BEST ALBUMS OF THE DECADE: 20-11

Happy New Year!  Here is the next entry in the Decade’s Best Albums series.  I hope you enjoy, and check back soon for the next installment!

20. We Have the Facts and We’re Voting Yes by Death Cab For Cutie

So many times in the past 10 years, I’ve seen Death Cab get tossed aside, as whiny, sell-out rock that stands as trendy and pointless.  Yet in my estimation, every album is essential, full of vitality and strong personality.  Of course, I do play favorites here.  We Have the Facts is a bit more sparse than their other albums and holds an air of mysteriousness.  The music isn’t quite as muscular, but the spaces work wonders, giving a real desolation and distinction.

19. Franz Ferdinand by Franz Ferdinand

You got your disco in my rock!  No, you made my dance music have strong guitars!  No matter what the angle, Franz Ferdinand would have been labeled relatively successful if they had only released this debut.  Strong repetition and tight rhythm keep this party from falling to pieces.  Of course, it helps to have a seductive lead voice and strong lyrical catch-phrases in literally every song.

18. Apologies to the Queen Mary by Wolf Parade

Wolf Parade, Arcade Fire, and Broken Social Scene have all done so much to build up the reputation of indie music in Canada.  From the nation of hockey comes a very personal album, stuffed with bold noises and individuality.  There are no weak links here as each song holds memorable song ideas and commentary.  Yes, there are some hints of Modest Mouse in the production, but there are no other songs on this planet like “Shine a Light” and “I’ll Believe in Anything.”

17. Sea Change by Beck

To be perfectly honest, I don’t label myself as a Beck fan.  I appreciate his strong songwriting skills, but I can never really claim that I enjoy everything he’s done.  But then there is Sea Change.  This is powerful music, with a core that aches, demands attention and support.  Of course, I can’t help but feel that Nigel Godrich helped pull out this kind of performance.  Similar in feel to Pavement’s Terror Twilight, this whole album captures my ears.  Also, this holds a kind of personality like that of Nick Drake’s work.  It’s enchanting, sad, and fantastic.

16. No One’s First and You’re Next by Modest Mouse

This has the distinction of being the only EP in the list, but this is EP only in name.  It’s eight songs and over 33 minutes of brilliant Modest Mouse work.  After starting the decade on two high notes, the subsequent album (We Were Dead) was a bit of a letdown.  But here we find a ragtag bunch of songs that manage to shine brighter than any Mouse album since The Moon & Antarctica.  The biggest problem I have with this EP isn’t even a problem: why weren’t these songs included on a proper release?  Each one brims with more creativity than most of the songs from the past two real Mouse albums.

15. Boys and Girls in America by The Hold Steady

Separation Sunday may actually be a better release, but I honestly haven’t had enough time with it.  I’ve had Boys and Girls for a longer period, and it’s a kind of attachment thing.  Craig Finn’s distinctive voice and the nice crunchy guitars meld great story-songs, full of memorable moments and great riffs.  Yes, this album really works better for lyric fans, but they’ll turn you into one after the guitars get under the skin.

14. You Forgot it in People by Broken Social Scene

If you’re looking for a sort of “greatest hits” of indie, this would be the place.  Yes, it’s by one band.  No, it’s not the best album of the decade.  But You Forgot it in People manages to blend so many ideas and stereotypes of indie in one convenient disk.  Even better: the band plays it so well.  Anthems and fist pumpers have strong feeling, there are phenomenal dynamic changes, and the multiple voices are excellent.  You should really get this.

13. Wolfgang Amadeus Phoenix by Phoenix

I’ve already gushed about this album in terms of this year’s best.  But it’s worth noting that Wolfgang is really that good in a wider context.  The pop is powerful, the tunes catchy, and the whole thing just makes me smile.  And again: the first two songs are nigh-untouchable, but the rest of the album is charmingly addictive too.  Get it for “Lisztomania” and “1901,” but love it forever.

12. Kid A by Radiohead

So, I feel a bit guilty placing this album so far down.  After some big names (Rolling Stone, Pitchfork) determined this to be the best album of the decade, I was a bit depressed to leave my favorite band so low.  But, Kid A is on my list for a reason.  It’s full of innovative sounds, effortlessly brilliant construction, and some of the best intro-to-electronica most people have ever heard.  And if those aren’t reason enough, please listen to hours of “regular” music before hitting “Everything in its Right Place” again.  It can still give chills.

11. Neon Bible by Arcade Fire

The epic follow-up to an epic debut is bound to leave some fans disappointed.  But after going through the two albums, I find Neon Bible to be on similar footing to Funeral.  The sounds are a bit darker and seem to tend toward Bruce Springsteen, yet people are quick to dismiss this sequel as rubbish.  But guess what: the sounds are still brilliant, and I still want to see them in concert.  Taken as a pair, the two Arcade Fire albums are probably the best combo of the decade.

BEST SONGS OF THE DECADE: 50-21

Ladies and Gentlemen, welcome to my look at the best of this decade.  It has been an amazing time for music, and thanks to that vehicle that is the internet, we can actually witness a great deal of the music around us.  It is actually a lot of fun to be able to look back like this and see what has been so good.

Keep in mind: I am one person.  There is no way that I’ve heard everything possible from this decade, so what follows is a personal list of favorites.  Feel free to leave comments: what do you think I’m missing from this list?

Please note my self-imposed rule for this list: ONLY ONE SONG PER ARTIST.  This is done in the interest of expanding the selection.  Otherwise, this might be a Spoon, Radiohead, and Modest Mouse love-fest.

So without further ado, here starts the list.

50. “Jesus, Etc.” by Wilco

This unexpected song centers around strings and a humming keyboard.  But its soul is instant and powerful.

49. “The Rip” by Portishead

Sad, raw and very reserved.  The combination of held-back drums and straining vocals is unforgettable.

48. “Paper Planes” by M.I.A.

This song was literally everywhere, but with good reason.  Insanely catchy and it even holds a message.

47. “Heimdalsgate Like a Promethean Curse” by Of Montreal

An artifact of its source album, this rundown of mental trouble works well even outside the original setting.

46. “Touch the Sky” by Kanye West (feat. Lupe Fiasco)

It’s the horns!  As soon as the song kicks in, you don’t have a choice – you listen.

45. “Keep Fishin’” by Weezer

Most of post-2000 Weezer has been dreadful. Maladroit is the exception, and this song is a classic.

44. “The Wolf is Loose” by Mastodon

In a word, blistering.  From that opening drum attack, it doesn’t let up.  Metal at its finest.

43. “The Zookeeper’s Boy” by Mew

The startup riles the mind, but then they disarm you with that magical voice.

42. “Melody Day” by Caribou

That guitar holds you tight to the song, but the ethereal vocals make it stick in your mind.

41. “Knights of Cydonia” by Muse

In general, Muse is overwhelming and a tad annoying.  Here, they’re just too big to ignore.  Very fun song.

40. “This Tornado Loves You” by Neko Case

Her voice is big, but this song captures her excellence. Great, light music and a slightly over-the-top metaphor make this a late-decade great.

39. “1 2 3 4” by Fiest

Yes, the iPod commercials were popular.  But the song is so much better than just an ad.  The melody, catchy vocals and a slightly painful tale of teenage love all add up to a full composition, worthy of repeated listens.

38. “We’ll Make a Love Of You” by Les Savy Fav

The band may be known for their crazy stage antics, but this song proves them a worthy rock band in general.  Interesting lyrics and singing are mainly a way to get those brilliant guitars in.  The echo is there like U2, but it is so much more muscular.

37. “PDA” by Interpol

Dark and brooding, the lyrics are plainly idiotic, and the voice seems out to copy Joy Division.  But you know what: the song is still great.  The dark is excellent, thanks to a beefy bass and tight drums.  Of course, the whole thing just turns amazing through that final breakdown.  The drums go, the guitars lock in and then it all comes back.  Brilliant every time.

36. “Atlas” by Battles

Huge.  Epic.  Massive.  Yeah, very redundant, but it’s hard to pound in just how big this song is.  Structurally, everything is very simple.  Big drum beat, some bass and guitars following behind.  But the crazy vocals and just the scope of the operation make this worth hearing.

35. “23” by Blonde Redhead

Washed out, Sonic Youth-type sounds aren’t anything new.  But when you play it this well and have a cooing siren as your lead singer, you tend to garner a bit of attention.  I really love the drum pattern that carries throughout this track, and it helps drive this manic, swirling track right into your brain.

34. “Living Well is the Best Revenge” by REM

This is an amazing way to make an entrance.  Even more so when it heralds a return to form like this.  After a few albums of mindless wandering, REM snap right into place with this searing song, lashing your ears with big guitars and angry lyrics.  Bonus points: that entrance lick makes a great ringtone.

33. “I Will Follow You Into the Dark” by Death Cab for Cutie

This song can seem cheesy, but I love it anyway.  It really hit for me during a Scrubs episode.  The kind of deep affection and real sadness seen here are difficult to describe without sounding pathetic.  Here, the sparse arrangement and the light vocals manage to tackle the subject without fear.

32. “Kissing the Lipless” by The Shins

Decidedly poppy, yet deceptively complex.  “Kissing the Lipless” really shifts into a different place when it transitions to a faster song through those guitar attacks.  The song is very refined, but still manages to feel raw and realistic through the strained singing.

31. “My Girls” by Animal Collective

Pitchfork has vastly overrated this song.  However, it is still worth hearing.  Strong emotions and personal convictions drive this track.  Personal reflection should probably result in all people having the hopes and dreams of Animal Collective in “My Girls”.

30. “Smile” by Lily Allen

Swanky and deliciously pop, this song is too catchy to be left off any decade list.  But the whole thing gets turned over immediately when Allen complains about her man “f***ing that girl next door.”  Very spiteful, but self-serving in how his guilt brings the singer joy.  Personal redemption can be awesome.

29. “2080” by Yeasayer

I’m not very familiar with the rest of Yeasayer, so I don’t know if this is a very representative song.  But if so, they must be astronauts, making brilliant space music.  The whole thing seems out of this world, and cements its place through both the chorus and the children shouting at the end.

28. “Wolf Like Me” by TV on the Radio

TV on the Radio know how to make a song.  First, they pull you in with a cool drum pattern.  Then, they keep you interested with the guitars and insane production.  Just as you grow “bored,” they slow things down, let you feel it out.  And then before that goes on for too long, they kick up the speed to a new high and ride it out.  Nicely done.

27. “Casimir Pulaski Day” by Sufjan Stevens

Religion and cancer are not often encountered in popular music.  Yet here we find a quiet, caring man examining his own faith and reflecting on the death of a loved one.  In the midst of the sprawling Illinoise, it is interesting to find this charmingly sad song, featuring acoustic guitars and a restrained banjo.  Sonically beautiful, and mentally stimulating.

26. “Use It” by The New Pornographers

I’m never really sure what The New Pornographers are ever singing about.  But, here they are anyway.  The strength of their lovely singing, bold poppy hooks and great variety of songs keeps me coming back.  “Use It” is no different – strong singers and a memorable piano are enough to make this song rise so high.

25. “Auto Rock” by Mogwai

Ah, the slow build.  This song is different than all others in the list so far, in that it features no vocals.  Instead, a haunting piano line slowly grows louder.  More sounds are added, a quiet electronic blip.  Then the wall of guitar sound comes in off the horizon, this also building.  It’s a very inspirational song to me, leaving a feeling of rising out of the ashes.  By the end, it’s fist-pumping good and you feel ready for battle.

24. “Millstone” by Brand New

Dear crappy punk rock: please take notes.  After being a mediocre punk rock band, Brand New decided to grow up and write meaningful songs with interesting music.  “Millstone” is a stunning song coming from a band that wrote “Jude Law and a Semester Abroad.”  There are layers of sound, slow nuance, and lyrics that comment on personal failure in an intelligent way.  This is a real evolution in music: Brand New are now a spectacular, respectable group of artist.

23. “Take Me Out” by Franz Ferdinand

It is all about that transition.  Yeah, the start and the finish are both wonderful, but holy god.  That moment around 55 seconds in is just magical.  The guitars go tight, the drums get all wonky and the song is never the same.  They never try repeat this stunning change at any point in their career (thus far), so you really must enjoy the moment.  It is the point where indie garage rock and disco meet and it’s fantastic.  Yeah, you’ve heard this song a million times now, but it is really good enough to carry a whole album.

22. “Sixteen Military Wives” by The Decemberists

The apex of all Decemberists songs.  Perhaps this is more surprising in that it is so different than anything else off of Picaresque.  Whatever the case, the song is brilliant and scathing in its poppy abandon.  A discourse on what is wrong with America, this track also manages to pull together an amazing horn group.  And yet again, the little moments really win big points.  Here, it’s the way the song finishes off, bringing the horn line back around for one last flourish.  Perfect ending.

21. “Fell in Love With a Girl” by The White Stripes

I wish more garage rock sounded like this.  Very fast, relentless in its thrash, “Fell in Love With a Girl” is such rush.  Yes, we’ve all heard the crap about Meg’s drumming, but it is actually very fitting here.  You only need a simplistic drum figure for Jack White to dance around.  Tip: turn this up really really loud in your car, open all the windows and sing along.  Bonus points if it’s winter.  Afterward, try to tell me that this song is not awesome.

BEST ALBUMS OF 2009: 15-6

Welcome to my rundown of the best albums of the year.  I take a look at what I found to be my favorite releases.  I’ve reviewed some of these, but haven’t mentioned most of them here.  Keep in mind that the previous scores really don’t mean anything – just because a score was “higher” in the past doesn’t mean that my opinion is quite the same today.  Enjoy the list!

15. 11:11 by Rodrigo y Gabriela

Starting this list with a unexpected twist.  I first ran into this duo on Conan earlier this year and I was totally stunned.  With two acoustic guitars, they completely dominated about four minutes of my life.  Literally, the way they managed to play those instruments was breathtaking and enthralling.  While you can’t watch these magic musicians on album, it remains clear that they’re both up to something crazy on each song of the album.  Get this album and find some of the top guitar players out there today.

14. Wavering Radiant by Isis

I am not the world’s biggest metal fan.  Particularly, I don’t really see much use for the whole screaming thing.  And yet here is a melodic metal album on this list.  Thus is the excellence of this atmospheric and layered release.  It is a great album especially with headphones on, just to rock out and get washed away by the sound.  I’d suggest a similar approach – go somewhere solitary and soak in all the glorious sounds.  It’s a fun time.

13. Them Crooked Vultures by Them Crooked Vultures

Upon hearing about this supergroup, I was very excited.  I mean, how could they go wrong?  Well, they ultimately didn’t disappoint me.  Admittedly, this album is pretty near what I expected, but is that a bad thing here?  The album does tend to be a bit front-heavy, but this is really something that current radio-popular hard rock outfits should be forced into hearing.  Essentially this conversation needs to happen: “Nickelback, you’ve spent so long copying your own filth.  Why not listen to a musically astute group of people creating better music than you could even dream of?  If you copy even half of this, you’d be listenable!”

12. The Hazards of Love by The Decemberists

Not but a few weeks ago I thought very little of this album.  Then I gave it a harder try, and the whole thing opened up for me.  This is a really difficult listen, but if you properly invest some time into things, you’ll find a wealth of sounds coming forward.  What effect does the concept-album plot have on the quality of things?  That’s hard to say.  I’m not big on concept albums, so it really didn’t mean too much to me.  However, if you like a lengthy musical tale, this is right up your alley.

11. The Pains of Being Pure at Heart by The Pains of Being Pure at Heart

An interesting blend of pop-mentality and sludge Sonic Youth/MBV guitar (but sometimes REM-type jangle!) makes this a strange type of music to initially consider.  But with repeated listens comes a satisfaction.  The band doesn’t overstay their welcome, and all the songs are at least slightly danceable.  I’ve never bought into the hype for Isn’t Anything from MBV, but I’d like to think that this can function like a more accessible alternative.

10. Blue Roses by Blue Roses

Deep emotions are sometimes hard to convey in a legitimate way through music.  Often, such efforts sound half-assed, or just plain whiney (see also: emo).  Here, Blue Roses moves beyond any failure by offering sincerity and heart.  This is driven home by the straining, beautiful voice of Laura Groves.  She perfectly brings forth such sorrow on this album.  Perhaps the only warning that should be offered is that repeated listens tend to cause personal depression.  It can be tough to help bear her sadness… but you’ll be left hooked by the enchanting music.

9. Tonight by Franz Ferdinand

Franz Ferdinand take a decidedly darker route here, leaving the “Dark of the Matinee” to seem like a sunny day in July.  The trick is that bigger bass sound.  Yeah, the electronics are something new, but that fat bass really adds a depth to every song.  What brings this album high on my list is its cohesiveness as a whole album.  Tonight manages to act like a faux-concept album, looking at different facets of a night out.  But they never hit you over the head with such high-mind ideas.  Instead, you’re left to piece it together, and eventually it clicks.  This thing may not be as hooky and fun as their first, but Tonight is a richly rewarding album, even strong enough to overcome the slight misstep in the new version of “Lucid Dreams.”

8. Middle Cyclone by Neko Case

The hook is her voice, but you’ll be left thinking about everything else once done with the album.  It’s almost unfortunate that Case will almost be taken for granted like that.  Because it’s really the blend of music and vocals that really pushes Middle Cyclone so far.  Without that booming voice, the pop-folk would seem interesting but boring.  Yet Case would seem crazy and hyper-emotional without the stunning backdrop offered by great acoustic guitars, piano, strings, and a solid rhythm section.  Maybe the best blend of the two realms is seen in “Vengeance is Sleeping,” an angry sort of remembrance of a lost love.  Without her, the song would be flat, but without the guitars her voice would seem somewhat silly.  Thank goodness the combinations work well throughout – Middle Cyclone is superb for everyone involved, especially the listener.

7. Farm by Dinosaur Jr

It rocks and rolls from the very start.  Insane solos, strong rhythms, and a great sense of melody all propel this guitar album to such a high spot.  I really wish I was a Dinosaur Jr follower before this.  Every track has a loveable gritty work ethic that works in tandem with the band’s clear talent.  While “Pieces” may be the best single track, each song has a memorable guitar line, and interesting lyrics.  Farm keeps you interested throughout, thus giving a great bang for the buck.

6. It’s Blitz! by Yeah Yeah Yeahs

I was not convinced that Yeah Yeah Yeahs would be able to translate their shtick into some sort of electronic-disco setting.  Yet here I am, wondering how I didn’t see Karen O as a super-diva before.  It isn’t immediately clear that you’re into something great – “Zero” is spectacular, but can put you a bit out of sorts.  “Heads Will Roll” convinces you that the powerful Karen O is still around and then gets you to believe the electronics.  From here on, the album leads you through a series of power songs and semi-ballads.  You’re always left wondering how a song will conclude, making for a fun first listen.  After that, the whole album solidifies.  It’s Blitz may now be the best of the YYYs.

Come back tomorrow for the conclusion of the Best of 2009 stuff.  Fun story: Merriweather Post Pavilion did not make my top 15 list.  It seems pretty clear to me that Pitchfork and many others vastly over-valued Animal Collective this year.  Despite having two brilliant tunes, it does not make my list.  What will be featured in the top 5?

BEST SONGS OF 2009: 20-11

To check out these songs for yourself, click on the last word of each commentary.  You’ll find a link to YouTube for a stream of the track.  Here we go…

20. “I’m On a Boat” by The Lonely Island

It’s cheesy, stupid, childish, and clearly pandering to the college-jock type.  Yet here writes an engineering student with no real affection toward rap, thoroughly enjoying this song.  “Boat” is just so silly and fun, and you can’t help but love the premise.  The whole thing is made even better by the brilliant self-parody offered by T-Pain.  He is well aware of the setting, and lays down some fantastic fake-singing just for SNL.  It’s made better (obviously) with the video.  Watch it over and over on Lala or here.

19. “WIlco (The Song)” by Wilco

I’ve become a more devoted Wilco follower in recent days thanks to a great run with Summerteeth over the past year.  However, the brilliance of modern-day Wilco shouldn’t be overlooked.  “The Song” is a slight bit of parody, but manages to encapsulate most of what makes the band great in one place.  I think the big bells in the last third of the song really bring it together for me.  It’s the idea that, yes they’re more straightforward today, but they’ll still make magical music.  Listen to it here.

18. “Young Adult Friction” by The Pains of Being Pure at Heart

For those not in the know, it’s about love in a library.  I personally find the lyrics to be annoying and a bit overdone.  This is all pushed aside by great guitars and a rhythm section that gives a sense of direction.  Think of combining the jangle and drums of R.E.M. with a New Wave attitude and you’re nearly there.  Lyrical delivery certainly counts for a lot here – enthusiasm is very present.  The 80s would have loved this band, and I’m glad we have them.

17. “Send Him Away” by Franz Ferdinand

The Scots best know for the crazy rhythm change in “Take Me Out” are back with a fairly angry tune.  This discussion of female infidelity fits in nicely with the whole “night out” theme within their latest album.  The singer ultimately ends begging to stay the night.  While he may be a tad pathetic, the music is tight, offering a nice guitar jangle that swings around a phenomenal bass line and a complex-yet-digestible drum part.  I’d argue that this is the top highlight of the whole album.

16. “I am Leaving” by Blue Roses

Blue Roses was described by someone else as the sound of a rainy day repeated over a whole album.  I think that’s a pretty apt feeling, but it sells the music short.  “I am Leaving” is at its core a song about a breakup or exiting a family.  But more important is the sheer beauty of the song.  Aching guitars are placed with bright chimes.  I’m a real sucker for great vocals, and this also propels this song.  Laura Groves has an amazing voice, and after this song, you’re left sorry for her and yet entirely elated.

15. “These Are My Twisted Words” by Radiohead

When this was originally leaked, it seemed like an obvious Radiohead song.  Perhaps that is because it sounds like a stereotypical Radiohead song.  Tight drums, wandering guitars, Thom Yorke’s ever-present voice.  But let me ask: isn’t that also what makes Radiohead so amazingly great?  If they were to release an album full of songs like this, wouldn’t we all flip out and proclaim it one of the greatest in recent memory?  Yeah, “Twisted Words” isn’t very special in the Radiohead cannon, but that it holds many Radiohead trademarks makes it better than 90% of music today.

14. “Pieces” by Dinosaur Jr.

I completely missed out on the first round of Dinosaur Jr, so I can’t really compare this song to anything that came before.  Instead, I have the perspective of an outsider on this.  Frankly, I’m disgusted.  How did I not find this band earlier?  Straightforward rock with the best guitars I may have heard from all of music… where has J Mascis been all my life?  This is a great song on an album full of great songs and the band really deserves all the praise offered lately.  A great first impression (the leadoff track from Farm) for this new fan.

13. “Two Weeks” by Grizzly Bear

There is a very puzzling blogosphere “general opinion” that “Two Weeks” is better than “While You Wait for the Others.”  I really don’t agree with that view of things, and see “While You Wait” as an vastly superior track.  However, that does not leave “Two Weeks” as a poor piece of music.  Rather, the bright pop and fantastic arrangement of “Two Weeks” is a fantastic entry point to the music of Grizzly Bear.  It’s very catchy, the vocal harmonies are splendid (even close to the power of Fleet Foxes) and the whole thing is just very pretty.  It is sometimes difficult to accept a song for being essentially beautiful, but this track is fantastic.

12. “Convinced of the Hex” by The Flaming Lips

There are certainly more catchy songs on Embryonic, but there is nothing more attention-grabbing.  The strange introduction only pulls you into a great blend of crazy rock.  Superb funky guitars and a crashing set of drums manage to set up an amazing atmosphere for the whole album.  Nothing since The Moon & Antarctica has set up such an otherworldly feel.  It’s great, and you’ll be left thinking about that bass line for weeks.

11. “This Tornado Loves You” by Neko Case

Left just short of the top ten, but not because of Ms. Case’s pipes.  Wow can she belt out some music.  Of course her voice is pointless on a “traditional” album unless the music can keep up.  Here, everything is great.  Guitars, pianos, drums, all working in tandem to build the foundation of this song.  Then Case fires on all cylinders to send everything into the stratosphere.  “What will make you believe me?” she belts with all her might.  The whole tornado-lover metaphor thing would seem a bit heavy-handed if not for the great holistic production.  That, and her voice is big enough to be an F5.

Come back for the next 10 songs tomorrow night!

Review: Tonight by Franz Ferdinand

Franz Ferdinand hopped on the scene and hit the big time with their self-titled debut. This statement seems superfluous now, but the success story is simply amazing. On the strength of sublime lead single “Take Me Out,” Franz Ferdinand was everywhere: on radio, on television, out touring, and on the charts. It’s a shame that they proceeded to essentially disappeared from the popular music mindscape; sophomore release You Could Have It So Much Better was a really great release, offering a more fine-tuned take on the Franz Ferdinand sound. Indeed, I love them so much for the energetic near-disco feel offered by their brand of rock. Theirs is certainly some of the most danceable stuff around.

With such a buildup (thanks to previous records), I was very excited to finally get the newest Franz Ferdinand release. While I was ready for another slight sound shift, I had no idea that Tonight would represent such a drastic departure from the previous mold. It is now time to enter the new realm of Franz Ferdinand.

The whole thing opens on “Ulysses,” and instantly there is something different. The sound is far darker, even from the first note with a popping bass that was never so powerful in the past. Before the band can guide the song into familiar sonic territory, deep use of electronic sound is introduced. This is a radical shift in the Ferdinand canon. While the past involved disco and dance, this song actually roots from techno. Interestingly, the menacing, strutting voice offered by Alex Kapranos fits this new style very nicely.

All but one of the twelve songs features this new focus on techno beats. Admittedly, the concept functions far better than I initially imagined (“Twilight Omens” and “Live Alone” both use their electronic noises to an excellent effect). However, the novelty wears off in some songs. One such offender is “Can’t Stop Feeling,” where a repetitive loop of sound permeates the whole track. Unfortunately, any fun to be derived from the sound is completely extracted in the first flew loops. The worst use of electronic noise comes in the final version of “Lucid Dreams.” This epic piece has a falsely inflated length thanks to a strange electronic coda that would seem more appropriate on an LCD Soundsystem album. The concept is not bad, but the context is.

So where does that leave the album? Interestingly, the overall result is swayed toward the positive thanks to a bit of old-fashioned craftsmanship. Franz Ferdinand, unlike on past records, have finally put together a very cohesive set of songs. The whole effect is very reflective of the evening in title – early songs are more raucous, seeming to represent the man on the prowl, out to party. But with both “Can’t Stop Feeling” and “Lucid Dreams,” the feeling shifts drastically to a sense of remorse and near-reflection. As Tonight reaches a conclusion, the final songs become light and sobering. Particularly the touching finale “Katherine Kiss Me” finds the narrator recalling the words from previous songs and understanding his new place.

Tonight, impressively, has a theme and marked progression when taken in the intended order. This is quite a feat for any band, and that fact makes up for the bothersome use of techno elements. Therefore, I can recommend the newest Franz Ferdinand release with a sense of slight enthusiasm. While the sound may be initially upsetting, the full package is a nice evolution for the band.

SCORE: 8.4/10