steering clear of the mainstream
since 2001

june 2010

So keep your mind and ears open, and welcome to Indieville's Best of 2008!

I hardly consider myself a dub aficionado, but this is by far the best dub record I've heard in a long time. Despite the genre's relatively strict formula, Like Ten Feet Tall manages to be a varied and consistently engaging record destined to be enjoyed by dub newcomers and veterans alike.

Among the most brazenly catchy releases of the year, this glorious country-pop opus will edge its way into your head via its infectious Crowded House influence. The vocalist has a unique croon, but once you've adjusted to it you'll fall in love. Perhaps the best self-released record of the year.

Homemade weirdo pop from this New Zealander populates the impeccably strange Quo. I've heard this guy compared to a modern-day Hasil Adkins, and the comparison could not be more appropriate. Whether its a noisy rock shred or a gentle instrumental, Quo is consistently baffling yet unmistakably irresistible.

Pershing got a lot of knocks for not living up to its (admittedly obnoxious) hype, but as far as summer pop albums go, this hit the spot like a shot to the groin. Every song stuck like glue, while the band's carefree demeanor made those sweaty summer nights seem just a little bit sweeter.

One of the most accessible releases to drip out of glitch mega-conglomerate Raster-Noton, Automne Fold is a mesmerizing electronic epic. Save this one for good headphones - Kangding Ray works best when he's able to submerge you in his mechanical world.

Some will bemoan the relatively stagnant state of shoegazer these days, but one whiff of After Summer should have you convinced otherwise. This Estonian group has created a memorable album that is almost frustratingly beautiful. Long live dream pop!

Say what you will about Don Cab's recent incarnations, but Punkgasm is a startling return to form for the heavily abridged band. Damon Che's obscene drums are still front-and-centre, but they are complemented by solid guitar and bass, and even some singing. Three cheers for nineties indie rock!

Make no mistake, this is nothing more than a straightforward rock/pop album. But it is the infectious, anthemic nature of these songs that makes Good2b3 such a divine treat. Tim Lee's eighth album will leave you wondering why you' never heard about the other seven.

This whimsical beauty of an album will have you designing movie scenes in your head. Laura Barrett's irresistible voice is empyreal in its sweeping vastness, while her unconventional compositions have a glorious romanticism to them.

From side project to main attraction, Shearwater's records have always been consistently impeccable, and Rook is no exception. The Talk Talk references are valid, but these folks are so much more. Years from now, Shearwater will be considered one of our generation's most original and wonderful bands - and Rook will be among their best.

The side project of OK Go's Andy Ross yields a satisfying and personal pop record that you'll be singing along to in no time. If you liked Teenage Fanclub's more pop-based material, you'll love Cantarell.

Sterling, mature pop characterizes this Mercury Prize winning album, Elbow's fourth full-length since their debut in 2001. Unjustly overlooked by most North American audiences, these folks have been favourites in the UK for a long time now. The Seldom Seen Kid, an impeccably beautiful offering, is a prime taste of what you've been missing.

A whimsical yet melodic trip, Verbs has the ability to get you dancing around your bedroom and crying in the corner all in one album. This one is impossible to describe in 5000 words - let alone 50; as it is, you'd be best off discovering Verbs on your own.

Indieville's lone 90% this past year, Le Lieu is a tremendous accomplishment in drone music. Gargaud's epic is a meditative wonder, absolutely absorbing yet certainly not intended for the impatient listener. Released by Dirty Demos in an issue of only 150 copies, those lucky few who managed to snag one ought to feel pretty good about themselves.

Listeners may be surprised to learn that Boo! Human is long-standing Chicagoan act Joan of Arc's eleventh full-length album since their 1995 inception following the dissolution of Cap'n Jazz. And while its generic spasticity can make it a bit difficult to wrap your head around, there is no denying this album's unconventionally wonderful nature.

Cassette tape choruses and campfire chants adorned their first record, but Ropechain is much more anthemic and better produced. Not a soul release, but all soul nonetheless, this glistening beauty of an album is bizarre and mesmerizing, the sort of thing you won't leave the house without for weeks.

compiled by michael tau