25. eels -- Electro-Shock Blues
Certainly the year’s most introspective album, the eels’ Electro-Shock Blues chronicles the deaths of several people close to the heart of lead singer E and his subsequent teetering in and out of insanity. Combine these heartwrenching lyrics with the band’s signature sense of quirky melodicism. Horror never sounded so good.
In the world of rock, image is everything, so they say. Judging by that stereotype, Rhode Island’s Combustible Edison should be everyone’s choice to lead us into the millenium--in more ways than one! The band’s combination of stage elegance--tuxedos and evening gowns--with their shimmering space-age "utopian" music makes The Impossible World one of the year’s most charming releases.
After two years and the unexpected exit of longtime drummer Bill Berry, REM’s eleventh album was greeted by fans and critics alike, all of whom asked the same question: can REM possibly carry on their status as America’s #1 band as a trio? The answer: yes, and in a big way. While the band has dropped their signature jangle-pop sound in favor of more modernized sound and lyrical material, they prove on Up that they are still a major force to be reckoned with in the state of American rock. Possible REM classic tunes include "You’re in the Air," "At My Most Beautiful," and the album’s 3rd single, "Walk Unafraid."
Like REM, Pulp also faced a dilemma...of a different kind. How does a band deal with unexpected fame? And how should a band follow-up a classic album, in Pulp’s case, 1995’s Different Class. According to lead vocalist Jarvis Cocker, you follow it up with another classic--1998’s multithematic This is Hardcore. Covering his songs with his traditional deft sexual lyricism--even the album’s title suggests an air of perversion--Cocker’s main concern on the album is his preoccupation with aging. Quite an unexpected turn of events for Pulp’s hard-luck playboy; Cocker states on This is Hardcore that he’d rather be directing sexual fantasies rather than starring in them. An amazing comeback album that proves that Pulp is no sophomore jinx (at least in terms of their popularity--yeah, of course they have 8 albums out...).
The rise to stardom for Catatonia’s Welsh-born lead singer Cerys Matthews culminated this year in a big way. Being named as Melody Maker’s Woman of the Year, scoring several Top 10 hits in the UK, and selling out shows all over the place all resulted from International Velvet, Catatonia’s 3rd album and the first to garner any major attention. Catatonia’s uncanny melodicism combined with Cerys’ unique vocals and passionate lyrics make the album great.
Also recommended: "The Ballad of Tom Jones" Space w/Cerys MatthewsIt’s rare when a band writes an album in one language, releases it, turns around and rewrites it in another language, and rereleases it. Such is the case of Isola, Kent’s debut album in the English language which had been originally released in 1997 in their native Swedish tongue. Isola is simply one of the year’s most powerful albums, with a handful of singles to come. Proof that experimentation often can work successfully in the world of music, Kent scored a top 10 last year with "Om Du Vär Har" in Swedish, and hit the top 10 in college radio this year with the English equivalent, "If You Were Here." Sheer brilliance.
I have little to report about this album. Quietly released in April 1998 by these Canadian-born Sully, the album’s surreal ability to affect listeners without having discernable lyrics makes this debut the best pure techno album of the year.
To answer Komeda’s rhetorical question and album title, melody makes it go. Combining the 70’s American new-wave movie soundtrack tunage with 90’s Swedepop ethic, Komeda makes What Makes It Go the year’s most entertaining release behind such tunes as the poppy "It’s Alright Baby" and the lounge-pop gem "Cul de Sac."
The rare album that has no weak link, Rialto’s eponymous debut entertains from the first chord of the classic breakup tune "Monday Morning 5:19" to the last notes of "Milk of Amnesia." A band that seems to have the theatrics of Pulp and the melody of Suede, they ultimately put their influences behind to create a forward-looking debut that proves the band could be a big force for years to come in British music.
Enter French pop duo Air. Exit orgasmic Nintendo scores. Enough said.
A splendid album from start to finish, howdoesyourgardengrow shows that Better Than Ezra has indeed modernized while clinging to the power-pop ethic which brought them to fame on their 1994 debut, Deluxe. While the first two tracks suggest an updated BTE--the first, "Je Ne M’en Souviens Pas," sounds like a cross between Beck and Air (see above), and the second, "One More Murder," displays a sound similar to that of The Charlatans--nothing really has changed for Louisiana’s favorite alterna-rock sons. "At the Stars" is one of the year’s best love songs, while "Like It Like That" shows a decided dance edge. "Allison Foley" is the best song about getting stoned since Bob Dylan. Maybe. Whatever. Still, a great album with something for everyone.
Soooo...who’s going to assume Oasis’s role in Britpop once their ability to emulate the Beatles inevitably fizzles out? Certainly many bands with grasp at the opportunity, but only one will truly "embrace" it. Embrace, led by vocalist Danny McNamara, have created the long lost 4th Stone Roses album on their debut The Good Will Out. Behind the strength of the powerful "All You Good Good People" and "My Weakness Is None of Your Business," Embrace seems to have the hooky melodicism and grandiose harmonics to score big with both critics and consumers in the near future.
Smith’s fourth album XO is, as the name would suggest, a series of love songs. But what else would we expect from Elliott Smith? After all, that’s what he’s famous for. What makes XO different from his other releases is that XO is on a major label. Finally signing to a major company after years on the Kill Rock Stars label, Smith has had an incredible year, first scoring an Academy Award nomination for "Miss Misery," which can be found on the Good Will Hunting soundtrack, and then releasing XO, an incredible testament to Smith’s abilities as a singer/songwriter.
An emo all-star band of sorts, Jets to Brazil brings together members of three of emocore’s elite--Texas is the Reason, Jawbreaker, and Handsome--to create...WHAT?!? Late 80’s new-wave? Gosh! Yes, it’s true. Jets to Brazil is NOT emocore "screaming weasel" tunage. Instead, Jets to Brazil has made a beautiful, lyrical, pounding, and yes, missing album from the 80’s. Swift. Featuring the fabulous "Chinatown" and the lyrically wacky "Crown of the Valley."
Stereolab often releases obscure singles and Eps between albums. They do a great service to their fans by releasing the highlights of these rarities in their Switched On series. Aluminum Tunes, the 3rd offering in the collection, has some of the band’s best songs. Included are the entire Music for the Amorphous Body Study Centre EP as well as some Latin flute duets. Sounds weird, but it’s actually quite good. This double album should hold everyone over in a good way until the indie-pop wonders release their true follow-up to 1997’s stellar Dots and Loops.
The weirdest album in ages, Tripping Daisy’s phenomenal 3rd album erases the memories of their sophomoric "I Got a Girl" days while evoking the same goofy charm. Jesus has a bit of everything. Power, in the single "Waited a Light Year." Love, in the form of the album’s best tune, "Sonic Bloom." And dedication, in "Indian Poker Pts. 2 and 3," a tribute to the late Tim Taylor, formerly of Brainiac. In the end, Jesus ultimately saves. Tripping Daisy amazingly creates one of the unexpected best albums upon the arrival of the millenium. The saviour returns in 1998 in the form of Tripping Daisy’s Jesus Hits Like the Atom Bomb.
Chicago’s chamber-pop outfit Aluminum Group are the second unexpected visitors to my top 10. Plano is a great album of sad love songs, keyboard-laden ballads, and poppy melodies. Must be heard to be believed. Takes a cue from Belle and Sebastian’s revival of 60’s contemporary pop but maintains a forward-looking perspective towards the future.
A Welsh trio, the Manic Street Preachers’ second album minus Richey James Edwards is nearly as good as the first. Behind singles "If You Tolerate This, Your Children will be Next" and "The Everlasting," the Manics’ grandiose symphonic arrangements prove that they are headed in the right direction.
Andy Yorke is Thom Yorke of Radiohead’s brother. He’s also the lead singer of Unbelievable Truth. The two comments have no bearing upon each other. While Thom’s voice is chameleonic, Andy’s is pure, and while Thom writes about worldly dilemmas, Andy speaks of love and loss. Thus, Unbelievable Truth sounds nothing like Radiohead, and they shouldn’t. Almost Here is the follow-up to the incredible Stone EP, and a great album in its own right. Contains the great ballads "Building" and "Angel," as well as the charged singles "Solved" and "Higher Than Reason."
It’s not 1997’s If You’re Feeling Sinister. But on The Boy with the Arab Strap, Belle & Sebastian prove that they aren’t The Stuart Murdoch Show. Lead vocalist Murdoch spreads the creative energies around on their third album, which contains some of the bands best songs to date, including the title track, the retro "Simple Things," and the lyrically powerful "Seymour Stein," which recounts the band’s encounter with the infamous head of Sire Records. "Is It Wicked Not to Care?" shows cellist Isobel Campbell’s ability as a SOLO artist--she’s already recorded some of her own stuff! This band never ceases to amaze.
Unlikely heroes from small-town Stockton, Missouri, flick sound more like a cross between the Smashing Pumpkins and the Boo Radleys than the country singers that normally come out of the Ozarks. Led by brothers Oran and Trevor Thornton, the former who played in Christian outfit Johnny Q. Public and the second being the 15-year old lead singer, this band combines the best in American power pop as with the finest Britpop to create The Perfect Kellulight, 12 tracks of sheer perfection. Recommended to anyone who thinks that American pop has no future--since this youthful band clearly proves otherwise.
Villa Elaine is Alabama’s Remy Zero’s second album, a much tighter follow-up to their experimental 1996 eponymous debut. Led by singer Cinjun Tate, Remy Zero’s melodies are, in essence, a combination of harmonies. A phenomenal album which contains the year’s best single, "Prophecy," and the sprawling epics "Hollow" and "Hermes Bird."
Wow. Who are these guys? Five years ago, they got the plugs pulled on them for playing TOO LOUD at a festival. Now, they release an album where, at times, you need to turn up the volume just to HEAR them. Is this self-fulfilling for the band? Methinks so! This album is a sheer masterpiece and an haunting epic which has been lauded by critics and fans of the band alike across the board.
The album that sat at my #1 spot for the majority of the year, Arnold’s Hillside is a tough album to top. While the album undeniably has several weak points ("Curio," "Country Biscuit"), the weaknesses make the album entertaining when the band manages to pull off a classic piece of neo-psychedelia, such as the sad pop of "Ira Jones Goes to the Country" and the sweeping, breathy "Fishsounds." Amazing album, topped only by...
Who? Yes, the Frank and Walters, twee-pop band from….Ireland? After a five year layoff after having a single crack the Top 10 in the UK back in 1993, the band is back. Grand Parade evokes the best moments of The Smiths, The Cure, and even U2. A timeless classic, Grand Parade belongs in everyone’s record collection. There’s just nothing wrong with it. Call me an idiot, but The Frank & Walters’ Grand Parade is THE BEST album of 1998.
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