Welcome class of 2004. It's been a joy seeing you overcome adversity this year to finally walk up on this stage and receive your diploma. Bigger and better things await you of course, but whenever you should find yourself in a difficult situation just remember all that you overcome over the course of 2004: 19 hurricanes, a tsunami, mudslides, prison abuse, the disasterous reelection of Bush, the emergence of crunk... All terrible events that would have overwhelmed lesser classes. Despite these disasters, the class of 2004 came out to be one of the best yet, that's why this year we present a singular top 15 Dean's list instead of our typical top 5 and a best of the rest. As always, the worst albums of the year follow. For individual staff lists click here.

Related features:
Class of 2002 Year End Awards
Class of 2003 Year End Awards




 
   
 

015.
Kanye West
The College Drop Out
Roc-a-fella Records

Voted "Best Dressed".

"West breaks the mold of producer turned rapper with a record that's only downfall is it has too many skits. Kanye's spot-on beats are only surpassed by his sharp wit and creative rhymes."
-austin

"I'm well aware that rap music does exist without gold teeth, flashy cars, naked women and over-sized throwback jerseys, but it's so nice to see it as mainstream as Kanye. Not to say I agree with the message of "Jesus Walks", but it's still a great song with a great beat. When College Dropout first broke onto the scene in early 2004, Kanye was still the veritable underdog trying to blend the authenticity of the underground with the publicity of MTV. Nowadays his head has grown a bit larger with his wallet, but his talent and hard work are still deserving of the fame. "
-jesse


 
   
 

014.
Karate
Pockets
Southern Records

Receiving the "Martial Arts Award".

"Geoff Farina gets even more political this time around, and startlingly, uses less lyrics to compliment his improvisational jazz guitar technique. He also wins the award for Fucking Long Song Name with "'The State I'm In' A.K.A. "Goode Buy From Cobb's Creek Park""
-austin


 
   
 

013.
The Futureheads
s/t
Domino Records

Receiving the "Future Leadership Award".

" The Futureheads bring to America some good, clean British rock. They accomplish some pretty impressive vocal work, layering one voice over another for some catchy choruses and intros. The album starts with a faint guitar and layered "Do do's" and "Ahhh's" to create an incredibly catchy melody. Hell, I was gay enough to make a ringtone of it. [hate mail can be directed to jesse@bornbackwards.com] Another great standout, "Hounds of Love" (a cover of 80's pop star Kate Bush's hit), interlaces random yelps from band members that somehow make sense rhythmically once the music kicks in. I highly recommend illegally downloading Kate Bush's original and The Futureheads' cover for some quality rock-out material."
-jesse

"Just when you thought punk had absolutely nothing left to offer--the sole province of power-chord junkies and warped tour morons--a band like the Futureheads come along and make it all sound new again. The Futureheads took the unique step of laying classic '60s four-part harmonies over the rough-and-tumble sound of Buzzcocks-inspired punk rock. Now this might not sound like the perfect combination until you remember that the Buzzcocks themselves were drawing a whole range of '60s pop music, like the Beatles and the Kinks, and speeding it through the distorted lens of '77. Every one who claims that Franz Ferdinand are reviving late '70s British punk are simply looking at the wrong band."
-exadore


 
   
 

012.
Decahedron
Disconnection_Immanent
Lovitt Records
"Debate Society Leader"

"Shelby Cinca manages to sound angrier than ever in this, his latest campaign in the war on false culture. Joe Lally lends vocals and bass that blend distinctly with the future-perfect style punk of Cinca and drummer, Jason Hamacher. The record has a more straightforward approach to the lyrics and the music benefits greatly from it. Some would even say that this record surpasses Frodus' ...And We Washed Our Weapons In The Sea."
-austin

"Featuring 2/3s of Frodus and the bass player from Fugazi, Decahedron set about with a unique task: setting the frighteningly real dystopic visions of Orwell and Huxley to a soundtrack of rigid futurist punk. The band touches on many different points and styles, from mimicking industrial machinery to introducing tribal drumming and experimenting with electronic layering and editing. Picking up where Frodus left off, Decahedron turned their attack toward the encroachment of the media and the Bush administration on freedom and civil liberties, warning us of the possibly dark consequences all while making the most liberating of noise."
-exadore


 
   
 

011.
Elliot Smith
From a Basement on a Hill
Anti-Records
Voted "Most Missed".

"It seems like I waited a decade for this to come out, and the news of Elliott's death made everything seem that much longer. This may not be his best record, but it hints at a direction that Elliott was going. One thing that may be to blame for this is that it was originally intended to be a 30+ track double album. Oh well, I guess I'll wait for the boxset."
-austin


 
   
 

010.
Mission of Burma
ONoffOn
Matador Records
Earning an "Adult High School Equivalency Diploma".

"Almost as surprising as Brian Wilson's return this year was Mission of Burma's fantastic but less heralded reunion. To be fair, Mission of Burma will absolutely never be as well known as the Beach Boys, and band didn't have a legendary missing album. But their excellent return to form was no less perfect. Mission of Burma ended their too-short career in 1983 as a cult art-punk making visionary records and that's exactly the way they returned in 2004 without missing a step. Their mix of futuristic punk rock, surrealism, and tape loops still sounds fresh, but unlike their original incarnation the band's sound fits comfortably into the world of 2004, proving once and for all that Mission of Burma were 20 years ahead of their time."
-exadore


 
   
 

009.
Black Eyes
Cough
Dischord Records
Voted "Most Artistic".

"While not as cohesive as their debut, Black Eyes managed to pull off another great record. And then they broke up. Oh well, anyway, this record journeys into the realm of free and acid jazz even adding a saxophone. Mix that with Noise and DC post-punk and you've got an extremely volatile record."
-austin

"Black Eyes appeared with a fully-formed vision and utterly unique sound but they band was never the type to sit still for too long, putting out two albums in two years and promptly self-destructing. Cough was shocking to the band's fans, rearticulating their sound by deemphasizing previously essential elements in favor of bringing forward previous subjected influences: gone were the dancehall rhythms and reggae basslines in favor of free-form experimentation and noise-rock abrasion. After declaring on their debut that they were the new sound of punk, Cough found Black Eyes declaring that punk was not just dead, it's corpse was being consumed by the worms. Instead of the heavy influences of their DC forbearers like Fugazi, the band drew on free-jazz luminaries and barely remembered post-punk bands like Essential Logic and the Beakers to make one of the most challenging, anachronistic, and uniquely brilliant albums I've ever heard. You're not supposed to like it, but I do."
-exadore


 
   
 

008.
Air
Talkie Walkie
Astralwerks Records
Receiving the "Technology Award".

"One could imagine Jean-Benoît Dunckel and Nicolas Godin drastically turning down the "kitsch" knob during the making of these songs, yielding a more original sound than they've displayed on any previous outing. This makes them harder to pigeonhole, and gernerally just more interesting. The duo also seems to be discovering the beauty of simplicity: structuring shimmering melodies and sturdy beats with only a handful of elements comprising every song. Leaving lots of space in the music has created an icy treat for fans of thoughtful downtempo electronica, and a great soundtrack for winter."
-r. johnson


 
   
 

007.
AC Newman
The Slow Wonder
Matador Records
Voted "Best Personality".

"Unpretentiously clad in a minimal white layout, AC Newman's debut solo album turned out to be one of this year's surprising winners. Drawing on the classic songwriting of the '60s and incorporating great elements like piano, cello and slide guitar, Newman's debut came off like a less elaborate version of the Zombies or Spoon in a time warp. Newman's album was as equally unassuming as its cover, easy to slag off as unoriginal or uninspired on first listen, but the songs continued to gradually grow until they became a natural and joyful soundtrack for 2004."
-exadore

"When I first listened to The Slow Wonder, AC Newman instantly replaced Neko Case as my favorite member of the New Pornographers. The reason for this is simple: Case is more unique vocalist, but my favorite New Pornographers tracks have Newman's signatures all over them. I didn't really recognize these until hearing this, his solo debut. The Slow Wonder gives mainstage to Newman's glorious melodies, pop-perfect instrumentation, and above all, mind-bendlingly catchy chord progressions. His songs are unique in the way that the verses can actually be much hookier than the choruses, giving them an addictive saccharine quality. While I can't claim to understand much of anything he's saying lyrically, I am completely sold on the songs regardless."
-r. johnson


 
   
 

006.
Modest Mouse
Good News for People Who Love Bad News
Epic Records
Voted "Most Popular".

"Modest Mouse goes mainstream. 2004 was a seriously crazy year. Who would've thought that this band would have had such mass appeal. For the record, though, Good News For People Who Love Bad News is a more straightforward record than, say, The Moon and Antarctica. Now let's just hope they take home a Nickelodeon Kid's Choice Award, so they can be considered on par with Aaron Carter."
-austin

"So everyone who's anyone has been listening to Modest Mouse for years, but I just leaped onto the bandwagon in 2004. The Moon and Antarctica's widespread acclaim prompted me to grab it off the shelf along with Good News for People Who Love Bad News, which was my intended purchase all along. Most reputable critics praise The Moon over Good News, but such is not the case for me (and not just because I'm no reputable critic). Good News is full of life and energy, covering the gamut from delicate piano ("Blame It on the Tetons") to pop radio ("Float On") to abrasive indie rock ("Bury Me With It"). The 1-2 combination of "The World at Large" & "Float On" wins my vote for best back-to-back duo of the year. They tell me I joined the Modest Mouse bandwagon in the later, more accessibly-poppy years, to which I respond, 'Perfect timing.'"
-jesse


 
   
 

005.
Wilco
A Ghost is Born
Nonesuch Records
Receiving the "Most Studious".

"Even if this album sucked royal ass, it would have made my list for the sheer fact that it's Wilco and, baby, I heart Wilco. Tweedy and company continue in the same direction as YHF, leaving behind the raw alt-country rock of their roots for the experimental sound that garnered so much attention two years ago (and happened to sell more than 500,000 copies as well). Jeff Tweedy seems to enjoy the spotlight more than ever on A Ghost is Born with his long guitar solos, but hey, Wilco is his baby and no one else's. Breaks in the album's subdued instrumental theme provide a couple radio-ready hits, "I'm a Wheel" and "Theologians", which help remind us of the more classic Wilco brand of rock."
-jesse

"A Ghost is Born will always be known as "that record that came after Yankee Hotel Foxtrot". But what some people seem to be overlooking it that it is, in fact, a solid record. It may not be as experimental as it's predecessor, but it's still a damn good album."
-austin

"A shining stainless steel pylon rising stark above the asses of all that came before, A Ghost is Born was simply unlike any other Wilco album and so unexpected that it threw many fans for a loop. It was noisy and harsh, angry and almost totally unfriendly. It was an album stuffed with everything Wilco's ever done: futuristic noise-rock, piano pop and the delicate folkisms that Wilco started its career with. The absence of Jay Bennett's pop sensibilities and backing harmonies loom like shadows over Ghost but Tweedy's songwriting (even the 8-minute ones) is so intense and personal that Ghost remains an excellent album, although ultimately one that creates bitter divisions and argument amongst Wilco's fan base."
-exadore


 
   
 

004.
Q And Not U
Power
Dischord Records
Voted "Best Dancer".

"Q and Not U take the it up a notch with this dancier and, I'd say, even weirder version of themselves. They haven't let the fact that they don't have a bass player stop them. In fact, they added keyboards and synths. Yes, they can pull it off live. And very well, I might add."
-austin

"While perhaps my least favorite of their albums, that assessment means absolutely nothing: I am a fan of everything this band ever done and Power is hands down one of the best of the year throwing their art-punk leaning in a head-on collision course with post-disco pop music. From the full-front punk of "X-Polynation" to the dancing goodness of "Wonderful People" and the medieval experimentalism of "Throw Back Your Head", Q and not U is a band determined never to repeat themselves."
-exadore

"Well it's quite a departure from traditional Q and not U; but then again, with only 2 albums under their belt, did Q and not U ever have their own sound? The talk of the town a couple years ago was their ability to move forward on three legs instead of four, all the while maturing as a band. Power lacks the determination and high-energy output of its predecessors, but Q and not U's catchy, get-off-your-ass-and-dance rhythms still impress, especially on "Wonderful People", "Wet Work" and "Tag-Tag". Despite its shortcomings, Power still offers the skill and creativity that thrust Q and not U into scene stardom."
-jesse


 
   
 

003.
TV on the Radio
Desperate Youth, Blood Thirsty Babes
Touch And Go Records
Voted "Most Likely to Suceed".

"My expectations following the Young Liars EP were awfully high. I couldn't get enough of that EP, and I needed a full album which just as much rhythm and melody and originality. TVOTR pulled through in every aspect, delivering a debut album packing more style, talent and creativity in less than 50 minutes than many artists can produce in a lifetime. The infectious beat of Poppy made for the most mesmerizing live performance I've ever seen, not to mention the dynamic of Tunde Adebimpe's beautiful vocals. After making the top of my list last year, TVOTR pulled through yet again and would have been at the very top this year had it not been for The Arcade Fire breaking onto the scene in such bold fashion."
-jesse

"Tv on the Radio's follow-up to their debut EP, Young Liars is a completely original piece of work. I guarantee that you won't find anything else out there their unique brand of psychedelic pop. Whoever said, "There's nothing you can do that can't be done, There's nothing you can sing that can't be sung" should be shot dead in the street. Oh, wait…"
-austin

"2004 was a superb year for debut LPs, and Desperate Youth, Bloodthirsty Babes leads the pack. Indie rock hasn't previously experienced singing this soulful in tandem with instumentation this icily beautiful since… perhaps ever. If you want to be glib, call it "Peter Gabriel meets Joy Division meets Berlin-era Bowie meets Bad Brains" (just don't call it post-rock, because their guitars will kick your sorry ass). But you'd be better off to just give it a proper listen, since its not often that something this new sounding comes around, especially not in this strong a debut. Along with The Arcade Fire, TV on the Radio is unquestionably a band to watch in years to come."
-r. johnson

"Somewhere between the past and the present, TV on the Radio were conceiving a brand new sound composed of such simple and identifiable elements its almost a wonder no one else stumbled on it before. But that they make it sound easy-obvious even-is a testament to the band's skill: soul music and experimental drones and loops where never meant to coexist-but now they do. Their songs offer a perfect soundtrack to the post-industrial landscape of modern America: lost souls wondering confused amongst the rusted machines and burned down buildings trying to make sense of it all. Better than Desperate Youth even was what it hinted at: that TV on the Radio have only scratched the surface of their sound and that they are far from even realizing their full potential. That's something to be excited about."
-exadore


 
   
 

002.
Brian Wilson
Smile
Nonesuch Records
Receiving the award for "Outstanding Alumni Contribution".

"Who would have thought that Brian Wilson could have overcome his mental problems to record this, his magnum opus, as he envisioned it waaaaaay back when? The backstory to this album made it doubly worth the wait."
-austin

"Like Usher, I have a string of 2004 confessions. First confession: I was never (like some I know) head-over-heels in love with SMiLE as a pop legend or a song-set for that matter. A Pet Sounds man in full, I never saw much beyond mythological campfire-story appeal in the mangled, unpolished SMiLE bootlegs I'd heard. To me, listening to the SMiLE bootlegs was very much akin listening to a bootleg Velvet Underground live set. Both function as windows into the underdocumented history of a legendary band, and I understand that appeal for what it's worth. However, both bands are legendary primarily for their landmark statements on album. Those great albums are the documents which first hook in the fans who will later scour the earth for countless expensive bootlegs and imports. I will say that the interesting thing about SMiLE was the fact that its mythology pivoted around its status as a lost album, and the belief many held prior to 2004 that it was a masterpiece which would have perhaps superseded Pet Sounds if realized.
"Second confession: when I caught wind of the recent sessions for the new SMiLE album, I smugly waited for what I thought would be the disappointing result. I'd seen footage of Wilson perform in recent years, and doubted his abilities to hand in a good vocal performance much less stay focused enough to see through an ambitious album project. Upon listening to the new release, I was pleasantly surprised with Wilson's singing and extremely impressed with the talented youngsters he'd surrounded himself with in making the album. Some 37 years later, the songs of SMiLE can finally stand on their own legs together as an album lost no more, and on par with some of Wilson's greatest achievements as a member of the Beach Boys. This is certainly no small feat for an aging talent struggling with emotional and mental instability.
"Finally, my third confession: I still love Pet Sounds more."
-r. johnson

"After decades as a near invalid Brian Wilson finally dusted the cobwebs off his feeble brain to present the world with a lost masterpiece that had long since faded into pop music myth, when it was remembered at all. At turns charming, funny, ecstatic, mischievous, joyous, and achingly beautiful, the most amazing thing about Smile is that after 37 years of neglect it was just as potent and wildly original as it was when first conceived-that it lived up its myth-filled reputation as the best of all lost albums. Now it's simply one of the best albums, period. Folding several divergent narratives within its complex movements and crammed with all manner of subtexts Smile is the history of America's westward colonization, the slow death of Native American cultures, a loss of faith and its redemption through a child's wondrous view of the world, the fall of empires, the words of the earth itself, and Brian Wilson's own autobiography. Listening to Smile now its possible to see all this, but one can also imagine an alternate universe where it was the #1 smash hit of 1967-with teenagers joyriding to the wild sounds of "Heroes and Villains" or dancing at their senior prom to the chilling splendor of "Surf's Up", and finding in its notes their own uncertain future and slowly fading past."
-exadore


 
   
 

001.
The Arcade Fire
Funeral
Merge Records
Receiving the award for "Student Of The Year".

"It took just one listen to realize this was my album of the year. I was immediately obsessed, listening excitedly three and four times a day; four months later I still can't last more than a couple days without my fix. With so much emotion and passion bursting through every song, Funeral has catapulted to the top ranks of my "Best Ever" list. I'm in love with the immediacy in Win Butler's voice, The closing minutes of "Une Année Sans Lumière" and the song into which it leads, "Neighborhood #3 (Power Out)", bring a tear to my eye in the best of ways. The Arcade Fire definitely made my year, and I can only hope they continue to do so for years to come."
-jesse

"Funeral marks a great - that bears emphasis, GREAT - debut album from these energetic Canadians. Like an avalanche (what, you were expecting "tsunami"?), this album came out of nowhere from a band barely anyone knew about, and simply floored an impressive chunk of the people it encountered. Funeral wails, it exalts, it laments, and it inspires. It would not be remiss to use the word "orchestrated" to describe the sound - most of the album's tracks feature pell-mell blasts from an everything-but-the-kitchen-sink ensemble (did I hear a flugelhorn somewhere in the mix?). It has been a very long time since an indie outfit has given audiences such a pure expression of pathos in the form of songs that they can digest guilt-free. *cough*Saddle Creek*cough!"
-r. johnson

"Exadore did a better description than I could ever write. Fuck Exadore."
-austin

"A supernatural visit from a haunted past where pop music was actually important, a message from a time where it could genuinely feel like the weight of your life could rest on a single song. While the Arcade Fire may not quite be all that, they're good enough to conjure its image, it's frail ghost, from the depths of our collective unconscious. A capsule description would easily be "the orchestration of the Flaming Lips covering the emotionality and lyrical content of Neutral Milk Hotel", but that oversimplification fails on so many levels: it neglects to mention the shaky and over-passionate vocals inherited from soul music, the heavy backbeat of the Talking Heads, or the flair and pure drama that's been missing from pop music since Bowie. Not to mention the soaring string arrangements and elements of oriental mystique that have few predecessors. No amount of experimentation, rhythm, or gimmick this year matched the amount of passion, skill, and emotion put into the Arcade Fire's debut. Beyond all other considerations it reminded us of a time when pop music pulled the strings of a thousand teenager hearts, when it could simply be rated as 'good' or 'bad'. Funeral, most definitely, was good."
-exadore





 
   
 

Nirvana
With the Lights Out
Geffen Records
"Class Treasurer".

"I waited a fucking decade for this? And after all the trouble and delays that Courtney Love caused, I don't even get the studio version of "You Know You're Right" on here. I AM FUCKING PISSED! So now, if I want that song, I have to buy that Greatest Hits album? Fuck that. You ever hear that Nirvana song, "Milk It"? Yeah, well the title reminds me of what Courtney Love is doing to Nirvana's hardcore fanbase. Oh yeah, and there's a demo version of "Milk It" on here too. What the fuck?"
-austin


 
   
 

Nelly
Sweat & Suit
Universal Records
Voted "Biggest Jock".

"At what point did someone tell Nelly he was good enough to put out a double album? At what point did the concept of a sweatsuit get twisted to suit his evil purposes? At what point did Tim McGraw think that dueting with Nelly … ah, it's not even worth it. Nobody who owns or helped make this has a soul."
-exadore

"I hear that song with Tim McGraw on the radio and wonder why they play it over and over again. But seriously, doesn't mixing country and hip-hop sound like the worst idea ever?"
-austin


 
   
 

Jay-Z & Linkin Park
Collision Course
Warner Brother/Roc-A-Fella Records
Voted "Cutest Couple".

"I'm sorry I said that mixing country hip-hop was the worst idea ever. There is one that is on par with it. Yes that's right, I'm talking about mixing rags-to-riches commercial hip-hop with bad frat-boy emotional drivel electro-crap. I've created a new genre! Collision Course is right."
-austin

"This is my hell, made flesh."
-exadore


 
   
 

Interpol
Antics
Matador Records
Voted "Biggest Wallflower".

"The only way to properly meet the overblown expectations following a boring debut to issue an even more vacant and soulless sequel. Can you even tell any of the songs apart? I can't and I do this for a living! (Not really, I am poor)"
-exadore

"Booooooooring!"
-austin

"The biggest disappointment of 2004, hands down. Interpol has actually won over new fans with this album, too; I just don't get it. I'm a huge fan of Turn on the Bright Lights, and man was I excited when Antics was released. But then I listened to it. Antics is long, monotonous and boring; it simply lacks the character of Bright Lights. Paul Banks sounds annoying after just a couple songs, whereas on Bright Lights I never grew tired of his voice. The first time around I enjoyed Banks' distressed vocals and the band's decidedly bleak sound, but this time around it just sounds repetitive. Back in '02 the mood of Bright Lights shifted from song to song, which made the most of Banks' unique voice. When I listen to Antics, I hear laziness and a lack of creativity. All the songs really do run together this time (a complaint of Bright Lights), and the band just hasn't matured in the last couple years. Instead they've somehow managed to abuse their formula for success to the point where any creativity or originality that may have once existed has now dissipated into the vacuum of generic music."
-jesse


 
   
 

Fiery Furnaces
Blueberry Boat
Rough Trade Records
"Remedial Reading".

"Did Pitchfork seriously rate this album a 9.6 and name it the 4th best album of the year? You have to be shitting me. They sing about dogs and blueberries, and they do so while playing bad music. I never heard anything redeeming about them when they opened for Spoon a couple years ago, nor in 2004 when they released their album. Oh and the lead singer looks like a man."
-jesse

"Imagine a child. This child is stupid. Retarded if you feel like being mean, and you do. This child cuts up everything it can find--pictures, paper, magazine letters, branches, birds, hair--and then glues them all on a poster board in a totally random order. This child has low self-esteem and the child's parents and teachers praise the 'collage', if that's what you want to call it. The child enters several art contests and eventually wins a big prize. Then his collage gets noticed by art critics and sells for 2 million dollars. That's the Fiery Furnaces, and the teachers/parents/critics are the indie music press. The Fiery Furnaces are simply awful and the worst band since the Rapture. That's right I just called the Fiery Furnaces retarded."
-exadore



For individual staff lists click here.
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