Why does it feel like music was lacking a certain something in 2007? There were plenty of good albums to come out, but in the Alpine heights of greatness, few releases were to be found. The six albums below, of course, are a few of the exceptions we heard in the past 12 months. They were almost enough to make us forget the music industry is caving in on itself, though at least one – Radiohead’s In Rainbows – generated massive publicity shining a spotlight on a post-Major label landscape.
Radiohead, In Rainbows
It’s hard to talk about Radiohead’s In Rainbows without bringing up its unique marketing strategy. Unlike their previous releases, which were built up over months of advertisements and teasers, many fans were unaware that a new record was coming out until it was out, sold exclusively through the band’s website for the low low price of whatever you felt like paying. While they are not the first mainstream band to release only on the web, Radiohead has garnered a lot of attention from media sources who wouldn’t normally pay much attention to a simple cd release. We at the Re:Generator joined the hardcore fans in frantically clicking the refresh button on October 10th, our faces mashed against the monitor in case the music could be heard faintly through the download progress bar. And it was worth the AGONIZING wait, because this album has some the most gut-wrenchingly beautiful, beautiful songs.
15 Step starts off sounding a lot like one of Thom Yorke’s solo excursions, but the addition of the other band members adds a depth that some may have found lacking in The Eraser. In tracks like Nude, All I Need, Reckoner, and Videotape, the ominous, threatening mood of Hail To The Thief has been replaced by a mood where the threat landed, the fear passed, and we’re left with a sort of shell-shocked mourning. Faust Arp sounds like a response to Wolf At The Door, while Bodysnatchers and House Of Cards are both reminiscent of Radiohead’s earlier sound, but still reflect the newer direction that they have been pursuing. Compared to recent albums, In Rainbows is pretty stripped down, weird effects-wise, and the album is carried by the strength of the songs alone. This album represents a refreshing change of pace and carries the Re:Generator seal of approval. —rex opolis
Arcade Fire, Neon Bible
The first thing you notice about Arcade Fire’s sophomore full-length Neon Bible is how much quieter it is. Much of the anthemic bombast of Funeral seems buried here, seeming muted for the sake of intimacy. But Neon Bible grows on you, envelops you, takes you to places their first album only hinted at. My Body is a Cage detonates like a time bomb. The title track is a hushed confession in the middle of night. Windowsill pushes the world away, knowing full well it will coming roaring back. Like a camera lens coming into focus, Neon Bible’s melodies become suddenly apparent, themes clear as day. What at first glance seems like a step back is actually step forward for Arcade Fire, as they transform into something more than themselves while holding onto their core integrity. They’re Bruce Springsteen, but not mediocre. They’re Radiohead, but not self-defeating. They’re U2, sans self-righteousness. Gods help them, they’re arena rock for the jaded generation. —Robert Starvation
Queens of the Stone Age, Era Vulgaris
Many things can be said about Queens of the Stone Age, and some of them are these: They never let you down when it comes to good, solid rock. Era Vulgaris definitely delivers the jabbing guitar riffs (Sick, Sick, Sick) or melodic song breaks (Into The Hollow) reminiscent of just good ol’ rock and roll. Also, the rock ballad, Make It Wit Chu, is also a nice touch with a catchy chorus line – no matter how grammatically incorrect it is. As Era Vulgaris is the only new CD I’ve listened to this year (or in two years, even), I’m glad it was this one. —Sam Pagan
Modest Mouse, We Were Dead Before the Ship Even Sank
Fans of Modest Mouse have seen a dramatic change in their music over the years, from the sleepy, instrumental wonders of their first album This Is A Long Drive For Someone With Nothing To Talk About way back in 1996, on up through their amped-up, surprisingly angry album Good News For People Who Love Bad News. Their most recent album, bringing to the table more than eleven years of musical experiments (as well as the delicious introduction of their newest member – Johnny Marr from The Smiths), We Were Dead… mixes the instrumental wonders of their old sounds with the energy and dark humor found in their more recent material. The radio hits Dashboard and Missed the Boat are just the tip of the iceberg, proving to fans that like a good wine, Modest Mouse only gets better with age. —Jessica Nitowski
Animal Collective, Strawberry Jam
As usual, Animal Collective takes you on a bizarre, but refreshingly original psychological journey with their latest release Strawberry Jam. During the bands evolution, Animal Collective’s sound has mutated with a ratchet effect album-by-album, leading to the bizarre creature that is this seventh full length release. During Feels – their remarkable 2005 release, the group seemed to be peering over the edge of a truly astounding and groundbreaking realization. But Strawberry Jam takes an unexpected adaptation into their evolution, taking the listener to a brighter, goofier, more structured world. And as if their past records weren’t enough, Strawberry Jam is more ill-balanced and bizarre than ever. Using mostly samples, live percussion, wacky vocals, and effect-soaked guitars, Animal Collective’s sound is silly, beautiful, ridiculous, charming, awkward and healing – sometimes within a single musical phrase. At the very least, Strawberry Jam deserves a spot as one of 2007’s top records because it is anything but generic. If 2005 was the year they broke into a higher public awareness, 2007 is the year that Animal Collective has secured their position as a truly notable contemporary group. —Dandroid
M.I.A., Kala
Sometimes, when life gets you down – in the form of, say, United States customs officials denying your visa because they don’t like who your parents are – making an album full of catchy third world beats and smart, playful rapping is the best revenge. M.I.A. certainly made the best of a bad situation, turning in a record, Kala, that is odds on the best pop album of the year. You can play tracks from Kala in a club or for your politically active dormmate, and in neither situation will it be out of place. Boyz, 20 Dollar and Bird Flu have enjoyed play, but it’s Paper Planes, with gun shots and cash registers going off amidst a sample of The Clash’s Straight To Hell, that propels Kala to greatness. —Robert Starvation
