2008 was a pretty decent year for music.
A lot of trends (Crystal Castles, Crystal Antlers, Crystals Stilts = the "crystal effect"), a lot of festivals (SXSW, Coachella, etc.), outdoor shows (The Feelies opening for Sonic Youth at Central Park back in the summer!), tours, re-issues (Dennis Wilson's 1977 - Pacific Ocean Blue), and of course--new recorded albums.
Here are my top 10 records of 2008:
1. Portishead, Third (Island Records)
Portishead used to be every reason why your older sister was so cool when you were a young and impressionable adolescent. Then they disappeared off the map, your sister got engaged, replaced Portishead with something cheesy like The Verve, and life went on. But for most diehard fans, waiting 10 years for the seminal Bristol 3-piece gloomsters to release something was almost asking too much; until Third was announced in the press.
Watching Beth Gibbons shake her head, as if in disbelief at what she is singing, in between the opening lines of "Roads" from their 1998 Roseland NYC Live DVD, is how I feel about Third. It sums up what Third means as a music experience: decadence. Stanza after stanza of lyrical astuteness (“I can’t deny what I’ve become, I’m just emotionally undone”—Gibbons warbles on “Magic Doors”), was accompanied by a new musical backing—both scanty and ominous, like 1970s Krautrock marrying English post-punk despair.
Their catharsis was hard-boiled with a softness at its core, spread out over the 11 harrowing tracks. Third was entirely pragmatic and new—a withdrawal from their old sound—this time using synthesizer patches and esoteric grooves that lame Brooklyn bands like Gang Gang Dance would crap in their pants over. Third is the best album of 2008.
2. Shugo Tokumaru, Exit (Almost Gold)
The opening guitar plucks of Exit's first album cut, "Parachute," signal a dense musical offering from a staggeringly gifted little Japanese man. Unbelievably talented, he apparently plays over 100 instruments alone in his cramped Tokyo apartment. The complexities of his arrangements are smart yet accessible - this is incredible stuff.
3. Flying Lotus, Los Angeles (Warp)
When Warp records heard the music of Flying Lotus featured on Adult Swim, the label signed him immediately. Music runs in his family—he is the nephew of the legendary Alice Coltrane—and it's evident in his brain-melting futuristic instrumental hip-hop. With cues from J Dilla, Los Angeles is both unpredictable and refreshing.
4. TV On The Radio, Dear Science (4AD/Interscope)
Every critic was ogling over this record when it came out in October as a late edition to 2008. Some even went as far as calling it the new OK Computer. Nonetheless, Dear Science was magnificent from start-to-finish.
5. Paavoharju, Laulu Laakson Kukista (Fonal)
Finnish independent imprint Fonal is a label to watch in 2009, with many talented groups like Paavoharju. This album is filled with sparse, electro-folk soundscapes; evoking cold pastoral imagery(...of vodka!). A challenging listen, but one that can be rewarding. Plus the song titles are fun to try to pronounce!
6. James Pants, Welcome (Stones Throw)
Welcome is a strong argument for why contemporary electronic music remains interesting. This is like Cameo on acid, with way too many vintage synthesizers; retro-boogie-sounding electro-space funk from the future; originating, of all places in Spokane, WA. One hopes Stones Throw founder Peanut Butter Wolf further grooms the young artist to his full potential.
7. Koushik, Out My Window (Stones Throw)
Koushik is based out of Vermont, and I like to imagine him making Out My Window hunched over a sampler in some cabin, surrounded by thousands of obscure records from the 1960s, while looking out at the rolling green scenery. Signed to arguably the best indie hip-hop imprint, Stones Throw, his entire aesthetic of shoe-gaze vocals meshed with crispy boom-bap drums works wonders.
8. Department Of Eagles, In Ear Park (4AD)
Until Grizzly Bear releases their highly anticipated new LP, this will have to hold us over. And it does quite well. Grizzly Bear co-songwriter Daniel Rossen has unleashed 11 songs of alarming effectiveness that reveal more and more after each listen. At 26-years-old, he writes endearing lyrics beyond his years.
9. El Guincho, Alegranza (Discoteca Océano)
With comparisons to Panda Bear, Manu Chao and Os Mutantes!, it's hard to imagine Alegranza not being a fun listen. The loops he uses recall the melancholy of Portuguese fado, the immediacy of West African rhythms (move aside Vampire Weak-end!), and the overall appeal of World music. This record is relentless.
10. Cut Copy, In Ghost Colors (Modular)
Having free-reign at DFA headquarters in New York to use innumerable vintage synths, disco-era percussive implements, and choice samples, Cut Copy knocked-it out-of-the-park with In Ghost Colors. It reaffirms producer Tim Goldsworthy's genius, and that Australia is a hot-bed for catchy new-disco and effortless indie-pop.
