Best of 2008 (part 2)

10. Elliot Brood - Mountain Meadows: I enjoy praising "raspy vocals" in my reviews, and generally I'm a sucker for them just out of preference.  And with Elliot Brood, the lead singer's voice couldn't be more raspier.  However, even for me, the instruments really steal the show here.  But what surprised me most was how much I loved the numerous instrumental tracks.  Dark country influenced piano solos and acoustic guitars take the reigns, guiding each instrumental like a narrative - calling the effect atmospheric is an understatement.

9. Ra Ra Riot - The Rhumb Line: Quiet, reserved, calming indie rock never sounded so good.  The New York group's full length debut stayed in constant rotation for weeks after release and had me questioning my punk-rock allegiances.  Songs flow seamlessly together but retain distinctive qualities.  That the band created such an impressionable release after losing their lead songwriter (he passed away) is a credit to Ra Ra Riot's shared musicianship between its crew.

8. Ghoultown - Life After Sundown: As far as I'm concerned, at this point Ghoultown can do no wrong.  With Life After Sundown they have proved themselves the undisputed kings of the dead west.  By blending spaghetti western and outlaw-like sounds with punk and metal sensibilities, the band creates a soundscape unlike any other.  They've also upped their lyrical game, writing epics that had me on the edge of my seat.  Sure, they're a novelty band, but quite possibly one of the best around.

 
7. Okkervil River - The Stand-ins: Part two of what was originally intended as a double release, The Stand-ins picks up where last year's masterpiece, The Stage Names, left off.  I'd venture to say that songs like "Lost Coastlines" actually surpass last year's effort, but that may just be that I'm still awe struck by these indie marvels making year end lists for the second year in a row.  

6. The Hold Steady - Stay Positive: I have to admit, I missed out on 2006's critically acclaimed Boys and Girls in America, so my reference point may be a little different than most.  But as an introduction to the band, Stay Positive was more than I could have ever hoped for.  The songs are catchy on a grand scale, but but thanks to the borderline sloppy vocals retain an unpredictable quality.  I'd be doing a great injustice if I didn't comment on the narration, so I'll briefly praise captivating stories and unforgettable characters that help make Stay Positive more then memorable.

5. The Gaslight Anthem - The '59 Sound: In addition to that wonderful EP, the band also managed to put out an incredibly solid full length album in 2008.  They've come a long way since their 2007 debut, more completely defining themselves through their Springsteen overtones and odes to various musical inspirations.  But they're so much more than a tribute band.  They take mastery of their influences, making songs that are entirely their own, and in may cases that surpass their idols.  Simply put, The '59 Sound can not only be appreciated, but loved by people from practically any musical preference.

4. The Tom Fun Orchestra - You Will Land With a Thud: You Will Land With a Thud was one of the very first albums in 2008 where I instantly knew I had found something classic.  The band has a distinct Nova Scotian sound, defined with celtic undertones, but also blends together an unforgettable array of swing, country, folk, and salsa.  It's one of the most refreshing sounds in current memory, and has been a staple in my library since way back in January - a testament to its appeal. 

3. Gutter Demons - Misery, Madness, and Murder Lullabies: With their latest album, the Gutter Demons have created a Psychobilly gem that truly expands what the genre is capable of.  Misery, Madness, and Murder Lullabies shows a distinctly psychobilly band blending various genres together to create an album with something for everyone.  Punks will love the coarse vocals, rockabilly enthusiasts will love the song structures, and psychobilly cultists will go wild for the unparalleled mastery of the the click-thump-click of the upright bass.  Unfortunately the band played it's final show as of November 29th - R.I.P. - but the band's accomplishments will live on forever in this record.

2. Saint Alvia - Between The Lines: Every now and then an album comes along that you could proudly hear on the radio without and greet with praise.  I recognize Saint Alvia's masterpiece in second place because it achieves what most great punk albums cannot: kick ass tunes that not only sound impressive inside the genre, but that genuinely sound current and relevant to today's music in general.  That Between The Lines mashes together so many obscure influences and sounds and still achieves such a feat is truly remarkable.

 1. The Dreadnoughts - Legends Never Die: The Dreadnoughts' debut takes first place on my list because simply put, it's an instant classic by a band no one really knew existed.  Legends Never Die is hands down the best celtic punk album in years, beating out genre mainstays The Dropkick Murphys, The Real McKenzies, and Flogging Molly.  Some have called it "pirate punk," but that's a pretty narrow minded definition for something as addictive as this.  Furthermore, the album feels like it catches the Dreadnoughts' full live experience, and while I have yet to see them live, since they're based in my hometown, seeing The Dreadnoughts live is definitely one of my most pressing new years resolutions.  

Best of 2008 (Part 1)

20. Alkaline Trio - Agony & Irony: I must admit, after signing to a major label, I never thought this would show up on here.  I fully anticipated Alkaline Trio would further butcher their sound, and lose almost all personality.  But to my surprise, Agony & Irony actually ended up being a return to form, containing some of the most atmospheric and memorable tunes since Goddamnit.

19. Pennywise - Reason to Believe: Undoubtedly the best (temporarily) free album of the year, after 20 years Pennywise shows us that they can still make some of the best punkrock today.  While they were sounding stale in their past couple releases, the band seems to have found new life.  By adding a slight metal overtone and a punchier "rock" core to their songs, the band made themselves relevant once again.

18. Son of Sam - Into The Night: Horrorpunk as it should sound.  Every year I wait for that one Horrorpunk album that reaches beyond the genre and finds a home in my daily playlists.  Because of the all star cast making up this record, I'm not surprised Son of Sam's latest release took that top spot this year.  While I was never a fan of the band in their 2001 release, replacing Davey Havoc with Ian Thorne not only won me over, but got this record on my year end list.

17. The Real McKenzies - Off The Leash: Bagpipes rarely sound this good.  Few celtic punk bands really ever find that sweet spot, but after three releases, The Real McKenzies just know what to do.  The band sounds more confident than ever, switching between goofy pub songs and more somber moments, Off The Leash is a "novelty" album that could be played any place, any time and find appreciation from all.

16. Portugal. The Man - Censored Colours: This band just never stops changing its influences and pioneering new ground.  With their first record off of Fearless Records and full independent, it's clear that the band finally had the opportunity to express themselves without reserve.

15. The Briggs - Come all you Madmen: There's something to be said about a band that just "gets" a genre.  The Briggs simply know how to make picture perfect, anthemic east coast hardcore street punk.  The vocals are big - the choruses even bigger.  I need not say more.

14. The Features - Some Kind of Salvation: I know very little about this band, other than than I can't stop playing this album.  It came out of nowhere and delivered the perfect blend of indie and pop I'd been looking for all year.  They seem to have completely reinvented their sound as well - I tried listening to their previous releases, and I can safely say that The Features have never sounded this good.

13. Zox - Line In the Sand: For whatever reason, I usually find myself avoiding music that's too "radio friendly."  It's not intensional, but just how my preferences have developed.  But for Zox I make an exception.  Should any song on this album see significant radio play, there's no doubt in my mind that Zox would garner quite a following.  Defined with an electric violin, an easy comparison would be Yellowcard - but that would also do a great injustice, for Zox sings with a rare passion and clarity, setting them apart from their contemporaries.

12. The Methadones/The Copyrights - Split: Two of the best pop-punk bands out there in one release, what more could you ask for?  Since I had always both bands' full length albums dragged on a little too long, the format really plays to both bands' strengths.  To top that off, these songs are both some of the best in each band's library.

11. Ezra Furman & the Harpoons - Inside the Human Body: Heavily inspired by The Violent Fems' glory days, Ezra Furman mixes a The Fems' shaky delivery with Conor Oberst like emotion.  The result is infectiously catchy, and altogether unpredictable.  What surprised me most after my first listen to  Inside the Human Body's was the band's adoption of indie inspirations.  Their first release was praised because of its genuine Bob Dylan-ness, so venturing outside of such praise was a gamble.  But it payed off.  The band now has a more developed and distinct sound than ever, and they're better for it.