The Top 5 Albums of 2007

Note: This article was first published as a Feature in the January 18th, 2008 issue of Kalamazoo College's student newspaper, The Index.


5. The National – Boxer

Digging deeper into the stark musical landscape pioneered by the band’s 2005 sleeper hit, Alligator, The National’s most recent body of work continues to transcend into minimalist, muted darkness. Lead singer Matt Berninger’s soulful croak tells of mournful American life and his band makes nearly every song an intense slow burn. The album begins with the absolutely crushing “Fake Empire,” but closes with the rainy optimism of “Gospel.” The band’s sorrowful sound strikes for the heart. “You get mistaken for strangers by your own friends/when you pass them at night under the silvery, silvery Citibank lights/arm in arm in arm and eyes and eyes glazing under/oh you wouldn’t want an angel watching over/surprise, surprise they wouldn’t wanna watch,” Berninger sings. It’s that biting honesty that makes this album resonate just after one listen.

4. LCD Soundsystem – Sound of Silver

There’s no doubt that James Murphy’s debut album was an amazing dance record. Given that fact, most everyone expected LCD Soundsystem’s sophomore effort to up the ante in terms of beats, rhythm, and pop, but the emotional weight of Murphy’s songwriting was something no one accounted for. It’s clear that maturity has made LCD Soundsystem’s dance music deeper, but it’s still a dance record, and age has made the musician’s electronic sound bolder as well. Songs such as “Get Innocuous!” and “Watch the Tapes,” prove that Murphy can still put out the toe-tappers, but it’s tracks like “All of My Friends” and the devastating “Someone Great” that truly showcase Murphy’s growth as a musician; some things do get better with age.

3. Okkervil River – The Stage Names

“It's just a life story/so there's no climax/No more new territory/so pull away the IMAX,” lead singer Will Sheff sings on album opener “Our Life Is Not a Movie or Maybe.” A concept record of sorts that strives to break down the fourth wall of artist and listener, The Stages Names is filled with irony and self-reference. In attempt to partake in the theatrical antics of the stage, Okkervil River often shift between exuberance (“Unless It Kicks”) and melancholy honestly (“Title Track”). What benefits Sheff’s sharp lyrics most is the way they intertwine themselves with the band’s often catchy songs. Sheff’s vocals both highlight and are reinforced by the music of every song. Not only that, but the transition of “John Allyn Smith Sails” into an emotional cover of “Sloop John B,” is simply an amazing way to close a record.

2. Battles – Mirrored

By track two of Mirrored, it’s clear that Battles is bringing something new to the table. That song, “Atlas,” is a perfect example of the half-human, half-computer hybrid sound of Battles. The mostly instrumental band is able to inject excitement, drama, and humor into barrages of detailed loops, samples, beats, and riffs. What makes Battles so interesting to listen to is trying to discern just how they’re accomplishing the sounds they’re making while being overtaken by the sheer awesomeness of those very sounds. John Stainer’s acute drumming is at the center point; his near machine-like rhythm holds together the myriad arpeggios, note syncopation, and catchy riffs of the three other members of the band. Each songs seems to operate on the same pattern: establish a complex musical sequence, repeat, add an intricate arrangement, repeat, then tear the whole song down, transforming it into an entirely new musical sequence. Not only is the record musically impressive, but it only gets better with more listens. It’s easy to find oneself getting even more excited the second or third time around when you know what pervasive drum beat or guitar pattern is going to uproot the carefully packaged repetition that’s had you hooked for the past two minutes.

1. Radiohead – In Rainbows

Radiohead’s In Rainbows was perhaps the most hyped album of the year, but with the first few seconds of “15 Step,” it clearly delivers. Free from the contract of record labels, Radiohead chose to record and produce their latest album entirely on their own. Better yet, when the album was released in its initial form (via digital download from the band’s website), not only could listeners could name their own price, but for the first time in what seems like a very long time, everyone around the world was given access to the music at the same time. There were no advanced leaks or promotional copies. That is, when downloading of the record began and you listened to it for the first time, so was everyone else; critics, musicians, fans, everyone. Without doubt, a big part of In Rainbow’s greatness was its experience. However, that experience would be nothing without the music. In fact, the music deserved it. The sound of the record hearkens back to OK Computer-era Radiohead, as the band forgoes the more electronic elements seen on Kid A in favor of more analog experimentation. Simply put, Radiohead embrace more accessible rock. Forgoing their oft-mentioned complexity, Radiohead, for the first time in awhile, sound musically user-friendly, though front-man Thom Yorke retains his wicked cynicism. On In Rainbows, Radiohead redefine themselves (again) and embrace guitar-driven melody.