20. Low: Drums And Guns
Known for an under-the-radar, less is more approach to their music throughout a lengthy career, Low continued to keep things relatively quiet with their newest release, Drums and Guns. But much like in real life situations, quiet doesn't always mean peaceful. Low used the album to create a stirring soundtrack for stories about violence and mystery, almost lulling the listener in and then scaring them just a little bit in the process. Just a three-piece operation, Low sound genuinely morose during the majority of the album. Singer Alan Sparhawk comes across troubled and brooding, and when he and Mimi Parker harmonize, the results are beautiful as usual. While it may not be evident after only a listen or two, Drums And Guns is one of '07's best.
19. The White Stripes: Icky Thump
BeforeI heard this album, I really didn't anticipate liking it as much as I did. I hadn't been too big a fan of anything the dup had done since White Blood Cells, and my pre-purchase level of excitement was just very middling. Fortunately, the Stripes play to their strengths and just try to sound envigorated and important, rocking out the whole way. Maybe it's silly, but as the band started to grow and deviate from its original formula, the songwriting just didn't feel like it was there anymore. It's nice to see Jack and Meg just write and play; either way, Rolling Stone's giving them five stars.
18. Modest Mouse: We Were Dead Before The Ship Even Sank
Accused by many as being Modest Mouse's second consecutive "pandering to the mainstream" album, We Were Dead just sounds good, and the songs are enjoyable and full of hooks. Um, is there anything particularly wrong with that? No, this isn't nearly as powerfully raw as 1997's Lonesome Crowded West or as cool and chilling as 2000's The Moon And Antarctica, but it's still a very good album, showcasing more clearly than ever that at the heart of it all, Isaac Brock has always been a pop songwriter. Opener "March Into The Sea" builds up a whole lot of tension before falling into the jumpy "Dashboard," and "Parting Of The Sensory" just sort of gets mad and kicks ass. "Little Motel" is a subdued, slow-burning success as well, but the real story is "Spitting Venom," which halfway through turns upside down, adds subtle horns and then just forges ahead and crumbles. "Venom" represents the best things the band has done in a long time, and perhaps a glimpse into their future.
17. !!!: Myth Takes
Dance time! Myth Takes is just a whole lot of fun to listen to, and I'm just not sure why every dumbshit kid that wants to dance doesn't dance to this sort of stuff instead of really terrible novelty hip-hop songs. "Must Be The Moon" has an awesome bassline that just swaggers and kills, and "Heart Of Hearts" somehow sounds like some sort of dance track Trent Reznor could've had a part in creating. Top to bottom, these are ten songs full of good beats, catchy hooks, and overall sugary insanity. And also, the band name is pronounced "chk, chk, chk." Personally, I think that's a mistake, and I refer to them as "exclamation marks." That's what I'd want to be called.
16. Feist: The Reminder
Unfortunately, Leslie Feist is already starting to get referred to only in terms of being featured in an iPod commercial, which sucks, because this album is very good, and her voice is gorgeous. Those are the types of things she should be known for. With one proper full-length album under her belt and some time spent with the very awesome Broken Social Scene, Feist took a huge step forward with The Reminder. Songs like "I Feel It All" and "1234" are drenched in pop sensibility, while others like "Honey Honey" and "The Park" are a tad more steeped in mopey reflection. Anyway you look at it, this is an excellent effort from a talented musician. And it's kind of sad that Apple has taken a shit all over "1234."
