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Our Panelists Make Their Choices...
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Round 1
John Fail's #3 - Sigur Rós Ágætis Byrjun
Sigur Rós came out of Iceland to surprise me
with a knockout album of beautiful, well composed music. Despite constant
comparisons to the Cocteau Twins and Godspeed You Black Emperor, Sigur Rós
proved their own sound and crafted a beautiful and expressive record. The
sheer sound of this record could not be any bigger, and the music is
absolutely liquid. When listening to Ágætis Byrjun I feel like I am
floating as the textures and layers of sound gloss over me. There's some
great pop hooks, too, though they're surrounded by pure ear candy.
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Daron Gardner's #3 - Yo La Tengo And Then Nothing Turned Itself Inside-Out
My third choice for 2000 was the hardest to
decide. I ended up chosing Yo La Tengo's And Then Nothing Turned Itself
Inside Out. It was really tough to chose that instead of Yellow 6's
Overtone album, the Black Heart Procession's Three album, and David
Grubbs' The Spectrum Between. Eventually I chose Yo La Tengo because
of how much it has made it into my CD player. It is their best release,
in my opinion, and it is an album that shows the band can still do
something new and exciting after all these years.
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It's limited, and you probably can't get a copy at the moment, but
nonetheless, it's an amazing EP. Sonna, musically falling somewhere between
Tristeza, Aerial M, Labradford, and American Analog Set, are the new breed of
post-drone-rock. This is their smoothest and best yet.
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My reason for choosing this album is simple, it is
just one big fat beautiful piece of music. The
interweaving piano, keyboard, and guitars create a
warmth and a presence that is impossible to
ignore. Meisha Forever indeed!
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Gil Gershman's #3 - Susumu Yokota Sakura
History, in its broadest sense, is particularly important to electronic
musicians. Techno titan Susumu Yokota bypasses the well-trod timeline of
early oscillators and Intonarumori, opting for a more personal path.
"Sakura" completes the trilogy in which Yokota revisits, contemplates, and
deconstructs his own past as a producer. Here, the artist marries the softly
thrumming electronic/acoustic weave of the first volume ("Image") with the
second volume's ("Magic Thread") probing pulses and unraveled rhythms,
reacquainting the elements of his dance-floor craft. But Yokota doesn't
simply add beats back in; he unfolds the geometry of his music, preparing it
to receive rhythm, then reassembles musical matrices around these
complementary beat-and-pulse patterns. At its climax, "Sakura" re-absorbs
the stray vocal ghosts of "Image," unifying all elements of Yokota's work.
Art and artist rejoice in a new completeness. A spiritually uplifting and
utterly gorgeous album.
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Over twenty years into the game and they are still making compelling,
progressive music--no other "popular music" artist can making anything
touching that claim (and I'm not even going to comment on their influence
over everything you listen to). One can draw a straight line from "The
Burning Spear" to "I Love Her All the Time" to "Teenage Riot" to
"Anagrama" to "Free City Rhymes." While the DCG years have been a bit of
a lull for the band (their records being a bit flaccid, but never truly
bad or embarrassing), their SYR releases have breathed new life into the
band, and they jumped back up with this album. NYC Ghosts and Flowers is
Sonic Youth's most reflective, textured, and focused record.
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My top 3 are in no particular order, but I will start with Pinetop Seven's
great album.
Dark and beautiful, this record was my soundtrack to fall 2000 and should've
been yours.
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I know this sounds lame as hell, but I love turning
this album up as loud as I can in my car and singing
along with it. None of the other albums that I own
that have the same "sing along" effect have the depth
or content that this record does. Isaac Brock is a
great lyricist, and someone I find myself quoting all
the time. I also think the major label budget allowed
them to spend more time on perfecting this record. I
think it's their best work yet, and they've done some
really great stuff prior to this.
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I am dumbfounded by the fact that Bright is only a two piece, and that the
songs on this album are in-studio improvisations which were later overdubbed
to flesh them out. The songs occasionally build slowly, hinting at the method
in which they were written, but for the most part, the songs come out as well
crafted pop. Similar to Yume Bitsu, Sonic Youth, and Bardo Pond, Bright
often employ a good deal of distortion and delay to fill their songs out
making the 2 or so guitar parts sound like much more. Often the songs are
somewhat stripped down with just one guitar, but it eventually builds, ending
up sounding like there are 4 or 5 guitars.
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There are at least 5 records that I could easily have
put at number 3--Brian and Chris' debut, Crooked Fingers, Death Cab for
Cutie, Godspeed--hell, there are probably 10 records that deserve it.
The one I will go with, though, is Do Make Say Think's 2nd album Goodbye
Enemy Airship the Landlord is Dead. What's so great about this album is
the band was able to take a wonderful but fairly derivative sound that
they showed on their first album and by recording it in a barn and
making it more earthy and alive, turn it into something new, something
they can call their own.
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Round 2
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John Fail's #2 - Blackalicious Nia
The Quannum label does not disappoint with the
long-awaited Blackalicious full-length. Rapper Gift of Gab has a wonderful
tone to his voice, and he writes lyrics that definitely take hip-hop to a new
level. There is a heavy feminist theme running throughout the record, with
guest vocalist Erinn Anova reading a poem by Nikki Giovanni providing a new progressive tone to rap. DJ
Shadow does one track but Chief XCel is quite competent on his own, with
creative production that is subtle, but not overdone. This is not just a new
classic of hip-hop, but a starting point for a whole new musical universe.
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My second choice for 2000 is Meisha's wonderfully
beautiful Meisha Returns Meisha Forever. To those who know me, this
choice wont come as a big shock. I am a sucker for soothing and restful
music. Meisha Returns Meisha Forever is just that. Two guitars, bass
guitar and piano play off of one another, weaving together chiming
patters of music box-like guitar that seamlessly morph into shimmering
drone soundscapes.
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Dick Baldwin's #2 - Radiohead Kid A
Being fairly young, Radiohead were a band I listened to all through high
school ever since "Creep" made them popular enough for an 8th grader to hear
about them. They continually pushed their songwriting further and further,
from album to album. Upon first listen of Kid A, I thought they had fallen
short of my expectations. However, as I have listened to it more I have
better grasped what is being achieved and where they are hoping to take the
listener. Radiohead have become the "experimental music embassadors" for
the mainstream, giving them a glimpse of the possibilities of non-standard
music composition and I could think of few bands who I would want to take
that position more than Radiohead.
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Pete Baumann's #2 - Piano Magic Artists' Rifles
Piano Magic are simply my favorite band that I've
been introduced to in the past couple of years. They
have a way of combining experimentation and an almost
child-like simplicity that, to me, is absolutely
irresistible.
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Gil Gershman's #2 - (tie) Keith Rowe Harsh, Toshimaru Nakamura No-Input Mixing Board, Thomas Lehn Feldstärken
We've come to admire these musicians for their outstanding contributions to
projects such as AMM (Rowe), MIMEO (Rowe, Lehn), and Repeat (Nakamura), and
for their string of stunning duo recordings in recent years - Lehn/Gerry
Hemingway - "Tom & Gerry" and Lehn/Marcus Schmickler - "Bart" (both on
Erstwhile), Eugene Chadbourne/Lehn - "C Inside"(Grob), Nakamura/Sachiko M -
"un" (meme), Rowe/Evan Parker - "Dark Rags" (Potlatch). Each is devoted to a
device that could be considered a gimmick. Rowe pioneered the table-top
presentation and preparation techniques that have reinvented the electric
guitar and integrated the chance findings of the shortwave radio dial into
live performances; Lehn has tamed the wily analog synthesizer into an
expressive and unlimited improv instrument; Nakamura handles a mixing board
with broken inputs, shaping feedback like a sculptor. This trio of 2000
titles allows each to shine in the solo spotlight. Between the eerie warbles
of Nakamura's mixing board, the explosive arcs of Lehn's synthesizer, and
the concentrated electro-acoustic confluence of Rowe's guitar sounds and
radiowaves, we have the components of a whole new musical language. In
collaborative settings, these three individuals have proven themselves
masters of texture and communicative dynamics. "Harsh," No-Input Mixing
Board," and "Feldstärken" establish Rowe, Nakamura, and Lehn as peerless
innovators and compelling musicians.
Not to resort to Madison Ave hype, but... they're architects of tomorrow's
music, today.
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Dave Christensen's #2 - Chicago Underground Duo Synesthesia
Equal parts intellectual complexity and emotional resonance, Chicago
Underground Duo makes nearly perfect music: it must be heard by the brain,
but can only be understood by the heart. Rob Mazurek and Chad Smith's
exceptional skill as musicians allows then to make difficult music
effortlessly, leaving them free to focus their expression on
passion. "Synesthesia" is at turns beautiful, frenetic, disturbing and
peaceful. It is a compelling mixture of manic electronics, wailing and
moaning brass and skittering drums. Rob Mazurek has stated his desire to
create what he calls future music, that is, music he has never heard
before. That is just one of many areas in which "Synesthesia" is an
unqualified success.
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Luke Ferdinand's #2 - Radiohead Kid A
Experimental only because its being done by a pop band and extremely
pretentious, this record still manages to grab ahold of you and make you
listen through to the very end. Lush and varied production (a successful
co-opting of all sorts of underground sounds) keeps you listening but the
thing that makes this record great is that they have not put these new sounds
in place of the emotion that makes their music so riveting. Headphone
masterpiece for 2000.
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Wade Chamberlain's #2 - Yo La Tengo And Then Nothing Turned Itself Inside-Out
With these picks, I seem to be
revealing some really embarrassing things about
myself. This is the first Yo La Tengo album I've ever
purchased. I bought it because I heard "On Our Way to
Fall in Love" and couldn't believe how beautiful it
was. I ended up feeling the same way about the whole
album. It has so many subtle details both lyrically
and musically that make it really great. I've since
started purchasing and really enjoying other Yo La
Tengo albums, but not as much as this one.
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Aaron Snow's #2 - Flying Saucer Attack Mirror
Dave Pierce plucks elegant wonder from an acoustic guitar.
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Jim Steed's #2 - Early Day Miners Placer Found
The choice between the records tied for my 3rd choice
was tough, but my top 2 are relatively easy. Number 2 is Early Day
Miners' Placer Found, an aural tour of the ghosttowns and desert hills
of the American Southwest. Very evocative music that creates very rich,
vibrant imagery, this album really fills a void for me of great, new,
slow music that was left after Rex and Bedhead broke up.
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Round 3
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New York City's Misra label had two
entries this year in my top 5, the other Volcano the Bear's "The One Burned
Ma". Unfortunately, Bablicon's second record has just slightly edged it out.
"The Orange Tapered Moon" is a witty explosion of an album, combining a
mishmash of styles across a canvas in a way that's actually synergistic.
There's certainly lots of experimenting going on, but it's also accessible
enough to appeal to any fan of creative music. This album is so bursting with
life that it's easy to imagine the band just having a hell of a good time
while recording it.
I'm not going to describe it more thoroughly, since I've already reviewed it
for fakejazz. Since I wrote it, though I decided that I'm gonna make them
play "An Orange Pumpkin Glowing Moon Ensemble" at my funeral, 'cause it will
bring me back to life.
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My number one chose for 2000 was the easiest one to
decide. I chose Sonna's The Eventual Bow EP. It is part of the
Temporary Residence Travel's in Constants EP series, and it is an
amazingly beautiful release from a incredibly underrated band. The
Eventual Bow is a mixture of smoothly intertwined Rhodes keyboard, two
guitars, bass and drums all woven together to relax and lull you into
another mind set. The EP is well worth whatever price you need to pay
to pick it up.
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Dick Baldwin's #1 - Yellow 6 Overtone
Yellow 6 was a pleasant surprise of a band. I heard this album and quickly
bought up everything else with their name on it, and nothing was a
disappointment. My favorite (though probably only because I've listened to
it the most) is still Overtone. The most notable reason for this album
getting the number 1 slot on my list is because there are drum machines all
over this CD. I have never been able to stand drum machines in any context.
However, they just sound right with Yellow 6. So, this record changed my
perspective on drum machines entirely. Yellow 6's subtle tension and
beautiful ambience will grace my stereo for years to come.
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This album is my #1 pick because it has something that
is very rare--old fashioned genuine sincerity. Unlike
many other tributes that are for bands that it's hip
to be associated with (I won't mention any) and so
attract bands for that reason, John Denver is not
widely acclaimed in indie circles, and (so the rumor
goes) many bands that were asked turned down the
opportunity to appear on it. The motivation behind
this release seems to be nothing more than a sincere
tribute to an artist who, although sometimes lacking in
critical acclaim, has left behind some of the most
heart wrenchingly sweet songs ever made. If you have
any ounce of sincerity left in your rotten, cynical
heart, this album will make you cry.
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Gil Gershman's #1 - Burkhard Stangl / Christof Kurzmann Schnee
Longtime associates in Vienna's world-class improv scene, Burkhard Stangl
and Christof Kurzmann otherwise seem to come from different worlds. In
various ensemble and solo settings, Stangl has honed his classically trained
guitar technique to accentuate the transparency of the instrument's tone.
Kurzmann, best known as a behind-the-scenes mainstay of Austrian
experimental music, has found a voice of his own in the sample-processing
potential of the g3 PowerBook. The improvised soundscapes of "Schnee" were
inspired by the duo's favorite films and by Swiss author Robert Walser's
poetic meditations on snow. Walser observed a "rather monotonous tune" in
winter's white bounty; Stangl and Kurzmann perceive the prismatic splendor
of compacted crystals and a trillion tiny facets. Stangl's iceblink
harmonics and sustained string bends scatter like sunbeams in the pixel-fine
powder of Kurzmann's driven drifts. Kurzmann's sensitive modulations,
digital prattle, and granular drone merge with Stangl's brittle
insinuations, e-bow gestures, and detuned chord jabs to incite a sensory
whiteout. Music of remarkable rapport and exquisite understatement.
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Dave Christensen's #1 - The For Carnation s/t
I cannot think of any other record I have ever heard that is as tight, as
lean, and as refined as The For Carnation. This album took three years
to complete. The result is six songs in about forty-three minutes, and
the amount of effort put into perfecting those songs is readily
apparent. Each is razor sharp. Not an ounce of fat to be
found. Tonally, The For Carnation is a very consistent, moody piece of
music, however, it is not downbeat. Rather, it is engrossing. The
perfect balance that band has achieved creates a Zen-like state for the
attentive listener. I only gave this record 10 out of 12 on the fakejazz
scale--I tend to be pretty conservative with ratings because its difficult,
if not impossible, to adequately asses a piece of music after a few
listens. At this point in time, I would give The For Carnation an 11,
and eventually, I imagine, 12. No other album I have heard this year is
anywhere as satisfying as The For Carnation.
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Luke Ferdinand's #1 - Joe McPhee Nation Time
Pure energy.
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Wade Chamberlain's #1 - Jurassic 5 Quality Control
The main complaint I've heard about Jurassic 5 is that they
sound too old school. I feel just the opposite is
true, they are taking old school sensibility and style
to propel hip hop into the future. Cut Chemist and Nu
Mark create some amazing tracks that feature some of
the coolest drum sounds I've heard, and their turn
table work is also some of the best I've heard! This
is all a great back drop for the lyrics and harmonies
that the MCs provide. There are few hip hop albums
that I listen to front to back--most are hit and miss
for me--but this is solid the whole way through.
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I won't bother with long-adjective filled descriptions, because I figure
most people by now are at least somewhat
familiar with Godspeed's apocalyptic style
of epic rock. The basic formula has stayed the same--the flair for
dynamics is still present, although maybe a
little more refined. In Lift Your Skinny Fists, there seems to be a new emphasis on the
rhythm section. The drums are present in
more places than in just the chaotic climaxes, in fact there are quite a
few midtempo interludes, which, in my
opinion, make this record.
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Jim Steed's #1 - Analogue Rock Proper
My top choice for album of 2000 was recorded in 1997,
Analogue's second album Rock Proper. Post-rock must evolve or it will
die. Analogue takes all the things that made post-rock and fusion
great--the riffs, the odd timings, the polyrhythms, etc.--and made it
warmer and more inviting by creating an atmosphere of soft keyboard and
percussion tones underneath the rough, tough rock exterior.
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continue to the elimination round
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