- Christopher Bahn
- Andy Battaglia
- Aaron Burgess
- Andrew Earles
- Scott Gordon
- Marc Hawthorne
- Jason Heller
- Steven Hyden
- Trevor Kelley
- Genevieve Koski
- Gregg Lagambina
- Michaelangelo Matos
- Chris Mincher
- Josh Modell
- Noel Murray
- Sean O'Neal
- Keith Phipps
- Nathan Rabin
- Kyle Ryan
KYLE RYAN
1. Arcade Fire, Neon Bible (15)
After its much-ballyhooed 2004 debut, the Arcade Fire faced soul-crushingly heavy expectations for a follow-up and hype that guaranteed a backlash. Now far too popular to be an indie cause célèbre, the Arcade Fire nevertheless strode the tightrope confidently on Neon Bible, an album that looked to be the year's best when nine months still remained in 2007. Although other albums threatened, in the end, none matched Neon Bible's thrills.
2. The National, Boxer (12)
Thrilling in a different kind of way, The National's fourth album found the group yelling less and examining mood more. Although it lacked the cathartic rush of Alligator's "Abel" or "Mr. November," the restraint suits The National well.
3. Kanye West, Graduation (11)
A surprising non-contender for The A.V. Club's year-end list, Graduation couldn't possibly match its pre-release hype or the outsized personality (and persona) of its creator. But even with a couple of real clunkers—the undercooked "Barry Bonds" and the clumsiness, in both refrain and atmosphere, of "Drunk And Hot Girls"—Graduation had its usual share of West gold: "Stronger," "Homecoming," "Good Life." And it ends with what is perhaps West's gutsiest song, "Big Brother," a heartfelt and honest examination of his complex relationship with Jay-Z.
4. Modest Mouse, Were We Dead Before The Ship Even Sank (10)
Modest Mouse waited three years to follow up its mainstream-cracking Good News For People Who Love Bad News, and the interim produced an unlikely cohort: Former Smiths guitarist Johnny Marr co-wrote We Were Dead and joined Modest Mouse full-time. The alt-rock world swooned at the possibilities, and We Were Dead delivered. Mainstream success hasn't watered down the group's considerable quirks, and Dead boasts an unprecedented number of hooks.
5. Low, Drums And Guns (10)
Low grows more devastating with each album. Drums And Guns didn't follow exactly in the footsteps of its predecessor, but maintained its unsettling experimental tendencies. Drums And Guns may be Low's least accessible album yet, but it's hard to complain when the results are this good.
6. Bloc Party, A Weekend In The City (10)
Like The Killers, Bloc Party debuted as a fluffy dance-rock outfit but decided to get serious on its sophomore album. The Killers' own self-importance sunk their efforts, but Bloc Party's haunting City felt natural and unforced. The band's debut, Silent Alarm, had its share of pathos, so its darker sibling shouldn't have surprised anyone.
7. Shellac, Excellent Italian Greyhound (9)
At this point, Shellac has nothing to prove and no one to impress. They've never given a shit about that anyway, but never has it been so obvious. Greyhound tests patience with two needlessly long, self-indulgent tracks ("The End Of Radio," "Genuine Lullabelle"), but Shellac has also never sounded like they're having so much fun. And, really, a slightly disappointing Shellac album is still better than 99 percent of the music out there.
8. Parts & Labor, Mapmaker (8)
"Fractured Skies" by Parts And Labor
Download MP3 (right-click and save)
Before Parts & Labor played on American Public Media's Sound Opinions talk show, WBEZ-Chicago's manager sent a letter to staff warning them about the volume that would follow. The band was a surprising fit for a show that typically hosts better-known artists, but there's a reason Parts & Labor was there: Mapmaker is pretty badass.
9. Ted Leo & The Pharmacists, Living With The Living (8)
The story isn't that Living With The Living, Leo's fifth album with the Pharmacists and first for Touch & Go Records, made this year-end best-of list. It would've been a story if it hadn't. And as long as Leo keeps writing songs like "A Bottle Of Buckie," "The Sons Of Cain," and "C.I.A.," he'll be here next time, too.
10. Fall Out Boy, Infinity On High (7)
Overexposure to Pete Wentz's smug face long ago tainted perceptions of his band. That's a shame, and not just because Wentz-bashing is so passé. Infinity On High is perhaps the year's best pop album. The hooks come fast and furious and stick in your head long after the song has ended. Virtually every song (save piano ballad "Golden") could qualify as a hit, with tracks like "The Take Over, The Break's Over" and "Hum Hallelujah" providing the kind of giddy pop thrills unrivaled by anything else this year.
SPECIAL POST-SCRIPT
Patton Oswalt's Werewolves & Lollipops isn't a music album, but Oswalt's second stand-up CD just kills. If you haven't already gotten this and listened to it dozens of times, do it now. (And pick up Impersonal by Paul F. Tompkins while you're at it.)
HONORABLE MENTIONS
Common, Finding Forever
If only every song was a great as the Lily Allen-assisted "Drivin' Me Wild."
Band Of Horses, Cease To Begin
An intriguing successor to Everything All The Time. These guys will be there by their next album.
The White Stripes, Icky Thump
Barely missed the top 10. "You Don't Know What Love Is," the title track, "Conquest"—really great stuff.
J Church, The Horror Of Life
Lance Hahn's final album wasn't his band's best, but nevertheless maintained the level of quality he established when J Church began in 1991.
Editors, An End Has A Start
"Smokers Outside The Hospital Doors" is one of the best singles of the year. The album gets a bit tedious, but Editors are definitely on their game.
LCD Soundsystem, Sound Of Silver
Another one that just missed the top 10. Fantastic.
Talib Kweli, Eardrum
Kweli brings in a host of A-list producers—and, at 20 tracks, mainstream-hip-hop-album bloat—but that breakthrough remains out of reach. It's too bad, because Eardrum has more than its share of great songs.
Radiohead, In Rainbows
Obviously…but it was missing something.
The Shins, Wincing The Night Away
Can we please stop talking about stupid-ass Garden State now?
Weatherbox, American Art
How can young kids from San Diego nail the sound of early-'90s Bay Area punk so well? And for Doghouse Records, no less?
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