CHIRP: The Chicago Independent Radio Project

Shawn Campbell writes

Shawn Campbell's Top Picks of 2008

This year’s list is full of controversy. Or at least “controversy.” As someone who ordinarily sticks pretty closely (uh…compulsively?) to the rules of year-end list-making, I generally would give a hearty “absolutely not!” when it comes to issues like including compilations on your list, or featuring albums that had a smaller release in a previous year. Well goodbye to all that! My list this year includes all those violations and more. Take that, rules!

It’s pretty rare that I truly have a #1 record, or that #3 is substantially better in my eyes than #7. Therefore, in no particular order, here are my top ten records of 2008.

Bon Iver – For Emma, Forever Ago: Starting right out with one of the controversial choices. Not because the quality of this sparse, gorgeous record is in dispute, but because Bon Iver actually self-released it in late 2007. However, it got a more “official” release from Jagjaguwar in 2008, to the good fortune of the many that never would’ve discovered it otherwise. I had the chance to see the band play two shows, one in the spring at the Lakeshore Theatre, and a second right here at the end of the year at the Vic. Both were masterful – two of my favorite shows of the year by a single artist.

King Khan and the Shrines – The Supreme Genius of King Khan and the Shrines: OK, here’s controversy #2. This record is a compilation of several UK releases. But I’m going to pretend I don’t know that, and just say this is the best, filthiest, garagiest (yep, that’s a word), most soulful record I’ve heard in ages. The incredibly energetic (and sweaty…and yes, again, filthy) performance at Pitchfork was revelatory – and hopefully no one allowed King Khan’s over the top frontman persona to overshadow the absolutely killer band.

James – Hey Ma: Comeback records are dangerous things. When a band you loved dearly a decade or more ago decides to reunite and release new material, odds are that you’re in for a letdown. This certainly was my worry with the first record James has released stateside since 1995, but my fears were unfounded. This album is a true return to form, far superior to the three UK-only releases from the late 90s and early 00s. There are three or four anthems that can stand proudly alongside classics like ‘Sit Down,’ ‘Ring the Bells,’ and ‘Laid,’ and plenty of other strong selections as well. James was my favorite live band in the early 90s, with a crazy level of energy and belief unmatched by other bands I was seeing at the time, and the show they played this fall at the Vic showed that little has changed…an amazing, more than two-hour show that still left me wanting more.

She & Him – Volume One: Who would’ve guessed? Take one rootsy traditionalist, add a dose of indie film ingénue, and come out with a collection of timeless, classic pop songs. Zooey Deschanel and M. Ward bring out the best in one another, with Deschanel’s sweet, slightly unusual voice pairing perfectly with the warm, analogue feel of the instrumentation. Yet another top show of 2008 as well – a summer night at the Park West, where I think not a single person in the crowd, even the most jaded indie rocker, left the room without having been completely charmed.

Alla – Es Tiempo: OK, another album that actually had a release TWO years ago…but again, Es Tiempo had its more official release in 2008, and it was with this release that I discovered it. A fascinating mix of pop song structures, atmospherics, Tropicalia, psychedelia, shoegaze…all topped off with Spanish language lyrics from this local outfit. A band I still need to see. I’m really curious how they recreate the album in a live setting.

Cut Copy – In Ghost Colors: I first heard this album in some boutique in Wicker Park on a really stormy spring night, and the music fit perfectly with my mood. It’s funny, because I’ve seen this album described with words like “sunny” and “summertime” in review after review, but I hear something different, and somewhat more complex. It’s an interesting record, with a lot of emotion, and something of a split personality – some songs are pure indie rock new wave, while others definitely fall into the modern disco category. Both have served me well at various times this year.

Lucinda Williams – Little Honey: Lucinda Williams is absolutely, 100% who she is, and that’s what I like best about her. You just have the feeling that, after some early pushes for mainstream pop-country appeal, she’s been making records over the past decade that reflect exactly what she wants to do. They’re rootsy and blunt, full of character (and characters). It’s a word that’s incredibly overused in music, but Lucinda Williams is authentic. This is Americana at its best.

Little Jackie – The Stoop: This bubblegum R&B record from Imani Coppola (who had the AC hit ‘Where Have All the Cowboys Gone’ in the late 90s) was a big favorite for much of the summer. While the songs have some gloss, and have obviously been pretty highly produced, they retain a real warmth – there’s no vocoder or auto tune or other diva characteristics – just catchy story songs about the life of an urban girl in the 21st century. In my world, this should’ve been all over top 40 radio…but what do I know about top 40 radio these days?

Magnetic Fields – Distortion: Stephin Merritt’s latest seemed to have pretty generally been passed over, with the consensus that it was better than ‘I,’ but not so much better that anyone really needed to pay much attention. I’d beg to differ. I liked Merritt’s move from the conceit of topical themes, to the concept of a topical sound, as given away by the title. I’m a sucker for a fuzzy pop song – whether the reverb-laden Phil Spector classics, or the feedback-drenched Jesus and Mary Chain faves, and Merritt’s ability to write a smart (and sometimes, severely messed up) pop song gets me almost every time – so the combination of the two was almost bound to be a winner. All in all, I think this is Merritt’s strongest collection of songs since 69 Love Songs, and those sung by the female singers are particular standouts. Revisit this one if you missed it when it came out.

Vancougar – Canadian Tuxedo: What is it about simple, punky pop songs sung by Canadian girls (oh Cub, I still miss you!)? I hadn’t been that impressed by the first Vancougar record, but I returned fairly often this year to Canadian Tuxedo. There’s nothing fancy here, just high energy songs about stupid boys and friendships gone wrong, with bashing drums and a little bit of new wave keyboard to mix things up. Just good fun, and there’s not a thing wrong with that.

David Byrne/Brian Eno – Everything That Happens Will Happen Today: This album sounds exactly like what you’d hope a 2008 Byrne/Eno collaboration would sound like. It’s a meditation on life, or possibly on death – definitely on the issue of getting older, and it sounds completely effortless – and great.

Sure I thought records from Santogold, the Hold Steady, Vivian Girls, and Crystal Stilts had their moments, but I’d have to include them on a singles list, not an albums list. And I was not impressed by that TV on the Radio record at all.