Top 25 Albums of 2007

These are the top 25 albums of 2007 along with the top 2 songs from each. You can stream the songs in the IMEEM audio player to the left. However, I recommend using this Standalone Player. It's much easier to use. Enjoy.

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25) The Oaks – Our Fathers and the Things They Left Behind

I believe in The Oaks. Now I want you to believe in The Oaks.

The first night of CMJ was a whirlwind. When I first landed in New York City, I had been more or less awake for 24 hours. So, going to Fontana’s in Chinatown was a bit of a burden on my mind and body. I’m glad I went though. I caught a glimpse of The Oaks, a band I had never heard of, but was delighted to discover. However, it wasn’t the show that really turned me on to The Oaks. That didn’t occur until a few weeks later, when I researched the band. I discovered that lead singer Ryan Costello pulled a Chris McCandless, selling off all of his possessions to move to Afghanistan. For two years, Costello worked with Afghani refugees, who had been displaced by the “War on Terror,” teaching them agricultural techniques that would help them sustain a living.

Upon his return to the United States, Costello began recording Our Fathers and the Things They Left Behind a mellow, folk-pop-rock record in the vein of Sufjan Stevens, The Acorn, and Anathallo. Our Fathers and The Things They Left Behind is a lovely record filled with soft guitar melodies that wander along desert trails, breathy vocals like the night winds, and heart-rending stories about the strength of Afghani refugees. The music alone is beautiful and definitely stands on its own two feet. However, the backstory will draw you further into the record. Costello’s volunteer efforts in Afghanistan inspired The Oaks to dedicate 50% of record sale profits to The Global Hope Network in Afghanistan, an organization that funds widows and returning refugees. This cause makes the music even more special. It’s rare to find an indie band that’s in it for the right reasons. The Oaks are in it for the right reasons. I believe in The Oaks.

Stream "Hugh Thompson, The Aftermath" and "Message from the Moon."

Buy this record here.
For more information on The Global Hope Network, click here.
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24) Joanna Newsom – Joanna Newsom & The Ys Street Band EP


Pitchfork said it best.

Stream "Clam, Crab, Cockle, Cowrie" and "Cosmia."

Buy it from Drag City.
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23) Band of Horses – Cease to Begin


Since Everything All The Time was released back in 2006, I’ve been trying to figure out what I like about it. In my mind, a 4/4 beat topped with a simple melody is rarely exciting and that structure is common throughout Band of Horses’ debut album. So, I was rather confused as to why I enjoyed such basic songs. Upon listening to their follow-up, Cease To Begin, out now on Sub Pop, I’ve finally come to a conclusion and there’s two parts to this conclusion. The first has to do with the recording of the album and thus, credit is owed to producer Phil Ek, whomever masters their records, and partial credit to the band for their input on how it should sound. The second has to do with Ben Bridwell, his powerful voice, and his beautiful vocal delivery.

There’s nothing much to say about Band of Horses’ music. The structure of each song is very plain and offers nothing original. It’s a basic folk-rock record and, in the age of “weirder is better,” it would fall to the wayside. However, unlike most plain records that offer nothing stimulating in any form, Cease to Begin as well as Everything All the Time offer something exhilarating. Both albums are pristinely recorded, loud and clear, blanketed with reverb, and they force you to listen to what Bridwell is saying. Most loud rock records, that is, those that lack anything unique, seem to use loud music to compliment loud vocals (listen to any record from The Strokes, Vines, Hives, etc.) and they usually turn out….um…..bad. On the other hand, Band of Horses seems to use loud recording as a means of forcing the listener to……..um…….listen. As a result, we’re able to hear what Ben Bridwell really has to offer. For instance, at the heart of Everything All The Time, the song “Part One,” in the words of Colin Meloy, will rend your ventricles apart. The melody is nice, to say the most, with Bridwell picking an acoustic guitar to create an Elliot Smith sound. However, it’s recorded very loud and, in turn, it makes you really listen to Bridwell’s beautiful lyrics. “And more covers for you, sleep soundly dear because I have to go,” he sings. Furthermore, his lyrics are delivered so appropriately, so heartfelt, that it creates an overall exhilarating sound, one that elicits true emotion.

In the same way, Cease To Begin is recorded so well and, despite it’s lack of original song-writing, Bridwell’s lyrics shine through, guided by his vocal delivery. His words are beautiful, which can be said about many songwriters. But, Bridwell, delivers them in a way that brings out his true emotions. It’s very genuine and you can hear that in each song. This is complimented or, rather, emphasized by the thunderous recording of each song. Overall, it makes for a very sincere record, one that is, sincerely, worth listening to.

Stream "Detlef Shrempf" and "The General Specific."

Buy it from Sub Pop.
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22) The Octopus Project – Hello, Avalanche


It was the winter of 1973 and the Bowery was bleached with snow, which minimized foot traffic, despite it being a Saturday night. CBGB was flooded with merry hipsters engaging in innocent “Have you heard of…?” debates as they waited for The Ramones to take the stage. Backstage, similar conversations were being had amongst a slew of up-and-comers who were mingling with rock ‘n roll elite. They discussed their current influences along with their projects in the works as they sipped Hilly Krystal’s famous Mai Tais.

“I really enjoy ‘Pocket Calculator,’” said Mark Mothersbaugh, whom was in New York for a one-off Devo show.

“Yeah, man. Yeah. I like the simple computer melodies,” said David Bowie. I can’t even fathom what technology is going to do for music in the future.”

“Totally. It’s going to be amazing. Have you been working on anything lately?”

“Well, here and there,” said Bowie, who then paused for a moment to study Mothersbaugh. “I’ve been loving Neu! these past few months – and Kraftwerk. Loving Kraftwerk. Brilliant. I want to make something like that, but, I don’t know, in my own way.”

Mothersbaugh slowly nodded his head, eyes squinted as he stared at Bowie, inquisitively. Bowie returned a similar gaze and sensed the collaboration that may just have been birthed, backstage at CBGB, mai tais in hand. They both sipped their drinks as they pictured how such a project would turn out. Before either of them spoke, Joey Ramone walked toward the stage, turned his head back to the pair, and said, “Hey guys, we should make a record together. Let’s get your buddy Brian Eno to produce it.” Six months later, the trio shelled themselves up with Eno and recorded a brilliant album under the moniker, The Octopus Project.

Well, of course, that never happened. However, if Devo, The Ramones, and David Bowie got together, and were inspired by krautrock to make a record, The Octopus Project’s Hello, Avalanche is how it would sound. It is a mesh of beautiful synthetic noise, recycled-sounding drums, and lovely electro-melodies. It evokes many emotions, from both ends of the spectrum and everything in between, despite the lack of lyrics throughout the entire record, with the exception of the last track, “Queen.”

The opening track, “Snow Tip Cap Mountain,” should be listened to while lying down. Imagine being trapped inside a snowglobe, twirling around in its white flakes at the top of a plastic mountain. You become comfortable in your isolation and find that the outside world is of no concern. You are content just swaying in the company of snowflakes. “Truck,” is as Devo as it gets on the album with a simple, synthetic melody tiptoeing above Ramones-style guitars and drums. “Bees Bein’ Strugglin’,” has an ‘80s flare, with a piano chord structure, bassline, and drum beat that belongs at the end of a “weirder” Bruce Springsteen record and it is remarkably uplifting.

Hello, Avalanche is an amazing record. It is engaging throughout its 40+ minutes and you don’t even hear vocals until the last track. The Octopus Project touches on every decade since the ‘60s combining pop melodies, punk rhythms, and their own quirky twist.

Stream "Bees Bein' Strugglin'" and "Snow Tip Cap Mountain."

Buy it from Peek-a-Boo.
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21) The Arcade Fire – Neon Bible


PopMatters said it best.

Stream "Black Mirror" and "Neon Bible."

Buy it from Merge.
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20) Slaraffenland – Private Cinema


I’m going to have to start off with an apology on this review; an apology to the band, those who I’ve told about this band, and even myself. Normally, I feel I’m rather articulate and well-aware of the importance of pronunciation, particularly with names. However, with this band, every time I speak their name, it comes out butchered in some new way.

“Hey, you should check out this band from Denmark called Snarfanland. They’re awesome!” is the start to a typical promotional conversation.

“Okay. What are they called again?” is the general response I get.

“Oh, they’re called Slarfinland.”

“Like Finland, like the country? Are they from Finland?”

“Um, no. They’re from Denmark. They’re Dutch.” Then my inarticulateness seeps into other parts of my speech like a plague, inhibiting my ability to pinpoint their country of origin. What a fool!

This band is called Slaraffenland. They’re from Denmark. They’re Danish. On top of that, their new album, Private Cinema, out now on Hometapes, is breathtaking.

The Dutch band (just kidding) has garnered comparisons to Sigur Ros and and Canadian instrumentalists Do Make Say Think, which are very appropriate. Generally, their sound is an amalgamation of many great artists of past and present, including Talk Talk, Akron/Family, Minus Story, New Order, Animal Collective, Broken Social Scene, and Joy Division. It would be slightly undermining to say that this list of artists are influences to Slaraffenland because the term “influences” sometimes implies a direct mimicking of a sound. Rather, Private Cinema sounds like a blend of these great artists, as if there are hints of homages layered amongst their own unique sound.

The first track, “Sleep Tight,” is a beautifully powerful opener, beginning with intentionally lazy guitars, similar to that of Talk Talk’s “Ascension Day,” set to a simultaneous kick-snare-cymbal hit that you would hear on a death march (whatever a death march is). In the vein of Akron/Family, the chanting vocals sound tribal and eerie. Halfway through the song, there is a release that employs a wave of flutes, distant horns, and frayed guitars. The songs kicks back in with a riling rhythm and pulsating horns.

“Polaroids,” is a beautiful song and is similar to Joy Division, particularly in vocals, but has a less depressing sound, mainly because of the horns. Another highlight is “You Win,” a track that sounds as if Animal Collective teamed together with Minus Story to score a new version of the hit-broadway show, Stomp. Now, I know that sounds hilarious, which even I recognize, but the song is actually quite mesmerizing. The drums are muffled and intense, while the vocals are impish and entrancing.

Stream "Polaroids" and "Show Me The Way."

Buy it from Hometapes.
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19) The Acorn – Glory.Hope.Mountain


It’s always nice to see a band find their niche. Oftentimes, talented bands seem to foil their own talents by tripping over the wires of youth, loss, and heartache. Such self-destruction is apparent in emotional singing, sappy lyrics, and contrived experimentation. Ultimately, there is a conflict between creating accessible music and a desire to be unique. Once a band figures out how to marry these two conflicting ideas, something beautiful occurs. By creating something genuine, something that lacks the forced sounds that often result from youth, loss, and heartache, a band can find their niche. The Acorn has found their niche on Glory Hope Mountain.

I first heard The Acorn through Cokemachineglow when they wrote a decent review of the band’s Blankets EP. Now, I can’t say that I was all too pleased with the band at the time. There were bouts of contrived experimentation, emotional outbursts, and Top 40 chords hanging all over the EP. The opener, “Plates & Saucers” began with a beautiful acoustic guitar melody and Rolf Klausner’s voice was soft and welcoming. However, towards the end of the song, there was a wave of found sound percussion that, more or less, ruined the song. “Blankets,” was engaging lyrically, but the emo-style singing and pop radio guitars plagued what could have been a great song about a boy at odds with his hometown. Nevertheless, there was potential there and such potential deserves to be noticed. So, I continued to pay attention to the band. To my dismay, the follow-up, the Tin Fist EP, was nothing more exciting. The gently plucked acoustic guitar that played pillow to Klausner’s soft voice was there, but was undermined by added electric guitars and other pop antics. It was rather frustrating to listen to because the talent was there, but it was blurred by contrived efforts.

On September 25th, 2007 the band released Glory Hope Mountain via Paper Bag Records. It blends Klausner’s soothing voice and guitar so effortlessly, while added elements of percussion, horns, piano, and other instruments create the proper backdrop, acting as a cushion rather than an obstacle. “Crooked Legs,” is a highlight. As Klausner sings, “I’m going as far as these crooked legs take me,” the song builds and builds, like the journey that Klausner is describing. The drums are heavy and the acoustic guitar is racing. Horns, electric guitar, and other percussion blend in, adding the power and emotion to the song in a fitting manner. The female vocals, strings, and harmonizing acoustic guitars on “Lullaby (Mountain)” make for a gorgeous closing track, leaving The Acorn in a radiant light. They have found their sound and I hope they continue to build on it.

Stream "Hold Your Breath" and "The Flood Pt. 1" as 30 second samples.

Buy it from Paper Bag Records.
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18) Paul Duncan – Above the Trees


Generally, there are two things I listen for in new music. 1) Something original – a sound that hits me in the back of the head and spins me around 180°. 2) Something done well – a sound that is certainly not unique, but is replicated well and can even surpass the quality of the artist(s) being mimicked. Paul Duncan fits the latter criterion. He sounds like a better version of Will Oldham, whose influences were Nick Drake, Bob Dylan, and Pete Seeger. Thus, Duncan has a similar sound to those icons. Most likely, they were all influenced by early Southern folk musicians, such as the ones you’d here on Alan Lomax’s field recordings. Music can be cyclical and that’s fine by me. Although I do enjoy something unique, folk music doesn’t have to be “freak” or “neo,” to be enjoyable. It doesn’t have to be from San Francisco or Norway to be worth buying. Paul Duncan plays folk music with a twinge of rock and he hails from Atlanta (born in Texas). His album Above the Trees is a folk record that polishes the sound of his influences and it’s done very well.

I can’t seem to get enough of “The Lake, Pt. 2.” The song is lead in by soft snare pats, a Nick Drake bass line, and a flickering acoustic guitar. Duncan sings like Will Oldham or a calm Eddie Vedder. The string arrangements nestle in with the pedal steel like hands of lovers, just as they do in the following song, “Country Witch.”

The title track, “Above the Trees,” is a short interlude, but possibly the best melody on the record. It touches the fringe of classical music with a beautiful piano melody holding up a solo violin that whimpers in and out, while a synthetic, operatic melody flutters above it all. “The Lake Pt.1” follows the title track and it breathes just as deep. Underneath the pedal steel and organ, a low bass line creeps, similar to one you’d hear on a Sigur Ros record. This, combined with Duncan’s vocal melody, creates a slow-building tension that is occasionally relieved by pedal steel sighs and Duncan’s whistling. It’s beautiful, just beautiful.

Stream "The Lake Pt. 2" and "Above the Trees."

Buy it from Hometapes.
As always with Hometapes, there is gorgeous packaging on Above the Trees, with a glossy tri-fold case and a lovely, yet eerie cover photo. It’s beautiful, just beautiful.
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17) Spoon – Ga Ga Ga Ga Ga


Filter said it best.

Stream "Don't Make Me a Target" and "The Ghost of You Lingers."

Buy it from Merge.
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16) Burial - Untrue


If you visit Burial’s label blog, you’ll find a short write-up of the new album, Untrue. It is followed by an interview with Burial, conducted by Kode9. I’m not sure if this short write-up is a review written by Kode9 or if it’s a press release written by the label, Hyperdub Records. Regardless of the source, it is the perfect description of an album that I have ever read.

“The new record is weird soul music, hypersoul, lovingly processing spectral female voices, into vaporized R&B and smudged 2 step garage.” Untrue combines the haunting soul of Portishead with the dubstep mish-mash of Kode9 & The Spaceape. It is so eerily beautiful, injecting the “ghosts of rave” into your soul, evoking a sense of “downcast euphoria.”

The first track, “Archangel,” is the most representative track on Untrue, offering distorted, yet soothing vocals, echoing beats, ghostly string arrangements, and deep, dark basslines, all drenched in an a dreamy crackle, creating an otherworldly atmosphere. The distorted pitch of the modulated vocals becomes another effect in Burial’s arsenal of ethereal sound and it can be found throughout the album. “Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines.” As each track passes through your ears, you are taken further into the depths of an underground world where ghosts linger and attack, and although you remain physically unscathed, your soul is forever haunted by the sounds of Burial. Untrue is eerie and vaporous yet, ironically, welcoming and soothing. It is the music you would hear if you remained in purgatory and it is precisely the music that will bring you to rest.

Stream "Archangel" and "Ghost Hardware" as 30 second samples.

Get it from Hyperdub.
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15) Kanye West - Graduation


Ah, Mr. West. On this day of commencement, in the year 2007, I hope you maintain the scholarly values that the School of Hip-Hop has bestowed upon you, the decades of wisdom that this school of thought has provided for our prodigal student. These past four years, a certain growth has been observed by my colleagues as well as myself, a growth that has surpassed that of our most beloved and respected students. You are an eloquent orator, one that aptly applies such articulation into the appropriate context, allowing you to effectively deliver your message. And so, on this day of Graduation, I wish you the best of luck in all of your endeavors and I look forward to watching your progress in your life-long pursuit of changing the world.

Kanye West’s progression from The College Dropout to Late Registration was extraordinary, despite the fact that his first album was incredible. What was so staggering about this progression, was his enlistment of artists and minds outside of the hip-hop arena, each of which provided a new platform for West’s music and lyrics to launch from. For instance, Adam Levine, lead singer of Maroon 5, had no place in the world of hip-hop. However, Kanye’s innovative knack widdled a groove into the framework of “Heard ‘em Say,” allowing Levine’s falsetto to fit neatly within the chorus. Furthermore, the enlistment of the genius Jon Brion as producer was, well, nothing short of genius. Brion also lent his sonic prowess to Graduation, playing the role of co-executive producer.

West’s innovation is omnipresent on this album. “Drunk and Hot Girls,” a song that features another brilliant mind from the School of Hip-Hop, Mos Def, is one example. What is so brilliant about this track is that the beat and melody are taken from Can’s “Sing Swan Song,” off the ground-breaking Ege Bamyasi. Yes, that’s what I said. Can, the German, psychedelic, acid-loving, jazz-spazz-rockers from Cologne. James Murphy was there. Then there’s “Stronger,” which samples Daft Punk, who played at James Murphy’s house. Although this song doesn’t really live up to Kanye’s potential, there is much to be admired in regards to rapping over a Daft Punk tune. Combining his hip-hop eloquence with the robotics of Daft Punk is courageous and inspiring. He never ceases to amaze me.

Lyrically, West is on par with previous records, yet he has an air of wisdom surrounding him. The opening track, “Good Morning,” comments on the state of education, in all arenas, in which individual perspective is compromised for selfish reasons and hidden agendas. West criticizes the student, and not just the collegian, but a student in every walk of life, for his or her lack of free-thinking or pursuit thereof. West yells, “Good Morning,” to the class, but actually seems to be saying, “Wake up!”

Mr. West, since you first came to the School of Hip-Hop, you have never ceased to amaze me. I hope the scholarly perspective you have developed over these past four years continues to blossom and you continue to use this perspective in your approach to the important issues, the issues we must all face, in the future. You are a scholar, a powerful orator, and an educator. Keep your dreams to the sky, Mr. West. You have the power to change the world.

Stream "Champion" and "Drunk and Hot Girls."

Get it from Roc-A-Fella.
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14) Menomena – Friend and Foe


Prefix said it best.

Stream "Muscle 'n Flo" and "My My."

Get it from Barsuk.
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13) Boddicker – Big Lionhearted and The Gallant Man


Exitfare said it best.

Stream "When I Go Out" and "Mississippi Beautiful, You Know I Love You."

Get it from Banter Records.
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12) The Cinematic Orchestra – Ma Fleur


It has been five years since Cinematic Orchestra’s brilliant Everyday, one of the most beautiful records to come out of contemporary jazz, downtempo, and the year 2002. The release of Ma Fleur was highly-anticipated and was met with intense critical scrutiny, being the follow-up to the gorgeous Everyday. Fortunately, J. Swinscoe did not disappoint.

There are several similarities between the two records. However, the contemporary jazz approach that painted the landscape of Everyday was replaced by a contemporary classical approach as if Swinscoe is painting with softer, cooler colors. Conceived as the soundtrack to an unrealized film, the album was composed with the emotion present in the dramatic portrayal of lost love along with the physical and emotional wandering that results from such loss.

One of Swinscoe’s best attributes as a composer, which was evident on Everyday is his patience. His use of space within his songs are awe-inspiring and comparable to that of David Sylvian. On Ma Fleur, he brushes “Breathe” with the lightest of colors, using a subtle acoustic guitar and the powerful, yet distant vocals of Fontella Bass, only to build them into a climax of crashing cymbals and snares. Similary, “To Build A Home” begins with a soft piano note, complimented by Patrick Watson’s soothing, yet robust voice. As the tempo of the piano rises and chords come into play, the vocals break free and float around the piano like soft feathers.

Paradoxically, Ma Fleur has the ability to lift your spirits and crush your heart at the same time. Ma Fleur is as much uplifting as it is melancholy. It can simultaneously bring you tears of joy and tears of sadness. It is obvious that Swinscoe did not have the intention of re-creating Everyday. Rather, he used his best talents of subtle melodies, open space, and patience to create a contemporary classical piece with signature elements of jazz and downtempo. Although the film that inspired Ma Fleur does not exist, it is the perfect soundtrack to a rainy, autumn day spent lost in deep thought.

Stream "To Build a Home" and "Breathe."

Get it from Domino.
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11) Jens Lekman – Night Falls Over Kortedala


It’s not my fault that I didn’t get into Frankie Valli & The Four Seasons until a few years ago. It’s not my fault that I hadn’t heard of The Foundations until When Something About Mary came out on the silver screen. It’s not my fault that I hadn’t heard of “Let’s Do the Latin Hustle” until I studied the samples in The Avalanches’ “Since I Left You.” It’s not my fault that I hadn’t heard of the Left Banke until my dad listened to Jens Lekman’s new album, Night Falls Over Kortedala, and said, “This reminds me of The Left Banke.” I’m just a young lad and, like the present, I wish I had heard of them first, but hey, I wasn’t born yet.

However, I have to take full responsibility for not listenting Lekman’s new album when it came out in October, which has similarties to the previously mentioned acts, capped by Lekman’s Morrissey-esque croon. Oh, You’re So Silent, Jens garnered critical acclaim that injected the inspiration to listen to the record, but I didn’t fall for his hopelessly romantic crooning as many people did. “Black Cab” was an interesting song, but Lekman’s baritone voice rubbed me the wrong way and his woe-is-me lyrics weren’t my cup of meat, particularly when draped over a twinkle-pop melody that colored everything too pink.

Although, I sub-consciously held off from listening to Night Falls Over Kortedala, I’ve finally given in to critical clamor and, to my great surprise, I am thoroughly impressed.

Lekman has managed to pull me into his hopeless world of romance and I am now wallowing in it. Lyrically, he treads the same water, tearing open his heart and letting out the memories of lost love in anecdotal form. And these lyrics alone would have made me turn away in the same fashion that Oh, You’re So Silent, Jens did. However, Lekman’s production – yes, he produced the album – is stunning and I haven’t heard sampling this great, barring hip-hop, since The Avalanches’ masterpiece, Since I Left You in the year 2000. Night Falls Over Kortedala is a throwback to the classic oldies of the ‘60s, to disco, to ‘80s pop, and it’s so sonically majestic that you can’t help but fall for Lekman’s sad stories like a twinkle-eyed teeny-bopper in the front row of a Frankie Valli concert, with a pressed polka-dot dress on and a matching ribbon in her hair. It’s perfect pop music, or baroque pop – whatever that means – and the marriage of music and lyrics is like hand to glove. The lyrics head in the direction of brooding, but don’t come close because of the doo-wop ditties that Lekman engulfs them in. For instance, Lekman repeats the line “If I could cry, it would feel like this,” in the song of the same name, which reads as sappy as a maple tree, but the violin samples, led by a descending bass line and cascading chimes make the lyrics seem genuine, yet ironically tongue-in-cheek. This irony is present throughout the entire album, with hopelessly romantic lyrics that are aptly accompanied by samples of doo-wop, disco, and dandelions that make such sad stories sound fun. It’s like sunshine on a cloudy day and you won’t be able to stop yourself from putting your hand over your heart and sighing with dough-eyes, “Oh, Jens.”

Stream "The Opposite of Hallelujah" and "If I Could Cry (It Would Feel Like This)."

Get it from Secretly Canadian.
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10) Iron and Wine – The Shepherd’s Dog


As expected, Sam Beam has further expanded his genre-bending folk sound with his latest Iron & Wine full-length, The Shepherd’s Dog. With each follow-up, from The Creek Drank the Cradle all the way up to the Woman King EP, Beam has evolved as a songwriter, musician, and orchestrator, transforming his sound with the addition of electronic and instrumental experimentation.

However, The Shepherd’s Dog stands alone in the Iron & Wine catalog because, in certain songs, rather than just bending the folk genre into other areas of music, Beam manages to take other genres and build folk music from them. For instance, “White Tooth Man,” at its core, is a simple Middle-Eastern ditty, incorporating sitar, omnipresent tambourine, and percussion that sounds similar to the tabla, albeit lacking the complex rhythm normally associated with the two-headed drum. But, Beam adds his folk-twang with slide guitar and a rock n’ roll vocal melody, building “White Tooth Man” into a song we’d only hear from Iron & Wine.

Similarly, “Wolves (Song of the Shepherd’s Dog)” sounds like a reggae jam reminiscent of Bob Marley on “Crazy Baldhead” or The Clash when they smoked something sticky-icky. But, again, Beam adds elements of folk with his slide guitar and a softly sung vocal melody that transform the reggae beat into an Iron & Wine piece of genius. And, at the close of the record, we hear “Flightless Bird, American Mouth,” an oldies tune in the vein of The Righteous Brothers that would aptly end a high school dance. Nevertheless, it’s a sound that Sam Beam owns, using acoustic guitar and accordion to anchor the song in a 3/4 beat, while singing a fluttering melody that rises in ballad-form as the song progresses.

The Shepherd’s Song also includes songs that would have fit well a full-length version of the Woman King EP. “Pagan Angel and a Borrowed Car,” “Lovesong of the Buzzard,” and “Peace Beneath the City” each, in their own rite, have the soul of Woman King, with heavy percussion and funky twang.

Lyrically, Beam takes the same route using folklore and all of its metaphors to express himself, but in a slightly more obscure manner. A stand-out is “Innocent Bones,” which uses biblical references with lines such as “Every saint has a chair you can borrow and a church to sell” to shed light on the flaws inherent and currently projected by Christianity.

Although Sam Beam is the primary source of these beautiful songs, some credit must be given to Brian Deck, whom held production responsibilities. The artistic partnership formed between Beam and Deck has resulted in the birth of beautiful folk music since Our Endless Numbered Days. As with Califone, Deck’s production seems to heighten the core of each song into new atmospheres of sonic bliss and it is undeniable that Sam Beam and Brian Deck are a musical team for the ages.

It is absolutely fascinating to hear the re-invention of Iron & Wine that comes with every new release. It would be pre-mature to call The Shepherd’s Dog a masterpiece because Beam seems to top everything he produces. Nevertheless, The Shepherd’s Dog is a must-own album and, as expected, a candidate for album of the year.

Stream "Peace Beneath the City" and "Boy With A Coin."

Get it from Sub Pop.
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9) Panda Bear – Person Pitch


Tiny Mix Tapes said it best.

Stream "Comfy in Nautica" and "Good Girl/Carrots."

Get it from Paw Tracks.
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8) Battles - Mirrored


Stylus said it best.

Stream "Race: In" and "Atlas."

Get it from Warp Records.
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7) Beirut – The Flying Club Cup


Some say that a picture is worth one thousand words. In the mind of Zach Condon, known to many as Beirut, a picture is worth twelve beautifully crafted pop songs, melted in the swirls of Parisian romanticism. Inspired by an early 1900s photograph of a Parisian hot-air balloon race, The Flying Club Cup is the second full-length and overall third release from Beirut. The album is quite similar to Gulag Orkestar and the Lon Gisland EP in that it highlights the trumpet and Condon’s wailing vocals. However, unlike these past releases, The Flying Club Cup calls much more upon the organ and uses a less staccato, more melodic approach with the accordion. On top of that, Condon enlisted the help of Owen Pallett (Final Fantasy), whom contributed string arrangements. Overall, the album sounds much more pristine as Condon has removed the clattering percussion, which has revealed the melodies, especially in vocals, that he used to bury. With the uncovering of these melodies, we discover more sincerity in each song. Condon evokes the sound of Yann Tiersen had he composed the soundtrack to a Godard film. He wraps you up in the sounds of the Parisian streets. We find ourselves walking along the banks of the Seine, an empty bottle of red wine in one hand, a rolled cigarette in the other, dreaming of the one that got away or the one we’ve yet to find.

The first track (aside from the intro), “Nantes,” leads in with a light organ melody and, as usual, segues into a delayed percussion track. The horns, which is not just a trumpet, but a small brass section, harmonizes in between Condon’s Roy Orbison-style vocals. “Guymas Sonora,” recalls Gulag Orkestar’s “Mount Wronclai (Idle Days),” with Condon’s trumpet wandering through the song, as if the boy is lost in the deserts of Mexico, walking toward mirages that look like floating water. Pallett’s violin simultaneously acts as an oasis of beauty, but expresses the direness of a desert wanderer’s circumstance. “In the Mausoluem” has a similar piano melody to Sufjan Stevens’, “Come on! Feel the Illinoise!” Owen Pallett is at his finest on this track, playing like Andrew Bird, and the 6/8 beat makes your head bob and weave. The closing track, “The Flying Club Cup,” makes you feel as if you’re drifting off in a hot-air balloon, floating above Paris, and forgetting your troubles. The album follows the style of Beirut’s previous releases, but stands with much more posture, a result of Condon’s maturation. It is a beautiful record. Listen.

Stream "Nantes" and "Guyamas Sonora."

Get it from Ba da Bing! Records.
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6) LCD Soundsystem – Sound of Silver


The Los Angeles Times said it best, but I can’t link to it. So, Pitchfork said it second best.

Stream "All My Friends" and "New York, I Love You, But You're Bringing Me Down."

Get it from The DFA.
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5) Feist – The Reminder


Drowned in Sound said it best.

Stream "My Moon My Man" and "Brandy Alexander."

Get it from Arts & Crafts.
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4) The National - Boxer


The AV Club said it best.

Stream "Fake Empire" and "Green Gloves."

Get it from Beggars Banquet.
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3) Caribou - Andorra


Under his current moniker, Caribou, Dan Snaith continues to tread the line between wall of sound and melody with Andorra. With past Caribou records as well as Manitoba releases, Snaith has opted to bury his melodies amidst found sound, crashing drums, and synthetic noise. Typically, a fluttering flute line or pretty synth sounds would hover over this wall of sound. There is not a great deal of difference from this approach on Andorra. However, the key difference from Snaith’s past releases is his use of vocals and this difference has made Andorra the best Caribou or Manitoba album yet. In other words, it’s made all the difference in the world.

What we discover with Snaith’s use of vocals on Andorra is that the guy actually has a good voice. More importantly, he creates melodies with his voice in 1960s sunshine form, similar to that of Brian Wilson or Colin Blunstone of The Zombies. There is a sense of urgency in his voice, which, of course, is enhanced by the powerful backdrop of noise that his vocals are anchored in. Still, it is as much surprising as it is rewarding to hear the emotion that Snaith puts forth in his singing. The lyrics aren’t as gratifying as his voice, however, lyrical wit was certainly not the intention. The lyrics just placeholders for Snaith’s voice, which is the most powerful instrument on this record.

Streaking off the starting line is “Melody Day,” possibly the most intense song on the record. Synthetic buzzes and tweets flood the song as what sounds like ten drummers pounding away forms the backdrop. The chorus (yes, there are choruses on this record) is emotive as Snaith jumps octaves, singing words that are undistinguishable, which is of no concern as the emotion cast by Snaith’s vocals is enough to make “Melody Day,” the best song on the record.

Although, the best track is first, the following eight tracks are still beautiful pieces of passionate, dreamy, noisy pop. Snaith’s influence by 1960’s pop is most obvious on “Sandy,” a song that follows the sunny trail of the Beach Boys. “She’s the One” is another gem, enhanced by the vocals of Junior Boy Jeremy Greenspan. The “do-do’s” that carry the song are delightfully retro and Snaith’s voice is most similar to Brian Wilson at this point. “Desiree,” begins with a soft voice and subtle strings, which build and build. At the chorus, when the tension is released, the crashing drums and chaotic noise that you would expect from Snaith are absent. In their place are beautiful synthetic strings, a lovely vocal line, and fluttering flute. It is unexpected, but extremely enjoyable, which is a common thread throughout Andorra.

Stream "Desiree" and "Melody Day."

Get it from Merge.
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2) Animal Collective – Strawberry Jam


One of the most impressive attributes of a truly innovative artist is the ability to continuously innovate. Rather than fading after one shining moment, a truly innovative artist will expand on their art and surpass the bar they originally set, which transforms what may be viewed as a one-off experiment into a genuine piece of art. Animal Collective did this with 2005’s Feels, setting the bar sky-high. 2004’s Sung Tongs was brilliant and put the band on many indie radars, but Feels truly solidified the Animal Collective sound, which is unique, explosive and, on occasion, heart-wrenchingly beautiful. However, in a genuine artist’s form, Animal Collective has launched this bar into outer space with Strawberry Jam.

The Animal Collective sound, in past years, was usually built upon one or two chords, which would sound repetitive if not for the intricate vocal melodies, lush vocal harmonies, and pounding tribal percussion. With Strawberry Jam, the band has enhanced their signature sound with more chord changes, more emotive vocals, and more audible, somewhat powerful lyrics. Regardless of such changes, it is only a sound that Animal Collective could make, which is what makes Strawberry Jam such a masterpiece. There’s nothing else like this.

There are many contenders for “highlight of the record” on Strawberry Jam, one of which would be the astounding opener, “Peacebone,” a song that would provide the perfect soundtrack to a five minute session in a giant, inflatable Bounce House. “Chores” is a two-part song that would have fit nicely on Person Pitch with it’s half-intense, half-groovy structure. However, the one-two punch of “For Reverend Green” and “Fireworks” is the most amazing piece of the record. As Mark Richardson of Pitchfork claims, it is,“arguably the greatest back-to-back in Animal Collective’s catalog.” Fittingly, the record received the second-highest rating of 2007 on Pitchfork thus far, falling one-tenth of a point short to none other than Panda Bear. “For Reverend Green” begins with a grinding swirl of sound that follows a four chord progression. Avey Tare’s lead vocals are crisp and clear, with sporadic screeches for emphasis of the lyrics, which I won’t attempt to decipher. “For Reverend Green” demonstrates the originality and power of Avey Tare’s voice, something that was cast to the wayside on previous records. The song leads into “Fireworks,” which is, without at doubt, the most beautiful song the band has written. The backing harmony tugs at your ventricles as the chords breathe into one another like deep gasps, similar to Boards of Canada’s “Dawn Chorus.” A twinkling piano flutters in and out of the song and Avey Tare’s vocals build and build as he sadly expresses his distaste for the platitudes and monotony in everyday life.

Strawberry Jam is the record that Animal Collective fended off for years, but required a sense of maturity to make. This may sound like a contradiction, being that the Animal Collective sound has a slight sense of immaturity, with all due respect. But, it’s the acceptance of structure in songs and pop sensibilities, cultivated by a level of maturity that the band lacked on previous records, albeit some more than others, that has allowed the band to create what could be their masterpiece. Furthermore, the emphasis on their best qualities, which include Avey Tare’s vocals and their harmonies, is another sign of maturity. Hopefully, the band will continue to mature and set the bar higher as the genuinely innovative artists that they are.

Stream "For Reverend Green" and "Fireworks."

Available on Domino Records.
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1) Radiohead – In Rainbows


Oh Radiohead. Oh how I’ve missed you. It’s been four years since the release of Hail To The Thief, and we’ve all been eager to hear another amazing album from an amazing band. Radiohead are The Beatles of this generation. They are a revolutionary band that has produced some of the greatest albums of the ‘90s and ‘00s, if not ever. No one is worthy.

The anticipation for In Rainbows began soon after the release of Hail To The Thief and expectations for another ground-breaking album were high. However, In Rainbows is far from ground-breaking. It is an album that lacks the huge sound of Ok Computer and the accessible avant-garde nature of Kid A that we’ve always adored. Rather, In Rainbows finds the band in its most comfortable state, jamming out soft melodies amidst a tight rhythm section. But, make no mistake, this album is beautifully intimate and it too is an album to be adored.

The first track, “15 step,” leads in with an Autechre slither, but falls back into a soft guitar melody and a quick beat. The intensity returns three minutes in when the bass begins to groove and the beat hardens. It is followed by a simple pop-rock song, “Bodysnatchers.” Thom Yorke sings, “Has the light gone out for you, because the light’s gone out for me,” which makes you wonder if this statement applies to Radiohead as a band. You quickly disregard such a notion once “Nude” kicks in. It is a slow jam, interspersed with strings that can simultaneously lift you up and kick you down, similar to that of “How to Disappear Completely.” Jonny Greenwood’s little guitar melody makes you wander through the streets as Yorke’s voice places you in deep thought.

Track five, “All I Need,” is reminiscent of Boards of Canada’s “Roygbiv,” with a warped bass line and beat. “Reckoner” is the highlight of the album with Yorke at his finest. Please be careful because he may bring you to tears when he croons, “You were not to blame for bittersweet distractors.” “House of Cards” follows and it is representative of where Radiohead is at in their life. They are not out to revolutionize on this record. They are out to display their talents as song-writers and musicians. The album is recorded very intimately. There is no large sound and the pristine recordings hone in on the incredible adeptness of Thom Yorke on piano and vocals, Jonny Greenwood on lead guitar, Colin Greenwood on bass, Ed O’Brien on rhythm guitar, and Phil Selway on percussion. In Rainbows shows us that their musicianship, not just their progressive song-writing, is what makes Radiohead so legendary.

Stream "Reckoner" and "15 Step."

Get it from XL or ATO in January.