Top 25 of 2004, A First Draft: #5, 4, & 3
I’m getting close: only two more slots to write up after this.
I grouped these three records together for several reasons. I have already written about each of them and don’t feel the need or have the desire to expound much further. Others have written more eloquently and extensively, and if you would like to explore further, I would sooner point you to their write-ups than clog the net with more of the same. All three of these fantastic releases are showing up on a great many Best Of 2004 lists, so I need not worry about their exposure, or the non-lack thereof.
With that said, let us dig in.
5. Devendra Banhart – Rejoicing in the Hands
The rise of Devendra Banhart was one of 2004’s great success stories. Every emerging scene needs an icon to rally around and, by great consensus, the world chose Mr. Banhart to fly the freak-folk flag for us. This ever-prolific 23 year-old actually released two records in ’04 (both culled from the same session)—Rejoicing in the Hands in April, Nino Rojo in September—the only reason Nino Rojo didn’t make the list is because I haven’t actually heard it yet. (I refrained from making this essential purchase only because I read that the two would be packaged together for a vinyl release in early ‘05. As always, holdin' out for the vinyl.)
The hype behind the Banhart machine is entirely well founded. That voice—a fragile, magical, spidery thing wisping ‘round melodies that creep into your brain and never leave—decorated just right with lovely fingerpicking. And his lyrics—unique, bizarre, unforgettable. If Devendra Banhart is the icon of the current psychedelic freak-folk scene, it is only because no one can touch him—his is as singular a voice as ever there was.
My ranking: #5
Noiseboy ranking: #3
Pitchfork ranking: #7
More info
4. The Arcade Fire – Funeral
Even more hyped than the big DB, this was easily the most talked-about indie rock release of the year, and beloved by just about everyone. A debut from Canada’s finest (move over, Broken Social Scene...), released early in the fall. Pitchfork raved, and the masses opened their wallets—at one point every online distro across the country from Aquarius to Parasol to Other Music were sold out. And by all accounts, the live show is even better—I was supposed to see them, but I, too, fell victim to the band’s meteoric rise, as the Denver show sold out before I could get my head in the door. A powerful, moody, enchanting, life-affirming piece of work.
My ranking: #4
Noiseboy ranking: #9
Pitchfork ranking: #1
More info
3. Dungen – Ta Det Lugnt
Just like Mr. Banhart, the man behind Sweden’s Dungen, Gustav Ejstes, must have one hell of an old soul. That an unknown kid in his early twenties could deliver music so mature, inspired, and well-rooted in the kitchen-sink kaleidoscope of early seventies psych-rock might be rather difficult to believe were not the incontrovertible evidence right here on this slab of plastic. Utter brilliance from beginning to end, its popularity stateside another example of the power of the Fork.
My ranking: #3
Noiseboy ranking: #2
Pitchfork ranking: #13
More info
N/P: Metal Urbain - Anarchy in Paris!
I grouped these three records together for several reasons. I have already written about each of them and don’t feel the need or have the desire to expound much further. Others have written more eloquently and extensively, and if you would like to explore further, I would sooner point you to their write-ups than clog the net with more of the same. All three of these fantastic releases are showing up on a great many Best Of 2004 lists, so I need not worry about their exposure, or the non-lack thereof.
With that said, let us dig in.
5. Devendra Banhart – Rejoicing in the Hands
The rise of Devendra Banhart was one of 2004’s great success stories. Every emerging scene needs an icon to rally around and, by great consensus, the world chose Mr. Banhart to fly the freak-folk flag for us. This ever-prolific 23 year-old actually released two records in ’04 (both culled from the same session)—Rejoicing in the Hands in April, Nino Rojo in September—the only reason Nino Rojo didn’t make the list is because I haven’t actually heard it yet. (I refrained from making this essential purchase only because I read that the two would be packaged together for a vinyl release in early ‘05. As always, holdin' out for the vinyl.)
The hype behind the Banhart machine is entirely well founded. That voice—a fragile, magical, spidery thing wisping ‘round melodies that creep into your brain and never leave—decorated just right with lovely fingerpicking. And his lyrics—unique, bizarre, unforgettable. If Devendra Banhart is the icon of the current psychedelic freak-folk scene, it is only because no one can touch him—his is as singular a voice as ever there was.
My ranking: #5
Noiseboy ranking: #3
Pitchfork ranking: #7
More info
4. The Arcade Fire – Funeral
Even more hyped than the big DB, this was easily the most talked-about indie rock release of the year, and beloved by just about everyone. A debut from Canada’s finest (move over, Broken Social Scene...), released early in the fall. Pitchfork raved, and the masses opened their wallets—at one point every online distro across the country from Aquarius to Parasol to Other Music were sold out. And by all accounts, the live show is even better—I was supposed to see them, but I, too, fell victim to the band’s meteoric rise, as the Denver show sold out before I could get my head in the door. A powerful, moody, enchanting, life-affirming piece of work.
My ranking: #4
Noiseboy ranking: #9
Pitchfork ranking: #1
More info
3. Dungen – Ta Det Lugnt
Just like Mr. Banhart, the man behind Sweden’s Dungen, Gustav Ejstes, must have one hell of an old soul. That an unknown kid in his early twenties could deliver music so mature, inspired, and well-rooted in the kitchen-sink kaleidoscope of early seventies psych-rock might be rather difficult to believe were not the incontrovertible evidence right here on this slab of plastic. Utter brilliance from beginning to end, its popularity stateside another example of the power of the Fork.
My ranking: #3
Noiseboy ranking: #2
Pitchfork ranking: #13
More info
N/P: Metal Urbain - Anarchy in Paris!
posted by Jonathan Wright at 2:42 PM EMAIL POST
