Top Ten (plus one) Records from 2003 For Which You Should Pay Money:

1. Kelley Stoltz: Antique Glow. The album begins with a riff from "Here Comes The Sun," then veers immediately into "Venus In Furs" territory, and dips into Meddle-land, all sung through a Beck-infused psychedlic folk sheen. Sorry to drop all the names but Kelley invites it on this record, which manages to be so much more than the sum of its influences. From the Drake-y "Mean Marriane" to the T Rex scuzz "Are You Electric" to the stupid "Underwater" to the touching "Mt. Fuji/My Silverlining," Antique Glow was the album that I played most obsessively this year. Kelley's previous album The Past Was Faster was a lo-fi novelty; Antique Glow is a lo-fi masterpiece, a happy neighbor to Bee Thousand. Outstanding!


2. The Fall: Country On The Click/The Real New Fall LP. It's another Fall record; this one took a long time to show up. It seemed like a bad sign and an inevitability when it was called back to be remixed after review copies were already sent out, but luckily the remix only pumped up the good bits to extreme levels and eradicated the dull bits. Finally, the first Fall album in a few years to be consistently listenable all the way through; I don't think there's a boring track on here, and it has at least three of the best songs MES has written ("Protein Protection," "Sparta FC," and "Mountain Energie").

3. Dizzee Rascal: Boy in da Corner. Is this hip-hop? Is it electronic? It is definitely paranoid, musically offputting, and claustrophobic, and extremeley English. DR's rhymes and stylings are, well, I don't even know what to say about them. This is coming out next year in the US and Matador hopes are high for this to break-through big time, but I think it's too weird for American audiences; one of the most original albums to come out of England in a decade.

4. Radiohead: Hail to the Thief. Hearing guitars on a Radiohead album again was confusing at first but I adjusted. In the end, I find it a stronger record than Amnesiac, and certainly more fun.

5. Nina Nastasia: Run to Ruin. Like a dark night drive down a crappy overgrown road, in the middle of a tense conversation with someone you used to love about something you regret. Jim White's drums provide the migrane.


6. Mogwai, Happy Songs for Happy People. "How many Mogwai records do you need?" You need this one, at least.

7. Colleen: Everyone Alive Wants Answers. Another "pretty" record, signifying that "pretty" ruled the year for me.


8. Lisa Germano: Lullabye For Liquid Pig.

Unbelievably overdue. Beautiful.


9. Belle & Sebastian: Dear Catastrophe Waitress. Thank you Trevor Horn, for passing on the latest Seal borefest to make Belle and Sebastian into the best New Wave Band of 1984. This should have been issued on orange vinyl. If the guitar solo in "Stay Loose" doesn''t move you then it would take an earthquake.


10. Piano Magic: The Troubled Sleep of Piano Magic. Released too late in the year for most people to hear. It wouldn't be an Agenbyte year-end list without a PM album. This is their most consistent release after the Bliss Out.

11. Grandaddy: Sumday. The boys from Modesto coat their desert soundscapes with sugar and push the bliss envelope. A record with so many surprisingly pretty moments. If only the rumored double album version had been released.

Other recommendations: Matt Elliott: The Mess We Made; these ghosts hate you. Don't sleep tonight. George: the Magic Lantern; english-post-folk, pretty textures. OutKast: the Love Below/Speakerboxxx; Sylvain Chauveau: Un Autre Decembre; more of the pretty. David Sylvian, Blemish; finally a challenging release from Sylvian. Uncompromising. More in this vein, please. Juana Molina: Segundo; lovely Spanish electro-folk, like a blippy Cat Power. Robert Wyatt: Cuckooland; another solid record, too bad they don't happen more often. Arab Strap: Monday at the Hug and Pint; opens with "The Shy Retirer," my new favorite Strap song, because it bolsters my belief that the english do nothing but sit around pubs, eat pills, and lech on each other; the Mars Volta: De-loused in the Comatorium; this might be a stupid record, the cover art certainly is, but it fulfills some adolescent urge to listen to Rush, so it gets a recommendation. the Yeah Yeah Yeahs: Fever to Tell; the Rapture: Echoes; I like Gang of Four and PIL. The Wrens: Meadowlands; a screamy emo Red House Painters; Sun Kil Moon: Ghosts of the Great Highway; why wasn't this called an RHP album? In a lesser year would have placed higher, for "Duk Koo Kim" alone, probably Kozelek's best song since "Drop".

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