The Top Seven of 2007: Part 2
More of the music that we liked in the last 365 days
Posted January 8th, 2008.
Sal’s Seven Samurai
1. Efterklang — Parades (Leaf)
I always love it when bands exceed expectations. The classic example is Radiohead, who – circa Pablo Honey – were nothing more than a third-rate, Johnny-come-lately group of UK grunge kids with some glam-rock sparkles and an okay single (“Creep”); you’d forgive critics at the time for being underwhelmed, but much history would prove them wrong. Same idea with Efterklang: discovering that the band was still active earlier in the year was a bit of a shock for me. While their earlier albums were a really good marriage of múm’s organic-glitch and, say, Sigur Rós’ orchestral take on post-rock, Efterklang were both late to the party and, um, not Icelandic. Given the muted reception to their output, I’d have assumed they’d disbanded by now. Thank God these five Danes chose to stick it out, because Parades is a stratospheric spike in greatness for Efterklang and the best album I heard all year.
Demanding a fully-immersive listening experience each time, Parades is also one of the biggest albums of the year, and boasts a string quartet, a brass quintet, and three choirs (for a total of thirty guest musicians). It is able to sustain all at once the brass sections and koras of Björk’s Volta, the ecstatic choruses of Akron/Family’s Love Is Simple, and The Besnard Lakes Are The Dark Horse’s approach to indie songcraft. Meanwhile, Parades maintains digital manipulations of traditional folk sounds à la Greg Davis, a commitment to classical instrumentation, and phrasing in the vein of Max Richter. In sum, everything you wanted in an indie album in 2007, and then some, you found in Parades.
2. Phosphorescent — Pride (Dead Oceans)
3. Caribou — Andorra (Merge)
4. Dark Bird — Long Gone (Alien Girl)
5. Deerhunter — Cryptograms/Fluorescent Grey 2LP (Kranky)
6. Tunng — Good Arrows (Thrill Jockey)
7. Fridge — The Sun (Temporary Residence)
Jan Streekstra's Selections
1. Skeletons & The Kings Of All Cities — Lucas (Ghostly Int'l)
I never expected to have so much trouble picking through genres I had loved and dismissed already: I figured French-touch electro and synth pop were relics of my youth. Although 2007 makes me suspect that I'm getting old and that nostalgia is beginning to cement my tastes, I'm happy that this list represents some unique and fun stuff that happened this year. I picked Lucas because it had a profound and mysterious influence on my concept of melody; there are still so many parts about this sound that don't make sense to me. I don't understand why I like the faster-than-fast guitar loops, or the ring-modulated echoes skulking under every chorus, or the saxophones that just won't shut the fuck up. I don't understand why such an oppressive barrage of traditionally loud instruments breaks down into something I'm tempted to call pop. I don't understand why the breathy, rambling singer is fun instead of annoying. I especially don't understand why other people like it too.
2. Bumps — Self-Titled (Stones Throw)
3. Dag Rosenqvist & Rutger Zuydervelt — Vintermusik (independent)
4. Studio — Yearbook 1 (Information)
5. Erik Friedlander — Block Ice & Propane (Skipstone)
6. Best Fwends — Alphabetically Arranged (Moshi Moshi)
7. Karl Blau — Dance Positive (Marriage)
Eva Bowering's Top Seven
1. José González — In Our Nature (Mute)
José González surpasses his first album Veneer with In Our Nature, by far his best work yet. Following in the footsteps of his debut, it branches out further than his primarily melancholic past, focusing on Gonzalez's master guitar work and vocals. Unembellished and bare, In Our Nature is a solid force of a folk record. It's truly original, and bursting at the seams with introspective earthiness. His work is strong, polished and forceful. Never does González get carried away or try to impress with over-the-top performance antics. After having had the opportunity to see him live this month at the Mod Club, he proved that, for one man, he is quite the presence. The album is comfort and solace at its best. Of this year’s lyrical and instrumental works, In Our Nature is truly one of the most beautiful.
2. Feist — The Reminder (Cherry Tree)
3. Blonde Redhead — 23 (4AD)
4. Sunset Rubdown — Random Spirit Lover (Jagjaguwar)
5. M.I.A — Kala (XL/Interscope)
6. The National — Boxer (Beggars Banquet)
7. Arcade Fire — Neon Bible (Merge)
Allana Mayer's Picks
1. Bowerbirds — Hymns For A Dark Horse (Burly Time/Revolver)
I know I was shouting to everyone within earshot about Panda Bear being album of the year. But I missed the chance to crow about Ticonderoga's angry and bitter self-titled album in 2005, so when lead singer Phil Moore resurfaced at the helm of Bowerbirds, well....
Hymns for a Dark Horse is actually phenomenal. Not in a joyous we-are-Panda-Bear- join-us-in-worship way, but in an I've-returned-to-nature- and-am-now-one-with-the-animals way. I'm not sure which is better, but I'm putting Bowerbirds first this time, dammit. Okay, the point is, the songs are beautiful and heartbreaking and tender, and Moore's voice is as expressive and arresting as ever. Despite a few rough patches where the rickety old piano seems a bit out of tune with their sea-shantying vocal rounds, the arrangements and dynamics are clever and moving, and every instrument has the power to rip out a ventricle. I think that's enough reason, don't you?
2. Panda Bear — Person Pitch (Paw Tracks)
3. Oxbow — The Narcotic Story (Hydra Head)
4. Eluvium — Copia (Temporary Residence)
5. Pterodactyl — Self-Titled (Jagjaguwar)
6. Stars Of The Lid — And Their Refinement Of The Decline (Kranky)
7. Menomena — Friend and Foe (Barsuk)