Albums of the Year 2004...only 12 Days Late
2004 has personally been a great year for music. It has really gotten to the point for me where listening to music takes up more time now than watching TV or playing video games (sadly nobody reads books anymore- and I’m talking about real books, not any of that Danielle Steele/Michael Crichton horseshit.
This list doesn’t entirely do my enjoyment of the year’s best justice, but is rather indicative of what I’ve been listening to recently. I only included albums (except one which I have most of the songs and heard all live at the show) that I have heard, and that I own (interpret that how you’d like.) The order is loosely based, and really only serves as a way of being more conclusive. Enjoy.
20. The Dresden Dolls – The Dresden Dolls (8ft)
This album came out in the spring but I’ve just got around to listening to it. It probably would rank higher had I heard it earlier, but that’s life. The two-piece combo of piano and drums frame the lyrics perfectly, definitely establishing the quirky Goth motif it’s aiming for.
19. The Libertines – The Libertines (Sanctuary)
A great record by a great band that sadly appear to be finished as a group after producing two top-notch albums in only two years. The number of hits on this record is astounding, but the internal combustion that undoubtedly inspired the response to the hype of their first album certainly should also be seen as the catalyst leading to the reasons behind their breakup.
18. Mylo – Destroy Rock & Roll (Breast Fed)
You cannot possibly peg Destroy Rock & Roll simply as a dance album, labeling it that is a cop out. Mylo shows incredible range both in terms of production but also in how he incorporates meaningful samples with original and sound effects. Without question Mylo is nipping on the heels of The Chemical Brothers and Basement Jaxx in terms of talent, it remains to be seen whether his more passive style catches on outside of the U.K. though.
17. Razorlight – Up All Night (Universal)
An impressive debut from a band signed through a break on BBC Radio 1. Up All Night is certainly a shiny, polished effort that some have said is rather soulless. But it can’t be denied the consistency is the entire album having a very appealing sound and promises a more complicated or sophisticated appeal now that they’ve shouldered an incredibly long first year.
16. K-OS – Joyful Rebellion (Astralwerks)
K-OS is a rare Canadian commodity in that he’s achieved success both domestically and internationally. After saying he’d only make one album, he was able to find more inspiration to build on the success of Exit with one of the most diverse hip-hop albums of 2004. Kevin clearly shows that there are still artists in the genre who understand the concept of using actual instruments in conjunction with the message they push across.
15. The Dears – Protest (Ace Fu)
Protest would also be much higher if not for it being an EP of 4 songs, but they really hit you hard and blend the orchestral sound with Murray’s monotone Morrissey-like voice perfectly.
14. Air – Talkie Walkie (Astralwerks)
Often overlooked after being released way back in January, Talkie Walkie continues in Air’s tradition of making simple but distinct pop music in the same French vein that has also catapulted the likes of Daft Punk and Phoenix to stardom.
13. Morrissey – You Are the Quarry (Sanctuary)
I’ll admit that I can’t really judge this Morrissey album against any others because this is the only one I’ve ever heard. I’ve heard selected songs from various points in his career, but I think the reason I like this album so much has more to do with the current state of music than anything relatable to what he’s done in the past.
12. Xiu Xiu – Fabulous Muscles (5 Rue Christine)
This was a tough choice to include because I don’t understand the music but it really draws a lot of emotions out of me, good or bad. The best way I can describe it would be to label it organized chaos, like the melodies and lyrics are often going in opposite directions to each other but still produce a harmonious sound. I wouldn’t be surprised if most people disliked this initially, perhaps that’s what makes it enjoyable for me.
11. Interpol – Antics (Matador)
A solid if not spectacular sophomore album, Antics should be applauded for maintaining the consistency displayed on Turn on the Bright Lights. With such high expectations for this album it’s satisfying in seeing an effort that doesn’t fall flat in the face of the buzz machine that the internet has become.
10. Franz Ferdinand – Franz Ferdinand (Domino)
2004 was the year of Franz Ferdinand, emerging from obscurity to push nearly 700,000 albums in the U.S. alone. Their self-titled debut highlighted Alex Kapranos’ romantic ballads with a strange eccentricity brought out of the Glasgow art scene, producing an album that lived up to the hype. A bigger question is whether they’ve created so much hype that their body of work will always be compared against the greatness of their introduction.
09. Jill Scott – Beautifully Human (Sony)
I’ve always thought Jill’s succeeded where other R&B/Soul artists fail because she conveys her feelings so effortlessly. This album works incredibly well by letting the music compliment Jill’s poetic sound as opposed to setting up a giant symphonic sound where you expect a need for the vocals to compete bar for bar (*cough* Alicia Keys *cough*).
08. Faithless – No Roots (Arista)
A dance album that actually employs lyrics that hit harder than the bass lines, No Roots gets as political as can possibly be expected from music lumped into that particular genre. Has to really be listened to closely to maximize what you take away from its listening.
07. The Futureheads – The Futureheads (Sire/Ada)
There is, in fact another band from Scotland that put out a fantastic album in 2004, but would be lucky to receive a tenth of the attention that Franz Ferdinand has. I think the key distinction is that The Futureheads self-titled debut is much stronger vocally and less reliant on the strength of their powerful riffs to propel their songs. The simplicity or lack of complexity to the lyrics is also somewhat refreshing in the mounting trend towards randomness and obscure thoughts.
06. Ambulance Ltd. – Ambulance Ltd. (TVT)
Their first full length release sparkles brilliantly and detaches from the ‘New York sound’ label that many other efforts from that city end up being labeled with based on its own distinct instrumentation.
05. Blonde Redhead – Misery is a Butterfly (4ad)
Initially I didn’t like this album at all, thinking it was really pretentious, only later realizing that it wasn’t specifically trying to be as complicated as it sounds. Sitting back and letting the album come to me, Misery is a Butterfly comes off more as a peaceful, delicate work of art than a deliberate attempt at overly complicating a group of songs. The deliberate pointedness turns to self-doubt and insecurity, beautifully crafted as an expression of expressions.
04. The Delays – Faded Seaside Glamour (Rough Trade)
The aptly named Faded Seaside Glamour invites the listener to get a feeling of forgotten youth, gradually succumbing to the inevitability of time. The pacing is wonderful and really lets you absorb the feeling of the vocals. A must have for long trips in the car.
03. Modest Mouse – Good News for People Who Like Bad News (Sony)
A well-produced album that shines based on the strength of its consistency from beginning to end. Good News for People Who Like Bad News does have a very diverse lineup of songs but doesn’t try to hit you over the head with how good they are.
02. Hope of the States – The Lost Riots (Sony)
I think I’m the biggest Hope of the States fan in North America, and the range shown by the eight members on this album leaves you visualizing these descriptive landscapes of a world of despair. The strings used are perfectly timed, and don’t simply serve as a novelty that often heard elsewhere as filler for lackluster songs. The Lost Riots is brilliantly depressing, possibly depressingly brilliant at the same time. I can see how many people who’ve been quick to pan Hope of the States get frustrated at what they see as talent gone astray, victims of the British hype machine. But I think the bashing this side of the Atlantic is undeserved and largely the product of the snowballing press machine that has come to instantly make or break artists rather than let them find their feet.
01. The Arcade Fire – Funeral (Merge)
This isn’t much of a surprise, I’m only the millionth person to rank Funeral so highly but it wonderfully combines an orchestral sound with powerful emotion-laden words that just exude feeling. When I saw them live in November I didn’t know what to expect, but within seconds you just see the power of their conviction and immediately melt into the songs one after another. The fact they all play each other’s instruments really leant credence to just how tightly knit they are as well.
Missing the cut but worthy of a listen:
Bjork – Medulla
Cee-Lo – Cee-Lo Green is the Soul Machine
Dizzee Rascal – Showtime
Ghostface – The Pretty Toney Album
Keane – Hopes and Fears
Manic Street Preachers – Lifeblood
Secret Machines – Now Here is Nowhere
Slum Village – Detroit Deli
Sonic Youth – Sonic Nurse
Stereolab – Margerine Eclipse
The Used – In Love and Death
The Walkmen – Bows N Arrows
This list doesn’t entirely do my enjoyment of the year’s best justice, but is rather indicative of what I’ve been listening to recently. I only included albums (except one which I have most of the songs and heard all live at the show) that I have heard, and that I own (interpret that how you’d like.) The order is loosely based, and really only serves as a way of being more conclusive. Enjoy.
20. The Dresden Dolls – The Dresden Dolls (8ft)
This album came out in the spring but I’ve just got around to listening to it. It probably would rank higher had I heard it earlier, but that’s life. The two-piece combo of piano and drums frame the lyrics perfectly, definitely establishing the quirky Goth motif it’s aiming for.
19. The Libertines – The Libertines (Sanctuary)
A great record by a great band that sadly appear to be finished as a group after producing two top-notch albums in only two years. The number of hits on this record is astounding, but the internal combustion that undoubtedly inspired the response to the hype of their first album certainly should also be seen as the catalyst leading to the reasons behind their breakup.
18. Mylo – Destroy Rock & Roll (Breast Fed)
You cannot possibly peg Destroy Rock & Roll simply as a dance album, labeling it that is a cop out. Mylo shows incredible range both in terms of production but also in how he incorporates meaningful samples with original and sound effects. Without question Mylo is nipping on the heels of The Chemical Brothers and Basement Jaxx in terms of talent, it remains to be seen whether his more passive style catches on outside of the U.K. though.
17. Razorlight – Up All Night (Universal)
An impressive debut from a band signed through a break on BBC Radio 1. Up All Night is certainly a shiny, polished effort that some have said is rather soulless. But it can’t be denied the consistency is the entire album having a very appealing sound and promises a more complicated or sophisticated appeal now that they’ve shouldered an incredibly long first year.
16. K-OS – Joyful Rebellion (Astralwerks)
K-OS is a rare Canadian commodity in that he’s achieved success both domestically and internationally. After saying he’d only make one album, he was able to find more inspiration to build on the success of Exit with one of the most diverse hip-hop albums of 2004. Kevin clearly shows that there are still artists in the genre who understand the concept of using actual instruments in conjunction with the message they push across.
15. The Dears – Protest (Ace Fu)
Protest would also be much higher if not for it being an EP of 4 songs, but they really hit you hard and blend the orchestral sound with Murray’s monotone Morrissey-like voice perfectly.
14. Air – Talkie Walkie (Astralwerks)
Often overlooked after being released way back in January, Talkie Walkie continues in Air’s tradition of making simple but distinct pop music in the same French vein that has also catapulted the likes of Daft Punk and Phoenix to stardom.
13. Morrissey – You Are the Quarry (Sanctuary)
I’ll admit that I can’t really judge this Morrissey album against any others because this is the only one I’ve ever heard. I’ve heard selected songs from various points in his career, but I think the reason I like this album so much has more to do with the current state of music than anything relatable to what he’s done in the past.
12. Xiu Xiu – Fabulous Muscles (5 Rue Christine)
This was a tough choice to include because I don’t understand the music but it really draws a lot of emotions out of me, good or bad. The best way I can describe it would be to label it organized chaos, like the melodies and lyrics are often going in opposite directions to each other but still produce a harmonious sound. I wouldn’t be surprised if most people disliked this initially, perhaps that’s what makes it enjoyable for me.
11. Interpol – Antics (Matador)
A solid if not spectacular sophomore album, Antics should be applauded for maintaining the consistency displayed on Turn on the Bright Lights. With such high expectations for this album it’s satisfying in seeing an effort that doesn’t fall flat in the face of the buzz machine that the internet has become.
10. Franz Ferdinand – Franz Ferdinand (Domino)
2004 was the year of Franz Ferdinand, emerging from obscurity to push nearly 700,000 albums in the U.S. alone. Their self-titled debut highlighted Alex Kapranos’ romantic ballads with a strange eccentricity brought out of the Glasgow art scene, producing an album that lived up to the hype. A bigger question is whether they’ve created so much hype that their body of work will always be compared against the greatness of their introduction.
09. Jill Scott – Beautifully Human (Sony)
I’ve always thought Jill’s succeeded where other R&B/Soul artists fail because she conveys her feelings so effortlessly. This album works incredibly well by letting the music compliment Jill’s poetic sound as opposed to setting up a giant symphonic sound where you expect a need for the vocals to compete bar for bar (*cough* Alicia Keys *cough*).
08. Faithless – No Roots (Arista)
A dance album that actually employs lyrics that hit harder than the bass lines, No Roots gets as political as can possibly be expected from music lumped into that particular genre. Has to really be listened to closely to maximize what you take away from its listening.
07. The Futureheads – The Futureheads (Sire/Ada)
There is, in fact another band from Scotland that put out a fantastic album in 2004, but would be lucky to receive a tenth of the attention that Franz Ferdinand has. I think the key distinction is that The Futureheads self-titled debut is much stronger vocally and less reliant on the strength of their powerful riffs to propel their songs. The simplicity or lack of complexity to the lyrics is also somewhat refreshing in the mounting trend towards randomness and obscure thoughts.
06. Ambulance Ltd. – Ambulance Ltd. (TVT)
Their first full length release sparkles brilliantly and detaches from the ‘New York sound’ label that many other efforts from that city end up being labeled with based on its own distinct instrumentation.
05. Blonde Redhead – Misery is a Butterfly (4ad)
Initially I didn’t like this album at all, thinking it was really pretentious, only later realizing that it wasn’t specifically trying to be as complicated as it sounds. Sitting back and letting the album come to me, Misery is a Butterfly comes off more as a peaceful, delicate work of art than a deliberate attempt at overly complicating a group of songs. The deliberate pointedness turns to self-doubt and insecurity, beautifully crafted as an expression of expressions.
04. The Delays – Faded Seaside Glamour (Rough Trade)
The aptly named Faded Seaside Glamour invites the listener to get a feeling of forgotten youth, gradually succumbing to the inevitability of time. The pacing is wonderful and really lets you absorb the feeling of the vocals. A must have for long trips in the car.
03. Modest Mouse – Good News for People Who Like Bad News (Sony)
A well-produced album that shines based on the strength of its consistency from beginning to end. Good News for People Who Like Bad News does have a very diverse lineup of songs but doesn’t try to hit you over the head with how good they are.
02. Hope of the States – The Lost Riots (Sony)
I think I’m the biggest Hope of the States fan in North America, and the range shown by the eight members on this album leaves you visualizing these descriptive landscapes of a world of despair. The strings used are perfectly timed, and don’t simply serve as a novelty that often heard elsewhere as filler for lackluster songs. The Lost Riots is brilliantly depressing, possibly depressingly brilliant at the same time. I can see how many people who’ve been quick to pan Hope of the States get frustrated at what they see as talent gone astray, victims of the British hype machine. But I think the bashing this side of the Atlantic is undeserved and largely the product of the snowballing press machine that has come to instantly make or break artists rather than let them find their feet.
01. The Arcade Fire – Funeral (Merge)
This isn’t much of a surprise, I’m only the millionth person to rank Funeral so highly but it wonderfully combines an orchestral sound with powerful emotion-laden words that just exude feeling. When I saw them live in November I didn’t know what to expect, but within seconds you just see the power of their conviction and immediately melt into the songs one after another. The fact they all play each other’s instruments really leant credence to just how tightly knit they are as well.
Missing the cut but worthy of a listen:
Bjork – Medulla
Cee-Lo – Cee-Lo Green is the Soul Machine
Dizzee Rascal – Showtime
Ghostface – The Pretty Toney Album
Keane – Hopes and Fears
Manic Street Preachers – Lifeblood
Secret Machines – Now Here is Nowhere
Slum Village – Detroit Deli
Sonic Youth – Sonic Nurse
Stereolab – Margerine Eclipse
The Used – In Love and Death
The Walkmen – Bows N Arrows
posted by David at 1:38 a.m.
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