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Go1
Was Dimanche á Bamako angeht, so bin ich auch noch nicht sicher, ob es mehr als bloß nett ist. Das blinde malische Paar hat die Platte mit Manu Chao an den Reglern aufgenommen, der auch singt und Gitarre spielt. Man hört locker-flockige Popmusik, teilweise tanzbar, mit einigen westafrikanischen Rhythmen und Melodien. Das Album klingt durchaus frisch, alles ist schön farbig und abwechslungsreich arrangiert und Songs wie „Camions sauvages“ oder „Taxi Bamako“ gefallen mir gut. Andererseits finde ich das Album insgesamt zu lang, ich höre keinen wirklich großen Song und die Texte sind zum Teil fragwürdig, wie z.B. bei „Politic amagni“ – was mich allerdings nur stört, wenn ich sie nachlese, nicht beim Hören. Manches kommt mir auch vor wie Folk, der vergeblich versucht hat, Pop zu werden („La Fete au Village“ kommt z.B. aus einer fremden Welt: „Mache dich hübsch für das Dorffest“). * * * bis * * * ½. Ich bin ein bisschen verwundert, dass dieses Album dermaßen viel Anklang findet und bei MOJO sogar in der Top Ten gelandet ist. Habe ich hier etwas überhört?
Sehe ich genauso. Die Mischung zwischen afrikanischem Folk und Manu Chao hörte sich „auf dem Papier“ äußerst vielversprechend an. Das Ergebnis ist leider ohne erkennbare Charaktisierung und verliert sich in Beliebigkeit. Mit *** wäre es schon mehr als gut bedient.
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Highlights von Rolling-Stone.deTarantino-Ranking: Alle Filme von „Reservoir Dogs“ bis „Once Upon a Time in Hollywood“
Alle James-Bond-Songs im Ranking
George Michael: 10 Song-Geheimtipps, die man kennen muss
Die zehn besten Filme von Arnold Schwarzenegger
Buyer’s Guide: Sting und The Police – die besten Alben
ROLLING-STONE-Guide: Alle Alben von Radiohead im Check
WerbungHat schon jemand die Liste von THE WIRE irgendwo gefunden?
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Leonard ZeligHat schon jemand die Liste von THE WIRE irgendwo gefunden?
Ich habe das neue WIRE-Heft noch nicht gesehen, aber ich kann einen Link posten zu einem Blog, in dem die Liste wiedergegeben wird. Die speziellen Kategorien wie „Avant Rock“ usw. sind da aber nicht dabei.
http://swen.antville.org/stories/1287789
Auf der Liste ist so einiges unique, aber ein paar Schnittmengen mit anderen Listen gibt es. Mindestens die folgenden Alben sind auch von anderen Magazinen genannt worden:
MIA, Arular
Animal Collective, Feels
LCD Soundsystem
CocoRosie, Noah’s Ark
Boards Of Canada, The Campfire Headphase
Antony & The Johnsons, I Am A Bird Now
Ariel Pink, Worn Copy
Black Mountain
Isoleé, We Are Monster
Konono No 1, Congotronics
Edan, The Beauty And The Beat
Lightning Bolt, Hypermagic Mountain
Kanye West, Late Registration
Sufjan Stevens, Illinois
Jamie Lidell, Multiply
Broadcast, Tender Buttons
Low, The Great Destroyer
Akron/Family, Akron/Family
Bonnie ‚Prince‘ Billy & Matt Sweeney, Superwolf--
To Hell with PovertyAnsonsten hätte ich noch die Liste von CMJ (College Music Journal) aus NYC anzubieten:
http://www.cmj.com/articles/display_article.php?id=7047253
30 THE NEW PORNOGRAPHERS, Twin Cinema (Matador)Brainy, wayward songsters balancing opulence against masterful navigation and Spanish techno, the New Pornographers aren’t just a troupe, but the troupe to merrily tail after. Lightning rods Carl Newman and Neko Case sparked another winding, gratifying rock album, finding nuance and rebirthing what sounded so fresh on their 2000 debut in gushing, replenishing waves. (STEVEN CHEN)
29 THE HOLD STEADY, Separation Sunday (Frenchkiss)
With meticulous and thorough rants about hoodrats and Catholic redemption, Brooklyn’s the Hold Steady tightened the gap between bar rock and bar exams. A Colorado high school even deemed Separation Sunday teachable to at-risk freshmen! (KORY GROW)28 BRAZILIAN GIRLS, Brazilian Girls (Verve Forecast)
Recall every time you were lured to a dark corner in the VIP lounge or woke up with lipstick smeared you-know-where and be thankful for Sabina Sciubba’s scandalous coo and her band’s sensual down-tempo grooves. After everything they did for our sex lives in 2005, does it matter that none of them are Brazilian? (MATTHEW FIELD)27 PAUL WALL, The People’s Champ (Atlantic)
The living embodiment of Houston’s slow roll, Paul Wall exudes a candy-coated charisma that turned flossin‘ into an artform. Painting a wide-angle portrait of Houston culture and its excesses on The People’s Champ , this „undisputed king of the parking lot“ taught the whole nation how to drive slow this summer, and how to make a smile really sparkle. (OWEN STROCK)26 CLAP YOUR HANDS SAY YEAH, Clap Your Hands Say Yeah (Self-Released)
Shouldn’t this happen more often? Brooklyn-by-way-of-Byrne band puts out a great album and the word-of-mouth circuits explode because it was self-released/recorded/titled. The rest is kind of indecipherable, but reveals itself like panning for gold under grits of undulating keyboard and shuffling drums. (JESSICA SUAREZ)25 JAMIE LIDELL, Multiply (Warp)
IDM beat-splicer Jamie Lidell reinvented himself on Multiply, channeling Prince and Al Green instead of skipping harddrives. The lead-singer of his one-man R&B orchestra, Lidell’s reverent funk proved that you don’t have to wear a stupid hat to show you got soul. (OS)24 HIGH ON FIRE, Blessed Black Wings (Relapse)
Although High On Fire frontman Matt Pike’s Lemmy-on-ludes snarl and blisters-on-me-fingers guitar licks proved too heavy for Ozzfest, his kitschy World Of Warcraft lyrics and shirtless „Iron Man“ look earned his band massive hit points with the post-Andrew W.K. crowd. Hell, with Joe Preston of Earth and Melvins fame aboard, and a song actually written about real Hessians (not their Reebok-loving fans), Blessed Black Wings flew right into stoner heaven. (KG)23 DANIEL LANOIS, Belladonna (Anti-)
The man who helped define the echo for the Edge went instrumental for the first time since he and Brian Eno shot for the moon in the spacey Apollo. By re-imagining the way a pedal steel guitar could be played and delayed, Lanois put the ambiance back in ambient with this heady dose of moonlit sonatas. (STEVE CIABATTONI)22 LCD SOUNDSYSTEM, LCD Soundsystem (DFA-EMI)
Chunky, disheveled, irascible and as testy as a record clerk with a Superpitcher import on the stereo and a nose buried in Chunklet—did dance polyglot James Murphy mispronounce „Rakim“ just to fuck with us? Whatevs, since his night job as an enchanting Deft Punk playing at yr house made the dedicated, the ironic and the crypto-ironic ignore their edges for five minutes and lose their inhibitions instead. Yeah yeah yeah yeah. (CHRISTOPHER R. WEINGARTEN)21 ANTONY AND THE JOHNSONS, I Am A Bird Now (Secretly Canadian)
Between cover art depicting transsexual Andy Warhol acolyte Candy Darling and duets with Lou Reed, Devendra Banhart and Boy George, Antony And The Johnsons gave androgyny some new rules of cool. With a haunting alto and sparse instrumentation, Antony’s quivering verses about broken love and masochism update the Cure’s self-loathing lovesongs and VU’s boots of shiny leather. (KG)20 ALVA NOTO AND RYUICHI SAKAMOTO Insen (Raster-Noton/Asphodel)
Keyboard touchstone Ryuichi Sakamoto plays somber soundtracks appropriate for artful furniture or airports. German micro-manager Alva Noto pushes the bytes via some amazing feat of laser surgery or feng shui. It’s a gorgeous, whisper-quiet white-on-white collage assembled with a microscope and a single human hair. (CRW)19 KONONO NO. 1, Congotronics (Crammed Discs)
The hardest, funkiest inna city beats didn’t come from Detroit or Berlin. You may not have been able to find the Congo on the map (hint, it’s near Gabon), but the trance-inducing sound of Konono’s amped-up thumb pianos certainly found a way to shake the hips of hipsters like no African artist since… um, could you dance to Ali Farka Touré? (SC)18 GANG GANG DANCE, God’s Money (The Social Registry)
The toast of New York and the place to be when everywhere else seems had, Gang Gang Dance conflate sound and music into one beautiful, multi-textured cacophony as experiential as it is aural. God’s Money is no noisy accident happened upon by drugs and afterthought; it’s tribal and deliberate, with lightness and lucidity dangling at tunnel’s end. (CHEN)17 DR. DOG, Easy Beat (Park The Van)
Dr. Dog’s breakneck touring behind Easy Beat in 2005 signaled a flannel shirt revival. More importantly, songwriting team Scott McMicken and Toby Leaman brought back the Band’s raucous interplay, some Beatles songcraft, and (gasp) fun to an audience that sorely needs to scream „Wake up, wake up, wake uuuuuup!“ and follow suit. (REED FISCHER)16 FEIST, Let It Die (Cherry Tree-Interscope)
Don’t be fooled by the selling point that your grandmother is as apt to like this record as much your 15-year-old cousin. Leslie Feist’s gorgeous and no-less-than-breathtaking collection of heartbreak and coastlines, swaying in from the scene of Broken Social, Peaches and Gonzálés, kills with the kind of quiet sophistication you can only live. This is why headphones were invented. (CHEN)15 CLIPSE, We Got It 4 Cheap, Vol 2 (No Label)
Jeezy! What could be tamer in 2005 than a bunch of trappin‘ claptrap? This mixtape has more powder than the Swiss Alps, but it’s also got more „rewind-that“ moments than anything this side of the Zapruder film. Dealing lines with the type of showy prowess reserved for backpackers and Ghostface, don’t expect anything this hungry to ever come from major-label (or any label) backing. (CRW)14 SLEATER-KINNEY, The Woods (Sub Pop)
Persistence pays, and yes, you can hear all 10 years of Sleater-Kinneydom, splintered, angled and blasted into The Woods, which, despite sounding unmistakably like old favorites, heaves and pulses with a much heavier glare. On-edge and uneasy have rarely sounded so satisfying. (CHEN)13 JOSE GONZÁLÉZ, Veneer (Hidden Agenda)
Born to Argentinian parents, living in Sweden, singing in English, international grab bag Jose Gonzáléz has a rootlessness that allows him to tell his story walking. Using nothing more than a hushed guitar and crystalline, effortless voice, Veneer’s incredibly sparse bossa-folk was a simple and sublime exercise in music without borders. (OS)12 FOUR TET, Everything Ecstatic (Domino)
Generally it takes a few years to realize the impact Kieran Hebden (a.k.a. Four Tet) has on music. By the time remixers and producers have ripped off his ideas (and watered them down), Hebden is miles ahead, riffing on laptops more like a free jazzman than a pampered celebrity DJ. Imitation may be the sincerest form of flattery, but the inability for others to even come close to Hebden might be the truest indication of his genius. (SC)11 OPETH, Ghost Reveries (Roadrunner)
On Ghost Reveries, Swedish metal mystics Opeth faced certain death when they made their sound even proggier. In some Pavlovian twist, after almost inundating fans with a two-year tour of Pink Floyd-inspired acoustic ummagumma, it turned out Opeth trained its fans to want more keyboards, more guitar solos and lyrics about „hemlock for the Gods.“ Mmmm, hemlock… wait, that’s poison! (KG)10 ANDREW BIRD, The Mysterious Production Of Eggs (Righteous Babe)
We’ve been fans of this Bird that whistles and his Bowl Of Fire long before the Arcade Fire made rock with violins cool again (sorry Dexy, Midnight Runners, et al). Yes, this Chi-town fiddler has come a long way since his days as a swinging sideman, moving from revisionist hot jazz that echoed Grappelli to heady haute indie pop that snuggles up to Sufjan. (SC)9 THE DECEMBERISTS, Picaresque (Kill Rock Stars)
It’s like the early ’90s all over again! Top alt band puts out definitive record, gets snapped up by major label. In this case the plucky Portland troupe put out a masterpiece for massive geeks (as if Colin Meloy’s EP of Morrissey covers wasn’t proof enough) and Capitol Records couldn’t help themselves. Pray they don’t kill these indie rock stars. (SC)8 EDAN, Beauty And The Beat (Lewis) T
The most entertaining of the old school acolytes, Edan is a huge record nerd who loves to make music about, well, being a huge record nerd. While Primitive Plus was an ’88-throwback extraordinaire, Beauty And The Beat reached into Edan’s psych grab bag to make a hip-hop album awash in Purple Haze and Cold Chillin‘ rhythms. (OS)7 M.I.A., Arular (XL-Interscope)
Hey, the blogs were right for once. (CRW)6 DEERHOOF, The Runners Four (5RC-Kill Rock Stars)
Deerhoof put their puffiest panda paws forward—all the tricky guitar angles, all the spasmodic drums, all the abrasive cuddliness, all the „alulululu.“ What should be a messy no wave jumble is somehow an expansive noisepop masterpiece full of comfy fables that should warm „the little lemon who still lives inside of you.“ (CRW)5 JESU, Jesu (Hydra Head)
Playing grumpiness like gloriousness, heartache like heartwarm, Jesu is the post-election doom metal comedown record of the millennium. SunnO))) gave us an empty playground to play, and Pelican offered hypnosis as a panacea, but Justin Broadrick actually feels your pain… and then lets you borrow his copy of Loveless. (CRW)4 WOLF PARADE, Apologies To The Queen Mary (Sub Pop)
Bombast and backstory can hammer on heartstrings, but the best musicians write records like Mad Libs: here’s the skeleton, you figure it out. Brock shows up on Wolf Parade’s debut, and maybe Bowie and Black too, but Wolf Parade’s uncommonly fragile take on plain ol‘ indie rock opened its chest, showed us its blood and bones, private bits we can make our own, if we’re willing. (JS)3 DÄLEK, Absence (Ipecac)
Wasn’t this what hiphop is supposed to sound like by now? All that boom-and-pound that crashed through walls and cut through floors? All that terrordome anti-music? All that polemic clawing to be heard under mountains of speaker-destroying, authority-terrorizing squall? Why are we so nostalgic over an album that sounds so forward-thinking? (CRW)2 SUFJAN STEVENS, Illinois (Asthmatic Kitty)
Exhibit „I“ in the case that Sufjan’s 50 states project is more than just a goof, dude actually wrote an indie-rock opera that was silly, soaring and substantial (his song about John Wayne Gacy is more chilling than any NIN track). Compared to the fingerpainting naiveté of most indie rock, Illinois took the Sistine Chapel route, wherein Superman’s outstretched fist touched the delicate tips of Sufjan’s fingers. (SC)1 ANIMAL COLLECTIVE, Feels (Fat Cat)
Arriving in late October, Feels was the ultimate chaser for a year where signal consummated its relationship with noise. Their peers knew it: Lightning Bolt glossed out into Van Halen FM eruptions, Hella warmed up arenas for System Of A Down, Deerhoof made noisepunk’s Soft Bulletin, and Black Dice put on their boogie shoes. Hey, even the best hip-hop singles sculpted splendor from whispers, whistles and furry stretched-out purple gloop. In this ecosystem, Animal Collective was a jam band that couldn’t go wrong. Even when they were tuning up and poking at their outputs (as they were in NYC’s cavernous Webster Hall this year) it sounded gorgeous. A stage light could have fallen on Geologist’s little work station, and the sound would be great to play at your wedding. Sure, their pop songs—“Grass,“ „Did You See The Words,“ the rollicking nursery rhyme „The Purple Bottle“—felt like the epiphanies that they were intended to be. But the real glory was in the sprawling open space of the eight-minute „Banshee Beat“ or „Bees.“ Limitless landscapes that sounded like free jangle at first, but got more comfy and familiar with every trip back. The only words you decided to decipher were the important ones. The choose-your-own adventure record of the year. (CRW)--
To Hell with PovertySeit letzter Woche kennt man auch die Favoriten der Plattentests-Redaktion (Alben und Songs); die Liste zeigt, nicht unerwartet, ihre Nähe zum VISIONS.
http://www.plattentests.de/content.php?show=61
Die Alben:
01 Bloc Party – Silent Alarm
02 Dredg – Catch without Arms
03 …And You Will Know Us By The Trail Of Dead – Worlds Apart
04 Bright Eyes – I’m Wide Awake, It’s Morning
05 Maximo Park – A Certain Trigger
06 The Arcade Fire – Funeral
07 Nada Surf – The Weight is a Gift
08 Element of Crime – Mittelpunkt der Welt
09 The Decemberists – Picaresque
10 Depeche Mode – Playing the Angel--
To Hell with PovertyZur Vervollständigung hier noch die Top Ten des amerikanischen Branchenmagazins BILLBOARD.
1. My Morning Jacket, „Z“ (ATO/RCA) — 52 points
2. Tie: The Rolling Stones, „A Bigger Bang“ (Virgin) and M.I.A., „Arular“ (XL) — 43 points.
3. The New Pornographers, „Twin Cinema“ (Matador) — 41 points
4. Common, „Be“ (G.O.O.D. Music/Geffen) – 39 points
5. Sleater-Kinney, „The Woods“ (Sub Pop) – 37 points
6. Sufjan Stevens, „Illinois“ (Asthmatic Kitty) – 36 points
7. Tie: Thelonious Monk Quartet With John Coltrane, „At Carnegie Hall“ (Blue Note/Thelonious Records) and Queens Of The Stone Age, „Lullabies To Paralyze“ (Interscope) – 31 points
8. Spoon, „Gimme Fiction“ (Merge) – 28 points
9. Tie: Jack Johnson, „In Between Dreams“ (Brushfire/Universal) and Mariah Carey, „The Emancipation of Mimi“ (Island Def Jam) – 26 points
10. John Legend, „Get Lifted“ (G.O.O.D. Music/Columbia) – 25 pointshttp://www.billboard.com/bbcom/yearend/2005/top10/index.jsp
Einzellisten gibt es auch. Und die aktuellen Lieblingsalben ausgewählter Künstler – das ist sehr nett. Pitchfork und MOJO hatten auch solche Features.
Edit: Das entsprechende Pitchfork-Feature (Artists‘ Best of 2005) findet man hier:http://www.pitchforkmedia.com/features/comments/12-16-05/
Ansonsten warte ich nur noch auf den Pazz & Jop Poll der Village Voice Ende Januar; dann wars das wieder mit den Listen. Mein bisheriger Eindruck, nach den Listen, die ich gesehen habe: Für die Kritikergemeinde sind Antony Hegarty, Sufjan Stevens und Maya Arulpragasam die Künstler des Jahres 2005. Mal sehen, ob sich das bestätigt. Mit allen drei sind wohl interessante Geschichten verknüpft.
(Meine eigene Stellung dazu: Ich mag das Illinois-Album, kann mit Antony irgendwie nichts anfangen und habe M.I.A. bisher ignoriert, weil mir die „Galang“-Single nicht sonderlich zugesagt hatte – obwohl ich „Bucky Done Gun“ später ganz gut fand.)
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To Hell with PovertyDie Yahoo-Chat-Group „Lost Highway Germany“
(http://launch.groups.yahoo.com/group/LostHighwayGermany/), die sich aus
Musikfans und Plattenlabelleuten zusammensetzt und die sich über jedes neue
Mitglied freut, hat soeben die Auswertung ihrer internen BEST ALBUM 2005-
Wahl bekanntgegeben, bei der die Blue Rose-Künstler überaus erfolgreich
abgeschnitten haben – Steve Wynn & the Miracle 3 auf Platz 1 (!) und John
Hiatt mit „Master Of Disaster“ auf Rang 4, dazu als große Überraschung der
von uns so hoch gelobte/gepuschte Matt Mays & El Torpedo auf Position 3.Hier die TOP 10:
1. Steve Wynn & The Miracle 3 – …tick…tick…tick
2. Ryan Adams – Cold Roses
3. Matt Mays & El Torpedo – same
4. John Hiatt – Master Of Disaster
5. Hobotalk – Notes On Sunset
6. James McMurtry – Childish Things
7. Leslie Woods – The Luxury Of Sin
8. Savoy Grand – People And What They Want
9. Mary Gauthier – Mercy Now
10. Wilco – Kicking Television--
Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.Das sind aber auch Krauter…
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Anne PohlDas sind aber auch Krauter…
Auf dem Board hab ich`s mal 2 Monate ausgehalten. War mir dann zuviel der instrumentalen Besserwisserei. Edgar von Blue Rose hat dann auch irgendwann das Handtuch geschmissen…
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“It's much harder to be a liberal than a conservative. Why? Because it is easier to give someone the finger than a helping hand.” — Mike Royko1. Kanye West, Late Registration (Roc-A-Fella/Def Jam)
2. M.I.A., Arular (Interscope)
3. Franz Ferdinand, You Could Have It So Much Better (Domino/Epic)
4. Gorillaz, Demon Days (Virgin)
5. LCD Soundsystem, LCD Soundsystem (DFA/EMI)
6. Bloc Party, Silent Alarm (Vice)
7. The New Pornographers, Twin Cinema (Matador)
8. Sufjan Stevens, Illinois (Asthmatic Kitty)
9. Fiona Apple, Extraordinary Machine (Epic/Clean Slate)
10. The Hold Steady, Separation Sunday (French Kiss)
11. Beck, Guero (Interscope)
12. The Mars Volta, Frances the Mute (Strummer/Universal)
13. My Morning Jacket, Z (ATO/RCA)
14. Death Cab for Cutie, Plans (Atlantic)
15. Slim Thug, Already Platinum (Star Trak/Geffen)
16. The Go! Team, Thunder, Lightning, Strike (Memphis Industries/Columbia)
17. Common, Be (Geffen)
18. The White Stripes, Get Behind Me Satan (V2)
19. Kaiser Chiefs, Employment (Universal)
20. System of a Down, Hypnotize (American/Columbia)
21. Bright Eyes, I’m Wide Awake, It’s Morning (Saddle Creek)
22. Various Artists, Run the Road (Vice)
23. The Darkness, One Way Ticket to Hell…and Back (Atlantic)
24. Spoon, Gimme Fiction (Merge)
25. DangerDoom, The Mouse & the Mask (Epitaph)
26. Dungen, Ta Det Lugnt (Kemado)
27. Damian Marley, Welcome to Jamrock (Tuff Gong/Ghetto Youth/Universal)
28. Antony and the Johnsons, I Am a Bird Now (Secretly Canadian)
29. Nine Inch Nails, With Teeth (Nothing/Interscope)
30. The Decemberists, Picaresque (Kill Rock Stars)
31. Living Things, Ahead of the Lions (Jive/Zomba)
32. Caps & Jones, Moving in Stereo (Self-released)
33. Amadou & Mariam, Dimanche a Bamako (Nonesuch)
34. Clap Your Hands Say Yeah, Clap Your Hands Say Yeah (Self-released)
35. Sleater-Kinney, The Woods (Sub Pop)
36. Animal Collective, Feels (Fat Cat)
37. Young Jeezy, Let’s Get It: Thug Motivation 101 (Def Jam)
38. Art Brut, Bang Bang Rock & Roll (Fierce Panda)
39. Wolf Parade, Apologies to the Queen Mary (Sub Pop)
40. Against Me!, Searching for a Former Clarity (Fat Wreck Chords)http://www.spin.com/features/magazine/2005/12/best_of_2005/
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To Hell with PovertyGo1
10. The Hold Steady, Separation Sunday (French Kiss)
15. Slim Thug, Already Platinum (Star Trak/Geffen)
17. Common, Be (Geffen)
22. Various Artists, Run the Road (Vice)
25. DangerDoom, The Mouse & the Mask (Epitaph)
26. Dungen, Ta Det Lugnt (Kemado)
27. Damian Marley, Welcome to Jamrock (Tuff Gong/Ghetto Youth/Universal)
31. Living Things, Ahead of the Lions (Jive/Zomba)
32. Caps & Jones, Moving in Stereo (Self-released)
37. Young Jeezy, Let’s Get It: Thug Motivation 101 (Def Jam)
40. Against Me!, Searching for a Former Clarity (Fat Wreck Chords)Da sind für mich die meisten Unbekannten drin.
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“It's much harder to be a liberal than a conservative. Why? Because it is easier to give someone the finger than a helping hand.” — Mike RoykoTop 50 von allmusic.com in alphabetischer Reihenfolge.
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Als Neuling in diesem Forum habe ich mir gedacht, ich mach mich vielleicht gleich mal nützlich. Also habe ich mir die Jahrgangsbestenlisten der verschiedenen Magazine zu Gemüte geführt und auf dieser Basis eine Gesamtliste erstellt. Folgende Magazine wurden berücksichtigt: Uncut, Intro-Charts, NME, Mojo, Q, ME, Rolling Stone (US), Spex, Visions, Spin (USA), Pitchfork, Pop Matters, Cokemachines, Stylus
Hier das Ergebnis:
1 Sufjan Stevens, Illinoise
2 Bloc Party Silent, Alarm
3 Antony & The Johnsons, I am a bird now
4 Kanye West, Late Registration
5 M.I.A., Arular
6 Franz Ferdinand, You could have it so much better
7 Bright Eyes, I’m wide awake it’s morning
8 Gorillaz, Demon Days
9 Arcade Fire, Funeral
10 LCD Soundsystem, LCD Soundsystem
11 The White Stripes, Get behind me satan
12 Art Brut, Bang Bang Rock & Roll
13 My Morning Jacket, Z
14 Kaiser Chiefs, Employment
15 Sleater-Kinney, The Woods
16 Maximo Park, A certain trigger
17 The Magic Numbers, The Magic Numbers
18 Devendra Banhart, Cripple Crow
19 Spoon, Gimme Fiction
20 Animal Collective, Feels
21 Wolf Parade, Apologies to the Queen Mary
22 Kate Bush, Aerial
23 The New Pornographers, Twin Cinema
24 The Hold Steady, Separation Sunday
25 HardFi, Stars of CcTV
26 Rufus Wrainwright, Want two
27 Common, Be
28 Fiona Apple, Extraordinary Machine
29 Elbow, Leaders of the free world
30 Bruce Springsteen, Devil & Dust
31 System of a down, Mezmerize
32 The Mountain Goats, The sunset tree
33 Jamie Lidell, Multiply
34 Babyshambles, Down in Albion
35 Beck, Guero
36 The Mars Volta ,Frances The Mute
37 And you will know us by trail of dead, Wolds Apart
38 Coldplay, X & Y
39 Dungen, Ta Det Lugnt
40 Isolee, We are monsters
41 The Decemberists, Picaresque
42 Sigur Ros, Takk
43 Broken Social Scene, Broken Social Scene
44 Vitalic, OK Cowboy
45 Death Cab for Cutie, Plans
46 Annie, Anniemal
47 Neil Young, Prairie Wind
48 Oasis, Don’t believe the truth
49 Madonna, Confessions on a dance floor
50 Clap your hands say yeah, Clap your hands say yeah--
Denk nicht zuviel. Das macht die anderen Primaten nervös.Thanx, Mr. Goodnight!
Immerhin ist die Heulsuse Antony da mal nicht auf der No. 1.--
Jetzt schon 62 Jahre Rock 'n' Rolldr.musicThanx, Mr. Goodnight!
Immerhin ist die Heulsuse Antony da mal nicht auf der No. 1.Das stimmt, aber dafür der inkonsistente Mr. Stevens.
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„Weniger, aber besser.“ D. Rams
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