considering Franz's slow descent. Dark Of The Matinee was the track that secure Franz's rise to fame the delicious follow up to break through smash Take Me Out. ...Matinee was simply the sexiest pop record of 2004, and while Franz hadn't reinvented the wheel they got the nation dancing in exquisite, knowing and positively British style. Franz's role in the indie rock revolution of the 21st Century is vastly underrated, while House Of Jealous Lovers may have been the first step, it was Matinee that put rock firmly back on the nations dancefloors. Hear It Here
489. Somewhere Else - Razorlight
(Mercury 2005, Razorlight)
After the success of debut album Up All Night Razorlight decided to stick a bonus track and a final single onto a re-release and it pointed the way forward for a band who never hid their ambition. Somewhere Else was that track, it kept the roguish indie charm but aimed squarely to tug at MOR heart strings. It was perfectly pitched and for a band often labelled as cynical posers it felt remarkable heartfelt and remains Johnny Borrell's stand out moment as a vocalist. Unfortunately they'd take this sound to the extreme losing sight of their core sound and rapidly disappearing up their own arses. Hear It Here
488. Thunder On The Mountain - Bob Dylan
(Columbia 2006, Jack Frost)
"I'm Gonna Raise Me An Army Some Tough Sons Of Bitches, I'll Raise My Army From The Orphanages" that one line encapsulates the urgency that has reinvigorated Dylan's work in the 21st Century. While he may have rapidly deteriorated in the live arena, in the studio Dylan has recaptured the zietgiest, Thunder On The Mountain saw Dylan's brain turned loose, it felt like a stream of conciousness, whether he was searching for his new love Alicia Keys or whether he was raging against outsourcing and undercutting the American work force. There was something thrilling about hearing a man of Dylan's age so full of ideas, still passionate and still vibrant. Hear It Here
487. Monster Hospital - Metric
(Drowned In Sound 2006, Metric)
It's perhaps one of those sad ironies that Metric's one true breakthrough hit Monster Hospital drew attention to their least interesting album Live It Out. Monster Hospital was the perfect indie alternative anthem, with a brilliant Shirley Manson meets Courtney Love performance by Emily Haines on a track ramned full on neat flourish and smart references and a knowing sense of humour. Of course the creepy grooves and the desperate cry of "I Fought The War But The War Won, Stop For Love Of God". Looking back now the tracks emotional relevance has only increased as the cry "Stop For Love Of God" feels even more tragic and almost ghostly. Hear It Here
486. If You Seek Amy - Britney Spears
(Jive 2009, Max Martin)
There's always been something morose about Miss Spears's music, she's never been afraid to make fun of herself and after years of being pruned as a pop princess and being forced to seeing dreary ballads about not quite being a woman yet, she was finally set free in the last two years. It may have taken a mental breakdown to achieve a breakthrough but in 2009 Britney Spears finally got retarded, and she hasn't looked back since. Following on the success of Womanizer Britney unleashed the brilliant If You Seek Amy, Britney sounded positively brain dead, like crazed and mental vacant rag doll, but it was absolutely thrilling, the music thrusted wildly and Britney for once in her career sounded truly daring. If You Seek Amy stood out from the pop crowd in 2009 as pop sadly showed signs of reverting to type. Now come on everybody let's get down with the stupidity. Hear It Here
485. Almost Ready - Dinosaur Jr.
(Fat Possum 2007, J Mascis)
In the naughties reunions were a hot topic, by the end of the decade they'd become run of the mill, almost anyone you could conceivably remember had kissed and made up to cash in on the live attendance boom. And yes you knew it had reached cynical abdominal proportions when Cliff & The Shadows and Spandau Ballet were back on the road. Thankfully some acts got back together because they actually wanted to make music again, and after years apart had something to say. This was of course Dinosaur Jr's intent and they return with the blistering single Almost Ready, for once it was as if they'd never left, the guitar work was sharp and surprisingly so were the melodies and this was the first track from the surprisingly excellent Beyond. These old dogs might not haven't learnt any new tricks but still had their bite. Hear It Here
484. Paris - Friendly Fires
(XL 2009, Paul Epworth)
Now I decided to include just a solitary Friendly Fires track in the countdown and unsurprisingly I've opted for the gorgeous Paris. It's a track that's really doesn't grab you, it's intro feels cliche and laboured but it was more than worth enduring the opening thirty seconds to reveal a soft and soaring thing of beauty. It's amazing how a track can turn so suddenly from the realm of too for school scenester posturing to ethereal and shockingly honest song writing bliss. In the end with the most fragile of croons and the most delicate of harmonies Friendly Fires shredded their pretentious and revealed 2009's most heartfelt and dare I say loveable indie hit makers. Now just close your eyes and let that gorgeous chorus wash gentle over you; "And Every Night, We'll Watch The Stars, They'll Be Out For Us". Hear It Here
483. Just Because - Jane's Addiction
(Capitol 2003, Bob Ezrin)
Jane's Addiction have never been the most stable of bands, what band with Perry Farrell and Dave Navarro possibly could be right? Well in 2003 they managed to stomach each other just long enough for a tour and to lay down a full LP of new materiel in the form of Strays. It hardly set the world on fire but we were glad to have Jane's Addiction back albeit fleetingly and they made sure to lay down their latest epic big riffing anthem Just Because. It rode on the back of a massive 90s style riff and allowed Perry to lay down his carefree and surprisingly inspiring verse. All in all Just Because was a genuinely shocking return to form of a band who were never really all the consistent in the first place. Hear It Here
482. Fight Music - D12
(Shady 2001, Dr. Dre)
In 2001 D12 proved they would be all things to all people, they proved they could get retarded with the best of them, they showed they had the ability to conquer the pop charts but now it was time for them to get serious and lay down some Fight Music. Dr. Dre provided a typical minimalist and brooding beat and D12 told in great detail how they'd kill, rape and mutilate us, okay, so this wasn't exactly KRS One but it was relentless and pretty funny in a macabre black humour sense. It was great to see a serious edge to their music and as they put it themselves this was "Music for kids to trash their rooms to" this was hip hop's answer to mosh pit slayers. Hear It Here
481. No Good Advice - Girls Aloud
(Polydor 2003, Xenomania)
After blowing everyone out of the water with the remarkably brilliant and anthemic Sound Of The Underground Girls Aloud managed to surprise the world yet again with another remarkably slick hit. No Good Advice had more spunk and more bite than any other pop record coming out of the UK in 2003, pop hadn't managed to truly get nasty, dirty or sexy at that point but No Good Advice pointed the way forward. With superb production and a nice guitar based arrangement Girls Aloud laid down a distinctly 21st Century anthem before any of us even knew who Lily Allen was or before Amy Winehouse had discovered smack. Thankfully Girls Aloud where raunchy, racaous and surprisingly intelligent in 2003, a sign of things to come. Hear It Here
515. Cherry Blossom Girl - Air
(Virgin 2004, Air)
Air have always had the ability to make staggering music, it's almost a tragedy that they are remembered for their more gimmicky exploit "Sexy Boy" than their more atmospheric and intoxicating works Kelly Watch The Stars and of course the delicate Cherry Blossom Girl. It's a perfectly judged track, fitting for such an inspiring metaphor, the subtle use of instrumentation throughout is particularly inspired. Hear It Here
514. Out Of The Blue - Julian Casablancas
(Rough Trade 2009, Jason Lader)
Julian Casablancas may have been accused of having nothing but by golly did he know how to say it, and on his surprisingly intriguing solo album he showed of an array of irresistible soundbytes. Out Of The Blue was a masterpiece crammed full of unforgettable one liners and sharply pitched melodies but perhaps the most memorable and fitting of all Julian's one liners had to be the wonderfully knowing "I know I'm going to hell in a leather jacket, at least I'll be in a world while your pissing on my casket" Hear It Here
513. Us Placers - C.R.S.
(G.O.O.D. Music 2006, Lupe Fiasco)
For those who don't know Child Rebel Soldiers or C.R.S are infact rap superstars Kanye West, Lupe Fiasco and Pharrell Williams, three the of the twenty first century's greatest pioneers. However no matter how staggering or jaw dropping their rhymes are, and trust me they are (epecially Lupe's verse), the star of the show is not a rapper, but it is another of the 21st Century's great invators; Thom Yorke. The truly haunting and beautiful hook from The Eraser runs throughout the crack and it can't help but send a shiver shooting down your spine. Hear It Here
512. 22 - Lily Allen
(Regal 2009, Greg Kurstin)
It seemed in 2009 Lily Allen touched a raw nerve with 22, a deeply unsettling track, along with producer Greg Kurstin Lily crafted another masterful slice juaxaposition. With it's goofy twinkly effects, finger clicks, piano line and vocal cadence it feels like something straight out of a feel good musical theatre production, a modern day showtune. However beneath the gloss lay a dark and depressing study of the inner neurosis of a 22 year old woman, or man for that matter. There's something quite chilling about this track as it splices dream and nightmare together into a short sharp and eternally snappy pop record. Hear It Here
511. Apply Some Pressure - Maximo Park
(Warp 2005, Paul Epworth)
Urgency was the word for Maximo Park on their debut A Certain Trigger, every track was exploding with energy and a frenetic sense of lust, however in the cold light of the day behind the frantic theatrics the strength of materiel simply wasn't there, they were truly nothing special. However one track above all the others was something a bit special, Apply Some Pressure buzzes with enthusiasm and despite being typical of its age it refuses to sound dated, a surprising triumph that still holds up five years on. Hear It Here
510. Don't Stop The Music - Rihanna
(Def Jam 2007, Stargate)
With a little help from a classic Michael Jackson line Rihanna transformed from pop princess to queen of the clubs. Don't Stop The Music simply didn't relent with it's pulsating beat and hook layered upon hook, it was quite simply the perfect package and went on to dominate the charts across the world for seemingly forever. Much of the credit must go to Stargate for some ultra slick production. Hear It Here
509. Formed A Band - Art Brut
(Rough Trade 2004, John Fortis)
It's been over four hundred places since Art Brut's last entrance in the top 1,000 but with the gorgeous Formed A Band they come absolutely drenched in irony from head to toe. Formed A Band is undoubtedly the most hilarious track Art Brut have ever released and one of the most unforgettable first impressions any band has made on the rock and roll world. Eddie Argos was on fire on this track whether he was assuring us that this was his singing voice or declaring that "I want to be the boy, the man, who writes the song, that makes Israel & Palastine get along" with that one line Art Brut delivered the most brutal critique of pop musicians in rock and roll history.Six years on and Formed A Band still thrills. Hear It Here
508. Silver Trembling Hands/Convinced Of The Hex
- The Flaming Lips
(Warner Bros. 2009, Flaming Lips)
It seems bizarre to say that after two year defining albums that thrust The Flaming Lips from art house outsiders to rock and roll superstardom that it was in fact their latest album Embryonic that felt like their definitive statement, this was the Lips, uncompromising, on their own terms. Of course the Lips went with atmospheric over blown sci fi themes but they didn't lose their gift for the mind bending single and Silver Trembling Hands was a delight it felt surprisingly visceral and remarkably urgent, while simultaneous being built around a child out hook. This was a track that always had something fascinating going on, and continues to reveal more and more delights with each and every listen. Oh and of course as if that wasn't enough the Lips decided to throw out Embryonic's best track Convinced Of The Hex as a b-side, what more could you possible ask for? Hear It Here
507. I Predict A Riot - Kaiser Chiefs
(B-Unique 2004, Stephen Street)
While in those early years Kaiser Chiefs drew more than a few comparisons to Blur in hindsight it feels unfair to compare the genius of Damon Albarn to the by the numbers lad rock of the Kaiser Chiefs. While that may sound like an insult it really isn't, after all few can stand up to the irony drench anthems penned by Mr. Albarn, so while Kaiser Chiefs may have been lad rock, they made damn sure they crafted the most inescapable and unavoidable lad rock imaginable. I Predict A Riot will always be a party starter, and will live long beyond it's generation becoming one of the classic sporting and party tracks of all time. Hear It Here
506. Level - Raconteurs
(Third Man 2007, Jack White)
In 2007 Jack White unleashed his not so super super group upon the world, and the result were quite frankly less than stellar. The Raconteurs were by no means back but their brand of retro rock simply paled in comparison to the mighty White Stripes. So while they failed to set the world alight they did leave behind a few diamond studded singles, and none was finer than the dirty sleazy blues of Level, it combined jagged but controlled guitar work with some tight and inescapable pop hooks and remains the best song Jack White has penned outside of The White Stripes. Hear It Here
505. Dirty Harry - Gorillaz
(Parlophone 2005, Danger Mouse)
It seems a tragedy that it's been five years since the last time we were graced with a Gorillaz single, granted we've had the Good The Bad And The Queen, and Blur reunion, but we've missed the band that set about reinventing pop music before Lily Allen and Timbaland could turn the world on it's head. Dirty Harry was a master stroke a glorious disco laiden groove-athon with a children's choir and a truly inspired guest spot by Bootie Brown who reminded us of a sweeter time, before war, before the lies, when all we wanted to do was dance; "The War Is Over So Said The Speaker, With The Fight Suit On, Maybe To Him I'm Just A Pawn, So He Can Advance, Remember When We Used To Dance? I'll I Wanna Do Is Dance". Gorillaz have a new album in the works ready to drop in 2010, X Factor has wiped away the good work of Lily Allen and JT is it time for Gorillaz to save yet another decade from MOR destruction? Let's hope so, but until then lets just dance to Dirty Harry. Hear It Here
504. Stay Together For The Kids - Blink-182
(Universal 2002, Jerry Finn)
So sandwiched in between the likes of First Date and The Rock Show on Take Of Your Pants And Jacket laid Stay Together For The Kids, a surprisingly dark, bombastic and powerful track. It seemed so out of keeping with everything else Blink had produced up until this point and was the first real sign that beneath the one note jokes and jolly jaunts about teenage agnst lay a pair of serious songwriters. Stay Together For The Kids was incredibly dynamic and hit like a sledgehammer, and was at that point the greatest track Blink-182 had ever released. Hear It Here
503. Move Bitch - Ludacris
(Def Jam 2002, KLC)
"I'm Doing 100 On The Hi-way, If You Do The Speed Limit Get The Fuck Outta My Way, I'm DUI, Hardly Ever Caught Sober, And You Bout To Get Run The Fuck Over". Yes Ludacris, and Move Bitch in particularly is about as subtle as a sledgehammer strapped to rocket launched aimed squarely at the gonads. So while Luda is hardly a street poet, in Move Bitch he did create one of the most catchy and irresistible party jams of all time, this is one of those tracks that when it drops is too silly and too much fun to hate. Hear It Here.
502. Little Sister - Queens Of The Stonage
(Interscope 2005, Joe Barresi)
Josh Holme is a sick fuck, there's no sense is skirting around the issue, and he seems to have three real pleasures in life; knob gags, drugs & sex, lots and lots of sex. Little Sister like almost every other Queens was utterly dripping with filthy dirty sex appeal. Like all of the Queens best work Little Sister was relentlessly groovy and eternally seductive. Of course behind the creepy croon of Holme laid a gorgeous and surprisingly subtle arrangement highlighted by a gilding guitar solo that wound smoothly and effortless like a serpent. Hear It Here
501. Black Horse & The Cherry Tree - KT Tunstall
(Relentless 2005, Andy Green)
Being a acoustic singer songwriter is almost like being in purgatory, your almost doomed to go nowhere, you can sell truck loads of records but you'll never be cool, and if you came out after 1980 you have pretty much zero chance of gaining critical credibility. KT Tunstall failed to overcome so many of these hurdles as her second album set new standards for bland, but on her debut she stroke a real chord with Black Horse... right from the opening line you knew this track was gonna be special "My Hearts Knows Me Better Than I Know Myself, That's Why I'm Gonna Let It Do All The Talking", a surprisingly touching and insightful line, from there on in KT embarked on a bland acoustic equivalent of a sprawling epic, it was all down hill from here. Hear It Here
