Yeah, it's a little early. But albums aren't like movies.. They don't save all the best ones until the last possible minute on the assumption that the academy has the memory retention of a two year old. If a better album comes out in the next month, so be it. I'll issue a retraction. In the meantime, kids, this time they are in a particular order.
Starting at the top:
1. Stereophonics - Language. Sex. Violence. Other?
That this is my top album might surprise some folks, but for me? This album was this year's Hot Fuss or Think Tank.
The Stereophonics have always been a band that reinvent themselves with each album, but they went a cut above with this latest effort. I've always liked them, but this is truly the album that's made me fall in love. I don't know if it was the new chemistry brought by Javier Weyler replacing Stuart Cable on drums, or just sheer experience on the part of all of the band members, but Language. Sex. Violence. Other? is an album that is fresh and new while at the same time, kind of familiar, like the album I was waiting for without quite knowing I was waiting. It is a great and swaggering beast of an album, with absolutely no middle or safe ground.
Solid as an album or one song at a time, this is far and away the best album from the 'Phonics. From the poppy sing-a-long, "Dakota," to the sexy growling in "Devil" and "Superman," or the bittersweet stroll down memory lane in the almost U2-like "Rewind," LSVO shows us a new Stereophonics that is somehow simultaneously darker and glossier than previous efforts. I haven't been able to stop listening to it since its release early this year, and I don't think that's likely to change any time soon. In a stellar, stellar music year, this is the album that set the bar.
2. Coldplay - X & Y
Please. Like you didn't know this would be on here. Why is it not number one? I don't know, honestly. Probably just because LSVO came out first (I wanna say March, with the "Dakota" single in Feb.?), and has pretty much provided the soundtrack for my entire year. And I think also that there are a couple of tracks ("X & Y", "What if") that have kind of off-putting starts, to where I find myself skipping them a lot (despite loving them if I'm actually of a disposition to sit through the slow start). But enough about the (marginal) negative! This is an album that does so much right, you really have to nitpick to get at anything that could be even remotely considered wrong.
"Low" is by far my favourite of the album. This gives us a dark and driving Coldplay, of which we've seen glimpses, but is finally allowed to take center stage. "Fix You," "Square One," and "Speed of Sound" also shine. They've said they think its their best album yet, and I agree. Coldplay's taken what they're good at and gotten even better.
And, as loathe as I am to say it, because I always want to smack people who do, they're awesome live. One of the best, if not the best live band out their in their class. Chris Martin has said that he wants Coldplay to be bigger than U2, and, well, sorry Bono, you know I love ya, but I think he's well on his way. They were good when they toured in support of AROBTTH, but I was absolutely blown away on the Twisted Logic tour. This is an album full of songs that just kill live, and it's worth the cash (and some drivin' time, if that's what it takes) to see them.
3. She Wants Revenge - She Wants Revenge
Where the hell did these guys come from? With cited influences ranging from Public Enemy to the Valley Girl soundtrack, they wind up coming across sounding Joy Division might have if Ian Curtis hadn't been so bloody suicidal all the time. However, though their influences may be decidedly retro, their self-titled album delivers something entirely new. The combination of hip-hop (Justin Warfield's first album was produced by none other than Prince Paul) with late 80s Manchester dance scene sensibilities results in fantastic (if a bit dirty) lyrics over lush, synth beats and heavy bass that demand you move along with them.
I will reluctantly admit that there are a few duds on the album (they'd have won some points from me by swapping a few out for "Spend the Night" and "Black Liner Run" off of the These Things EP), but only a few, and they're duds only in comparison to the other tracks that border on sheer brilliance. Among the best of the best? The first single and the song that got me hooked from listen numero uno: "Out of Control." Close on its heels are the frenetic "I Don't Want to Fall in Love," "Tear You Apart," and "Us," the closest the album gets to a ballad (and the song I referred to as "the Bladerunner song" for about a month. Rewatch it and you'll know what I mean).
You will be hearing more from these guys in the future.
4. Gorillaz - Demon Days
I enjoyed the first Gorillaz album, but it really felt like someone's side project; a collection of oddities with some outstanding results, but no cohesive sense of itself. Demon Days offers us the first album from the cartoon quartet that really feels like an album, and oh, what an album it is.
Though I'd be lying if I said I wasn't an Albarn girl through and through (love that Mali Music, baby!), I have to give credit where credit is due. The production by Danger Mouse (replacing Dan the Automator) is insanely good, and a large part of what gives this album it's rich (and sometimes sinister) sound. But of course, Albarn's writing and vocals are as stunning and weird as ever, polished to a gleam by Danger Mouse's influence, and neatly accessorized by some stand-out guest stars, ranging from De La Soul ("Feel Good Inc.") to the inexplicable Dennis Hopper on the spoken word anomaly, "Fire Coming Out of a Monkey's Head."
Other gems include the creepy, zombie-flick-reminiscent "Last Living Days," the discordant disco of "Dare, " featuring none other than Shaun Ryder (not ringing any bells? how about a little band called The Happy Mondays?), and the weirdly genius "O Green World" and "White Light." Overall, a fantastic improvement over their debut, and a must-have album for 2005.
5. Franz Ferdinand - You Could Have It So Much Better
Love it. Better than the first one, and that's saying something. What is it with albums this year? How could so many bands walk that fine line that leaves them edgy and fun at the same time?
You Could Have It So Much Better takes what was started in the self-titled debut and amps everything up. The lyrics are punchier and pithier, the sound is richer, the rhythm more energetic.
With the exception of the very sweet "Eleanor Take Your Boots Off" (a track that plays as much as a lovesong to the Beatles as it does to Kapranos's girlfriend) and the hush of "Fade Together," the entire album is laden with cleverly-lyric'd The bouncy "Do You Want To," the first single, is another hit. "The Fallen" opens the album with a bang, setting the tone for the rest of the tracks. A close second would be "I'm Your Villain," but you really can't go wrong with any of the tracks on this album.
In a sea of sugared down mediocrity, here is a band of honest to god serious musicians, with smart lyrics and a sharp look, that manages not to take themselves too seriously. You Could Have it So Much Better is a fun album, whether enjoyed over a pint at your favourite pub, or just doing dishes at home.
Honorable Mention
This wasn't long enough? Jesus. But stay tuned next week, and I'll get to it (and yes, there will be an explanation for the lack of Oasis on this list).
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