Top Ten Albums From the Year 2001:

1. The Court And Spark: Bless You. An album that came out of leftfield, considering that the band's first release was fairly standard, Whiskeytown-inspired alt-country. Bless You is a masterpiece of songwriting, playing, and production. Easily ranks with the best of American Music Club.


2. Sparklehorse: It's A Wonderful Life. Mark Linkhouse's most satisfying album yet features a smattering of famous friends and eleven incredible songs.


3. Hood: Cold House. Having done the lo-fi indie pop thing, the swirly shoegaze thing, and the slowcore mopey thing, it was time for Leed's Hood to tackle the electronic thing. Progressing from last year's Home Is Where It Hurts EP, Hood meld programmed drums with guitars and invite members of Oakland's Anticon crew to season the songs with surrealistic raps about fish and thrift store hats. One of the most original indie albums ever, surprising in its sure-footedness, absolutely unexpected and brilliant from beginning to end.



4. Bjork: Vespertine. A gorgeous, crystalline ice sculpture of an album. Chiming music boxes and the best songs she's recorded so far. "Pagan Poetry" is a terrifying portrait of co-dependance and damage and makes the album excell all on its own. Bjork is at the same place in her artistic development that Bowie was when he made Low, and her next step is anyone's guess.


5. Mark Eitzel: The Invisible Man. One of the longest gestations for an album in recent memory, when it finally arrived after three years of delay, it baffled some of the faithful with its full embrace of electronics and the ProTools aesthetic. Close listening reveals this to be Eitzel's most personal and heartfelt solo album with his best material since Mercury.



6. Wilco: Yankee Hotel Foxtrot. Not officially released this year, though it may as well have been, the real mystery is how the label thought an album filled with great pop material like "War on War", "Pot Kettle Black", and "Heavy Metal Drummer" sounded weirder than the cabaret-art-freakout Summerteeth. The real triumphs here are the slow songs, though, such as the aching "Reservations" and the disturbingly precognative "Ashes of American Flags".


7. Charles Atlas : Felt Cover. The perfect mix of the electronic elements of the first CA album and the drifting ambience of their second. Startling in its attention to the most delicate and nuanced sounds, Felt Cover maps the mysterious territory between silence and the sublime.



8. Jim O'Rourke : Insignificance. Owing a debt to (smog) on this one, O'Rourke's talents as a lyricist really shine with acidic and bitter stories of love, abandonment, and disgust, set to deceptively poppy tunes.


9. Tarentel : The Order of Things. One hour of understated, trembling sonic beauty that never overextends its reach; six intertwined pieces–one a Ricki Lee Jones cover–evoking wind, damp, Japanese space stations, closed and humidified sick rooms, haunted libraries, dimpled lake surfaces stressed under storm.



10. Piano Magic: Son De Mar. Partially recycled from A Trick of the Sea, this 40 minute instrumental piece, commissoned as a sountrack, departs from the band's recent song-based direction, for the better. Excellent contributions by and James Topham on viola and Charles Atlas' Charles Wyatt on guitar.

 

Other recommendations: the shins: oh, inverted world!; papa m: whatever, mortal; the angels of light: how i loved you; mogwai: my father, my king; stereolab: sound dust.

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Review: Jim Yoshii Pile Up, It's Winter In Here
This winter was hard. We had a car that leaked for the second winter in a row. I repeatedly took it down into Oakland to get it looked at. They never really fixed the leak but they put a drain in the bottom of the trunk so the water doesn't build up inside and turn the inside of the car into leasable swamp land. Often when I took the car down to get looked at, I had to walk back to the BART station in the early morning in the freezing cold in order to make it to work on time (and since I got laid off only two weeks later, I now realize I shouldn't have bothered).

During every single one of these walks, for some reason, Jim Yoshii Pile Up's It's Winter Here was in my discman. I'd seen JYPU live several times and had the album for months, but it wasn't until my life seemed to teeter on the precipice of despair that I realized how beautiful some of the passages on this album are. The shimmering layer of chords that dusts the middle of "Jetzt Mit Iodine" is the perfect soundtrack to walking into a deserted, run down neighborhood just after dawn, simultaneously pretty and terrifying. The melody of "Hello" builds on a simple bassline that grows in momentum into something almost desperate. Walking beneath an underpass I eerily lived out about half the events described at the beginning of "Monotonologue". As I faced impending unemployment, "Breakdown Championship"'s line "you ask me what's my greatest fear/well darling it's living here/earning 6.50 an hour" suddenly seemed less like a juvenile complaint and more like a distressingly real and valid problem. And anyway, the song includes a line about staring at a poster of Prince. And it's delivered without irony. Or the irony is so heavy that it's not ironic any more, it's just what it is.

There are people who will object to It's Winter Here as too bleak, too emotional, too indicitive of a personality willing to give in to the tightening spiral of desperation and fear wrought by bad luck, but maybe these people need to have more bad shit happen in their lives, and then they'll come around, and then it can be winter over there where they live too.

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