Let’s get this out of the way, shall we?
20. Elzhi
The Preface
Fatbeats 2008
The Preface (2008) is a Detroit dream-team pairing unlike anything in recent memory. Elzhi currently holds my vote as the finest traditional lyricist working today, and Black Milk’s chunky, crackling beats – which never made much of an impression on me until now, I confess – couldn’t be a more perfect foil. “Motown 25” (with a scene-stealing appearance from Royce da 5’9”) is worth the price of admission alone, but the deeper cuts here, like “Talking in My Sleep” and “What I Write,” don’t disappoint in the least, and one could spend a lifetime deconstructing Elzhi’s cryptic, seemingly infinite rhyme patterns. Even in a year that wasn’t as miserable for hip hop as 2008 was, The Preface would still deserve a place on the highlight reel.
“Talking in My Sleep” – Elzhi 4:22 (The Preface, Fatbeats 2008)
19. American Music Club
The Golden Age
Merge 2008
Hard to believe, but American Music Club formed a quarter of a century ago. That doesn’t necessarily mean that they’ve been in full operation for that long; there’s a good decade of inactivity in their trajectory, of course. Still, with an endurance as weathered as theirs, I probably shouldn’t find it surprising that the band continues to release quality records like The Golden Age (2008), but I can’t help it. Maybe one of these days Mark Eitzel’s songwriting and Vudi’s breathtaking guitar work will no longer mesmerize me, but it hasn’t happened yet.
“The Stars” – American Music Club 5:17 (The Golden Age, Merge 2008)
18. Meshuggah
Obzen
Nuclear Blast 2008
Until this year’s Obzen (2008), Sweden’s Meshuggah were about as appealing to me as your average advanced calculus problem; there was always a mechanical frigidity to their music that I found incredibly off-putting, impressive though the execution was. That changed immediately when I heard “Bleed,” Obzen’s sole single that’s fueled by a shocking display of double-kick dexterity that is almost unfathomable to my ears. Seriously, I must have listened to this track dozens of times over and over again, hoping for some kind of insight into cracking the enigmatic kick-drum code, but after every marathon session there were always a few pieces of the puzzle missing. I finally threw in the towel after watching a few YouTube vids of overweight, acne-scarred teenagers executing the pattern on their drum kits with utmost precision while folding laundry. Eventually I got around to digesting and enjoying the rest of the record, but damn you, “Bleed,” for your constant source of vexation all those months.
“Bleed” – Meshuggah 7:22 (Obzen, Nuclear Blast 2008)
17. DJ /rupture
Uproot
Agriculture 2008
About twenty minutes or so into my first listen of Uproot (2008), I had to forcefully, and with some degree of difficulty, shut my brain off. My mind was flipping over the technicalities: the pacing, the blending, the subtle fluctuations in mood. I resisted the urge to compare Uproot to DJ /rupture’s triple-turntable juggernaut Minesweeper Suite (2002), a record that literally destroyed both back speakers of my old Toyota Corolla. I seethed with envy at his impeccable taste for a music that I knew so little about. The first half of Uproot had me nodding my head hypnotically and submissively, but the second half borders on transcendence.
“Homeboys feat. Max Normal: Maga Bo” – DJ /rupture 3:47 (Uproot, Agriculture 2008)
16. Mike Reed’s Loose Assembly
The Speed of Change
482 Music 2008
Drummer Mike Reed released The Speed of Change (2008) and the appropriately-titled Proliferation (2008) this past summer to much fanfare by yours truly; I had a fair amount of difficulty in deciding which one was a more fitting contender for this list. The former ultimately won out, Reed’s second album in as many years with his Loose Assembly quintet, which includes Greg Ward on various reeds, bassist Josh Abrams, Tomeka Reid on cello, and vibraphonist Jason Adazsiewicz, supplemented by vocalist and flutist Nicole Mitchell on two numbers. Reed leads the group through a set of collective compositions that range from meditative tone poems to sinuous post-bop, even ripping through a cover of Max Roach’s “Garvey’s Ghost” for shits. A record whose vibrant instrumental colors and telekinetic group interaction ensure that its rewards are bountiful.
“Soul Stirrer” – Mike Reed’s Loose Assembly 6:40 (The Speed of Change, 482 Music 2008)
15. Lambchop
OH (Ohio)
Merge 2008
In which Kurt Wagner’s aching croak and plaintive strums of acoustic guitar numb me to sleep in the comfort of my back porch, the air traced with the sweet fragrance of pine, my hat sunken over my brow as my legs mechanically provide the gentle propulsive motion of my rocking chair. Slumbering bliss never arrived easier than on Lambchop’s OH (Ohio) (2008).
“Sharing a Gibson with Martin Luther King Jr.” – Lambchop 4:35 (OH (Ohio), Merge 2008)
14. Daylight Dies
Lost to the Living
Candlelight 2008
Initially, I thought Lost to the Living (2008) wouldn’t stand a chance with me. Daylight Dies’ watered-down Opeth/Katatonia formula lacked the massive riffs, lighting-fast changes, and crushing intensity that I wanted to hear from the band. And their “doom and gloom” was from North Carolina, a climate of sunshine and humidity where I used to spend my summer vacations as a kid. So why did I found myself hoping for overcast, rain-soaked days this past November so I could listen to Lost to the Living in all its melancholy glory? Immaculately recorded – there is an inherent poeticism in the way the glistening acoustic guitars kiss those deafening drums – and with an atmosphere that’s almost unbearably heartbreaking, Lost to the Living is the saddest, most gorgeous record I had the pleasure of hearing all year.
“Cathedral” – Daylight Dies 7:15 (Lost to the Living, Candlelight 2008)
13. The Sea and Cake
Car Alarm
Thrill Jockey 2008
It’s difficult to not view Car Alarm (2008) as a sort of “sister” album to 2007’s Everybody; for the past decade Chicago’s The Sea and Cake had settled into a release schedule of one album every three or four years, but I’ll be the last one complaining from any appearance of new material by the band. Car Alarm adheres to the same sonic aesthetic as its predecessor, emphasizing more of the group interplay and natural dynamics that the band was founded on. The resulting twelve selections are as effortless as always, relaxed and carefree and as a warm Sunday afternoon in late spring.
“A Fuller Moon” – The Sea and Cake 4:11 (Car Alarm, Thrill Jockey 2008)
12. Beneath the Massacre
Dystopia
Prosthetic 2008
Another year, another release from those batshit-crazy Canadians Beneath the Massacre that melts my face off. I’ve become fully conditioned to the routine by now: Vocalist Elliot Desgagnés roaring with the subtlety of a blast furnace. Guitarist Chris Bradley and bassist Dennis Bradley tapping and drilling their strings like they’re boring into the center of the earth. And it’s yet to be confirmed whether or not Justin Rousselle is some kind of tempo-programmable cyborg. All the while I shriek like an excited schoolgirl at the mere thought of Dystopia’s (2008) hyper-technical death madness. (Don’t be dissuaded by the Intro-to-Photoshopped-Metal-Covers artwork.)
“Bitter” – Beneath the Massacre 3:38 (Dystopia, Prosthetic 2008)
11. The P Brothers
The Gas
Heavy Bronx 2008
Nottingham’s The P Brothers (Paul C and DJ Ivory) are clearly out for my heart. In an age when the “producer’s album” is synonymous with an overstuffed 78-minute disc chock full of throwaway sixteens from hundreds of rappers, the “gas” in The Gas (2008) is surely referring to fresh air. Their concept is so simple: construct minimalist, gutter-scraping bangers and commission a handful of New York-area rappers – in this case mostly Boss Money, Milano, and Roc Marciano – to wreck shop overtop of them. That’s it – no corny R&B hooks, no aimless skits, no lifeless keyboard bullshit for the clubs, no endless litanies of shout-outs from the hosts. Does an album like this need to be such a rarity these days? If anything, The Gas has me aching for a full-length in ‘09 from Roc Marcy, who absolutely murders the two cuts he appears on here.
“New Religion” – The P Brothers feat. Boss Money 3:03 (The Gas, Heavy Bronx 2008)
10. Marco Benevento
Invisible Baby
Hyena 2008
To simply label Brooklyn’s Marco Benevento as a “pianist” is a bit reductive; his arsenal includes organs, effects boxes, samplers, circuit-bent second-hand Casios, and even a Speak & Spell. Invisible Baby (2008) finds him indulging in his toys with the same level of jubilance as a kid on Christmas morning, and would appear to reek of arrant self-indulgence were the material not so whimsical and fun: “If You Keep on Asking Me” is a drunken stagger home at three in the morning, “Ruby” is an elegant slice of cocktail jazz, “Atari” sounds exactly like its title, and “Record Book” morphs from a lullaby in 5/8 into a somber, reflective hymnal. Invisible Baby is a tease at only eight tracks in 40 minutes, but the disc’s brevity only increases its replay value.
“Atari” – Marco Benevento 4:12 (Invisible Baby, Hyena 2008)
9. Stereolab
Chemical Chords
4AD 2008
Here’s the thing: there are artists that I’ve intentionally avoided covering here since this site’s inception, not because of a particular distaste or aversion toward their music, but because my loyalty and devotion is so deep-seated that I could never write about them without sickening myself and the reader with endless strings of fluffy adjectives and long-winded praises. So after two and a half years, I’ll come clean and confess that if I had to choose an all-time favorite band or artist over the years, it would be Stereolab by a long shot. Chemical Chords (2008) isn’t a groundbreaking release from the groop, and I won’t claim it to be their finest hour. One could even argue its relevance in the landscape of today’s contemporary pop music. I don’t care. It’s Stereolab, and as my shrine of every last limited-edition 7”, Japanese import CD, and colored vinyl release issued by the band will attest, I’ll devour it with delight, just as I’ve always done with their music some fifteen years now.
“The Ecstatic Static” – Stereolab 4:44 (Chemical Chords, 4AD 2008)
8. Erykah Badu
New Amerykah, Pt. 1: 4th World War
Motown 2008
If you had told me in the neo-Soul hangover of 2001 that an Erykah Badu record would be one of my year-end favorites of ’08, I would have split several ribs from the outburst of my own violently contorted laughter. I had bit of a crisis of conscience coming to terms with New Amerykah (2008) upon its release this past February, but couldn’t deny that long after “The Cell,” “Me,” and “Twinkle” had stopped playing, I was still nodding my head.
“The Cell” – Erykah Badu 4:21 (New Amerykah, Pt. 1: 4th World War, Motown 2008)
7. Averse Sefira
Advent Parallax
Candlelight 2008
The only thing I knew about Averse Sefira before hearing the punishing Advent Parallax (2008) was that they were a no-bullshit black metal band from Texas, of all places. It probably took about two dozen listens to this record before I could begin wrapping my brain around it. Or, more specifically, Sanguine Mapsama’s ripping guitar work, which seems to follow an unearthly logic completely alien to Western music systems. I was riddled with questions: where are the requisite symphonic interludes and beds of keyboards? What in holy hell are these lyrics about? Why do I get the impression that, ahem, The Carcass (not sure what his mother calls him) could lease out his drumming to industrial demolition crews? Advent Parallax is an uncompromisingly raw, mysterious, and utterly terrifying release that will likely continue to simultaneously puzzle and haunt me for years.
“Descension” – Averse Sefira 7:06 (Advent Parallax, Candlelight 2008)
6. Binario
Binario
Far Out 2008
I’ve been listening to Binario (2008) nearly every day since it arrived in my mailbox over two months ago. This level of repeat-play value happens to me about once or twice a year, sometimes less, which is about as strong a testament to this record’s longevity as I can express. I often romanticize how much fun it must be to perform as a card-carrying member of Binario: playing at sunset on an open outdoor stage overlooking Ipanema Beach, switching instruments with every song, making revelers dance to the sounds of distorted Casios and 7/8 time signatures. A shame that Binario has yet to be released domestically in the States, but it’s also one of those rare cases when the import price is entirely justified.
“Ibirapuera” – Binario 2:53 (Binario, Far Out 2008)
5. Intronaut
Prehistoricisms
Century Media 2008
I suspected that Intronaut had a great album or two in them after the potential displayed on Void (2006), but never would I have imagined a blossoming as full and rewarding as Prehistoricisms (2008). I’m such a sucker for this kind of technical prog-metal, and in this case it’s even layered with fusion and world-music overtones – nerd-alert bonus! Prehistoricisms is overflowing with harmonic sophistication, breathtaking dual-guitar lines, avant-garde experimentation, sludge-metal riffing, and Joe Lester’s five-string fretless bass, which turns me into a puddle of swooning adoration. This one was completely unexpected, and I’m still discovering little gems of ingenuity buried within its 53-minute running time. I’m already eagerly anticipating Intronaut’s next move.
“Australopithecus” – Intronaut 4:32 (Prehistoricisms, Century Media 2008)
4. Q-Tip
The Renaissance
Universal Motown 2008
They slither and weave around each hit and syncopated accent, at times hushing to silence to give the other instruments room to breathe, then nurturing the music back to life with a jolt of low-end electricity. Their latency that follows the pulse occupies an existence in just the right sweet spot, never rushing or stuttering in front of the beat but never falling too far behind and dragging the tempo. Their silences and the timing in which they’re placed say far more than their utterances. They are animated and flavorful, emphasizing not just the roots, but the choicest notes and textures of each passing chord. And these are just the basslines on The Renaissance (2008). Well played, Tip.
“Move” – Q-Tip 5:49 (The Renaissance, Universal Motown 2008)
3. Portishead
Third
Mercury 2008
The epidemic hype around the release of Portishead’s long-awaited Third (2008) almost ensured disappointment, but it never happened, at least not to these ears. My first impression of the record was one of sheer awe – mostly at how much of an audiophile’s wet dream it was, but also at the number of risks it took and how well those risks paid off. Then I began to pick apart the individual elements of each song and marveled at their compatibility with each other. Compare Third with those first two records – dear as they are to our collective hearts – and it’s clearly in a league of its own, with a certain haunting timelessness that its forerunners lack. It’s almost as if the ten-year hiatus never happened.
“Nylon Smile” – Portishead 3:24 (Third, Mercury 2008)
2. Secret Chiefs 3
Xaphan: The Book of Angels, Vol. 9
Tzadik 2008
It would be convenient to regard Xaphan: The Book of Angels, Vol. 9 (2008) as yet another routine entry in the mind-bogglingly bloated discography of John Zorn: group of musicians interprets the Masada songbook for the umpteenth time, rest of the world moves on with little notice. Xaphan, on the other hand, is something worth investigating, because here Zorn’s Sephardic hymns are filtered through the warped vision of guitarist and esoteric guru Trey Spruance, best known as one of the masterminds behind ‘90s cult weirdos Mr. Bungle and current frontman for his own Secret Chiefs 3 collective. The spectrum of goodness contained within Xaphan is almost too much to bear: slinky spy themes, drones of radiant tranquility, bursts of drum-machine disfigurement, campy surf rock, uncountable time signatures, blitzes of exotic percussion, wordless female chanting, and perhaps best of all, Spruance’s always-inventive soloing. Xaphan is adventurous, sophisticated, highly imaginative, and sonically, it’s unparalleled in 2008. And it’s a mother through a decent pair of headphones.
“Akramachamarei” – Secret Chiefs 3 5:46 (Xaphan: The Book of Angels, Vol. 9, Tzadik 2008)
1. Enslaved
Vertebrae
Nuclear Blast 2008
My expectations were stacked so unfairly against Vertebrae (2008) that I initially thought it wouldn’t stand a chance on this list. Enslaved last release, Ruun (2006), struck every chord within me with such a sobering intensity that it resonated for months. Vertebrae doesn’t quite scale those heights but it comes damn close; at the very least it qualifies as another worthy entry in one of the most fascinating catalogues in modern metal. I wouldn’t expect everyone to have the same where-have-you-been-all-my-life reaction as I did when I first heard this band’s music, but for those wondering what the fuss is all about, Vertebrae is a fine place to start. The Pink Floyd flourishes are in full evidence here (fully acknowledged by the group) and are inescapable, but dive below the surface and feast on the rest of its unique majesty: the unharnessed twin guitars of Ivar Bjørnson and Arve Isdal are as propulsive as ever, keyboardist Herbrand Larsen’s organ clusters and hypnotic vocals have now become essential to the band’s sound and direction, and Cato Bekkevold’s drum work is simply exquisite. There are even four-part guitar harmonies, for Christ’s sake. I can’t recall another band with such a streak of quality releases this decade – five albums now, in this case – and Enslaved rightfully deserve every last bit of praise for the masterwork that is Vertebrae.
“To the Coast” – Enslaved 6:27 (Vertebrae, Nuclear Blast 2008)
FROM DORMANCY… TO EVENTUAL NORMALCY?
Perhaps. It’s somewhat saddening and yet immensely liberating to have to lull floodwatchmusic.com into an indefinite hibernation at this point, though this news should hardly come as a surprise to anyone keeping tabs here these past few months. A combination of 15-hour workdays and a multitude of “real life” issues have made it incredibly difficult to devote the time and effort that this site and its readers (the few that are left) deserve, and I refuse to keep it on life support by merely throwing up a YouTube vid once a week for the sake of “updating.” I don’t get much down time these days, and truthfully, I want to be able to enjoy those few rare moments of solace that come my way without feeling guilty for not writing. I have a few musical projects on my plate that I need to give some attention to. I need to teach myself to play piano somewhat competently for graduate school. I need to be able to listen to music without getting the uncontrollable urge to critically analyze it and publicly comment on it. And so forth.
I receive just enough in Amazon referral fees for the site to pay for itself, so fear not, newcomers – the archives aren’t going anywhere. Thanks to everyone who has supported floodwatchmusic in any way, or has ever left a comment here, for that matter. Let’s all raise our glasses to the following:
“If you don’t get the band, fine. But dont try to pass off your opinions as some kind of “truth”… You sir, are adding to the pile of pointless music discussions which go by “Oh I really like/d band X, but really were they THAT good?” We could criticise Mozart, Beethoven et al if we wanted to.” –Anthony
“sorry, flood… that smooth production and that “too close to Madonna’s ‘Cherish’” swing feel” gives my mouth this weird “I just smoked a joint of puppy pellets through a rhino’s ass” taste to it.” –duff
“You are the kind of guys sissies take their anger out on. Amazing.” –ohmytenderears
“You’re a condescending know-it-all… You and your similarly conscienced readers might enjoy a band I’m working with called the 1921a that doesn’t consciously rip off indie rock bands, but unconsciously rips off the delta blues and rockabilly dear to their hearts. I kid my brothers but I’m running a new record label called WPA Records that feeds similarly musically disaffected youth in Los Angeles… If you don’t like it, well, fuck you.” –stan
“Ha, censoring comments is the tactic of someone who knows he’s a moron. Maybe you should take your stupid opinions off the internet if you can’t defend them.” –smarterthanyou
“You are so full of yourself how could you possibly know if the music was good? You probably had one hand on your d*ck the whole time you wrote this. Even while you writing about someone else’s band you can’t keep your mind off your own failures It’s no doubt your breath smells like your own c*ck, not a wonder your ears are full of shit also. Obviously your a frustrated a**hole who never made it playing music …so why should anyone give a f*ck what you think!!!! Bad mistake FLOODWATCH (hope you have the balls to print this)” –Not Impressed (asterisks supplied by commenter)
“your all dumbfucks” –speedmetalman
“…You’re just another prog-rock guitar-masturbating jerk who forgot how exciting emotions and creation can be.” –guyha
“this is the worst thing i have ever read. you are seriously the biggest dumbass i have ever listened to. the comments you make have no weight whatsoever for anyone who has any sense of what music is and what lyrics are. and you clearly have no clue at all. you’re a complete moron. unbelievable.” –Dell
“…You appear to be just another one of the many, many bad album reveiwers out there. Almost nobody makes ‘album critic’ their goal in life so I’ll assume you plan on moving on and all will be well.” –Marvin Leach
I’ll be back soon, I’m sure, so don’t remove me from your feed readers just yet, peoples.