The Top Fifty Favorite Songs Of 2005 - Pt.3

30. “Sukiyaki” by Oranger
Oranger storms back on the American Power Pop scene with an absolutely sick single. There are several interesting things going on: 1) the guitar is way down in the mix, at times you don’t even know it’s there, 2) the piano functions more as a rhythm maker, notes pounded out matching the extremely solid snare beats (nearly drowning out all the other instruments) and, most unexpected, 3) the absence of a huge hook. Nevertheless, this song sticks in yer head like glue due the superb energy and fervent moxie the song exudes. Trust me, this tracks sounds best played very, very loud.

29. “Helicopter” by Bloc Party
There’s something I loathe about rockers singing about politics … and my loathing increases tenfold when it’s some watery Brit whining about American politics (Listen Mr. Bloc Hipster Party, it doesn’t matter if it’s Democrap or Republitit in office, it’s the same old same old). I don’t need some pretty boy in a flogger and vintage-too-tight-t getting all up in my face about this country’s prez (I mean, that’s why I read The Atlantic magazine). But that’s my problem isn’t it? Ok. “Helicopter” is tremendous post-post-punk blather, replete with those noisy guitars, that near-shade-of-disco-backbeat, and a hook to die for. The quick instrumental breakdown that zips into the hook/chorus at the end of the track is killer.

28. “Wellen” by Dirk Leyers
Dirk Leyers was a member of the terrific Closer Musik, and this is his first release since that group’s demise. The thing that sets “Wellen” apart from much of minimal electronic music is the prevalence of the pretty melody while simultaneously featuring a steady beat/hi-hat combo and ambient drones, there are outright keyboard gymnastics meticulously placed throughout the track, thus, avoiding monotony. There is so much going on, that each and every listen brings a new surprise. I guess this doesn’t exactly make it minimal; maybe macro-minimal or something. This is an amazing debut 12”.

27. “Fake Palindromes” by Andrew Bird
Andrew Bird has quietly been making some great music over the years, but in 2005 he really hit his pop stride. A huge intro sets the tone for this track – this isn’t some flabby piece of indie pop. The repetition of this wacky, explosive intro throughout the track is such a great move; it adds another weird dimension, a chaotic-quirky take on the loud-soft dynamics. His vocals really turn my crank – almost like David Byrne mixed with Grant-Lee Phillips and/or Jeff Tweedy, which makes the delivery of the closing lyric, “I want to tie your wrists with leather, and drill a tiny hold into your head,” so unexpected and disturbing. I’m still taken aback when he sings it.

26. “This Year” by The Mountain Goats
It’s not often that pure pop music can move not only your feet or your mouth, but your heart. Usually, it’s those songs about love and youth that stir some nostalgic emotional response. John Darnielle’s (who is The Mountain Goats) songs have always felt like short stories to me, and this track is no different. On “This Year”, Darnielle evokes the struggle of youth in a wonderful narrative with his characters being so keenly real – definitely rebels (underage drinkers and staying out late), but flawed (he calls these characters “twin high maintenance machines” and one drinks-n-drives). And it takes me back, growing up in a town too small for my city dreams. Escape was the only goal, and how many times did I say, “I’m gonna make it through this year, if it kills me.” Funny thing, I’m still saying it.

25. “The Comeback” by Shout Out Louds
More Swedes! Oh, I love you Sweden, your place in the world, your weather, your quiet affluence! But most of all: your music! Dear lord, so many good bands with such ability to craft perfect pop. Last year, it was your sweet, sweet Legends, this year it’s Shout Out Louds. “The Comeback” kinda takes on the sound of the never-realized Strokes revolution and plays it how it should have been done: with a fine melody and a fat hook, and it rocks with odd anxiety. From the opening keyboard riff to the carefully placed tambourine baps to the rhythm guitars, the music is as contagious as the melody.

24. “Sometime” by Richard Davis
Richard Davis came out of nowhere into my life. Actually, a friend e-mailed me to tell me I’ve got to hear this guy. He provided me a secret link to a couple MP3s and they had me. “Sometime” wasn’t one of those songs. While I love several other tracks by Davis, this one remains my favorite – the beats are so muffled, yet so huge; there’s a slinky Richard D. James-like melody creeping below the surface, the hi-hat is just right. Davis’ vocals are as tired and annoyed and yearning, the voice of the world-weary. It’s the soundtrack to the work-a-day corporate life – thinking about the only thing that matters, but you’ve got no choice but to sit and stare at a LCD screen and peck away at a keyboard.

23. “Only With You” by Teenage Fanclub
This Raymond McGinley composition is the most beautiful and tender love song of the year. It’s a bit peculiar as the pace is too fast to be a ballad, but slow enough that it isn’t quite Triple A radio rock. No matter. It opens with the melody slowly plunked out on piano, but the band quickly comes in and the song takes off. The changes from verse-to-chorus and back are so fucking smooth. When McGinley intones, “So much I want to do, only with you”, my mouth turns into a smile – not only because I identify, but McGinley is known for his biting lyrics (the classic, “I always feel the need to profane/I always said fuck when I thought I could”), such a jarring departure into veritable cheesiness! When the piano comes back towards the end of the track, it’s full of emotion – alone, but confident; naked, but elegant; it’s “beauty and truth.”

22. “Feel Like Myself” by Brendan Benson
Ever since his major-label trials and tribulations, Benson has done a resurrection of sorts (I suppose it kind of helps to be friends with Jack White whose band was the hottest thing going for a couple of years, and now has some Radiohead-like creative license … it’s cool, it’s cool). “Feel Like Myself” finds Benson nailing another hit. A friend of mine tipped me to this track, imploring me to listen (he endured some intense whining from me about the record this song comes from). I couldn’t believe that I overlooked this sweet-n-sour tune, and listened to it multiple times a day for a few weeks. I’d wake up in the morning humming the synth line and singing the chorus in my head. The chorus is fantastic.

21. “Galang” by M.I.A.
I don’t give a flying crap about the back story when it comes M.I.A. So don’t even talk to me about it. This song, though, if you want to discuss, I’m here! The grime-y beats, the video-game-explosion bass blasts, the way her flow flows shows that M.I.A. has great collaboration and true skills. I still love the Sri Lankan (???) “yah-yah-yay” chanting; it is exhilarating as the beats and the percussion and the electronics buzz and bump and blast underneath. Oh yeah, I don’t care about the bloody Honda commercial, so go down to Urban Outfitters and find some purist smoking Parliaments and sporting a white belt to jaw with. Leave me out of it. I’m too busy loving this song.