I can't say that I'm overly excited with what I've heard this year. 2007 had its moments, but overall the current musical landscape had me wishing for more. Perhaps its due to the fact that I did a lot of looking back and discovering loads of music from years past, and what I heard in that regard outweighed 90% of what was released in 2007, but alas... it's only my opinion.

Here is what stuck with me when it comes to 2007:

10) Spoon - Ga Ga Ga Ga Ga (Merge)

Spoon is very easy to like. They make simple, well crafted pop songs that lack the layers and layers of production that other bands often employ, often to a fault. Ga Ga Ga Ga Ga is a straightforward look into a band who has finally broken into the national consciousness, and barring a band split, will continue to write great records. It took a while for this record to grow on me, as I pretty much dismissed it after the first listen, but recently gave it another chance when I began compiling my 2007 lists. Admittedly, it was the end of The Underdog that snapped me out of my Spoon-shrug-off. The dropping of the piano top at the very end of the song was quite the slick move, and sounds great in headphones.

9) Pig Destroyer - Phantom Limb (Relapse)

If you have quickly glanced at my list, you'll definitely notice I'm a metal fan. However, that wide net is not usually cast over grindcore, which i normally tend to shy away from because of its inherent unintelligible, breakneck pace where actual tones and notes are replaced with more piss and vinegar than anything I can latch onto. Pig Destroyer's Phantom Limb is the first record in quite some time that fits the typical grindcore mold, but comes away as a definitive album of its kind. The riffs are some of the most furious I've heard since, dare I say, Slayer. Although the band does not include a bass player, there is plenty of low end provided by the drums and guitars, and perhaps it is the lack of a bass that keeps the record sounding muddy and convoluted. The usual "chugga chugga" riffs (aka the breakdowns) are present, but they never strike me as cheesy or contrived. Check out Heathen Temple to see what I mean. The middle of the song is a pretty lengthy breakdown, but the listener is rewarded with a fast paced Sabbath-type outtro that packs a serious punch to the gut.

8) El - P - I'll Sleep When You're Dead (Definitive Jux)

If I've said it once I've said it a thousand times: most hip hop artists and I don't get along. I think it all boils down to the fact that I feel like I can never relate to it. There are a few artists every so often that can break down that barrier and really make me listen, and El-P is quickly becoming an all time favorite in that category. I'll Sleep When You're Dead is an incredible record that I have really been able to latch onto and move well past the "uhhh, I don't get it" moments that I have when listening to most hip hop. El-P's dark, foreboding take on his music has reached heights that put him right up there with Chuck D of Public Enemy in terms of influence as far as I'm concerned. Check out Habeus Corpses, by far my favorite track on the record, and highlights the sinister production that makes this album one you shouldn't be without this year. It may not be the future of hip hop, but it provides a much needed alternative to the bitches, hos, and bling nonsense that crowds the airwaves today.

7) Baroness - Red Album (Relapse)

The Red Album by Baroness is a perfect blend of everything that I like about metal. This quartet from Savannah, Georgia has really refined their sound with their latest release, and the result gives me something I can listen to in just about any situation. The opener, Rays On Pinion begins with an Isis/Mogwai-esque riff that slowly turns into an intense metal jam. The third track, and perhaps my favorite on the record, Isak is carried by a riff that musically harkens back to Kyuss, and the vocals let you know that these guys listen to a lot of Mastodon (there is something pretty amazing going on down in Georgia, for sure). I mention these bands not just to namedrop, but to give you an idea of just how much promise this band has. These guys aren't out to reinvent the wheel, but rather draw from an interesting blend of influences to create a sound that is all their own. On every song, you could draw a specific reference to band xyz, but by the time the record is done you feel like you've just listened to the future of good metal music. Make sure to keep an eye out for Baroness.

6) Dinosaur Jr - Beyond (Fat Possum)

J Mascis, Lou Barlow, and Murph. I could just leave it at that, because it's hard to imagine a record with these three dudes being anything short of amazing (ahem... You're Living All Over Me). Ok, I guess it would be easy to give Dinosaur Jr a free pass even if Beyond was a steaming pile of garbage, but I think you'd be hard pressed to find anyone who thought that. In my perusal of other "best of 2007" lists, this record seems to crop up on a healthy amount of them. If you were a Dinosaur Jr fan back in the day, this record will seem like more of the same, but "more of the same" is by no means a bad thing and far outweighs the bummer of hearing an old favorite pump out a reunion record that lacks any shine. J Mascis has some amazing guitar riffs on this record (listen to the guitar solo in Pick Me Up... like whoa!), his lyrics and delivery are true to form, and the rest of the band is right in tow, feeling like they picked up where they left off after Barlow left for Sebadoh. Beyond is a great record that can stand up on its own in the Dinosaur Jr discography, and even surpasses some of its counterparts because, to me, it represents an amalgamation of everything that made Dinosaur Jr a truly thrilling band to listen to.

5) Dirty Projectors - Rise Above (Dead Oceans)

When I first heard about this record from a bandmate of mine, it made me want to throw up in my mouth a little bit. In case you aren't familiar with the concept, let me fill you in real quick before I continue. Dave Longstreth, the main force behind the Dirty Projectors, had the idea to record Black Flag's Damaged... from memory. He assembled people who were not familiar with the record and recorded the end result. As someone very familiar with the record, I envisioned a bullshitty, pretentious art project that could only go horribly wrong. Imagine my utter surprise when I heard the opening track, What I See, and was so pleasantly surprised that I really felt bad for having such bad thoughts about it in the first place. I will glady eat my initial words/thoughts on this record, as it was definitely the biggest "where the hell did that come from?" of 2007. I don't particularly love every minute of the record, but there are definitely parts one can discern from the original versions, although these songs bear absolutely no likeness to its visceral predecessor. Howling vocals and screaming guitar lines have been replaced with subdued vocals and lush musical landscapes, and .... strings! I have no idea if Black Flag fans will like this record, but I sure did. Even if you don't particularly care for Blag Flag, the Dirty Projectors version is highly recommended to at least check out.

4) The Eternals - Heavy International (Aesthetics)

If you live in Chicago and you haven't checked out The Eternals yet, I seriously feel bad for you. If you live elsewhere and haven't checked out The Eternals, I seriously feel bad for you too. I haven't heard a record as musically diverse as Heavy International in... well... I'm not even sure when. Maybe its just where I'm at when it comes to my musical tastes, but if you are into rock music, dub, afrobeat, punk, reggae, hip hop, whatever it is... Heavy International has something for you. I'll never discredit a band for sticking to what works for them. Not every band feels the need to evolve and make a statement every time they write a record, and they certainly don't have to. On the opposite end of that spectrum, The Eternals seem to evolve with every song that they write, and the results blow me away every time. Take the first two tracks on Heavy International: The Mix Is So Bizarre starts the disc with a rump shakin' bass line over a solid drum groove, and vocalist Damon Locks bursts into a vocal assault that reminds me of a reincarnated Fela Kuti, and he starts singing about gamma rays and laser beams... its very unsettling yet completely raw and powerful at the same time. The next song, Astra 3b does a complete 180, slowing down to a stuttering bass/drum groove over Lock's high pitched howl. More often than not, there is such a diverse mix of influences that come spilling out of every song, and the way it is all fused together makes this a record you need to check out. Now.

3) Battles - Mirrored (Warp)

Just when you think that everything has been done before, that bands can't possibly do anything that will make people stop and pay attention... along come Battles. It took the band 3 years and multiple EPs to refine their sound, and Mirrored represents an excellent culmination of those efforts. It still blows my mind that the old guitar player of Don Caballero (Ian Williams) is playing with the old drummer of Helmet (John Stanier), both of whom I considered to have come from 2 completely different worlds as far as music is concerned, but its hard to argue with the results when you listen to Mirrored. I think the key to what makes this record so successful is the band's ability to find a good groove and just run with it. Of course, even the casual listener could identify that there is a lot going on within each song (with all the electronic madness,quirky vocal hijinks, and looping effects on this record, that may just be the understatement of the year). When you sort through all of the layers, each song on this record is carried by a super solid rhythm, and that is what resonates with me more than the glitchy, electro-snap-crackle-pop effects that also dominate Mirrored. Imagine Steve Reich with ADD and you pretty much have Battles. Check out this video of Tonto and you will get an idea of what I mean:

2) Down - III - Over The Under (ILG / Warner Music Group)

I heard Down's first record back in high school and I completely loved it. Of course, I was obsessed with Pantera at the time, so anything any of those dudes did I was sure to eat up. Over time, Pantera pretty much dropped off the face of the planet, and so did most good metal music as far as I'm concerned. Their second effort was released in 2002, and that's all the mention I'll ever give that record (side note: don't name your record after a Led Zeppelin lyric... ever. please. especially from Stairway To Heaven. come on dudes.)

Fast forward to 2007. Down releases III-Over The Under, and I'm mildly intrigued. I had no expectations when i purchased it, but by the time the 12th song had come to an end, I was officially back on the Down bandwagon. This record is a no frills, wankery-free, ball busting album from beginning to end. The riffs are dark and heavy, and combines the absolute best of what I like about this "supergroup's" previous efforts (Down has members from Pantera, Crowbar, Eyehategod, and Corrosion of Conformity... check 'em all out). This album was written in the aftermath of Hurricane Katrina and the unfortunate circumstances surrounding the death of Pantera guitarist Dimebag Darrell, and the gritty feel of the album lets the listener in on a lot of that anguish. Most of the band lived in New Orleans and were temporarily displaced by the Hurricane, but they regrouped and recorded Over the Under in New Orleans with producer Warren Riker.

For my money, the most powerful song on the record is not necessarily the most abrasive or heavy song, but the one that left me feeling like, "ok, even heavy metal dudes have feelings". Although vocalist Phil Anselmo has lost some of the bite and swagger in his voice, it has been replaced by a more strained and bluesy feel, one which almost suits the record better than what he may be better known for. Nothing In Return is perhaps the quintessential metal "slow song" for me, and is about as slow as a metal band should ever get while still kicking ass in the process (maybe like Zep's "No Quarter"?... sorta). The end of the song is particularly haunting, as the last minute and a half contain some haunting lyrics of Phil wailing "and when we walk away there will be no coming home". Whether or not he is talking about Katrina or the tragic falling out with Dimebag Darrell, its a poignant ending to an amazing song, and a killer record.

Unfortunately, there is no official video yet for songs from III - Over The Under, but you can peep this "album trailer" that I found, containing a clip of On March The Saints.

1) Big Business - Here Come The Waterworks (Hydra Head)

Of all the new music I heard in 2007, no record excited me more than Big Business's Here Come The Waterworks. It's 8 quick-hitting songs that clock in at just over 40 minutes, and every single song on this record is an epic jam. How one drummer and one bass player manage to create such a heavy wall of sound is a testament to how intense this record really is. Whether you want to call it metal, stoner rock, punk, whatever... this is a record that I believe will stand the test of time and be something that I can pull out in 5 years and still be thrilled by it. The vocals on Here Come the Waterworks are also something to behold. Every time I listen to this record I feel as if Jared Warren is towering over me, shouting in my ear, forcing me to pay attention and listen to him as if I were being chastised by my dad for breaking the neighbor's window when I was 8. That immediately puts Big Business into elite company as far as I'm concerned. When a vocalist can make you feel like they are talking directly to you... it makes the listening experience that much more cathartic.

Although the bass tones are very sludgy and laden with distortion, the lines are still discernable and played with awe inspiring precision. Listen to Start Your Digging and you'll see what I mean. Even with the solid drumming of Coady Willis, this record would not resonate the way it does if not for the buzz-saw like qualities of the bass guitar. When there are only two instruments to rely on, every note and every beat come under the microscope because there aren't layers of instrumentation that you can just hide parts under, and I can't think of a single part on this record where I thought, "uhh.. really? why?" The payoff on this record comes with the final track, after Big Business has pummeled your ears with 7 heavy songs, they sneak up you with a colossal instrumental jam called Another Day In the Pacific Northwest. The song conjures up all sorts of imagery of being out on some mountainside in Washington, surrounded by an expansive pine forest and a looking upwards to a sky thick with dense fog (or maybe thats just me?) Either way, as soon as I record ends, I find myself starting it over again, and the rush of hearing the first song all the way through to the stoner/sludge ending is an experience that I highly recommend.

Here is a video of Big Business playing "Grounds For Divorce". I took some video of them doing the same song at a different venue, but these results turned out much better than mine did.