It takes a lot for any kind of hip-hop to impress me (I’m not an expert or huge fan of hip-hop by any means). I prefer the indie stylings of artists like Murs, Atmosphere, or Mr. Lif as opposed to Lil Wayne (or any other popular hip-hop for that matter). Every so often comes an amazing remix/mash-up of an artist in the indie/rock circle paired with various hip-hop acts that sounds like it was just meant to be, it turns out as natural as any original music would/should. An almost unknown artist, based out of Montreal going by the moniker Tor, decided to create the backbone of the song with various Sufjan Stevens tunes, and laying it down with the lyrics provided by various hip-hop acts (Aesop Rock, Outkast, Brother Ali, etc.). This really shouldn’t have worked, but it does. A fantastic listen. Download it for free at Tor’s website.
Enjoy.
– Ant
After much success with his hometown band Kings of Convenience, Erlend Oye broke away from the simplistic pop for the more dance oriented 
Sounding like a dirty indie country version of Cat Power with a healthy mix of Jenny Lewis and Jeff Buckley (yea, whoa), 
The two Aussie ‘gents that formed 
Had the next 9 albums not been released, my love affair with Ane Brun would be all the more evident. A voice reminiscent of Dolly Parton, mixed with the indie and acoustic sensibilities of Feist and Cat Power, Ane (pronounced Ah-na) stirs with emotion and devastation. The culmination of these being the title track, “Changing of the Seasons”, about a man who cannot commit, needing to move on to his next conquest. Although, she manages to sneak in a semi-happy ending. Understanding the common plight of unfound love, her afflicted tone, and fairytale acoustic and string arangements ultimitely leave you with a little hope, even if hope is all you can hope for.
Albums released early in the year often get lost in the mix, forgotten about, but Headlights became my musical pallet cleanser throughout the year. Often overwhelmed with the sheer amount of music released during the year, and sifting through some drudge, Headlights were always there to refresh with their sincere indie pop. They come across like Arcade Fire-light, but that is a genuine compliment. This is ever the most evident on the track “School Boys”, with the driving riff is never compromised through the song’s entirety. Even when the pace slows on the title track “Some Racing, Some Stopping”, a longing heart’s memoir set to a sweet and simple synth track, they still seem to grab your attention. A promising sophomore effort.
I am unapologetic while continuing down the woman-fronted path this top 10 is taking. Up until now, Mates of State have been known for their weaving husband and wife vocals and jumpy organ. Re-arrange themselves they have, to an extent; absent is the organ, but the dual vocals remain. Call them tween-pop, call them cutesy, call them guilty-pleasure status worthy, but I say they have released one of the perfect pop albums of the last 5 years. This album is full of sing-a-long choruses, hooks galore, and that makes every song as memorable as the last.
This should not have worked. Simply stated, matter of fact. Comprised of M. Ward, acclaimed indie singer-songwriter, and Zooey Deschanel, an 
My love affair with Death Cab is no secret, but I will be the first to say, after the 2005 release of the tired Plans, though considered their most accessible album, the band needed a shake up. We received it this year with the release of Narrow Stairs, critically acclaimed, and critically dubbed: dark. I have always hated that term, but it fits, and musically and lyrically. Gibbard sounds like a man with a chip on his shoulder in the opener “Bixby Canyon Bridge”, who figures out after his excursion that he is “No closer to any kind of truth.” The album also produced some of my favorite Death Cab songs ever penned: the settling in “Cath…”, the longing in “Your New Twin Sized Bed”, and the burden of over-thinking in “Long Division.”
There seems to be a theme with a third of my top 10, they came out of nowhere. Like Vampire Weekend, another young band to come out of New York, they offer fresh takes on indie pop and adding the rock stardom (i.e. taking themselves too seriously, drugs,trippy music videos) that has been missing from music, almost Rolling Stones-esque (in attitude, mind you). The album begins with the 20-something anthem “Time To Pretend”, weary of living a life of boredom and mediocrity in the form of a morning commute to a desk job, they dream of becoming rock stars. How fitting. Some later songs delve into psychedelia, but are fun, and how can we forget the lyric of the year within the disco-era “Electric Feel”:
What can you say about four Ivy league chaps from New York that hasn’t already been said. Some consider them over-rated, over-hyped preppy brats, but consider this, they made an album that I came back to throughout the year. Almost every song has a memorable line, hook, or chorus; what else would you want from fresh indie pop? Employing the use of traditional African drum beats, some call it a gimmick, but it adds something unorthodox; playfulness that could only match their ridiculous moniker. Who knows if this was beginners luck, we may just have a new heir to the yacht rock of the 80’s. I will embrace it, after all, we will know if it was fluke soon enough.
Seemingly coming out of nowhere, The Botticellis were my biggest surprise of the year. I think they were vastly overlooked even in the prided indie circles, and if more people had actually heard this album, it would be in a lot of year-end lists. An amalgam of 60’s surf pop, and dreamy chamber pop, they will reel you in with their charming melodies, meticulous percussion, and honest hooks. A perfect debut for a band that will have many people saying in 2009, “How did I miss that?”
If Sigur Ros’ sound is grandiose, Bon Iver is the antithesis. We are all familiar with the story by now, Justin Vernon became a hermit in a woody cabin after a bad break-up, pouring those emotions into this stripped-down opus. Knowing this back-story makes each song hit even harder. I remember when I first heard this album, how distinct his voice was, how you could hear the pain in his wavy warble. I can always gauge the strength of art (music, film, physical) by its ability to change your mood. Justin’s transparent lyrics are inherently angry and sad. The erratic percussion at the end of “The Wolves” is the biggest tell, while Justin sings “Someday my pain, someday my pain will mark you.” This album will mark you.
Before I sat down to write this list, I agonized about what should be my number one, but once I started binge listening to my top picks, it became as clear as waking up this morning. The truth is, I have always been an observer of obsession with Sigur Ros; they created beautiful music while lyrically being non-existent. Once I realized that his voice is used much more like another instrument in the mix, combined with emotions invoked by merely sitting down and giving a couple focused listens to this record, I finally “got” Sigur Ros. This is a MASSIVE record. With orchestral elements, driving rhythms, and the distinctive vocal croon in the indiscernible “hopelandic” language (as well as their first song in English), I could not deny that Sigur Ros had created a masterpiece. Sit down, and immerse yourself in this album.
Ben Folds first proper album in almost 4 years, starts off with a bang, while simultaneously self-proclaiming the heirdom to Elton John’s stage presence. The album really loses its legs after the 4th track, “You Don’t Know Me”, featuring Regina Spektor, a fight between lovers in a love-less relationship. Too many throw-aways in the last half of the album make this a really average album from a really incredible talent.
I never really understood the lore of Bright Eyes until their last album, Cassadega, an amazingly lyrically complex and the alternative country musical stylings. Plainly, the songs become simple and boring, two adjectives you couldn’t use with Cassadega. After seeing them live this past year, the material came to life, an energy that was not efficiently bottled in the studio renditions.
The sophomore album(s) were really hurt by Margot’s label moreso than the quality of the material. If you don’t know the story, Margot created an album, the label didn’t approve, Margot goes back into the studio and creates some radio-friendly dross that will never make it to the radio. Such a shame, you can pick out one good album from both of these disks, but as it stands, it’s a convoluted mess.
MMJ are one of my favorite bands, and hold the honors of being one of my favorite live acts. So what the hell happened? To be honest, minus 3-4 tracks this album is passable, but loathful track “Highly Suspicious” with its pseudo-Prince inspired vocals and over-processed guitars is downright cringe-worthy. I’m not claiming to be a professional, but I can hold a tune, and on some of the songs (Thank You Too!, Look At You, and Smokin From Shootin), Jim James is just flat-out singing out of tune.
I am unapologetic about my genuine love of Ryan Adams; the man is a downright genius. After releasing 3 solid albums in just one year in 2005, I was sold. Although, Cardinology feels as if it was rushed, and many of the songs just seem unfinished. “Fix It” has an undeniable groove at its core, but right as the song gets going, it ends. A lot of the tracks leave you with this feeling, and it makes me wonder, did he spend TOO MUCH time crafting these songs? Maybe he should go back to pushing out 3 albums a year and thinking less.
-fâr
The Thoroughfare 