The Gossip, Numbers & Tussle (Bottom of the Hill, 27 January 2006)

This was an awesome night.

Three excellent bands converged at Bottom of the Hill last Friday. Each band exemplified the word “fun” in their music and stage presence. The catchy beats and clever lyrics (if there are some) made this a fool proof show from beginning to end. The bands were into it and the crowd even more so.



Tussle opened up with another spectacular set. I believe they started off with “Here it Comes” from their album Kling Klang. It was an appropriate song to start off the evening, with bassist Andy Cabic encouraging the crowd to clap along in the opening beats of the song. And clap along they did. Percussionists Alexis Georgopoulos and Jonathan Holland kept the beats going with their steady drumming and the occasional double cowbell action, while Nathan Burazer added the special effects. Tussle blends so many distinct genres of music (dub, techno, electro, and post-punk, among other sounds) and makes it into one solidly constructed, danceable whole. There were a number of people in the front nodding their heads in complete approval, while others chose to let their feet dictate their movements. Their set was too short, especially since a good majority of people were just starting to get into it.



Numbers, like Tussle, blends many popular genres of music (this time with new wave, punk, garage, and synth-pop) and makes it their own. Although their set was not as entertaining as Tussle’s, Numbers nonetheless played solidly and kept the crowd entertained. Tracks from Number’s most recent release, We’re Animals, seemed to dominate the set list. I believe they opened up with “Beast Life,” with drummer and vocalist Indra Dunis sounding angelic despite all the distortion. Guitarist Dave Broekema added the backing vocals, with his “uh huh uh” noises, while keyboardist Eric Landmark contributed to the song with some more noises. “The Fuck You Garage” was played somewhere in their set, and it oddly sounded like a Tussle song with vocals. Finally, the crowd got more into it when they played their older material, such as “We Need These Things” from their great album Life. “I am the end user,” sings Broekema, once again reminding each and everyone of us that of our capitalists and materialists ways.



Finally, the moment that everyone was waiting for: The Gossip. Their new album, Standing in the Way of Control, is an absolute classic release from this Olympia, Washington based band. Guitarist Nathan, drummer Kathy, and singer Beth took to the stage surrounded by thunderous applause. Again, The Gossip mixes two seemingly opposite genres of music: the Motown sound of Beth’s voice accompanied by the garage punk instrumentation of Nathan and Kathy. It seemed like for every song they played, except the slow ones such as “Coal to Diamonds,” there was a friendly, but entertaining, mosh pit that formed. My friend and I were the only boys in this circular pit, unless you count all the girls who like girls who dress like boys who like girls who immersed themselves in the eye of this hurricane of craziness. Let me tell you, these riot grrrls knew how to mosh compared to some of the wimpy indie boys in other shows. I think the band’s set reached its apex when they played “Standing in the Way of Control.” The catchy guitar, perfect three-four beat plus Beth’s awesome vocals drove the crowd mad! Another catchy song, “Your Mangled Heart” sounded eerily like the guitar chords to the Killers’ “Jenny Was a Friend of Mine.” However, unlike the Killers song, you don’t get to dance to it amongst a pit full of riot grrrls.

Overall, it was a fantastic night of music from three bands that combine different genres of music.

Beer Rating:

Film School, Sound Team and Citizens Here and Abroad (Bottom of the Hill, 26 January 2006)

A sold out crowd gathered at the Bottom of the Hill to see three under rated bands play. All three bands are quite good, but get little attention. Until now apparently. It was unclear which of these bands the audience primarily came to see. Regardless, it seemed like the crowd appreciated each and every band equally.















Citizens Here and Abroad is a local Bay Area band who has a solid following in these parts. The band played a set mixed with songs from their debut LP, The Ghost of Tables and Chairs, and what seemed like a whole slew of new material. Blending dreamy, shoegaze like guitars, Citizens were in top form with Adrienne Robillard’s, the band’s lead singer, angelic voice triumphing over the sometimes devilish Bottom of the Hill sound system. Highlights of their set include, “You Drive and We’ll Listen to Music” and “In Flight Movie.” While most of their songs were soft can really cannot turn up the volume – especially when they played “Enter the Elevator.”




Sound Team is a band from Austin, Texas. Lately, they are getting a lot of favorable blog mentions – which these days is much more effective than going through traditional media channels. They play melodic, indie rock with some light keyboards to spice things up. I’m not that familiar with Sound Team, but their sound, albeit good, isn’t exactly something that caught my ear. Their sound lacked originality, but that’s just my opinion. Although they played a solid set, they failed to catch my full attention.



Film School is another one of those bands who are, technically, from San Francisco but still tries to associate itself with New York. Tonight’s show was their record release party. Film School’s self-titled debut is a very good one, but for some reason, the songs did not translate live. Was it my lack fo sleep? Maybe. But, regardless, this band is a good one and I wished that they performed better, or at least played in a venue that has better sound. A lot of people in the audience compared their sound to, and this is a bit sacreligious, My Bloody Valenitne. The definite highlight of their set was “He’s a Deep Deep Lake” because this song tested the lead singer’s vocals amidst the drowning noises of the guitars and drums. It was a great rendition of the song. However, that was the only interesting thing from their set worth mentioning.


Beer Rating:

marQue (Red Devil Lounge, 12 January 2006)

marQue performed for a packed house at the Red Devil Lounge. Equipped with an acoustic guitar and supported by drummer Big Pocket Matt Lucich and bassist Peter Canton, marQue belted out a great performance with songs from his first album, Conflicting Memories, as well as new ones from his upcoming sophomore album, Raw Soul Folk.

Paired with an unconventional, clever way of playing riffs off his guitar and a hauntingly strong voice that reminds me of Bob Marley, marQue has somehow successfully mixed folk, reggae tones, rock, and soul into one nice batch of goodness and great music.

While standing alongside a very captivated audience, I nodded my head to the beat as marQue sang songs ranging from smooth and soulful to radical and rebellion-like. Holding everyone's attention with his raw voice and enlightening lyrics, marQue would take breaks in between his set to actually talk to the audience about some of the influences for his music. One of his inspirations - his mom - was actually in the crowd, dancing along to the music. Besides being a great singer and performer, marQue seemed like a truly nice, down to earth type of guy.

The highlight of the night was when he sang, "The System". Accompanied by hard hitting drums and smooth bass licks, marQue questioned our heroin-like addiction with material things and dependence on the status quo. Not scared to express his feelings, this rebel soul child is sure to garner the attention of many. Leaving the show, I felt a true sense of rejuvenation. I will definitely keep my eyes open for more shows and performances by marQue. My suggestion is catch this guy before stardom and bigger venues hit him.

Beer Rating:

New Shows Added

March:

9: Test Icicles @ Popscene
24: The Strokes / Eagles of Death Metal @ Concourse

Colin Meloy (GAMH, 20 January 2006)

Colin Meloy, that dynamic lead singer of indie darlings The Decemberists, performed a solo acoustic gig last Friday at the Great American. In front of a sold out crowd full of Decemberists enthusiasts, Colin's set list consisted of Decemberists songs (both main album tracks and a b-side or two), a new song about his unborn child and a cover song from Shirley Collins and Joanna Newsom.

Sporting a "yam yam outfit," as my friend would call it (consists of jeans and a striped, western style long sleeve shirt), Colin sounded great with his twelve string guitar in tow. I forgot what he started off with, but his second song was "We All Go Down Together," from Picaresque. Despite the missing band members and instrumentation, the stripped down version of this song still sounded excellent. In fact, all the songs he played were very well done. "The Engine Driver," which was one of my favourite tracks off of Picaresque was a standout song. Another song, "The Bachelor & The Bride," was just magnificent. Yes, I'm lacking description but instead relying on overused adjectives, but it's one of those "you had to be there" type shows.

Throughout the night, Colin was especially chatty. He introduced the crowd to Shirley, the skull who adorned Colin's stage. He was named Shirley by the crowd in Portland from the night before. Of course, the San Francisco crowd didn't want to be outdone, so one of the audience members asked him if we can name the ship that was next to Shirley. Even before Colin took any suggestions, one audience member yelled out "Maya Angelou!" Colin couldn't help but choose this perfect name. Thus, San Francisco christened the ship the "Maya Angelou."

Also, throughout his set, Colin put in some San Francisco themed songs. "Grace Cathedral Hill" was a true homage to San Francisco with its Grace Cathedral, North Beach and Fisherman's Wharf references. He ended that song by tying in "Grace Cathedral Park" by the Red House Painters. Another song was a cover of Joanna Newsom's "Bridges and Balloons." If you didn't know, Joanna Newsom is from the Bay Area.

Colin also sang one of his worst songs. He reasoned that such acoustic, solo gigs allows the artist to showcase his best songs. Well, he decided to buck that trend by playing something less flattering. He chose "Dracula's Daughter" despite the crowd shouting other songs that they think was his worst. Needless to say, that song was just horribly written but hilarious nonetheless.

Finally, Colin went cheesy by singing a song about his soon to arrive baby. "Weird & Wonderful" I think was the name of the song. It was cliche, yes, but so long as Colin recognized it was cliche, it was fine with me.

Overall, a wonderful and enjoyable gig. Definitely a treat to hear some Decemberists songs stripped bare.

Beer Rating:

Alec Ounsworth (Tonic, New York, NY 14 January 2006)

After a spectacular Sufjan show, I took a cab towards the Lower East Side to catch Alec Ounsworth, lead singer of Clap Your Hands Say Yeah, do a solo gig at Tonic. I was still in a Sufjan high, and I hoped that Alec's show doesn't disappoint.

The shows were complete opposites from one another. While Sufjan had the beauty of Lincoln Center with the backdrop of New York, Alec had to settle for the rawness of the Lower East Side with a huge red curtain as a backdrop. While I was seated in comfort and warmth at Sufjan, I was cramped and standing amongst a mishmash of onlookers. However, I had a greyhound on hand, which made things a little better.

I don't know any of the song titles Alec sang other than the full version of "Graceful Retreat," which typically is played in part and then proceeded by "Is This Love." The best I can describe Alec's solo set is that this: hokey. Hokey in a sense that it sounded like a country jamboree band. Not that it's bad, but it pales in comparison to Clap Your Hands' songs. Nor do I interpret Alec's solo project as worse than Clap Your Hands, but it's just different.

The crowd took in the show well, and I found it enjoyable. However, I couldn't help but wish for a Clap Your Hands song in there just as a teaser. Overall, it was a good show. But after the high I was in for Sufjan, it's unfair for me to have an objective review of Alec's gig. Nonetheless:

Beer Rating:

Article & Photos: Clarisse Campdoras

Sufjan Stevens (Lincoln Center Allen Room, New York, NY 14 January 2006)

It's a cold night here in New York City. Rain is pouring hard, the wind is just causing havoc with people's hairstyles and the bitter cold is forcing everyone to seek shelter. However, there was nothing but love, warmth and great hairstyles at the Sufjan Stevens show at Lincoln Center. Part of the American Songbook series, Sufjan played two shows (8:30 & 10:30) at the Lincoln Center's Allen Room last night. It was a surreal concert and definitely one of the finest Sufjan Stevens performances yet. This review is about the earlier of the two.

We arrived at the Allen Room a few minutes after the scheduled showtime. Fortunately, the show hasn't started yet, but the orchestra was already in place. We arrived at our seats and the first thing we noticed once we sat down was the beautiful view of Manhattan's Columbus Circle and parts of the Upper East Side as the stage's backdrop. There was nothing but a glass wall, with a full view of the skyline and Columbus Circle behind the stage. Next, we noticed the hordes of strings, percussion and other instruments that filled the small stage. The Allen Room is a small venue, with not a single bad seat in the house. We were even more fortunate because we sat orchestra, a stone's throw away from Sufjan himself.

Sufjan went on stage 10 minutes after the scheduled show time. Compared to his touring costume, he was dressed in a simple black button up shirt and slacks. He sported some feather necklace thing around his neck. He was accompanied by three singers, all of whom were female and may have been part of his larger touring circle.

He opened up with "Casimir Pulaski Day" which almost brought me to tears. The sheer beauty of his voice, the perfect incorporation of strings and horns and the spectacular view of Manhattan was just overhwelming. This was typical of the entire show. It seemed like all the senses were at work at the same time. It was just too much to handle, but the crowd enjoyed every minute of it.

"Sister" was the second song played. At this point, my friend and I were just about to burst. It was just so beautiful that words cannot fully express it. The full set list, sans the songs previously mentioned, are as follows:

Jacksonville
They Are Night Zombies...
The Predatory Wasp of the Palisades is Out to Get Us
A Good Man is Hard to Find
He Woke Me Up Again
All the Trees of the Field Will Clap Their Hands
Chicago
The Transfiguration
Seven Swans
The Maple River
John Wayne Gacy, Jr.
----------
Romulus

The highlight of the show was when Sufjan sang the high notes. For example, during "Seven Swans," when he says, "He is the lord..." Sufjan's voice just echoed throughout the entire venue despite him singing a couple of feet away from the microphone. It was just so surreal to have someone sing so well.

Sufjan talked seldomly during the entire show, which was appropriate given the intimacy and beauty of the venue. He did speak a couple of times, to tell us that he was wiping his brow with a towel or to apologize to a fellow band member for stepping on his guitar cable. Otherwise, there was no talking.

If there was anything wrong with the show, it was the CNN billboard in the backdrop. Not Sufjan's fault, but it was just annoying. However, it was nice to keep track of the weather and time.

Despite cutting it close to the second show, Sufjan came out for an encore. He was by himself, and sang "Romulus." It was a fitting ending to a wonderful show.

Overall, it was one of the most beautiful shows I've ever seen. This review doesn't even give it the description it so deserves. Safe to say, it was a surreal experience that can only be shared by the people who were there.

Beer Rating: 0 Beer

Article and Photos: Clarisse Campdoras

Zoo Station / Stung / Violator (Slim's, 6 January 2006)

I just found out a cheap way to see multiple big name bands: go watch their impersonators.

I did just that with this ridiculous show full of cover bands. I think the names of each band adequately explains which band they cover, but just in case you are musically inept and been born before 1990, Violator is a Depeche Mode cover band, Stung is a Police/Sting cover band and Zoo Station covers U2.

I didn't get a chance to see Violator, but I talked to people who did and they enjoyed them. They weren't exactly good, but they're just cheeky.

I did catch Stung and they did play the Police and Sting covers pretty well. I think they're British, or at least not American, so that made their sound a little more valid compared to other cover acts. From the songs I recall, they did "Roxanne," "De Do Do Do, De Da Da Da," and "Every Breath You Take." I think they also did a Marley cover, but that was just beyond me. They were convincing, and if you close your eyes, you may just think you are truly listening to the real deal.

Then followed Zoo Station. U2's current tour features Arcade Fire's "Wake Up" as their entrance song. Well, these guys did just that: walked in to "Wake Up." I couldn't believe it. They really did their research and they truly are U2 die hards. Much to our enjoyment, my friends and I sang "Wake Up" while waiting for Zoo Station to come on. I forgot what they opened up with, but the songs I recall them playing were "Beautful Day," "Elevation," and "Vertigo." From their looks -- the lead singer convincingly looks like Bono and the Edge impersonator was a little heftier than the real deal but he got the beanie -- these guys really thought and acted like how the true members of U2 would. It was crazy. I had to shake my head in disbelief (and partial shame) for these guys. As cheeky and cheezy as they are, I have to admit that they played the U2 songs very, very well. They're good musicians, no doubt, but are they wasting their talents by doing covers? That's up for debate and discussion.

The surprising thing about this show is that it was sold out. It was packed. I've never been to a concert at Slim's this packed before. Maybe Kasabian/The Sounds comes close, but it was so packed that I felt like a sardine in a sardine can. The crowd was also a bit "old" for me, with a majority of the folks in their mid 30's to low 50's. Not that I'm a youngin' by any means, but I'm just used to the twenty something crowd.

For it's sheer entertainment value (and monetary value) this was an enjoyable show. Of course, I needed some help from the Grey Goose to make it worthwhile.

Beer Rating:

Wolf Parade (The Independent, 4 January 2006)

Montréal is abuzz these days with their music. Of course, hype definitely helps, especially if TIME Canada devotes a third of their April 4, 2005 issue on the rise of Canada's indie music scene. In that very issue, TIME mentioned Wolf Parade's debut as one of "Canada's most anticipated indie albums." Quite a praise given that the only thing Wolf Parade released at that point is a "cheapo" E.P. However, that E.P. turned out to be a gem, and Wolf Parade's Apologies to the Queen Mary was hailed by many music authorities, real and blog alike, as one of the best releases of last year. Indeed, this very music blog ranked Apologies to the Queen Mary as the #4 album of 2005.

With that successful album came an opening slot in Arcade Fire's most recent North American tour. Rightfully so, Wolf Parade decided to embark on a headlining tour of their own. The band's popularity is quite obvious, especially since they sold out two nights at The Independent. With a live act that is just amazing, people were sold on Wolf Parade.

In their first night at the Independent, the band started off with "It's a Curse." Singer/guitarist Spencer Klug's sounded like he was cursed because of his strained vocals. Where the album's version presented Spencer's strong, resounding voice, his live voice here did not come close. Afterwards, Spencer apologized for his lack of vocal prowess because he was a bit ill. Where Spencer's voice lacked, the rest of Wolf Parade - keyboardist/singer Dan Boeckner, drummer Arlen Thompson and gizmo guru Hadji Bakara - more than made up for it with their tight and loud instrumentation. Arlen's drum was especially present, with each pounding delivering so much energy to the song that Spencer's voice was, at times, completely overwhelmed by it.

Other highlights of the show included "Grounds for Divorce," "Shine a Light," "Dear Sons and Daughters of Hungry Ghosts," "I'll Believe in Anything," and "This Hearts on Fire." Interspersed in their strong set were a couple of new songs. They also did two encores, with the final song being "Dinner Bells." Fortunately, Dan Boeckner's, who shares lead vocals for a majority of the songs, voice was in top form. However, Dan wasn't without his own curses. His keyboard was new and unfamiliar to him, thus emitting sound that was less than optimal. Despite this minor inconvenience, the band's professionalism and stage presence more than made up for it.

The sold out crowd seemed to have liked the show, with the people in the front row dancing and rocking their heads in approval. The band also seemed to be enjoying themselves, with all of them overly appreciative of the crowd's support. Indeed, despite Spencer's weak vocals for the evening, he was very animated on stage, especially with his right leg.

Overall, Wolf Parade is a great live band that fell victim to the strains of touring, new equipment and inadequate sound. These hindrances will not derail Wolf Parade's ongoing success and its penchant for writing great music. If the new songs are any representation of the band's future, then Wolf Parade's hype will continue for years to come.

Beer Rating:1/2

The Best of 2005

In 2005, I saw a total of 83 music events. The most thus far. I say "music events" because festivals include several bands in one setting. I went to San Francisco, Oakland, Berkeley, Davis, Hollywood, Indio, Los Angeles, San Diego, Philadelphia, Austin and New York City to see these shows, Expended God knows how much money, vacation time and sanity just doing these things. But, looking back, it was well worth every minute, sans a couple of bad shows. Here is a recap of what was great, what was bad and some surprising ones:

Best Shows of 2005:

1. The Arcade Fire: The Warfield, 18 September 2005
2. Clap Your Hands Say Yeah: Irving Plaza, New York City, 31 December 2005
3. Oasis: Hollywood Bowl, Hollywood, 12 September 2005
4. Bright Eyes: Berkeley Community Theatre, 15 February 2005
5. The Arcade Fire: Great American Music Hall, 12 & 13 January 2005
6. Ian Brown: Great American Music Hall, 15 March 2005
7. Kasabian: Slim's, 11 March 2005
8. Clap Your Hands Say Yeah: Mezzanine, 5 October 2005
9. The Arcade Fire: Stubbs BBQ, Austin, TX, 23 September 2005
10. Broken Social Scene: The Grand, 9 November 2005

Worst Shows of 2005:

1. Download Festival: Shoreline Amphitheatre, 8 October 2005
2. Call & Response: Cafe Du Nord, 12 February 2005
3. Annie, The Lovemakers & Every Move A Picture: Mighty, 1 July 2005
4. The Bravery: Cafe Du Nord, 21 January 2005
5. The Walkmen: Bimbo's, 27 February 2005
6. Stereo Total: Bimbo's, 26 May 2005
7. Earlimart: Popscene, 6 January 2005
8. Franz Ferdinand: Bill Graham Civic Auditorium, 6 October 2005
9. Metric: Slim's, 3 November 2005
10. Austin City Limits: Day 2 during Death Cab for Cutie, 24 September 2005

Best Local Artist Shows of 2005:

1. Tussle: Hotel Utah, 16 December 2005
2. Birdmonster: Cafe Du Nord, 28 November 2005
3. Gravy Train!!! & Hey Willpower: Cafe Du Nord, 11 June 2005
4. High on Fire: 12 Galaxies, 26 February 2005
5. Communique: Bottom of the Hill, 9 January 2005

Most Surprisingly Great Shows of 2005:
(These are shows where I wasn't expecting much, but nonetheless thoroughly enjoyed myself):

1. Tussle: Hotel Utah, 16 December 2005
2. Kasabian: Slim's, 11 March 2005
3. The Bravery & Ash: Slim's, 29 March 2005
4. LCD Soundsystem & M.I.A.: The Fillmore, 15 May 2005
5. Embrace: Popscene, 10 March 2005
6. Japan Nite USA: Studio Z, 27 March 2005
7. High on Fire: 12 Galaxies, 26 February 2005
8. David Byrne: Hollywood Bowl, 26 June 2005
9. The (International) Noise Conspiracy: Slim's, 7 December 2005
10. Joanna Newsom: Swedish American Music Hall, 25 February 2005

Clap Your Hands Say Yeah (Irving Plaza, New York, NY, 31 December 2005)

After a rather up and down (but mostly up) 2005, I thought it was only fitting to end this year with a bang. So, I flew to New York, expended a majority of my holiday bonus and got tickets way in advance for the upcoming Clap Your Hands Say Yeah show at Irving Plaza.

Unlike my 2005, Clap Your Hands' year is nothing but up. After starting off the year with shows to 30 people at small New York venues, this Brooklyn based band (well, Alec is from Philly, but he commutes to Brooklyn) are now outdoing their headliners, pressing more albums than they could handle, made an appearance on Conan O'Brien and now is headlining a sold out show on New Year's eve with support coming from the very headliners they outdone earlier in the year.
I arrived at Irving Plaza at around 11pm, missing both Dr. Dog and The National. I wanted this to be an all Clap Your Hands show, full of nothing but fun and none of the sadness that accompanied The National.

As me and my two great friends entered Irving Plaza, we were dismayed by the venue no longer accepting coat checks and the line to the bathroom. However, the atmosphere was absolutely celebratory, with everyone in their best attire and best attitude. There were fake tattoo artists, carnival games and people giving away party favors all over the venue.

Oh, but I was still pissed that there was no coat check. So I talked to the coat check ladies and bribed them accordingly. It worked out best for everyone!

After getting our drinks, we made our way to the open stage. We didn't get very far, but we were content. There was a huge basket of balloons at the top just waiting to be opened at Midnight. Some people were wearing balloon animals on their heads, with some in the back crowning me with their own. I took them off and tossed it to the crowd like a beach ball.

Clap Your Hands came on around 11:45 and opened with an instrumental track I've never heard of. I believe "Clap Your Hands" followed, with Alec holding a megaphone. "Graceful Retreat/Is This Love?" followed. That's when the countdown began. They started it 2 minutes premature, but it didn't matter. Everyone was boisterous, with kisses and hugs all around. Unfortunately, the net of balloons didn't fully disengage. However, that was corrected by a valiant audience member who was able to grab the net and let the balloons loose.

From that point on, Clap Your Hands played an amazing set of songs from their debut album. "Yellow Country Teeth" and "Home on Ice" were my personal favorites. "Me and You Watson" and "Satan Said Dance" are my other two. Let me tell you though, each song played was done so magnificently and flawlessly that the crowd was eating up every note.

The band themselves were in high spirits. Alec was focused yet so appreciative of the crowd. The rest of the band displayed their usual active selves.

We went and got temporary tattoos and merchandise during the last two songs of their set. Not because we didn't want to, but because we wanted more physical mementos from the show.

Overall, a fantastic end to 2005 and I couldn't have spent it any better.

Beer Rating: 0 Beer

The Top 50 Albums of 2005

It's that time again kids. The time where the end of the year lists come in. So, in the next few days, you'll see various postings about what was good and bad in 2005. As for the first installment, here's the first installment of 50 best albums of 2005.

50. Animal Collective - Feels



Highly praised by Pitchforkmedia and other indie music authorities, Animal Collective's follows their equally "different" album Sung Tongs with another equally "different" album. I never really liked Animal Collective but this album made me realize how great they truly are. No other group can make yips and yaps like these guys.

49. Stellastarr* - Harmonies for the Haunted



Stellastarr* follows up their great album two years earlier with Harmonies for the Haunted. What disappoints me about this album is that they didn't follow the winning formular from their debut. Also, most of the songs are dry, and very typical. However, there is a certain beauty in the harmonies that this record gives to its listener. And it's this beauty that makes this one of 2005's top albums

48. Antony & The Johnsons - I'm a Bird Now



At first, I wasn't too keen on this record. It sounded like blues meets gospel. However, after a few listens, I stand corrected. Antony's voice is just amazing, and the way he hits the right notes at the absolute right time is just astounding. It's a beautiful record that's deep in meaning and rich in sound.

47. The Clientele - Strange Geometry



The problem with the Clientele is that all their albums sound alike. Indeed, if you were to put your Clientele tracks on shuffle, you probably couldn't tell which songs are from which album. Although this is a problem, The Clientele still makes one of the finest music 60's dream pop around. Alasdair's voice is like no other, and just the richness and symbolic overtones here can make any macho man turn into a pussy.

46. The Dirty Three - Cinder



I was first introduced to Dirty Three this year by a couple of friends and I can't believe that they were not even in my radar. How could I miss this great band that just plays beautiful strings? As my friend put, music that is like an "aural seastorm." Their music creates this air of wonder and melancholy in any confined space. I'm disappointed that I missed their two great shows at GAMH, but that's for reasons beyond my control. This album, although not as great as their previous releases, still carries that same signature Dirty Three sound. A definite must-buy if you're into the wonder and melancholy stuff.

45. Doves - Some Cities

I was a bit worried that Doves will not create an album as good as Lost Souls. Although Some Cities is still but a shadow of their debut, it's still a fantastic album. "Black and White Town" is a direct rip off from that "Heatwave" song, but it's still a great single. Other parts of the album are pretty strong. If anything, this album resuscitated their career.

44. Hard-Fi - Stars of CCTV

Definitely one of the better bands this year, Hard-Fi's debut arrived unnoticed in this part of the Atlantic. While NME was hyping up this band (as they are accustomed to doing to every other new English band out there), Hard-Fi live up to the hype. Their mix of guitar and synths is the perfect accompaniment to any night out.

43. Hot Hot Heat - Elevator

Hot Hot Heat's sophomore relase is a lot like their first. If it ain't broke, why fix it, right? "In the Middle of Nowhere" is a great single, along with "Pickin' It Up" which is reminiscent of "Bandages."

42. Iron & Wine and Calexico - In the Reins

Sam Beam and Co. collaborate with indie mainstays Calexico to create one of the most underrated albums this year. The shear beauty of this album will make you want to cry and be happy at the same time.

41. Ivy - In the Clear

Ivy's latest attests to their staying power as one of the most established bands in the indie pop circuit. Mrs. Durand's beautiful voice remains the same here, with great songs like "Thinking About You" and "Tess Don't Tell" interspersed throuhgout this great album.

40. Maximo Park - A Certain Trigger

One of the many bands who rode in the coattails of Franz Ferdinand, Maximo Park's debut album is an absolute gem full of great songs girls can dance to. "Apply Some Pressure" is definitely the best track in the album, with its bangin' drums and scratchy guitars that immediately catches your attention. However, like that song says, I do hope that Maximo Park is "still alive next year." I don't see much longevity for this band, but this album will at least maintain some of their legacy for a few years.

39. The National - Alligator



A beautiful album full of melancholy melodies and impressive musicianship. The National's sophomore debut debunks the sophomore slump theory. As great as this album is, they made one miscalcuation -- choosing to promote this album with Clap Your Hands Say Yeah! as the opening band.

38. Out Hud - Let Us Never Speak Of It Again


An odd pick, but I do think that this album is pretty damn good. It's dancey, and it shows this band improving their sound and creativity with each successive release.

37. Shout Out Louds - Howl Howl Gaff Gaff



Another great band that hails from Sweden. Shout Out Louds' "Comeback" song is definitely one of the better singles of 2005. This album is solid, and emits the right amount of pop that won't drive you crazy like Wannadies or depress you like the Cardigans.

36. Sons and Daughters - The Repulsion Box



While some bands rode the Franz Ferdinand bandwagon, this band was actually hailed by Franz Ferdinand. So much so that they are in the same record label. Sons and Daughter's debut sounds like a mix of rock ala Johnny Cash with some hints of Franz Ferdinand in there. An album that is a little rough around the edges, but that's the way we like it.

35. Spoon - Gimme Fiction



I don't know if Britt Daniel actually intended to create an album that is very dancey, but, hey, it works. A definite surprise from Spoon.

34. Stephen Malkmus - Face the Truth



Ex-Pavement front man proves that there is still life after Pavement. Several albums later, Stephen Malkmus still knows how to make a great LP. I mean, this album really is just another Pavement record. But that's just my opinion.

33. The Tears - Here Comes the Tears



Anderson & Butler re-unite to create an album that should have been Suede's third album. But after such a long hiatus with one another, does anyone still care? Well, I do!

32. Metric - Live It Out



Metric somewhat deviated from their synth based sound to something more guitar driven. Emily Haines still knows how to sing and act accordingly on-stage. Songs like "Handshakes" and "Patriarch on a Vespa" makes this album a must buy. However, it still pales in comparison to their debut.

31. Okkervil River - Black Sheep Boy



This album is one of the most underrated releases of this year. Absolutely beautiful. Do yourself a favor and catch this band live.

30. M83: Before the Dawn Heals Us



Another triumphant release from this band. Despite losing his other half, Anthony Gonzalez still creates a fantastic album that emits a wall of sound. Not to mention the ominous horror movie like voice overs in some of the songs.

29. Field Music - Field Music



What do you get when you have one former Futurehead and one current Maximo Park member in a band? Well, you'll have Field Music. This album is not yet out domestically in the U.S., but it's definitely a good one. Has that post punk sound, but is sort of melodic. Does that make any sense? I guess you just have to listen to it to believe it.

28. M.I.A. - Arular



Definitely one of the breakthrough albums of the year, M.I.A.'s debut is a strong one, with lyrics, rhymes and hooks that are just downright catchy. Her voice might take a little getting used to, but I can't help but dance a lot to this album. Equally good is her "Piracy Funds Terrorism" bootleg, with good mash-ups of M.I.A.'s songs with classic tracks such as The Eurythmics' "Sweet Dreams."

27. Xiu Xiu - La Forêt



Compared to his previous albums, Xiu Xiu's current release is their darkest work to date. Jamie's haunting and crass lyrics about politics and life are even more prevalent here. This is definitely one of Jamie Stewart's most honest and, probably, his most brilliant.

26. Clor - Clor



A very dancey record that starts off strong, but eventually weakens solely towards the end. One can only take 80's style synth pop so far, you know. But for what they have in the beginning, such as "Outlines" and "Danger Zone," you won't really mind.

25. Kaiser Chiefs - Employment



They are hailed as the new Blur of our generation. With such catchy songs like the now overplayed "I Predict a Riot" and "Modern Way," this album is a good one. Although I'm skeptical on whether they'll have the longevity of Blur, their live acts definitely emit Blur's former energy.

24. The Boy Least Likely To - The Best Party Ever



Some say that twee is dead. With Belle & Sebastian leaving the twee sound and going towards something more 60's Donovan catchy. However, Boy Least Likely To are trying to revive the twee sound - and I think it's working. Don't let the cute song titles like "I'm Glad I Hitched My Apple Wagon To Your Star" fool you. Within that cute framework and twee voice is an excellent song with subtle musical nuances. Definitely one of the great finds of 2005.

23. Ladytron - Witching Hour



Electroclash is dead. Fischerspooner tried to revive their electroclash fame by re-making their sound, but that failed. Adult. is still trying, but they fell by the wayside. I don't think Miss Kittin's done anything signifcant, nor has Felix Da Housecat. However, England's Ladytron is still chugging along despite the end of the genre. Their third album doesn't deviate much from Light & Magic, but I think that's the good thing. Instead of re-making themselves so they can ditch the electroclash backlash, they continued to create songs indie kids can dance to. Songs like "Everything You Touch" is a great example, so much so that lots of my friends call it their "jam" song. So, cheers to Ladytron for still being alive, despite being associated with a subgenre that's dead.

22. Youth Group - Skeleton Jar



Oh, oh! It's another band that eerily sounds like Death Cab for Cutie. So, why is that a bad thing? What's wrong with strong lyrics, great harmonies, solid guitar melodies and a nice voice? Yeah, I don't see anything wrong with that. Even Death Cab endorses this band.

21. The New Pornographers - Twin Cinema



My goodness, this album is just oozing with indie pop goodness. A.C. Newman's vocals accompanied by Neko Case's spunk and backing vocals is a formula that's hard to fuck up. Add to that a dizzying array of three chord pop progressions and an ode to Valencia St. somewhere in your songs, and your album is guaranteed to be in my Top 50. They're great live as well.

20. LCD Soundsystem - LCD Soundsystem



There's more to this album than "Daft Punk is Playing in My House." There are some fantastic tracks in this great DFA record such as "Tribulations," "Yeah" and, in the bonus disc, "Yr City's a Sucker." Just the constant beats in this record, and the cowbell action, will make you want to dance a whole lot. Fantastic album!

19. Sleater-Kinney - The Woods



I have to admit, I never really liked Sleater-Kinney until this album was released. I refused to listen to their other records, but for some reason, I liked this one. Why? I have no idea other than, maybe, because my ear has matured enough in years. Yes, I'm underdeveloped, but this great album of female angst is less loud and dissonant than their previous records.

18. Sigur Ros - Takk...



Damn. These Icelanders continue to make great fucking music. When I first got a hold of this album, I couldn't find any tracks worth skipping. A few months later, I still don't have any disliked tracks. Takk means "thank you" in Icelandic, so "Takk" Sigur Ros for another great release.

17. Bright Eyes - Digital Ash in a Digital Urn



I guess every artist is allowed to have their "concept album" and this is probaby the closest that Conor will have in his ever expanding discography. Even though these songs didn't translate that well live during his tour, this album still has some excellent songs such as "Gold Mine Gutted" and "Take It Easy (Love Nothing)." Whether you like it or not, Oberst is the Dylan of our time.

16. The Bravery - The Bravery



This is the cheeziest album of the year. However, it's also one of the most catchiest. Yes, the Bravery just take the whole 80's synth pop thing and get away with bloody murder. But you know what, songs like "Honest Mistake," "No Brakes" and "Unconditional" are some of the songs that I can catch myself tapping my toes to and then dancing like crazy. Yeah, I like to dance to the Bravery. You got a problem with that? Didn't think so.

15. Gorillaz - Demon Days



Who would have thought that the next Gorillaz album would be this good? Damon and his new collaborators, namely Danger Mouse, really have outdone themselves this time. There are some fantastic singles in this album, like "DARE," "Feel Good Inc." and "Dirty Harry." Bravo to Damon. I hope he can do the same to the upcoming Blur album.

14. Low - The Great Destroyer



This is a radical departure from previous Low records. They basically abandoned their super melancholy sound and opted for something that is borderline indie pop music. Well, I like this album a lot. "California" and "Everybody's Song" are the stand out tracks in this album. Oh, and is it just me or does it sound like Damon Albarn singing?

13. We Are Wolves - Non-Stop Je Te Plie en Deux



I found out about this band later in the year, and I'm kicking myself in the arse for missing them at Bottom of the Hill. Stupid! How can I miss this band that's just full of great noise. Like their canine counterparts, Wolf Parade, these guys also hail from Canada and are just the epitome of cool sounds. Awesome.

12. The Decemberists - Picaresque



My friend turned me on to the Decemberists after hearing their epic, 10+ minute song from The Tain EP. I then got a hold of this album and it's just fantastic. Colin Meloy is a smart cookie with lyrics that are just so literary that...it's just beyond me how he makes this shit up. Fantastic album!

11. Franz Ferdinand - You Could Have It So Much Better...



This album has been in my car CD changer for months now and I just can't get sick of it. Every time I listen to it, I first put it on "Do You Want To." The single that makes me go crazy on the dance floor and makes me do the Indie Shake in the car, "Do You Want To" is a very simple song that has one of the most infectious lyrics and guitar hooks that Franz Ferdinand has ever made. It's this album's "Take Me Out." Then, I switch to "Outsiders" because of the catchy bass and drum parts in the very beginning. Infectious. Like The Strokes, Franz Ferdinand doesn't really deviate much from their debut formula, except for the "slow" songs "Walk Away" and "Eleanor Put Your Boots On."

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These are my 10 most favourite albums of 2005. Let the debate begin:

10. Broken Social Scene - Broken Social Scene



It was hard for me to believe that BSS will come up with another masterpiece like "YOu Forgot It In People." I mean, how can they? Well, they proved me wrong. I've already heard of "Shoreline" when they played it live, but the other songs in this album shows how much more BSS has to offer.

9. Coldplay - X & Y



Elijah Wood doesn't think too highly of this album. So I read. But, he doesn't know jack shite. This album is fantastic even if there is only one or two tracks in here that stand out. "Fix You" is the song that will make Coldplay's legacy live in perpetuity. It's the song where every sad sap on planet Earth can relate to. It's so versatile that you can apply it to any situation such as a lost love, a mistake you did in an exam or that one time you left your keys in the car and was stuck for hours upon end...in the snow...during Christmas...with a dead body in your trunk. Yeah, it's that good.

8. Death Cab for Cutie - Plans



My goodness, what is Ian thinking? He turned all O.C. on us by picking Colpdplay and NOW DCFC. Well, screw you guys. I like this album. "Marching Bands of Manhattan" is one of the best DCFC songs I've ever, ever heard. Like Coldplay's "Fix You," "Marching Bands..." is another song that you can apply to any situation. I applied this song to a time in 2005 where I was in my most depressed state. "If I can open my arms.." Yes. I want to open my arms to hug you. "Sorrow drips from your heart, through a pinhole." Yes. There was plenty of sorrow dripping out of my heart. It was gushing like Niagra Falls though. "It slowly rises, your love is gonna drown." Yes. It's drowning. I'm drowning. Help me! Thank goodness my sanity is back, but this song alone made this album great for me. Of course, there's "Crooked Teeth" and "What Sarah Said," but "Marching Bands..." Oh, "Marching Bands..." But, "Crooked Teeth" kept me in check. "'Cos you can't find nothing at all, if there was nothing there all along." That line kept me in check. Because, it makes sense, right?

7. Bloc Party - Silent Alarm


One of the most hyped bands of 2005, Bloc Party delivered the goods when others, included myself, doubted whether they'd make it big. They're a hard working bunch, constantly touring the U.S. and playing every venue imaginable in San Francisco. They are such nice boys too that are against moshing and any sort of shenanigans that will injure people at their show. Their album is just a mish-mash of dancey songs like "Banquet" and "Helicopter" that delivers a social message. Although, I admit, the social message gets lost when your feet are doing the thinking for you.

6. Oasis - Don't Believe the Truth



A lot of people have written off Oasis especially since they haven't released a significant album since 1996's (What's the Story) Morning Glory. What people fail to acknowledge is that Morning Glory only has 4 super solid songs while the rest seems like filler. Be Here Now, Standing on the Shoulder of Giants and Heathen Chemistry are good albums, but none of those post-Morning Glory releases compares to Don't Believe the Truth. Oasis are back in true form with this album, with just pure rock n roll as their formula. Gone are the pretentiousness of Be Here Now and the re-invention sounds on Giants. Oasis went back to their roots and made an album that epitomizes those roots. They even went back to the old Oasis logo, which I'm so happy to see yet again grace their album and single covers. The tear jerker song "Let There Be Love" is a testament to Noel's song writing abilities. The man still has it in him to write such great ballads. Liam's song writing is also getting better with "Meaning of Soul" and "Guess God Thinks I'm Abel." Overall, a fantastic album that probably saved Oasis from the brink of extinction. They're not just a nostalgia band, they are a band that will last a lifetime.

5. Sufjan Stevens - Illinoise



I doubt that Sufjan will get to write an album about all 50 states. Especially at the rate he's going. Unless he releases a 3 song EP about the lesser populated states like the Dakotas, West Virginia and Montana, Sufjan has a lot of work to do between now and when he dies. Illinoise is a fantastic album that just moves you. Sufjan's soothing voice just makes you sit still. It relaxes me too. I can't explain why I love this album so much. I just do. And that's all I need to say.

4. Wolf Parade - Apologies to the Queen Mary



Ahhh...the many "Wolves" bands out there. Out of the lot, this is the band that matters. Wolf Parade were already hyped up in Canada. So much so that TIME magazine Canada featured them along with the Arcade Fire and Stars. I heard "It's a Curse," a song that has an intro that eerily sounds like Arcade Fire's "Laika," and I was sold immediately. I can't wait to see these guys live again.

3. Art Brut - Bang Bang Rock & Roll



This is the band that sounds like the Sex Pistols. Right? Well, at least the spoken word part of it sounds like Johnny Rotten. This album is just amazingly good. The hooks are catchy and the lyrics are even catchier. Apparently, their live shows are just out of this world raucous. Please come to S.F. Art Brut!

2. Bright Eyes - I'm Wide Awake It's Morning



Every single track in this album is a Conor Oberst classic. That's why me, and several others, penned this guy as our generation's Bob Dylan. His folksy, indie rock is just amazingly good and the lyrics definitely come from the darkest, most deepest emotions in his heart. Also, the songs have this energy that is missing in some of his earlier releases. This is just a fantastic album that will be hailed as Conor's classic.

1. Clap Your Hands Say Yeah - Clap Your Hands Say Yeah



This album is also in my car CD player for months now and I just can't stop playing it. Someone please take this CD away. It's so infectious and amazing that I just can't stop listening, dancing and tapping my fingers to every word that comes out of my speakers. And their live shows? Oh, fuck yeah I can't wait to see them again on 31 December in New York!!! "...Young Blood" and "Yellow Country Teeth." Those are the songs that first got me. Then everything else followed suit. THE BEST ALBUM OF 2005 HANDS DOWN! A no-brainer.