Top 5

5. Yo La Tengo-I am not afraid of you and I will beat your ass

OK, so at this point just about everyone has had something to say about this album, and everyone has said something different. In fact, everything on this top 5 is somewhere else on someone’s list, but that’s beside the point. My experience with Yo La Tengo, at least is long but intermittent, following my entire experience with indie rock music in general. Back when I first got into bands like Pavement and early REM, during freshman year of high school, I totally got into Yo La’s I can hear the heart beating as one; a few months later, typical for high-school me, I pretty much started ignoring the album as well as the band and the genre of college rock in general, moving on to third-wave emo or something. A year and a half later, while I was digging Elliott Smith and Nick Drake, I absolutely adored And then nothing turned itself inside out, only to discard it in favor of neo-psych like the flaming lips and sparklehorse. When I go back through the band’s catalogue, then, I feel really nostalgic and sentimental; the sound reminds me, at the same time, of multiple and influential parts of my life that the band led me through. The new album, I am not afraid of you and I will beat your ass, is the perfect album for this different-at-once sound, sampling all the best moments of the band’s career, including the old albums that I haven’t yet fully appreciated. It has long distortion-y epics like “Pass me the Hatchet” and “The Story of Yo La Tengo,” it has rocky pop gems like “Beanbag Chair,” it has lilting pop gems like “I Feel Like Going Home” and “Black Flowers.” Everything I want, and still unified-sounding, a complete album and vision (I disagree with you here, Austin). I wrote a review for The Depauw that said that this was one of the best albums Yo La Tengo has released; I stand by that. In a year that left me feeling absolutely disenfranchised with contemporary rock, a few veteran groups (Sonic Youth, Sparklehorse, Jarvis Cocker) reminded me that indie rock can still speak to me and be relevant, if not in its most current form (fuck you Decemberists!). Yo La Tengo did the best job of that for me.

4. Belle and Sebastian-The Life Pursuit

Marathonpacks says that this is undeniably the best Belle and Sebastian album. I don’t agree, but I can see why someone (maybe lots of people) could say so; this album marks the end of Belle and Sebastian’s evolution from the relatively limited sonics of melancholy twee-pop to the anything goes complex aesthetic of complex pop epics. While the emotional content of If You’re Feeling Sinister still strikes me as more genuine and affecting, The Life Pursuit is unquestionably a more complex, mature, and superior album musically. Just listen to “Another Sunny Day,” “Sukie in the Graveyard,” or “Funny Little Frog;” these songs sound just as beautifully catchy and melodically rich as the 70s psych pop that seems to be the model. Like the groups from the 70s, too, B&S combine elements of T Rex, the Zombies, and, yes, the Beatles and melds them all together to make an album, and sometimes songs, that show elements of all the influences while not sounding redundant. Really, mixing elements of those three bands is enough to keep me busy for a lifetime. And Belle and Sebastian do it soooo well. I am unapologetic for how much I like this album; like quite a few albums on my list (Mogwai, Rapture, my #1 album), this album has been called a sell-out venture by die-hard fans; well, it is more accessible and poppy than older albums, but Stuart Murdoch’s songwriting genius is more mature and sophisticated than it has ever been. Plus, as I believe now more than I ever have, what is so bad about releasing a poppy album?

3. Herbert-Scale

As Jordan mentioned, Herbert has been around for so long and put out so much, but it took last year’s Roisin Murphy album for me to even learn about him. That’s a shame; I like the old albums of his I have listened to since then. I discovered him just in time, though; I don’t know what I would have done without Scales this year. Last year, I thought that Jamie Lidell had perfected the subtle art of white-boy soul meets glitchy electronica; I had no idea. The songs on Scale are perfect soulful dance gems; the melodies are catchy, the lyrics are interesting, the production is perfect. There have been several analyses of the political implications of Herbert’s songs on Scale; what I love most about this is how much work and thought a political interpretation requires, how subtle it is. I don’t want to go into that now, but look it up if you’re interested; here’s a starting point. What really keeps me coming back, though, is how catchy this album is without being overbearing. I have a feeling I will be grooving to this album for years to come.

2. Hot Chip-The Warning

I think this is the only album on everyone’s list; am I right? I win, though, since I have it highest. Actually, from what I have read, I get the feeling that if all of you had had more time with this (and if Jordan would stop liking his brooding shit), it might be in everyone’s top 5 for the year. I have had the luck of getting this album right when it came out, back in Berlin; as you know from last year’s list, I was already in love with the group. I didn’t really take them seriously, though; it was hard to with all of the white-boy goofiness of Coming on Strong. I had no idea, therefore, of just how mature The Warning was going to be. Not that it isn’t goofy and fun; it certainly is that. As opposed to the last album, though, the new one has all kinds of songs, slow ones with sad ones, serious ones with goofy ones sometimes with elements of both in the same song (see the title track). Like the old effort, though, the band’s lyrics are clever and poignant. I never thought that an album could be at once dancey and profound; this album certainly does that.

1. Cat Power-The Greatest

How could I resist this album’s title? Seriously, though, I have considered this album my favorite of the year since April or so, and nothing has been able to topple it since then. For a couple weeks I though the Rapture might, but it didn’t have the lasting power that this album does. I don’t really have that much to say about it; everyone already knows it, everyone already likes it. Maybe I should start with why I love it, then. As you can see if you look through the archives, back in January or whenever, I reviewed this and gave it a measly 8.1. The haunting melodies, though, don’t just give up after a few weeks of listens; they bring you back, make you think about the songs in different ways. The best part of the album, though, is how Chan Marshall ends all the songs. Why does “Living proof” end there, couldn’t it keep going? I want to hear more of “Could We”! This album is a clinic in how to keep your melodies but cutting them off; too many indie artists like to play song structures out until they die. Of course, the fact that I’m talking about catchy melodies and not introspective lyrics is certainly offensive to lots of Cat Power fans; that’s why they love Moon Pix while I love this album. Not that The Greatest is shallow or empty; on the contrary, I think the lyrics are just as poignant as any other Cat Power album, which is saying a lot. The moods of the songs are more varied than those in other Cat Power albums, though, which is another reason I love this album. It takes you through highs and lows; this is probably what Jordan meant when he talked about the lack of sad songs on The Greatest. For me, though, The Greatest can be the saddest of all her whole catalogue, because of this very diversity; the highs of “Could We” and “Islands” make the drops of “Hate” and “Empty Shell” all the more dramatic. Anyway, I haven’t said anything about the warm Memphis sound, but you know all about that already. It’s my favorite album; there, I said it.

10-6

Yeah, Yeah, I'm a day late. As jordan mentioned, though, I didn't sleep last night, busy applying to grad school and writing a Milton paper. Today I took a Sununu final on no sleep; it was interesting. I have gotten extensions for two other research papers, so I assume I can have an extension on this. I should be able to post my top 5 later tonight, though.

10. Sonic Youth-Rather Ripped

I don’t know how well you, the reader, know me, but I am a pretty rabid Yoof fan. This might seem contrary to my heavy emphasis on pop melodies and production, and I think it is; I’m not sure what made me start to love the masters of distortion, but I do, and they are a definite contender for the coveted all-time top 5 list. Anyway, on some level, I think that everything avant-garde and noise-y that I like stems from its similarities to Sonic Youth. Which is why this album, the band’s best work in years (like since 1000 leaves at least, maybe even [gasp] Washing Machine), is so ironic; this song is not avant-garde or distorted at all. It is a great rock record, full of melodies, singing, normal guitar solos—rock stuff. Not to say that there is no distortion on this record, but it is used as an addition to the song structure, as opposed to vice versa. Like Jordan (or someone) said, the guitars are really restrained. And Christ, songs like “Jams Run Free” and “Incinerate” are so catchy, anthemic, and beautiful. I’m pretty sure that the last two Youth releases have also made my Top 10 lists, and, as said before, this one outshines them; let’s just hope everyone’s favorite aging hipsters can keep this streak going.

9. Spank Rock-Yoyoyoyoyo

I have never heard an album have so many remixes so quickly. Seriously, I have a folder on my desktop called “Spank Rock remixes” that has over 30 songs in it. A lot of this popularity, of course, comes from the fact that Spank Rock posted the a capella versions of all of his songs online and free for download; the remixers went at it. More than that, though, the dj/dance community recognizes in Spank Rock that they/I see in tragically few MCs; a distinct and funky rhythm that is dominated by beats, a flow that plays against instead of with a given drum loop or sample. Spank Rock is aware of this, and uses genius but simple little beats behind his tracks on his own versions of his songs, just like his great remixes of other artists (CSS etc). In a year dominated by groove tracks for me, Spank Rock was reigning MC, showing up everywhere I looked. At SCHOLARTRON 1.6USTER, the latest Scholartron party, Miguel (DJ Rockwell) alternated sets with the scholartron; our main point of overlap came in the form of Spank Rock, who made multiple appearances with both man and machine. The dancers loved it of course, grooving all night to at least 3 different versions of “bump.”

8. Peter Bjorn and John-Writer’s Block

So I had the luck of hearing the new Peter, Bjorn and John album early. And I mean early; my friend brought back a ’45 from the record label he worked at back before the album was released in Europe, which was way before it was released in the US. It was “Young Folks,” and we had just seen the Concretes that week; we ate the single up. Pitchfork didn’t like it so much, though, giving it a 3 or something on their singles review. I got to see the group in Berlin a few weeks later, on a mis-scheduled tour; they didn’t have any releases in Germany at the time, and had to play to a crowd of almost no one in a restaurant that charged 1 euro cover. It was great for me, who got to see an engaging if short live performance sitting right in front of what most probably thought was a local band; the show was really enjoyable. The album was also stellar, and quickly became my late spring sound of choice; I loved the catchy pop melodies and elegant production; songs like “Paris 2004” and “Amsterdam” haunted me for days on end. Pitchfork did not like the album very much, though, giving it a 6.something, I think (this is going somewhere, I promise). Ok, flash forward to this fall, with the trio taking the blagosphere by storm; everyone loved “Young Folks,” everyone loved “Amsterdam,” etc. Which they should. How does pitchfork respond? They add “Young Folks” to their infinite mixtape, and re-review Writer’s Block, this time giving it recommended or best new music or something. Those fucking two-faced revisionists! I was outraged, I am outraged, and no one knows/cares. Of course, I shouldn’t care about that website any more, but they didn’t do justice to one of the best albums of the year, and then they try to act like they did once it becomes popular.

7. The Rapture-Pieces of the People we Love

I like Pieces of the People We Love more than Echoes.

6. Clipse-Hell Hath No Fury

For me this is a cop-out position for the new Clipse album; 3 months from now, this album will either have risen to my top 5 or dropped out of my top 10, I’m sure. It’s just too unrelenting not too; the verses are demanding, the beats are violent, the production is in-your-face. Pusha T and Malice are much less lovable than they were on the first Clipse album. And this is why I love Hell Hath No Fury; it is unforgiving and dark while progressive and forward-thinking. Back in the day, I used to be all about “intelligent” rap music, you know the kind, Roots/Tribe/Talib, rapping about more abstract (no pun intended) subjects like politics and philosophy, groups that didn’t promote violence or drugs, instead opting for more “positive” lyrics. These days I think: fuck that. Intelligent rap music, intentionally or not, is the cultural appropriation of hip-hop culture by white people, who don’t want to deal with the unseemly aspects of the class struggle that permeate hip-hop culture. Well, as far as I can tell, it’s there, and it seems much more real to spit verses about slinging crack than to observing the problems from the outside like tamer hip-hop acts do. It’s the difference between talking about the culture and showing the culture by being a part of it. And of course I hate the term “intelligent rap;” it’s not only culturally classist, but also just wrong; Pusha T and Malice make some of the most clever and fresh wordplay that I have heard in rap music since, well, maybe forever.

15-11

11. Califone-Roots and Crowns

I really ought to be angry at Califone. It isn’t fair. They could shit out an album (which they have, with their improvisational noisescape-y Deceleration series) and I would love it. They have the perfect formula for a Michael Roberts late-summer album: heavily affected acoustic guitar, lilting alt-country melodies, heavy distortion that somehow sounds organic and acoustic, and Tim Rutti‘s enchanting, muttered vocals. Quicksand/Cradlesnakes was a monster of an album, and the Heron King Blues EP still finds its way into my car CD player all the time (it’s there now, in fact). But Roots and Crowns is by no means the group taking a break; in fact, it sounds like Califone’s most concentrated, dedicated effort yet. The songs are much more tight, and the album flow sounds more like a thought-out progression than in previous (possibly more organic) releases. This album hops Americana-genres like previous releases, but to a greater extent: just listen to the bongos of the country funk in “Pink and Sour” or the chugging guitars in “A Chinese Actor.” Today I was in Bloomington for lunch after picking up the new issues of a MWR, and found myself in TD’s record store; I saw a vinyl copy of Roots and Crowns and had to buy it. Califone is one of those bands you want on vinyl for summer nights drinking whiskey, and this is maybe their best album yet. Listen to “The Orchids”

12. Espers-II

I won’t say too much about Espers, because Jordan is much more knowledgeable and passionate than I am, and he will talk about this later. Anyway, I didn’t get into this album, nay this band, until this fall. I immediately fell in love with the whole catalog, though, particularly this album. Just listen to “Widow’s Weed” at night and try not to feel a rush of emotion that you can’t identify. This album is filled with haunting-spine tingling psychedelic anthems that are much darker than the melancholy of Sparklehorse. That’s all I have to say; listen for yourselves.

13. Sparklehorse-Dreamt for Light Years in the Belly of a Mountain

I was in love with Sparklehorse late in high school, but I didn’t really understand just what I was in love with. I didn’t pick up on the subtle psychedelia , or at least I didn’t put the group in the same basket as the Flaming Lips or Mercury Rev. Now I can see that they are, and after such a long break (6 years!), they return as full, sad, and beautifully psychedelic as ever. I already wrote a review for the paper trying to get everyone to buy it, so I don’t feel like trying again; I am just worried that because of the band’s “older” status that they won’t get enough attention as they should. Just listen to opener “Don’t Take My Sunshine Away.” It sounds like I wish The Flaming Lips’ “Do You Realize” should have; the bittersweet love/death is much more subtle, moving, and profound in this one. This album was just what I needed, a soothing and melancholy assortment of psychedelic gems to take me through the fall.

14. Mogwai-Mr. Beast

So Mogwai is one of my favorite contemporary bands. I love them; they put the energy of rock and roll into one of my favorite sub-genres, post-rock. And when I heard that this album was going to come out, and that it was getting good reviews, I almost wet myself. The I heard that all of the songs were pretty short, not expansive like on previous outings. That got me worried; that was part of what I loved about Mogwai. After hearing the album, though, my fears were assuaged; the songs are not epic, but they are beautiful and compact, forming the most accessible Mogwai album yet, while not giving up artistic vision. Some hardcore fans might call this a bit of a sell-out record, but I am a hardcore fan, and I do not. I saw Mogwai in Berlin in April, and it was the best concert I have ever seen in my life. If anyone knows me, they know how hyper-sensitive I am about my use of the superlative; the concert was amazing. By far the loudest show I have ever seen, the group had a strobe light show behind them, and the beautiful noise combined with the lights induced some kind of transcendent euphoria/trance/mania that I would pay lots of money to experience again. And through all of the ruckus that probably aged my ears years, I could still hear the delicate xylophone melody that drove a song, showing the true colors of the group: monstrosity + beauty = Mogwai. Listen to Folk Death 95

15. Mylo-Destroy Rock and Roll

So last year had that epic disappointment of an album, Daft Punk’s all-too-aptly-titled Human After All; fortunately, Vitalic released a more contemporary, more aggressive version of French House to replace it. This year, British genius-remixer Mylo has gone in the opposite direction for my album-long House fix. These songs are distilled melody and catchiness, taking the most accessible moments of Homework and running with them. In fact, parts of Destroy Rock and Roll sound so much like late-1990s accessible techno (think Fatboy Slim’s Better Living through Chemistry too), that I had to develop a theory for it. Everyone knows the party line of Homework; it shows a modern techno nostalgia for late 70s synth garage and dance music (early early techno, not disco, mind you). Well, I think that Destroy Rock and Roll does the same, but one step removed; Mylo shows nostalgia for Daft Punk’s nostalgia. How else could songs like “Drop the Pressure” sound, nay feel so much like contemporary versions of “Da Funk”? In general, though, what a fun album. It might be too catchy to stick with people to the year-end lists, and it certainly isn’t as progressive as Vitalic’s album last year, but as you can tell, I’m a sucker for pop and fun.

20-16

20. I Love You But I’ve Chosen Darkness-Fear is on our side

Yes, this Austin group has a clumsy moniker, but it actually describes their sound pretty well: their first full-length is full of swelling guitars, new wave distortion and haunting lyrics. I didn’t like the EP as much, which seems to be contrary to most opinions in the rock world. This album sounds less contemporary to me, and more classic, or timeless. Well, maybe not timeless; maybe more Crocodiles-era Echo and the Bunnymen, or Disintegration-era Cure. I am such a sucker for that kind of music, and ILYBICD does it so so well on this album. I saw them in a tiny record store with shitty acoustics this semester; they did what they had to do in such a situation, which is blast the shit out of their speakers. Overall it was a good show, with “The Ghost” and “According to Plan” giving me front-row chills; no wonder, since both songs are among my favorite rock singles of the year.

19. Phoenix-It’s Never Been Like That

Man, I can just feel my hipster cred plummet with this album in this spot. Parisian garage-pop band (emphasis on the pop) releases their 3^rd and by far best album this summer. And what a summer album; these songs are catchy, cute, and fun. On this release the popsters try to make their songs more aggressive, adding all kinds of Strokes-y guitars and pounding drums. Phoenix is all about slick, glossy production, though, and the band can’t help but refine every would be crasher to a sugary pulp, perfect for daytime consumption. Just listen to the details of these songs: the hi-low guitar volume that goes by almost unnoticeable, the impeccable bass. Sure, these songs aren’t serious or anything, but intense listening does offer rewards. Plus, the album features one of the best creepy-crush lyrics I have heard in ages: “I’m going to read every novel you read.” The album, like the feeling of these lyrics, may not be the most mature or sophisticated, but it is a welcome retreat to the silly and pop that I love here; after all, isn’t that how Rock and Roll started?

Check Out "Long Distance Call"

18. Justice EP/Van She EP/Klaxons EP

If there is any genre of music from 2006 that I feel comfortable recommending, it is this new genre of electro house or indie disco/paisley dayglo. The only problem, though, is that almost no one from this emerging scene released an album this year. Ed Banger’s DJ Mehdi did, and there have been a few Kitsune Maison collections like Jordan mentioned, but the majority of the buzz for indie disco has come in the form of leaks, singles, and EPs. So…. I just put three of the best electro-house and indie disco EPs together and gave them one spot. Sue me. Justice released what will almost certainly be my favorite song of the year, “Waters of Nazareth” (check Jordan’s blog for the mp3 link). Every other song and remix on this EP, though, is solid gold: heavy heavy heavy French house music, requiring fist-pumping and dancing. The Van She is a little different, although their DJ sets sound so much like a cross between Justice and Daft Punk. On their EP, though, they sound more like 80s synth-disco; “Kelly” is an amazing track that has been remixed by everyone, including house power-team Alan Braxe and Fred Falke. And finally, the most rock-like band here, come the Klaxons. Oh my god have they been hyped in the blogs. I have never seen a band without an album be so remixed this year (well, maybe New Young Pony club). They have releases at least three singles that exploded everywhere, highlighting their rave-y garage-y sound, and I hope for more whenever they release a real album. Check out creepy single “Magick.” For more music like this, see my year-end singles list, or the links to the side, or just email me; I have so many of these singles—you have no idea.

17. The Knife-Silent Shout

I assume that everyone else is going to write about this album, and I don’t really have anything new to say. Yes, I didn’t get into Deep Cuts until this year, when I heard the drop-dead single “Heartbeats” at a club, and fell in love. Yes, the new album is creepier, darker, but still has the sublime melodies buried within it. Yes, there is a multitude of amazing remixes of songs from this album, including a cute one from Ratatat. Yes, I regret not seeing the Knife live in Berlin, on what was their 3^rd live appearance ever. Yes, this album is not as high as might be expected; I just wasn’t in a Silent Shout mood for enough of this year for the album to be Top 10 material. Deep Cuts would be, though, had it come out this year.

16. Girl Talk-Night Ripper

When I was first introduced to Girl Talk this summer, I had the same sentiments that Austin does; it was super-fun to pick out all the samples and enjoy the clever mashings, but at the end of the day Night Ripper was just a fun exercise, like all of those lesser mash-ups we hear on blogs. After months and months of repeat listens, though, I argue for Girl Talk’s album as not only a real music album, but a really good album in its own right. This might have something to do with all the postmodern theory and adaptation theory I have been reading for my thesis this semester; Gillis uses the postmodern idea of pastiche to juxtapose lots of different sounds from the past and undermine them, creating new ideas. Now Night Ripper is by no means directly political or anything, but I think that putting “My Humps” over Annie says something about what music is acceptable or unacceptable for some people to listen to, and why people like the music they hear. Did you not like “My Humps”? Or Julez Santana? Are they improved with samples from Neutral Milk Hotel, or just placed in a new context, so you can appreciate them now? “Tiny Dancer” and “Juicy” are both on opposite borders of indie-kid acceptability; what happens when you put them together? Everything is catchy; the album is pure, unrestrained joy in music. I think that’s the point of Night Ripper, a point that makes this Girl Talk album a much more successful music album than most attempts by groups recording their own sounds. Oh, and I am going to see Girl Talk on New Year’s. Rawk!

Best of 2006, 25-21

OK, so here I am again with my Year-End List of 2006. Overall 2006 didn't have as many albums that I lovedlovedloved like 2005, but it actually had more very good albums that would compete for the 25-10 spots. So take that for what you will. In fact, I will just list the next 5 that I cut from my list here, in no particular order. What would be 26-30:
TV on the Radio-Return to Cookie Mountain
Destroyer-Destroyer's Rubies
Lupe Fiasco-Food and Liquor
Wizardzz-Hidden City of Taurmond
Ratatat-Classics
Some of these might be surprising in how low they are, considering some of them are popular top 5 choices for the year, but that's how it goes. All of these were very good as well. Anyway, for the REAL list, I will be posting 5 a day, every day this week. Starting with the bottom, of course. Then, sometime next week or the week after, I will be posting my top singles, which will be much more difficult. Because of my newfound love of electro-house and indie rave, this year has very much been the year of the single for me. I also posted some links to some songs from some albums, in mp3 form, from zshare; enjoy. Anyway, on to the albums:

25. Beirut-Gulag Orkestar

I first heard this album back whenever it first came out, but it didn’t really stick with me. Sure, the eastern European rhythms were enchanting, and Zach Condon has a beautiful voice that sounds more than a little like my boy Jens Lekman, but somehow a 19 year old American making these songs didn’t make sense to me. Maybe I was just jealous that someone younger than me could be so immediately successful in the indie music scene. Anyway, as the fall semester wore on, I found myself listening to Gulag Orkestar more and more; the melodies were haunting, and the eastern European tinge made each song sound different from everything else I was listening to (mostly dance music). It might also have something to do with the fact that a standout rack on the album, “Prenzlauer Berg,” is named after the neighborhood I lived in while in Berlin earlier this year. In fact, while visiting a friend from Berlin in Minneapolis, I went to see a Beirut show, and was happily surprised. It was a great show, and combined with my company and my drunkenness, I almost felt like I was back in Europe for a little while. Check out: Postcards from Italy

24. Jack and Jeffrey Lewis-City and Eastern Songs

This is one of the few albums on my list that I expect will not be on almost any other year-end list. In fact, it wouldn’t be on mine if I hadn’t decided one day to open this album at the radio station. It just looked like some low-end folk album, but it was on Rough Trade, so I gave it a whirl; man am I glad I did. It was full of touching anti-folk ditties (note: not freak folk) that contain sweet melodies and some of the most honest, open, and heartbreaking lyrics I have heard this year. This isn’t poetic Elliott Smith schtick by any means; Jeffrey Lewis sounds more like a nice but depressed aging hipster, sad-drunk and telling you about all the concerns he is having in his relationship, his career, his life. Everyone needs to check out “Williamsburg Will Oldham Horror” for an entertaining and sad story song about Jeffrey Lewis’s career and a possible Bonnie Prince Billy sighting.

23. Junior Boys-So This is Goodbye

A couple years ago I was really in love with Junior Boys’ first album, Last Exit, so it would make sense that I was excited for this one. What doesn’t make sense is just how different this album sounds, and how I like it just the same. Gone are the crazy glitchy rhythms and complex song structures; this album is all about simple, straightforward electro-soul songs. This is probably because drummer, one of the Junior Boys himself, is now no longer a Junior Boy. I'm all about these neo-electro soul ballads, though. I might have been a little hesitant, but the first leaked song and possible single-of –the year-contender “In the Morning” let me know right away what a great album this was going to be.

22. Ghostface-Fishscale

Ghostface is my favorite member of the Wu Tang Clan. These days he seems to be everyone’s. For me his angry and high voice combines perfectly with his violent, angular flow to making some of the best verses in all of rap music. Now that he is working with Doom and the pitchfork staff loses it every time he is featured on a song, indie kids everywhere have made the switch from GZA or Meth or whoever to Ghostface. I like that, and I like that so many people made such a big deal about this album. It deserves it. Fishscale was one of the few albums that I actively sought from Berlin; in most cases I had given up listening to every new album until I returned to the states, but I demanded that someone download and burn me a copy of this one (I didn’t have access to the internet at home). I was glad I did, and enjoyed Tony Starks’s anger and wisdom throughout the spring semester. As I will mention later in this list, I was pretty consistently disappointed with hip-hop (and most anticipated music in general) in 2006; I am glad that Ghostface didn’t let me down.

21. Liars-Drum’s not Dead

This album is one of those that I feel requires an essay to fully review/describe, and I don’t have the time or energy for that; I still have 50 or so pages to write this week. So instead, I will describe my response to this album in anecdote form. The day I got to Berlin in early March, I immediately began looking for concerts in the area. Much to my joy, I found out that Liars and Wilderness were playing that weekend, some 3 days away. I quickly found out where the venue was, only a few blocks from my house, and on Friday night, still knowing no one in the city, I walked over by myself. Liars recorded this mind-fuck of an album in Berlin, so they had quite a few friends/fans there, and everyone was totally into the music (as I would discover later, this is very unusual for Berlin concert-goers). Wilderness were inspired, but Liars were captivating and, well, scary. The club was dark and sweaty, looking kind of like that underground club in that late Smashing Pumpkins video (I forget which one). Anyway, I was sober (the last time I made this Berlin concert mistake) and just in awe of the music, the venue, the city. In short, this album, this band, as intelligent and as deep as they may be, they are the perfect atmospheric group, providing the perfect soundtrack to anything dark, heavy, and cool. I listened to this album over and over, just letting it kind of drone in my head while walking around, reading, whatever. I suggest you do the same.