5 Years Later: Necessary Alterations to the Top 500

Update February 2015! While I pledged to leave this list untouched, several years have passed and I felt a need to make a few alterations.  Not by adding new songs, mind you - the list is limited to the first 40 years of my life - but by correcting some omissions and "mistakes".

Click here for the master list.

Here are the changes:

"Tradition" by Burning Spear was added at #487, bumping out "Low Is A Height" by Great Northern wholesale. "Low Is A Height" is obviously great, but it was a newer song at the time of my list making and I was sort of overly taken by it.  It doesn't stand up by the list standards over time.  "Tradition" on the other hand!  Thank you Soundhound!  I had this on an old warbly mixed cassette and I never knew the name.  Soundhound recognized it, hallelujah, before the sound was lost forever to time and tape degradation.  A fave reggae tune.

In the first go around, I missed "Waiting Room" by Fugazi, probably the best post-punk song ever written.  This had to rate pretty high so I slotted it in at #44.  I knocked "Hey Ya" by Outkast down about 50 spots, which in turned bumped another and I had to deal with the snowball.  I looked for songs that I could justify moving down the list.  After "Hey Ya", in approximately 50 slot increments, these were:  "Shakey Dog" by Ghostface Killah, "Sheena Is A Punk Rocker" by The Ramones, "Respect" by Otis Redding, "Working Out Words" by the Diableros, "That Joke Isn't Funny Anymore" by the Smiths, "Lazy Days" by Enya,  and "Standing Stone" by Flying Saucer Attack.  The final bump right out of the list was "Chicago Seemed Tired Last Night" by The Hold Steady.  A favorite, obviously, but it was ultimately a casualty.  I also exchanged out wholesale "Spring Unseen" by Magnetic Morning for "Two Step" by Low, which should have always been on this list, ffs.

The absence of "Soon Enough" by The Constantines seemed an atrocity to me, perhaps because friends and I have been jamming on it over the past few years - it just became that much more meaningful.  It was also one of the last cuts to the original list.  I swapped it out directly at #201, replacing "Deep Red Bells" by Neko Case.  That song should not have been on the list, never mind at #201.  I think I wanted Neko Case represented somewhere because she is so damn amazing, but in retrospect I should have let the songs stand on their own, rather than conceding to a need to represent the artist in some fashion.

Another horrifying mistake was omitting "Smells Like Teen Spirit" by Nirvana.  What was I thinking?  I think I was thinking that the song was everyone's favorite and overplayed and simply too emblematic of a whole musical movement.  Which is not a reason at all.  This has been corrected by swapping it in at #68 to replace "Telephone and Rubberband" by Penguin Cafe Orchestra.  This wonderful instrumental was rated too high in retrospect and was moved to #391; this turfed "No. 1 Rock Station" by Guitaro out of the list completely.  The Guitaro tune is a wonderfully fuzzy pop-drone piece, but I recognized it's not essential.

"I Don't Like Mondays" by the Boomtown Rats replaced "Still Life" by Russian Futurists at #367.  The original omission of this hit was intentional, and I felt that "Someone's Looking At You" showcased them perfectly -- but really, "I Don't Mondays" is a masterpiece.

I also added a two Neil Young songs ("My My, Hey Hey" and "Old Man"), since having only one ("Pocohontas") was an insult.  And "Tom Sawyer" by Rush.

In the high 400s, I made some necessary exchanges:

"One Great City!" by The Weakerthans jumped into #458, replacing "Standing Stone" by Flying Saucer Attack.  One Great City was a later discovery by a band I had initially dismissed.  "Standing Stone", while a wonderfully fuzzy, droney, lo-fi gem, feels non-essential now.

"Keep On Moving" by Bob Marley was slotted in #474, pushing out "Time To Say Goodbye" by Paul Potts.  At the time I was making this list I was being moved by Potts' version.  I defended its inclusion against detractors but they were right in the end.

"Better Man" by Pearl Jam turfed "Bridges and Balloons" by Joanna Newsom at #490.  I adore Newsom, but had to admit that her whiny warble subtracted too much from her gorgeous harp playing and skewed pixie lyrics. Meanwhile, "Better Man" has aged like a fine port.

"Making Plans for Nigel" by XTC replaced "The Ballad of Scarlett Town" by Johnny and the Moon at #491.  The latter is a great foot stomper but in the high 400s it was the last man out against XTC's classic track.

So there you have it.  I feel much better.

The Top 20 Albums of 2014

Greetings!

Ideally a Top Albums of the Year list should arrive no later than December 31^st, but I am tardy at the best of times.  In this particular year, 2015, my list is egregiously past-due on the account of a new baby boy.  Little time for listening and judging, even less for writing.  I have enjoyed beginning the musical education of the new human, however.  In his room (David is his name) designed for feeding, napping, and vacant staring, copious amounts of diverse tunes have already been played.  He is thus far partial to Ty Segall, Beirut, Mark Orton’s soundtrack to the film Nebraska, Jim Guthrie, and Akron/Family.  This is a nice start. I'll set to work on making him a Clash fan as soon as possible.

May it seep into his pores.

So here is my top 2015 list with apologies to all of you (i.e., maybe 5 people) that have been actively waiting.  2015 had no clear identity somehow.  I’ve seen this sentiment echoed by a number of music writers.  The most regarded music of the year was spread across a pretty diverse landscape.  I found myself attracted a little bit more to lo-fi, quirky guitar pop, but there was also ample representation from the shoegaze and psych-60s camps, orchestral pop, and electronic outfits.  And a whole lot of other stuff.  But like 2013, there were few standouts – only one album broke the illustrious 9.0/10 barrier of my personal rating system.  I usually expect a few of these each year. All that said, there are once again some stellar albums this year.  And, unlike last year, there were only a few albums that fell short of high expectations.     

Top songs of the year?  Probably these:

"45's and 33's" by Drew McIvor 
"Enemy" by Merchandise. 
"Marching Orders" by The New Pornographers
"Geographic" by Cheatahs
"Talking Backwards" by Real Estate 
"Rainbow" by Robert Plant 

And now… 
The Top 20 Albums of 2014

20. The Black Angels – Clear Lake Forest (8.3/10)

This entry should probably not even qualify for the list due to its brevity – 7 songs coming in under 30 minutes is more of an EP by definition.  But it’s just too good to ignore.  In the indie rock world, there have been a lot of 60’s throwback bands attempting to capture that vintage garage sound.   Contemporary bands like Woods, Crystal Stilts, Allah-las, Temples, Hooded Fang, and so on, sound like they could easily appear on a Nuggets box set.  The Black Angels do it perfectly - amazing lo-fi reverbed psych gems, channeling the Velvet and Paisley Undergrounds. Choice track:  “Diamond Eyes”

19.  Soft Science – Detour (8.3/10)

I find I frequently and reverentially reference a particular album from 1990 to describe many of my current fixations:  Gala by Lush.  Gala was a not a proper album, but rather a compiled reissue of their first 3 Eps and some outtakes.  It was released as their debut and predates their edgier records that put them closer to Elastica than to the Cocteau Twins.  Gala marks for me a primary musical touchstone that serves to define what I (we) mean by “Dream Pop”.  With airy, ethereal female voices over top of chorused/flanged guitar, it is the place where “fuzz” and “gossamer” co-exist peacefully.  And it’s also sort of detached and cool and mysterious.  Without Gala, I wouldn’t be listening to School of Seven Bells, Eternal Summers, and the Pains of Being Pure at Heart, to name a small few.  (Other fun fact – Gala was the first ever album I bought on Compact Disc).  Okay, enough about Lush.  Soft Science fits the same mold and shares the same lovely musical space as The Sundays, The Cranberries, Lush (of course), and The Cocteau Twins.  And with some glide guitar obviously informed by My Bloody Valentine.  Choice track: “Nothing”.

18. Mac DeMarco – Salad Days (8.3/10)

I admittedly dismissed Mac Demarco based on his geek-redneck album cover for his album "2".  I somehow acquired the perception that he was a disingenuous knob who was peddling some sort of ironic frat rock.  This is a rather presumptuous bias to take, but it happens sometimes when so many listening options are flying my way.  And there were some disconcerting words, such as Pitchfork remarking that DeMarco “tinkered with yacht rock, AM radio gold, and Bowie-like glam. The mixture injected an unsettling sleaziness into a funny, occasionally creepy collection of songs that walked the line between irony and sincerity.” That's a turn off. ANYWAY, I finally gave a listen and his 2014 release, Salad Days, and it is a languid and lovely gem of sparkly guitar folk.  It’s an appealing mixture of Kurt Vile, Al Tuck, and, most obviously, Jonathan Richman.  These little songs are quirky, heartfelt, and seemingly naïve – but with repeated listens you can discern some serious song-writing talent and execution.  What I don’t understand is how he gets so out of hand on stage.  He’s a bit gross. Look online – there are some stories. Choice track: “Goodbye Weekend”.

17. Hamilton Leithauser – Black Hours (8.3/10)

The Walkmen announced an indefinite hiatus in late 2013.  I was a peripheral fan, and liked a good chunk of their stuff, but was often turned off by Leithauser’s propensity to sing just beyond his range into a sandpaper falsetto. It was fortunate to see the band itself re-emerge as the back-up to Quentin Stolzfus’ post-Mazarin return in Light Heat (see my review from last year at #17), but assumed I would be indifferent to whatever Leithauser pursued.  I was wrong – this is quite a reinvention.  Shedding the indie rock shackles, Leithauser has produced a mature and marvelous solo record with Black Hours.  Reminiscent of Jeff Buckley, Leonard Cohen, and Paul Simon, the songs appear to stretch back a generation or two.  Rollicking, jazzy, theatrical, but also intimate and tender, Leithauser sings like a seasoned pro.  A great accomplishment.  Choice track: “11 O’Clock Friday Night”.

16.  Real Estate – Atlas (8.3/10)

Real Estate have always been in that slightly frustrating category of bands who release records I deem good enough to acquire, but always falling short of excellence.  The potential is there but something is always missing to full grab my attention. Other examples: Grizzly Bear, Elf Power, and the last 4 Belle and Sebastian albums.  Real Estate has always been pleasant to my ears, but Atlas has entered a new category.  The mid-tempo, day-dream formula is the same, but this time around those signature jangly hooks are much more engaging.  Real Estate always put out comfortable records, but these tunes are simply superior, recalling the best moments of Fleet Foxes, Kingsbury Manx, Go-Betweens, and Galaxie 500. Choice track:  “Talking Backwards”.

15.  Solids – Blame Confusion (8.4/10)

One bright afternoon a couple summers ago, I took in the first set of Montreal’s rather monstrous Osheaga festival at one of the smaller side stages.  Solids took the stage and I was immediately smitten.  A power-trio outfit, they began my day with a perfect assault of fuzzy, anthemic indie rock.  At the time, they were touring on back of their Generic Dogs EP and I had been waiting ever since for their debut full length.  Blame Confusion finally appeared and it was worth the wait.  This is pretty simple three chord riffage, but it is eagerly and urgently delivered with that earnest punk-informed rally singing that really gets the brain-blood pumping.  It’s the foundation that fueled much of the success of Matador Records and bands like Chavez, Guided By Voices, Versus, and Superchunk.   Good to see young Canadian bands like Kestrels, Dog Day, and now Solids, waving this torch.  Choice track: “Off White”.

14. Inventions –  S/T  (8.4/10)

Matthew Cooper’s ambient neo-classical output as Eluvium has been transfixing me over the past few years, culminating in the triumphant Nightmare Ending, which placed 2nd in the Top 20 list of 2013. Then word came of a collaboration between Cooper and Mark T. Smith of Explosions in the Sky, called Inventions, and it’s gorgeous.  Moving into Brian Eno’s ambient-pop territory and further away from the solo piano emphasis of Eluvium, the tracks are pretty, minimalist cycles of keys, guitars, vocal dubs, and found sounds.  With titles such as “Flood Poems”, “Echo Tropism” and “Luminous Insects”, you get the idea.  Always challenging but never difficult, this is an inspiring piece of modern sound and music. Choice track: "Flood Poems".

13.  EMA – The Future’s Void (8.4/10)

Erika M. Anderson – or EMA – took me by storm with the apocalyptic manifesto “California”, the lead track on 2012’s Past Life Martyred Saints.  This personal and powerful record slotted in at #2 of my top list that year.  Were it not for the stunning glory of PJ Harvey’s Let England Shake, EMA would have taken the crown. Her follow up, The Future’s Void, does not disappoint.  While less terrifying and inspiring than her debut, the same elements conspire here – bleakly distorted and pummeling beats driving emotionally wrought gothic rock.  But there are reprieves from the angst here, with some softer edges and more conventional song structures.  EMA is unforgivingly (post)-modern and it all melds together into another powerful statement of despair and beauty. Choice track: "So Blonde"

12. Mounties – Thrash Rock Legacy (8.4/10)

Mounties is a sort of Canadian indie supergroup, comprising Hawksley Workman, Steve Bays of Hot Hot Heat and Ryan Dahle of Limblifter.  They kind of emerged out of nowhere (apparently after forming after hobnobbing at the Junos) and I was looking forward to their show at the Hillside Festival – sadly this show was cancelled due to a dangerous thunderstorm.  What is remarkable about the record is how uniquely Canadian it sounds, if there is such a thing.  The lead track could have been put together by The Payolas and several tracks mine 80’s analog synth pop and new wave.  The rest is more contemporary, sounding a lot like Wolf Parade/Sunset Rubdown, Broken Social Scene, and Plants and Animals.  Tremendously catchy, complex, and fun.  I hope it’s more than a one-off collaboration.  Choice track:  “Waking Up On Time”.

11.  Wunder Wunder – Everything Infinite (8.4/10)

Hailing from Los Angeles via Australia, Wunder Wunder come gloriously out of the gate sounding like an early 2000s Elephant 6 recruit.  The lead and title track is a welcome psychedelic burst sounding like Olivia Tremor Control, The Sunshine Fix, The High Dials or The Minders.  Multi-tracked vocal harmonies that would be at home on The Beatle’s Yellow Submarine swirl around sunny and jangly guitar lines and bouncy bass notes. As the album progresses, synthesizers enter the fray, recalling contemporaries Hooray for Earth, Miracle Fortress, or The Ruby Suns.  And there is also a dancey Northern Soul quality threaded throughout as well.  This was a great find.  Choice Track:  “Everything Infinite” (this is a clip, along with snippets of other songs).

10. Angel Olsen – Burn Your Fire For No Witness (8.4/10)

Having assembled a full band Angel Olsen has suddenly moved out of the realm of folky singer-songwriter into the high-end arena of inspired indie rock.  The musical references are simply amazing.  I apologize for the gendered nature of this list (surely Olsen sounds like many different male artists as well) but I hear them so clearly and powerfully.  In one album she has managed to draw upon such luminaries as PJ Harvey, Siouxsie and the Banshees, Sharon Van Etten, Hole, Linda Perhacs, Fairport Convention, Juliana Barwick and Mazzy Star.  Although this reads like calculated name-dropping, trust me, she’s the real and versatile deal.  A fabulous outing, top to bottom.  Choice track: “Windows“.

9.  Cousins – The Halls of Wickwire (8.4/10)

Excitedly waiting to see The Constantines for the third time of their 2014 reunion, I was taken aback by the opener, Cousins.  My tinnitus immediately suffered as this power duo (real cousins, I think) managed to produce a raging wall of guitar and drums that shook my ribs.  Taking a page from Japandroids, Cousins does a lot with their simple set up.  Overdriven guitar, propulsive drums, and high register yells and yelps combine into the aural experience of skateboarding down a mountainside.  I love this DIY lo-fi indie fuzz.  Fans of Japandroids, Times New Viking, No Age, and Women take note.  Messy and honest noise.  Choice track: “Alone”.

8.  Eagulls – LP (8.5/10)

These young upstarts expertly sledgehammer out that particularly British brand of first-wave post-punk, and would fit comfortably on a cassette mix with early Cure, The Killing Joke, The Adicts, Still Little Fingers, The Alarm, and The Three Johns.  With the cold reverb turned to 11, it’s taut, acerbic, and punishing, but always having the hooks that drag you flailing through the gravel.  Eagulls have kind of helped replace the small hole left by Iceage, who opted to make their sophomore effort last year way too difficult to listen to.  If I was back in Grade 11, I’m sure this record would wear out my turntable.  I’d play it for my friends, and they would be immediate fans.  And at least once, it would indirectly fuel some sort of youthful destruction at a house party.  And then it would remind me of my youth 30 years later and show up on mp3 mixes for old friends who now live in Vancouver.  Choice track: "Tough Luck".

7.  Cheatahs – S/T  (8.5/10)

I hate band names with altered spelling and double entendres.  Like the Dandy Warhols or Ringo Deathstarr.  It takes me awhile to get past it.  In this case, it took me all of 25 seconds of “Geographic”, track 2 on this self-titled behemoth.  Now THIS is a band who knows how to replicate the intricate craft of their forebears.  I throw the “shoegaze” label around quite a lot to refer to that gauzy, psychedelic brand of layered guitars, but this is positively definitive and just about as authentic as you could hope for (with a respectful nod to the aforementioned Ringo Deathstarr).   Cheatahs sound more like Swervedriver (my all-time favorite band) than any other I have heard, a near impossible task.  Even their videos (see "choice track" below) look like Raise-era Swerve documents.  They also emulate and honor the beautiful sonic waves of Ride, Sianspheric, My Bloody Valentine, and Slowdive.  But they make it their own.  Instant classic.  Choice track:  “Geographic”. 

6. The New Pornographers – Brill Bruisers (8.5/10)

The New Pornographers have to be one of the most consistently good rock bands to grace my personal airwaves.  Every album is a confectionery treat of boisterous, celebratory high-end indie rock.  They have done it again in 2014 with Brill Bruisers.  Carl Newman and Neko Case trade gorgeous vocal lines over an endlessly lively backdrop of insistent and uber-catchy guitars and keyboards.  The band produces impossibly hooky multi-voice choruses and those signature builds that unite all listeners in a common fist-pumping purpose.  The only drawback, once again, is Dan Bejar’s songs, which almost always feel like secondary and inferior after-thoughts.  They are not horrible or anything, but with his basic staccato guitar rhythms and annoying vocal delivery, it sounds like a different band.  A full album of the main Pornographers would be welcome.  Regardless, this is another awesome record. Choice track: “Marching Orders”.

5. Ty Segal – Manipulator (8.6/10)

Ty Segall is one of those artists that is difficult to commit to because he's too damn prolific.  Since 2008 or so, he has put out 11 albums and even more singles and EPs.  Within this large catalog, as far as I can tell, are variances in style and quality, ranging from snotty Strokes-inspired rock, singer-songwriter fare, and old 60's garage.  Not knowing where to start or what I was getting into, I ignored him.  His most recent, Manipulator, got enough attention for me to bite (who am I to disregard Jack Rabid?).  So I’ve bit down hard.  This is a tremendous recording of vintage 60's psych-pop, stoner jams, and glam rock.  The guitar work is wonderfully varied and highly skilled, and it easy to hear classic touchstones like Brian May, Keith Richards, and Ron Asheton.  Now I have the pleasure (or pain) of working through this guy’s past catalog.  Choice track:  “Feel”.

4.  Elliott Brood – Work and Love  (8.6/10)

Elliott Brood feels like home.  They are local boys who cut their teeth on the road all over Southern Ontario and across Canada.  Their songs are fist-pumping, crowd-swaying hootenannies.  A live EB show seems to be experienced universally through the crowd -  sharing this brand country/folk/rock makes the community stronger. Certain songs in their back catalog are so nostalgia inducing and so loved by some of my closest friends that the band feels like part of the family.  Though they are a 3 piece, the effect is a veritable jamboree.  Have I said enough about Elliott Brood for you?  Each album they put out is damn great and Work and Love is no exception.  I just wish it was a little longer (it’s 33 minutes).  The production has taken a leap as has the supporting instrumentation.  Beyond the drum/bass/guitar/banjo set up we are treated to great swaths of pedal steel, strings, mandolin, and keys to round out the sound.  So while they have lost some of that stripped down DIY aesthetic that plays perfectly in a dilapidated barn or tiny bar, they have gained greater presence and depth.  But it’s still signature Brood. Every song is a catchy, foot-stomper that speaks about work and love, and hope and truth.  Choice track:  “Jigsaw Heart” (also check out this version is from the Paper Bag sessions, which are included on a second disc on the deluxe edition).

3.  Merchandise – After The End  (8.8/10)

A good chunk of the population maligns the vapid cultural wasteland that was the 80’s, including its music.  This was the era of my musical coming of age, however, and I would take it over the bloated and boring 70’s any day, aside from the explosion of punk that ended the decade.  It was punk that informed all the post-punk, goth, and new wave artists that were to follow, intermixed among the bad hair, heavy metal, and questionable fashion choices.  Referencing the 80’s effectively in new music may be superficially straightforward (synthesizers, digital drums, chorused guitar and brooding vocals) but to absolutely nail it is rare.  M83’s Saturdays=Youth (my #4 of 2008) is ridiculously authentic in every sense and would have been the album that a fedora-wearing John Hughes would cry to in the rain.  Burning Hearts, a fairly obscure Swedish synth-pop band, produce that delectable poppy 80’s sound recalling O.M.D. and Blancmange.  Young Galaxy also often pull off that Canadian 80’s Parachute Club sound.  But here we have Merchandise’s After The End, a brand new record that takes me straight back to Grade 12.  Beginning with an airy instrumental, the album takes off with the second track, “Enemy”, which imparts like Duran Duran dancing with Echo and the Bunnymen.  It is lush and jangly and simply oozes the DNA of mid-80's underground and new wave.  Carson Cox’s rich baritone vocals, as well as the tunes, sound like a combination of Ian Curtis, Steve Kilbey, and Ian McCulloch.  And what’s that I hear?  Shriekback?  Now it’s the Aztec Camera wrestling with INXS.  And that goofy bass line could be off Sandinista or a mid-80's Stranglers record.  The depth of this record is extraordinary. Merchandise sound contemporary only by way of the enormous sound they put forth – most songs radiate a gooey-thick wall of sound, not unlike M83.  Oddly, they’re from Tampa.  Highly recommended.  Choice track: “Enemy”.

2.  Amen Dunes – Love (8.9/10)

Damon McMahon, as Amen Dunes, delivers homespun, splintered folk genius that one associates with the likes of Syd Barrett, Will Oldham and Robyn Hitchcock.  The visceral impact of what is, at its base, straight up acoustic folk rhythms and melodies is rather astounding.  It gives me pause.  Oftentimes I have the tendency to pursue more expansive sonic explorations and I am drawn to layers (upon layers) of instrumentation.  My love of shoegaze and psychedelia is evidence of this.  It’s almost as if the drug of music needs its dosage upped to keep me suitably effected, and genres like traditional acoustic folk can’t possibly complete. There is some truth to this.  But there continue to be singular artists that put forth creative and nuanced revisions of these old tropes that are fresh and revitalizing.  Bon Iver, Bonnie “Prince” Billy, PJ Harvey, and Richard Laviolette are recent examples.  Amen Dunes joins this list with Love.  It sounds, and was, written in isolation and one gets the feeling that the presence of an audience was never considered.  It’s simple stuff at its core – basic chord progressions on acoustic guitar or piano and nice accompanying melodies.  But McMahon has enlisted members of Iceage and Godspeed You! Black Emperor to fill the space with effected strings, keys, and a range of other eerie sounds. McMahon’s warmly amateurish and sometimes crooning vocal delivery is alluring and homey.  The whole package is wrapped in satisfying bed of reverb.  This is some of the most engaging modern folk I’ve had the pleasure of hearing.  Choice track:  “Splits Are Parted”

1.  Thee Silver Mt. Zion Memorial Orchestra – Fuck Off Get Free We Pour Light On Everything (9.0/10)

All reviews I’ve read of this record begin with a quoting of the adorable little girl who opens the album:  “We live on the island called Montreal and we make a lot of noise because we love each other!”  This carefree and sweet little statement immediately resounds as a powerful philosophical manifesto once Silver Mt. Zion explodes into their apocalyptic brain-frying attack.  This album of the year absolutely shredded me when I heard it.  In the past, this collective tended to alienate me with meandering experimental rock that was just a little too difficult to engage with.  I saw them as the demanding cousins of Constellation label mates (and collaborators) Godspeed You! Black Emperor and Do Make Say Think.  But with Fuck Off Get Free… I was blown over.  The longer jams are desperate, urgent, and fiery, but the delivery feels far more profound than any metal, punk, or hardcore anything.  This can be attributed, I think, to the instrumentation.  Laid over the buzzing guitars is a chamber string orchestra that’s been dipped in acid and lit on fire.  It’s like a philharmonic was commandeered by raging nihilists.  Anarchy in the opera house.  And so the tenuous linkage to highbrow art remains for the listener, despite the (wonderful) adulteration.  This is orchestro-folk-punk that breaks down and builds back up, with commitment and love.  The shorter tracks are provide the listener some space with great melodic sensibility and the equivalent passion.  And throughout is the upper register “cry for help” singing of Efrim Menuck, giving the pieces added lyrical depth.  When I hear this record, I find it a bit paralyzing.  What am I doing sitting in my office doing whatever it is I am doing?  There is so much more!  I can hear it!   Choice track:  “What We Loved Was Not Enough”.

"Shout Outs" - Some Great Albums Outside the Top 20 

As per usual, here are some quick reviews and acknowledgements of some really good albums that did not make the Top 20 cut (i.e., receiving from me a rating of 7.5/10 or greater). 

Quilt – Darkened VU delights and pop-psych tidbits. (8.2/10)

Foxygen – These precocious twenty-somethings have an unerring knack of reproducing the psychedelic soul of the 60s.  They put out my number one record of 2013.  And Star Power…is also damn great, but the decision to put out a double long-player distracted from the best nuggets. (8.1/10)

Skygreen Leopards – Less freak in the freak-folk on Family Crimes has resulted in a whimsical, pastoral record.  (8.1/10)

Beck – The veteran troubadour is miles away from his funky side on this lovely, contemplative folk record.  Morning Phase is wonderfully produced sibling to Mutations and Sea Change.  This is definitely the first Grammy winner on any of my lists. Oh, wait…Arcade Fire. (8.1/10)

Temples – Sun Structures delivers consistent and compelling homages to 60's-era psychedelia. (8.1/10)

Alcest – Apparently Alcest is typically a black metal outfit.  But I checked out Shelter because it was tagged as more of shoegaze record, recalling Jesu and Slowdive (Neil Halstead appears!).  Nice! (8.0/10)

Robert Plant and the Sensation Space Shifters – An unexpected surprise from the Zeppelin legend, Plant has tempered his rock squeal into a dignified voice on top of modern English indie folk. (8.0/10)

Parquet Courts – Two PC albums arrived in 2015.  I have not heard the latest (Content Nausea) but Sunbathing Animal is more wonderfully skewed and strange indie guitar romps.  (8.0/10)

Musée Méchanique – Lovely, pastoral orchestral folk appears on the crowd-funded From Shores of Sleep. (8.0/10)
  
Cymbals Eat Guitars – Wonderfully varied comparisons to The War On Drugs, Titus Andronicus, Porno For Pyros, Comet Gain, and The Flaming Lips.  Maybe lazy to provide such a list of references, but these guys are all over the place to great effect. (8/10)
  
Drew McIvor – Porchlight is a light-hearted lounge pastiche of Prince, rocksteady, soul-folk balladry, and samba.  I've proclaimed “45’s and 33’s” song of the year. (8.0/10)
  
PAWS – Owls Talons Clenching My Heart (what a great album name) is tremendous lo-fi indie pop-rock. (7.9/10)

The Antlers – Familiars is expansive, nuanced chamber pop.  Beautiful. (7.8/10)
   
BRONCHO – Just Hip Enough To Be Women, sounds like early 80s post-punk British pop.  Think Squeeze, Joe Jackson, Nick Lowe, Elvis Costello. (7.8/10)

Avey Tare – Enter The Slasher House is a solo jaunt from this Animal Collective co-lead.  Happily, sounds like Animal Collective.  (7.8/10)

Sharon Van Etten – Are We There continues Etten’s prowess at producing powerful soul-folk confessionals.  (7.8/10)

Pains of Being Pure At Heart –Days Of Abandon is another great offering of wall of sound dream-pop.  (7.8/10)

Woods –Catchy lo-fi psych-pop can be found on With Light And With Love.  Not as monumental as previous efforts, but a damn fine record.  (7.8/10)
  
Viet Cong – From the ashes of Women, this Calgary band launched Cassette, a reverb-drenched pop noise document referencing Pavement, Wire, and No Age.  My expectations are huge for the new album, which just came out in January of 2015. (7.7/10)

Fanfarlo – Lush and spacey synth folk describes their third album, Let’s Go Extinct. (7.7/10)

The Men -  Evolving from their blazing proto-punk anthems, The Men have drifted to more conventional rock on Tomorrow’s Hits.   Like Titus Andronicus interning with Tom Petty. (7.7/10)

Hooray for Earth – Racy is the third and, sadly, final album.  New wavey indie rock.  (7.7/10)

Stella Ella Ola – I Think We Should Hang Out All The Time is catchy power-pop reminiscent of Apples in Stereo and Fountains of Wayne. (7.7/10)

What Moon Things – Thanks to Dylan Taylor for passing along this s/t post-rock emo gem. Lots of touchstones, like Modest Mouse, The Cure, and Sunny Day Real Estate. (7.7/10)
  
tUnE-yArDs -  Nikki Nack is perhaps the definition of musical innovation in 2015.  Big soulful voice over tribal beats, wacky electronics, and enough pop hooks to ensnare you.  (7.6/10)

Ought – More Than Any Other Day marks an amazing future for this young post-punk band that channels Talking Heads, Pulp, and Fugazi. (7.6/10)
  
Thom Yorke – The surprise web-release of Tomorrow’s Modern Boxes is a big improvement over the sterile Atoms For Peace record.  Still jittery and clinical, but there is a smoother sort of ambience this time around. (7.6/10)

The War on Drugs – Lost In The Dream appeared in many Top 10 lists this year and it is indeed good.  I just thought the nods to 70s rock tropes were at the expense of their previously sublime psychedelic outings.  Great record, but it’s no Slave Ambient. (7.5/10)

Pink Mountaintops – These guys always bring the 70s-informed rock.  Get Back  is a slight let down from their previous records, which have appeared in my yearly top 20 lists in the past.  But still a decent collection. (7.5/10)
  
Tycho – Awake is chill and spacey electronica; great background record for reading and lychee martinis. (7.5/10)

"Short Falls" - The Disappointments of 2014

As is tradition, here are my annual disappointments for 2014 – long anticipated records from much loved artists that fell way short of expectations.  There weren’t all that many this year.   Gord Downie and the Sadies’ record was drab to me, despite attempts to rock hard.  Both partners are tremendous talents, but the outcome was like warmed over latter-day Hip.  Hard to like when Downie’s solo outings have been so strong.  Peaking Lights had put out two great whimsical electro-dub records, but their third effort borders on annoying, wherein repetition serves to rankle rather than inspire.  Camper Van Beethoven’s second post-reunion album soured me, sounding a lot like Cracker but without the hooks. Saddened.   Bob Mould sounded pretty average and well below his 80-90s punk heights.  A revived Medicine continues to try too hard and you can tell there is the potentially for soaring, luminous songs beneath the self-indulgent mess that Brad Laner has put together.  The Hidden Cameras have switched up their approach, leaning more heavily on keyboards and dance beats.   Consequently, their uniquely engaging spark is gone.

And the big kahuna of disappointments goes to Sun Kil Moon’s Benji, which I should mentioned topped numerous year-end lists.  Pitchfork called the album “astonishing” and rated it a 9.2, effusively proclaiming that “Kozelek all but forces us to recognize how the most emotionally moving art can be mapped directly on to our own lives.”  What I hear is a guy muttering clunky uneconomical lyrics over drab, repetitive guitar lines.  This is bland and featureless, and emotionally self-important.  Perhaps, however, my ears have been tainted by Kozelek being a pathetic asshole in a one-sided battle of words with The War On Drugs.  He is an awful person, and I can’t listen to anything new from him – I pretty much have to pretend the RHP catalog was authored by a whole other character.  Go away forever, Mark Kozelek.