1. THE LOVE ME NOTS - DETROIT (Atomic A Go Go)
Whatever the Love Me Nots did in 2007, they brought it up a notch in 2008. They toured more cities - hitting Europe for the first time in April, gained more radio exposure (awarded the "Coolest Song in the World" spot on the nationally syndicated Little Steven Underground Garage radio show and played several in studio performances including KEXP and KUPD), beefed up their rhythm section by recruiting Phoenix punk vet Kyle Stokes and rockabilly journeyman Vince Ramirez , and recorded an even better album than the first. Detroit helps launch the Love Me Nots from an alleged retroactive novelty to a never-stopping power quartet working towards creating a heel shuffling world around their music, lyrics, and image. Detroit could go down as the preferred soundtrack for swanky gin-soaked hipsters who seek out the city's oldest dive to establish their latest hotspot.

Read my full review of Detroit HERE!

The French Kicks graduated from the 90s D.C. hardcore scene and moved on to be among New York City's finest, yet often overlooked, indie rock bands. Promoted as possibly their most raw and urgent record, Swimming is actually one of the most atmospheric and translucent albums I have heard in 2008. After a dozen or so full listens, I can not find any forensic evidence to support The French Kicks as being any type of Strokes coat-tail riders or Brooklyn yes-wave bandwagoneers. Swimming is a solid release and a definite statement of a band committed to breaking away from the rest of the pack northeast.

Loyalty to Loyalty is a phenomenal follow up to Cold War Kids' debut Robbers and Cowards. In 2007, "Hang Me Out To Dry" became a surprise hit overseas and on American modern rock radio but many may have shrugged them off as a one hit indie rock wonder. However, CWK came back strong a year later by releasing the first single from Loyalty To Loyalty (the very D.C. sounding "Something Is Not Right With Me") as a free download on both myspace and their own website. Once the full length was finally released in September, listeners were treated to the romantic "Against Privacy" and the reckless "Mexican Dogs" as tracks1 and 2 respectively, the latter presented as the way I would imagine Bad Brains performing unplugged during the I Against I era. The good mood music never stops on this album and neither do my desires to hear this record again and again. I can't fail to mention the rich and spirited lead vocals. Who ever said Bradley Nowell was the only white kid who sang like he had soul was an idiot. Obviously that writer had yet to hear Nathan Willett and the Cold War Kids.

5. DANDY WARHOLS - ...EARTH TO THE DANDY WARHOLS... (Beat the World)
The critics were hard on the Dandy Warhols and their first self-released effort since leaving Capitol. I say leave these cats alone. Let the Dandies have their fun for they have been through too much to entertain finicky record reviews and the barrage of  jeers from the blogosphere. Yes, the Dandy Warhols signed with a major back in 1997. Unfortunately they ,unlike hundreds of other indie rock dropouts, were not released from their label obligations after their first album resulted in mediocre sales. Instead ,Capitol decided to keep the Dandies for three more albums while cashing in on the band's European appeal. Let's not forget to mention the fact Capitol whored out the band's catalog to the soundtracks of almost every post-2000 tween-drama series on the 5th and 6th television networks...all while making sure the band remained practically irrelevant in the mainstream media. While all that was happening, the other side of the fence wasn't exactly the most appreciating. The Dandy Warhols endured both threats and song parodies from the jester of indie rock  - Anton Newcombe -  and had both their 7 1/2 minutes of fame and years of commercial failure exploited in the film DIG! (which co-stars Newcombe and his band Brian Jonestown Massacre). To think any fan of the Dandy Warhols would be disappointed over a record lacking the humability and wishful radio appeal of 2002's "We Used to be Friends" or 1997 "Not If You Were The Last Junkie on Earth" really bums me out. And yet a premature assessment like that wouldn't be entirely true. Dig deeper past the free mp3 offer of the album's first track and the You Tube sensation "Mission Control" and you will discover "Now You Love Me" which could compete well with the pop bliss of  "Bohemia Like You". When I listen to this record, I hear three men and one lady who are both relieved and empowered. ...Earth To The Dandy Warhols... is 70 minutes of a band just having fun and re-discovering themselves. Let them be, kick back, and enjoy the outcome.

Nate from May Cause Dizziness Records and Big Vinny from Erratic Records team up for a CD sampler that reflects the more delinquent side of today's punk and garage rock. If you are fan of mall rock looking for possible nominees for the roster of next year's Warped Tour, then please step away from this CD. If you are fan of the Ramones, The Hives or The Briefs and are looking to search beyond what Fuse TV or your local modern rock station is feeding you, Let's Get Killed! is a fabulous start. The disc starts out with the most overlooked and seasoned new wave band in America, The Girls from Seattle, who can be best described as a relaxed Tubeway Army borrowing some of Devo's zaniness. Although a handful of Phoenix bands make Nate and Big Vinny's cut for this record, it's Tucson's Sharkpants who prove to be the superior trash-rock band in Arizona. Still, Phoenix represents well here. Thee Oh No's contribute "Broke", which is from their yet to be released second album while Big Vinny's own Cattle Thieves lend an unreleased "Take It Or Leave It" . However this album isn't so domestic and even goes farther north than Seattle. The CPC Gangbangs from Montreal contribute "Drowned At Birth" which has the dark and unforgiving quality of an A.R.E. Weapons' ballad without those pesky Suicide comparisons. We have plenty of California here too (The Prostitutes and Irish Brothers to name a few) and The Goldstars from Chicago showcase what could possibly be the comp's most danceable track. Let's Get Killed! is the type of compilation that makes you wish for future volumes and possibly a new empire of future collectibles. 

7. THE DAMNED - SO WHO'S PARANOID? (English Channel)
It's obvious that the Damned are the one punk rock group to actually make a deal with the devil. Dave Vanian practically hasn't aged in twenty five years. The sound from 2001's Grave Disorder and this years So Who's Paranoid is about as fluid and smooth as their mid-eighties goth-pop gems Anything and Phantasmagoria. It's no surprise to me that new material from one of my all time favorite punk rock groups would be among my top albums of this or any year. Yet it is a surprise to see (almost) the same line-up from Grave Disorder appear on this new record -  sans Mrs. Vanian/Patricia Morrison who is replaced by newcomer Stu West on bass. The songs are solid and are arranged like most Damned LPs, thus requiring a solid listen from beginning to end. I could go on to describe the surprising power ballad "Dr. Woofenstein", the riff heavy "Maid for Pleasure", or the familiar dreaminess of "Under The Wheels", but I feel I would better serve you by saying simply this: if you love anything and everything the Damned has ever done, So Who's Paranoid will not be an exception.

8. JAY REATARD - SINGLES 06-07 (In The Red)
When you consider that most of these singles and b-sides were released on limited vinyl runs in the mid-hundreds with only 4 of the 17 tracks graduating to be re-recorded for the 2006's Blood Vision album, then it's a safe bet to present this album as a new release to those outside of the casual Jay Reatard fan circus. Singles 06-07 is definitely a snapshot of the heart and mind of a post-Lost Sounds Reatard who was searching, exploring, and hitting his mark a majority of the time.  Although I marked out for Blood Visions two years ago I always preferred the original and louder version of "Turning Blue" which appears as one of the album's last tracks. Hearing "Hammer I Miss You" is almost as good as finding the long out-of-print 7" at your local record store. The myspace hit "All Over Again" is also resurrected and immortalized here ...and still comes off like a drunk demo that Robert Smith never meant anyone to hear. Only a few months later Matador released their Singles 08 CD to compliment the series of 7" singles of new material the label was releasing earlier this year. I would recommend picking up 06-07 first, and definitely Blood Visions,  before daring to catch up on the relentless output of new Jay Reatard gems. 

9. BAUHAUS - GO AWAY WHITE (Bauhaus Music)
Could this be the Goth version of Chinese Democracy? Well, it's not like Peter Murphy recruited new band members during the prime days of Love & Rockets and refused to surrender the name or concept of the original band. And it's not like they have been working on this album for 10 plus years. Actually quite the opposite. Go Away White showcases the original line-up that began 30 years ago and reunited again in the late 90s. Word of it's pending release surfaced around 2005 shortly after their Coachella performance. Without being intentionally humorous, the new Bauhaus record reminds me of the infamous 13 year Axl Rose project for three reasons. 1. Regardless of the pre-release hype, no one seemed to care too much once it was finally released. 2. A lack of a true tour to support such a recorded milestone. 3. The obvious effort to update their overall sound to fit the times without sacrificing their signature blueprint. Well, unlike GnR, atleast Bauhaus succeeded with that third comparison. Go Away White is possibly the most guitar heavy album Daniel Ash has ever recorded.  And as for Peter Murphy, please re-read the part of my Damned review about Vanian selling his soul. Maybe they are all truly vampires. The songwriting sounds equally contributed between all four members and there are not really any songs that stand out more than the others. No designated singles, I'm sure. Still, this entire album comes off as dark as any before while capturing a sense of renewed energy many of us have witnessed at their recent performances. I am not sure what Bauhaus fans expected from a new album. Probably not this and probably not this damn good.

10. THE KILLS - MIDNIGHT BOOM (Domino)
"Cheap and Cheerful" had me stunned. Was I listening to a Le Tigre/Pussycat Dolls mash-up? It became my little experiment this year. I would play it on the Hollywood Alley jukebox before the start of a hip hop show or during happy hour when Evanescence and Katy Perry played background to the sound of cue balls knocking. I wanted the unsolicited feedback and I learned alot when the song went unnoticed - appearing to blend in with a more mainstream playlist. I was so unsure of what I thought of this record I wanted to survey the masses...from the wannabe hipsters to the top 20 dance pop folk. But once I heard Midnight Boom in it's entirety, the irony of the popular Kills single was discovered.  I then saw the performance of "Sour Cherry" on the Late Night With Conan O'Brien show and was finally able to swallow what The Kills were feeding me without any bitter aftertaste. When it comes to the great male/female duos of all time, The Kills match the mysteriousness of The White Stripes, counter the vibe of the Raveonettes, and exceed the sexiness of the Eurythmics...while making you forget who Roxette were. If Mickey and Mallory Knox were musicians, The Kills would had been their band.

A solid record. Not quite "hit after hit" like Witching Hour, but oozing with potential nonetheless and arguably more focused. I was curious how the innovative and outspoken Terry McBride was going to promote Ladytron since jumping on his Nettwerk label/management company, however it appears this record received less attention than the former. It's a shame. With sing-a-long dance anthems like "Ghosts" and "Runaway", Velocifero should had been one of the most talked about albums of 2008. 

12. THE RACONTEURS - CONSOLERS OF THE LONELY (Third Man/Warner Brothers)
The leak-proofed Consolers of the Lonely would had rated higher if there wasn't a track or two that sounded like an outtake from one of the last few White Stripes albums. And that is not a swipe against Jack White's other "not a side project". What I enjoyed about the first Raconteurs album, Broken Boy Soldiers, was it's unspoken tribute to seventies rock aesthetics. There were never any blatant rip-offs. You just rode that album like it was a journey down the dial of your local classic rock station.  A little Styx here, a little Cheap Trick there, some prog-rock arrangements thrown in without sacrificing the three minute pop standard format...hell even "Steady As She Goes" sounded like the lost follow up single from Nick Gilder. So, as a fan of two Jack White bands, I would just would rather hear what I like best of each band from it's respected originators. Many years from now I could hear a song on Consolers... like "Top Yourself" and not recall which Jack White band the song was recorded by. While "Hands" and "Level" from the 2006 debut will always be unmistakably Raconteurs classics. With the release of (now count 'em) four singles from this album, I can honestly say some of strongest songs have been left out in the decision process. "You Don't Understand Me" is the album's best track and would suit well with anyone who enjoyed the ballad "Together" from Broken Boy. "Attention" joins the ever growing "could had been an AOR hit if released in the 70s" list while "The Switch and the Spur" owes more to the next decade of unforgiving, stuck in your cranium corporate rock. I admit it sounds like a mediocre review overall, but Consolers of the Lonely rates high for me based on my anticipation level for a new album of one of my favorite new bands. A fun record to listen, criticize, and then listen numerous times again. 

13.  THE NIGHT MARCHERS - SEE YOU IN MAGIC (Vagrant)
For those with the dilemma on deciding which "Speedo" band was their favorite, The Night Marchers may be the answer. See You In Magic sounds like a John Reis greatest hits album but with songs you never heard before. "Whose Lady R U " triggered fond memories of my favorite RFTC tune "Eye on You" while "And I Keep Holding On" reminds me of some of the more moderate tempoed tracks from The Hot Snakes catalog. And I am okay with all this. Like Jay Reatard, Reis may be finally solidifying his career from the many molds in the past he has broken, thus redefining himself into one final, yet true signature band.  Therefore, I can't see The Night Marchers being shelved and re-shelved while Speedo makes time for possible Rocket or Drive Like Jehu reunions. This album sounds permanent. Serving Reis dinner before his Hollwyood Alley performance in April, he also appeared genuinely happy, energetic and well-aged. I definitely expect to be writing about more Night Marchers albums in coming years.

For those who feel it's necessary to exploit the revolving door of Brian Jonestown Massacre members, it may be refreshing to hear that much of the core that recorded this album with leader Anton Newcombe (Campenella, Emerson, Maymi, Allaire) have actually been with the band for over five years, some as long as seven consecutive. So, although not as charismatic as the famous Dig! lineup (Hollywood, Hayes, Taylor, Davies, Newcombe, Gion, and Artley), the new line-up is probably the most solid and familiar to recent followers. Listening to My Bloody Underground, I am hearing a band who is giving back to many of the more recent BJM-inspired psych-rock bands that have sprouted over the last 7 or 8 years. Songs like "Who's Fucking Pissed In My Well" and "We Are The Niggers of the World" reflect the jam band stylings of The Black Angels and The Warlocks. The album is missing so much of the borrowed acoustics and ambiance that made Newbombe's childhood heroes so obvious on previous records, yet My Bloody Underground sounds more contemporary than anything BJM has released before. It's also the most modest record I have heard from Newcombe It's as if he is looking over the entire Dead Bees family and proclaiming "I am now one of you".

Coming close, but never able to retain the sweet pop-metal brilliance of classics like "TV Tan" and "Sick Of Drugs", The Wildhearts have chosen a series of cover albums to help us all sing along with Ginger and the boys once again. Much like their fellow Europeans Backyard Babies, The Wildhearts are a band who are in constant obscurity here in America, yet somehow end up on the radar of many pulse-reading hard rock veterans (example: while AC/DC handpicked The Backyard Babies as the opening act for their European Tour a few years back, Ginger from the Wildhearts was invited to temporarily join hair-metal supergroup Brides of Destruction). The Wildhearts are the band that would probably play to only 100 faces at the Viper Room, but it would be the same 100 people that you would die to hang out with in Hollywood. On Stop Us If You've Heard..., The Wildhearts choose more hits than deep cuts to cover: Fugazi's "Waiting Room", The Toadies' "Possum Kingdom" and Helmet's "Unsung" stand out as the more well known songs redone here. Movie soundtrack superheroes The Unband are also celebrated ("Geez Louise") as well as a Soul Asylum ("The Judge") and 80s neo-psych rockers Icicle Works ("Understanding Jane"). Desperately seeking punk points, but done more gloriously than The Spaghetti Incident, The Wildhearts also pay due to The Distillers, The Descendents, and The Lee Harvey Oswald Band. Finally, a covers album cannot be complete unless it turns the listener on to one new band or song, and for me it was their take on Super Furry Animals' "Ice Hockey Hair".  Overall the songs are done with much respect to the original artists. Meaning, they didn't fuck with anything rather just tried to make each number rock as hard as the version that inspired them. Probably the best discovery on Stop Us... is Ginger himself, a truly talented vocalist that can make a Fugazi cover by a glam rock band not sound so ridiculous. 

An eMusic digital exclusive that can't seem to be found in any physical format at any retail outlet - yet suspiciously it has gained heavy airplay on KEXP and other underground stations. Sad, because this needs to be pressed on vinyl ASAP. This Brooklyn band's debut album, Alright of Night , was released less than two months ago and has already hit year end top honors worldwide. Deserving, but I feel many don't know about this self titled EP that came just a few months prior. There are some hardcore Joy Division fans who dismissed Interpol for their more than flattering replication of Ian Curtis' vocal stylings. I somehow feel that these same fans would actually appreciate The Crystal Stilts. It's not about stealing riffs or imitating a vocal style. Some artists can actually translate their influences through attitude and ambiance.  The raw and authentic sound quality on this EP compliments the curiously cold and simple artwork. The overall package of this debut is capable of fooling anyone into thinking they discovered a long lost post-punk gem straight from 1979. 

2. CRUSHED - SHADOWS AND SUBSTANCE (No Relief)
Hearing Crushed cover both "Love My Way" and "Reptile" on this record brought delusions of hearing them buried in some episode of Veronica Mars or maybe Charmed. Being a priority on Appetite for Destruction producer Mike Clink's new record label, that fantasy may not be too far from a reality. Crushed is a veteran power rock force from Phoenix that has drowned their "meat and potatoes" sound in a glittery black and silver gravy. This could be due to the fact that both singer Mark Lauer and guitarist/keyboardist Harry McCaleb spent their younger years with the popular batcave rock outfit Undertow. A few years back, Crushed seemed lost between the tiring sounds of post-grunge and the overly simplistic and primal urges of nu-metal. Now with both 2006's My Machine and 2008's Shadows and Substance, Crushed flourishes between the extremes of both darkness and full blinding color with their sound and words. Lauer's post-adolescent vocals could put many far younger singers from the emo and pop-metal genres to shame. Working on ten plus years in the Phoenix scene, this outstanding EP brings promise for many more great years.

3. THE LIAR'S HANDSHAKE - BY THE SHORT HAIRS (May Cause Dizziness)
A "new school" move from the popular Tempe band known for fusing old school punk with traditional folk and Celtic drinking ballads. By The Short Hairs is a digital EP, however The Liar's Handshake was physical enough to celebrate the release at the famous Yucca Tap Room in Tempe and sell their fans colorful and glossy download cards for only five bones. This record is alot of fun, not unlike their weekend live sets, and one can only wish that MCD re-releases this on vinyl sometime in 2009.


More Best of 2008

1. Nick Cave and the Bad Seeds - "Dig Lazarus Dig" (Insound)
2. The Helio Sequence - "Keep Your Eyes Ahead" (Sub Pop)
3. Secret Machines - "Atomic Heels" (SPIN)
4. Mudhoney - "I'm Now" (Sub Pop)
5. (tie) King Khan & the BBQ Show - "I'll Never Belong" (Emusic/2008 Pitchfork Music Festival Sampler)

            Witch "Eye" (Insound)

TOP 5 TOURING BANDS THAT PERFORMED ON STAGE AT HOLLYWOOD ALLEY IN 2008:

1. The Boss Martians - March 10th, June 6th, and August 26th
2. Girl In A Coma - February 20th, July 23rd, and December 3rd
3. Jay Reatard - August 1st

4. The Action Design - September 7th

5. (tie) The Night Marchers - April 25th/Thee Emergency - March 9th

1. Green Lady Killers

2. Sister Cities

3. The Beijing Tangs

4. Former Friends of Young Americans

5. Tierra Del Fuego

1. Spoon - Ga Ga Ga Ga Ga

2. The Black Lips - Good Bad Not Evil

3. The Horrors - Strange House

4. LCD Soundsystem - Sound of Silver

5. Apples in Stereo - New Magnetic Wonder

Dumpster diving for yellow Pepsi bottle caps.