Top 10 Albums of 2005

10) Aqualung - Strange and Beautiful

This is the first U.S. release from Aqualung, but the songs are not new. In fact, they're compiled from Aqualung's two previous U.K. releases. But you know what? I love Aqualung. Everytime I think they don't live up to my own self-imposed hype, I give them another listen and again, am hard-pressed to find a weak song among all of them. The classically trained Matt Hales triumphs in the multi-layered format he's putting forth here, with his gorgeous, delicate piano and vunerable voice rising above the drum and guitar. It all works to create an almost church-like atmosphere as Matt's brother Ben chimes in with soaring harmonies. And there still is no experience like hearing and seeing "Tongue Tied" played live with the full band. The only reason this is showing up at #10 is because I know I'm cheating, and I feel guilty.

9) Youth Group - Skeleton Jar

The Aussie outfit's first release reminds me of old James, and mostly because of Toby Martin's meandering, soulful, slightly sad singing style. And while James purists will likely hunt me down and torture me until I recant that comparison, I won't back down. Toby Martin loves Tim Booth, and it's obvious. As for the songs themselves, they're catchy and poppy, with some melancholic lyrics thrown in to keep things interesting. It's an incredibly easy record to fall in love with. It's nothing really groundbreaking, but the album works well together (albeit at times the songs blend a little too seamlessly into one another), and it sure is good to crank on a long drive or a long afternoon at work.

8) Idlewild - Warnings/Promises

Idlewild are one of the most important bands ever to emerge from Scotland. Other Scottish bands aspire to be Idlewild. They've been around forever and ever, and finally, after 8 years and 4 albums, they're splitting from their label EMI for greener pastures. And good luck to them. Idlewild remind me a bit of "Comfort in Sound"-era Feeder in their kind of very melodic and sensitive, yet straight ahead rock and roll approach. This album is a great sing along, with some awesome lyrics ("you said something stupid like/love steals us from loneliness/happy birthday/are you lonely yet?"), and one of the best songs to be released in 2005, "I Understand It." Which, by the way, quickly became my theme song.

7) Kasabian

Ok, say what you will about Kasabian. They're a bunch of 21 year old drunken pricks, their egos are a thing unto themselves, etc. and so on. That's fine. But then give this debut another listen. They're bringing back the early-90s Manchester scene, which is a refreshing change from the already-old 80s revival thing. "Reason is Treason," "LSF," and "Processed Beats" are just really cool songs, and the album flows together as if it were more of a concept record than I think they meant for it to be. And they strut around the stage with all the swagger and confidence of an early-70s doped-up Keith Richards, and good for them. I think indie pop is missing that kind of bravado and unapologetic rock n roll excess. Go shag some more groupies and drink another fifth of whiskey, Kasabian. That's what rock stars are supposed to do.

6) Bloc Party - Silent Alarm

Matt Tong is the best drummer working today, period. He sounds like a damned drum machine. Sharp, persistant, nearly-tribal beats anchor these songs and Kele Okereke's quirky, personal lyrics and high, clear voice into a soundscape of angular, Gang of Four-like, smart pop. And while the drumming is almost inhuman, it never distracts from the song. Tong really is a drummer who plays for the song. Every piece plays like fingers on one hand, they're so incredibly tight. Like, old INXS tight (don't laugh at me, INXS, love them or hate them, were once the tightest band in music). "Price of Gasoline" is the perfect theme song for 2005. They promoted the album just a wee bit in the U.S., and are now back to work on album #2. Should be a scorcher.

5) Elbow - Leaders of the Free World

Elbow, like Idlewild, have also been around for 6 million (give or take) years, and are one of the most respected bands to come out of England. "Leaders of the Free World," has moments of absolute revelation, which make up for the somewhat tedius title song. "Station Approach" is the lead-in song that every band wishes they could write. The lyrics describing the intense familiarity of home ring freakishly true: "coming home I feel like I/designed these buildings I walk by." But the highlight for me is "Forget Myself." It is one of those rare songs that makes me want to get up and run around the block. Inspiring, brilliant... a near perfect song. Guy Garvey's voice is thick and hoarse and hypnotic, and continues to improve with each album. "Leaders of the Free World" is the pinnacle of Elbow.

4) Clap Your Hands Say Yea

They're from New York, and they could be the start of something really big. Like the Talking Heads before them (a band whose name frequently appears when talking about Clap Your Hands Say Yeah), these guys could be leading a new New York revolution. Elefant thought they were doing it, but their overinflated sense of self-importance got the better of them. The Strokes thought they were doing it, but after the 2nd album was met with a collective, "yea, been there, done that," it was clear they would not be our Big Apple pide pipers. Alec Ounsworth's David Byrne-30-years-ago-and-on-crack voice and the band's art school pop is at once some of the most exciting and strangely accessible music to come out of New York in years. And I dare you to find a better live band.

3) Editors - The Back Room

These top 3 were tough ones for me. There really should be a 3-way tie here. I am addicted to this record from the Editors. From England, the lazier amongst us will dismiss them as Interpol/Joy Division knock-offs. Oh but they're not. They're so so so not. Yea, Tom Smith's deep voice sounds a lot like a more confident (and um, alive) Ian Curtis, but the music blends some fabulous influences from Echo and the Bunnymen, Catherine Wheel, and yes, a little Joy Division (so sue them). Powerful and insightful lyrics, explosive and intense music, this band has the energy and the integrity to crush those who would wave a hand at them as imitators. They really need to tour the U.S. so I can properly worship at their feet.

2) Death Cab for Cutie - Plans

I was so skeptical. I was such a naysayer. "The Photo Album" held a post on Kate's Desert Island disks, I loved it so much. So when "Transatlantacism" came out, I was so excited for it. Imagine my disappointment when it, well, sucked. A lot. It sounded overproduced and self-conscience, and just like they were trying way way too hard. How many songs must we hear about your long-distance relationship, Ben? *yawn* So when "Plans" came out, I was not all that excited. I wasn't even going to listen to it. My friend Tom loaned me the disk and I grudgingly gave it a chance. It is, in a word, transcendant. Deeply personal, insightful lyrics... and Ben Gibbard's voice has never sounded better. It's tight and certain and unflinching, and just plain gorgeous. "I Will Follow You Into the Dark" rarely leaves me without a lump in my throat. They aren't afraid to add some of Gibbard's Human League-esque electronica he fell in love with during his stint with side project The Postal Service, and it adds a beautiful layer to the music. This is just the most near-perfect record I think I've ever heard. They've come back strong. I will never doubt again.

1) Spoon - Gimme Fiction

This number 1 spot may rotate between Editors, Death Cab for Cutie, and Spoon. But for now, I'm putting my almost-year-long obsession with this record in the #1 slot. Because it is just so goddamned good. Bowie-like, Beatles-esque, with a dash of early 70's hard rock mixed in, "Gimme Fiction" is just a joy. The soggy beats, Britt Daniel's sexy, stuffy vocals, and "Merchants of Soul" being one of the best songs I've ever heard in my life, ever. Spoon gets me every time. They are just the essence of cool. I never get bored of listening to this one. There's not a Spoon record that I haven't loved, of course, so I guess the perfection of "Gimme Fiction" should come as no surprise. This is a timeless, colorful, verbose, interesting, witty, and downright sexy record. In the words of Daniels himself, chicks love the falsetto.