Sound Bites

So Not the Best of the '00s

 
What a decade, huh? This one's notable as having been spent entirely in NYC, and entirely of the digital age which changed the way everybody listened to music. (Maybe not my parents but everyone else.) We had more access to everything, and less to to spend with it. That said, there was no shortage of good music, though I don't think anything hit me quite as hard as the previous decade -- partly due to age, party due to aforementioned information overload. There's nothing from this year, as I feel it's too close to really tell how a record is gonna hold up over time, and only a couple from the last four years. (Though in 1999 I knew The Soft Bulletin and Mos Def's Black on Both Sides were among the decade's best and that's not changed. Different Times.) There's also way more from 2000 than I woulda thought before I spent the last month trying to figure out this list. 

PLEASE NOTE: This is not a Best of the '00s, because lists like that have to include Important Albums, Influential Albums and the like. I listened to Radiohead, Interpol, Franz Ferdinand, Arcade Fire, The Knife, The Strokes, Phoenix and whoever like everyone else. (I also listened to Louis XIV and Hot Hot Heat.) But, for the most part, these are a little more buried treasure-ish. I think the records that didn't get played to death in public are the ones you come back to the most. These are mine, in chronological order.
 

Super Furry Animals - Mwng (Placid Casual, May 2000)
Radiohead Schmadiohead. From 1995 to 2005, no band expanded the boundaries of guitar rock while remaining what you could call "commercially viable" than Super Furry Animals. Released in early 2000, less than a year after their last album (1999's Guerrilla) and the height of their creative peak, Mwng might be my all-time favorite SFA album, a relatively stripped-down affair -- not much in the way of electronics, but some of their catchiest songs ever. And it's sung entirely in Welsh. Initial pressings came with a second CD's worth of songs (also all in Welsh) that was nearly as good.

MP3: Ymaelodi Â'r Ymylon
MP3: Dacw Hi

The Aislers Set - The Last Match (Slumberland, June 2000)
With Henry's Dress and, later, The Aislers Set, Amy Linton was the sound of Slumberland Records in the '90s and early '00s, and has proved highly influential on the label's new crop of bands. Listen to "The Way to Market Station" and you can building blocks of Crystal Stilts sound.  There's a timeless quality it, and I have little doubt it will still sound awesome in 2020.

MP3:The Way to Market Station
MP3: Been Hiding

 
The Go-Betweens - The Friends of Rachel Worth (JetSet, Sept 2000)
Nearly all reunions are worthless, just "we're in it for the money" affairs with new albums merely made to give excuses to tour and play the hits to an aging fan-base. But there was a chemistry between Grant McLennan and Robert Forster, even though they wrote separately, that could never be replicated with solo material. So this understated album, recorded 13 years after their last album -- with Sleater Kinney as their backing band -- it's doesn't just not suck, it was the best they ever made.

MP3: Surfing Magazines
MP3: Going Blind

Cinerama - Disco Volante (Scopitones, Sept 2000)
David Gedge formed Cinerama as a side project with his then-girlfriend as perhaps wrist relief from The Wedding Present. It wasn't until the band's second album that Cinerama found it's sound: indie rock meets Ennio Morricone. (Lyrically, Gedge only does one thing -- endless variations of romantic entanglements.) Disco Volante ties TWP's Seamonsters (both recorded with Steve Albini) as the best record he ever made.

MP3: Your Charms
MP3: Superman
 

Teenage Fanclub - Howdy! (Sony UK, Oct 2000)
Scotland's Teenage Fanclub have never broken any ground, musically, but they are remarkably consistent songwriters. I'm not sure that this album is that different than the one before or since but this is the one I tend to come back to a lot. Stick-in-your-head melodies, great harmonies, and really nice arrangements this time. They've mellowed out by this point and it fits them like a favorite sweater. This one barely got released in America.

MP3: I Need Direction
MP3: Accidental Life

 

Oranger - The Quiet Vibrationland (Amazing Grease, December 2000)
Underrated band from San Francisco, not unlike Teenage Fanclub in that they're clearly enamored with '60s sunshine pop. But Oranger will always a little louder, a little more raucous with a drummer who loved to go apeshit Keith Moon-style. (And appropriately, the album's title comes from Tommy.) Hands down their best record, The Quiet Vibrationland still sounds swell ten years later. Apparently they're still together, though somewhat dormant now.

MP3: Suddenly Upside Down
MP3: Stoney Curtis in Reverse

The Soundtrack of Our Lives - Behind the Music (Telegram, Feb 2001)
There's a lot of '60s psych inspired bands on my list, and TSOOL were like a greatest hits of the era all rolled into one nonstop Swedish Rock Machine and one of the decade's most amazing live bands. 2001's Behind the Music was their third record, the first to get recognition in the States, though it wouldn't get released till mid-2002. Sure, you can dissect the songs into its borrowed elements but why spoil the fun when tracks like "Sister Surround," "21st Century Ripoff," "Keep the Line Movin'," and "Nevermore" sound so great cranked all the way up. 

MP3: Sister Surround
MP3: Independent Luxury

Spoon - Girls Can Tell (Merge, Feb 2001)
You could make a pretty good case for Spoon being Artist of the Decade, a band who made great records all through the '00s. Pretty amazing for a band whose first album is so unremarkable. Maybe like Radiohead, it just took Spoon a bit to figure out what they wanted to be. By Girls Can Tell, they'd figured out that almost minimalist sound, where you hear every instrument clearly. I know a lot of people prefer 2003's Kill the Moonlight, but it's this one that proved A Series of Sneaks was no fluke and grabbed me the most... and still does.

MP3: Anything You Want
MP3: Fitted Shirt 

Pernice Brothers - The World Won't End (Ashmont, June 2001)
This is clearly the work of someone raised on '70s AM radio pop before having their worldview (and sense of humor) informed by gloomy '80s Brit haircut music. Meet The Pernice brothers, a band who have t-shirts that say "I Hate My Life." The World Won't End (pretty sure the album's title is not meant to be a good thing.) is a gorgeous mix of those two worlds, with Joe Pernice's honeyed, weary vocals (and the swooning string arrangements) the icing on the cake. All the Pernice Brothers albums are good, but The World Won't End is the classic.

MP3: Working Girls (Sunlight Shines)
MP3: Let That Show

American Analog Set - Know By Heart (Tigerstyle, Sept 2001)
Warm yet chilly, lovely yet sinister, American Analog set on Know By Heart made music that seems to have come from that space between waking and sleep. Like the Austin neighbors Spoon, this is spare music, but methodically put together... and will haunt you like a half-remembered dream. AmAnSet never bettered Know By Heart.

MP3: Punk as Fuck
MP3: The Kindness of Strangers

The Notwist - Neon Golden (City Slang, Feb 2002)
Incorporating the glitchy sound of of the then-current laptop scene, long-running German band The Notwist finally got America to take notice with Neon Golden. Rightly so. Digital manipulation is as evident here as it is on Cher's "Believe" but the Notwist make it sound as organic as blood coursing through veins. It hasn't dated one bit.

MP3: Pilot
MP3: One with the Freaks

Edwyn Collins - Doctor Syntax (Setanta, April, 2002)
Before being sidelined by a stroke in 1995, Edwyn Collins was an in-demand producer when not working on solo material. 2002's Doctor Syntax (unreleased in America) might be his best album, slinky funk with a wicked mean streak, mostly aimed at the record industry. The production is brilliant. You could imagine couple of the songs here -- "Johnny Teardrop" and "20 Years Too Late" --  reworked to be hits for Beyonce or Girls Aloud. 

MP3: 20 Years Too Late
MP3: It's a Funny Thing 

Broken Social Scene - You Forgot it In People (Paper Bag, Oct 2002)
The start of the new Canadian Invasion, though Toronto never developed into an actual scene the way Montreal did. Seeing Broken Social Scene at Mercury Lounge summer of 2003 was kind of a revelation. Most American bands didn't try this hard, or have this many members. It helped that they were touring for an album as great as this, that echoed the '80s and '90s but fresh and new.

MP3: Cause = Time
MP3: Anthems for a Seventeen Year-Old Girl 

The Dears - No Cities Left (MapleMusic, April 2003)
Let's set this straight. Dears frontman Murray Lightburn does NOT sound like Morrissey. Damon Albarn, I can hear that, but not really the Moz. And Lightburn has bigger aspirations, anyway, on No Cities Left, an epic album in every way that might collapse under all the bombast and melodrama if the songs weren't so damn good. And their shows around the time, they were one of the best live bands in North America. One thing Lightburn and Moz do have in common: not getting any enough credit for their sense of humor. 

MP3: Lost in the Plot
MP3: 22: the Death of All the Romance

Radio Dept. - Lesser Matters (Labrador/Shelflife, March 2003)
Here's a record that I still can't quite put my finger on why it's so good. It was like the sum of everything I loved in the late '80s and early '90s, as played and recorded on shitty equipment. The enigmatic nature of the band helped too, and you could be convinced that the tapes for this album were discovered by accident while cleaning out someone's basement. 

MP3: Why Won't You Talk About It?
MP3: Ewan 

New Pornographers - The Electric Version (Merge, May 2003)
Canadian Invasion, West Coast Division. I know the tastemakers say their debut, Mass Romantic, is the end-all be-all. But for my dollar, The Electric Version does it better and catchier. Carl Newman and Dan Bejar' songwriting had grown even more confident... and the hooks are undeniable. 

MP3: From Blown Speakers
MP3: Chump Change 

 

Ulrich Schnauss - A Strangely Isolated Place (Domino, May 2003)
Laptop shoegaze, beautiful and hypnotic like Slowdive and Cocteau Twins, which are the obvious and admitted influences here. Perhaps my favorite sleeping album of all time, it's also good for walking around the city, road trips and doing the dishes. Dancing, not so much.

MP3: On My Own
MP3: Monday
 

Komeda - Kokomemedada (Sonet/Minty Fresh June 2003)
Like Stereolab's zany Swedish cousins, Komeda always swung a little too kitsch/novelty for my tastes on their first album so I checked out until hearing Kokomemedada, and my opinion changed immediately. Komeda stayed playful but became more sophisticated about the songwriting, sort of Krautrock with a personality and sense of humor. Also, ridiculously catchy stuff. 1998's What Makes it Go? is pretty great too.

MP3: Blossom
MP3: Victory Lane

The Darkness - Permission to Land (WEA, July 2003)
No, I'm not kidding. At the time, debates raged -- RAGED -- about whether The Darkness was serious or not. Well, clearly you don't wear spandex cat suits, sing in a Tiny Tim falsetto and write a love song to a genital wart ("Growing On Me") and not understand irony, but it was clear singer/guitarist/songwriter Justin Hawkins loves this stuff. Part Thin Lizzy riff rock boogie, part Queen flamboyance, Permission to Land is all hits, start to finish. (If you can get past Justin Hawkins' falsetto.) And some of the most inspired, melodically-driven guitar solos (some songs have three) on any album of the last 20 years. Plus "Friday Night" which could almost be a Pulp song. And hilariously insane videos (especially "Growing on Me".) It all went up Hawkins' nose on the overblown second album, but Permission to Land is brilliant.

MP3: Growing on Me
MP3: Friday Night

Belle & Sebastian - Dear Catastrophe Waitress (Rough Trade, Oct 2003)
Who'd have thought having Trevor Horn, producer of some of the most bombastic records of the last 30 years, work with twee royalty Belle & Sebastian would be a good idea, let alone a brilliant one. Instead of turning them into Seal (or taTu) he focused the band back to their stong suit: Stuart Murdoch. Where B&S's three previous records had been democratic to a giant fault, letting everyone in the band contribute songs, Dear Catastrophe Waitress was almost entirely written by Murdoch who was up to the task, branching out from his VU safety zone into glam and new wave territory. Their best record since If You're Feeling Sinister and a terrific return to form, that would continue through the rest of the '00s. (Also seek out the 2004 b-side "Your Cover's Blown," one of their best, most ambitious songs ever.)

MP3: I'm a Cuckoo
MP3: Stay Loose 

Lomax - A Symbol of Modern Living (93 Records, Nov 2003)
Of all the bands aping Gang of Four's postpunk in the early '00s (and there were tons of them) Lomax came the closest to feeling like the real thing -- the anger, the aggression, the politics. And almost nobody heard this record, which is strange in some ways Lomax's frontman was Paul Epworth, who ended up producing some of the most hyped bands doing nearly the same thing (Rapture, Futureheads, Bloc Party...). Maybe because this record was never shoved down my throat is why I still listen to it.

MP3: Brought to Rights
MP3: Modern Life 

Moonbabies - The Orange Billboard (Hidden Agenda, Jan 2004)
Sparkling pop music with lovely boy-girl harmonies, chiming guitars and a twinkle of electronics. It's just a lovely lovely record that got almost no attention at all at the time, though that changed somewhat when Moonbabies ended up on one of the Grey's Anatomy soundtracks. This is the musical equivalent to what I imagine Sweden to be like in the Springtime. Defintely one of the '00s unheard gems.

MP3: Sun A.M.
MP3: Forever Changes Everything Now

The Fall - Real New Fall LP (aka Country on the Click) (Action/Narnack, March 2004)
Though 2000's The Unutterable contains perhaps my favorite Fall song of this decade ("Dr. Buck's Letter") I have to give the edge Real New Fall LP for overall quality. Coming off of one of The Fall's worst album's ever (Are You Missing Winner), Mark E. Smith rallied with a tight new band, a focused outlook and generally seeming fairly with it. This was the last great Fall album, though I have no doubt M.E.S. will deliver another to us soon. An album on Domino (a good sign) is due in January 2010.

MP3: Green Eyed Loco Man
MP3: Mountain Energi

The Scissor Sisters - S/T (Universal, July 2004)
Originally part of the shortlived electroclash scene, Scissor Sisters frontman Jake Shears envisioned that extended further than Grand Street in Williamsburg. Their debut album (reportedly recorded in Shears' apartment) is the best bits of 1976 that weren't punk: glam, glitter, and disco. An ode to the fading flame that was the NYC nightlife scene, Scissor Sisters debut has a staggering number of phenomenal songs. Like the Darkness album, it's almost all hits. "Take Your Mama Out" and their Gibb-i-fied take on "Comfortably Numb" may have been the showpieces, it's ballads "Mary" and the stunning "Return to Oz" are the showstoppers.

MP3: Mary

The Rakes - Capture/Release (V2, Aug 2005)
In a sea of similar bands to pop up in Franz Ferdinand's wake, The Rakes were the best because they had personality and a point of view thanks to spazzy singer Alan Donahoe. They actually sang about something. "Everything's temporary these days/Might as well go out for the fifth night in a row" -- still relevant! Capture/Release's tales of urban 20-something ennui still hold up. Donahoe's a Jarvis Cocker in the waiting, hopefully he won't give up music following The Rakes recent split. 

MP3: Retreat 
MP3: 22 Grand Job

Elbow - Leaders of the Free World (V2, Sept 2005)
My top album of 2005. Gorgeous melodies, inventive arrangements and musicianship, and some of the most heartfelt (without treacle) lyrics around. And Guy Garvey's amazing voice on top of it all. Elbow finally got some well deserved recognition (and the Mercury Prize) for 2008's Seldom Seen Kid, but this album is better.

MP3: Mexican Standoff

Hot Chip - The Warning (DFA, June 2006)
My top album of 2006 and they have yet to better it. (That could change when One Life Stand comes out, we'll see.) "Over and Over" has been played to death, but you know it still sounds great, as does the rest of this album. It’s the sound of real live people playing – not programming – synthesizers, and that human element shines through.

MP3: No Fit State
MP3: Look After Me

Sloan - Never Hear the End of It (MurderRecords, Sept 2006)
One of my favorite bands of the last 20 years, Sloan had a rough start to the decade trying to grab the brass ring. (The Canadian brass ring at least.) For Never Hear the End of It, they went back to doing what they do best – being themselves. The result was their best album in years; a sprawling, beautiful mess of 30 interwoven songs that never gets boring.

MP3: Fading into Obscurity
MP3: Blackout

 

Electrelane - No Shouts, No Calls (Too Pure, March 2007)
There is nothing you could call new or groundbreaking about Electrelane's final album. It's a sound echoing of the Velvets, the Pastels, and many other indie touchstones. But they just do it so well, with lyrics so sad and romantic this time, and for whatever reason No Shouts, No Calls really stuck with me. It's kind of perfect. I wish they'd change their mind and get back together.

MP3: To the East
MP3: Saturday

 

Metronomy - Nights Out (Because Music, Sept 2008)
My top album of '08 and it still holds up a year later. Metronomy have a distinct sound that is instantly recognizable whether it's their own tracks or the remixes they do for other artists. It's manic, with a water-damaged quality to it that sounds like what it feels to be up for 36 hours straight, buzzing on espressos (or whatever) but dead tired. In a good way, obviously. It still sounds like nothing else. Metronomy are now a four piece, with a drummer and new bassist, so who knows what 2010 will bring for them, but I can't wait to find out.

MP3: A Thing for Me
MP3: Heartbreaker 

Mercury Prize 2009 Shortlist Announced

In the world of meaningless awards, the UK's Mercury Prize has always been different because it actually seems to be based on merit. At least moreso than, say, the Grammys. It's also an actual prize -- £20,000 -- and one of the few that I actually still pay attention to, though nominees have become somewhat predictable in recent years. This year's "shortlist" of album nominees -- all UK artists, released between July 2008 and July 2009 -- was announced today, and like usual, it's a mix of the obvious, some outsiders, and at least three you've never heard of. They are as follows:

Florence and the Machine - Lungs
Kasabian - West Ryder Pauper Lunatic Asylum
Bat for Lashes - Two Suns
La Roux - La Roux
Glasvegas - Glasvegas
Speech Debelle - Speech Therapy
Friendly Fires - Friendly Fires
The Horrors - Primary Colours
Lisa Hannigan - Sea Sew
The Invisible - The Invisible
Led Bib - Sensible Shoes
Sweet Billy Pilgrim - Twice Born Men

The clear front-runner this year is Bat for Lashes' Two Suns that is just the sort of lush, just-experimental-enough record to which Mercury loves giving the prize, and I would be just fine if she wins. (And I also think she will.) Mercury also likes giving to newcomers, so I think Florence and the Machine stands a good chance too even though I think it's maybe a little too schizo for its own good. Friendly Fires' album is solid but maybe not enough innovation for Mercury, and La Roux are as annoying as they are good. 

Last year's winners were Elbow, so I kind of think that will negatively affect both Kasabian (also it's not that good) and Glasvegas (they've got one song). Similarly, some are shocked -- shocked! -- that Doves' Kingdom of Rust didn't make the shortlist, but personally I think the band was treading water with that one so I was not disappointed. 

Speech Debelle's record is pretty good but she's too unknown at this time. As for Led Bib (skwonky jazz),  Lisa Hannigan (lovely Irish folk), Sweet Billy Pilgrim (laptop folk that is better than their name), and The Invisible... "it's an honor to be nominated." 

If I got to vote, I'd give my support to The Horrors, whose Primary Colors is the surprise of 2009 so far. Here's a band that were mostly known for their haircuts and were seen mainly as a joke. Then they go and work with Portishead's Geoff Barrow and suddenly nobody's laughing. It's creepy, it rocks and it's chock full of memorable songs. And the production is just amazing, kind of like My Bloody Valentine's Loveless in that you listen trying to figure out whether that's a guitar, a keyboard or maybe your stereo is broken.  Owing a giant debt to the post post punk of The Sound, The Chameleons and Bauhaus, Primary Colours feels of the moment.

They won't win, of course.

MP3:  The Horrors - Scarlet Fields (buy Primary Colours)

I'm also kind of sad these records didn't get nominated: Micachu - Jewellery, The Phantom Band - Checkmate Savage, and Jack Penate - Everything is New.

It's easy to bash the Grammy's because they deserve it, but I always think of this Simpsons clip whenever I think about them:

Elbow | Webster Hall | 4.26.2008

"That's something you don't hear very often," joked Guy Garvey early in his bands performance at Webster Hall. The phrase in question was a shouted "Elbow rocks!" from the audience.

It's true. Though Elbow do rock in a gentle, yet epic sort of way. This was the first night of their American tour for Elbow's great, just-released fourth album, The Seldom-Seen Kid which is full of the heartfelt mini-epics the band are so good at. Joined on this tour by two violist/backup singers, Elbow were grander than usual, but it was Garvey's charm, humor, and smokey voice that makes people lifetime fans.

Another phrase you don't hear that often is "pristine sound at Webster Hall." I bash the venue nearly every time I write about it but not this time. If it wasn't for the "thump thump" of Awesome '80s Prom coming from below I would call it perfect. We got most of The Seldom Seen Kid, a nice chunk of Leaders of the Free World (my favorite album of '05), plus older favorites "Newborn" and "Grace Under Pressure." This was the best Elbow show I've attended.

There were also two great sing-a-long-moments. Garvey orchestrated a crowd-assist for set-closer "On a Day Like This" which the Webster Hall audience were more than happy to help with. I have a feeling this is going to happen at all the shows on the tour, so if you want to start practicing now, here's a little help:

MP3: Elbow - One Day Like This (buy The Seldom-Seen Kid)

The second was a bit more special. "If you want us to come back for an encore, you're gonna have to sing," he dared us, and then asked the crowd for suggestions. "It's gotta be something everyone knows." Someone yelled "Killing Me Softly" and a broad smile grew across Garvey's face. "Brilliant choice." Everyone laughed but I think few thought it would really happen. But then, after the band went offstage, sure enough the song broke out in the middle of the crowd and filled the whole hall. Garvey came out almost immediately, grinning "You lovely fuckers!" Right back at you, Guy!

Also in attendance: Music Snobbery and Johnny Leather. Go see them if you can. Dates:

April 29 - Park West, Chicago, IL
April 30 - Fine Line Music Cafe, Minneapolis, MN
May 2 - Bluebird Theatre, Denver, CO
May 3 - The Depot, Salt Lake City, UT
May 5 - Showbox at the Market, Seattle, WA
May 6 - St Andrew's Wesley Church, Vancouver, Canada
May 8 - Bimbo's 365 club, San Francisco, CA
May 9 - Avalon, Los Angeles, CA

The Fix is In

If I had read up on Elbow's new album, The Seldom Seen Kid, before listening to it, I probably wouldn't have been surprised to hear the unmistakable velvety croon of Richard Hawley coming out of my speakers. What a treat -- maybe we know too much about everything is this information age.

When we think of duets, it's usually of the girl-guy variety but on "The Fix" we've got singer Hawley trading lines with Elbow's singer Guy Garvey in a tale of two schemers plotting to fix a horse race and retire on the winnings. "We've loaded the saddles, the mickey's are slipped / We're swapping the turf for the sand and the surf and the sin." It's like something out of a Rat Pack movie, which seems to be pretty much how the song was conceived. Garvey told BBC 6 Music (where he's got a Sunday night radio show) that they came up with the idea when they shared a plane ride to America (Tennessee, specifically), adding "He plays the most amazing table top guitar solo at the end. It was so much fun making it with him. We recorded the vocal facing each other like Frank and Deano might have, years ago." They better make a video.

MP3: Elbow - The Fix (Pre-order The Seldom Seen Kid)

As for the rest of The Seldom Seen Kid, it's more typical Elbow-ian territory, making epics out of intimate moments like only they can. It shouldn't disappoint anyone who dug the incredible Leader's of the Free World -- my Album of 2005. (They also talked food on these pages too.) If anything, it finds the band taking more musical chances and Guy Garvey's pipes are in fine, world-weary form. There is talk that this may be the album that finally gives them a hit -- the truly gorgeous ballad "Weather to Fly." If Coldplay and Snow Patrol can do it, there is certainly room for Elbow.

The band have launched a hi-tech website for The Seldom Seen Kid, with a sort of Rubik's Cube you manipulate to "reveal instrumental layers of one album track per week." This is during the week -- Saturdays and Sundays it just seems to play the song in toto. With the dissolution of their former label, V2, Elbow are now signed to Fiction, which for years only seemed to exist to release Cure albumsr, which is now home to Kate Nash, Ian Brown and Delays. No word on U.S. distribution but as Fiction is owned by Universal, it seems likely to get a Stateside release.

Sound Bites Interview: Elbow

This is a continuing series of interviews in which musicians talk about food, and chefs talk about music. Elbow, a most excellent rock band from Manchester, England, are not named after the macaroni. The whole band probably would've talked for an hour about food but, sadly, there were other questions (not found here) on the agenda as well.  Singer Guy Garvey (left) and bassist Pete Turner (right) did most of the talking, as guitarist Mark Potter (middle) was too engrossed in his Eggs Benedict to contribute to this interview. Can't blame him. 

SoundBites: Are you all into food, beyond sustenance?

Guy Garvey: I would say I'm less into food than the rest of the band, even though I probably eat the most. We talk about it a hell of a lot, though. When we recorded Leaders of the Free World we got these guys, The Soup Collective to film us writing and recording it and Mark, the guy who was editing the outtake footage, said he could three hours out of us alone discussing food.

SB: Do you have special food requirements on your tour rider?

GG: We tend not to. I don’t eat meat and chicken, and Pete can't eat Brazil nuts or anything Brazil Nut-related, or he could die.

Pete Turner: The rider is mainly booze. We ask for snacks and stuff, but you want to spend the majority of it on booze. Our crew are greedy as fuck! They drink as much as we do, so we have to order lots of alcohol.

GG: As far as food goes, I could tell you what most of the band would order off a menu. After ten years as a band, we know each other's orders quite well.

SB: OK, let's hear it.

GG: Pete likes his food very simple and traditional. He likes meat and two vegetables. A good piece of meat and some good fresh vegetables. He likes prawns.

PT: Well, at the moment I'm very into scallops. It was mussels before that.

GG: Didn't you overdo it with lobster once?

PT: Well, lobster can be a bit sweet, a bit rich. It's easy to overdo.

GG: My favorite food is probably pasta. I eat far too much of it. Very good at cooking it, if I do say so.

PT: I used to live with Guy about five years ago and it wasn't that he couldn't do it, he just wouldn't try cooking anything. I knew that he could, because late at night he'd cook things up but if I was around he wouldn't do it. I think it's living by yourself, but he's become quite a good cook.

GG: I live in the city center, so it's very easy to eat out all the time. So I got into cooking to combat that.

SB: Do you actually go as far as to make your own pasta?

GG:  I'm not that adventurous. My friend Andy does, though, and he sometimes drops some off -- he's got a pasta maker. But maybe someday.

Elbow's third album, Leaders of the Free World, is in stores now. The import was my pick for Best Album of 2005.

Check out more food-related Q&As in the Soundbites Interview Archive.

SoundBites Best of 2005 | Albums

Don't let anyone say 2005 was a crummy year for music. I coulda done a Top 50. But that takes too much time. Here's my Top 20 Albums of 2005, which probably changed more than NME's lineup right down to posting.

Elbow – Leaders of the Free World (V2) | Elbow's third album is not only the best thing they've ever done, it was the best thing I heard anyone do in 2005. Gorgeous melodies, inventive arrangements and musicianship, and some of the most heartfelt (without treacle) lyrics around. And Guy Garvey's amazing voice on top of it all. Album of the Year by a mile. Best songs: "Station Approach," "The Stops," "Mexican Standoff," "The Everthere."

Art Brut - Bang Bang Rock and Roll (Fierce Panda) | The year's most flat-out enjoyable record. The humor in singer Eddie Argos' lyrics hits you first ("I've seen her naked...TWICE!") but these are songs that are funny, not novelty rock. (Some may disagree.) And, as Argos sings on their manifesto "Formed a Band," this is not irony. "We're just talking to the kids!" The hits keep coming through all 12 tracks, from "My Little Brother" through "18,000 Lira."

 

New Pornographers - Twin Cinema (Matador) | Not as immediate and crammed with hooks as either The Electric Version or Mass Romantic, album number three for this mostly-Canadian supergroup seemed like a bit of a dud on arrival. Weeks of play, however, and songs constantly coming up on shuffle on the iPod, have proven Twin Cinema to be another batch of winning songs with perhaps the most staying power of them all. Dig new New breed: "Sing Me Spanish Techno," "These Are the Fables," "The Jessica Numbers."

Of Montreal - The Sunlandic Twins (Polyvinyl) I remember seeing Of Montreal back in 1999, playing with Ladybug Transistor. There were props and slide-flutes and other twee type things. I didn't like them. But somewhere down the line they transformed from utter whimsy into a band capable of filtering poppy, '60s-inspired melodies through Eno-esque new wave. I was hooked. One of 2005's earlier releases (well, April), The Sunlandic Twins has stayed with me for most of the year. Get some Sun:"Requiem for O.M.M.2," "Wraith Pinned to the Mist (And Other Games)," "Forecast Fascist Future."

The Rakes - Capture/Release (V2) | These guys have, so far, been met mostly with shrugs in America (the record's not out yet here), dismissed as the latest post-punk whatever. There may be a little disco hi-hat in the drumming, but The Rakes are miles better than any of the others and actually remind me of Pink Flag-era Wire with a working-class attitude and an articulate grasp of late-20s ennui. "Might as well go out for a fifth night in a row" indeed. Capture/Release is genius from start-to-finish and has some of the year's best singles, too, including "Work Work Work (Pub, Club, Sleep)," "22 Grand Job," and "Strasbourg."

Field Music - Field Music (Memphis Industries) | Despite having ties to both the Futureheads (singer Andrew Moore used to be in them) and Maximo Park (they share a drummer), Sunderland, England's Field Music sound nothing like them. It's all delicate, sparse arrangements (not unlike Spoon), nods to '60s baroque pop, and a cut-the-fat approach to album making. Debut album of the year, rock division. Choice cuts: "If Only the Moon Were Up," "Shorter Shorter," "Got to Write a Letter"

LCD Soundsystem - LCD Soundsystem (DFA/Capitol) | When LCD Soundsystem's debut got two Grammy noms, I began to question my own taste for including this on my best-of list but no, dammit, this is a great album. It still sounds great after having it for nearly a year, and being played at every party, before every show, and on The O.C. It will be interesting to see what James Murphy does next. Killer jams: "Daft Punk is Playing in My House," "Tribulations," "Beat Connection"

My Morning Jacket - Z (ATO) | Like The Clientele, My Morning Jacket dare to drop one of their calling cards (the gallons of reverb), then drop a key band member and pull a 180 musically. The result being the best album they've ever done and the first one I've truly liked start-to-finish. And yet they still sound like My Morning Jacket, thanks in no small part to Jim James voice-of-heaven vocals. Prime cuts: "Wordless Chorus," "Into the Woods," "Anytime"

Richard Hawley - Coles Corner (Mute) | Third album's the charm for this former axeman for Longpigs and Pulp, who once again leaves indie stylings behind in favor of full-on crooner mode, a la Roy Orbison, Burt Bacharach, Marty Robbins, or even Morrissey. Even though it was written about Sheffield, England, Coles Corner makes a gorgeous soundtrack for NYC too, and sounds even better after midnight. Swoon: "The Ocean," "Hotel Room," "Born Under a Bad Sign," "Coles Corner"

Malcolm Middleton - Into the Woods (Chemikal Underground) | If you read the lyrics sheet, you may wonder about the state of mind of Arab Strap's Malcolm Middleton on his second solo album. For example, on "A Happy Medium" he sings, "Woke up again today/Realized I hate myself/My Brain is a disease." But Into the Woods is not a dreary exercise in woe-is-me-isms. Like so many before him, Middleton turns his pain, fear and doubts into something beautiful. Even those who have never had any time for Arab Strap should give this one a chance. Get into: "My Loneliness Shines," "You're Gonna Break My Heart," "A Happy Medium"

The other 10 after the jump...