serious lolz

if i made my list 30 days from now Vivian Girls would be way higher than i placed it

E N O

So people like Hot Chip still.

Interesting.


So Matthew Ryan isn't going to place at all huh? I mean there was a decent thread on him, but it was pretty much Hero, B*derty, and myself.

Marnie Stern is probably my biggest "oops." It is easily one of my most listened to albums of the year, and "Shea Stadium," is maybe my favorite song of the year, but I just forgot her when making my list. You'd think with all this hoopla over "elite" music, that there would be more love for her, seeing as she is as crazy as Deerhoof and just as talented.

Maybe the most offensive thing I've ever read.

The Killers, Coldplay, Hot Chip, Flying Lotus.

That's a fun order of albums. Good list so far. Surprised to see Flying Lotus posted so high. I didn't really see much talk about this album on here, but maybe I completely missed it. Also, expected Hot Chip to be higher and The Killers to be much lower.

40-1 still for Friday right?

welcome to the team, TLP

Beat me to it.

as if Coldplay is in top 70 and Oasis and Spiritualized will likely not chart.

poor.

Pretty thrilled this made it as high as it did (as thrilled as you can be with a message board poll i guess). Too bad my 2, 3 and 4 choices probably don't have a chance anymore

Also: agreed 100% with the person who said Transatlanticism is top 10 this decade, although I liked Narrow Stairs quite a bit (I think I had it at 9 or something).

whoa. i got quoted and lol'd by montana? the message board gods are shining down on me tonight.

Haha, thanks Paul.

I dunno, I really love the whole album. But I love chick rock. Or whatever one wants to call it.

The guitar ands drums are just insane. I know that is a vague compliment, but it's true.

Man I missed so much this year. Glad to know Slackmo loved the Mates of State record though, and fairly pleased with the placing of that excellent Hot Chip album.

Because Deerhoof sucks ass, you mean? She doesn't, you mean?

That's not what I meant at all!

Listen, not everyone can live up to the musical genius of King's X or Chris Whitley, but I think Deerhoof come pretty close.

Thank you. They were honest questions!

I actually dig Deerhoof quite a bit, and I think they are rather talented. I meant that when I listen to Marnie it has that frantic unpredictability that I hear in Deerhoof, and between Marnie and Zach Hill you have two musicians that can hold their own against Deerhoof.
Sure her vocals can be love or hate (wow, just like Deerhoof), but her talent as a guitar player is undeniable (cue some "Elite" music fan that denies it)

come on Paves, your a chill dude with some sense. You can hate Marnie, but to say that she has no talent as a musician (and Zach Hill as well), is even more offensive than comparing your beloved Deerhoof to a promising young artist.

What a perversely stimulating trainwreck.

Those who endeavor to sift through the debris, probing cavities and savoring aromas, will be richly rewarded.

studman69 is one of the most influential boarders of all time.

hey bruegel, want to join LoPP?

Fo sho. Cant promise much in the way of contribution at the moment though. I’m on a very strict masturbatory regime whilst my girls out of the country - Every second counts. With that and the World Darts Championship I’m functioning very near capacity.

I didn't say that she wasn't a talented musician. She is. Deerhoof is just good at writing songs, whereas Marnie Stern is not.

Likewise, Zach Hill is an immensely talented drummer that has yet to attach himself to a decent project.

Those are my opinions.

Also, Ed Rodriguez + Greg Saunier >>>> Marnie Stern + Zach Hill

Mick Barr >>>> Marnie Stern

Weasel Walter >>>> Zach Hill

Brian Chippendale >>>> Zach Hill

etc.

Not a fan of those musicians, personally. Other people on that scene are shredding the fuck up in more interesting contexts.

But sure, of course, they have talent. I certainly wish that I could finger tap like that.

Soundscape, thanks for all the links. Definitely feeling Fuck Buttons.

Gross.

Hang in there, man.

There we fucking go.

Stern's last record had better songs than this record. Neither compares to Deerhoof's body of work.

Fair enough. Maybe the only reason I said what I did was that the only two records I have listened to all day have been "Offend Maggie," and the new Marnie, and so the two seem connected to me right now.

Although I totally think that Marnie's songwriting has grown leaps and bounds with this record. Not quite sure why people are finding it more difficult to like than the last one. It is a really well crafted record, with some catchy-as-hell songs (Shea Stadium being the monster).

Seriously, and my connection is intermittent – try having an intermittent wank.

Fuck air strikes. This is stress.



Now that is how to make a mix. Thanks Raj.

It did not sell that many copies to consumers. Part of the deal with Best Buy was a guarantee that BB would purchase that many units up front. Also, In Rainbows sold more than CD. Let's bury this stupid issue in 2008. You lost.

Those are world wide sales, the Best Buy exclusive was U.S.

i just need to say that it's sad to see that Flying Lotus album already out.

thing is ridiculoid.

i just need to say that it's sad to see that Flying Lotus album already out.

thing is ridiculoid.

That was the comment that made me decide to listen to Earth again.

Torche's placing pleases me. But still, too many people here are missing out on that fine record.

The Bug is surprisingly low, but hey, I'll take it. And I really should have gotten the Luomo, I really liked his last two. I'll try to track it down.

That's an album cover waiting to happen right there.

Cooler than Yankee Hotel Foxtrot .

the pretentious comments and condescension in this thread is astounding.

Have to say I agree. I listen to the show every week, and mostly enjoy it, but I just listened back to a year-end episode from maybe two years ago, when GDB was doing it, and Dero and Kot both went almost out of their way to bag on all the SOMB's top five of the year. It's not exactly news that Dero can be really shitty, but it seemed gratitous, even by their standards.

This will cheer you up Simakos

http://www.johngalantini.co.uk/radioheadcalendar2009.pdf

A Radiohead calender.



http://soundopinions.org/forum/index.php?s...st&p=792442

I had The Killers at #4 - may have blown the curve. Or not. Percocet and valium conspire to make me less coherent than usual.

Isn't that what this whole thing is for?

I've all but given up hope that quinn walker, evangelicals, or rural alberta advantage will show up here. I think okkervil river was way too low, stand-ins was a big grower for me this year. Otherwise, good list so far.

I have to go to work in a little bit, but we'll see how many we can get through before then. If we don't get through #41, we'll finish later this afternoon.

“Not only does he makes Joss Stone tolerable, somehow, but he gets Stevie Wonder to guest.” - Plate

#60.




Raphael Saadiq - The Way I See It
(1034 Points, 19 Votes, One #1 Vote)

US Chart Position: #19

UK Chart Position: n/a

Charting Singles: n/a

Pitchfork Review: "So Saadiq, an artist whose career has failed to match his considerable talents, self-produces The Way I See It to sound out of time. Playing almost all the instruments, he keeps the drums taut, the basslines rubbery, and makes sure the tambourine remains a vital component of the rhythm section. His tightly wound guitar on "Staying in Love" even recalls his early New Jack Swing riffs (see: "If I Had No Loot"). The album starts rockily, however, with "Sure Hope You Mean It", a clever rewrite of "How Sweet It Is" that suffers from a bad mix. Against Saadiq's exuberant delivery (he's a superlatively smooth vocalist), the percussion sounds slightly off-beat: The tambourine shakes before hitting on the beat, creating an audio illusion of being too fast, while the snare rolls into the verses sound too slow, like they've been manipulated from a faster performance. As a result, the song sound like it's forever winding down, then struggling to correct itself. It's a curious opener, technically flawed but conceptually solid right down to the distant yoo-hoo's.

Fortunately, "100 Yard Dash" rights things quickly, sounding appropriately dashed off. Sex and social issues commingle on The Way I See It, with playfully physical songs like "Dash", "Just One Kiss", and "Let's Take a Walk" (sample lyric: "Love can happen anywhere") alongside fare like "Keep Marchin'" and "Big Easy". The latter, obviously, is about Katrina and features the Rebirth Brass Band, yet Saadiq makes no larger point than WTF, capping an uptempo chorus with a massive question mark: "Someone please tell me what's going on," he sings, echoing Marvin Gaye but sounding right this very moment as the horns blare around him. It's immensely affecting without hitting you over the head." (6.8)

Artist's Previous Rankings on Our Albums Lists: n/a

Ranked Highest By: tystu (#1)

Also Ranked By: Campaigner (#4)

Amazon Link

“If I was a crappy music critic, I'd say things like 'These noisepunk hipsters have made an honest-to-God pop record!', 'Parts & Labor have made their 'mature' record', 'There's more melody and less noise than previous releases' and 'They've made a hugging record. Nothing pretentious about hugging.'” - UselessRocker

#59.




Parts & Labor - Receivers
(1106 Points, 18 Votes)

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

Pitchfork Review: ""Nowheres Nigh" is just as strikingly clean and ambitious, with a similar reach in vocals-- to be frank, neither of these guys are understudies for the Three Tenors, but BJ Warshaw confidently sells his vocals here and there's more than enough texture in these songs to comb over the thin parts. "Mount Misery" finds a way better vehicle for Dan Friel's croon, borrowing some more evocative theremin-aping electronics from his recent (and excellent) solo record as well as a damn-near folky guitar pluck from Lipstate, all over a half-time skipping rhythm. It's a big change for the band, but it works just as well as its busted-robot hardcore did on their previous two albums. Parts follow it up with their best curveball-- the slow simmer of "The Ceasing Now", replete with mechanical handclaps-- and save their boldest new material for the album's final three tracks.

It's not just more harmonies or more fun noises that they've piled on: Nothing on previous records compares to the wheeze and full-band crash on the chorus of "Wedding in a Wasteland" or the grinding, clattering crescendo of "Prefix Free"-- not to mention the fake-out that stretches the tension rather than merely exploding. They've tried all these things before to some degree, but just not in songs as layered, dynamic, or delivered with such a steady hand. It's hard to predict where they'll go from here when Receivers sounds as if they've stretched their favorite sonic ideas to the very brink of saturation-- but no one could have guessed they'd take them quite this far." (8.1)

Artist's Previous Rankings on Our Albums Lists: n/a

Ranked Highest By: Gbro, TheNameOfThisPosterIsDave (#2)

Amazon Link

“this is what sky blue sky should have sounded like” - championkid

#58.




Dr. Dog - Fate
(1129 Points, 19 Votes)

US Chart Position: #86

UK Chart Position: n/a

Charting Singles: n/a

Pitchfork Review: "I guess it wouldn't be fair if we didn't at least consider the possibility that Dr. Dog are the subject of a double standard because their influences aren't novel-- bands like Cut Copy, No Age, Hercules & Love Affair, and Fleet Foxes are also obviously indebted to a specific period of time, and they seem to do fine around these parts. But like their fellow Philly-retro-author-cause célèbre Marah, Dr. Dog often view their predecessors like museum pieces instead of inspiration, only these guys are probably too shook to consider some sort of disastrous about-face like Float Away With the Friday Night Gods. Plus, the overly serious takes on religion and politics, combined with Leaman and McMicken's tendency to project their voices past "Hey Jude" huzzahs into soul papa smarm ("Army of Ancients", amongst others) and "I gave my love a cherry" sobriety, make you wonder exactly how much credence to put into the idea that "they're just having fun." Maybe, this is the kind of thing that will ultimately sound better half-heard at an Indian summer BBQ or even live, but until Dr. Dog realizes what would've resulted if their idols just reheated the past as unambitiously as they do, forget all those Beatles and Beach Boys namedrops and stick with "average white band." No caps." (5.5)

Artist's Previous Rankings on Our Albums Lists: n/a

Ranked Highest By: Whiskey! (#3)

Also Ranked By: hornpout (#4), Rob Gordon (#5)

Amazon Link

“what if you were, like, the first person to commit suicide to this album? ” - Pinkerton

#57.




Have A Nice Life - Deathconciousness
(1134 Points, 10 Votes, Three #1 Votes)

US Chart Position: n/a

UK Chart Position: n/a

Charting Singles: n/a

experimusic.com Review: "Despite such complex conceptual motives, the musical ideas on Deathconsciousness are strikingly bare. Unlike Phil Elvrum who tended to show off his dynamic range, Have A Nice Life let their somber progressions sit, gaining resonance and power with droning repetition while they layer it with swirling patterns of emotive vocals. Every moment of vulnerability is expanded like taffy to it's breaking point, drenched in a subterranean, lo-fi mist and driven by industrial drum machines that make it sound like it's been recorded in a boiler room. The result is a mix of Post Punk, Shoegaze and Post Rock, but what Deathconsciousness accomplishes is beyond genre. "A Quick One Before The Eternal Worm..." is stunningly spacious and formless whereas the furious punk of "Waiting For Black Metal Records..." and "The Future" are condensed blasts of rage. The heartbreaking depths of "Who Would Leave Their Son...", "The Big Gloom" and "I Don't Love" are bottomless while the mind-shattering "Earthmover" rises past heaven in true GY!BE fashion. And interludes like "There Is No Food" and "Deep Deep" exhibit barricades of impenetrable sound and texture.

Affectionately advertised by it's creators as "the most depressing album ever made" and running past 85 minutes, a full listen to Deathconsciousness can be exhausting. But anyone who meets it halfway will likely have a religious experience. With the exception of the tired "Telephony", it is nearly perfect. It plays not like an album, but like a powerful film. Unfortunately, getting a hold of this little-known gem can be a pain, but I can't stress enough that Deathconsciousness should not be missed by anyone. " (9/10)

Artist's Previous Rankings on Our Albums Lists: n/a

Ranked Highest By: castaña, UselessRocker, dicorice (#1)

Also Ranked By: Liffey, undo (#2)

Link