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25.
She & Him -
Volume One (Domino)
An album of unexpected pure pop delights, She & Him was a collaboration between the delicious actress Zooey Deschanel and singer-songwriter Matt Ward. This collection of 60s inspired tunes written by Deschanel were sugar sweet and lushly rendered. Traces of the Beatles and the Beach Boys were caught lurking beneath Ward’s arrangements and the strength of Deschanel’s voice only added weight to the credibility of this project. This wasn’t just another Hollywood actress trying her luck as singer. Their duet on Smokey Robinson’s “
You Really Got a Hold on Me” was only one of many highlights. We can only hope for an expedited Volume 2 in the near future. (Craig)
24.
Santogold -
Santogold (Downtown/Inertia)
Brooklyn’s Santi “Santogold” White had the kind of year most artists only dream about, as a decade of working in the music business, the savvy utilisation of MySpace and the support of bloggers bore prodigious fruit. Her debut album Santogold impressed with its myriad styles — from Ska and Dub to 80s new wave — themes of empowerment and good old fashion boasting. (Caleb)
Full review.
23.
The Stills -
Oceans Will Rise (Arts & Crafts)
The darkly titled Oceans Will Rise did much to address the balance between The Stills of Logic Will Break Your Heart with The Stills of its disappointing follow-up, Without Feathers. From the menacing beauty of the gold-painted skull on the album sleeve to the buoyant melodies that weave through the songs in waves, there was much more to this album than met the eye. The Eastern European feel of “Snakecharming the Masses” built around a tribal-sounding rhythm that paired with the subtle swell of Fletcher’s vocals found The Stills in the grip of self-discovery and invention. (Craig)
Full review.
22.
The Kills -
Midnight Boom (Domino)
Truth be told The Kills’ — transatlantic duo Alison “VV” Mosshart and Jamie “Hotel” Hince — third album was an uneven affair. For every perfectly formed relationship drama e.g. “
Last Day of Magic” or chilling tale of letting go such as “
Black Balloon” there was the dirge-like “
M.E.X.I.C.O” or throwaway “
Sour Cherry” - but when the dirty drum machine beats, bluesy garage rock and Mosshart’s channelling of Polly Harvey and Karen O gelled it was well worth the price of admission. (Caleb)
21.
My Morning Jacket -
Evil Urges (Rough Trade)
Evil Urges is an awesomely confounding record. It’s not quite Kiss Unmasked, but songwriter Jim James without his cloak of reverb, pushing out a falsetto vocal was an altogether unexpected moment. Even with the reassuring knowledge that this was the new My Morning Jacket album, it was one that leapt styles and influences in a way no previous album had. The electro-dance touches of “
Touch Me I’m Going To Scream” offered more evidence that My Morning Jacket were breaking away from convention with Evil Urges being their most outward attempt to gain wider recognition and distance themselves from the staid Skynyrd Southern Rock pigeon-holing. (Craig)
Full review.
20.
I’m From Barcelona -
Who Killed Harry Houdini? (Mute)
I’m From Barcelona’s first album enraptured many its sing-a-long anthems and cheery demeanor which helped to dispel the notion they were merely a novelty act, but it was one so full of sugary twee pop you could almost feel the calories piling on. Who Killed Harry Houdini? was the sugar rush comedown, an album with soft focus production and an air of detached melancholy. While the elements that made us fall in love with I’m from Barcelona remained - sweet melodies, multi-backed choruses and varied instrumentation - the downbeat tempo combined with vastly improved lyrics full of detailed character vignettes to create a work of greater sustenance. (Caleb)
19.
The Long Blondes -
Couples (Rough Trade)
When viewed next to their debut, “Couples” is of a different class and from a different age. The Long Blondes always seemed hemmed in by their own aspirations and you can only go so far with pop culture knowledge and a keen sense of wardrobe. They had advanced beyond expectation and fashioned an artistic statement that is more than just a magnifying glass on our lives but a cultural and historical commentary wrapped up in one. It was inventive, intelligent and exciting. A rare case of pop music with brains, presented with a conviction that is almost unbeatable. Unfortunately, a paralysing stroke which befell guitarist/songwriter Dorian Cox would sadly bring an premature end to this great Sheffield band before the year was out. (Craig)
Full review.
18.
Fujiya & Miyagi -
Lightbulbs
Although the name conjures up images of a Japanese duo hunched over a pair of technics Fujiya & Miyagi are actually an unassuming four piece outfit from Brighton who have been quietly plying their breezy mix of minimalist krautrock and post-punk for several years. Lightbulbs was their third album and contained large helpings of pneumatic drums, moody synths, thick bass and scratchy guitar underneath breathy speak/sing vocals spouting seemingly nonsensical phrases, more for the sound they created than for any narrative value, sorta like Underworld covering Wire. Lightbulbs was a breath of fresh air and one of 2008’s real finds. (Caleb)
17.
You Am I -
DILETTANTES (EMI)
For a band once in danger of becoming a parody, You Am I defied expectation and recorded an album that demanded a repeat listen. Stylistically it was a different sounding band from the one that made 2006’s Convicts. Here they tempered their tone and cut back on the rock clichés, recalling the art of song-writing. Dilettantes evoked memories of past greatness, when the band could reap the benefits of quasi-country Kinks ballads mixed with Rolling Stones riffs. It was that kind of dynamic shift which added to Dilettantes’ charm, proving the writing wasn’t on the wall for You Am I just yet. (Craig)
Full review.
16.
Malcolm Middleton -
Sleight of Heart (Full Time Hobby/Inertia)
Stripped back but still bleak and bitter, Scot Malcolm Middleton found favour with his fourth album Sleight of Heart. Originally intended to be an EP of cover versions, Sleight of Heart was expanded to a full release although the three covers (Madonna’s “
Stay”, King Creosote’s “
Marguerita Red” and Jackson C. Frank’s “
Just Like Anything”) were a highlight. A laidback, acoustic approach was laced with touches of venom and what could’ve have been a overly depressing listen wass saved by Malcolm Middleton’s frank, sardonic observations and ability to write (or cover) a cracking tune. (Caleb)
Full review.
15.
Glasvegas -
Glasvegas (Sony)
It’s an astonishing debut, something that is needed every once in a while to reaffirm to the traditional indie music fans that the era of epic guitar-based bands aren’t entirely a dying breed. Despite the hype leading up to the release, knowing that this record would house all previous singles to date meant this was already verging on classic status. Glasvegas are liken to a photo-negative of Oasis, the songs are anthemic, but not in a celebratory sense. This is a brutally honest statement of the times and hopefully that message will get through. Glasvegas have made their own “Definitely Maybe” that might just define the current state of music for years to come. (Craig) Full review.
14.
Fleet Foxes -
Fleet Foxes (Bella Union)
Seattle’s Fleet Foxes released the one debut album that seemed to have everybody talking. With songs that bore traces of Neil Young and Bob Dylan and harmonies that rivalled those of Crosby, Stills and Nash, Fleet Foxes brought together a mix of folk rock and baroque pop as if it came fresh from Woodstock. Released as a single “
White Winter Hymnal” was the song that summed Fleet Foxes up best with its swelling harmonies and campfire backing. First witnessed by Webcuts at the Way Out West Festival in Sweden, Fleet Foxes were an unexpected surprise that had our tongues wagging. (Craig)
13.
British India -
Thieves (Flashpoint)
British India’s debut in 2007 Guillotine was a bold, brash debut which gained generous Triple J support and countless moshing teenagers at their (seemingly) never-ending gigs. It was a little rough around the edges though, so we were elated whenThieves, released almost a year to the date after their debut, continued Declan Melia’s line in angst and world weariness but with a more subtle approach. Those who dug British India’s shout-a-thons were still catered for, but their knack of crafting catchy, classic rock songs like “
Said I’m Sorry” and “
Put It Right Down” showed enormous potential and could see British India become this generation’s You Am I. (Caleb)
12.
Sloan -
Parallel Play (murderecords)
Although less ambitious and leaner than 2006’s opus Never Here The End of It, Parallel Play showed there was plenty of fire left in Canada’s leading export of 70s influenced power pop/rock. Their catalogue of air guitar anthems and George Harrison-eqsue dreamy pop numbers was well stocked as usual but there was also some playfulness in the garage rock of “
Emergency 911?, the Dylan inspired country-blues of “Down in the Basement[/track]”, and dub reggae on the closing “
too many”. On the flipside it also dealt with the usual Sloan dysfunctional relationships, childhood and the issue of growing up while still rocking out, best exemplified in “
living the dream”’s chorus — “I don’t dream for a living, I’m living the dream”. After a couple of listens to Parallel Play you’d wish you were too. (Caleb)
11.
Eagles of Death Metal -
Heart On (Downtown Recordings)
Third album in from moustached, crazy ass mofo Jess “The Devil” Hughes and some other dude (okay you got us, it’s Queens of the Stone Age’s Josh Homme) was a dose of super heavy riffs, falsetto vocals and dumber than dumb lyrics coming across like an unholy union between Devo, The Cult, and QOTSA. Unlike their forebears such as AC/DC The Eagles of Death Metal don’t take themselves seriously as evidenced by the Spinal Tap-esque titles such as “
I’m Your Torpedo”, “(
I Used to Couldn’t Dance) Tight Pants” and “
Heart On”, yet the sterling musicianship, nuanced production and knack for a hook elevated TEODM far beyond the realms of ’70s pastiche. (Caleb)
10.
Crystal Castles -
Crystal Castles (Last Gang Records)
Controversy courting Canadanians, Crystal Castles, rose to prominence via their frenetic electro-Nintendo beats and the exuberant charm of vocalist Alice Glass. Their self-titled debut released in April entirely slipped under Webcuts radar relegated as some NME-approved teen fad, but the proof became increasingly hard to ignore. Split between chaotic slivers of electronic noise (”
Alice Practice”) and smart synthetic beats (”
Courtship Dating”), Glass’ added allure and manic behaviour set the scene for Crystal Castles to become the most exciting and promising bands of 2008. (Craig)
09.
The Constantines -
Kensington Heights (Arts & Crafts)
Kensington Heights has all the regular hallmarks of a Constantines record, but it’s the first time the band have sounded so focussed and confident. Single “
Hard Feelings” could be considered the call of the Constantines. Jagged guitars intersect with stabs of keyboards over a driving rhythm section, singer Bry Webb “You can tell by the way I talk/I’ve got hard feelings”. There’s a noticeable over-riding theme of hope and positivity that show the band maturing beyond their punk roots and not drowning their sound in torrents of angry guitar. Kensington Heights was the sound of a new day rising for this pack of raging Canadians. (Craig)
Full review.
08.
Nick Cave & The Bad Seeds -
Dig, Lazarus Dig!!! (Mute)
With Cave’s name now being attached to film scripts, soundtracks and his own widening musical projects, it seems the one thing keeping his muse alive is to not stop moving. Of all these, Dig, Lazarus, Dig!!! seems the path of least resistance, Cave rounding up his Bad Seeds to put together a beat-up, beats-inspired rock record that belays his aging station. It’s got him ranting like a man possessed, one an eye to the sky through a telescope, running with the ghosts of his own past while the whole world goes to hell. It’s a record brimming with ideas and bursting with bravado. Probably the most astonishingly inventive, brutally funny, and downright dirty album you’ll hear all year. (Craig)
Full review.
07.
Foals -
Antidotes (Transgressive)
If, like us, you’ll go postal if you read the term “angular guitar” one more time and with “post-punk revival” now a dirtier phrase than ever it takes a special band indeed to rise above the Joy Division grave robbing accusations. Oxford’s Foals succeeded by exploring the artier funk-punk side of late 70s and early 80s rock influences with judicious use of horns, intricate high pitch guitar lines, wilfully obscure lyrics, and most importantly the effective use of “space”. Atmospheric and relaxed one minute, dense and visceral the next, Antidotes was a rewarding listen and successfully lived up to its name. (Caleb)
06.
Shearwater -
Rook (4AD)
Like its predecessor Palo Santo, Rook was an expansive, ambitious, and beautifully orchestrated record. Its bleak apocalyptic artwork expressed vocalist/lyricist Jonathan Meiburg’s intent perfectly. When the press release for Rook spoke of ‘themes within meditate of man’s intersection with the natural world: the hunter and the prey; the extinction of the species; the world after human beings are gone’ you soon realise this was going to be no ordinary album. Shearwater created an record that was earthy, ornate and alive, unbound by technology and its mis-inventions. An analog allegory for the end of time, Rook wasv nothing short of a masterpiece. (Craig)
Full review..
05. M83 -
Saturdays = Youth (EMI)
For Saturdays = Youth, Anthony Gonzalez indulges his own adolescent nostalgia for a decade that some of us remember for shoulder pads, synth bands and John Hughes films. His attempt to capture the essence of those times lends Saturdays = Youth a weirdly eclectic feel as the album drifts between layered operatic pieces and eighties-influenced electronic pop. Straight-out synth-pop songs like “
Kim & Jessie” and “
Graveyard Girl” achieve their goal, sounding uncannily like Tears for Fears and OMD circa now. It’s a shame that towards the end of the album Gonzalez ultimately fails to deliver a ‘Don’t You Forget About Me’ moment that would have us raising our rhinestone gloved fists in the air. (Craig)
Full review.
04.
Beach House -
Devotion (Bella Union)
February brought us Baltimore’s Beach House with their sophomore release Devotion, a gorgeous collection of dizzying songs built around Victoria Legrand’s awash-with-reverb harmonies and church-style organ and Alex Scally’s languidly strummed guitar. From the quasi-country harpischord and Hawaiian surf slide guitar feel of opening track ‘
Wedding Bells’ to the dark hypnotic drone of “
Gila”, Devotion quickly became one of the most beguiling and beautiful, not to mention essential, albums of 2008. (Craig)
Full review.
03.
TV on the Radio -
Dear Science (4AD)
Brooklyn art/beat innovators TV On The Radio returned with their third album, Dear Science, a soulful slice of inspiration and invention, moving away from the doom and desperation of 2006’s Return to Cookie Mountain to give us their own potent and poignant sign o’ the times. This was a dance record, or at least TV On The Radio’s idea of a dance record. Sharp rhythms, bright brass sounds and high falsetto vocals frame the overall feel and clarity of the album. The influence of Prince weighed heavy on “
Golden Age” with its jungle rhythms and strings, Malone shadowing the purple one in the vocal delivery, the message here a simple one - fuck war, let’s dance. (Craig)
Full review.
02.
Okkervil River -
The Stand Ins (Jagjaguar)
The greatest disservice that befell The Stands Ins was the open admission that it was originally going to part two of a double album alongside The Stage Names, cue general internet bitching that it wasn’t as good as that 2007 disc. No it wasn’t — it was better. Few can turn obscure pop culture references (porn star Shannon Wilsey, failed glam rocker Jobriath) into sublime four minute vignettes quite like Will Shef. He even bit the hand that feeds him in the appropriately titled “
Pop Lie” and came out relatively unscathed. Meanwhile the rest of the band expanded the bands range by encompassing new wave, Motown and piano balladry to provide a richly textured background for indie rock’s top wordsmith. Magnificient. (Caleb)
Full review.
01.
Deerhunter -
Microcastle (4AD)
Microcastle was more than just an album, it was a musical movement in miniature. If modern indie rock has a leader right now, it should be Deerhunter frontman Bradford Cox. The album that got the highest rating on Webcuts for 2008, Microcastle was a psyche-pop masterpiece that largely existed in a dream-like state. Songs often descended into nightmare-ish scenes and schizophrenic moods that defied expectation. From the surreal dream-pop of “
Never Stops” and post-shoegaze squall of “
Nothing Ever Happened” to the underwater serenade of “
Twilight at Carbon Lake” there wasn’t an album within miles that came close. With Microcastle, Deerhunter reached for the stars and took hold. (Craig)
Full review.