ANOTHER YEAR GONE

Every December, as you might be aware, my friend Adam and I draw up and exchange a list of our favourite 20 albums of the year. This tradition goes back about seven or eight years, and we both take it rather seriously. The rules are simple: to be eligible, a record must be a full length studio album released in 2007. What follows is my list. Adam’s list can be found here.

This year, in addition to the top 20, I have actually ranked all 41 of the eligible albums that I bought (or otherwise acquired) this year. These follow the main list.

So, scroll down for the 20 – 1 count down for 2007 (followed by the 21 – 46 also rans). Enjoy, and let me know your views.

20.
Babyshambles
Shotter’s Nation

An improvement on their patchy debut, Down In Albion, though not quite in the league of the first Libertines record or the Dirty Pretty Things album. Even so, this is an excellent indie rock record full of classy songs about alienation and unrequited love. Instantly accessible single ‘Delivery’ is a highlight, as is ‘Crumb Begging Baghead’ (which is powered by a verse straight off Let It Bleed). Indeed, Shotter’s Nation has a real classic songwriting feel throughout (unlike any of Doherty’s previous work), and, as such, is a notably more mature effort. An utter twat he may be, but there is no denying his ability. Proof that quality can find a way through the haze.

19.
The Pierces
Thirteen Tales of Love and Revenge

A bit of a guilty pleasure, this. The Pierces are a pop duo (sisters, actually) from New York who play folk-laced tunes. Some of their stuff is pure pop, whilst other tracks are a much more layered. The occasional use of accordion is an intriguing factor, as is the 80s style ‘electro’ noises that crop up sporadically. The best tracks, though, are the most simple (‘Turn On Billie’ is essentially just a xylophone and a double bass, and works wonderfully, whilst ‘Go To Heaven’ – the stand out track on the album – consists merely of an acoustic guitar with some string support…). The single ‘Boring’ is aptly named, and represents an ill advised attempt to be sultry and ‘r ‘n’ b’. Big mistake. That utter cobblers aside, every other track on show here is a lovely gem of simple acoustic guitar, coupled with more inventive instrumentation, featuring clever lyrical twists and beautiful harmonised voices. It also has a bright pink cover, which I like a lot and which suits it really well (but it’s not exactly rock, is it?).

18.
The John Butler Trio
Grand National

Politically charged, multi-layered indie rock from down under. John Butler (and the other two randoms involved) offer up an eclectic album, albeit one that remains accessible throughout. There are elements of reggae and ska here, but also folk and jazz. All of which is hinged on Butler’s often frenetic, and always technically astounding, guitar playing (Rocco Deluca should face him in a ‘slide-bar off’ – winner takes all). The lyrics are no where near as polemic or interesting as Butler thinks they are, of course. Equally, whilst it is nice that all the packaging is recycled, the fact that the band harp on about it in the inlay is posturing hippy bollocks. Those gripes aside, there is plenty to admire here. ‘Better Than’ takes a simple lick and builds it up into a heartfelt sing-a-long about human potential, ‘Funky Tonight’ is five and a half minutes of breakneck acoustic guitar insanity (fingers of fire!), ‘Gov Did Nothing’ is funk-tastic, and ‘Caroline’ is a bittersweet gem. Huge in their native Australia, they should certainly be given some airplay here, because this is quality stuff.

17.
Clutch
From Beale St. To Oblivion

Guilty pleasure number two, this filled a large Orange Goblin shaped hole in my new albums this year. The listener will encounter yet more catchy streamlined stoner rock on this, Clutch’s seven millionth record. You always know what you are getting from Clutch, and whilst this isn’t as good as the superb Blast Tyrant from a few years ago, it is still a cut above most of their endless back catalogue. Opener ‘You Can’t Stop Progress’ is like being hit is the face with the entire deep south, and ‘When Vegans Attack’ is equally a hilarious slice of redneck fury. Trucker growls over generic but highly entertaining (and endless!) riffing. No prisoners, no letting up, no…originality. Who cares, this is the most fun you can have with four hairy men from Tennessee without getting bruises. Very entertaining and multi-platinum selling in the US, but critically panned here and pretty much everywhere else too. It rules. Don’t tell the cool police.

16.

Porcupine Tree

Fear Of A Blank Planet

After flirting briefly with mainstream acceptability with their last effort, Deadwing, Porcupine Tree retreat well back behind the prog iron curtain with this gargantuan offering. It only consists of six tracks, but they are all fucking epic. Not an album to dip into or take lightly, this is a real work of art, with multi-layered twisting intricate soundscapes punctuated by some thunderous riffs. The centrepiece of the record is the humongous ‘Anesthetize’, which clocks in at an unwieldy seventeen minutes. That’s not a song, that’s a mini-concept album. A track that takes you on an enthralling journey. Whilst it is not quite as good, this album reminds me a lot of my 2006 album of the year, Pure Reason Revolution’s The Dark Third. Certainly my favourite album by Porcupine Tree (though I don’t, to be fair, have any of their early work). It was a real shame that they came across as self-indulgent bores live, with exactly the same songs that appear so vibrant on this record.

15.
Bloc Party
A Weekend In The City

This is one of an endless string of disappointments from bands I expected great things from in 2007, but it’s also the first of those records to actually make the list. First, it’s nowhere near as good as Bloc Party’s exceptional debut, Silent Alarm, but, in the final analysis, it’s still way better than what is being peddled by most comparable bands. Over the course of the year, I listened to this a lot more than I’d realised. When I went to draw up the list, I was expecting that it wouldn’t even get a sniff, but it ended up placing a quarter of the way in. It is too patchy; containing a couple of fairly bland tunes (‘I Still Remember’ and ‘Kreuzberg’). However, when it is good, it’s really really good. ‘Hunting For Witches’ and ‘The Prayer’ are both utterly exceptional, with jagged riffs underpinned by the all important trademark Bloc Party ‘dance’ drumming. I was hoping for loads more, but this is still a damn good record.

14.
Architecture In Helsinki
Places Like This

“He’s a mean talkin’ beanstalkin’ icy man.” What does that even begin to mean? What does it matter? The antipodean invasion continues with the third album from nut-job experimentalists, Architecture In Helsinki (from, well, not Helsinki). Places Like This is not quite as good as In Case We Die, the album that introduced me to them, but it is really close. Never afraid to try things, anything and everything makes an appearance in here, including the kitchen sink. The musicianship is top notch, but of more importance is the willingness to explore, and an obvious joy taken in making music. Most of the songs here are packed full of oddball happenings, crazy noises and fun. Essentially, Architecture In Helsinki are a prog-pop band, which means they are something of a unique proposition. Their live show is one of the most awesome I have ever seen (amplified by the fact that they rotated instruments throughout), and was certainly my gig of the year. A happy as larry silly slice of joy. Go get.

13.
Arctic Monkeys
Favourite Worst Nightmare

I genuinely think all of the hype surrounding the Arctic Monkeys (well, most of the hype) is justified. When a record is this good, you just have to hold your hands up. Favourite Worst Nightmare isn’t quite as instant as its predecessor, and the lyrics are not of the same quality, but the songs are generally as strong. ‘Brainstorm’ is a cracking statement of intent, and the second track ‘Teddy Picker’ backs it up with a rolling swagger of a band that knows how good it is. In contrast, ‘Only Ones Who Know’ is a glimpse of a possible future direction, with a more ambient sound. Certainly, it’s clear that Whatever People Say I Am, That’s What I’m Not was not a fluke. The only real criticism is that Favourite Worst Nightmare is a little too similar to their debut. Still, what else could they possibly do at this stage? There is a need to rethink for album three, but for now this is just fine. Marketing pressure meant that this rushed out in less than a year, which makes the fact that is actually really rather great all the more notable. Not quite as good as Whatever People Say I Am, That’s What I’m Not, but not far short at all.

12.
Eagles Of Death Metal
Death By Sexy

Ok, pure fun. Another shameful entry which won’t make any critical lists of albums of the year, but one I just enjoyed loads. This album is intrinsically linked to a very sunny week in Greece I had in July, because for some reason that week I listened to nothing else. This is classic rock-schlock, with ample doses of chauvinism and four-four timed verse-chorus-verses. Under all of the posturing, though, is an album full of great songs. ‘Cherry Cola’ has woeful lyrics but a cracking guitar sound, and ‘Chase The Devil’ rockets along like the devil is chasing them rather than the other way around. The bonus cover of Robert Palmer’s ‘Addicted To Love’ is an unexpected treat, too. Finally, ‘Eagles Goth’ is a superb scuzz closer, prescribing (as does the album title itself), “death by sexy.” Good way to go, I say.

11.
Silverchair
Young Modern

Another disappointment, in that it is clearly isn’t as good as its predecessor. However, this is still a quality album from the Aussie boys. It covers some new ground for the band, too, with a big 60s influence evident throughout. Stand out tracks are the quirky ‘If You Keep Loosing Sleep’ and the layered ‘Those Thieving Birds/Strange Behaviour’, though my personal favourite remains the deceptively simple ‘Mind Reader’. I’ve discovered that it’s important to listen to this record with headphones, because it contains numerous flourishes and hidden motifs which are lost in the ether unless they’re pumped directly into your head. I can see why there has been a backlash against the singles, both of which are a little twee, but they are still good tunes, which I think work better in the context of the album than they do as stand alone songs. I do wonder, though, however much I have enjoyed this, whether it may be time for Daniel Johns to drop the name and move onto something else. Before it’s too late, and we get a Silverchair album that isn’t up to it…

10.
Arcade Fire
Neon Bible

On the first few listens I was convinced that this was an improvement on their debut, 2005’s Funeral, and that it was set to be album of the year. Neither was quite true: this is a superb album from a band that is really on the cutting edge, but its reflective aspects are not a match for the passion of its predecessor. When it sparks, there is nothing better: ‘No Cars Go’ and ‘Keep The Car Running’ are excellent examples. Unfortunately, tracks like ‘My Body Is A Cage’ and ‘Windowsill’, whilst being interesting and clever, are too plodding for true greatness. A little like the Bloc Party album, I was hoping for something more than I got here, but similarly, by setting the bar so high with their debut, Arcade Fire really shot themselves in the foot. Considered on its own merits, Neon Bible has much to offer and is a cut above the average. Overall, though, this album has to be filed as a flawed masterpiece.

09.
The White Stripes
Icky Thump

A rare ‘better than expected’ entry, I think this may be my favourite album by the perennially not-quite-as-good-as-they-should-be White Stripes. The title track is, admittedly, based around a riff lifted directly from Led Zeppelin, but it is used brilliantly, so all is forgiven. Indeed, Jack White’s plagiarism knows no bounds, as on the chorus of ‘You Don’t Know What Love Is (You Just Do As Your Told)’ he shamelessly steals from a track that appears in the musical masterpiece that is Greece 2. I adore the simple quality of ‘Rag & Bone’ and ‘I’m Slowly Turning Into You’ is a track Jack White has been suggesting he would write for years, basing the whole song around a Hammond. ‘Effect & Cause’ is a lovely way to end an excellent record, from a band that – for me – have been labelled ‘potential’ for a very long time now. Great to see them finally realising some of it.

08.
Six Nation State
Six Nation State

Brilliant, brilliant stuff from the Reading based band. I saw them supporting something way back in February (it might have been Howling Bells, not sure), and whilst they were only ok, they did just enough for me to remember their name, and so pick up their album when it emerged in September. I have played it tons: it is a brilliant collection of bawdy indie tunes (with occasional sax). This falls somewhere near Fratellis territory, but with added ska in places. Feel good track after feel good track. Highly recommended, if only for the use of a recorder on ‘Everybody Wants To Be My Friend’. My favourite tune on the album, now played to death, is the manic ‘Taking Me Over’, complete with faux-cockney verse and an impossible-not-to-holler “ahyayayayhah” chorus. Genius.

07.
Pelican
City Of Echoes

This is a purely instrumental prog-rock (tinged with some metal) album. Pelican have been making records of this kind for a while – this is the second one I have but I think it’s something like their fourth release. The difference between this and the other album I have by them is the band’s focus. On City Of Echoes, everything has purpose: the riffs are powerful and the band are tight as hell. This is not to say they’ve lost their prog elements, but unlike before, they don’t stray down any back alleys. Prog, yes, but it always seems to be going somewhere. Each and every song feels like it has been carefully constructed to wring the utmost emotion possible from you (no mean feat when there are no lyrics involved). A band on the brink of something really huge – just one more step in the right direction and they become legends.

06.
Machine Head
The Blackening

A real surprise this one: how often does a washed up metal band produce their best work more than ten years into their career? Crushing, but textured and progressive – this is how metal should be. This is only ‘proper’ metal album to make my list this year, but then, that’s no real surprise, cause it’s the only one I bought. Lyrically, of course, this is complete rubbish, but the ferocity of the songs is astounding. Skull-rattling. An interesting feature of the album is the repeated and really intricate guitar harmonies between the two axesmiths. The best tracks are the stunning ‘Aesthetics Of Hate’ and the pummelling ‘Slanderous’ – how good is that fucking riff???!!!! That’s without even mentioning the brilliant cover of ‘Battery’, which made me go back and re-listen to Metallica’s Master Of Puppets repeatedly. In fact every track here is an astonishing piece of work, which highlights just how exciting and inventive metal can be if it’s done well. Shame that such quality is so rare in the genre. An all time high for Machine Head, and one of the best metal records of the last ten years.

05.
Foo Fighters
Echoes, Silence, Patience And Grace

The claim, spattered throughout the reviews of this record, that this is the Foo Fighter’s ‘best album ever’ is taking things a little too far (that honour falls to either 1997’s The Colour And The Shape, or 1999’s There Is Nothing Left To Lose, depending on taste). Still, this is a superb return to form from a band that appeared to have been past it. Unlike most records this year, the Foo Fighters have really surpassed expectations with this one. Whilst there is no such thing as a ‘bad’ Foo Fighters album, I was not particularly keen on their previous overblown effort, In Your Honour. In contrast to that record, Echoes, Silence, Patience And Grace is a focused album full of quality rock songs. The figurehead of this resurgence is the unstoppable single ‘The Pretender’ (my single of the year). This is then backed up with track after glorious track. Notably, Dave Grohl has gone for a few deviations from the usual formula, and these ‘grown up’ tracks don’t feel out of place at all. Instead, they improve things considerably: the simple genius of piano ballad ‘Home’ and the Beatles/McCartney-esque ‘Statues’ being my favourite tracks on the record (other than – obviously – ‘The Pretender’). A quality album: I look forward to seeing them (yet again!) in the summer.

04.
Queens Of The Stone Age
Era Vulgaris

Another of the few records this year from an established favourite that was actually an improvement on its predecessor: Josh Homme never lets me down. It took some time for me to get into his latest offering (for a while I played the Eagles of Death Metal record – which features Homme on drums – more), but class shone through in the end. This is something of a change from the traditional Queens Of The Stone Age format, and is all the better for it. Whilst 2005’s Lullabies to Paralyse was an adequate, if formulaic, retread of former glories, Era Vulgaris offers something else. A slower pace, but a much more experimental feel, with Homme really working his effects unit. The rolling, stoner rock thrust of their early masterpieces is gone, and in its place is spiky and rather jarring riffing, which takes some time to adjust to. When I did, I found a wealth of treats on offer. ‘I’m Designer’ is a slightly unhinged scuzz workout (complete with slide bass – who does that?), whilst ‘Misfit Love’ is built around some great minimalist drumming. Ok, so ‘I Wanna Make It Wit Chu’ is just as shit as it was when Homme released it on the Desert Sessions record a few years back (its dusting off has done little to disguise the fact that it doesn’t belong here), but other than that there is not a weak track on show. A shame that I was so ill that I had to forsake my ticket to see them this year…

03.
Maxïmo Park

Our Earthly Pleasures

2007 saw Maxïmo Park take the mantle of ‘best indie band going’ away from an underperforming Bloc Party. This follow up to the already rather excellent A Certain Trigger sees them coming on leaps and bounds, and standing head and shoulders above the pack. The premise is fairly simple: quick paced guitar-based songs punctuated with occasional reflective piano and some interesting synth work. Yet that description doesn’t do this excellent piece of work any justice at all. Every track here fizzes with intent, and the quality of the song writing is extremely high. ‘Our Velocity’ is like plugging your brain into the future, whilst ‘Russian Literature’ pretends to be a change in pace for twenty seconds and then proceeds to build into a drum-lead rant. My favourite track, ‘Your Urge’, mixes a cheesy piano keychange with a storming chorus that reaches three different levels as it builds up to a thumping crescendo. Given the quality of their debut, I perhaps shouldn’t have been surprised by Our Earthly Pleasures, but I have to say, I wasn’t expecting anything nearly as good as this. For me, this has shifted Maxïmo Park into the big league. Brilliant stuff.

02.
Cold War Kids
Robbers And Cowards

Every year, there is at least one utterly classic album. This year there were two. Cold War Kids’ debut is an astounding mix of soul, blues, rock and indie, demonstrating technical prowess, originality and a nose for a hook from what are essentially a bunch of kids. It’s worrying when your musical idols become younger than you. Live, they were amazing, but it is the unique nature of the record that is really important. The lyrical genius and chorus-stomp of ‘We Used to Vacation’, the haunting piano of ‘Hospital Beds’ and the beautiful simplicity of ‘Robbers’ (it’s just two chords and nothing else, for Christ sake) are merely some examples of the general brilliance on offer. An album that always makes me think and feel, every single time I play it. This was the first eligible album I bought in 2007: a January purchase that lasted all year. Were it not for the masterpiece that is my no.1, it would easily have been album of the year.

01.
Against Me!
New Wave

What a perfect record. I first came across Against Me! as a support act at a gig in San Francisco. Their set was fun without being outstanding, but it was enough, when coupled with a barrage of good reviews from the US (and the fact that this, their fourth album, was produced by Butch Vig) for me to buy it. I picked it up in the summer, and have not stopped playing it since. On the face of it, there is nothing all that special here: this is a catchy pop-rock album, which clocks in at just over 35 minutes. What sets it apart is the sheer quality of the songs, all of which are totally amazing. There is a simple enjoyment of primal rock music on this record. Lyrically, the album offers fairly basic nuggets of Americana, but these are brilliantly punctuated with political rallying calls. Yet, Against Me! don’t fall into the usual (and so easy) anti-Bush platitudes. Instead, they simply ask their listeners to think for themselves (“Stop, take some time to think, and figure out what’s important to you” is a beautiful example). It doesn’t matter so much what you believe, so long as you think about the world. ‘Protest Song’ manages to balance being both a protest song, and a commentary on the ridiculousness of bands trying to change the minds of governments through protest songs. Very clever, on either level. ‘Ocean’ is a non-judgemental look at gender confusion, and ‘New Wave’ itself is a simple assertion that music is enough.

Butch Vig has excelled, as he has done so often before, at somehow capturing a brilliantly catchy sound, which is nothing short of pop, whilst also retaining a real edge to a band that come across as very raw live. This is both pop and rock, proud of being a cross-breed, and it is a sublime example of both. To show how much I’ve liked this album, my ipod playcount averages about 65 plays for the tracks on New Wave. The next highest album on the list is the Cold War Kids record, which averages at 24…

I think this may be my favourite album produced by Butch Vig.

Buy it.

AND THEN, THE REST……

21. Aereogramme – My Heart Has A Wish That You Would Not Go
A real shame this didn’t make it in. A glorious, sweeping offering from now defunct prog-tinged Scots.

22. P.J. Harvey – White Chalk
Incredibly brave new stripped down direction, with flashes of utter genius.

23. Radiohead – In Rainbows
The most disappointing album of the year by far. Having said that, even when they’re well below par, they’re still really rather good.

24. Bright Eyes – Cassadaga
A slightly less strong version of I’m Wide Awake, It’s Morning. Conor Oberst still writes quality folk songs.

25. Grinderman – Grinderman
Dirty scuzz-rock from Nick Cave and co. Not quite as good as it pretends to be.

26. Kaiser Chiefs – Truly Yours, Angry Mob
Better than their debut: lots of fun, but always a somewhat limited formula.

27. Orange Goblin – Healing Through Fire
The second most disappointing album of the year. The storming opening track belies their worst album. Still alright, but not good enough for the best stoner band going.

28. Serj Tankian – Elect The Dead
Some quality stuff from the System Of A Down frontman, but too similar to, and not as good as, the day job.

29. Type O Negative – Dead Again
Fun but throwaway offering from new-romantic/goth crossover stalwarts.

30. José González – In Our Nature
A really disappointing attempt to copy his own debut album. The classy acoustic guitar playing is still here, but this ended up a bit soulless.

31. The Nightwatchman – The Nightwatchman
A few great folk protest songs, but he can’t sing at all. Let’s hope he stays with the reformed Rage Against The Machine.

32. Manic Street Preachers – Send Away The Tigers
Their best album in years, and it’s still only ok.

33. Tokyo Police Club – A Lesson In Crime
Fun punk mini-album, easily forgotten.

34. Dikta – Hunting For Happiness
Pretends briefly to be a modern day Poor Rich Ones, but the gap in class between the two is huge. Still, well worth a listen.

35. Ken Andrews – Secrets Of The Lost Satellite
One amazing track does not an album make. Singer/song-writer indie rock of average quality from former Failure frontman.

36. Oceansize – Frames
Massive fall from grace by former prog-gods: before it came out I would have expected this to be top 5. Gone the way of The Mars Volta.

37. Smashing Pumpkins – Zeitgeist
What was the point, exactly? ‘Tarantula’ is a good song, I suppose…

38. Shitdisco – Kingdom Of Fear
Never buy albums because the band name amuses you. Like a slightly less shit Klaxons.

39. King Creosote – Bombshell
A few hummable folk nothings – worth a listen, but not worth buying (so I’m glad I copied it). ‘You’ve No Clue, Do You’ is a superb single (but somewhat anomalously so).

40. The Good, The Bad And The Queen – The Good, The Bad And The Queen
I thought Damon Albarn’s new venture might be amazing, but actually it is quite dull.

41. Husky Rescue – Ghost Is Not Real
One superb popgasm of a track! And then lots of ambient bollocks... Having bought this on the basis of that track, this was not what I was hoping for at all.

42. The Crimea – Secrets of the Witching Hour
The band made their second album entirely free to download. Fairly obvious why…

43. Marillion – Somewhere Else
I was sent this twee crap by mistake. It sucks ass.

44. Explosions In The Sky – All Of A Sudden I Miss Everyone
I have no idea what the hell has happened to this (until now) awesome band. Kinda like the Oceansize album, but much, much worse. A real shocker.

45. Kings Of Leon – Because Of The Times
I hate this. Thank God I didn’t pay for it. His voice is horrible and the songs are shite.

46. Biffy Clyro – Puzzle
Again, I was fortunate enough to copy rather than buy this monstrosity. Hugely overrated by-the-numbers nu-dirge. Help…

BYE BYE

So there you go. Phew. Let me know just how strongly you disagree. Don’t waste time commenting on how much of a fucking sad geek I am, though. I already know...

Love to all

J