2005 list: The big thing

So, here's what everyone's been waiting one—or at least, Bryan. Themes for this year: "fun" albums; albums that started strong and didn't last; and, the eternal question: stick to the safe established sound, or attempt to evolve and risk failing? It's been a year without the obvious standouts like the Arcade Fire last year, or the Postal Service the year before. But still, looking at the list, there was plenty of good stuff this year. I managed to add over 2000 songs to my iTunes library this year, about half of which (5 GB) were releases from this year. Why 24 albums? Because, out of the ones I bothered to get to know adequately, that's how many I liked.

I'm sure there are a lot of typos below; I'm too lazy to proof this tonight, and I need to get that fucker Bryan off my back. So, without further ado, the list:

1. Sufjan Stevens, Illinois: It would have been so easy for me to have missed this one. Somewhat flat and unvaried upon the first listen, hearing Chicago at the right time in the right place finally got me to give the album a thorough listen (nothing's better for serious listening time than a road trip), and I discovered an album full of beautiful music, clever lyricism, and emotional depth. Once you get past the overlong song titles, excessive instrumental interludes and the overall need for an editor, there's a beautiful, classic album. How long before Stevens' road trip through the fifty states hits Texas?
2. The Magnolia Electric Co., What Comes After The Blues and Trials and Errors: Between the live album that started out the year, and their second full length (well, and the lackluster Hard to Love a Man EP), MECo had a big year. Sadly, I didn't get to catch them live, but they get much respect for their tour of small Texas towns. "What Comes After The Blues" was one of my most listened to albums of the year. It's subtle but strong. I love this band and their output this year gave them enough momentum to keep my enthusiasm going. God bless you, Jason Molina, and your blue collar rock as well.
3. Okkervil River, Black Sheep Boy" and "Appendix: After missing most of their opening for the Decemberists (a nice fit), but catching their great show at unlikely venue the Mucky Duck, I finally gave their album the chance it deserved, and found a sometimes-rocking, always literate album that I still haven't completely managed to unravel. Shades of the psychotic dreamworld of Neutral Milk Hotel hint at the depth of the album. I was thrilled with the chance to catch them live again in November in light of my exploration of the album, and with the follow-up EP which further explores the musical and literary themes of the album. A great band that I hope is bound for even bigger and better things.
4. Death Cab For Cutie, Plans: From my initial disappointment at the lack of rocking to its penetration of my brain through subtle hooks and emotional depths, Death Cab have done it again, even if they have done it differently from what I might have wanted. Plans picks up on the quieter moments of Transatlanticism and expands on them, with some great peaks, such as the wonderfully sad "What Sarah Said" and the devoted "I Will Follow You into the Dark". "Marching Bands of Manhattan" has the smarts to start off with cleansing organ chords reminiscent of U2's "Where the Streets Have No Name" (a personal favorite musical moment), and songs like "Crooked Teeth" show that they can still rock when they want to. My initial pessimism gave into optimism when their ACL show proved that, despite the influx of teeny bopper OC fans, I've hopefully got lots to look forward to from one of my personal favorites.
5. The Decemberists, Picaresque: Colin Meloy does it again, putting out an album of songs reminiscent of 18th and 19th century romance novels, protest songs, chronicles of sports jock humiliation, and "spy who loved me" romances that matches his previous albums, and maybe even surpasses them. Here's a case where it pays to stay the course and keep your signature sound and quirks. It's hard to imagine work of this caliber getting old.
6. Spoon, Gimme Fiction: How can I describe the workman-like, competent post-punk/indie rock of this band without making it sound like it's mediocre? Britt Daniel must have uncovered some secret rock theorem and leading to an understanding of exactly how all the parts fit together to make a great song that rocks. From the distorted guitar theatrics of "The Beast and the Dragon, Adored", through the solid "The Two Sides Of Monsieur Valentine", the Prince by way of Beck "I Turn My Camera On", the solid rocking of "Sister Jack", and the bouncy acoustic rock of "I Summon You", it's an album of some of the best songs they've ever recorded, even if some of the ones I didn't name could have been cut.
7. Bloc Party, Silent Alarm: It took their unexepected highlight performance at September's Austin City Limits Festival to sell me on them, but their over the top, energetic performance introduced me to an album of great new wave/post punk rock revival. Lots of fun and great broad appeal make it an easy recommendation for anyone.
8. Broken Social Scene, Broken Social Scene: More racous, rocking, and propulsive than their 2003 breakthrough, but perhaps not as charming. I'm sure this one would have made for an amazing live show, and it saddens me that the fuckers skipped Houston this time around. Still, you get Emily Haines, Leslie Feist, and Amy Millan together on one album and tell me that's not a beautiful, beautiful thing.
9. Wolf Parade, Apologies To The Queen Mary: Once a contender for the top spot, it didn't last (which could mean that it was just released too early in the year). Still, I wonder if it should have been ranked a little higher. Nice bits reminiscent of Modest Mouse, with lots of good synth work. A very easy and fun listen. And when the synth intro to "I'll Believe In Anything" starts, and the snare comes in, and then the guitar, and the vocals start up, and then the song just never lets up, you'll think, at least for a few minutes, that this one deserved number one.
10. Clap Your Hands Say Yeah, Clap Your Hands Say Yeah: Another contender for the top spot, it's fallen quite a bit. The best moments are great, but ultimately the album is a demo EP, stretched too thin with short instrumentals. But when it's on, it's a wonderful combination of styles and of a ton of great musical moments.
11. Franz Ferdinand, You Could Have It So Much Better: More of the same, but plenty solid, competent, and calculated. So far they very much remind me of the career trajectories of the Strokes and Interpol. Great first album, very similar second album. What will the third bring? More of the same? A great reinvention? A failed attempt to freshen things up?
12. …And You Will Know Us By The Trail Of Dead, Worlds Apart: Another disagreement with Pitchfork. I guess this one is really two steps forward, one step back. The songs are more distinctive, more epic, and more ass kicking—at least towards the beginning of the album. But they fail to keep the momentum going (or may it's just too much of the same) towards the end, and it doesn't hit a killer climax the way Source Tags and Code did a few years ago. Entirely worth having for its best moments, though. Also, thanks to the band for coming through Houston a second time this year, playing a smaller venue, and making up for a fairly sloppy first show with a great second one.
13. Folds, Ben, Songs For Silverman: Two steps forward and one step back for Mr. Ben. On the one hand, the music is as beautiful as his slow ballads have ever been, and the new band is great fun. On the other hand, though, the songs seem half-formed. I know Ben can write songs better than this. The music's there, but the lyrics just aren't done yet. Great to listen to, but it doesn't really stick with you.
14. Jens Lekman, Oh You're So Silent Jens: I'm still sort of formulating a final opinion on this one. Is it great or just good? The best possible combination of Belle & Sebastian and the Magnetic Fields, or just a warmed over hash of the two? Coming towards the end of the year, he gets the benefit of the doubt for his very likable lo-fi sound and clever lyrics. He's definitely one to watch, and one whose back catalog demands more exploration.
15. Architecture In Helsinki, In Case We Die: Although I never quite caught the same level of enthusiasm as Dan on this one, but it's a great example of the hyper prog genre. A more youthful, less overwrought (if you consider that a good thing) Polyphonic Spree, with the same sort of infectious enthusiasm. Plus, they avoid impenetrable ten minute opening tracks that drag down genre-mates The Fiery Furnaces. Good live show, too.
16. Youth Group, Skeleton Jar: I was obsessed with this one for a while. I had to respectfully disagree with Pitchfork's opinion on this one. It was quite catchy and emotionally involving (and a bit uplifting) if not particularly original. Lots of fun to listen to, but maybe it falls apart if you think too hard about it.
17. M.I.A., Arular: Hey, it's a rap album that I actually listened to and didn't find horribly boring. MIA does a nice job of being distinctive (at least compared to everything else that's popular these days). I found the live show a little lacking, but this is the type of variety I like to see in rap.
18. Dios (Malos), Dios (Malos): Dios changed things up a lot this time around. Sadly, they're magically old, rainy, grainy sound from the last album didn't make the transition, but like so many groups on the list, you can't fault them for trying to keep things fresh. Lots of fun moments. Pitchfork found it a little inane, but if it is, it doesn't get in the way of a fun album.
19. Rogue Wave, Descended Like Vultures: Solid, breezy pop. It doesn't always stick out, but it sure does go down smooth. A pleasant, easy listen.
20. DangerDoom, The Mouse & The Mask: Another rap album that I actually listened to. The tie-in with Cartoon Network's Adult Swim was a great idea. Danger Mouse's beats keep me from getting bored the way I often do with rap, and MF Doom's rapping is consistently interesting. The Adult Swim stuff could have been better used, but it's a good effort. Recommended for fans of any of the three.
21. The White Stripes, Get Behind Me Satan: The Whites get points for mixing it up, trying new things, and ditching the electric guitar for a while. They loose points for failing to provide a consistently compelling listen. Still, it has its high points. I queued up White Blood Cells the other day, and was reminded of how great they can be. Thanks for trying to keep that greatness up rather than just falling into a holding pattern. Keep on trying.
22. Caribou, The Milk Of Human Kindness: Honestly, I don't throw in this album (from the folks who used to call themselves Manitoba) very often, but this album makes its way onto the list by virtue of the band's absolutely stellar live show. This is (and other bands of the type, like Austin's Octopus Project) is electronica I can get into.
23. Love As Laughter, Laughter's Fifth: Not quite what I was expecting compared to the fuzzed-out, Built to Spill-covered "Singing Swores Make Perfect Swords", but this is some fun, up, guitar-driven indie rock. My infaturation with this album didn't last long enough to put it higher up in the list (oh, the curse of an early in the year release!), but it's a fun listen to throw in every now and then.
24. Nedelle, From The Lion's Mouth: I've blogged about catching Nedelle (or her collaboration Nedelle & Thom) a couple of times. She's got a beautiful, pure voice. I prefer the stuff with Thom, which is a little more stylized, but this album is still a great, easy, fun listen.