Feature / Music
Scene Point Blank's Favorites: Year End (2004)

Epic melodic hardcore is the label that best describes Destined For Anything. Similar to other hardcore bands that take the melodic route, Life Long Tragedy is able to dive head first out of your speakers while still maintaining a skin of beauty. But unlike many other bands that do actions similar to these, Life Long Tragedy doesn't stay stagnant as their songs are constantly moving and growing until they reach your ceiling. During this whole ordeal you read the lyrics and smile at their sincerity and honesty. One of the best, if not the best, hardcore releases of 2004. (Zed) http://www.lifelongtragedy.org

2004 saw the rebirth of a washed-up middle-aged musician that only kids with really bad haircuts seem to care about. What made it worse was two things: 1) Those kids never owned a record from The Smiths until last year and 2) You Are the Quarry is a pile of crap next to anything that Morrissey did in the 80's. So why is this relevant? Go ask Pitchfork, they seem to be responsible for reviving musicians who were better off living in retirement communities. (Michael) http://www.youarethequarry.net

Only a few weeks after the release of Franz Ferdinand's self-debut, the mainstream gobbled the band up like there was no tomorrow; it seems like everyone and their mom knows who Franz Ferdinand the band is, thanks to generous spins on the radio and Madden 2005. Their overt sexuality, decadence, accents, crisp riffs, and danceable beats attract fans from both the underground and the mainstream. The success of 'Take Me Out' facilitated the debuts from dance rock bands like The Killers and Dogs Die in Hot Cars. It is relatively early in their career and only time will tell if they will continue writing catchy hits or embarrassing misses. (Nancy) http://www.franzferdinand.co.uk

Hype and anticipation were abound with Crimes, The Blood Brothers follow up to Burn Piano Island, Burn. While many fans will admit feelings of disappointment with the band's mellowing of their ways, I was among a select few that welcomed the change. Crimes is still filled with their abrasive mix of punk and metal, but also found creative ways to infuse more pop elements that were only hinted at before. ('Rats and Rats and Rats for Candy') So while it may not live up to the expectations that surrounded it's release, Crimes was the logical next step for The Blood Brothers. (Michael) http://www.thebloodbrothers.com

Although this did unofficially come out in 2003, the replay and depth in As The Roots Undo made this album one of the best throughout 2004. Combining the sounds of screamo, metal and indie, Circle Takes The Square developed their own sound confusing most. As hard as it would seem to match the music lyrically, the words screamed and throated are really poetic without coming off as being too out there with some interesting cohesiveness. Although at times As The Roots Undo seems all over the place, it's the three piece's ability to stay together while displaying auditory insanity that makes this one of the best releases of 2004. (Zed) http://www.circletakesthesquare.com

With Wet From Birth, The Faint deliver what fans have come to love and expect: dark, pseudo-industrial music with creepy, weird lyrics. To avoid stagnation, the Faint have added some interesting elements - the electric-sounding strings on many of the tracks add a new dimension on what might be considered an album that doesn't show a ton of growth. But that's okay, because if you get something right the first time, why change it? The Faint definitely know how to handle themselves when it comes to the macabre - "I Disappear," "Desperate Guys," and "Phone Call" are all highlights of a compact album full of the confidence the band has acquired as the poster boys of pop/electro/rock/industrial fusion. (Melanie) http://www.thefaint.com

Mastodon carved the ocean in half with this intense venture into barely chartered depths, whereby they surfed atop the bone-splitting guitar riffs of classic heavy metal, the vocal and musical density of sludge and doom, and topped it off with the occasional foray into Viking metal epics (The magnificent 'Hearts Alive') and acoustic ruminations ('Joseph Merrick'). Of course, thundering against it all is the best damn drumming you'll hear in a while. Leviathan makes me want to hit open waters, sucking in sea foam, braving tidal waves, poised with a harpoon in my hand whilst songs like 'Aqua Dementia' blare from the boat speakers, and attack shadows emerging from under the waves in a bloodthirsty fervor. PS: Awesome album art! (Alex) http://www.mastodonrocks.com

The bad news: after the success of the single "Float On," Modest Mouse shows are going to be more crowded than ever with annoying TRL brats. The good news: it doesn't matter, because this album is good. Real good. Even if Isaac Brock still boozes, even if former drummer Jeremy Green didn't come back for this album, the music moves like an ocean tide, rising up to exciting, quirky levels and then back down to reveal quiet moments of reflection. It all fits within the ebb and flow of this album, which is more subdued than anything Modest Mouse has done before but just as powerful. (Melanie) http://www.modestmousemusic.com

Elliott Smith's posthumous release, From a Basement on the Hill, was one of the most anticipated albums of 2004. It should have tied up the loose ends of Smith's life, but instead it gives off an eerie and unsettling feeling. As requested by Smith, the production of the album is unpolished to parallel the production approach of the Beatles' White Album. The guitars are detuned and the lyrics are bitterer, all indications that he wanted to experiment with a different sound. 'Memory Lane,' 'The Last Hour,' and 'Let's Get Lost,' however, echo the delicate finger-picking style of his earlier albums. Though it is not his best album, it highlights new developments of his talent. We can only hope that Smith's estate is willing to release more material to rival the amount of 2Pac's posthumous releases. (Nancy) http://www.sweetadeline.net

Are you really, really bitter about the girl/guy that fucked you over in 2004? If you said yes, do yourself a favor and burn them a copy of "I Do Perceive" and leave it on their front doorstep (and don't forget to key their car). On his latest solo LP under the pseudonym Owen, Mike Kinsella has used his mellow vocals, brutally honest lyrics, and skilled musicianship to elevate the singer/songwriter genre to new heights. Oh and if Mike's voice and/or name sound familiar to you, it might be because he's been in some of the most influential indie rock bands of the past decade (Cap'n Jazz, American Football, and Joan of Arc, to name a few). That should be reason enough to check this out. (Jerome) http://www.polyvinylrecords.com

What do Sophia Coppola, Barnes and Noble, a teacher, and a kid in orchestra have in common? They all thoroughly enjoy the music of Air, the French electronica duo. Air's third full-length album, Talkie Walkie, is as diverse as their fan base. Sounding slightly creepy at one moment, like their work for The Virgin Suicides score, and celestial the next, they jump between dark sensuality and breezy innocence to create comforting release. Air has found an effective balance between their pop sensibility of Moon Safari and experimental quirkiness of 10,000 Hz Legend. Their calculated simplicity avoids extraneous noise that would counter their effortless melodies. Talkie Walkie is recommended for watching the stars like Kelly, but not for long late night drives. (Nancy) http://www.intairnet.org

C'mon. You knew this would be great. It had to be great. Brian Wilson creating a SMiLE that was anything less than totally fucking brilliant would incite riots in the streets. It would be like changing the flavor of classic coca cola or trying to convert America to the metric system. The people would not have it. Since the death toll at the hands of SMiLE is currently zero (to my knowledge), it's obvious that the album totally dominates. SMiLE is a pure, absolute joy from start to finish and warrants roughly six billion repeat listenings. The sound is childlike, yet sophisticated, experimental, and yet immediately accessible. Words can't really do it justice. I hate to single people out, but if you hate this, you're probably the world's biggest scumbag (or a jealous Charles Manson). SMiLE is easily one of 2004's best albums and most pleasant surprises, even if we did all know it would be great. (Pat) http://www.brianwilson.com

'Leaf House' has always reminded me of a faster paced, more acidic, more twisted version of one of my favorite songs of all time, 'Sweet Lullaby', by Deep Forest. There's just a very rainforesty feel to the both of them. In fact, the entirety of Sung Tongs has that feel, or at least an outdoor and wholly natural vibe. I mean, my dog loves the Animal Collective! Throughout the drift and flutter of songs like 'The Softest Voice', she'll lie in front of my speakers and actually smile, eyes closed and content - its veritably primordial. 'Who Could Win A Rabbit' hits all the right notes, evoking the warm breath of Summer as it spirals, strums and chants its way to the very top of the best songs of '04. The Animal Collective are at the forefront of musical ingenuity, and I believe they are one of the few bands actually constructing an original and defining sound for the new decade, instead of just deriving from and revitalizing previous genres. (Alex) http://www.paw-tracks.com

It's rare to see an EP on a year end best of list, but Minus the Bear's latest six song offering was everything a full-length should be, and more. The songwriting here outdoes anything this band has previously recorded, and by default, everything ever attempted by any similar bands. The blend of technicality and pop-sense is seamless, balancing each aspect perfectly. If Botch broke up and certain members went on to form some sort of indie-pop band instead, I imagine this is what it would sound like. (Giles) http://www.minusthebear.com

The cover art for this album alone makes it worth buying. It features a blood-stained panda devouring a human leg, while a young girl watches. I mean c'mon, who doesn't love pandas? Anyway, the artwork is backed up by 11 songs to drink, dance, drive, and fuck to (though not necessarily in that order). Pianos, synths, and organs accent indie-folk guitar parts and are topped of by crooning vocals. Thoughts of Bright Eyes and Jeff Buckley may spring to mind when listening to this release. Either way, I'm sold. (Jerome) http://www.thehonorarytitle.com

While I believe that Morrissey had the best comeback of '04, to me, the Cure's was the most satisfying. As a huge Curehead, hearing a great Cure album this year is like having a massive weight in the form of 1992's wholly average Wish, 1996's embarrassingly abysmal Wild Mood Swings, and 2000's diet diet diet. Disintegration-flavored Bloodflowers lifted off my chest and erased from my memory. The Cure have finally made an album that is equal parts suffocatingly dark and joyously poppy without feeling the least bit in cohesive. The songs are strong, the production is powerful, and Robert Smith has never sounded better. Cure superfans were reminded again this year why Fat Bob and crew are the best thing about being a teenager. (Pat) http://www.thecure.com

When a band features members of Converge, Isis and Cave In, how could the product be anything less than glorious? Well, Christmas doesn't deter any preconceived notions I'd have about this super group. Half of the songs are brutal metal that are drenched in chunky marijuana smoke. The other half are ambient noise tracks that give this album a whole feeling of cohesiveness. Once you get past the odd band name you'll find something magnificent, for fans of sludge, droning avant-garde and people just wanting something different. (Zed) http://www.tortugarecordings.com

The Japanese have had a stronghold on the whole technology field for years. Hell, they are one of the only countries with a 100% literacy rate. So does it alarm anyone at all that Mono is single-handedly trying to make the country #1 when it comes to instrumental post-rock? Another record like this and I think Canada could be shaking in their boots. (Shane) http://www.mono-44.com

Bjórk easily sits atop the list of the most unique musical personalities creating music these days. So how does a musician as adventurous as her find a way to distinguish herself further? An easy answer, well, if you happen to be a female of Icelandic decent. With help of an extremely talented array of musicians, Rhazel, Mike Patton, Dokaka, and the Icelandic Choir, you create an album absent of all instrumentation, instead relying solely on the human voice for all melodies, beats, and vocalizations. The result? Medúlla, an avant-garde pop album that is beyond the grasp of anything I have ever heard before. There are no comparisons that can be made that would do this original masterpiece justice. (Michael) http://www.bjork.com

I really do hate adoring an album which I know that every other hip, indie dork in the country does too, but whenever I'm listening to the infinite awesomeness that is Funeral, I truly stop caring about how many kids with non-prescription nerd glasses are going to be getting in my way at their next show. Funeral is a sprawling, majestic, emotional, paradoxically 48-minute epic that is done no justice by words. If I wasn't such an absolute Morrissey nut, this would be the best album of 2004, hands down. Ignore everything you've already heard about it and listen for yourself. You'll be happy that you did. (Pat) http://www.arcadefire.com

Armed with a banjo and backing from the Danielson Family, Sufjan snuck Jesus into homes all across America. Heck, this could be, quite possibly, one of the only "Jesus-oriented" discs that you'll see atheists and Satanists alike raving about. There was hardly a soul that couldn't resist Sufjan's uber-personal fourth record that served as a break between his project to record a record of every state in the Union. (Shane) http://www.sufjan.com

Upon its release, many people viewed You Fail Me as the disappointing follow-up to Jane Doe. They also seemed to ignore the fact that on its own, You Fail Me has some fantastic songs. From the jarring explosion of 'Last Light,' to ring-of-fire instrumentation on 'Eagles Become Vultures,' You Fail Me does what a Converge album should do. It punches you in the gut, kidnaps you, and drowns you in a mysterious dark liquid. The most amazing aspect of Jane Doe was the perfectly cohesive songwriting. You Fail Me doesn't have that same sense of flow, it doesn't need it. What it does have, even at its less inspired, is some way-above-average metallic hardcore. To ignore that fact would be foolish. It's like the time my English professor only gave me a C+ on my 'How to Speak Klingon' essay because it wasn't 'informative' enough. Yeah, well, 'boch GHICH-raj, bitch.' (Giles) http://www.convergecult.com

2004 was the year of the Newsom, as far as I was concerned. Captivating the hearts and spirits of indie kids across the globe with her faux-Southern drawl and enchanting work on the harp, Newsom produced a jarring first statement of a record with The Milk-Eyed Mender. With songs about fruit, vegetables, plants, sensitive boys, babes, books, bridges, and balloons, Newsom- to use a phrase I've been hearing all year concerning her exploits- carved out a considerable niche for herself, writing a set of intensely beautiful songs that sound like everything and nothing at once...or maybe a deranged Diamanda Galas performing Appalachian folk. (Jonathan) http://www.walnutwhales.com

Maybe he thought he mastered song-writing on the guitar. Maybe he thought it'd help break all the comparisons to Jeff Buckley. Whatever the reasoning for the switch, he wrote one of the best albums of the year in Elysium, the follow up to 2002's Out of the Fierce Parade. (Shane) http://www.thevelvetteen.com

The sophomore release is the most crucial album in a band's career. These fancy boys took it in stride and gave us an up-tempo artsy follow up to Turn on the Bright Lights, Antics is a critical component of radio's post-punk scene that has been taking the indie scene by storm recently. With their second release, Interpol attempts to build on their strong instrumentation by focusing their songwriting skills on writing catchy gems, to which they succeed. (Michael) http://www.interpolny.com

Right up until the end of 2004, Madvillainy continued to grow in popularity, and with very good reason. While staying immediately accessible, it has proven itself to be one of the most inventive hip-hop releases in recent memory. More importantly, however, it's a pure pleasure to listen to. Madlib's dynamic comic-book beats toss and turn, never content to stay in one place for too long. MF Doom basks in the energy of his partner in crime, spitting lyrics that sound completely natural from start to finish. Songs stay short, trading choruses and needless repetition for more innovation. With both artists fitting together perfectly, it is often hard to tell who's in the spotlight. Ultimately, it never really matters. (Giles) http://www.stonesthrow.com/madvillain

Don't even get me started on this album. Seriously, I'll write an essay on it. Kanye has truly redefined the term "MC" with his first proper release, The College Dropout. With a refreshing outlook on hip hop, he has created a masterpiece, which is why you'll see this album among the top 5 of just about everyone's top albums of 2004. The man that has made hits for Jay Z (among others), has made an instant classic for his debut. And to think, he's just getting started. This album received ten Grammy nominations for a reason. (Jerome) http://www.kanyewest.com

Boasting about Isis is one of my favorite pastimes. So when I got my hands on Panopticon, those who know me knew it was only a matter of time before I was singing its praises for album of the year (despite what our site list says). But all that praise comes with good reason, Aaron Turner and company continue to write daring and thought provoking music that is destructive yet beautiful. This is all part of the formula they alluded to on Oceanic. In the end, Panopticon will only add further fuel to the new wave of doom-metal/post-rock hybrids that are storming the music world. (Michael) http://www.sgnl05.com

Hard to explain, hard to define. You don't come across music like this very often, and I believe that's the core reason as to why you'll find Xiu Xiu at the top of this list. Unpredictable at every corner, Jamie Stewart and Co. have set out to challenge the musical conventions we know and love. 'Crank Heart' is orgasmic in its freak show circus organ riffs and unexpectedly explosive vocals. 'I Luv The Valley, Oh!' manages to combine the adjectives 'haunting', 'awkward', and 'gorgeous' into one euphoric 3 minute musical endeavor. And it's juxtapositions like those that sit at the center of what makes Fabulous Muscles work so well. As Lao Tzu said in the Tao Te Ching, "When people see things as beautiful, ugliness is created." Looking at this in the reverse, Xiu Xiu create sonic abstraction, awkward off-kilter moments, utterly forthright lyrics and cacophonic static blasts so as to highlight and add weight to the more beautiful moments not only on this album, but also in life. Would the chirpy electronics, plaintive guitar and Stewarts joyful vocals on 'Clowne Towne' really be the same if he wasn't singing about self-betrayal and broken dreams? Most people can accept that it's the bad shit that happens to us which makes us all the more thankful for the positive things we experience. And as it is often suggested in regards to the notion of Heaven and a perfect Afterlife, 'How can we be happy, if we are not also capable of sadness?' I think Xiu Xiu answer that question pretty well. You damn well can't. (Alex) http://www.xiuxiu.org/