The albums listed here came from a few sources. Some were new acts, others were vets returning to the scene, and others were things I resisted listening to due to the relentless grinding of the hype machine. Either way, here are:
SIX ALBUMS I REALLY DIDN'T SET OUT TO LISTEN TO BUT ENDED UP LIKING ANYWAY:
Verse en Coma - Rialto
Not quite an EP, but not quite a full length, Verse En Coma's Rialto could probably have succeeded based purely on its pedigree. The band contains almost all of City of Caterpillar's original lineup, in addition to a large chunk of the members who made up Malady, the sadly underrated project that followed CoC. Where this album sets itself apart from its members' past is in how ridiculously melodic it is, while still maintaining a great deal of heft that these musicians have made their trademark over the years. Tracks like "Disappearing Glaciers" almost flaunt how poppy they are, while still refusing to take the easy way out in terms of production or guitar tone. Vocalist Brian Markham resembles a more subdued Tim Harrington of Les Savy Fav at times, which contrasts interestingly with Verse En Coma's more post-rock influenced instrumentals. It's refreshing to see a band working like this, with two full time guitarists, neither of whom are clamoring for backup vocals or huge spotlight sections. The hard work put into this project really shows, and it'll be great to see what this band can come up with in 2009.
Tombs - Tombs
Where Verse En Coma's album succeeds in establishing rock-solid melodicism, the debut from Brooklyn, NY's Tombs succeeds in pummeling the living shit out the listener's ears. This is far from being a tedious process, however. The sheer amount of riffs hidden in the band's wall-of-sound style of metal makes for great repeat listening. Easily one of the most immersive listening experiences of 2008. It's staggering that this much sound can be produced by only three people. They have a new album coming out on Relapse in February, so keep your eyes peeled for that.Bon Iver - For Emma, Forever Ago
I seriously put off listening to this album for the longest time. Part of it was my aversion to solo acoustic projects, the other part was the refuckingdiculous amount of hype behind this album. That all melted away once I started listening to the first song because....his goddamn voice. Hearing the backstory behind the making of this album a million times only ended up enhancing it in the end. Then there are the little details, such as the inexplicable, yet tasteful use of AutoTune on “The Wolves (Act I and II)” (seriously, I fast forward to the AutoTune part of this song all the time. The whole song rules, though) or the unavoidable fact that this dude recorded the entire album by himself in a cabin is Wisconsin. The sheer amount of things going on here lends it to being a long, arduous process, and one can only imagine what was going through his mind the entire time. Yikes.
RZA - Digi Snacks
Sometimes I think some critics are just out to hate certain albums, and I feel that this was the case with this album. RZA changed hip-hop entirely when he crafted 36 Chambers and a great deal of those older Wu-Tang solo albums. Cut the dude a break. It’s better than Birth Of A Prince, and it’s great to see that RZA isn’t content to just rest on his laurels and the sound he helped birth. Sure this results in amusing dalliances in pitch-shifting on songs like “Straight Up The Block,” but it’s still more daring than a lot of hip-hop/rap coming out these days.
Portishead - Third
Honestly, anyone who wasn’t surprised by this one is lying to themselves. Over a decade since their last album, the 1990's face of mopey Britain returned and turned their entire sound on their head. “Silence” sounds like Slayer compared to the stuff on Dummy in terms of tempo, and the drum machines in “Machine Gun” are determined to punch your face in. Meanwhile, Beth Gibbons voice has retained all of it’s haunting charm, and drifts around the musical storms that make up this album.
City And Colour - Bring Me Your Love
I really wasn’t expecting too much from this. Whenever anybody drops the whole “acoustic solo project” thing, I usually turn tail and run the other way. Something about most stuff that comes out of the genre just immediately turns me off. Instead, Alexisonfire member (and singer of the downright flawless hook on Fucked Up's "Black Albino Bones") Dallas Green turns in a nice, 12 track collection of unassuming folk type songs. Completely non-offensive, but in the best way possible.
-Erik
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