by brod » Sat Dec 20, 2008 7:51 pm
According to MAG
5) The Black Keys – Attack and Release
When a planned collaboration with late soul legend Ike Turner went off the rails, The Black Keys turned to Gnarls Barkley’s Danger Mouse to produce this molten collection of pent-up riffs and grooves. The Black Keys’ dirt factor has always provided their edge; but Danger Mouse accentuated the soulfulness in Dan Auerbach’s voice and created a woozy, kooky musical world they’d never inhabited before. This would have all been meaningless without the superb batch of songs they’d written. It was the year’s happiest accident.
4) Portishead – Third
The most keenly anticipated comeback record of the year was the most extraordinary. Brimming with intoxicating atmosphere, analogue discord and personal paranoia, the seminal Bristol trio’s first studio record in 11 years was a revelation, even to hard-nosed admirers. More challenging and abrasive than Dummy or Portishead this was Bristol trip-hop transposed, re-imagined and re-contextualised. The densely psychological Threads made for one of the most gripping finales to an album in years. Barrow, Gibbons and Utley have (again) left us begging for more.
3) The Drones – Havilah
Havilah is a land mentioned in The Bible, relating to the Garden of Eden; a hard place with to imagine The Drones inhabiting for very long. Recorded to a self-imposed deadline and written at the band’s base in Victoria’s alpine region, the isolation rubbed off on the music. The abrasive songs still seethed, the scratchy riffs colliding with Gareth Liddiard’s mewling vocals and the band’s now assured sense of dynamics. If its sheer sonic filth stopped it being Australia’s purest record for 2008, it was certainly the most uncontrived. Riveting.
2) Nick Cave and the Bad Seeds – Dig!!! Lazarus, Dig!!!
Nick Cave got his groove back. The Bad Seeds were a rock band again, the epics and violin solos of his recent past had fulfilled their purpose. Cave’s stories were burned to life by the ambitious, dissonant inventiveness of a band with a licence to kill. This boiling collection of screeching riddles and droll whimsy dropped listeners into Cave’s ever evolving world of love, recrimination, and triumph, all writ large on the grand canvas of his musical, literary heart.
1) TV on the Radio – Dear Science
Bands like TV on the Radio mystify the commercial music industry. The Brooklyn quintet can’t be corralled via style, genre or colour. Of all the resonances throughout their remarkable third album, Dear Science, it’s this sense that popular music can be borderless that echoes loudest. It’s an incredible achievement for a band that only two years ago – following Return to Cookie Mountain (2006) – were still considered an obscure art-rock act. On Dear Science, they elucidate their sound without compromising any of its wonderfully complex, layered qualities. Where guitarist/producer David Sitek smothered previous material in a storm of noise and texture, cuts like epic opener Halfway Home, the abstracted waltz of Stork & Owl and the wondrous, arcing pop orchestrations of Golden Age shimmer and swoon, clash and coalesce in full, clear view. Vocalists Tunde Adebimpe and Kyp Malone only add to the vista; their impassioned articulation of America on the social and political precipice proves urgent, personalised and downright compelling. Like all great records, Dear Science grows and refines with every listen. Conversely, and quite brilliantly, it’s also TVOTR’s most immediate to date – its questions of our future ringing strong and stark. –by Dan Rule.