Here's my list, soon to be found on epinions.com:
[Best of 2006]
2006 was driven by my search for more artistic approaches to music, with results often somewhat disappointing, yet sometimes something would turn around and surprise me. Documented here are various thoughts on a different random lists and topics, often in relation to 2006 and music. The focal-point, of course, is the Top Ten albums of 2006, which hopefully will aid you in your search for something more interesting.
[BEST ALBUMS OF 2006]
My top list of 2006 might surprise a few, represented is a blend of artistic “mainstream” bands and the lesser known ones, that often tend to dominate the top half. 2006 was a year of surprises, therefore this list represents a collection of the best albums that released between January through December 2006.
[10] Sanctus Real - “The Face of Love” {overall: 8/10}
This year started strong with a slew of fine releases, but Sanctus Real was one of the leaders the first part of the year with their junior release. While it doesn’t reach the rock greatness that their debut did, it manages to be a fine album that stretches their sound in new directions. With some noteworthy tracks that possess soaring choruses and fine writing, this one is a solid release that might take a few listens to truly respect. What is most appreciated, though, is a large dose of honesty found glimmering through on the soaring single, “I’m Not Alright,” the albums standout track.
THE BOTTOM LINE: Melodic modern rock that takes this four-piece rock act in new directions. Catchy and relevant… a solid release that shimmers in the sea of cliché’s.
[09] Leigh Nash - “Blue On Blue” {overall: 8/10}
When this angelic-voiced singer left barren the land known as Sixpence None the Richer, fans knew that it wouldn’t be too long before we heard this voice out in front again. Only two years since Sixpence disbanded, Nash already has penned and released her very own solo project, under her own label “One Son.” While there do exist the slightest similarities to her former outings (most notably her voice), her solo material is noticeably more accessible and optimistic that was Sixpence’s work. Delicate melodies and simplistic alt-pop arrangements lead this warm disc. Limited instrumentation, often favoring piano and acoustic guitar over a other alternatives, lets Leigh’s voice come out in its most beautiful and surreal form.
THE BOTTOM LINE: Lush arrangements focusing on the vocals, make this a memorable track. While there is nothing as great as what is found on a Sixpence record, this album is a must-have for fans, or those who found her former band a little to inaccessible. Though being a fan of Matt, I do miss his artistic touches.
[08] Skillet - “Comatose” {overall: 8.5/10}
While they had been in the shadows of the industry for years, 2003’s stellar “Collide” earned them a major-label deal, “Comatose” finds them receiving even more mainstream attention with the single “Whispers In the Dark.” The guitar work is splendid and theatrical elements give this a near progressive feel at times. With strings and programmed tid-bits tastefully added, “Comatose” is a sure-fire hit that resonates with relevant issues, especially with today’s youth. While it remains more accessible and a little bit more toned-down than it’s predecessor, it still features it’s fair share of rock tracks. Ballads are also nicely-executed, with the exception of the somewhat generic “The Older I Get.” Lyrically it falls short of the greatness we know John Cooper can reach, it still is a fine collection of songs that is worth every cent some gray-haired corporate “CEO” steals from you.
THE BOTTOM LINE: Rocks more artfully, yet doesn’t achieve the greatness “Collide” did. Still, catchy melodies and sensitive ballads make this a fine piece that is a bit more optimistic that their previous effort.
[07] Plumb - “Chaotic Resolve” {overall: 8.5/10}
After quite a few delays in release date, Plumb’s latest work finally saw the light of day early in 2006. While the influences on this project are noticeably Skillet and Evanessence, it also nod’s to her incredible debut in musical direction. Unfortunately, though, the lyrics fall slightly below what we have come to expect. None the less, this diverse project, tastefully driven by a combination of guitar, synthesized elements and strings, proves to be a fine listen for mature music listeners looking for something to appease their appetites. While a few pop singles and dance tracks are needlessly added, it’s the bonus tracks that could be left out, but do provide some ear-candy for Plumb-fans.
THE BOTTOM LINE: Rock n’ roll driven by strings and synthesized elements that meld with soaring melodies and intricate arrangements that makes this CD a fine pick.
[06] Copeland - “Eat, Sleep, Repeat” {overall: 10/10}
Copeland is a little-known melodic pop/rock group that has toured with the likes of Switchfoot in recent years. While earning a fine following, they still remain in unfortunate obscurity. With their latest outing, Copeland drops a little bit of their melodic accessibility, going after more of a theatrical feel. While guitars still play a present role, piano, thoughtful strings, and brilliant horns combine to create a cohesive, yet more diverse project. “Eat, Sleep, Repeat” is a little more melancholic and more emotional than previous records. It’s laid back approach isn’t real friendly to clichéd-rock radio, yet this is one of the best releases in years. Almost indescribable, the delicate melodies and intricate arrangements are complemented by Aaron Marsh’s soaring vocals. Lyrically this is also one of the years most interesting outings.
THE BOTTOM LINE: All in all, one of the year’s few masterpieces. Highly recommended.
[05] mewithoutYou - “Brother, Sister” {overall: 10/10}
“Brother, Sister” (or “Brother Sun, Sister Moon“
finds mewithoutYou venturing further from their post-hardcore roots to an alternative rock sound that possess an elaborate palette of unique sounds, such as fugal horn and harps, among other instruments. Emotion tends to lead this set, often straying away from the angst found on other projects. This is some of the most unique music you will find. Aaron’s thoughtful poetry, that is spoken and shouted (occasionally sung), is set against a backdrop of interesting arrangements and well-structured choruses. This is a true masterpiece disserving of wider attention than it will receive.
THE BOTTOM LINE: While it’s not for everyone, mewithoutYou should appeal to those who appreciate music that is art. Everything about this album feels as if it belongs in a museum, even the album art.
[04] Edison Glass - “A Burn or a Shiver” {overall: 10/10}
Edison Glass is a new band from New York. Their fusions of sounds, most notably emo rock, produces one of the greatest debuts in years. Intricate arrangements and melodies rely on the basic rock line up, yet never feel like a cliché. Each and every song is a work of art that emotes a sense of true feeling. Even the sensitive rockers or ballads come across as original. The melodies are well structured, and like good wine, grow more attractive every day.
THE BOTTOM LINE: Emotional rock that should appeal to anyone who appreciates well structured rock n’ roll with a sensitive side to it. The two vocalists blend together nicely to create an atmosphere disserving of your attention.
[03] Underoath - “Define the Great Line” {overall: 10/10}
For some reason I feel like this disserves the number one position. This is, to date, among my top ten albums of all time. It is breath-taking, captivating, beautiful, lush, emotional… all in one breath. Spencer Chanberlain has grown considerably as a vocalist, and Aaron Gillespie proves he is among the top vocalists of all-time. While the rest of the band amps up and tackles a record that has the greatness of a concept record. Everything you expect it achieves. In fact, everything about it has a great “big” feel to it. The music is lush, the guitars and vocals sound louder, the drums posses characteristics all their own. Everything is done in an excellent manner. While it remains coherent and cohesive throughout, it also is somewhat unpredictable. Experimentation is also felt, while a musical interlude features some interesting samples and foreign-spoken poetry, three minute musical intros and the epic (7 minute) closer make this a creatively ambitious project. Even the artwork is meaningful and splendid, with 30 pages of pictures that captivate the sound of the record.
THE BOTTOM LINE: Nothing bad to say about it, even while it’s more aggressive than their sophomore release (more metalesque, Spencer‘s screams dominate more tracks), it seems even more accessible than any product in this genre. Buy it, now…
[02] TIE: Jars of Clay - “Good Monsters” {overall: 10/10}
While they still haven’t been able to match the mainstream success that their double-platinum debut found, Jars of Clay has remained a staple in alternative music for over a decade. Now with “Good Monsters” they once again push themselves creatively in new directions. With no such “filler” tracks, every song is a delicate work of art. It’s atmospheric modern rock that is complemented by polished folk elements and fine doses of piano. Represented in the killer single “Work,” or the raucous title track, this record features enough catch-ability to earn mainstream attention, as well as appease their core audience. Dan’s best vocal and lyrical work to date - his poetry continues to ponder topics of loneliness, fear, doubt, and other issues we actually want to hear about.
THE BOTTOM LINE: The industry’s greatest poets come back for an emotive, yet rockin’, set that is hands down the best release we’ve yet seen from this creatively ambitious four-some.
[02] TIE: Fair - “The Best Worst-Case Scenario” {overall: 10/10}
Most likely, unless you are fond of more indie offerings, you’ve seldom heard of Aaron Sprinkle (except, maybe as a producer). He’s the musical genius who was the guitarist for the alternative rock band Poor Old Lu, and went on to form his own band Rose Blossom Punch and then his incredible solo work (which remains among the best work ever). While its been two years since we have heard any new material from him, and five since a whole new album, he returns with his newest project, Fair. With a fellow
former member of Poor Old Lu and some friends, Aaron once again takes lead, creating his most satisfying and creatively ambitious project yet. Incredibly diverse and more aggressive than his mainly acoustic solo offerings, Aarons well produced voice drifts through intricate arrangements and soaring melodies that feature incredibly diverse sounds. Unpredictable and incredible, this is one of the finest releases in years, and was my number one release until a few others came along to challenge it.
THE BOTTOM LINE: Indescribable indie-flavored modern rock that is built on an a diverse collection of influences. With diverse instruments and effects making their presence known on the various tracks in this stellar 12-song collection.
“Drum roll, please… and No. 1 is:”
[01] Switchfoot - “Oh! Gravity.”
It seems that when a band puts out their most pleasing and creatively-satisfying masterpiece, it receives mixed reviews and feelings from a horde of stuck-up critics that claim they’ve abandoned what made them who they were in the first place. And so it is with Switchfoot’s greatest album to-date. “Oh! Gravity” covers territory the band has never ventured near before… but this is a really good thing! Even the lyrics, while still stuck on the search for meaning, take another approach to the topic, in fact you might want to tag this album “Rage against the machine.” For it hits home with a horde of topics, often focusing around the machine and consumerism. Musically they turn the tempo up a bit to a near-punk attitude for several of the tracks. The record remains incredibly diverse, with plenty of hooks and aggressive enough to please their rock audience, this is one alt-rock outing that has all the makings of a classic record… excellent.
THE BOTTOM LINE: Electric rock with huge hooks and a diverse selection of instruments and styles. From horns and strings to harmonica and synth, everything is raw, with a near-indie flavor, yet Tim Palmer still gives everything a nice polish. 2006’s best record, hand’s down.
