My Favorite Discs of 2005 - #13-1

13. GOLDEN OCEAN-50 Foot Wave (Reincarnate)
Whoa...Kristin Hersh rocks. The former Throwing Muses leader has actually gotten more ferocious as time goes on, as evident by 50 Foot Wave's first full length disc, which is oddly abrasive, but in a good way. Backed ever-so-ably by the dexterous Bernard Georges on bass and the absolutely herculean Rob Ahlers on drums, Hersh fires through this batch of tunes expertly mixing fuzzed out, punkish guitar riffs with absurd time changes. Granted, your throat hurts just listening to Hersh scream out her head-scratching lyrics, but the complexity of "Bone China" and the frenzy exemplified in "Clara Bow" (complete with the lyric "Bones were made to be broken") just completely overshadow any strained vocals. GOLDEN OCEAN is fierce and not for the faint of heart. And to paraphrase "Clara Bow" as March might say regarding this disc: Faces were made to be melted.

Previous list appearances: 50 FOOT WAVE (#1 E.P. in 2004)

12. SHINE-Trey Anastasio (Sony)
I know I'm going to get all sorts of flak for liking this album, especially from the hippies who hate on Trey for breaking up Phish, but I'm an unapologetic sucker for Anastasio's ballads and guitar playing. The former jam band giant's frontman foregoes the indulgent guitar solos and instead focuses more on the song and his ever-present gift of melody. Make no mistake, it is light, fluffy, and doesn't have a ton of substance, but this disc sounds like summer and I like that. From the bouncy title track to the duality of "Come As Melody" to the textured "Black", Anastasio really excels at crafting airy pop that allows you to just press play and not think about. His guitar solos still show his talent while remaining tasteful and he hasn't lost his knack for writing a moving ballad. Check out the delicate closer, "Love That Breaks All Lines" for proof positive. It certainly ain't Phish. But in the case of SHINE, that's not necessarily a bad thing.

Previous list appearances: TREY ANASTASIO (#13 in 2002)

11. JACKSONVILLE CITY NIGHTS-Ryan Adams and the Cardinals (Lost Highway)
On the second of releases on the list, Ryan again teams with the Cardinals to produce an offering that seems to be quite the melding between the upcoming COLD ROSES and his true solo effort for the year, 29. The best part about this disc is the dynamic Adams has with his band. The Cardinals seem to bring out the best in Adams as far as singing, playing, and songwriting. All too brief, JACKSONVILLE CITY NIGHTS embraces Adams' alt-country roots in Whiskeytown without being slave to them. These is a vague veil of sadness here, particularly on "Silver Bullets" and "September", but in the case of the latter, Adams recognizes the mood and follows it up with the fun "Peaceful Valley". His empassioned ode to Jacksonville, "The End" and the album's opener "A Kiss Before I Go" may sound overtly countrified with all of the lap steel and strings, but this is a more mature Adams. One who amazes with his inability to swing and miss.

10. SUNRISE OVER SEA-John Butler Trio (Lava)
From Australia via California, master guitarist John Butler sure is as earthy crunchy as they get. And his disc balances tales of love ("Peaches and Cream") and some scathing political commentary (the energetic "Old Man" and the scolding, banjo-driven "Damned to Hell") and gives the listener no mistake where his allegiances lie. The only criticism of this disc is that it doesn't nearly capture Butler's live intensity, but that's no reason to pass this offering up until he comes to your town. If he lays down some impressive grooves ("Zebra") some funky rhythms ("Treat Yo Mama"), or builds on a simple banjo riff to create a grandiose tune ("Born To Ramble"), Butler's musical chops far outshine his Eddie Vedder-ish mumbles. He never falls too far into jammyness but still manages to showcase his guitar playing with tours-de-force like "Betterman" and "Sometimes". While his live show puts this disc to shame (which is more of a compliment to his live show than a knock on the disc), SUNRISE OVER SEA is a great introduction to this great up-and-coming talent.

9. Z-My Morning Jacket (Ato)
Sometimes slow and methodical ("Gideon", "Dondante") and sometimes insanely catchy (try not tapping your foot to "Off The Record" or "Anytime"), Z may go down in My Morning Jacket's annals as being a kind of OK COMPUTER for them: a follow-up to a strong record and a bridge to a new sound. Jim James' vocals still sound like they were recorded in the bottom of an empty swimming pool, but the alt-country quirkiness of earlier releases have given way to a diverse, well-produced sound. Still trippy and mostly mellow, Z really proves this is a great musical band; the songwriting has improved, making Z My Morning Jacket's most consistent effort yet.

Previous list appearances: IT STILL MOVES (#16 IN 2003)

8. SIX KINDS OF PASSION LOOKING FOR AN EXIT-Eric Matthews (Empyrean)
A 7-song disc, while not technically an E.P., proves the old adage of good things coming in small packages. Eric Matthews may have been on a 7-year musical hiatus, but he picks up right where he left off, crafting lavish instrumental pop behind his recognizable breathy vocals. Unable to be categorized, Matthews takes these 7 songs and transfers them into something that sounds like little else out there. Expertly accenting his songs with horns (the bouncy "Black To Light Brown") and strings ("So Overblown", "Worthy"), Matthews creates an environment of sitting in a ritzy apartment at night in the summertime with the windows open, sipping on an expensive red wine. The ultra-cool "Do You Really Want It?" is just one of the homeruns he hits here. The time off has served Matthews well. In 7 years, the face of music has changed drastically. Matthews has stayed the same. And like 7 years ago, he still doesn't sound like anyone else.

7. BODY OF SONG-Bob Mould (Yep Roc)
Bob Mould has had quite a varied career so far. Starting off with the hardcore punk of Husker Du in the 80s, the power pop of Sugar in the 90s, a few solo adventures, including techno offerings. The long-awaited BODY OF SONG is a nice mixture of Bob's loud guitars and the electronic music he has adopted as part of his repertoire. The emotionally draining layers of the opening dirge-like "Circles" is one of the most powerful and chill-inducing tunes of Mould's career. The remaining first half of the disc is also great. The techno tinge of "(Shine Your) Light Love Hope" is a guilty pleasure while the cool mixture of guitar and electonica of "Paralyzed" and "I Am Vision, I Am Sound" bridge the gap between the two most recent Mould genres. The unabashed rock of "Underneath Days" and "Missing You" show that Bob can still wail on the guitar, but surprisingly, the best ballads ("Lowdown Ground", "My Old Friend") are found on the limited edition bonus disc. With BODY OF SONG, Mould appeals to his longtime fans without having to give up the electronic music he loves (which was tepidly received by most fans with MODULATE.) Let's hope he keeps it up.
Previous list appearances: THE LAST DOG AND PONY SHOW (#1 in 1998), MODULATE. (#14 in 2002)

6. COLD ROSES-Ryan Adams and the Cardinals (Lost Highway)
The first of three (!) efforts released from Ryan Adams this year also happens to be his strongest. COLD ROSES finds Adams resorting back to his Whiskeytown-era country-flavored twangs, but with even more stunning results, thanks to his immensely talented backup band, The Cardinals. Starting things off disc 1 is the glorious "Magnolia Mountain", one of the best songs of Adams' already prolific career and one of any year's collective best. A little introspective and vulnerable, COLD ROSES rarely lets completely loose, but when it does (the raucous fun of "Beautiful Sorta" and "Life Is Beautiful"), it is a welcome diversion from some of the more somber tunes. But Adams knows when to pull what strings...his vocal range wonderfully augments "Sweet Illusions" and the fragile prettiness of "Mockingbird" and "Blossom" elevate them to soaring heights. Adams' strength also lies with composing melodies that stay with the listener long after the disc is over ("Easy Plateau", "Let It Ride"). While Adams released two other discs this year, both great as well, COLD ROSES stands out as the best of the crop, thanks to Adams' usual passion and The Cardinals' rock steady backup.

5. THE WOODS-Sleater-Kinney (Sub Pop)
Those looking for some familiar minimalistic punkish rock from this Olympia, Washington trio might be a little surprised by this louder, heavier, and brasher offering. Sounding more like Sabbath than the Sex Pistols, Corin Tucker and Carrie Brownstein lay down some impressive riffs while drummer Janet Weiss channels John Bonham ("Modern Girl"). Tucker's patented wail (she's one of rock's great singers) is still here as is the complimentary vocals of Brownstein (along with her mesmerizing guitar leads, see the accessible "Jumpers"), but the band more fierce and full of more fury than ever. The cacophony of the album's opener, "The Fox", opens the door for further discord in "What's Mine Is Yours", "Steep Air", and the outrageous crunch of 11-minute "Let's Call It Love". A different, but powerful disc from S-K.

Previous list appearances: DIG ME OUT (#5 in 1997), THE HOT ROCK (#7 in 1999), ALL HANDS ON THE BAD ONE (#7 in 2000), ONE BEAT (#5 in 2002)

4. TWIN CINEMA-The New Pornographers (Matador)
New Pornographers frontman A.C. (Carl) Newman is a tragically underrated songwriting prodigy. It is borderline unfathomable how this guy consistently writes insanely catchy, yet edgy and deeply melodic songs CD after CD. TWIN CINEMA is no different. It is a dense and textured disc, yet is surprisingly breezy and carefree. Not a single note is misplaced and nothing is overdone or under-utilized. With the usual help provided by Neko Case ("The Bones of an Idol"), Newman and the rest of the band power through such catchy alt-pop as the title track, the singalong "Use It" and "The Bleeding Heart Show", all of which epitomize Newman's genius and penchant for writing perfect songs.

Previous list appearances: ELECTRIC VERSION (#3 in 2003)

3. FRANCES THE MUTE-The Mars Volta (Universal)
Wow, typically schizophrenic and harrowing, the warped brains of guitarist extraordinaire Omar Rodriguez-Lopez and operatic vocalist Cedric Bixler Zavala deliver another prog-rock opus that is as challenging as it is rewarding. Mixing ambient noises with horns and strings and the usual Mars Volta dissonance, the band fires on all cylinders with FRANCES THE MUTE. Bi-lingual and multi-faceted, this organized cacophony's intensity is matched only by the complexity of the songs and their meanings. There are five tracks here, three with multiple movements ("Cygnus...Vismund Cygnus", "Miranda That Ghost Just Isn't Holy Anymore", and "Cassandra Gemini") and once you get over the fact that you may never know just what in the hell they are singing about, you just bask in the glow of being musically throttled.

Previous list appearances: DE-LOUSED IN THE COMATORIUM (#1 in 2003)

2. GET BEHIND ME SATAN-the White Stripes (V2)
This Detroit duo grew by leaps and bounds in the last two years. Their previous efforts have all been outstanding, but this latest from the ex-husband and wife twosome showcases guitarist/singer Jack White's amazing guitar playing and composition skills. Sure, the fuzzed out bluesy rockers are still here ("Blue Orchard", "Red Rain") and they absolutely slay, thanks in part to Meg White's rhythmic and rudimentary poundings. But the songs that are a little left of what the Stripes are known for make GET BEHIND ME SATAN one of the best of the year, particularly the infectious, piano-driven "My Doorbell" and "The Denial Twist". Diverse yet true to itself, heavy yet airy. If these two keep this up, their next release is going to be a doozy.

Previous list appearances: ELEPHANT (#4 in 2003)

1. LULLABIES TO PARALYZE-Queens of the Stone Age (Interscope)
I'm starting to wonder if Josh Homme can do anything wrong. This wasn't always the case, mind you, as his band's latest didn't exactly enthrall me with my first few listens. But the more I listened, the more I listened and what I heard was the best disc of 2005. Starting off with a relaxing, picked acoustic guitar beneath Mark Lanegan's cigarette and whiskey ravaged vocal husk, "This Lullaby" lulls the listener into a false state before it segues into the hard rocking "Medication". And so begins the ride of LULLABIES TO PARALYZE. After shedding long-time collaborator and bassist/vocalist Nick Oliveri, there was some skepticism about the band, but Homme has assembled the band's strongest incarnation, thanks to multi-instrumentalist Alain Johannes. But Homme is the real star here, master of everything: guitar riffs, songwriting, and, impressively, vocals. This disc is heavy, catchy, and pummeling, yet incredibly melodic. From the Jeckyll and Hyde duality of "Everybody Knows That You're Insane" to the groovy "Tangled Up In Plaid" to the disorienting "Burn The Witch", Homme has constructed his most challenging and rewarding disc yet. It's almost bothersome how hummable "Little Sister" and it's cowbell lead are and the sinister opus, "Someone's In The Wolf" finds a way to be repetitive without being boring. But in the face of all this, Homme throws everyone a few curveballs, particularly with the slower numbers. The dreamy "'You Got A Killer Scene There, Man'" is just the tip of the iceberg as the disc's closer, "Long Slow Goodbye" resonates long after its completion and the falsetto of "I Never Came" might be the most impressive work Homme has done ever done. QOTSA has an impressive body of work thus far. And this might be their best.

Previous list appearances: RATED R (#1 in 2000), SONGS FOR THE DEAF (#1 in 2002), STONE AGE COMPLICATIONS (#2 E.P. in 2004)