quote:

Originally posted by DFelon204409:

quote:

Originally posted by krugulitis:

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Originally posted by goathouse's enlarging prostate:
When you bust out a list like this, you need to explain yourself. I'm sorry, but it's just not helpful if you don't explain such a stubbornly individual list.

you probably don't know some of the bands on his list because there are a lot of hardcore and/or screamo bands on there (genres i generally steer clear from except for a few exceptions - like converge).

never heard of have a nice life before - not bad, though. didn't blow me away, but it isn't a bad album.

Though there is a hardcore skew to my list based on just natural bias and familiarity, 8/13 of those albums are not hardcore and/or have no hardcore influence. Also, my definite top three of HANL, Girl Talk, and Son Lux are all non-hardcore and non-punk in fact if we want to climb one branch further up the genre tree.

Also, I don't know if this is to HANL's credit or detriment, but that album has a more profound impact during winter. When the weather is cold and the night comes earlier, the oppressiveness of this album is just ridiculous. Keep in mind I'm not some gothed out weirdo who desperately seeks "dark" music or anything like that. The album, as multifarious as it is, just functions that one way very very well.

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Originally posted by krugulitis:

didn't say they were all hardcore albums, just that a larger than is commonly seen amount were

Ghostlimb – hardcore
Loma prieta – hardcore,
Thrice – screamo band, toying with pop folk on release you mention.
Portraits of past – hardcore
Shai hulud - metalcore
…who calls so loud - hardcore

that is a lot of 'core, which is probably why goathouse didn't recognize them (guessing he isn't a fan of such music).

i live in san diego, so maybe HANL will never really hit home for me like it does for you (we don't really have winter here).

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Originally posted by DFelon204409:

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Originally posted by krugulitis:

didn't say they were all hardcore albums, just that a larger than is commonly seen amount were

Ghostlimb – hardcore
Loma prieta – hardcore,
Thrice – screamo band, toying with pop folk on release you mention.
Portraits of past – hardcore
Shai hulud - metalcore
…who calls so loud - hardcore

that is a lot of 'core, which is probably why goathouse didn't recognize them (guessing he isn't a fan of such music).

i live in san diego, so maybe HANL will never really hit home for me like it does for you (we don't really have winter here).

Thrice do not have a drop of screamo in them. If you're from San Diego (arguably the birthplace of screamo) you should be on top of that one. I don't know if you listen to vols. iii and iv of the alchemy index but they have a bit of post-hardcore and the rest is pretty much folk, acoustic, electronic, post-rock, and indie.

Also, ya I live in San Francisco, but I was in Massachusetts when I first heard HANL. Worked out well.

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Originally posted by L. R. William Spencer:
07. The Rural Alberta Advantage - Hometowns (8.8)

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Originally posted by krugulitis:
not a "drop of screamo in them". don't know about that. i used to be a fan of thrice in early high school (illusion of safety had just came out) and i still check out their new releases for nostalgia's sake (plus i find it admirable that in a scene that embraces conformity, they continue to try new things in their music, even if the results are less than spectacular). they definitely have an emo tinge to them, especially in the past (melodramatic lyrics, whiney vocals, etc.). also, they started musically at hardcore. though they have gone more of a pop/art rock route these days, they definitely used to be screamo (hardcore and post hardcore song structures, the whiney melodic singing - scream vocal trade off, the sense of melodrama surrounding many early lyrical themes all point to the genre of screamo). just because a band can be described as post hardcore doesn't mean that they aren't screamo (thursday for example). plus, newer post hardcore sucks pretty badly. i prefer fugazi, jawbox, drive like jehu (san diego), and even some more recent groups like q and not u and at the drive-in (though not nearly as big a fan, as i was early in high school).

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Originally posted by DFelon204409:

quote:

Originally posted by krugulitis:
not a "drop of screamo in them". don't know about that. i used to be a fan of thrice in early high school (illusion of safety had just came out) and i still check out their new releases for nostalgia's sake (plus i find it admirable that in a scene that embraces conformity, they continue to try new things in their music, even if the results are less than spectacular). they definitely have an emo tinge to them, especially in the past (melodramatic lyrics, whiney vocals, etc.). also, they started musically at hardcore. though they have gone more of a pop/art rock route these days, they definitely used to be screamo (hardcore and post hardcore song structures, the whiney melodic singing - scream vocal trade off, the sense of melodrama surrounding many early lyrical themes all point to the genre of screamo). just because a band can be described as post hardcore doesn't mean that they aren't screamo (thursday for example). plus, newer post hardcore sucks pretty badly. i prefer fugazi, jawbox, drive like jehu (san diego), and even some more recent groups like q and not u and at the drive-in (though not nearly as big a fan, as i was early in high school).

Whoa, whoa. We live in two different worlds here. You're thinking that emo is this (http://www.fashionshanty.com/images/emo/girls-emo-haircut.jpg) when I'm thinking it's this (http://deadtank.files.wordpress.com/2007/03/bworm1.jpg). Not to get into the whole story, but emo stands for "emotional hardcore" and has nothing to do with the pop punk and melodramatic moments throughout Thrice's career. Screamo specifically is an offshoot of emo (though in many ways they're all part of the same thing) that started in San Diego around the Gravity Records scene (think of bands like Heroin, Antioch Arrow, etc.), which has since been reintegrated with emo, grind, hardcore, metal, and a few other genres in a variety of ways. Thrice is miles away from either emo or screamo. In fact if you want a good example of screamo (mixed around with other genres obviously), look no further than Loma Prieta from my list (http://tinyurl.com/lomaprieta).

Also, here's some new post-hardcore that does not suck: http://www.myspace.com/thekidcrash

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Originally posted by DrAwesome:
Ah crap. Kinda forgot that one...it would probably be around 15ish. I like it, but I find it a bit too long and that it has a weak middle. But I love "A Box" and "Brown Trout Blues" as songs. There are a few newer albums that I could see breaking the top 20 or at least 25 like Blind Pilot and James Yorkston, so I'll add it in then.

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Originally posted by DrAwesome:
Mid-year list with explanations and scores:


1. Silver Jews - "Lookout Mountain, Lookout Sea"

Dave Berman is one of the best lyricists in the business and this album does not disappoint. Though some have been critical of this album cough:Pitchfork:cough I think it is better than "Tanglewood Numbers" and narrowly the best album in a year lacking an absolute stand-out album. LMLS manages to find the perfect balance of humor ("Party Barge") and melancholy ("Candy Jail"), as well as having a great story song ("San Francisco, BC") and possibly the year's best song ("Strange Victory, Strange Defeat"). I could do with less female accompaniment (courtesy of Berman's wife) and I wish the album was longer, but otherwise it's pretty damn good.

Score: 9.4
Key Tracks: "Strange Victory, Strange Defeat", "Party Barge"

2. The Mountain Goats - "Heretic Pride"

Another one of music's best lyricists, John Darnielle produces another fantastic album in the mold of "The Sunset Tree". While lacking TST's continuous themes and personal viewpoint, "Heretic Pride" sees Darnielle moving away from the melancholy of "Get Lonely" in favor of a more balanced emotional album. Filled with all sorts of emotions from intensity ("Sax Rhomer #1") to desperation ("So Desperate") to redemption ("Heretic Pride") this is a very complete feeling album that I am always in the mood to listen to. Unfortunately Darnielle fell ill after the release of this album, here's to a speedy recovery and a return to full health for him and his family.

Score: 9.3
Key Tracks: "Michael Myers Resplendent", "Autoclave"

3. The Tallest Man on Earth - "Shallow Graves"

Who would have thought that the years best folk album would come from a Dalarna-raised Swede? A brilliant combination of folk and Americana a la early Bob Dylan, "Shallow Graves" manages to feel raw within the confines of traditional song structures. The vocals are right out of "The Freewheelin' Bob Dylan" and the lyrics are flat out brilliant. "A Gardener" tells the tale of a man willing to commit countless offenses to stay pure in the eyes of the one he loves and "The Blizzard's Never Seen the Desert Sands" touches on the realm of unknown possibility. Good crisp length and excellent songwriting make this guitar and vocals album a must for 2008.

Score: 9.3
Key Tracks: "A Gardener", "I Won't Be Found"

4. Okkervil River - "The Stand-Ins"

This yet to be released gem is a perfect example of what a great band can do in their prime. Only a year after releasing the brilliant "The Stage Names", Will Sheff and crew (now minus Shearwater frontman Jonathan Meiberg) have struck gold again with 2008's "The Stand-Ins". Touching on many of the same themes like the price of fame and the relationship between band and audiance, as "The Stage Names"; "The Stand-Ins" shine a decidedly darker light on the life of the rock-star. As the second part of a conceived double album, TSI's is strongest when it just rocks. Tracks like "Lost Coastlines" (a duet between Sheff and Meiberg), "Pop Lie", and "Calling and Not Calling My Ex" are just great rock songs that can be appreciated on many levels from the cerebral lyrical quality to the thumping of drums and wailing of guitars. Though not much of an evolution from their previous work, TSI is a testament to Okkervil's genius and flow of creative productivity.

Score: 9.3 (and rising)
Key Tracks: "Lost Coastlines", "Pop Lie", "Singer Songwriter"

5. A Weather - "Cove"

As someone who has been inundated with Dylan-inspired folk albums so far this year, "Cove" represents a welcome change of pace. The first element of "Cove" that really stuck out to me was the male-female vocal harmony achieved by Aaron Gerber and Sarah Winchester on standout tracks like "Pilot's Arrow" and "Shirley Road Shirley". A Weather's song manages to be both understated and extremely moving. Hushed vocals blend with a wandering piano, rhythmic bass, and militant snare drum to completely hypnotize the viewer. The lyrics are also brilliant, "I never hated you/I loved you all at the time" whispers Gerber on the first track "Spiders, Snakes", being just one example of numerous one-liners that hit you right in the gut. Though "Pinky Toe" is a bit of a misstep, the positives outweigh the negatives by such a wide margin and even the missteps sound beautiful (they tend to be lyrical).

Score: 9.1
Key Tracks: "Small Potatoes", "Shirley Road Shirley", "Pilot's Arrow"

6. Laura Marling - "Alas I Cannot Swim"

The diminutive 18-year-old Marling is not what one thinks of when they assess the future of popular folk music, but maybe she should be. Even at such a tender age Marling writes incredibly mature songs that can be enjoyed by young and old. Marling is at her best when singing about loss, but this is no emo whiner crying about having her allowance taken away, "Ghost" sees her discussing "The ghosts that took my heart before I met you" and "Failure" devotes an entire song to unrealized dreams. But it is not all doom and gloom, "You're No God" is a call-to-arms and "My Manic and I" is a love song with a twist. What is amazing about Marling is how young she is and how much potential she has to improve. The voice is there, the emotion is there, the songwriting acumen is there, hell even the live show was impressive. With folks like Marling representing the future of folk music, I would say that the future is in good hands.

Score: 9.0
Key Tracks: "Failure", "Ghost", "My Manic and I"

7. The Hold Steady - "Stay Positive"

It is hard to be disappointed by a Hold Steady album, there are always a plethora of great one-liners, roaring guitars, and sing along choruses. But I can't help but feel like "Stay Positive" maybe be a step back for the kings of the bar rock scene. Sure the great songs are still there: "Magazines", "Constructive Summer", and "Sequestered In Memphis" just to name three. But a lot of the humor is gone, the production is getting almost too polished, and there is not a single mention of any of the characters in The Hold Steady universe (Charlemagne, etc.). This is still a very good album and even the weak tracks like "Navy Sheets" aren't oppressive, but I fear that this might be the beginning of the Hold Steady drifting too far away from their roots and turning into just another indie band. I hope that this doesn't happen, since they are one of my favorite groups and seem to be some of the nicest guys in the business.

Score: 8.7
Key Tracks: "Magazines", "Lord I'm Discouraged"

8. Sun Kil Moon - "April"

This is a very polarizing album. Quiet and long, it is easy to be overwhelmed by the lyrical density and seeming musical sameness of "April", but I caution you, dear reader, to not pass judgment on "April" too hastily. Most of the songs are over five minutes and consists mostly of understated vocals and quietly strummed guitar, but the lyrics are deep and each song has a few achingly beautiful moments. "Lost Verses" is the real gem here, being heart-rederingly sad, yet incredibly beautiful. One of the year's best tracks. "April" may be a bit overlong and certainly isn't for the faint of heart or the easily distracted, but for the patient, devoted listener "April" is a very rewarding record that has the depth to stick around in my rotation for years to come.

Score: 8.7
Key Tracks: "Tonight in Bilbao", "Lost Verses"

9. The Burning Hell - "Happy Birthday"

A delightful oddity, "Happy Birthday" like "Scientific Cricket" before it, is a strange but fun album with quirky lyrics, brilliant orchestration, and severe identity crisis. At times Mathias Kom sounds like Leonard Cohen, The Magnetic Fields, Jens Lekman, and The National on song topics ranging from an epic battle between a moth and a lightbulb ("General Electric vs. The Imperial Moth"), geesers in cover bands ("Dinosaurs"), and a bond between lovers that lasts after death ("A Grave Situation Part II). "Happy Birthday" must be heard to be appreciated (I hear their live show is absolutely fantastic as well). Sometimes the most refreshing music has a sense of humor and puts a smile on your face.

Score: 8.6 (rising)
Key Tracks: "A Grave Situation Par