Kevin Mathews:
January,
2004

So Much Music, So Little Time

Top Ten Albums of 2003

As a music critic, sometimes I wonder just how I can justify selecting just ten albums out of the deluge of releases each year and then proceed to tag them as the 'best' I've heard in twelve odd months. Truth is, there are often many factors going on when attempting to put together a list like this. As a writer, you try hard to be consistent, you do your best to divine some sort of overall theme in the scheme of things to make sense of the disparate forces that influence such a selection. But ultimately it boils down to personal bias and preference, like anything else related to art.

So I make no apologies for the choices listed here or for the fact that in six months I may totally disavow these decisions - such is the nature of these exercises. Roll on 2004!

1. Grandaddy Sumday (V2)

To be honest, the first time I listened to this, the words "Album of the Year" began flashing incessantly around my synapses. Some months later, I have not come across any other release that has altered this opinion. The way Jason Lytle and his merry men have brought together the world weary cow-punk of Neil Young, the lush romantic melodic optimism of Jeff Lynne and the cynical geek rock of Weezer is sheer genius. Grandaddy has captured perfectly the post-dot.com bust world, a place where wide-open opportunism and gung ho capitalism has been replaced by caution and abject fear. Unfortunately, Grandaddy can't provide the solutions only dilemmas: "Every now and then, The memories creep in/A breeze and blue skies, the trees and you and I/But if my old life is done, I guess that I've moved on/To new faces and strange places, here at the final push to the sum/If my old life is done, then, what have I become?"

2. The Long Winters When I Pretend To Fall (Barsuk)

This wondrous slice of pop majesty took me a little by surprise. I had initially ignored it when I first took possession of it (too much music!) and actually chanced upon the opening gem that is "Blue Diamonds" on the Barsuk compilation - Treats - which prompted me to explore the delights of this sophomore album from John Roderick and friends. Since then, this masterpiece has steadily grown in stature and if not for the clinching consistency of Sumday would have been #1 for 2003. Singer-songwriter Roderick blends the blues, alt-country, folk-rock, chamber pop and good ol' rock 'n' roll into a delectable rock buffet where your mind, heart and soul are well fed. The songs stand up to every scrutiny, with wit and sophistication bleeding from every note: the epic scope of "Blanket Hog," the ominous Rhodes-driven trance of "Blue Diamonds," the Memphis horns-imbued dynamism of "Scared Straight," the glam rock parody of "New Girl," the whimsical infection of "Shapes" and the wistful regret that is "Stupid" where the pain of lost opportunity cannot be overlooked.

"Stupid, you could call it that/Stupid, but you have no idea/How stupid I would feel/If fifteen years from now I see her/And she says why didn't it happen between us, stupid?"

3. Beulah Yoko (Velocette)

Inevitably, naming an album Yoko is bound to raise the ghost of John Lennon but then again, one can hardly discuss dark, smart pop without mentioning the late great Beatle. And dark and smart Yoko certainly is. Beulah (viz. Miles Kirosky and Bill Swan) have been taking quantum leaps with their last two releases and Yoko builds on the kaleidoscopic pop agenda to suggest a world-weary perspective where relationships fail and dreams die. You could say that Yoko is a coming down album of sorts where melancholy ballads reign - the cynical "You're Only King Once," the self-effacing "A Man Like Me," the painful "Me and Jesus Don't Talk Anymore" and the regret-tinged "Wipe Those Prints And Run" make for a pleasing yet disturbing experience.

4. Guided By Voices Earthquake Glue (Matador)

Strange as it sounds, Robert Pollard and his Guided By Voices aggregation are beginning to mature like really excellent wine. As outstanding as Isolation Drills (2001) and last year's Universal Truths and Cycles were, Earthquake Glue manages to somehow up the ante with yet another bunch of songs that will thrill fans of 60s and 70s classic rock music. Not that Glue is remotely dated or derivative but if you can, imagine a pulsating hybrid of The Who's arena rock theatrics, Genesis' (circa Peter Gabriel) cutting-edge progressive rock agenda and Be Bop Deluxe's futurist glam-rock histrionics, filtered through the alt. rock lens of the Replacements, REM and Husker Du. Fabulous!

5. Splitsville Incorporated (Houston Party)

Unlike Repeater, which came across too much like vignettes of the band's favourite albums, there is a mature assurance, an originality about Incorporated that marks Splitsville's return as a quantum leap. A complete and perfect album that begs to be heard from start to finish, Incorporated, is a testament to Splitsville's belief in the power pop ideal that you can still touch hearts and intrigue minds with music that is melodic, vibrant and texturally dense. Let me just say that if you had to listen to one power pop album this year, it would have to be Splitsville Incorporated.

6. Watashi Wa The Love of Life (Tooth and Nail)

Effervescent guitar pop that incorporates the vibrant and compelling elements of rock, punk, emo and powerpop with delightful effect, the music on The Love of Life lives up to its promise - life affirming, positive, enthusiastic and energetic. Which is a tremendous shot in the arm for a music scene so obsessed with sex, angst and violence. This fresh-faced quartet backs this belief with heart tugging, feet pounding, flag waving and fist punching anthems like the frenetic "At Its Finest," the jumping "All Of Me," the bopping "The Air I Breathe" and the inspiring "Life Is Beautiful." With attitudes to match - "Today has it's way of making things new, and maybe, that means me and you, so today what I've seen changed a part of me when it showed me a part of you" - The Love of Life is an encouragement to all of us to carry on in these difficult times.

7. The Jayhawks Rainy Day Music (American)

After the greater pop emphasis of Sound of Lies and Smile, the Jayhawks return to the roots rock approach of their earlier albums (especially Hollywood Town Hall and Tomorrow the Green Grass) with this magnificent effort. Generally speaking, this change of approach (albeit a fairly minor one) works wonders as Rainy Day Music at times touches the brilliance of former glories viz. Tomorrow the Green Grass and Sound of Lies with a sequence of excellent songs (mainly penned by chief songwriter Gary Louris) that mark Rainy Day Music as a notable modern rock album.
Much to appreciate here for all fans of the alt-country/country rock genre with the echoes of Gene Clark, Gram Parsons and Neil Young firmly heard and whilst it sometimes evokes the early 70s a tad too close for comfort, the sheer emotional intensity of the music will win you over. No contest.

8. Super Furry Animals Phantom Power (Sony)

Seems like the Furries are doing their best to distract the general public from the fact that Phantom Power is one of the best rock albums around. What with the silly cartoons, the oblique titles and that cover, it's easy to mistake Phantom Power for a novelty album. A little more downbeat and rustic than previous outings, the specter of Neil Young looms large on this illuminating collection as pedal steels gleam, Jack Nietzsche strings hover and environmental themes simmer softly beneath the surface. Bottom line is that Phantom Power is every bit as strong as anything that the Furries have delivered so far.

9. The Violet Burning This Is The Moment (Northern)

The Violet Burning's latest release is one the year's strongest, encapsulating the passionate inspirations of 80s post-punk and 90s indie pop (think: Echo & the Bunnymen, New Order & The Teardrop Explodes) whilst still remaining relevant in the new millennium. Leader Michael Pritzl bares his soul and expresses his faith sincerely and artistically without ever resorting to cliché and formula. Highlights include the anthemic "Lovesick," the adoring "the Only One," the touching "Heaven Holds My Heart," the pleading "Lord, Rescue Me" and the hope-affirming "Manta Rae." Essential listening.

10. Neilson Hubbard Sing Into Me (Parasol)

With this sophomore release, Neilson Hubbard ponders on man's relationship with the Almighty and how the Christian principles of faith, peace, love, forgiveness, sacrifice and humility sit with the rigors of daily life and the difficulties associated with organized Christendom. Hubbard brings the warm and personal music found on previous album Why Men Fail to its logical conclusion here, choosing to let his voice and words convey the emotional power of his thoughts with minimal instrumentation, just the odd piano, acoustic guitar and appropriately placed string section to open up the channel between the song and the heart of the listener.

It has indeed been a great year of good music, here's to an even better year in 2004.

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