These are the incredible albums that I cannot deny knowing about and still, by some force I have not yet identified, neglected to list among my favourite albums for this past decade. If I did it all over again, each of these would find a spot on the list, without question. Essentially: my bad.
One-Way Ticket to Candyland
(Rune Grammofon, 2008)
What I feel was my largest omission, the biggest hole in my ragged end-of-decade list, was the masterwork of noise and confusion that is MoHa!’s One-Way Ticket to Candyland. Corralling their freejazz noise splatter into tighter, more structured bursts of hardcore punk fury, this album should have sunk deep into the top 50 of my list. I know that I thought of it during my deliberations. The band’s tonal attack must have dislodged a memory circuit or something. They'll do that.
(Def Jux, 2002)
With production as crumbled and noisy and paranoid as anything on The Cold Vein (of course, you already knew that those are his fingerprints on them beats too, right?) and with a thick cadence and lyricism that constantly informs any attempts I make at poetry/lyrical-fiction, how could I throw Fantastic Damage under the bus? Forever repentant.
I like Interpol better than Joy Division and I like Antics better than Turn On The Bright Lights (which is a fairly recent development). Sue me. Then sue me again for not listing this the first go around.
An underappreciated (even by me, apparently) avant funk trip, Money is a crowning achievement of hybrid indie rock aesthetics. Jazzy, rocking, bluesy and all that. Skeletons, as the constantly shifting moniker of genius musician Matt Mehlan and his cronies, has never been more vibrant, colorful, dark and enveloping as on this album. That the group will find commonalities with The Dirty Projectors doesn’t mean that they aren’t unique; also, Money is way better than Bitte Orca (IMHO).