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10. ARCTIC MONKEYS "Humbug"
In the year when Brit-rock spokes-assholes OASIS finally reached their inevitable and ultimate end, one of the young bands on the forefront of taking their throne decide that they'd rather not. Instead of following their first two records of high strung, high fructose, bombastic guitar rock, the ARCTIC MONKEYS take a trip through the desert of stoner rock and team up with QUEENS OF THE STONE AGE'S head resin hitter JOSH HOMME. The result of which is a collection of raw, sludgy jams that sound like a band finally loosening their neckties after an eternity of punching the clock. Interesting thought, this record came out months before the news of the OASIS split so maybe a hunger for the crown will manifest itself by the time they head back to the studio. Or maybe it'll just be a massive case of the munchies? Either way, you better watch your back MUSE! Watch your back!
9. THE DEAD WEATHER "Horehound"
THE DEAD WEATHER is THE WHITE STRIPES frontman JACK WHITE'S new side project. Along with members of THE KILLS (lead vocalist Alison Mosshart), QUEENS OF THE STONE AGE (guitarist Dean Fertita) and White's other side project THE RACONTEURS (bassist Jack Lawrence), THE DEAD WEATHER'S debut record, HOREHOUND, has quickly become a staple in my iPod rotation. Energized by the crackling musical chemistry between lead vocalist Mosshart and drummer/vocalist White, HOREHOUND is dark, hard-charging bastard offspring of Detroit garage rock and the doomed inevitability of the showdown at the OK Corral. Much like how PORTISHEAD took the concept of spy film soundtracks and used it as part of the foundation of their sound, THE DEAD WEATHER did the same with spaghetti western scores. Its all black leather and gallows humor. Its rumble music with cigarette smoke hissing by way of ENNIO MORRICONE.
8. SILVERSUN PICKUPS "Swoon"
Having already impressed me a couple years prior with their unique brand of neo-shoegaze, these L.A. based noise enthusiasts reassure my faith with a new set of songs with sturdier walls of sound drenched in a more diverse soundscape of electronics, keyboards and strings. Nothing fancy, just a better, stronger, faster version of last year's model which is totally fine by me. I also can't forget to mention the fact that right smack dab in the middle of this record is a little song called "Panic Switch" which I highly regard as the best single of the year. If that perfect nugget of urgent speed frenzy doesn't get picked for a film soundtrack (preferably a zombie flick) it would be nothing short of a tragedy. At the very least, it would be a real damn shame.
7. KID CUDI "Man on the Moon: The End of Days"
So here's the deal, rapper Scott Mescudi drops an unheralded mixtape on the streets with an infectious single that takes rap radio completely off guard and based off that is suddenly co-signed by an industry heavy (KANYE WEST) to be featured in one of the most hotly anticipated records of 2008. Following the new business model to the letter, Cleveland born KID CUDI became one of the most hyped MCs on the blogosphere, but unlike the others in this year's crop of rap's young guns (i.e. MICKEY FACTZ, JAY ELECTRONICA, etc.) he actually held it together long enough to put out a record when he was supposed to, with interest in him at its peak. Taking his cue directly from his almost transcendent mentor, KID CUDI molds his stoner, sci-fi journal flow into an indie rock spiked travelogue of his journey from relative unknown to one of the more fully formed hip hop artists of recent memory. The ambitious "Man on the Moon: The End of Days" is not only told in five acts but also features production from hipsterati approved bands MGMT and RATATAT with spoken word narration by none other than COMMON. The LADY GAGA sampling single "Make Her Say" also has the best drum loop of the year, bar none.
6. THE CLIPSE "Til The Casket Drops"
Virginia coke rap giants THE CLIPSE having settled all of their record label issues, finally release the often delayed follow up to 2007's rap classic "Hell Hath No Fury". During an almost static free year where the duo debuted their own clothing line and strengthened their RE-UP GANG crew through subtraction (later, SANDMAN), it has never been more apparent how much the brothers Thornton need overwhelming adversity to fuel their lyrics. Although not a complete dud, this record serves as their least venomous piece of work. The signature elements are still present (coke tales, hustler dramas, chip on the shoulder anthems) but 'we got something to prove' tension is noticeably absent. They're still the standard bearers of lyrical hip hop, its just that this album finds them relaxed and without anything really substantial to say, as evidenced by the not so subtle ode to achieving the desired status quo "I'm Good" featuring a truly vanilla hook by PHARRELL. Despite the bangers ("Popular Demand (Popeye's)" and "Kinda Like a Big Deal") THE CLIPSE only fire on all cylinders if all encompassing anger is fueling them. I, for one, understand that sentiment completely so with all respect I say to them: GET MAD, MOTHERFUCKERS!
5. MOS DEF "The Ecstatic"
On the flip side of the status quo discussion, we have Brooklyn's finest, MOS DEF. If there was ever anyone who didn't need to put out a record, it is without a doubt MOS DEF, who is now a certified Hollywood commodity. His time could've been wisely spent making films for millions, MOS DEF instead cuts the rough, politically tinged "The Ecstatic". A perfect return to the more lyrical version he presented on his classic debut "Black on Both Sides" balanced by his artier, blues crooner on "The New Danger" without any of the bored, distance of the contract fulfilling "Tru3 Magic". This is the best of all worlds. He even speaks on the other side of the Middle Eastern situation on album standout "Auditorium" with SLICK RICK, no less! Alright, dude. I get it. You're multi-faceted. Geez.
4. RAEKWON "Only Built 4 Cuban Linx, Pt. II"
2009 will forever go down in the annals of hip hop history as the year RAEKWON finally dropped the sequel to his legendary "Only Built 4 Cuban Linx". A decade in the making, the weight of the anticipation alone could've crushed the release of this record. Rap heads the world over each have a mythical version on this gestating in their heads for years and for it to actually come out could've destroyed many a dream. Little did everyone know that it may have been worth the wait. Anchored by stellar production from J-DILLA, THE RZA and DR. DRE among others, "Only Built 4 Cuban Linx, Pt. II" is the mafioso crime epic that is its father's son. On the WU-TANG CLAN posse tracks "House of Flying Daggers" and "New Wu" especially, I have never heard METHOD MAN, GHOSTFACE KILLAH and INSPECTAH DECK go in so hard and so fierce that I almost thought that I was listening to the first WU-TANG CLAN album for a split second. Welcome back, CHEF. I never realized how much I missed y'all.
3. THE XX "XX"
My most surprising, out of left field pick of the year was of course discovered through the blogs. THE XX is an English three piece comprised of kids in their very early 20's who're really into R&B production. Crisp, clean drum machine and keyboard-centric pop songs deftly balance the darkness, melancholy and whimsy within each compact composition. The delicate vocal interplay between Romy Madley Croft and Oliver Sim recall the brilliant PORTISHEAD under the covers with bedroom electronica. They also cover AALIYAH's "Hot Like Fire" as a rumbling thunderstorm looming on the horizon. How can you fuck with that?! The handclaps and Romy Madley Croft's syrupy swells on "Heart Skipped a Beat" is another can't miss moment. As bleak and as dreary as this record can get, its most endearing quality is that it can still put a smile on your face even during the loneliest nights driving down the loneliest roads.
2. BLAKROC "BLAKROC"
How's this for a mindfuck? Rap impresario and former Rock-A-Fella Records co-founder DAME DASH connects with blues-rock duo THE BLACK KEYS and decides to record a hip hop album with them along with an all star list of recruits that his Blackberry threw up on his designer jeans. The unlikely pairing of THE BLACK KEY's river delta, speakeasy instrumentations meshed so well with the street wise vocal stylings of a roster so disparate that it ranged from JIM JONES, MOS DEF, RAEKWON, THE RZA, PHAROAHE MONCH and Q-TIP to R&B song bird NICOLE WRAY with a posthumous drop from OL' DIRTY BASTARD to boot. Kinda jarring to think that DAME DASH might actually know what he's doing. It was detailed in their excellent series of behind the scenes webisodes how after the initial meeting with THE BLACK KEYS at their Brooklyn studio, it only took an impressed DAME DASH one phone call to get MOS DEF to come down and record vocals on what would eventually become the record's lead single "Ain't Nothing Like You (Hoochie Coo)". His next call would've probably been to JIM JONES so that he could come down to record his verse and complete one of the best singles of the year. Just like that?! From DAME DASH?! Who'd a thunk it?!
1. BRAND NEW "Daisy"
If what BRAND NEW frontman Jesse Lacey says is true then "Daisy" is going to be the band's swan song. If so, then what a way to go out. Building on their last album's multi-layered quantum leap to prog-rock from their meager pop-punk beginnings, BRAND NEW infuses "Daisy" with massive slabs of distortion, quasi Auto-tuned vocals and samples from old gospel recordings. Pile that on top of songs about drowning victims, arson, accusations of thievery, mail order brides and a classic Mancunian bedsit, what you end up with is a fierce, bloodletting juggernaut of new school noise rock. Album centerpiece and title track "Daisy" has so much going on (from stop and go dynamics to a vocal sample of a child's voice) that it really is hard to fathom where else this band could go with their sound. Although I can understand if this is their finale, I would hope that they find something to help reinvigorate them as a band. If it ends, it ends. It just shouldn't end the moment a band finally completely opens their sound up to be able to do anything and go in any direction. Not yet, fellas. One more time, for all the kids that held you down since you first sung about Jude Law and bickered with TAKING BACK SUNDAY. For old times sake, one more time.
