The Top 50 Albums of 2006

Written by onecaseman

Thursday, 13 September 2007

Article Index
The Top 50 Albums of 2006
Top 40-31
Top 30-21
Top 20-11
Top 10-1

Page 5 of 5

Cortney Tidwell, Don’t Let Stars Keep Us Tangled Up [Ever]

Building upon the beauty of her debut EP earlier in the year, Cortney Tidwell delivers an entirely new collection of songs for her gorgeous debut album. This album sees Cortney’s angelic voice ranging over altcountry to pop to blues to more electronic offerings. Her impeccably produced tracks never outshine her gorgeous voice, at times recalling Bjork on some of the best moments of Homogenic. Cortney herself plays acoustic guitar on most of the tracks, and that base is accompanied by a myriad of instruments, from the standard bass and drums to the highly irregular vibraphone and prepared piano. All work together to form some of the best singer/songwriter material all year. So put down Ys and try Cortney Tidwell. You might be glad you did.

Download: Eyes Are At The Billions

The Fiery Furnaces, Bitter Tea [Rough Trade]

Really wacky operatic indie rock from the Friedbergers. I think it’s a really strong record coming off the disappointing Rehearsing My Choir. I get the feeling that the way they manipulate their songs is going to influence countless indie artists in the future, and even with all the destructive chaos, lengthy narratives, and backwards vocals, there are still so many beautiful pop moments here. It’s amazing with their speed of output (one album a year, plus solo efforts) that they manage to pack so much into this one record. With this record, the Furnaces show that while they will always be weird, they will also most likely be making good music, something I wasn’t inclined to say last year.

Download: Waiting To Know You

Dr. Who Dat?, Beat Journey [Lex]

Where did this guy come from? Hip-hop producer Jneiro Jarel brings this gorgeous collection of instrumental hip-hop out on the Lex label, who some of you may remember for putting out Dangermouse’s early records as well as Boom Bip. This album is, simply put, some of the best instrumental hip-hop I’ve heard in quite some time. I think what makes this record so special is Doctor’s immediate understanding that what makes great instrumental hip-hop music is not making a beat that would be great for an MC to rap over, but to make a beat that doesn’t need an MC to rap over it. With all sorts of sounds and styles, this is a record I might dare say be called essential for the genre in a few years if it gets out enough, and spark a great career for this young producer.

Download: Deep Blaque

Clark, Body Riddle [Warp]

IDM newblood Chris Clark drops his first name for his third album and manages to create a record that balances the playfulness of his early work and seriousness of 2003’s excellent Empty the Bones of You. Speaking of that record, it was incredible how Clark had managed to create this mix of orchestral walls-of-sound, skittering, harsh, clip-hop cuts, and delicate, muddy piano, which was entirely missing from his debut. It was as if Clark found his sound and forgot all about the playful, analogue melodies sometimes present on 2001’s Clarence Park, especially present on album highlights “Lord of the Dance” and “Diesel Raven”. With this album Clark proves he hasn’t forgotten, somehow clashing that playful mentality of his early music into the mold created on Empty the Bones of You. How it manages to work I don’t know, but with this record, Clark manages to say this is me, all of me, and it’s worthy of the comparisons to Aphex Twin and Autechre. And it is. This record solidifies Clark as one of the new talents of an increasingly sparse IDM/Experimental scene.

Download: Ted

Grizzly Bear, Yellow House [Warp]

Warp signed a decent indie act? I know; it’s shocking. Warp Records’ “diversification” into the indie rock sphere, beginning a couple years back, has befuddled much of the label’s fan base and turned many of its die hard fans completely away from the label, accusing it of buying into the latest trend. Most of the backlash occurs from the signing of Maximo Park, seemingly an obvious effort to cash in on the success other independent labels have had recently with bands like Franz Ferdinand, and even more recently, the Artic Monkeys. Early this year, fans were greeted with the signing of Grizzly Bear. Immediately, fans jumped to conclusions as they tracked down 2004’s Horn of Plenty and heard its lo-fi, DIY post-rock sound. Oh no, another indie band! Warp’s dead! Not the case. Warp’s most recent dip into indie music finally yields positive results, with Yellow House becoming one of the most delightful surprises of the year. A sprawling mix of intricately-produced, chaotic folk, this record is a far cry from the debut, and entirely more satisfying. Grizzly Bear manage to bring a different point of view (and sound) to each track, developed from the wide range of instruments, musical styles, and different singers (each band member taking a hack, I believe) at their disposal. What this record shows is that Warp is developing a keen ear even away from electronic music, and not buying into the indie revolution with blind faith, but with an ever growing refined taste.

Download: On A Neck, On A Spit

Ellen Allien & Apparat, Orchestra of Bubbles [Bpitch Control]

This collaboration really shouldn’t be this good. This is the first album collaboration between these Berlin-based electronic musicians. Ellen Allien has always had a fairly club-friendly techno and electro background, whereas Apparat’s roots are stemmed from post-Autechre IDM and vocal-based experimental electronic music. What’s really uncanny is how these two manage to blend these different backgrounds into effective tracks, using each and every element of each other’s background. Every track is, without a doubt, dance music, but it has an experimental edge not normally found in such music, and diversity not normally seen in dancefloor records. They sample not only techno and IDM, but dubstep, and even trance. Both artists sing on the record, and the vocal arrangements are, again, surprisingly effective. In fact, surprisingly effective is a good way to describe the record as a whole.

Download: Leave Me Alone

Boxcutter, Oneiric [Planet Mu]

As soon as I heard Boxcutter’s Breezeblock early in the year, I knew his debut album would be special. With dubstep already experiencing quite the explosion this year with many of the most popular dubplates finally seeing 12” and CD presses, Boxcutter goes further than what has quickly become the traditional dubstep sound, weaving in not only more traditional jungle sounds, but also extremely non-traditional IDMish noise and jazzy ambience that puts him more in line to become the next Squarepusher rather than the next Goldie. What is genius about this record is how all these sound clash together to make the most beautiful sounds heard in drum’n’bass-based music for quite some time. Boxcutter’s purpose is not to define dubstep, but to redefine and to push its boundaries beyond the traditional DMZ night. This is a record that recalls the genius of Feed Me Weird Things, without attempting to be a carbon copy of it.

Download: Sunshine V.I.P.

tstewart, Living Exponentially [Merck]

Another alias from Miami’s Travis Stewart (this time abbreviating his real name), the genius behind both Machine Drum and Syndrone. This album takes Travis’s sound into more future jazz territory, taking bits and pieces of his other aliases and melding them into an album that at times recalls Jaga Jazzist, but a more refined, electronically driven, and in my opinion, better version. This new style is as fresh as Now You Know on first listen, and signals that Travis can tackle just about any type of sound he wants. With the disappointing Machine Drum remix album coming later in the year that failed to match the genius of Half The Battle, this record actually does rival his previous work and shows that Travis may be tiring of his initial sound and looking to channel his creative energy in new directions.

Download: Become Another Eagle Returning To Korea ‘34

A Cloud Mireya, Singular [Eastern Developments]

I’m just so glad this record finally came out! One of two lovechildren between On!Air!Library!’s Claudia Deheza and Scott Herren (they also welcomed a son into the world this year, where the first track “Our Alejandro” takes its name), this album is a such a beautiful take on airy, ethereal indie rock. Some may remember their initial collaboration on last year’s Prefuse 73 album Surrounded By Silence. Transport Claudia’s unique vocal delivery from those tracks into a spaced-out, indie rock landscape and you have A Cloud Mireya. The magic is in her voice, and Scott’s unique understanding of what is so special about it, and what makes it so different. This collaboration will have you floating in its clouds for hours on end. An absolutely stunning collaboration.

Download: Illusional

Bibio, Hand Cranked [Mush]

No record knocked by socks off quite like Bibio’s Hand Cranked this year. Time and time again Bibio’s guitar arrangements repeated on any stereo, computer, discman, or music device I could find, and with every listen, I only seemed to appreciate his sun-saturated acoustic guitar folk even more. This is an album that builds upon his impressive debut Fi last year, and channels his creativity and technique even better, this time incorporating piano and even vocals into a couple of his songs. The guitar arrangements seem more complex and interesting, and everything here just feels more rewarding than anything else I’ve listened to in quite a long time. This was far and away the record of 2006, and the crowning achievement for Bibio is that even though this was one of the best years for music in my recent memory, his record still towered over any other to become the best album of 2006

Download: Cherry Go Round