See Ya Later, Suckers: The Modern Pea Pod’s “Best of 2005″ Mixtape

Yeah, yeah, you’ve heard it before. We don’t like lists, but we have to make them. It’s part of the job for music writers, part of the yearly routine, even: at Halloween you pass out candy, at Thanksgiving you cook a turkey, and somewhere around New Year’s (hopefully before the champagne is imbibed), you crank out a perfunctory, self-important ‘Best of the Year’ list. And yeah, it’s bullshit, because who can honestly narrow down a year’s worth of great music into twenty or even fifty records? The whole concept is ridiculous – arrogant, even – and most of us humble Internet critics worth our salt acknowledge as much. But here’s the thing: at the Modern Pea Pod, we actually fucking mean it. We think ‘Best Of’ lists are every bit as lame as you do…and that’s why we don’t write them. The following 23 songs are really, really good – even great. We love them, and yes, we think they’re worthy of special notice. Are they the best 23 songs of 2005? Who knows? Do they even scratch the surface of last year’s notable releases? Resoundingly, no. Like any year, the great songs of 2005 were far too many and varied for us to list – hell, we being mere mortals, there were too many for us to even listen to. So please, don’t think of this as a ‘Best Of’ list. Think of it as a gift of music; from us to you, a few highlights from the year that was. Sort of like Natalie Portman’s character in Garden State, only not as perky…and way hotter.

Side A

0:05 – Of Montreal: “Requiem for O.M.M.2″ (2:19)
David: “If there is one musical form in this world that will never grow stale, it’s kick-ass cowbell songs. The list of great cowbell songs includes some of the most propulsive music ever made, including ‘Electioneering,’ ‘Drive My Car,’ ‘House of Jealous Lovers,’ ‘Don’t Stop ‘Til You Get Enough,’ ‘Incense and Peppermints,’ ‘Play That Funky Music,’ ‘Spinning Wheel,’ ‘Rock Lobster,’ ‘U-Mass,’ and, of course, ‘Don’t Fear the Reaper.’ ‘Requiem for O.M.M.2′ deserves a place on this illustrious list. I air cowbell whenever the chorus hits. It’s the best album opener of 2005.”
(Available on The Sunlandic Twins)

2:25 – The Silver Jews: “Sleeping is the Only Love” (2:56)
Megan: “Tanglewood Numbers was unabashedly one of my favorite albums of the entire year; David Berman and his motley crew of remarkable musicians created a sprawling rural monolith of a record. And while ‘Sleeping is the Only Love’ is unfortunately sans farm animals, its lyrics glow with playful insults (‘I heard they were taming the shrew/I heard the shrew was you’) and reflections on life (‘Life is sweeter than Jewish wine/Give it lots of candy or a foot massage/Some people don’t take the time’). A song unlike any other song in the world…well, other than something else written by Berman.”
(Available on Tanglewood Numbers)

5:21 – The Sights: “Will I Be True?” (2:19)
Zach: “I hate the Sights. I hate them because they’re barely older than I am – frontman Eddie Baranek still lives with his parents, fer Chrissakes – and yet their eponymous 2005 album is the kind of effortless blend of power pop, blues rock, mod-R&B and, yes, Detroit ‘garage,’ that dudes twenty years our senior still dream of making. At two minutes and 19 seconds of amped-up Faces licks and nary a moment wasted, ‘Will I Be True?’ is just one shining moment of many for the Sights in 2005…those fuckers.”
(Available on The Sights)

7:40 – The Lucksmiths: “The Chapter in Your Life Entitled San Francisco” (4:29)
Aaron: “The first single off 2005′s Warmer Corners, ‘The Chapter in Your Life Entitled San Francisco’ exemplifies the lyrical abilities which have won the Lucksmiths critical praise for years. This track tells a story with clever lines, all crafted around a beautiful melody and a delightfully simple rhythm. Singer Tali White’s voice and the addition of the strings to the background bring the song to a near perfection that couldn’t possibly be surpassed. That is, of course, until you get to the next song on the album.”
(Available on Warmer Corners)

12:09 – The Boy Least Likely To: “I’m Glad I Hitched My Apple Wagon to Your Star” (4:18)
Megan: “The Boy Least Likely To is seriously in the running for the title of ‘cutest band in the world.’ It might be those adorable animals on the cover of their first release; or perhaps it’s their prominent use of guiro, the most adorable of all percussion instruments. But most importantly, their childish joy never becomes nauseating the way, say, Of Montreal’s occasionally does. It takes talent to make a song about following your dreams which doesn’t make this reviewer want to projectile vomit – and in that regard, The Boy Least Likely To has certainly succeeded.”
(Available on The Best Party Ever)

16:27 – Kanye West: “Gold Digger” (3:28)
Laura: “Every time I see a stretch Escalade, my heart reverberates to the beat of Kanye West’s ‘Gold Digger.’ It’s a familiar tune that all of us sing. We all have our own ‘gold diggers.’ Whether we literally have lovers only with us for our large sums of money or gold, or if it’s just whorish corporate America all up in our biznezz… I believe we can relate to West’s proclamations. But, alas, how can you define the American dream without putting money into the equation? In a way, we each are our own gold diggers. Oh, Kanye, how your rhymes enlighten me. Peace.”
(Available on Late Registration)

19:56 – New Order: “Guilt is a Useless Emotion” (5:39)
Aaron: “That pseudo-rock, ’80s-new-wave dance-pop sound has been catching on over the past few years; and while we’ve seen the creation of countless new bands paying homage to those of yesterday, some of those older acts are still around, and still churning out some fantastic records. New Order’s latest, entitled Waiting for the Sirens’ Call, is just one more example of an amazing dance album in a discography that goes back over 25 years. Songs like ‘Guilt is a Useless Emotion’ feature incredible beats with fantastic synth lines and completely nonsensical lyrics that just go to show that these new kids still have a lot to learn. Frankly, I’ll stick to the original.”
(Available on Waiting for the Sirens’ Call)

25:35 – Sufjan Stevens: “Casimir Pulaski Day” (5:54)
Zach: “Look, I’ve done so much gushing over Sufjan Stevens in the six months since the release of Illinois, even I’m beginning to doubt my sexual orientation. But the facts are there: not just another indie pop ‘singer-songwriter’ twit, Sufjan has the voice of an angel, the ambition of a Napoleon and the deft lyrical and melodic nuances of an experienced master craftsman. All of these skills are on ample display in ‘Casimir Pulaski Day’: not just the best song on Illinois, but one of the best of the year…and probably the best short story I read in 2005, as well. The fact that he’s also just thirty years old and looks good in a cheerleader’s outfit? That, my friends, is just the icing on the cake. Sufjan, come to Poppa!”
(Available on Illinois)

31:29 – Art Brut: “Emily Kane” (2:41)
David: “Forget Architecture in Helsinki, The Boy Least Likely To, Animal Collective, and that whole ‘innocent’ trend of 2005. Fuck all of them. Art Brut is the REAL childlike band of the year. Using simple lyrics, singer Eddie Argos conveys a level of enthusiasm and honesty that’s incredible. He is overcome with joy after having seen his new girlfriend naked… TWICE!! He can’t get it up, and feels guilty. The simple fact that Art Brut formed a band is so exciting to him, he opened their album with a song about it. And then there’s ‘Emily Kane.’ Other songs on Bang Bang Rock & Roll may be more enthusiastic or honest, but ‘Emily Kane’ somehow feels the most childlike. And that wonderful word that’s being used to describe any band who can use bells and switch genres mid-song, EXUBERANT, for once actually applies.”
(Available on Bang Bang Rock & Roll)

34:10 – The White Stripes: “Forever for Her (Is Over for Me)” (3:15)
Megan: “This song is the quintessential Jack White song: it’s unabashedly earnest, and he’s wearing his heart on his sleeve. While it is popular among those hipper-than-thou indie automatons to act as if they’ve never sincerely liked (or gasp!) loved something or someone in their entire lives, Jack White ignores them and continues to share himself with the world. And while those aforementioned automatons may jeer at White for his straight-from-the-heart lyrics, perhaps they should stop their jeering and run towards Oz in hopes of getting the hearts they oh-so-desperately need.”
(Available on Get Behind Me Satan)

37:25 – Antony & The Johnsons: “Fistful of Love” (5:51)
Zach: “To record a breakthrough album with a bevy of guest stars and still end up with one of the most rivetingly personal records in recent memory takes a great artist indeed. Case in point: Antony has the balls to open ‘Fistful of Love’ with a spoken-word poem by no less a personage than Lou Fucking Reed – and damned if we don’t all but ignore the old guy the moment our heroine’s unmistakable voice thrusts itself firmly into the mix. With its Southern soul flavorings and Antony’s passionate vocals, ‘Fistful’ is a genuinely affecting song. But pay close attention to the lyrics, an unsettling mix of black humor and heartfelt confessional where fists take the place of lips and bruises are ‘symbols of devotion,’ and the effect is just devastating. Is this a paean to sadomasochism, domestic abuse, or something else entirely? At the end of the day, it doesn’t really matter. What matters is this emotionally intense, thrilling song about love – the same, frightening kind of love that made Sada Abe strangle and castrate Ishida Kichizou. A remarkable song from a truly remarkable record.”
(Available on I am a Bird Now)

Final Runtime: 43:16

Side B

0:05 – Lola: “No Strings” (3:43)
Aaron: “Every year there’s a countless number of new dance songs, and, in turn, remixes to those dance songs. ‘No Strings’ stands out as an energetic track that’s short and sweet, with a great synth line and a fantastic beat. Best of all are its frank lyrics, and Lola’s divine vocals, which make it by far the best casual-anonymous-sex-anthem of 2005.”
(Available on No Strings [Single])

3:49 – Brendan Benson: “The Pledge” (2:55)
Megan: “Sure, you’ve heard the unbelievably catchy ‘Cold Hands, Warm Heart’…but you have to hear album track, ‘The Pledge.’ One third girl-group clicks and driving rhythm (a la the Crystals), two thirds Elvis Costello minus the snot, this is one of those songs you can hear even on the worst day of your life and make everything feel better for two minutes and fifty-five seconds. If only Xanax was this cheap.”
(Available on The Alternative to Love)

6:44 – The Dirtbombs: “Brand New Game” (3:13)
Zach: “A year ago, I would have dubbed ‘Twilight’ my favorite song from Elliott Smith’s final sessions; maybe, in a stretch, ‘King’s Crossing.’ Thanks to Mick Collins, however, I now know just how false those first instincts were. With its frank admissions of addiction and self-loathing – as retrospectively poignant and chilling as Cobain’s ‘All Apologies’ – ‘Brand New Game’ probably hits too close to home for Elliott’s family to let the master see the light of day. Then again, when your consolation prize is as effortless a demonstration of the Dirtbombs’ pop chops as this, who’s complaining? I, for one, never expected one of 2005′s best tracks to slip out unannounced in the middle of a low-profile rarities comp. But I’m willing to bet that somewhere, Elliott Smith is tapping his feet.”
(Available on If You Don’t Already Have a Look)

9:57 – Iron & Wine: “Jezebel” (5:07)
Laura: “A rustic smoothness sets the tone for this five-minute song. It makes me feel like I’m on a cattle ranch in Oklahoma and a cowboy has fallen in love with me – but not in that honky-tonk, ‘let’s go drink beer and ride a bull’ sort of way. Slow and repetitive, but a great song that will send you in a trance.”
(Available on Woman King [EP])

15:04 – Wolf Parade: “Grounds for Divorce” (3:25)
Megan: “All right, before I even talk about this record, go ahead and insert your favorite snarky Clap Your Hands Say Yeah and/or Arcade Fire remark here. (Five extra points to any of you who begin your remark with: ‘Two members of the Arcade Fire walked into a bar in Montreal…’) Wolf Parade does indeed sound very much like the current ‘It’ trend in Canadian indie music (and yes, depending on whom is singing, David Byrne)…but who said that a band has to be entirely, completely different from anything else in the world to compose an engaging song? ‘Grounds for Divorce’ sounds like a June sunrise reflected in a stream; the music bubbles and bounds and leaps across the listener’s ears.”
(Available on Apologies to the Queen Mary)

18:29 – The New Pornographers: “The Bleeding Heart Show” (4:27)
Aaron: “I never got on the New Pornographers bandwagon. I purchased Mass Romantic a few years back at the urging of a friend, but I guess I just thought it was sort of okay…at best. After hearing Twin Cinema, I’ve changed my tune. It’s a fine example of great Canadian song writing that should feel accessible to a large audience. And the single ‘Bleeding Heart Show’ can be described, in my opinion, in just one way: delightfully epic.”
(Available on Twin Cinema)

22:56 – The Kills: “Love is a Deserter” (3:48)
Megan: “For me, the Kills are the sexiest band on the planet. No, they’re not black men with smooth voices whose CDs should be sold with a courtesy box of prophylactics. They’re not ‘first time sexy’; they’re spontaneous, adventurous, ‘sleeping with someone who may be a Soviet spy’ sexy. And the threatening sexual energy which pulses within every guitar riff, echoing through VV’s snarling vocals and Hotel’s barely there voice, captures the essence of this band.”
(Available on No Wow)

26:44 – Cast King: “Numb” (1:47)
Zach: “Emo, meet country: the real saddest music on Earth. More than just a Lomax-style folk document or a curious museum piece, 79-year-old Cast King’s 2005 debut (!) is stark, raw, heart-breakingly intense – the best new record you’ve never heard. And ‘Numb’ is as concise and frank a statement of clinical depression as these ears have heard since the Stooges’ ‘Dirt.’ Think Cash’s Nine Inch Nails cover…only better. Bright Eyes, eat your motherfucking heart out.”
(Available on Saw Mill Man)

28:31 – Gorillaz: “DARE” (4:04)
Megan: “Yeah, yeah, we all heard ‘Feel Good Inc.,’ and we all got sick of ‘Feel Good Inc.’ within the span of about two weeks. And of course all the pretentious indie webzines panned Demon Days for how easily accessible it is. But with all of its eccentricities, ‘DARE’ is a song that’s hard to forget. Perhaps because it’s hard to tell that the ‘female vocalist’ in this song is actually Damon Albarn doing a lovely Princesque falsetto, or the fact that standing in contrast to that falsetto is the ever-grating voice of the Happy Mondays’ Shaun Ryder. And are we forgetting just how much Danger Mouse shines on this particular track, turning “DARE” into the song that Prince’s dancehall in heaven will surely play whenever the Purple One enters the room?(Assuming, that is, that Prince’s ego will be sufficiently quenched when he does enter the pearly gates. If not, that track will probably still be “D.M.S.R.”)
(Available on Demon Days)

32:35 – Fiona Apple: “Not About Love” (Jon Brion Version) (3:46)
David: “Fiona Apple is really, really uncool to like. She resides with Queens of the Stone Age and Aimee Mann in the most ‘underground’ end of the Clear Channel mainstream. People get into Fiona if they want to be alternative, but have no idea how. And an album of unreleased Fiona bootlegs is twice as uncool to like as a normal album of hers; it’s acceptable to appreciate mainstream pop these days, but only as a harmless novelty. Praising Fiona’s bootleg album is akin to loving Kelly Clarkson’s pre-American Idol material: much lamer than loving ‘Since U Been Gone.’ Funny, then, that the unreleased Extraordinary Machine is arguably the greatest album of 2005. Self-conscious hipsters, I beg of you: forget about cred for an hour and give these bootlegs a chance. You will not regret it.”
(Available on Soulseek)

36:21 – Sambassadeur: “Sense of Sound” (3:51)
Aaron: “After a few small singles and EPs, Sambassadeur finally released their first full-length LP in the summer of 2005 on their native Sweden’s very own Labrador Records. Their neo-twee sound has been steadily generating buzz in different mediums across the Internet, and in a world that’s been basically inhabited by Belle and Sebastian clones for the last five or six years, Sambassadeur feels unique and fresh. The influence of the Scottish scene is there, as well as sounds reminiscent of older bands like the Field Mice from the English Sarah Records tradition. Yet the record is also very modern feeling, and undeniably Swedish. ‘Sense of Sound’ is just one of many of the stand-out tracks that you’ll find stuck in your head for days after hearing them.”
(Available on Sambassadeur)

40:12 – The Hard Lessons: “Love Gone Cold” (4:15)
Megan: “A lesser (wo)man would have just picked fan favorite ‘Milk & Sugar,’ but you know what? It’s time for Ko Ko Louise to get her due. The one time I’ve heard this song live, Ko Ko blew the entire audience away with her louder-than-life vocals. Most audiences start chattering during a slower song…but when Ko Ko Louise sang ‘Love Gone Cold’ last year at the Blind Pig, everyone stood up and took notice.”
(Available on Gasoline)

Final Runtime: 44:27

Total Runtime (Sides A & B): 87:43

See Also… (more great songs that just couldn’t fit)
Ryan Adams & The Cardinals: “Cherry Lane,” from Cold Roses (Zach)
Annie: “Me Plus One,” from Anniemal (Aaron)
Devendra Banhart: “I Feel Just Like a Child,” from Cripple Crow (Zach)
Beck: “Ghettochip Malfunction (Hell Yes),” from Guerolito (Zach)
Vashti Bunyan: “Wayward,” from Lookaftering (Megan)
Neil Diamond: “Delirious Love,” from 12 Songs (Zach)
Stephen Malkmus: “Baby C’mon,” from Face the Truth (Megan)
Public Enemy: “Superman is Black in the Building,” from New Whirl Odor (Zach)
Thunderbirds Are Now!: “Enough About Me, Let’s Talk About Me,” from Justamustache (Megan)
Stevie Wonder: “Please Don’t Hurt My Baby,” from A Time to Love (Zach)

Lovingly compiled by the Modern Pea Pod Staff