It was quite a year for music, but how do you sum up the best albums of 2005? Between downloads, iTunes, iPods, burners, shuffles, hard drives, archives, files, shns, flacs, YSI and mp3, the art of the album has greatly changed over the past twelve months. Most coveted record collections are actually beginning to be downsized. You used to marvel at your friend’s wall of music, CDs from floor to ceiling, 1000s of them arranged alphabetically, chronologically and sorted by genre, and most never left the house, aside from a dozen for a road trip.
But now you’ve got the same collection, and it’s all on your PC, digitally stored, and you bring 50 or 60 CDs with you everyday on the subway – tucked in your shirt pocket. Whether you actually still listen to them on a CD player and read along with the liner notes is to be debated, but without question, there were some killer records put out in 2005.
Just as we do every year, Glide strives to represent the best in music from all genres – jazz, indie, punk, alt.country, jam, folk, metal or whatever it is, if it’s good, it’s good. So these twenty albums appeal to us as the strongest artistic statements of the year, representing both our diverse content and readership. Agree to disagree, that’s what the list is for.
In alphabetical order
Bright Eyes- I’m Wide Awake, It’s Morning
Love him or hate him, you have to hand it to Conor Oberst. Dropping right alongside it’s release day twin, Digital Ash in a Digital Age, Oberst proves with I’m Wide Awake that his talents lie beyond crafting whiney emo rock by molding this country folk masterpiece. Having producer/multi-instrumentalist Mike Mogis as well as Emmylou Harris onboard is just icing to Oberst’s ambitious lyrical cake. There will never be another Bob Dylan, but I’m Wide Awake makes the comparison a bit more justifying.
The Decemberists – Picaresque
The Decemberists have hit their peak with the release of the plush Picaresque. Scholarly frontman Colin Meloy continues to carve his name as one of rock’s most literary storytellers. Set in the band’s familiar Old Europe setting, The Decemberists give a shout out to their bookworm following with their old world references. But it’s their most straightforward rock song yet, the Beatlesque "16 Military Wives" that makes Picaresque such a steal. Sure, Meloy’s voice is far from perfect, but his songs will surely increase your IQ.
Feist- Let It Die
Leslie Feist’s musical resume ranges from Canadian indie-popsters Broken Social Scene to female rapper Peaches and even The Kings of Convenience. But it’s this solo debut, a jazzy trip-hop album that explores catchy pop, sensual ballads and groovy 70’s inspired melodies that has her truly hitting home. Despite the immediate influences, including a Bee Gees and Ron Sexsmith cover, it’s Feist’s front and center vocals that prove she is indeed a stand alone solo artist.
Gogol Bordello – Gypsy Punks, Underdog World Strike
Tired of Warped Tour style Hot Topic mall punk? Try out Gogol Bordello, who actually played the skater tour, but delivered a slap to the Blink 182 wannabees with their ruthless mix of gypsy, punk, reggae and everything else thrown into this Eastern European stew. All sung in broken English by Eugene Hutz, whose colorful personality, theatrical stage moves and pervy moustache proves there is indeed still a place for a lead singer in punk rock.
Gorillaz- Demon Days
With producer Dan The Automator gone for the second full length, you’d think Damon Albarn would tank into a sophomore slump on this second Gorillaz offering. Instead, the cartoon band soars with the addition of DJ Danger Mouse as Albarn’s new conspirator, along with a slew of guests including Nenah Cherry, De La Soul and even Dennis Hopper. With killer bass lines and a freaky dance vibe (see: "Feel Good," "El Manana" and "Every Planet We Reach Is Dead") there’s enough blurring of hip-hop and rock to make you forget they aren’t even human.
The Greencards – Weather and Water
Who does Americana music better than two Australians and a Brit? The Greencards even caught Bob Dylan’s ear and were invited by the great one to open for him and Willie Nelson on their recent summer tour. And like the album’s natural title, Weather and Water proves to be an unforced mix of intertwined harmonies and classic string instruments. If you’re tired of the recent newgrass identity crisis, give The Greencards a deal.
Heartless Bastards – Stairs and Elevators
In the endless supply of garage rock trios, the Heartless Bastards are dynamic and raw, well beyond their nondescript contemporaries. Lead by singer/songwriter/guitarist Erika Wennerstrom, the trio defies comparisons as Wennerstrom howls with fury amongst her impassionedly written lyrics. Stairs and Elevators delivers a legit bump-and-grind feel that only these bastards from Cincinnati can deliver.
John Hiatt – Master of Diaster
Accompanied by the North Mississippi All-Stars, and produced by Jim Dickinson, Hiatt serves up his penchant for Memphis boogie with a spoonful of soul and grand storytelling. His songwriting legacy appears to be fully intact, as this youthful collaboration opens up the gates to those who have been Hiatt shy for the first 30+ years of his career. Master of Disaster is catchy, groovy, whimsical and delightfully true. John Hiatt proves master of his own domain.
The Hold Steady – Separation Sunday
Called "the rock n’ roll equivalent of Kurt Vonnegut," The Hold Steady’s frontman Craig Finn has a big harsh mouth and delivers Kerouac observations with an old fashioned indie rock edge. The eleven songs on Separation Sunday offer recurring characters, classic hard rock power chords and loads of good satire. Spoken word compositions with head-nodding rock, The Hold Steady are clearly unique amongst their peers and Separation Sunday is their coming out party.
LCD Soundsystem – LCD Soundsystem
James Murphy knows his way around a board, and in-between twisting knobs and fixing levels, he’s honed himself the title of disco punk king. With his new dance floor project LCD Soundsystem, Murphy further paints a new canvas with punk-rock, disco, and a little bit of funk on this two disc set. Like the Clash on their later records, Murphy molds indie, electronica and dance into something edgy, but with a mission, as LCD Soundsystem is the smartest dance record of the year.
The Magic Numbers – The Magic Numbers
The Magic Numbers not only delivered one of the most impressive debuts of 2005, but one of the years best albums. The first release from this pair of brothers-sisters combos is folk-rock pop in all its true glory, with shiny production and undeniable hooks. This is good clean fun, reminding us that rock and roll doesn’t have to be too serious.
My Morning Jacket – Z
It’s been two years and a pair of band members since 2003’s thunderous It Still Moves, but Z unveils a totally reinvented My Morning Jacket. Jim James trades his reverb drenched rockers in favor of shorter psychedelic keyboard numbers that are more art-rock than southern ragers. With Z‘s exotic rhythms and textures, My Morning Jacket scrapes the Kentucky dust off their sleeves, in favor of a big city sheen. With each step forward, they continue to be the band you love more than before.
New Pornographers – Twin Cinema
The third album from the Carl Newman led Vancouver collaborative is another step in the evolution of power-pop indie rock. With Neko Case, Dan Bejar and assorted musician vets at the table, The New Pornographers continue to refine pop hooks from the past while adding a progressive expansion on going where no rock band has gone before. Just don’t call them a super-group.
Son Volt – Okemah and the Melody of Riot
Following two drab solo albums that toyed with expansive studio methods, Jay Farrar decided it was time to have fun again and regrouped Son Volt with all new members for Okemah and the Melody of Riot. And this time around, the fun is delivered in powerful, straight ahead rock fashion, capturing a newfound freshness. Farrar’s well worn vocals deliver grand imagery with a new sense of immediacy, as his historical references provide a rustic feel that sounds truly Americana. Sure, Farrar could have released this under his own name, but Son Volt sounds so much cooler.
Sound Tribe Sector Nine – Artifact
STS9’s first studio recording in five years proves to be a refreshing and insightful glimpse into their ever-evolving musical entity. Artifact clearly depicts the band’s progression from cookie cutter jamband trance act to post-electronic pioneers, while revealing a true sense of maturity while blurring genre lines. They’ve single-handedly bridged the gap that has alluded their counterparts – great live act makes solid studio record.
Spoon – Gimme Fiction
Austin’s finest serves up their most evolving and eclectic offering to date on Gimme Fiction. Beginning with the funky Prince groove of "I Turn My Camera On," Spoon cleverly turns the listener on before steering down a diverse palette of rock. Developing a new fan base with each of its five albums, leaders Britt Daniel and Jim Eno continue to be one of indie rock’s most respected songwriter-drummer teams.
Sufjan Stevens – Illinois
The second in his fifty states project, Sufjan Stevens sets a new standard for ambition with this 22 song orchestral epic dedicated to the Prairie State. With single song titles like "The Black Hawk War, or, How To Demolish An Entire Civilization And Still Feel Good About Yourself In The Morning, We Apologize For The Inconvenience But You’re Gonna Have To Leave Now and I Have Fought The Big Knives And Will Continue To Fight…," Stevens certainly went overboard, but the wide range of styles that cover everything from neo-folk to complex instrumental arrangements make Illinois a thoroughly inspiring listen. Get ready for the box set called California.
John Vanderslice – Pixel Revolt
He’s not yet a household name, and yes, we like it that way, but this do-it-yourself solo record cements Vanderslice as the latest indie rock icon. Turning to longtime friend, collaborator, and tour-mate John Darnielle of The Mountain Goats as his co-brain, Vanderslice uses vintage keyboards and strings in this, his fifth album in five years. Pixel Revolt is 14 short stories tied by lush sound portraits that, in the end, is an indie triumph.
Wolf Parade – Apologies To The Queen Mary
The last thing the world needs aside from another Rocky movie is one more good new band from Canada. Produced by Modest Mouse’s Isaac Brock, this keyboard pronounced, new-wave heavy album is about as 2005 as you can get – without going down that trendy Franz Ferdinand highway. For those who were late to the Arcade Fire bandwagon, Wolf Parade delivers disarming melodies and clunky sing-along tunes with lyrical depth. Apologies To The Queen Mary will either be the last hurrah from Montreal or the beginning of another hot streak from the north.
Neil Young –Praire Wind
Just blame it on the full moon. As Neil Young reached his 60th birthday, not even a brain aneurysm could distract another timeless work of art. With its homespun melodies, Prairie Wind is a far cry from a raucous version of "Sedan Delivery," but this Nashville inspired gem will stand in line with its two predecessors – Harvest and Harvest Moon. As Young mentions in the lead single, "The Painter" – if you follow every dream, you might get lost. Thankfully Young’s softer side feels at home as much as his brash Crazy Horse side.
Have a Top Ten From 2005? Send it over and we’ll compile the readers choice! Email [email protected]
_______________________________________________________________________
20 Honorable Mentions
Devendra Banhart – Cripple Crow
Benevento/Russo Duo – Best Reason To Buy The Sun
British Sea Power – Open Season
Broken Social Scene – Broken Social Scene
Brothers Past – This Feeling’s Called Goodbye
John Butler Trio – Sunrise Over Sea
Clap Your Hands Say Yeah – Clap Your Hands Say Yeah
Danger Doom – The Mouse and the Mask
Doves – Some Cities
Iron & Wine/Calexico – In the Reins
Leo Kottke & Mike Gordon – Sixty Six Steps
Lake Trout – Not Them, You
Amos Lee – Amos Lee
Del McCoury Band – The Company We Keep
Nickel Creek – Why Should the Fire Die’
Rogue Wave – Descended Like Vultures
Sigur Ros – Takk…
Sleater-Kinney – The Woods
M. Ward – Transistor Radio
Kanye West – Late Registration
_______________________________________________________________________
A Dozen Disappointments
Twelve albums we looked forward to, but already sold to the used record store for beer money.
Trey Anastasio – Shine – Now that he got his Dave Matthews Band record out of his system (amongst other things) hopefully we can all get back to business.
Frank Black – Honeycomb – 4 Words – Self Indulgent Vanity Project
Blues Traveler – Bastardos! – Not even ex-Wilco member Jay Bennett can save the day on this dragged out affair. You root for them every time, but they just can’t get back to the Save His Soul days.
Coldplay – X & Y – Name someone else in the band other than Chris Martin? Unfortunately he is Coldplay, and it’s hard to feel his pain now that he’s banging Gwyneth Paltrow.
Ben Folds – Songs for Silverman – Whatever happened to the jaded, rocking, piano pounding player of Ben Folds past? These cheeky ballads are way too Elton John for someone who penned such kiss my ass rockers as "Song for the Dumped."
Dandy Warhols – Oddditorium or Warlords of Mars – Don’t be surprised if you see Courtney Taylor-Taylor on A&E’s Intervention soon. This album is surprisingly worse than the title.
Death Cab for Cutie – Plans – This major label debut was one of the most anticipated releases of the year, the long-awaited follow-up to 2003’s grand Transatlanticism. Further proof that smaller is better.
Foo Fighters – In Your Honor Disc 2 – Whoever asked Dave Grohl for his softer side? Guest spots with John Paul Jones we’ll let slide, but Norah Jones? Kurt Cobain would be ashamed.
Gabby La La – Be Careful What You Wish For – Being weird doesn’t translate into instant credibility. You gotta have chops, and apparently she has none.
Kaiser Chiefs – Employment – See: Collective Soul – flash in the pan band following a popular trend that won’t last
O.A.R – Stories of a Stranger – College pop rock at its worst. This couldn’t even be background music for a drunken montage on The Real World.
Santana – All That I Am – More like "All That You Were." Didn’t this guest musician thing go out of style back in 1999? Your dad didn’t even buy this one.
