10: Afghan Whigs: Black Love:
On paper, I'm not sure I would have liked this: buncha white guys from Cincinnati claiming they're doing "soul" singing songs almost exclusively from p.o.v of guy who hates himself because he's such an asshole in love relationships. But damned if Greg Dulli & co. don't pull it off: it helps that, here, they've broadened their instrumental palette, adding keys, extra percussion, and cello (!) to the mix.
9: His Name Is Alive: Stars on E.S.P.:
In many ways, Warren Defever's most accessible work yet - although still plenty of oddball production touches to make it interesting. One of those recordings that calls into being a new, strange, wonderful world.
8: Long Fin Killie: Valentino:
Opinion strongly divided on this one, I gather: I think the inventiveness of this group - rhythm fiddle, bass guitar as percussion instrument, sax & bouzouki touches - along w/Luke Sutherland's very distinctive voice make this one a real winner. Strong but not ham-handed pro-queer anti-racism lyrics help as well.
7: Stereolab: Emperor Tomato Ketchup:
Seems a lot of 'lab fans are disappointed in this one. I don't know why - to me it's the best kind of progression: familiar strengths retained, new ideas incorporated (odd string charts, less metronomic rhythms, warmer production/sound).
6: The Posies: Amazing Disgrace:
Damned shame this one hasn't been better promoted or received. Apparently the band's broken up, too. I think Ken and Jon's harmonies work well w/crunchier guitars - a lot of Posies fans disagree. interesting chord structures too.
5: Sam Phillips: Omnipop (It's Only a Flesh Wound Lambchop):
Excellent songwriting, witty lyrics, oddball yet compelling arrangements, T-Bone Burnett's avant-retro production (almost Froom/Blake-ish) - the best work I've heard from her.
4: Lilys: Better Can't Make Your Life Better:
Despite the retro surface (circa 1966), the more I listen to this one the more contemporary it sounds. Besides which, the songs are killer: Kurt Heasley's got one of the most distinctive melodic/chordal signatures around.
3: Rollerskate Skinny Horsedrawn Wishes:
Another one of those "new, strange, wonderful world" recordings: zillions of guitars, keys, subtler instrumental touches (strings, glockenspiel), songs that seem to grow unexpected but beautiful extra limbs at whim....
2: The Wrens: Secaucus:
Their first album was almost too Pixies-influenced; this one works better by reconciling any number of apparent oppositions: noise/beauty, strength/delicacy, Amerindie irony/emotionality, rawkness/songcraft, melody/distracting weirdo production tricks. Free dissonant harmony as color/texture (for certain rogue musicologists - you know who you are...).
1: The Loud Family: Interbabe Concern:
Scott Miller finally pulls it all together - no weak links, great sequencing of tracks, a good mix of aggression and delicacy (from scary guitar-skronk and raw analog synth blurt to otherworldly voice samples and folkish twelve-strings). Possibly the best work he's been involved in.
Close but no cigar: (in approximate descending order):
The Fall Light User Syndrome
Throwing Muses Limbo
Guided by Voices Under the Bushes, Under the Stars
Girls Against Boys House of GVSB
Beck Odelay
Robyn Hitchcock Moss Elixir
Red House Painters Songs for a Blue Guitar
Mark Eitzel 60 Watt Silver Lining
Polvo Exploded View
Swirlies They Spent Their Wild Youthful Days in the Glittering World of the Salons
Honorable mention (alpha by title): Archers of Loaf All the Nations Airports, Tobin Sprout Carnival Boy, Los Lobos Colossal Head, Moonshake Dirty & Divine, The Nields Gotta Get Over Greta, Jawbox [s/t], Bob Mould [s/t], Ash 1977, Lotion Nobody's Cool, Robert Pollard Not in My Airforce, Jason Falkner Presents Author Unknown, Self Subliminal Plastic Motives, Cibo Matto Viva! La Woman, lovesliescrushing Xuvetyn