(t5!) My Year In Lists 2006: Albums! 25 to 21

The Eraser may be the first Radiohead album that precisely sounds like what everyone was expecting; the only problem is “Radiohead” doesn’t appear on the album cover. Its absence is accurate though: Greenwood inputs are sparse here, if none at all. But the comparisons between this one and other Radiohead albums are inescapable. The presence of the hunky pianos, computer drums, the bleeps and the blops make it sound like a logical sequel to the Kid A/Amnesiac series. Thom Yorke’s vocals scorch the frigidity of the synthetic instruments, reminding you that it’s always been the most vital component to a Radiohead record. But, is it Radiohead or not? The more you listen to it, the more the question seems irrelevant.

[The Eraser | Black Swan | Atoms For Peace]

“Hot Chip will break your legs, snap off your head/Hot Chip will put you down, under the ground.” It’s a threat inanely deployed by Hot Chip in the title track’s chorus. The brash lyrics are delivered while aided by a delicate electro-pop production; on paper, it seems like a contradiction, but the two conflicting attitudes are swimmingly harmonized here. The Warning, in fact, is full of schizophrenic attributes: ludicrous messages stand side by side with forlorn ones; synthetic instruments emit organic warmth; it’ll make you dance, it’ll make you melancholic. But it all fits, fastened together by flourishing beats and Alexis Taylor and Joe Goddard’s high-low harmony. There’ll be no conflicting thoughts, though, about liking this after you listen to it.

[Careful | Over And Over | The Warning]

If I talked to someone that exclusively listens to the radio about the current state of Canadian music, Nickelback would probably be mentioned as the most prevailing Canadian musicians right now. I’d, however, disagree and rebut that a homosexual violinist from Montreal is on top of today’s Canadian music hierarchy. He blends classical string arrangements and pop inflection to create entrancing contemporary idylls. His latest album is farcically entitled “He Poos Clouds” and the tracks are inspired by Dungeons & Dragons’ Eight Schools of Magic. And a hundred of Canada’s most respectable music journalists and broadcasters agree with me, awarding the album the inaugural Polaris Music Prize. Then I’d point out with a sneer that Nickelback stinks.

[Arctic Circle | This Lamb Sells Condos | Many Lives -> 49 MP]

As expected, Bitter Tea is unusual; it wouldn’t be a Fiery Furnaces album if it’s not furnished with unabashed experimentation. Keep in mind that these are the same avant-garde brother-and-sister duo that employed their grandmother for some vocal work in the album prior, Rehearsing My Choir. But, amongst the backward vocals and carnival instrumentation that frolic from one headphone to the other, there’s a pop melody waiting to lodge itself in your brain for months at a time. Eleanor Friedberger sounds divine here, the most astonishing she’s ever been, even when her alto’s reversed or surrounded by manic peculiarities. She remains an audible guide to hold your hand through Bitter Tea’s surrealism.

[Teach Me Sweetheart | Waiting To Know You | Nevers!]

Contrary to what most may think, Let’s Build A Fire belongs in this list not because two-thirds of +/- are Filipino. In fact, their only non-Filipino member may be their finest aspect. Chris Deaner’s rhythm section is magnetic here: it operates in unconventional time signatures while snares and silences appear when it’s not supposed to and riffs break out because it can. The plethoric extravagance of their past albums is amended, exposing a more straight-forward guitar rock record. Melodies unequivocally captivate the way Death Cab For Cutie and Dismemberment Plan do, and James Baluyut’s pastel vocals deliver it with inspiring range. Although it's nice to see, +/-'s nationality should be an afterthought when an album is as impressive as this.

[Steal The Blueprints | The Important Thing Is To Love [Live KEXP] | Leap Year]