The final article in the Best and Worst Music of 2006 series. My favourite ten releases of 2006.
10. Show Your Bones (Yeah Yeah Yeahs)
The YYYs are growing up some, coming out with a remarkably restrained album that is a rather dark rock out. Three very catchy tracks, Gold Lion, Phenomena and Cheated Hearts are the main draws, with the other eight while not crap, do limp along a little.
h2. 9. Gravity Won’t Get You High (The Grates)
While they may initially come across as a Brisbane Yeah Yeah Yeahs knock-off, The Grates are a different thing altogether. The music is rocking, fun, catchy and light and while it may not have much depth to it, it is a great listen nonetheless. For a debut album without a large label behind them it’s remarkably solid too, with little filler.
h2. 8. Meds (Placebo)
A little less electronic than Sleeping with Ghosts (2003), this album is much more a restrained rock exercise, yet much more accomplished than their previous efforts. The quality of the production is evident, and there is a refreshing variety of sounds on the album. While not lacking in ideas when it comes to the music, the lyrics rehash typical depressive Placebo themes.
h2. 7. The Warning (Hot Chip)
Electro five-piece from London, The Warning is Hot Chip’s (how is it that no-one had taken this name yet?) debut effort. Very accomplished for a debut, it’s a cruisey listen with down-tempo minimal electro and soothing vocals. While certainly on the pop side of the spectrum, it’s rich enough to keep you interested for the whole album.
h2. 6. Drum’s Not Dead (Liars)
Brimming with energy this noise rock album is the most solid effort from the Liars yet. The first two tracks are an exercise in pace setting, with the simmering guitar in the first track, Be Quiet Mt. Heart Attack launches into the aggressive primal drumming of Let’s Not Wrestle Mt. Attack. From here the album slows for a few tracks, yet there’s palpable suspense. It feels in a way like a soundtrack to an unseen film, and is most rewarding when listened to as an album.
h2. 5. At War with the Mystics (The Flaming Lips)
The Flaming Lips have been around since the dawn of time (well, 1983) but this is the first time I’ve ever sat down and really listened to them. It seems like a fine time to sit down and get into the Flaming Lips, as this is their most acclaimed (and commercially successful) album to date. Epic themes, with an epic sound to go along with it. The tracks are different in their styles, yet somehow all flow together beautifully. As well as that I wouldn’t consider on track filler at all – every song is worth it.
h2. 4. Silent Shout (The Knife)
The mysterious Swedish brother-sister duo’s style of electro with almost chanting lyrics gets a little darker in Silent Shout. Karin Dreijer’s beautiful vocals are systematically destroyed in different ways for each track, to the effect that the vocals are part of the texture of the song itself. It’s tough to listen to as an album due to its darkness and the occasional track with random synth stabs. That said, they craft a very complete album with plenty of good ideas and a continuing refinement of The Knife sound.
h2. 3. The Audience’s Listening (Cut Chemist)
I’ve been a fan of Cut Chemist’s for a while, initially from his collaborations with DJ Shadow. I explored his other work such as Live at Future Primitive Sound Session (1997), and The Litmus Test (2004). My favourites were of course the amazing DJ sets he did with DJ Shadow, Brainfreeze and Product Placement. Apparently Cut has been working on this album for years, with it being sidelined due to his Jurassic 5 commitments. In any case, it was worth the wait. It showcases his digging and turntable skills as well ability to craft excellent rap-supporting music such as What’s the Altitude. I really enjoyed every track, and love the balance between rap and instrumental and the great mix of styles, from big-beat to soul. A seriously underrated album.
h2. 2. The Crane Wife (The Decemberists)
In a way, I want to not like this album now that it’s getting played more widely and other people know who The Decemberists are. Yes, the elitist tendency is a strong pull but there’s no denying the greatness of this album. The Crane Wife 3 opens the album at a gentle gallop, and sets the scene for the story. Next is a 12 minute four-progression track which builds to a rousing organ ditty at around the half way point. Other tracks vary from rock numbers, such as When the War Came to gentle ballads in Shankill Butchers.
The Decemberists are typified by Colin Meloy’s historical story-songs of soldiers and lovers, a good shanty and Meloy’s distinctive intonation. This album shows no sign of this formula becoming tired or gimmicky. You really do get transported to other times and places with The Decemberists, and it’s a grand escape indeed.
h2. 1. The Eraser (Thom Yorke)
One of the surprises for 2006, The Eraser came from nowhere. There was nary a hint that Yorke was working on a solo album whilst Radiohead was nominally putting together their new release. Mostly an electronic album, The Eraser is reminiscent of Radiohead b-sides, and indeed some of the samples have been taken from things Radiohead members have recorded. Juxtaposing Thom Yorke’s bare voice (unlike most Radiohead recordings) against the electronics was a great idea, his voice seems to float on another layer from the music, as opposed to being entangled in it. The music itself is very tight, with small pitter-patter beats and simple repetitive samples layered densely and an occasional over-arching synth. Many stand out tracks, the best three would be The Eraser, Black Swan and Harrowdown Hill with the rest close behind.
Article #6 in the Best and Worst Music of 2006 series
