Album of the Year - 2008

It's that time of year again, where the staff at Atomicduster get to choose their favourite long players from the months gone by. Some of them have grown on us like a bad case of the clap, and others have fallen off our radar since we raved about them, but here is our comprehensive top 20 most enduring albums of 2008. First up though, a few exceptions:

Mini-albums have been excluded from our end of year line-up, otherwise "Svn Fngrs" by Black Francis, drill's "The Last Taboo Of America" and Chicane Theory's "Lose Track Of Time" would surely have made an almighty impact at some point.

Elsewhere, our unsigned album of the year was undoubtedly Stokka's "Envy", whilst Nitin Sawnhey's utterly beautiful and humblingly poignant "Days Of Fire" stood head and shoulders above the rest of the pack where 2008's singles were concerned.

So, without further ado, let us get on to the finnicky business of arranging, in order, our favourite albums of 2008.

1) Elle Milano - Acres Of Dead Space Cadets

T: What can I say? I'm still utterly astounded by this album. The sheer magnitude of these songs is something to behold, as though they came from another galaxy or something. You can see vague references to the bands that Adam, James and Chloe have namechecked in the past, such as The Cure, Gang Of Four and...er...Girls Aloud - perhaps this is where their genius comes from in writing such alarmingly hummable tunes - but the whole albums is just dripping with beauty as well as being a stompingly brilliant piece of art. Have I gone over the top?

N: Somewhat, but I'd like to step in here. This band came to us in late 2004 as fresh faced wannabes, and even then we were blown away by their dexterity and tenderness in the songwriting stakes. I can't say I wasn't a little miffed when it was YOUR name that appeared amongst the "Thank you" notes on this album, but I can't deny the work you put in...

T: Ha, I just stuffed a promo under Steve Lamacq's nose and demanded he listen...

N: That wasn't all you demanded, by all accounts, but that's another story!

T: Well, he did owe me a Guinness.

N: That's your story. But when this album came to us as a ready made ratatouille, I can't deny we were once again flabbergasted. Oh, if you've not already discovered this band, don't you think it's about time?

T: Too late, unfortunately. The band has decided to call it a day after 4 years of sheer genius. There, that's ruined your Christmas. RIP Elle Milano.

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2) Bauhaus - Go Away White

T: Top album, but I'll let Nick take centre stage here, as he is the reason it has charted so high in our end of year listings...

N: As we said initially on hearing this album, "even after 25 years, ... the band may still be considered relevant", and we couldn't be more right, considering current situations. This album just kicks ass, Murphy and co. have got it spot on. From the opening number "Too Much 21st Century", through "Adrenalin" and on it's clear that even after time, you lose none of your fervour and you're onto a winner when you admit to Bowie as an influence.

T: All that and more, and wouldn't you like to add that the album got you through a bad time?

N: In fact 2 of those albums feature here today, so proving that when you've got the four walls of a hospital bay to amuse yourself and no 'Carry On' hospital nurses, the mp3 player is going to win out every time!

T: I TOLD you that you should have worn a condom.

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3) The Hold Steady - Stay Positive

T: If only you could get paid every time you played a particular album. This is such a devastating album from the outset, and it spent several months on rotation in my car CD player, which is very unusual for me. Of course, some of the album is relentlessy "good time", such as "Constructive Summer", which gets you in a headlock right from the beginning and is probably the most optimistic tune of the bunch. Frontman Craig Finn demands "Let this be my annual reminder that we can all be something bigger", and then the whole thing explodes into an epic cinematic masterpiece. Focusing primarily upon the murder of two teenagers, the lyrics are profound, intelligent and exhilarating all at once. Lead single "Sequestered In Memphis" relates, of course, to the questioning of those in custody and a picture is painted around what seems to have once been a respectable middle class neighbourhood, thrown into turmoil by the grim recent events. Songs range from joyous ("Stay Positive") and libidinous ("Navy Sheets"), to sinister ("One From The Cutters) and overwhelmingly traumatic ("Lord, I'm Discouraged"). It's impossible to fault in any way, to such an extent that some of the compositions here leave me close to tears ever time. I mean, even the three hidden "bonus tracks" are astonishing!

N: Well it seems as though youve just about covered it there. But it cannot be denied this album is an unqualified success (not forgetting of course their earlier 3 releases). Profound, sometime partytime, whilst at others dark, brooding and sinister, the more the strains of this record enter your world the harder you'll find it to shift them from your audio player.

T: It's probably the most intense album on our list, and for me it was a toss up between this and Elle Milano for the number one slot, though I admit the Bauhaus one is a worthy runner up, so no complaints from me.

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4) White Denim - Workout Holiday

T: Dirty and fuzzy, White Denim took the best of their old sixties garage punk and put it through their 21st century blender to make a thoroughly modern sounding album which was exciting and relentlessly rowdy. The result was a stunning debut that was embraced by critics and public alike.

N: And it's clear to hear why. This album is easily loved, for example with the bass played through old tube amps and guitars through a cheese grater, when the vocals appear from around the corner with that 'glint' in their eye, what other conclusion could you draw?

T: Apparently they gave the cheese grater to Stevie Wonder for birthday. He said it was the most violent book he's ever read...

N: Aah, the old ones are the best, eh?

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5) Little Jackie - The Stoop

N: I remember, this album wasn't exactly embraced at first by Tone, but it was my continued exposure that persuaded my 'wing-man' that this was one that shouldn't be ignored and it worked. A tremendous vibe is got from this album. It's happy, it's retro, it's well just great. Listened to in the car, and you're going to wish you had a sun roof to give that afro air to breathe. On your mp3, when walking down the street, that you had that afro to start with. I love this album, sometimes it's just too happy, but that would be my mood and with this in your corner you're not going to remain 'pissed off' for long.

T: Actually you're talking bollocks, because I liked it when I first heard it, as you'll find out if you read the original review. Anyway, let us not resort to any petty name calling and reflect upon the merits of "The Stoop". One of the most appealing things about it, for me, at least, is Imani Coppola's amusingly childish lyrics, particularly when she has a dig at Amy Winehouse on "Crying For The Queen". This actually gives the whole thing a kind of (not so) innocent charm, and blends perfectly with the soulful grooves on offer. Plus, I'm all for songs that advocate lesbo sex.

N: What's her line? "Guys Like When Girls Kiss", way to go! But this album's so much more, deeper than the deepest sea, well 34 minutes anyway.

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6) Tricky - Knowle West Boy

T: The question was always going to be whether Tricky, returning after a five year hiatus, would ever be able to live up to anything remotely as impressive as his renowned classic "Maxinquaye". We needn't have worried, though the former Mr. Thaws ending up usurping us somewhat, with an unexpected set of twists and turns down Tom Waits Alley ("Puppy Toy"), through Tunng Street ("Joseph") and along Rico Road (the brilliant single "Council Estate"). A mighty fine comeback, if ever there was one.

N: An album, with an autobiographical twist? Whichever way this turns out, it's the artist's ability to make each of these songs his own, almost as if these are pages torn from his diary. As Tone has already said it was almost inconceivable that this would outstrip his fine debut, and it was with fevered ears that we awaited this. But like Rocky returning to the ring, again, this album is a resounding success and that it's made it into our top 10 no less, that we qualify this.

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7) MGMT - Oracular Spectacular

T: Seemingly springing from nowhere with the celebrity satire of “Time To Pretend”, one of the undoubted singles of the year, MGMT’s brand of ethereal pop music had an almost tribal quality that just oozed sophistication. A relatively short album, “Oracular Spectacular” had us humming more than our favourite tramps and satisfied our souls more with every listen. Sheer brilliance.

N: It was Tone who first introduced me to this band's work and it has to be said that "brilliance" just doesn't give this band the credit they deserve. It is certainly deserving of the praise we and others have heaped upon it. It appears at times an amalgamation of the musical direction of 'A Clockwork Orange' and 'The Hitchhiker's Guide To The Galaxy', retro enough for any music fan. Is there really anything else that needs to be said?

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8) Dorp - Humans Being

T: This band came at us from out of nowhere really, and we were invigorated by the dark, driving rhythm behind such classy singles as “Cops And Robbers” (no, not the Hoosiers one, thankfully) and “Pigs Do Fly”, although I admit I do fear for them. Why? Well, because they remind me of Deckard, a band who released the excellent “Dreams Of Dynamite And Divinity”, and kind of fell by the wayside without ever making as big a splash as they should have done. Still, “Humans Being” contains its fair share of gems, perhaps reaching a pinnacle with the scathing attack on Britain’s music media that is “NME”. Alright, the music’s not breaking any new ground, but then why should it have to?

N: Pretty much what he's said, although I'd have to disagree with the comment made with regard 'Deckard' (he's also an Italian DJ, so get confused, a pretty damn good one too). This band possesses a stronger and more resigned sound, it's like comparing a sledgehammer with a tackhammer, one's ok if you want to hang a picture, but making a crash and you'd have to go for the sledgehammer. And don't get all arty on me a start telling me it depends on what the picture it is your hanging, because I'm no longer listening!

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9) Nick Cave & The Bad Seeds - Dig Lazarus, Dig

T: Despite returning with a new image straight out of a nineties Tarantino flick and a hairstyle that made him look like Sooty’s long term cohort Sweep, Cave added to his already astounding canon with a veritable frenzy of hard hitters and crypt kickers that blew our proverbial socks off, albeit dividing some long term fans in the process. Are you reading this Ian? Give it another spin and learn to Dig Lazarus…

N: Well for me it's the best work my half name sake has done for a while. Easily accessible and yes "hard hitting", bit worried about those "crypt kickers" though, not really into that kind of thing. Proving that he still has it where it counts, this album just blew me away and is still one of the albums on my mp3 player and 9 months after its release is not bad, but Nick is the hair on your upper lip really necessary?

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10) Burningpilot - Cold Caller

T: We recently accused burningpilot of flitting between the vocal styles of Mark E Smith and Terry Hall, with David Byrne not far behind. I still stand by that, but the phat remains. By the phat, I mean the shamelessly pilfered sound of The Stranglers and Kraftwerk respectively. They’re quite clearly thieving bastards, but then I’ve always had an unhealthy appreciation for magpies, and whether they’ve stolen or not is irrelevant, as they’ve scrubbed everything up so well it all seems beautifully shiny and new.

N: Was that what you were doing in the garden last time I called at yours? Oh well every man to his own. But it was the music we are talking about here, not my cohorts "unhealthy appreciation" and certainly they have honed their craft from what is one of music's clearly most fertile patches. One of the better (and from that perhaps least appreciated bands) performing what is maybe the new, new, new wave of new wave and to find themselves here, clearly great. (The new wave thing, can I say that? Oh well it's done now.)

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11) The Last Shadow Puppets - The Age Of Understatement

T: We’re not going to make ANY reference whatsoever to a certain sixties icon this time now, are we Nick? Anyway, to say Alex Turner came of age on his side project’s debut album is, indeed, an understatement, as he and collaborator Miles Kane ditch the swaggering sneer that made Arctic Monkeys a household name in favour of a polished bounty of strings and glorious harmonics. Surprised? We were.

N: You mean we shouldn't mention Scott Walker then, oh dear, I think I may already have done it. Anyhow enough of useless references (well maybe not so useless), this album is certainly one that sees Alex Turner come of age and produce what he will clearly be remembered for. How much else will fall into that category, only time will tell, but with a track record such as his, I think the glass will not so much be half empty, as brimmingly full. And just as a final note, I think something should be said of their name, The Last Shadow Puppets, how great is that.

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12) David Holmes - The Holy Pictures

T: Well Nick, I’ve barely heard this album since we gave it a perfect score back in September, but I do remember loving it. That said, I think you’re more of an aficionado on Holmes than I am, so I’m going to let you do the talking. Regrettably.

N: I think you mean, giving the best man the job don't you. So where to start, well of course that would have to be '95's "This Film's Crap Let's Slash The Seats" (not literally I hasten to add), but Holmes has come some way from that. Not just in years you understand, and although I'm bound to say that "This Film's Crap..." was great, it's all relative. 'The Holy Pictures' picks up from his work with The Free Association and confirms that this Belfast DJ is quite simply brilliance personified. How many times have we said that? Well this is our run down of what we consider the best albums of '08.

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13) Bryn Christopher - My World

T: It may sound churlish and even disrespectful, but we must confess to having taken one look at the cover of Bryn’s album and gone “Ugh”, instantly dismissing it as yet another set of uninspired tunes by a faceless, pointless, what-passes-for-R&B-these-days kind of artist. And that’s before we’d even taken it out of the case. But wait, it isn’t the steaming turd of a record we expected it to be at all, and that’s pretty evident from the off, when “Help Me” rolls back the years to a golden age of soul where Otis Redding shares an omelette with James Brown and then instigates a food fight with Gnarls Barkley. The whole thing’s a glorious shenanigan and when you learn that he failed the audition for a certain reality pop show that will remain nameless, you thank your lucky stars that he wasn’t primed for the meatwagon and instead left to stew on his own, making the music he truly believes in.

N: Yeah, stewing in his own brilliance emerging as this rough cut genius and just knocking our socks clean off. And besides that, you forgot to mention that he does a blinding rendition of Portishead's "Sour Times", I really could listen to this album all day.

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14) Chris Difford - The Last Temptation Of Chris

T: Another one of your “albums that got you through hospital” while you were having your stomach pumped for the umpteenth time, I believe, Nick. You really ought to cut down on those Babychams you know. Anyway, let’s doff our hats to Difford for bucking the trend of former frontmen of great bands putting out rubbish albums, as “The Last Temptation Of Chris” is littered with his own brand of acerbic wit and lyrical wizardry throughout. Not to mention the sparkling musicianship of course, proving without question that our main man is still more than capable of pulling mussels from a shell.

N: I'm onto Advocaat now, that one really was nasty. Chris's collaborations and song writing, make this man a giant in amongst music aficionados, so with a track record such as his, this was almost a given. However I can see what it is you are referring to when you make comment with regard some of the "rubbish" that has been released under the guise that it comes from a respected musician. As you suggest, thankfully this is not one of those. 'Chris Difford' is a label that holds even more sway than your birthday! Now remind me, when is it mate?

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15) The Accidental - They Were Wolves

T: It’s almost as though Sam Genders was ashamed of the pop direction taken by his erstwhile band Tunng on their most recent outing (2007’s excellent “Good Arrows”) and taken an oath to return to the “hey nonny nonny”, clap your hands by the fireside style folksiness that broke them in the first place. Perhaps that’s oversimplifying the matter somewhat, as “There Were Wolves” does, in fact, contain some of Genders’ prettiest, most experimental cuts yet, such as “Wolves” itself and the minimalist splendour of standout track “Jaw Of A Whale”. Slick, dreamlike and impossible to resist. Unlike your aftershave Nick. What the hell IS that anyway?

N: Just because you use the razors your wife shaves her legs with (and it shows), I admit I am a metrosexual man and pay far too much for my fragrances. In the meantime was there something we should be doing? Ah yes The Accidental's, "Good Arrows" was certainly an example of fine songwriting, but with this it's good to hear that Genders refuses to stand still and pushes his art to new boundaries. "They Were Wolves" deserves its place here and the riding, foot-tapping nature of these numbers is like a cold shower in the morning, both bracing and waking.

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16) Thomas White - I Dream Of Black

T: Well one thing’s for sure – you won’t be playing former Electric Soft Parade man White’s introductory solo album in an effort to cheer yourself up, but whatever miserablist tendencies the man may have, ironically the album turns out to be one of the more spine tingling releases of the year and sits somewhere between Mercury Rev and the Virgin Prunes. A slightly off kilter album that somehow succeeds in kicking the listener while he’s down and then holding out a sincere hand to pick him up again.

N: Now this release hits the mark in my estimation, listen to track 2 and tell me you don't hear My Bloody Valentine in those there chords, shoegazing central. But then it gets all normal, but dig a little deeper, or in fact listen a little more intently and a dark shadow is visible, the sunset is glorious, really it is. But then the beatnik sixties vibe evident on the number "This Is Just A Little Interlude...", roundabout mid album and you think where did that come from? But to say this is an album without direction would be misleading, sure it loops from one strain to another without warning, but could this be White's 'White Album'? (get it)?

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17) Kings Of Leon - Only By The Night

T: Although I have always liked the Followills’ modernisation of the Creedence sound, I have to admit I was rather startled that “Sex On Fire” – the lead single proper from fourth album “Only By The Night” – topped the UK singles chart and paved the way for the bro-co band (that’s brothers and cousin – I made it up; good though isn’t it?) to shuffle their way to the top of the pack and become a bona fide stadium band. Normally this would result in my face contorting itself into several variations of “aghast”, but with the Kings, it all seems to make perfect sense. “Crawl”, “I Want You” and “Be Somebody” are all magnificently formed and fit for the Wembleys of the world, whilst the latter track’s bedfellow, “Use Somebody”, simply confirmed the band’s growing status by becoming their second top two hit in a row at the beginning of December. Whether the boys can continue their rich vein of form with their fifth album remains to be seen.

N: Yes Tone, but how often we and the world are going to be able to use the term might be slim, that's "bro-co" incidentally (oh my, I've gone and used it, twice in the same review is quite enough). But looking forward to the guys' fifth album, give them time to take breath, we rated last year's "Only By The Night" within our top 20 of the year and it's happened again twelve months on. But really this is a solid album, can I mention here The Eagles, however this might be taken Kings Of Leon are heading toward that kind of status and with songwriting that's timeless it's going to happen.

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18) Fleet Foxes - Fleet Foxes

N: What is it the Python's said? "And Now For Something Completely Different" -

T: It’s difficult to reflect upon this album’s release without repeating the same things practically every other music publication has already said, and it was tempting to omit it from our listing for that reason entirely, but then we’d be doing ourselves a major disservice, because, quite simply, this Seattle band’s debut album is nothing short of a masterpiece. To be frank, it should be in our top ten, but what the hell, it made the list at least. From the opening strains of “Sun It Rises”, you know you’re in for something a bit different, as we are confronted by the sound of acapella voices singing the words “Red squirrel in the morning, red squirrel in the evening” before whisking us off to a distant land, probably a wooden cabin atop a snowy mountain. Lush harmonies compliment the fragile lyrics and tender melodies, never letting up until the poignant, heartbreaking finale of “Oliver James” leaves you motionless with your mouth agape. Or is that just me?

N: I can hear what you're saying. When I first listened to the album, its strains passed so easily into my subconscious that it lifted my mood and all, on reflection seemed easier, lighter and substances were not involved. A worthy addition to what are the best sounds of 2008.

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19) Supergrass - Diamond Hoo Ha

T: To say “Diamond Hoo Ha” is a return to form for Supergrass would be doing a disservice to the band, who have continued to put out top quality material since dropping the Theodore part of their name in the early days. Let it suffice instead to say that this is, probably, the strongest material realised since the classic debut “I Should Coco” and indeed often harks back to those heady days when it was still considered “cool” to like them. A prime example is the riotous “Whisky And Green Tea”, whilst the likes of “Rebel In You” points to the divine intervention of Bowie and the downbeat “When I Needed You” further encapsulates the sullen sound of the band we first encountered on 2005’s superb album “Road To Rouen”. Six studio albums and every one a belter, with 2008’s offering perhaps even surpassing the lot.

N: So here it might be worthwhile passing my thoughts, that this is an album that possesses the breath that might suggest it to be a debut album, but we all know this band to be as old as my socks, although that said, a damn less ripe. Where did they pull this from? I think Gaz Coombes one morning over his cornflakes had a moment of clarity and knew where this was going (and I only get those whilst on the toilet and from there you just don't have the same access). But seriously, this album is a revelation, it could almost be the album the band have been hanging onto since 1995's "I Should Coco", it's obvious that time and experience has not gone to waste when it comes to the Oxford quartet.

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20) Nine Inch Nails - The Slip

N: It seems hard to believe that the release of the seminal 'Pretty Hate Machine' was almost 10 years ago now, but with this latest offering from Trent Reznor, it seems that barely a moment has passed.

T: Right, I’ve let Nick slip this one in himself (ooer missus), as I’ve only heard it once and wasn’t overly impressed; however, it’s the time of goodwill to all men and all that, so I bloody well hope he’s going to be able to account for its inclusion by dulcetly explaining its merits forthwith. Off you go then…

N. ...you mean this is where I have to say something, ok, here we go. This is a little like the album in fact, the first track, a whole 1'25" passes with barely a whimper and as "999,999" hands over to the second number "1,000,000" (see what he's done) we are given the nervous energy of Reznor et al in a fast paced, drum led number that will leave you breathless (or reaching to lower the volume), but looks good on my iTunes visualiser anyway. You're thinking this energy is pretty much the sum total of the album (in which case might lead you to dismiss this latest work). But hold fire, when dealing with Trent Reznor he'll slip something quite amazing under your nose, like "Something I Can Never Have", the fifth track on Pretty Hate Machine and again he works to a similar formula with "Lights in the Sky", possessing a slice of the emotion present in the former number. Then we're back to the rumblings of the boiler room in the quite mammoth 7'34" "Corona Radiata", at which point it's time to go and make the coffee. But now we are almost set to play out the latest work from Nine Inch Nails and "The Four of Us are Dying" presents us with another instrumental (obviously we've had problems with the kettle or such like), before meeting with the final number, "Demon Seed" (one can only wonder) an onslaught of industrially tinged synthesizers and drum pads, layered with Reznor's tortured vocal, just to remind us of what we once fed upon and then quiet, the album is gone just as abruptly as that. [Incidentally this album is available as a FREE download via the band's site].

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