The 30 Best Albums of 2008

So obviously, it's that time of year: "Best of" lists! As much fun as they are to read, they're actually a bitch to write, so I apologize for the time it took to construct these bad boys. Today I post the 30 best albums of the year, and I plan to post the 50 best songs, along with some select mp3s and miscellanious honors before the week is out.

2008 was a great year for music, but a truly great year for dance music. Whether folks just got sick of gloom and doom, or simply wanted to turn their brains off, there was no shortage of action on the dancefloor. That's not to say slower stuff didn't have its place, as you'll see below, but the sharpest tools in the shed managed to merge head-nodding beats and intelligent songwriting. As a result, we had less truly great "albums" this year, and more strung-together songs masquerading as albums, but any way you slice it, several artists delivered for our ears in a big way. Several new artists broke through this year, making many splashy, highly-buzzed debuts, but the real stories of the year belonged to comebacks and evolution, as several favorites took their music to strange new places, or simply matured their sounds. As many of these formerly fringe acts opened up a tad to the mainstream, underground purists looked to wild new trends in order to stay too cool for school. Some of these acts actually have potential, while others were just making noise. I've sorted them all out, and present the best of the lot below. Get your gift cards ready, because here's my picks for the albums you need to hear before '09 gets underway:






1. TV On the Radio - Dear Science, (October)

Deerhunter may have released the most creative album of the year, and Kanye may have released the bravest, but TV On The Radio simply released, for lack of a better term, the best. Each song stands on its own, but is immeasurably strengthened by its context, the mark of a great album. There's no one track on par with Return to Cookie Mountain stand-out (and my favorite track of '06) "Wolf Like Me", but there's also not a single dud on display, and unlike Mountain, the whole of Science is far greater than the sum of its parts. After listening straight through, from doo-wop-gone-gonzo opener "Halfway House" all the way to the sexually graphic finale "Lovers' Day", the listener is left swirling in righteous anger, bleak humor, and tongue-in-cheek regret. Weighed down by the dying breaths of the Bush Age, the album suggests that as a people, we've finally fallen off the edge ("This is beginning to feel like the start of the news of forever" wails frontman Tunde Adebimpe on the prophetic "DLZ", written well before any recent headlines), but if we're indeed headed for devastation, there's some joy to be found in suffering with the ones you love. In 30 years (hopefully we'll all survive that long), whether the world is a war-torn wasteland, or finally rebounding from a trying age, it's easy to see folks looking back and agreeing that an album like this could only have been made in 2008. Dark, funny, and ultimately tinged with more hope than tragedy, Dear Science isn't just the definitive album of the year, it's one of the definitive statements of this generation. And yes, you can also dance to it.

Notable Tracks: "Dancing Choose", "Golden Age", "Shout Me Out"





2. Wolf Parade - At Mount Zoomer (June)

Before writing anything else, let me just admit that Apologies to the Queen Mary might be my favorite album of all time. As a result, I may be a pretty easy sell when it comes to anything this band releases, but I still feel pretty unbiased ranking their sophomore effort as high as I have. At Mount Zoomer may lack the inspired urgency of Apologies, but it's nearly as rich, rewarding repeat listens better than anything else released this year (even the daunting "California Dreamer" eventually unfolds with a surprising beauty). It's also an album built to be performed, as witnessed by the live show that I saw at the Fonda: the old songs were a lot of fun to see onstage, but the new ones stole the show, especially Spencer Krug's weird and blistering ballad, "An Animal In Your Care". The big story for many on Zoomer seemed to be Dan Boeckner's emergence as a songwriter on par with Krug, which is partially true (Boeckner's always been in Krug's league, as evidenced by songs like "Shine a Light", he's just tended to drift slightly poppier), but the real beauty is watching the two frontmen finally share the spotlight on a single track - the epic, album-closing "Kissing the Beehive", which clocks in at over ten minutes long), without turning the affair into a bloated mess. As a whole, the album may be abbrasive and even dense to some on a first listen, but make no mistake: what's at work here is a band on top of its game and evolving into something timeless. Where they go from here is a journey not to be missed.

Notable Tracks: "Language City", "The Grey Estates", "An Animal In Your Care"





3. Kanye West - 808s and Heartbreak (November)

I post this one not just on the strength of its music, but for its context as well. Not in terms of the personal tragedies that inspired the music, but for the risks involved in releasing it to the public. Despite pushing some modest boundaries with 2007's smash, Daft Punk-sampling "Stronger", Kanye's always been an artist comfortable operating inside of a hip-pop bubble of soul samples and faux-arrogant rhymes. But as everyone knows by now, he decided to go a slightly different route this time out. Drenching the entire album in the now-infamous AutoTune (then feigning outrage at critics who "outted" the "insider term" by referring to it on such a wide scale), and eschewing any and all rapping, West painted a giant target on his back and invited the whole world to archery class. The catch is, despite the gimmickry, he's released the strongest album of his career, and written a mission statement for himself as an artist. All signs point to 808s being a concept album, which despite its quality, is obviously for the best. But once the Phil Collins-style detachment (the artistic reasoning for the vocoder) and melancholy themes subside, Kanye should undoubtedly return to the mainstream all the wiser for this strange, stunning detour.

Notable tracks: "Welcome to Heartbreak", "Paranoid", "Street Lights"





4.The Walkmen - You & Me (August)

At the beginning of this decade, when rock finally had its rebirth, there was a battle between The Strokes and The Walkmen to determine whose garage rock would be the biggest. Obviously, the former won, and went on to become the hipster icons of a new music movement. Lucky for the Walkmen, since while The Strokes were busy having their subsequent albums massacred by their fickle admirers, they were busy getting much better. "The Rat", off the band's beloved second album, Bows + Arrows, is, for my money, the best pure "rawk" song of the new milennium, and their third LP, A Hundred Miles Off, showed the band evolving in ways that other New York band seemed incapable of. With You & Me, the band hasn't so much evolved further as it has mutated. The Walkmen heard here have never been heard before, both figuratively and literally (frontman Hamilton Leithauser has turned downed the reverb so that we can finally hear his beautiful lyrics). If reports are to be believed, the band's famous live act is just as electric as ever (I'll find out for myself in January at the Fonda, with Beach House opening to boot. To my knowledge, it's not yet sold out), and with You & Me, they've got a thrilling new batch of songs to work with. It may be beside the point to say that The Walkmen eventually won the New Garage war: by this point they've broken away and become their own band, which is perhaps the best compliment of all.

Notable Tracks: "Dónde Está la Playa", "In the New Year", "Postcards From Tiny Islands"





5.Jukebox the Ghost - Live and Let Ghosts (April)

2008's been a hell of a year for debuts, with three new bands cracking the top ten, not to mention all the others who made a huge splash. But my favorite of the bunch has to be the one that's gone quietest under the radar: Washington, DC's Jukebox the Ghost. Most often compared to Ben Folds Five, but more aptly described as young Billy Joel & They Might Be Giants' lovechild, the band's talent for hummable melodies is matched only by frontman Ben Thornewill's talent for inspired lyrics (the epic, three-song closer about how satelites cause the Apocalypse is almost too clever for its own good). They also happen to be one of the funnest live acts I've seen in years, matching LA's Deadly Syndrome in manic, small-stage energy, with Thornewill single-handidly besting them in charisma to boot. If you haven't seen them yet, they return to the West Coast in February for a special show with The Bird & The Bee, at the Natural History Musuem. And if you don't live in LA, buy the album. Don't be surprised if it's your favorite purchase of the year.

Notable Tracks: "Good Day", "Hold It In", "Lighting Myself On Fire"





6.Deerhunter - Microcastle (physical release in October)

No Age got all the Noise Rock attention this year, and found themselves the marquee stars, but Atlanta's Bradford Cox walks away from 2008 as the experimental genre's top scientist. Of course, it might just be because he's been the most prolific: between his band, Deerhunter, and his side solo project, Atlas Sound, he's released three LPs, and a whopping SIX EPs, not counting compilation appearances. Among everything released, there were hits, and there were definite misses, but nothing shined brighter than Microcastle, Deerhunter's first and most newsworthy release of the year, thanks to its accidental leak by Cox's own hand. Jammed with the kind of foggy genius that might make Jesus & Mary Chain jealous, Microcastle is a bizarre journey that, for an avant-garde album, is shockingly comfortable, even on a first listen. It doesn't push the boundaries that the band's later-leaked album (and physically released companion) Weird Era Cont. does, but the notes it hits, it hits hard. If you're looking to wet your foot in this strange new branch of underground rock, this might well be the best place to start.

Notable Tracks: "Never Stops", "Little Kids", "Nothing Ever Happened"






7. Fleet Foxes - Fleet Foxes (June)

There's not much to say about these guys that hasn't been said: they're a fucking awesome band, and the promise of their out-of-left field debut EP was succesfully fulfilled with their debut LP. Sounding fresh, yet thoroughly timeless, the band has created a sound that truly anyone can enjoy. All the praise that's been heaped is well deserved.

Notable Tracks - "Ragged Wood", "He Doesn't Know Why", "Your Protector"





8. Vampire Weekend - Vampire Weekend (January)

Almost everything I wrote about this band came to pass in 2008.....all in the first two months. The inevitable backlash that resulted seems to have subsided a bit, as folks have realized that despite a pile of hype, what lies underneath has always been a very talented band. The new tracks featured on the LP are as good as, if not better than, the ones released last year, and the insane amount of influence these guys already have on other bands has to be noted: if a single night goes by at Arlene's Grocery without at least one cardigan being flashed onstage, I'd be surprised.

Notable Tracks - "A-Punk", "I Stand Corrected", "Walcott"





9. No Age - Nouns (May)

Yes, Los Angeles is a "scene" again, thanks to these guys and their Smell-playing downtown compatriots. Whether or not that's a good thing is your call, but in the meantime, ponder Nouns. It's an oddity, to be sure, but an oddly accessible one, at least compared to releases by the likes of Ponytail or Xiu Xiu. The noise in "noise rock" is certainly there: songs are awash in lo-fi buzz that could sink a battleship. But there's also a shoegaze element at work that undermines the scattershot nature of the songs: while 90% of the album sounds like it was recorded by ten year olds in a basement, the other 10% shows the band's true nature, and informs how you percieve the whole shabang.

Notable Tracks - "Eraser", "Cappo", "Sleeper Hold"





10. M83 - Saturdays = Youth (April)

If Air scored a John Hughes film, it'd sound like what this band has evolved into over three LPs. Awash in synth and self-consciously cheesy, it's not the coolest album of the year, but it's certainly one of the most vivid. French technophile Anthony Gonzales crafts a story that starts with a whimper and ends with a scream. The nostalgia conjured is painful, but also beautiful in a way most albums are scared to be these days.

Notable Tracks - "Kim and Jessie", "Colours", "We Own The Sky"







11. Girl Talk - Feed the Animals (physical release in September)

Girl Talk's been making the best (and most ADD-riddled) mash-ups for a while now, and Feed the Animals is his best exhibition to date. Put this sucker on & you won't need a party playlist for at least an hour.

Notable Moments: Crossing Eminem with Yael Naim, Radiohead with Jay-Z and Tag Team with Big Country are all awesome.






12. MGMT - Oracular Spectacular (physical release in January)

Undoubtedly packed with the best singles of the year, but too front-loaded and disconnected to qualify as a full album, Oracular is still 2008's most influential release. Expect a score of neo-hippie imitators to follow, but it'd be tough to top these guys' wits: even as they ascend to the level of World's Hottest Rock Stars, they subvert every stereotype along the way.

Notable Tracks - "Time to Pretend", "Weekend Wars", "Electric Feel"






13. Cut Copy - In Ghost Colours (March)

Pound for pound, this Australian debut is the year's best pure dance album, effortlessly drifting between new wave, pop and electro, without ever sounding derivative. It's a nifty trick from one of the year's few foreign buzz bands to actually deliver.

Notable Tracks - "So Haunted", "Hearts on Fire", "Far Away"





14.Abe Vigoda - Skeleton (July)

No Age certainly emerged as downtown LA's hottest act this year, and while Nouns is a consistent, nuanced success, Skeleton has moments of brilliance that eclipse it completely. There's some meandering here too (thus its placement behind No Age's album), but the moments that work are some of the most thrilling heard all year. And it goes without saying that if you get the chance, see them live. But maybe bring earplugs.

Notable Tracks - "Animal Ghosts", "Live-Long", "Hyacinth Girls"






15.Los Campesinos! - We Are Beautiful, We Are Doomed (October)

Indie Rock doesn't always have to take itself seriously, even if violins are involved. That's one thing these hard-working, yet hard-playing Brits got right. The other thing they got right, of course, was making kick-ass party music, across two full albums. Both were great, but I give the edge to the latter effort, partially just for the pro wrestling terminology they casually throw around.

Notable Tracks - "Miserablilia", "We Are Beautiful, We Are Doomed", "All Your Kayfabe Friends"





16.Frightened Rabbit - "The Midnight Organ Fight" (April)

Scottish folk rock that puts the emphasis on "rock", especially as the album progresses. Along with fellow countrymen The Twilight Sad, they're establishing a distinct, exciting sound that'll hopefully catch on across the pond.

Notable Tracks: "The Modern Leper", "Good Arms vs. Bad Arms", "Fast Blood"





17.Lil Wayne - Tha Carter III (August)

Just because it's the most overrated album of the year doesn't mean it's not good; it's just not the masterpiece that, for the rap industry's sake, everyone wants to pretend it is, no matter the sales figures. That being said, for every generic single like "Lollipop" or "Make Money", there's two brilliant deep cuts to prop it up. Oh, and that second single was actually pretty decent, too....

Notable Tracks: "A Milli", "Dr. Carter", "Tie My Hands"





18.The Dodos - Visiter (March)

The band's sophomore LP finds them taking their game to the next level, crossing into some of the same territory as Frightened Rabbit and even Vampire Weekend, without coming off as derivative in the slightest. And no, that title's not a typo. And no, I don't get it either, but whatever.

Notable Tracks - "Fools", "Joe's Waltz", "Paint the Rust"





19.The Grand Archives - The Grand Archives

Sometimes break-ups are for the best: When former Band of Horses guitarist Mat Brooke left the band, we got 2007's spectacular Cease to Begin, made entirely without him. In 2008, we get Brooke's equally impressive album, made with his new outfit, The Grand Archives. While it doesn't escape sounding like the other side of a Band of Horses coin, the self-titled debut is a great listen in its own right, and honestly, there could be worse things than two versions of a great band.

Notable Tracks - "Torn Blue Foam Couch", "Sleepdriving", "Orange Juice"





20.Coldplay - Viva La Vida or Death and All His Friends (June)

Just to clarify: yes, Chris Martin is quickly becoming one of the least tolerable frontmen in music (if you don't believe me, just YouTube the band's last SNL performances), but that doesn't mean he can't write a damn good album. Producer Brian Eno's hand is felt here in a big way, and the band is pushed to some genuinely unpredictable places. At this point in their careers, it's cool to see them try such a bold new direction: whatever criticisms you may have about the album, at least you can't say that it's boring.

Notable Tracks - "Lost!", "42", "Reign of Love"





21.Deerhoof- Offend Maggie (September)

The art rockers from San Francisco return with their finest and yet, most accesible album yet (that seems to be a running trend for 2008). Satomi Matsuzaki's vocals are as scattershot as ever, but with the rest of the band more self-assured than ever, a newfound balance has been struck in their music.

Notable Tracks- "Offend Maggie", "Basket Ball Get Your Groove Back", "Fresh Born"





22.Neon Neon - Stainless Style (March)

It's a concept album from Gruff Rhys about the rise and fall of the dude who created the DeLorian! What's not to like?!!

Notable Tracks - "Dream Cars", "Trick for Treat", "Sweat Shop"





23.Lykke Li - Youth Novels (June)

Tried and true concept: Hot, blonde Swedish pop tart invades the US and makes highly danceable music. Lykke Li breaks the mold, however, by offering a surprising amount of substance beneath the glitter, offering solid evidence that she might outlast her It Girl status.

Notable Tracks - "Dance, Dance, Dance", "I'm Good, I'm Gone", "Little Bit"





24.Hot Chip - Made In The Dark (February)

The year's first big dance album heralded what would be another trend of '08: music with tempo and a brain, that pushed boundaries while also being comfortable enough to put on at a party. Hot Chip's been doing this since their first EPs, but their second full LP showcased just how much they've further improved. As good as the album is, however, one can't help but feel like it's just a warm-up to a mind-blowing third act.

Notable Tracks - "Out at the Pictures", "Shake a Fist", "One Pure Thought"





25.Flight of the Conchords - Flight of the Conchords (April)

For the most part, it's nothing we haven't heard before, but it's a much more convenient way to get all your favorites in one place than DVR-ing the whole series. And no matter how many times you hear these songs, they're still fucking hilarious.

Notable Tracks - "The Most Beautiful Girl (In the Room)", "Business Time", "Bowie"





26.Crystal Castles - Crystal Castles (March)

The year's most dangerous dance album, literally: co-vocalist Alice Glass has injured herself in too many ways to count while performing these tracks live, and the band's mosh pits have already become notorious. The best compliment I can give is that it earns this reckless response with flying colors; it's music to smash your NES to.

Notable Tracks - "Courtship Dating", "Vanished", "Knights"





27.Bon Iver - For Emma, Forever Ago (February)

This year, Bon Iver became yet another artist to produce earnest, folksy anthems without a hint of weeniness. Even if the album's been pillaged by a few too many primetime soaps, it remains one of the most beautiful things heard all year.

Notable Tracks - "Lump Sum", "Skinny Love", "Re: Stacks"





28.Santogold - Santogold (April)

A crush of hype announced her, and for good reason. MIA's former hype woman, and a veteran songwriter in her own right, Santogold's collaborations with the likes of Diplo, Switch and XXXchange produced a wonderfully schitzophrenic debut that put her on the map in a big way. Now that she's finally got the spotlight, it looks doubtful she'll dissapoint.

Notable Tracks - "LES Artistes", "Lights Out", "Creator"





29.Cold War Kids - Loyalty to Loyalty (September)

Certainly one of the most controversial releases of '08, it's tough to argue that the Kids' sophomore effort isn't dense and abbrasive. Guilty on both counts, but if you've got the gumption to take it on, the treasures reaped are immense. The narratives here are twisted and bleak, but if you stick with them, you'll have a darkly satisfying blast. Oh yeah, and it also contains the best drums heard all year.

Notable Tracks - "Mexican Dogs", "Something is Not Right With Me", "Every Man I Fall For"





30.Beach House - Devotion (September)

Certainly not the record to put on while trying to start a party, Devotion is nontheless worthy of your time. Dreamlike soundscapes and Victoria Legrand's hypnotic vocals put you in a trance without putting you to sleep.

Notable Tracks - "Wedding Bell", "Gila", "Holy Dances"

Merry Christmas!

I apologize for the slow month, but I've been hard at work on the End of '08 List, and believe you me, it's pretty darn epic. As for my e-mail folder, I opened it the other day for the first time in forever, and was terrified. So don't worry, I'll get back to all of you.....sometime next year. Here's some pretty music to tide folks over:

Sufjan Stevens - "Come Thou Fount of Every Blessing"



Really, I could make this whole post about Sufjan, but do yourself a favor and just buy his massive Christmas collection with the crappy gift card you're gonna get tomorrow instead.

The Pogues feat Kirsty Maccoll- "Fairytale of New York"



I thought about posting this Stars cover I heard the other day instead, only because you probably already own the original, and it's hilarious to hear Torquil Campbell and Amy Millan try to sell lines like "you cheap, lousy faggot" with limp earnestness, but then I realized that would just be stupid.

Sarah McLachlan - "Merry Xmas (War Is Over)"



Now here's a worthy cover......

Mark Ronson feat Daniel Merriweather - "Wonderful Christmas Time"



......and another one.

Jukebox the Ghost - "Missletoe" (Live for WOXY)



These guys are all over my list this year. End of Year list, I mean. That wasn't a Santa Joke.

Sufjan Stevens - "Christmas in the Room"



Like I said, this whole post could be Sufjan. Here's a track from his privately released new volume of Christmas songs, leaked by one of his sneaky friends or relatives for our immense benefit. Once again.......Merry Christmas (or whatever you happen to be doing with your time instead of contemplating the cold, depressing dark nights right now), and I'll see you very soon with a whole lot of words to post.

Home is Where the Hot(lanta) Is

So I just got back from Atlanta for Thanksgiving, where I meant to do this update, but as my parent's computer has none of my mp3s, that wasn't possible. I really thought ahead on that one......anyway, going home is a stranger and stranger task these days, as the city I grew up in is changing so rapidly that it's sometimes hard to recognize it. Within the past five years, Atlanta has grown exponentially in size and in subcultures. Little Five Points has gone from being the punk area of town where the weird kids would go to an American Apparel-approved hipster haven, Inman Park has gone from a neighborhood of historical landmarks and unused warehouses to a loft-condo stuffed artistic hub, and Atlantic Station has literally come from thin air, a new zip code created just for it. While I should probably be bitching about all this and talking about the good old days, I'm more excited than anything by these changes. Atlanta remains the fastest growing city in the country for young artists & professionals, and when combined with Athens, also has one of the hottest music scenes in the entire country. While this has been the case for a while now, what's new is the diversity on display:

Possibly the most celebrated Atlantan in music this year, and certainly the busiest, has to be Bradford James Cox, who's released about five years' work in one. As frontman for Deerhunter, he's released two seperate (though, eventually released as one) LPs, and through his solo project, Atlas Sound, he's released a whopping six EPs, one official LP, and another, half-finished leaked one. While not every song he's been attached to has been a knockout, the amount of musical innovation that's come from one man in one year is nothing less than staggering. Without question, Cox is one of the most exciting artists working in music right now, and one gets the impression that the guy is just beginning to flex his muscles.


Atlas Sound - "Activation"

Similarly washed away in reverb, yet spiked with a dark, grungy element is Atlanta (by way of Alabama) threepiece, All The Saints. They've become known around town for touring with the more popular Black Lips, but there's something about their music which intrigues me more. The group separates itself from the rest of the shoegazy acts that have begun to take over Atlanta rock by giving a violent edge to many of their tracks, simultaneously invoking Nirvana and Black Sabbath. The band plays the Drunken Unicorn (in Atlanta; sorry Angelinos) in a couple weeks, and their LP, Fire on Corridor X, is out now.


All The Saints - "Sheffield"

While the rock scene in the city is red hot right now, it's impossible to forget what put the city on the music world's map in the first place: hip hop. While it's true that hits are no longer being cranked out like they were back in the glory days of the Dungeon (Outkast, Goodie Mobb, Kilo Ali), there's still a hell of a lot more life left in the scene here than anywhere else in the country, save perhaps Philadelphia or Brooklyn. Proof of this is rapper B.O.B., who's been making waves lately with some pretty innovative mixtapes, which combine electro, 80s pop & even 50's doo-wop. Wednesday night, the rapper showed up as a special guest at the 3Oh!3 show. Typical to my luck, after having missed 3Oh!3 twice before in LA, I finally catch them in my hometown.........only to learn that Sean Foreman (the half of the duo that generally sings & has my favorite raps) has torn his vocal chords & can't perform. While temptation to leave was high (especially since we were at the Masquerade, which always scares the shit out of me-it's essentially a wooden platform on stilts that can't possibly be safe to treat as a mass trampoline), the show ended up being pretty awesome. Sean came out and danced his ass off, while the crowd sang all of his parts, and I ended up getting to know the assisting B.O.B. a lot better than I did before. What he showcased at the 3Oh!3 show was suitably up-tempo electro stompers, but there's a lot more diversity in his catalogue. BTW, to all the Atlantans who weren't there, 3Oh!3 have scheduled a make-up show for Dec 15th, and based on how good they were operating at 75%, the fully Foreman-ed show should be one to clear your schedule for. But enough about those dudes; check out B.O.B. below:


B.O.B. - "Generation Lost"

I could go on for a few more entries about all the great talent swirling around the ATL these days, but I'd rather close the post with the song I couldn't escape from once I got into town, so let's knock it out. Matt & Kim are in love. And I'm in love with their new song. While I first heard it when the video premiered on Stereogum a few weeks ago, it took hearing it on my parents' XM radio a few billion tiems within the span of a couple days for it to hit me how fucking great it is. For those unaware, Matt & Kim are like the White Stripes of indie pop(a paradox of a term, but you know what I mean), except that Kim is un-ironically awesome at playing the drums, and they're not pretending to be brother and sister. That being said, their first LP never blew me away. It wasn't without its charms, but it did little to distinguish the duo from the glut of similar acts in Brooklyn, other than the rather remarkable fact that so much music could come from only two people. If their new single, "Daylight", is any indication, however, the couple's next album could be something very special. In fact, in a traditional advertising sense, this may just be the best single of 2008, as now I've got Grand on top of my 2009 wish list. I have a feeling this song will be stuck in my head until it comes out.


------------------------Song of the Week-----------------------------

Matt and Kim - "Daylight"



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Non-Vampire-Romance-Related Pop Culture

I'll admit that over the course of the past couple months, I've become a big fan of HBO's True Blood. It's pulpy, sexy and a whole lot of fun. I also thought very highly of the Swedish horror pic Let the Right One In. It's unbelievably fucked up, yet seeped in genuinely cute puppy love. And anyone that knows me knows of my affinity for Buffy. But really now, can we give the bloodsucking romances a short time-out? This Twilight shit has clearly gone too far, and god knows what kind of copycats Hollywood is about to follow up with. So with that in mind, here's a pop culture (and thus, pop music)-oriented post that has nothing to do with vampires. You're welcome.

So despite the steady stream of leaks that have been pouring forth from Kanye's 808's & Heartbreak, I've refused to feature any on the site thus far, mainly because everyone else was doing it, and partially because I wasn't quite sure what to make of it all yet. Well I've been forced to change my tune today, because 'ye just dropped "Welcome to Heartbreak", the best track from the album yet, so good that it seems to validate his whole crazy experiment thus far. "Hearbreak" is easily the bleakest song Kanye has ever done, so much so that it risks veering into melodrama, but the detached nature of the already-infamous Autotune makes it all work. It's a tiny masterpiece of a song, and something that further signals Kanye's progression from a superior pop artist to icon-in-the-making. The polished version of 808's & Heartbreak finally comes out Nov. 25, though you can basically find all of the songs floating around the net right now, thanks to Kanye's own leaks.


---------------------Song of the Week----------------------------
Kanye West - "Welcome to Heartbreak"



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Another pop figure who's made a surprising transformation (albeit a slightly more mainstream one) in 2008 would be the one & only Akon, who began the year by producing stellar indie-pop (if such a thing exists) for Lady Gaga, before transitioning to work on his newest LP, Freedom, all somehow while curbing his old impulses to over-expose himself. During the course of all this, he's gained a little bit more of my admiration. For some reason, while I should despise the man on paper, I can't deny that he can write some pretty solid pop songs. And if the tracks that have leaked from Freedom are any indication, he's actually improving. Thus, despite the presence of a man who seems to have taken over Akon's old job of guesting on fucking EVERYTHING, I present a song which is genuinely awesome, even if you'll be sick of it a year from now:


Akon feat Lil Wayne - "I'm So Paid"

I don't know what's in the Australian waters these days, but I for one am glad to see an emergence of music other than dancey-dance-rave stuff (not that there's anything wrong with Cut Copy, The Presets or Panther DLX, it's just that it's all getting a bit stale). Leading the new pack of mainstream-ready rock acts are The Panics, a not-quite-Coldplay act that feature a lot of horns, which if you didn't know, can make me instantly like any band. "Don't Fight It" has begun to catch on in the US, over a year since the band's first LP, Cruel Guards was released. With luck, the rest of the album may finally find an audience as well.


The Panics - "Don't Fight It"

And finally, I've got an awesome, 80s-tinged remix from The Teenagers (a band I saw a while back at Part-Time Punks that's really a lot of fun live), of Vampire Weekend's awes.......................Waaaaaaaaaaiiiiiitt! Well look at that. Guess I just plum failed you all. Oh well. Who could have possibly seen this post ending like this? Well, sorry guys. I guess the bloodsuckers won after all! (Cue Looney Toons-style shrinking fade-out, with whacky send-off music to match).

Vampire Weekend - "Cape Cod Kwassa Kwassa" (The Teenagers' remix)

Blowing Up 2: The Sequel

So Shark Party has now joined the MOG Music Network, which means even more people are coming to the site, as evidenced by the new deluge of downloads and band e-mails I've been getting. It's certainly exciting, but a bit scary since now, people are, you know, reading and stuff. On another note, I recently had one of my entries from October ("Strange New Strange", featuring TV On the Radio, Shiny Toy Guns and others) taken down by Blogger because of an anonymous record label protest. So if all of a sudden any of my entries vanish into the ether, that would be the cause. While it's understandable on Blogger's part, it's also a bit frustrating, given that it tosses the baby out with the bathwater and destroys my entire post, for the sake of one asshole. So if it happens again, I may restructure how I post here. For now, though, I'll keep chugging along.

Deerhoof is a weird-as-fuck band from San Franciso (figures as much), that has been fairly prolific, despite living on the musical fringe for some time now, but may have a chance to break through to a wider audience (if not exactly the mainstream) with their new LP, Offend Maggie. Lead vocalist Satomi Matsuzaki still packs as much quirk as ever, but the rest of the band has beefed up its sound, layering harsher guitars and experimentation to her light and fluffy delivery. The final product is a cheerful clash of sound that puts the "rock" back in "art rock", and stands as one of the most engaging things I've heard all year. It's also bordeline ah-mazing if you're under the influence of something else that comes from California, or at least so I hear. It's always a good thing when I wrestle with which song to post. I love a few on the album near-equally, but I figured I'd give the this one the spotlight, considering it's the right season and all. Make sure to seek out "Fresh Born" and the incredible title track though, if this doesn't convince you to buy the damn thing. Angelinos can check out the band this Friday when they play The Echoplex with Experimental Dental School. I'm jealous of anyone who gets to go.

----------------------Song of the Week-----------------------

Deerhoof - "Basket Ball Get Your Groove Back"

.............okay, because it's just so fucking good, here's the aforementioned title track, set to a suitably weird-ass video:



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From a band I absolutely love to one I might learn to like, we come to The Stills. Upon their arrival five years ago, I was immediately turned off by singer Tim Fletcher's Ian Curtis syndrome, an illness which has instantly killed some (She Wants Revenge) and yet merely held others back (Editors, Interpol) for me. I assumed The Stills fell into the first column, even after I heard their second album had a crazier, more psychadelic vibe. Their newest album hasn't won raves, but ironically, I much prefer it to their first effort. It's not mind-altering stuff, but it finds the band crafting some memorable hooks, and some arena-ready choruses. The best example can be found with "Being Here", which sounds like the song bands like Daughtry or Razorlight have been attempting to make for the last few years, and never quite capturing (to put it mildly). My ears could be decieving me, but I think it's quite good (arena rock can be your friend).


The Stills - "Being Here"

Next up is a song I've been meaning to write about for a while, from a band that until recently, I'd written off as a one-hit-wonder (and a slightly overrated one at that), with the Aoki-clan (or if you're in NY, the MisShapes scene)'s favorite song of 2007, "We Are Rockstars". The band in question is British electro-rockers Does It Offend You, Yeah?, who have recently re-appeared on indie103 with their second single, "Dawn of the Dead". It's lighter than "Rockstars", despite the title, and is a nice throwback to Duran Duran-era British pop. It also forced me to examine their debut LP, which was far better than it has any right to be, coming off as a more earnest Electric Six crossed with some extra 80s synths. If you're into that sort of thing (and who isn't), it's more than worth a gander.


Does It Offend You, Yeah? - "Dawn of the Dead"

Finally, I've got something just for fun. Friday night in West Hollywood, me and my friends decided to get happy & go see "Repo! The Genetic Opera". If you haven't heard of the film, it's easily summarized as a graphically violent, gothic rock opera starring Sarah Brightman, Giles from "Buffy", the girl from "Spy Kids" and Paris Hilton, directed by the guy who did some of the "Saw" movies. If you're not sold yet, you probably never will be. Whatever the case, I decided that if I ever were to see the film, it would have to be in just the environment I ended up putting myself in: intoxicated, surrounded by an army of "that girl"s, all of them as doughy as they were angry, dressed to the nines in costumes from a film that had yet to come out, marching down the theater line singing songs from said film, while being cheered on by the film's director, as well as the cast (including Hilton). The film is retarded on every level imaginable, but the environment was 100% conducive to having a good time, and thus, I had a blast. On top of that, the cast is 100% committed (even Hilton, who's used as a twisted-Edie Sedgick-style prop), and the music is memorable. Not always great, but never less than memorable. Submitted for your approval is Vega's sexy (relax, she's 20 now) defiant "fuck you, dad!" declaration of independence, which is inexplicably aided by Joan Jett on guitar. Yeah, like I said, it's pretty retarded. But kind of awesome at the same time. grrl pwer!!!


Alexa Vega feat Joan Jett - "Seventeen"

PS: Paris' face peels off during the movie, mid-dance routine, so that alone is reason to see it. Don't look at me like that.

Celebracione!

Need I say more? Here are some songs to celebrate a generally happy week. And when I say celebrate, I mean listen to cool music. In addition to a wonderful trip to NY that included some fun stops in the old LES stomping grounds (Pianos, Arlene's Grocery & more nostalgic waterholes), a lot's happened in just the few days since I've been back in LA. Don't know if you checked the news recently, but it's been kind of a good few days for the whole country.

So last night, I barely escaped one of the most wretched places on Earth: The House of Blues in Anaheim, CA. Located inside Downtown Disney, the venue features overpriced parking, overpriced House of Blues Chicken Tenders, and overpriced Adios Motherfuckers (aptly renamed something involving the word "Blue" that escapes me). It also features the type of clientele that thinks all of this is awesome. Why did I choose to navigate this sea of horrors? Well, I got a free invite to see She & Him, so I figured it would be worth it. Despite the atrocious opening set by Lavender Diamond (honestly, so bad that I feel guilty for naming "Open Your Heart" one of my favorite songs of '07), it was indeed worth it. Consisting of actress Zooey Deschanel and veteran musician/producer M. Ward, She & Him emerged late last year and instantly carried more credibility than any Hollywood vanity project in history, thanks to the simple fact that the songs are actually good. Luckily, the two of them also are born performers, and last night, showcased a hell of a lot of charisma to match the charming tunes. Despite the fact that she faced down hecklers shouting "The Happening sucked!" (which, honestly, was kind of hilarious), Zooey worked the crowd and came off like a pro (and obviously a hot one at that), especially when only her and M. Ward were sharing the stage. I had heard some of their music before last night & liked it, but had never dove in headfirst. The show sealed my admiration for the duo, as I realized their songs have longer legs than I first suspected. The music's not Earth-changing stuff, but it's catchy and more than worthy of a listen:

She & Him - "Why Do You Let Me Stay Here?"

My anticipation for the Killers' Day and Age is growing each week. Something tells me this one might be something special. Again, that might just be my man-crush for Brandon Flowers talking, but I think the new studio leak of "Spaceman" (the live version debuted on 'SNL' a few weeks ago) proves that there's reason to get excited. Despite the dark, anti-melodic tone of Sawdust's B-sides, the band seems to have reversed hard in the opposite direction, creating pure dance-rock, with emphasis on the "dance". Whatever your opinion of the band, you can't deny they can craft a seriously addictive hook. And if for some reason you can deny that, check out the song below.

The Killers - "Spaceman"

For those wishing to party like it's 1993 comes Abbot Kinney, a new band that (despite its ocean-side name) has been making waves on the East LA circuit for a while now. Their sound is unique to the Angelino scene; belonging neither with the art rockers emerging from downtown, nor the easygoing hipsters of Silverlake. Despite the fact that the 80s revival is somehow still trucking (The Killers, Crystal Castles), with a step back to the psychedelic 70s on its tail (MGMT, Beach House), Abbot Kinney has decided to move the jam session forward a few years. The band invokes a sound that culls from early 90s college radio, with The Pixies and "Pablo Honey" era Radiohead as specific influences, though the guys could hardly be called a throwback group, as they check the irony and self-sympathy of Generation X at the door. In its place is an Obama-era (an awesome and only slightly cloying thing to type) earnestness that showcases "emotion", while never succumbing to that word's first three letters. The band has thus far released a small batch of demos, which, while not yet polished, have still presented a wide variety of sounds and a startling maturity for such a new band. No EP is available for wide distribution, but you can check out some of the band's songs right HERE, and I'm sure you'll be hearing a lot more from them right here in the near future.


Abbot Kinney - "Hope View"

Bringing back the early 90s in their own way is New Zealand's Cut Off Your Hands, who invoke the spirit of shoegazy acts like Catherine Wheel and My Bloody Valentine without letting the music get bogged down in the dreamy reverb. The songs propel themselves forward with lightening pace, and despite being labelled "power pop", they carry a considerable edge. They've just completed work on their first LP, You and I, and while it doesn't yet appear to be available on i-tunes, it's worth visiting Ameoba (or if you're in New York, Other Music) to snag. It's a brilliant debut for a band that will hopefully catch on in the US as well as they have back home.



Cut Off Your Hands - "Happy as Can Be"