SoundBites Best of 2005 | Albums

Don’t let anyone say 2005 was a crummy year for music. I coulda done a Top 50. But that takes too much time. Here’s my Top 20 Albums of 2005, which probably changed more than NME‘s lineup right down to posting.

ElbowLeaders of the Free World (V2) | Elbow‘s third album is not only the best thing they’ve ever done, it was the best thing I heard anyone do in 2005. Gorgeous melodies, inventive arrangements and musicianship, and some of the most heartfelt (without treacle) lyrics around. And Guy Garvey‘s amazing voice on top of it all. Album of the Year by a mile. Best songs: "Station Approach," "The Stops," "Mexican Standoff," "The Everthere."

Art BrutBang Bang Rock and Roll
(Fierce Panda) | The year’s most flat-out enjoyable record. The humor
in singer Eddie Argos‘ lyrics hits you first ("I’ve seen her
naked…TWICE!") but these are songs that are funny, not novelty rock.
(Some may disagree.) And, as Argos sings on their manifesto "Formed a
Band," this is not irony. "We’re just talking to the kids!" The hits
keep coming through all 12 tracks, from "My Little Brother" through
"18,000 Lira."


New PornographersTwin Cinema (Matador) | Not as immediate and crammed with hooks as either The Electric Version or Mass Romantic, album number three for this mostly-Canadian supergroup seemed like a bit of a dud on arrival. Weeks of play, however, and songs constantly coming up on shuffle on the iPod, have proven Twin Cinema to be another batch of winning songs with perhaps the most staying power of them all. Dig new New breed: "Sing Me Spanish Techno," "These Are the Fables," "The Jessica Numbers."

Of MontrealThe Sunlandic Twins
(Polyvinyl) I remember seeing Of Montreal back in 1999, playing with
Ladybug Transistor. There were props and slide-flutes and other twee
type things. I didn’t like them. But somewhere down the line they
transformed from utter whimsy into a band capable of filtering poppy,
’60s-inspired melodies through Eno-esque new wave. I was hooked. One of
2005’s earlier releases (well, April), The Sunlandic Twins has
stayed with me for most of the year. Get some Sun:"Requiem for
O.M.M.2," "Wraith Pinned to the Mist (And Other Games)," "Forecast
Fascist Future."

The RakesCapture/Release
(V2) | These guys have, so
far, been met mostly with shrugs in America (the record’s not out yet here), dismissed as the latest
post-punk whatever. There may be a little disco hi-hat in the drumming,
but The Rakes are miles better than any of the others and actually
remind me of Pink Flag-era Wire with a working-class attitude
and an articulate grasp of late-20s ennui. "Might as well go out for a
fifth night in a row" indeed. Capture/Release is genius from start-to-finish and has some of the year’s
best singles, too, including "Work Work Work (Pub, Club, Sleep)," "22
Grand Job," and "Strasbourg."

Field MusicField Music (Memphis Industries) | Despite having ties to both the Futureheads (singer Andrew Moore used to be in them) and Maximo Park (they share a drummer), Sunderland, England’s Field Music sound nothing like them. It’s all delicate, sparse arrangements (not unlike Spoon), nods to ’60s baroque pop, and a cut-the-fat approach to album making. Debut album of the year, rock division. Choice cuts: "If Only the Moon Were Up," "Shorter Shorter," "Got to Write a Letter"

LCD SoundsystemLCD Soundsystem (DFA/Capitol) | When LCD Soundsystem‘s debut got two Grammy noms, I began to question my own taste for including this on my best-of list but no, dammit, this is a great album. It still sounds great after having it for nearly a year, and being played at every party, before every show, and on The O.C. It will be interesting to see what James Murphy does next. Killer jams: "Daft Punk is Playing in My House," "Tribulations," "Beat Connection"

My Morning JacketZ (ATO) | Like The Clientele, My Morning Jacket dare to drop one of their calling cards (the gallons of reverb), then drop a key band member and pull a 180 musically. The result being the best album they’ve ever done and the first one I’ve truly liked start-to-finish. And yet they still sound like My Morning Jacket, thanks in no small part to Jim James voice-of-heaven vocals. Prime cuts: "Wordless Chorus," "Into the Woods," "Anytime"

Richard HawleyColes Corner (Mute) |
Third album’s the charm for this former axeman for Longpigs and Pulp,
who once again leaves indie stylings behind in favor of full-on crooner
mode, a la Roy Orbison, Burt Bacharach, Marty Robbins, or even
Morrissey. Even though it was written about Sheffield, England, Coles Corner
makes a gorgeous soundtrack for NYC too, and sounds even better after
midnight. Swoon: "The Ocean," "Hotel Room," "Born Under a Bad Sign,"
"Coles Corner"

Malcolm MiddletonInto the Woods (Chemikal Underground) | If you read the lyrics sheet, you may wonder about the state of mind of Arab Strap‘s Malcolm Middleton
on his second solo album. For example, on "A Happy Medium" he sings,
"Woke up again today/Realized I hate myself/My Brain is a disease." But
Into the Woods is not a dreary exercise in woe-is-me-isms. Like so many
before him, Middleton turns his pain, fear and doubts into something
beautiful. Even those who have never had any time for Arab Strap should
give this one a chance. Get into: "My Loneliness Shines," "You’re Gonna
Break My Heart," "A Happy Medium"

The other 10 after the jump…

The Magic NumbersThe Magic Numbers (Capitol) |
Nothing new or innovative on The Magic Numbers‘ debut — this is Classic
Pop Songwriting — but few do it as well and with as much genuine
heart. What else would you expect from a band whose singer’s name is
Romeo? The Thrills wish they could write a song as good as: "Forever
Lost," "Oh Sister," "Mornings Eleven," "Love Me Like You"

M.I.A.Arular (XL) |
I don’t really listen to much hip hop anymore, apart from singles, and don’t have time for grime (yes, I wrote that ’cause it rhymed), but there’s no denying the youthful
exuberance and invention of M.I.A.‘s debut that is bursting with fresh
sounds and ideas. Big pop hooks too, of course, else it wouldn’t hook
in a 30-something white dude like myself. Just try to resist: "Galang,"
"Sunshowers," "Bucky Done Gun," "Bingo"

SpoonGimme Fiction (Merge) |
To me, Spoon are a lot like Super Furry Animals, in that they’ve been
cranking out awesome album after awesome album and people don’t even
notice anymore. People did begin to notice, however, with Kill the Moonlight and the high expectations for Gimme Fiction
may have caused a bit of a backlash. But arguments of their demise
don’t hold up when presented with strong evidence like: "The Two Sides
Of Monsieur Valentine," "Sister Jack" and the funky "I Turn My Camera

The Shortwave SetThe Debt Collection
(Independiente) | This London-based trio were one of 2005’s most
mysterious surprises, seemingly coming out of nowhere to deliver a
classy, assured debut. Comparisons could be made to both Saint Etienne
and Portishead (they are probably closer to the icy irony of Black Box Recorder, actually), but The Shortwave Set‘s cut-and-paste treatment
of Tin Pan Alley instrumentation sounds pretty original to me. Tune into
these: "Is it Any Wonder?," "Repeat to Fade," "Slingshot."

Super Furry AnimalsLove Kraft (XL) | The ‘Furries have been making great albums for so long, most people take it for granted. Love Kraft is
a bit different that what we’re used to, with no obvious singles and a
bit more noodling. What they’ve made is a genuine album, brilliant as
usual but one that doesn’t really work when you try and pull it apart.
But if you must pull it apart: "Ohio Heat," "Cloudberries," "Atomik

Clientele Strange Geometry (Merge) | With their arpeggiated guitars, brushed drumming, wistful melodies, and generous washes of reverb, The Clientele make perfect music for anyone who finds romance in a rainy day. Strange Geometry,
however, strips away some of the gauze to reveal their best album yet.
McLean still sings about the rain, but the Clientele have finally come
out from behind the clouds. Strange and beautiful: "Since K Got Over
Me," "E.M.P.T.Y." and "Impossible."

Shout Out LoudsHowl Howl Gaff Gaff (Capitol) | Probably the most indie rock sounding thing on this year’s list. Comprised of half the Swedish version of HHGG plus some highlights from more recent EPs and singles, the US introduction to Shout Out Louds
comes out of the gate come the band’s three best songs: "The Comeback,"
complete with endearingly cheesy keyboards; "Very Loud" with its slow
build and Johnny Cash drumbeat; and the wistful yet rollicking "Oh,
Sweetheart." Singer Adam Olenius continues to wear his heart on
his sleeve through "Please Please Please," all the way to the epic
closer, "Seagull." Great stuff.

Tom VekWe Have Sound (Startime International) | Some magazine or website called Tom Vek a "one-man Bloc Party" and that’s a nice opening statement, but he’s actually better than that. We Have Sound
is dark, moody, nervous, and groovy from the get-go. What cemented the
album in this list was seeing him live and discovering that not only
did these songs translate to a live band format, they got better. You
just know his second album will be something else. Until then check out
"C-C (You Set The Fire In Me)," "Nothing But Greenlights" and Single of
the Year nominee "If You Want."

The CribsThe New Fellas (Wichita) | I saw The Cribs four times in 2005
— more than any other non-NYC band this year — though it was more
happenstance than anything else. They always give it their all, and are
finally starting to get some attention over here. As well they should,
as their second album is nearly impossible to dislike, full of
shout-along choruses and loads of "whoa-ohs." Crib these: "Hey
Scenesters!," "Martell," "Mirror Kissers," "The Wrong Way to Be."

Mark MulcahyIn Pursuit of Your Happiness
(Mezzotint) | Former Miracle Legion frontman Mark Mulcahy is in
possession of an amazing set of vocal chords, warm and comforting —
kind of like your favorite sweater your still wear despite the holes in
the sleeve. That he is also a great songwriter complete the package.
Like recent work by The Go Betweens, In Pursuit of Your Happiness
works because he is making the album he wants to make, not one that is
"best for his career." That it turns out to be "best OF his career"
should come as no surprise. Pursue these: "I Have Patience,"
"Propstar," "Cookie Jar."

More records from 2005 that didn’t make the Top 20 but I still really, really liked: The Wedding PresentTake Fountain; The Go-BetweensOceans Apart; Maximo ParkA Certain Trigger; British Sea PowerOpen Season; BrakesGive Blood; Franz FerdinandYou Could Have it So Much Better; The White StripesGet Behind Me Satan; BabyshamblesDown in Albion; Cass McCombsPREfection; Teenage FanclubMan-Made; GorillazDemon Days; Bloc Party Silent Alarm; Nada SurfThe Weight is a Gift; Kaiser ChiefsEmployment; ClorClor; Saint EtienneTales from Turnpike House; The High DialsWar of the Waking Phantoms; Wolf Parade – Apologies to the Queen Mary; Sufjan StevensIllinoise; The Boy Least Likely ToThe Best Party Ever; Boards of CanadaThe Campfire Headphase; The Fall Fall Heads Roll; The National Alligator; King CreosoteKC Rules OK; Serena Maneesh – Serena Maneesh


  1. For fans of Mark Mulcahy, MASS MoCA has a show of The Rosenbach Company, Saturday, July 8 at 8 PM.
    Ben Katchor and composer Mark Mulcahy (co-creators of The Slugbearers of Kayrol Island) return to MASS MoCA with a new pop musical that mixes Katchor's projected animated images with live actors, singers, and musicians. The Rosenbach Company chronicles the life and times of Abe Rosenbach, the world's preeminent rare book dealer, and his brother and business partner Philip. The brothers' collection included such literary treasures as James Joyce's manuscript of Ulysses and the original illustrations for Alice in Wonderland; Katchor and Mulcahy use their story to explore the obsessive nature of collecting and the relationship between cultural and commercial pursuits.
    Tickets are $20 orchestra, $16 mezzanine. MASS MoCA is in North Adams, in northern Berkshire County. To puchase tickets, call the box office at (413) MoCA 111, or visit

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