I did this last year, and loved it so much, and got such good response for it, that I'm doing it again. This is not the be-all of lists, I know I missed some stuff, but this is what grabbed my attention the most this year. I will be posting this in increments, to space it out. I'm also a wee bit democratic about all this, so I'm doing it alphabetically.
The Arcade Fire, “Neon Bible”
In a world of hype, second album curses,overwhelming and soul crushing expectations, the Arcade Fire holed itself up in an old converted church with their friends and created a loud, raucous and ambitious record. “Neon Bible” not only went straight to the top, but the band went on to create every hipster’s and indie kid’s wet dream tour by joining up with LCD Soundsystem. The tour which ended up selling out the Hollywood Bowl and the Royal Albert Hall. Not bad for the little band that could, and did.
Architecture in Helsinki, “Heart it Races”.
When everyone got tired of “indie dance” records, the cutest of the cute, Australia’s own “Architecture in Helsinki” came out with “Heart it Races”. Released at the onset of summer, the song’s sun-filled beats were beyond infectious, smoothing over their offset vocals with Trinidadian steel drums and sweet synths. The song was released as a 5 song CD single, including remixes and covers. How can you not smile to this one?
Armand Van Helden, "NYC Beat (Prince Language Remix)"
Battles, “Mirrored”.
In seven minutes, Battles taught me that math rock was not a bad word, that I probably underestimated Helmet (one of the member’s former bands) and that electronic music still has a lot to learn from rock. The single “Atlas” (reduced to four minutes in it’s radio friendly version) hooks you in as soon as you hear the drum beat coming at you, deliberately. Listening to Battles is like being dragged into a either a speeding car chase (dDiamond) or witnessing an alien army arriving (Atlas). And I’ll be fucked if those incomprehensible lyrics aren’t one of the best hooks I’ve heard in years.
Beirut, “The Flying Cup Club”.
Imagine barely being twenty and having all the world’s geeks and music snobs worshipping every note you wrote. Imagine going on tour with people you just started playing with, and having to transpose over an album’s worth of material for them, when really, you only ever played all the instruments yourself. Imagine still being inspired and hooking up with an award winning composer, musician and arranger and spending a few months in a small church owned by Canada’s indie gods and recording an hommage to all of the great chansonniers of France. This is what Zach Condon did with “The Flying Cup Club”. After recruiting Owen Pallett (a.k.a. Final Fantasy) to help him write and produce most of his latest tracks, Condon released a short (under 45 minutes) album’s worth of strings, mandolins, accordions that would charm the bitterness away from Jacques Brel.
Bjork, “Volta”
Rumous of Bjork working with Timabaland made bloggers and b-boys alike drool with anticipation. But when the album arrived, the intital hype had waned when it was discovered that Bjork had only collaborated with the beatmaster on a few select tracks. Timbaland notwithstanding, Volta is still a worthy album of its own right. And like most Bjork records, it takes a few listen to get into, with a few instant hooks getting right under your skin (Declare Independence, Earth Intruders).
Bloc Party, “A weekend in the city”
It is still to be decided whether or not Bloc Party’s 2nd record is a success. If you were looking for another “Silent Alarm”, you would not find it here. Where the first full length was rough, this was smooth. Where you would hear a four piece, here you would hear synths and slick production. Fans were puzzled. Do we ditch the band we love because they’ve changed? No. Kele’s voice is still there, the lyrics still hit us in the same way, and even though the sound is full rather than sparse, it’s still a band we love. We just don’t go ape shit over them as much as we used to. Which is maybe why the band is re-relasing the album, with a new single (Flux) and a DVD of their live performances. Knowing me, I’ll probably buy it, as well as pick up a copy of it in vinyl. Because dammit, I love this band.
Bloc Party, "On", from Weekend in the city
Bonde Do Role
If last year was about Cansei De Ser Sexy, this year was about Bonde Do Role. Pundits like to say that the whole “baille funk” sound is another dead fad, but kids were still digging the ridiculous and sample-based sounds coming out of Brazil and Bonde. Where CSS was well rehearsed (as much as they could be), Bonde sounded like a streetside soundsystem, made on the fly and with stolen goods. I know I shouldn’t like this anymore, but I still do. Bring me the funk.
Bonnie Prince Billy, “The Letting Go”.
This is not Palace music. This is Will Oldham being soft and serene, writing love songs that even your mom would like (“Love comes to me”). This is the album to give to friends when you want to introduce them to the wonders of Will. Musically and lyrically solid, Oldham proves once again that even if you’re putting out records constantly, doesn’t mean you’re putting out crap.
Bonnie Prince Billy, "Love comes to me" from The Letting Go
Broken Social Scene Presents: Kevin Drew’s “Spirit If…”
The last two years have been all about BSS. This year was about it’s individual members. Feist put out “The Reminder”, Emily Haines’ Metric finally released their first record and Stars released a knock out. Even little Kevin Drew had been working on his own stuff, but with his BSS friends. “Is it a BSS record, or isn’t it?” , they asked themselves. They were all there. But this was about Kevin. But Kevin doesn’t want to take all the credit. So let’s just call it “Broken Social Scene Presents:”. Expect another one next year from Brendan Canning.
Kevin Drew, "Safety Bricks", from "Spirit if
Buck 65, “Situation”.
When Buck released “The secret house against the world”, people wondered if Buck had completely abandoned hip hop. But rumours circulated that his next record would bring the ole’ Buck back. He went and hung out in Montreal with Skratch Bastid (also formerly from Hal-town) and the two of them fooled around, played some amazing gigs, got the rights to some killer records (for dirt cheap or so I have been told on the DL) and recorded some tight shit. “Situation” was launched and any doubts about Rich stinkin’ were gone.
Chromeo, “Fancy Footwork”
When I first heard Chromeo's “Needy Girl”, I thought it was an 80’s record I had just never heard. Nope. This was new. This was now. This was Chromeo. Sparse, direct and slightly cheesy. But then in the interim between their first album and "Fancy Footwork", the first Jewish-Arab musical duo worked on their musical and production chops and put out probably one of the best dance records of the year with such sweet singles as “Tenderoni” and “Fancy Footwork”. Who knew that anyone other than Stevie Wonder could make a talking box the utmost of the cool?
The Clientele, “Dreams of Leaving”
To be honest, The Clientele’s latest album sounds like a continuation of their last. Lush, beautiful and mildly haunting. But I have enough of that on their last album, “Strange Geometry”. But then there is “Dreams of Leaving”, the closing track to “God save the Clientele”. And you forget you ever heard anything else they’ve ever done (save for perhaps “Make You Mine”) and fall in love with them all over again.
The Clientele, "Dreams Of Leaving
Daft Punk, “Alive 2007”.
Daft Punk est mort. Vive Daft Punk!!!! I never thought I would care about a live album from a bunch of guys wearing masks and playing MP3s at their shows. But everyone I know who went and saw them (as well as every review/blog/magazine) say that Daft Punk have brought the show to the masses and the masses are reeling. One listen to this and you will know why.
Dog Day, “Night Group”
I saw Dog Day for the first time on Valentine’s Day. It was in a small club, with less than 150 people in there. Yes, this all smacks of music snob clichés, but it’s true. I was about to leave (I had pink eye, it was nasty outside and I was tired) and then I heard three notes and was hooked. A little jingling guitar, sweet synths and a kick ass drum sound. Holy shit. Holy shit. It’s been said that Dog Day mix the Smiths with Sonic Youth and make it their own. As pretentious and ridiculous and blog happy as that sounds, it’s kinda true. Kudos to the dogs for putting out what is arguably Canada’s record of the year.
Feist, “The Reminder”
On her last record, Feist covered the Bee Gees, Ron Sexsmith, wrote some great tunes of her own and went mildly jazzy. On this, her latest, she dabbles with Nina Simone’s “See Line Woman”, joins forces with Jamie Lidell, Gonzales and Mocky (the latter two are regular contributors) and releases a more cohesive record than “Let it Die”. With “One two three four” and “My Moon My Man” she released two singles at once, each one hits in their own right alongside such beauties as “The water” which will break and soothe your heart all at once. Oh yeah, and the video for "One Two Three Four" was used in an iPod Nano commercial. Big woop.
*And by the way, this video was all done in one continuous shot. No edits.
I'm still not sick of it.
Go! Team, “Proof of youth”.
It started as a small project, gained notoriety, ensared legal copyright issues and created a worldwide buzz. The Go! team are perhaps no longer concerned with clearing samples, and now having gone on tour and understanding what it means to be a band. The band also used the money they got from selling their songs (shut up, they didn't “sell out”) to finance this record. Ninja worked with Simian Mobile Disco and the Go!Team reeled from the residuals of having worked with Kevin Shields from My Bloody Valentine All in all a good year, a good album, and a good thing.
The Go!Team, "Grip Like A Vice", Proof of youth
Jose Gonzalez, “In Our Nature”
In 2004, an argentinian-bred swede recorded an album featuring two covers. One of Joy Division’s “Love will tear us apart” and the other by fellow Swedes The Knife. That song, “Heartbeats” was later used in an ad for Sony and the song spread faster than a viral campaign (and with much better blog-cred). The album was re-released in 2006 to keep up with demand (and perhaps to help keep the hype alive?) and at the end of 2007, Gonzales released his 2nd album. This time, there is still a cover song (Massive Attack’s “Teardrop”, a staple from his live shows), but it is in such song as “How Low” and “Cycling Trivialities” that you understand where he is coming from. And Gonzales is from a beautiful place indeed.
Jose Gonzalez, "Cycling Trivialities", In Our Nature
Handsome Furs, “Plague Park”.
While Canada and the rest of the world awaits with baited breath for the next Wolf Parade record, we were however not without the glorious voices of Dan Broeckner's Handsome Furs and Spencer Krug's Sunset Rubdown. The Furs’ “Plague Park” did not dissapoint Wolf Parade fans, and if anything, left us wanting more from what are arguably Canada’s most talented (if not interesting) musical friends.
Handsome Furs, "What we had", Plague Park
PJ Harvey, “White Chalk”.
Comparisons to Harvey's “Is this desire” are easy to come about when listening to this album, but this time she’s abandoned the electronics to create texture and mood. Working with sparse instrumentation and breathy vocals, the effect is disheartening, not because of the album itself, but by virtue of its sheer raw power, produced by such simple sounds. The album may require a few listens before you really wrap your head around it, but you realise that you’re listening to a very secret and beautiful confession.
PJ Harvey, "Dear Darkness", White Chalk
Immaculate Machine, “Jarhand”
Ding! I’m still not sure or what Jarhand is, but goddamn if this isn’t an insanely catchy tune. Equal parts twee, rawkin’ drums and great harmonies, the Immaculate Machine’s debut single from “Fables” is infectious, poppy, peppy and features one of the best choral chorus’ of the year (which includes one certain member of Franz Ferdinand). Oh, and in this video, if you look, you can see me dancing in the corner. =)
Iron & Wine, “The Sheperd’s Dog”.
The danger in being a folk singer with a guitar is that sooner or later, your fans either get tired of hearing the same chords and delicate fingering, or they hope that you never change and leave you without the room to grow as an artist and a person. Sam Beam could’ve easily fallen prey to this. But thanks to his friends in Calexico who prodded him to explore things outside just himself and his guitar - and two EPs since his last full length, In our endless numbered days- Beam vanquished said curse, and cultivated a natural musical progression which culminates in “The Sheperd’s Dog”. Fans who are looking for the dude with the big beard and the guitar and the soft, introspective arrangements should prepare themselves to hear something lovely, serene, yet aloft in instrumentation and wonder.
Sharon Jones & The Dap Kings, 100 Days, 100 =Nights
This summer, I got a package from a friend of mine. In it were a bunch of mix cd’s, one of them entitled “Back in today”. Track 7 was a song by Sharon Jones and the Dap Kings called "How Long Do I Have to Wait?". That song was soon stuck on repeat, and was my favorite way to wake up in the morning. Thank you Hank.
And "Thank You" to Sharon Jones and the Dap Kings for putting out a new record this year. Now, more then ever is the right time as members of the media, music fans and soul enthusiasts alike have come to discover what is probably some of the best soul and funk to be produced since its heyday, naysayers be damned.
Justice, “✝”
The album opens with dark and foreboding fanfare. Less than a minute in, those fat and filtered beats kick in and you realise that you are in for a hell of a ride. Justice made their name in the club world with it’s speaker busting track, “Waters of Nazareth” (2004’s “We are your friends” notwithstanding), and gave fans a sneak peek of what the album would behold with the release of “Phantom” this spring, but when the album was released this summer, it seemed like the whole world seemed to take note, not just the club kids and bloggers. Justice were everywhere, being remixed and name-dropped by hip-hop DJs, American Apparel-clad hipsters and their song appeared in cell phone commercials. They were chastised for going on tour like a real band, playing clubs as well as music halls, rather than “acting like DJs”. But if you, or any of your friends had the chance to see these guys on tour, you understand that it wasn’t just sales alone that made these guys go for bigger venues (the show in Montreal I experienced was sold out twice over in the same night). As soon as the bass hits you, you realise that these guys may not be spinning records, and that wall of speakers may be a dummy, but goddamn, you, and the crowd are acting like you’re at a rock show. Fists in the air, crowd surfing and screams of appreciation appear when your favorite riff or song begins to fold into the mix, same as an guitar-slingin' band. Et Justice pour tous
Justice, "Phantom Pt. !! (Soulwax Nite Version)"
Klaxons, “Myths of the near future”
Yes, the singles were relased last year. But damnit if we North Americans only got our grubby little hands on the album this year. Not only did the Klaxons re-record “Atlantis to Interzone” and “Golden Skans” (which at this point, had already been remixed by more people than you can shake your glow sticks at), they helped (somewhat mockingly and tongue-in-cheek) dub a new genre of music, “nu rave”, headlining the first ever Nu Rave music festival, organized by NME. The Klaxons (and anyone worth their salt) have gone off to take the piss out of the term, but the music lives on. These frenetic tunes remind you that sometimes you want to dance, and you don’t care where the sound comes from, whether it be cheesy rave sirens or punk fueled guitars. Long live The Klaxons.
Klaxons, "Atlantis to Interzone", Myths of the near future
LCD Soundsysrem, “Sounds of Silver”
In 2004, North Americans outside of New York (they had been with him for a few years) were introduced to a slightly pudgy music geek who sang a song that made a claim that anyone under 30 wish they could say: “Daft Punk is playing at my house”. But this wasn’t a disco house record, it wasn’t a rock record, but damnit, it was good. James Murphy, the mastermind behind LCD (and half of DFA Records) went on tour, left his studio behind, and learned what it meant to play in a band. This meant trusting others, leaving someone else to make your beats live, and leaving the gadgetry (somewhat) behind and letting someone else bang on the cowbell. When “All my friends” was released, people were perhaps left wanting for keyboards, but were not left wanting for solid songs, tight riffs and a beautiful nihilistic record.
LCD Soundsystem, "Someone Great", Sound Of Silver
Jens Lekman, “Night falls over Kortedala”.
For a while, Lekman thought we would stop recording music. So he worked (briefly) in a bolwing alley, moved to Kortedala, and holed himself up until he realised he waned to make music again. Jens teased his fans with the aptly titled“Friday night at the bowling alley” at the beginning of the year, finally releasing the entire album in late September. A little more lush than most of the work on his EPs, and incorporating many more samples (disco anyone?) than you would find on "Maple Leaves", Lekman’s night is a lovely place to inhabit.
M.I.A., “Kala”.
This is not an album full of “Bucky Done Gun”s. This an album made by a woman who is pissed off that she isn’t allowed into the United States. This is an album made by an individual who is amazed and depressed at the status of those living off the sinew of the land rather than the fat. This is an album made by a woman who knows who to trust when it comes to beats, wether that be, Switch, Timbaland, Diplo but most of all, herself. This is an album that has cacophonous dance tunes like “Bird Flu”, fuck-you anthems such as “Paper Planes” and Jonathan Richman quoting tunes such as “Bamboo Banga”. Dance your motherfuckin’ ass off and while making a political statement.
Jackie Mitoo, “Wishbone”
In the late 60’s and early 70’s, a wave of Jamaicans moved to Toronto, bringing with it not only it’s religious, culinary and cultural traditions, but some of it’s best musicians as well. Studio One’s Jackie Mitoo was one of them, and he went on to record “Wishbone” in 1973. Albeit the album is less reggae and more soul (with a touch of funk), Mitoo’s album was one of those hard-to-find gems that garnered such prices as high as 100$ from collectors. Finally re-released this year on Light In The Attic, a whole new (and broader, as the first album was not well distributed outside of Toronto) generation are discoverings Canada’s influence on Jamaican music and vice-versa.
Jackie Mitoo, "Soul Bird", Wishbone
Modeselektor, “Happy Birthday”
Over the past year and a half, I have extolled the virtues of Modeselektor. Their tracks incorporate dubstep, hip-hop, electro, drum ‘n’ bass and dancehall. Now, anybody who listens to any of those genres would probably shiver at the thought of any one record playing with those genres together. You would probably expect a hackneyed, aren’t-I-so-clever record. Not so. Modeselektor put out hot hip tracks, (The dark side of the sun), haunting tech records (The white flash) all the while being respectful to both genres. Having worked with French hip hop trio TTC, Thom Yorke, the Puppetmastaz, this german duo have put out one of the best electronic records of the year.
Modeselektor feat. Thom Yorke, "The White Flash", Happy Birthday
The New Pornographers, “Challengers”
What is with Canadians and super groups? We have Broken Social Scene, By Divine Right and The New Pornographers who have members in other bands all over the place (Feist, Metric, Immaculate Machine Stars, just to name a few), let alone their solo projects. I guess we’re just a creative bunch. Having said that, this particular creative bunch hit the nail on the head with a great pop rock record with sing along choruses, great melodies, hooks and an amazing pedigree. Godspeed you great artists.
New Young Pony Club
A year and a half ago a friend of mine gave me a mix cd with a fun little track lifted from a 7”. It was called “jerk me”. About a year later, the NYPC were making kids dressed head to toe American Apparel ware dancing in the clubs, their chunky fluorescent shades reflecting the lights off the lenses. Ignore the hype. Just dance.
New Young Pony Club, "The Bomb (Phones Edit)"
Panda Bear, “Person Pitch".
If Brian Wilson had done more drugs in the 60’s and had put a record in a vault to be forgotten about, this would be it. Although Animal Collective put out a pretty good record this year ("Strawberry Jam"), this side project is a much better listen. It’s a sunday morning y record that would even make your mom go, “wow, I kinda like this” while your hipster friends who make fun of everything will have on their iPods. Everybody wins.
Panda Bear, "Bros (edit)", Person Pitch
The Pipettes
Arguably, The Pipettes broke in 2006. But their album was only releaed here in 2007, so thankfully, I get to include them here. If you grew up on nothing but punk and girl groups and had a penchant for polkadot dresses, you might make it in this band. But you better know how to do the jerk, sing shangi-la like melodies and know how to sound sweet without being ridiculously ironic.
The Polyphonic Spree, “The Fragile Army”
There is nothing delicate about this record. It beings and ends with bombast, blasting you away within minutes with a sonic overload of heavy guitars, huge choruses, and music that makes you almost want to join a cult so that you could sing such wonderful songs. Gone are the robes, instead the Spree is donned in green fatigues, looking like an indie-rock-cum-maoist clan. Sounds alright to me.
The Polyphonic Spree, "Running Away", The Fragile Army
Radiohead, “In Rainbows”
Technically, this album was released in 2008, on January 1st. But we’ll ignore that, since we got our copy last year when we downloaded it from their website. Helming a potentially new way to distribute music, Radiohead has not only helped grab the helm of the digital music age, but has embraced it. As for the album itself, Yorke has been quoted as saying that “Videotape” is his favorite track on the album, but that if they had started the album with it, it probably would have been a failure. I doubt it.
Radiohead, "Videotape", In Rainbows
Sigur Ros, “Hvarf/Heim”
If you want to crete a Sigur Ros fan, all you have to do is show them one of their videos. It’s not because you get sucked in by the images (though they are haunting, and I have been known to cry upon their viewing), but it’s because the music itself is cinematic, and the screen is inside the musicians. The music represents them better than they could ever do that themselves. Sigur Ros have put out a new DVD and in honour of it, have rteleased this album to help promote it, as well as give old fans a peek at some of their "live only" tracks and new acoustic versions (harmonium lovers unite!) of their songs.
I’m gonna go wipe the tears now, thank you.
Sigur Ros, "Vaka", Hvarf/Heim
Siman Mobile Disco,“Attack, Sustain, Delay, Release”
2006 was the year of the Simian Mobile Disco 12”. “Hustler” floored dancers with its infectious beats and sexy voice telling you to steal every record you ever wanted. That video of girls playing "telephone make out" didn’t hurt either. But with the release of the full length album, including edits and tweaked versions of said club bangers, Simian Mobile Disco put out one of the danciest records of the year. " Let’s get the rhythm of the hands, let’s get the rhythm of the feet. Put’em all toegtehr and what do you get?": Hot shit.
Simian Mobile Disco, "Hot Dog", Attack, Sustain, Delay, Release
Spoon, “Ga Ga Ga Ga”
I'm still not sure if this record helped put Spoon on the map even more out there than they were before. The album itself isn’t a huge departure from their last, and although there isn’t a “I put my camera on” on this record, there are still some stand alone songs that would make your older brother proud of you for listening to it, and your little sister dance. It’s a record for those who want to know Spoon better, and for that, kudos to them.
Stars, “In our bedroom after the war”.
Nuff said
Sunset Rubdown, “Random Spirit Lover”
There is something about Spencer Krug's voice that shakes me. Although I'm not always a fan of the instrumentation, this album makes the list by sheer virtue of what it is: emotionally intangible. This is the album you listen to when you’re unsure of what you’re feeling. Unsure of what you want to say, or how you want to say it. Becase Krug knows how to put it all into medley and a dissonant voice that will sweep you off your feet and into your own emotional stratosphere. Although the heights might leave you light headed, it’s a trip worth taking.
Sunset Rubdown, "Winged Wicked Things", Random Spirit Lover
Superfantastics, “Tonight, Tonite”
Video of the year. Hands down.
TTC, “Bande de mecs sympas”
There are a lot of reasons why people dopn't like (let alone respect) french hip hop. There are very few MCs who can produce a smooth lyric, one that sounds supple and works well with the language. But France isn't geared really to producing hip hop music. There are exceptions to this rule (MC Solaar in the 90s) and occasionally, TTC steps up the plate. With their last album, "3615", TTC worked with Modeselektor (see previous entry) and those tracks made my head spin. This track, "Band de Mecs Sympas",, is one of the bumpin-est dance tracks of the year. Apparently, there is still hope for French hip-hop.
TTC, "Bande de mecs sympas", 3615
The return (?) of Armand Van Helden.
In the late 90’s a New York City DJ churned out a record with just one simple lyric sampled, tweaked and twitterpated over and over. “The Funk Phenomena” helped bring about the onslaught of NYC’s amazing funkified disco sound back to the dancefloors. Both revered and loathed by the end of the decade for his introduction of speed garage to the world’s discothesques (“Spin Spin Sugar” anyone?), he eventually fell out of favour when electro took over the dancefloors of the world, relegated to being nothing more than “one of those DJ’s you listened to when you wore Bug Girl pants and SNUG hats”. But I still have my hat, and Van Helden put out probably the best records of his career this year with “NYC Beat” and “Playmate”. Don’t call it a comeback, he’s been here for years.
Kanye West, “Graduation”.
Congratulations Kanye, you have gone beyond street cred, beyond being the guy who dissed George W on national television (which basically means you’re like every other guy with a brain on TV), beyond the producer credits, beyond the teddy bear which is your icon. You have graduated beyond your tantrums and your beefs with other MCs and Producers. You have produced a hip hop record that the populist and the pundit will love. You have rapped over beats that hipster kids in their grungy clubs have loved for years. You have sampled over records that most DJ’s would skip over while digging. You have graduated.
Wilco, “Sky Blue Sky”
“Maybe the sun will shine today, the clouds will blow away.”. In what sounds like an opening mantra to the entire album, Tweedy and friends put out a consistently beautiful sound. Musically tight, beautiful and sweet, without a sign of saccharine, either in its music of lyrics. Although the album may not be a Yankee Hotel Foxtrot, it’s still one of Wilco's best, and probably underrated albums, if only for its opening track.
Wilco, "Either way", Sky Blue Sky
Patrick Wolf, “The Magic Position”
Forget the fact that he’s barely 25, has said that he’s quitting music, eaten his words and been adored by skinny gay boys and adoring teenage girls alike. Patrick Wolf is a walking embodiment of talent. His album, “The Magic Position” is a trip, an album beyond the years of its creator, intimate without being sentimental, and includes a duet with, of all people, Marianne Faithful. Why wasn’t I this industrious when I was in my early twenties? ‘
Yeah yeah yeah’s, “Is Is”
In between their two albums, the YYYs fooled around and recorded a few tracks that didn’t quite fit on Show Your Bones, but were too late for "Fever To Tell". Too bad. This EP is probably some of the best tracks the YYYs put out, and because it’s an EP, will probably be ignored by most.
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