Best of the Oughts: Albums 1-10

We're finally here. The end of the decade is nearly upon us as is my list for the best albums of said decade. The further I moved down this list, the easier it became for me to justify inclusion of these albums in their rankings. Sure, the rankings will change and probably have since I first began this list, but I'm pretty confident with where things stand now.

Most of these records came out just before or since we moved here. The reason for that is the same reason I turned to this blog. This has not been an easy transitional period for me, for us. I could go into so many personal and professional struggles that have led me to blogging and burying my nose deeper into music, but this is a music post not one on misery. The fact that I still see it after five years as a transition should tell you enough.

Music is my savior. I can't play it. I barely can write about it. I've never really had much to do with it outside of consumption. However, I can hear music. I can feel music. Whether that means that I have the right or proficiency to push my opinions on you is up for debate. All I know is that music has talked me down from more than one ledge. It inspires me daily, hourly when possible.

You may not agree with my top-100 of the decade, but know that I deliberated long and hard over each album's place among the decade's best.

10. Fleet Foxes - Fleet Foxes
I love debuts that seem to come from nowhere to taking over the music world. This is exactly how I always wished My Morning Jacket sounded. Instead, these longbeards from Seattle found the formula. The harmonies and dreamy songwriting is so soothing. This is the kind of record you find yourself closing your eyes, nodding, and smiling uncontrollably.

9. Bon Iver - For Emma, Forever Ago
Released and then re-released, Justin Vernon made the most of a bad year and some alone time in a cabin surrounded by snow. I'm not sure I'd be as productive in such situations, unless I had wifi. This is the only break-up album that ranks higher than Beck's on my list. It's so soulful without being phony white boy soulful. The layers and textures this man got from recording in a cabin in the woods is quite impressive. This is one of the great surprises of the oughts for sure.

8. The Walkmen - You and Me
I went on and on about this album last year and a lot of that enthusiasm can be chocked up to fanboy obsession, but then you listen to this album. This is where the Walkmen deliver on their promise. Hazy, drunken ballads meet sonic rockers to make this nearly perfect cacophony of sound and hurt and boredom. I love the Walkmen and I love this album.

7. Iron and Wine - The Creek Drank the Cradle
When I saw Iron and Wine supporting this record, they were opening for Ugly Casanova. I paid no attention. My sister bought me this album for my birthday. She was right to pay attention. I was wrong. On no other Iron and Wine album is Sam Beam's hushed vocals so hushed. The album is almost nothing but guitar, those vocals, sometimes some slide guitar or banjo, and tape hiss. It's so good on a day in which you're snowed in, sipping on tea, and watching the birds fight over a few, scattered scraps.

6. Broken Social Scene - Broken Social Scene
This is what indie rock sounds like when it's as huge and vital as anything the failing major labels can concoct. In fact, nothing major labels came up with this decade comes close to this record. Broken Social Scene were able to pull together the collages of guitar and drums they previously used to pass as proper albums into what became a blockbuster of an album.

5. Animal Collective - Merriweather Post Pavilion
Usually, an over-hyped record does nothing but let me down. This one did not disappoint. Such an avant-garde bands typically release a shit-storm disguised as a breakthrough album, but this one found perfect balance. As with several albums from this year, it might be the freshness of new music, but I somehow think this album will have staying power. I also think I'm hearing music through new ears since Lucia was born fifteen months ago. Merriweather just sounds so big and bizarre to me, but it captures that newness and wonder Lu brings to nearly every encounter. She likes it too.

4. The Thermals - The Body, the Blood, the Machine
I discovered this one late, but it's never left my rotation completely. Where Japandroids have fulfilled my need to rawk, this record takes the next step by also making me think, making connections between Nazi Germany, the Bible, and our current political/social/economic mess. I feel this album so much more than even the few ranked above it. On one of my lowest points since moving here, I remember driving back from STL in the car alone. I popped this one in and screamed it the entire way. A great album can make you do that.

3. Wilco - Yankee Hotel Foxtrot
When opinionated hacks like myself define the idea of "album of the year," we should just hand someone this record. It's layered and textured, yet simple. It beat the big boys and was surrounded by drama. It burns American flags in a time that would be unthinkable. That and you can tap your foot to it. Rarely does a album cross so many genres so effortlessly. Everyone loves this album; the punks, indie geeks, alt bros, emo kids, record collectors, frat boys, feminists, etc. all love this record. It will forever be Wilco's greatest triumph.

2. Arcade Fire - Funeral
Sometimes listening to so much music and going to so many shows can wear on you. You get to the point where you start judging an album by listening to the first 20 seconds of every track. If you liked it, maybe it will play in the background. You go to rock shows and leave 20 minutes in. Then, your sister passes you a burnt copy of Funeral at Christmas. It never leaves your stereo. You hang on every word, beat, and note. You feel alive again when it plays. You smile uncontrollably. You feel like something is happening here. Music sounds new and fresh again. Funeral did that for me.

1.Sufjan Stevens - Illinois
Concept albums either go terribly awry or become incredibly memorable. Illinois fits the latter category. Where Michigan was quaint and depressed, Illinois was as large as Chicago itself and open to the possibility such a city brings to midwestern kids with dreams but no hope. This album mapped those possibilities Sufjan Stevens and his fifty states project held. Of course, after one records an album as good as Illinois, how can one continue a project in the same vein? Stevens would have likely never achieved the same level of brilliance found in what I consider to be the best album of the decade. It sadly may explain why the fifty states project ended at two but it did give us a record for the ages.

Best of the Oughts: Albums 61-70

And so the list continues...

It's actually getting really good around here. I still listen to several of the following records on a regular basis. Dan Bejar makes two appearances on this ten. Three of the bands feature strong female performers. The top two bands on this section of the list are scattered throughout the top-100, making them both strong candidates for band of the decade honors. This is getting fun.


70. M Ward - The Transfiguration of Vincent
This one was given to us by an artist friend who doesn't really follow that much music, but she was right to spread the M Ward. Is there any voice this side of Jim James that is more haunting? I think not.


69. Destroyer - Trouble in Dreams
I realize that this might not be Bejar's best material, but this is the album I've got. He's so weird in his writing and vocal stylings that he draws you in and makes him your favorite New Pornographer every time.


68. Sonic Youth - Murray Street
This one fits somewhere in SY's trilogy of post-9/11 efforts, but I don't exactly remember where. Whatever, for my money, outside of Daydream Nation, this era of Sonic Youth is the best. They were able to take the extremes of experimentation to a place that was listenable and approachable but still not conventional. That's not easy to do.


67. Swan Lake - Enemy Mine
This album grabbed me from the first listen. It's so big and weird and all three male voices intertwined in some three-way action. It's good. It's pure rock.


66. Yeah Yeah Yeahs - Fever to Tell
This is the peak of the Yeah Yeah Yeahs' ride. They just left their rough, indie beginnings and entered their ready-for-radio era. Before this, they were almost unlistenable. After this, they were practically Britney Spears. And the answer is 'yes, I overuse hyperbole.'


65. Cat Power - You Are Free
What a great protest record, even if it wasn't meant to be. Before Chan Marshal turned to soul and R&B legends, she turned to grunge gurus (Eddie Vedder, Dave Grohl) for this excellent post-9/11 work (though recorded prior to that day). Like PJ Harvey, Marshal didn't mean to respond to 9/11, she just did.


64. Radiohead - Hail to the Thief
Ominous. That's how we all felt after 9/11 and stolen elections and once we listened to this album. Radiohead encapsulated this time perfectly. (Sorry for all the 9/11 connections. It's inspiring another list. Don't you worry.)


63. Loose Fur - Loose Fur
This album maybe better represents what Wilco was messing around with in the studio when they tried to piece together Yankee Hotel Foxtrot than Yankee Hotel Foxtrot did. That and I love pseudo-super groups.


62. Okkervil River - The Stage Names
This album was so good that it bled into the next release, The Stand Ins. Will Sheff is a fantastic songwriter and he describes show business in a way that makes it familiar to even the most isolated. He has to be one of the most dynamic performers in indie rock and this album showcases that fact.


61. The Walkmen - Bows and Arrows I know that this is where The Walkmen begin and end for most folks. My line of the decade resides in this album. ("When I used to go out I would know everyone that I saw / Now I go out alone if I go out at all") The record is a testament to the most sonic material of the band's young life. Where most of their albums are woozy, boozy bar tributes, this one focuses on the confusion and dissolution we feel after a long night hopping from joint to joint.

Creature Comforts of The Walkmen

R and Lu are out of town for a conference and to visit some of her family in Michigan. I'm contemplating Dude's Night Out II, but just getting some time to rest might be enough for me. Either way, I started the week off right yesterday.

After surviving this lineup of beers with a friend, I headed out to Mojo's for The Walkmen gig.

Recently, I've come to recognize that I keep turning to the same, old music over newer, possibly more innovative work. Records arriving in the mail have primarily been reissues of albums I had in the nineties or new material from bands I've listened to for five or more years. Even a lot of the new records I've only liked because they remind me of the stuff I've always listened to.

Going to see The Walkmen was no different. I've followed this band ever since I heard them do this...



I've seen them on a consistent basis for the past seven years and I keep going back. I missed Grizzly Bear and left the Andrew Bird show early (he's new to me), but I showed up and stayed around for the Walkmen's set.

Something can be said for bands and music that provide you comfort. The music feels familiar. It's gratifying to hear them pick and choose from a catalog with which you've grown so accustomed. Sometimes it's just nice to play that record or go to that show of the band that makes you smile. It's the same band you have several memories seeing live, driving to Detroit or checking them for free at a festival. These experiences fill our memory banks. It's less to do with the excellence on stage and more to do with that feeling you get when one of your favorite bands hit the stage.

"Comforting" is the word I use to describe The Walkmen show last night. They played some favorites and mixed in some new material. As usual, the band was workman-like. They always dress like they work for Sterling Cooper not play in a rock band. It felt like it usually does and that was fine.

I'm glad The Walkmen stopped in COMO for the last night of their tour. I was disappointed that maybe half of Mojo's was full, but I was glad that I was there.

A Reminder: You and Me is a great album.

I know that I said I would have no time to post this week, but I have some time during lunch (careful with the crumbs) to post this video. In case you needed more reasons to trust that the Walkmen's You and Me was the best record of 2008, just watch this video for "Four Provinces". Walkmen songs always remind me of a night at the bar. It's not about the drinking; it's about the interaction, the humanity, the relations. Check it.

#1 of 2008: The Walkmen - You and Me

The Walkmen's You and Me is my 2008 number one album. Instead of the usual, I've pasted my original (yet-to-be-published) review below. See you in '09. It's gonna be a good year...

Five Hundred Sixty-Five Words: One's young adult life can accurately be described through the procession of albums released by the Walkmen.

2002's Everyone Who Pretended to Like Me Is Gone describes the drunken debauchery of the first few of years away from home. It's sloppy and drunk, but it's nice to reminisce about those old college days. You drink too much, stay out too late, and sleep with the wrong people. You regret much of it, but it pulls you back in every time you rest the needle on the record. Then there's Bows + Arrows. You go corporate and move a little faster in your new car and fancy clothes. However, you soon come to realize that you don't go out as often as you used to and you wouldn't know anyone at the bar if you did go out. You like your new adult life, but you still sort of miss the days when you could get drunk without worrying about having a hangover at work the next day.

Eventually, you want to change. You don't want the new, faster version of yourself, but you don't want to go back to your undergraduate years either. So, you make a few aesthetic changes. It also takes people a little longer to get to know you, because you're guarded now. Once they do get to know you, they realize you are a hidden gem. Such is the character of A Hundred Miles Off.

(Let's forget 2006's "Pussy Cats" Starring the Walkmen ever happened. Think of it as that one transgression, that one-night stand that should have never occurred. It was probably fun while it lasted, but as soon as it was over there was nothing but regret and self-doubt.) Now you enter a new place in your life. You've learned from your mistakes. You've also learned that some of that debauchery and fast living was kinda fun and can be enjoyed with some moderation. You're more confident now that you've survived your 20's. You have finally come into your own. This is the same thing that has happened to the Walkmen with their new album You & Me. It's as if the five previous Walkmen albums have culminated in creating this ideal document of the Walkmen genius. There's the sloppiness and whimsy of Everyone. The sonic levels of guitar and organ remain from B+A. A Hundred Miles has left an indelible mark of calypso and night's on the beach vibe with the band that doesn't appear to be leaving any time soon. Even the bar band sing along feel and nod to the classics of Pussy Cats has had a lasting effect.

Thematically, You & Me plays on the conversational tone of the band's lyrics. Each song seems to encapsulate a conversation one of the Walkmen may have had (or is planning to have) with a lover, band mate, or an acquaintance at the bar. This has always been the case with their lyrics, but the songs on this record are tempered and mature. I've had these very conversations at many bars on many a drunken night. And that's why the Walkmen are a great band and this is a great record: They capture those conversations just as they are. There's no pretension or malice. It's not fake or overly dramatic. It's sort of like one's 20's. It just is what it is. And that's fine with me.

The Moment of Truth: About five seconds into "Four Provinces" tells you that are listening to greatness.

Killer to Filler Ratio: 6:1

Best Songs of 2008

Reading this post at the bathysphere made me want to post my own list of the year's best songs. Of course, my list is limited to my own collection as I spend very little time listening to the radio and MTV doesn't play videos anymore.

Regardless, here's my list for the year's best songs, MTV-style...

10.


9.


8.


7.


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5.


4.

#93.6 BON IVER - Skinny Love
by lablogotheque

3.


2.

PORT O'BRIEN #1 I Woke Up Today
by lablogotheque

1.

The walkmen - In the new year
by le-pere-de-colombe

Reviews You Won't Read Here

I recently reviewed the new Team Love release by Mars Black and Merge release from Connor Oberst. Also, I have a review of the Walkmen's You and Me on the way. I like two of the three and love one of those two. Of course, you won't find those reviews here. Coming August 11th, you'll find these reviews at ComoMusic.com. Don't look now. The site sort of sucks, but it will be reborn next week.

The Walkmen, Redux

One of the last bands on my list to see since moving to Misery has been crossed off. The Walkmen made their way to COMO for the annual Springfest held by Mizzou's own KCOU.

According to rumor, the band flew into St. Louis and drove the final two hours just for this one gig. Usually college gigs pay well, so this makes sense. I also hear they were told they had to fill an hour-and-a-half gap in the schedule when they only prepared to play 45 minutes. Eventually they came up 10 minutes shy of the requirement, but I don't think the KCOU folks cared.

The band played a very workman-like set of old and new songs. It wasn't their most inspired set, but it also wasn't terrible. Members moved through the set efficiently and performed well for the most part. The only thing more professional than their performance was their attire. As is usual for The Walkmen, the band members came out in suits...or business casual at worst.

What was disappointing was the fact that the bottom half of the Blue Note was hardly filled. It seems that a few fliers on campus and a Facebook group doesn't bring people out for a rock show. The free admission for students (or $2 for the general public) wasn't even enough to attract an audience. With such a pitiful turn-out, I doubt The Walkmen will be back any time soon.

Sorry, there just wasn't much to report. For some pictures, visit The Bathysphere. They had even less to say...unless you count the fact that a picture is worth a thousand words.

The Walkmen

Several years back, my sister invited me to see The Walkmen in Detroit. I had one of their records but had rarely listened to it. I didn't know whether I wanted to go or not. On a whim, I decided to join her and her then-boyfriend for the road trip north.

On the way, they played mostly The Walkmen's first release, Everyone Who Pretended to Like Is Gone. The record I owned was half of this album. The band had released Everyone on an LP in a black sleeve and one in white. I bought it because I heard that they were coming to Columbus for some festival. I never went the fest or really listened to the LP.

Anyway, we landed in Detroit's Magic Stick to see what turned out to be an energizing and memorable set. The Walkmen tore through a selection of songs I didn't know (except for "We've Been Had" which had been prominently been featured on a Saturn ad), but I was just blown away. They had this drunken energy that made the show feel more like it was happening in my living room, not a billiards hall in downtown Detroit.

What sets this band apart is their crossing of rhythm and blues tradition with a sloppy, punk aesthetic. The drummer is tiny, but he plays like a madman. Vintage organs, pianos, and guitars are stretched to their outer limits as the band squeezes every ounce of noise they can muster from each antique. Then there's front man Hamilton Leithauser's howl that is equal parts lament and shriek. (However, it's more of a straight scream live.)

The subject matter fits the band maybe better than any other. They describe the drunken debauchery of a night out, wandering through Williamsburg. Or that terrible moment you bump into an ex at the bar. Or lazy hangover mornings where only another drink will get rid of your headache.

They don't drink beer. They drink Tom Collins or Manhattans.

There is something that is both new and vintage about this band that makes them timeless. I'll rock out to "The Rat" or "Wake Up" ten or fifteen years from now. The songs feel like that old friend you haven't seen since college, but now you hang out all the time and have a completely new relationship. The combination of the old and new have influenced an entire Brooklyn scene that now includes The White Rabbits, Harlem Shakes, and White Denim (well, maybe they're from Austin).

I've seen the band several times since that show in Detroit and have never been disappointed. The last time I saw them was at Springfest on Ohio State's campus a few years back. To use a friend's term of endearment, it was a "shit-ton of fun" dancing, heckling, and calling for favorites. The mooks in the crowd had no idea what was going on. "When are they gonna play 'The Rat'?" they wondered.

Hopefully, a similar show will happen this weekend when The Walkmen play Mizzou's version of Springfest at the Blue Note. It's free to students and 2 bucks for everyone else. The times are strange as the fest start around 1 and ends at 8. I have an odd, late lunch/early dinner to attend (argh, people with kids!) before going. I plan to high-tail it over to the Note just in time to catch The Walkmen. Look for me to be the aging hipster in the back, heckling the hipsters and mooks alike.