Here’s my top ten of 2008, in alphabetical order (of course):

Andrew Morgan – Andrew Morgan (Independent)
This self titled effort from Lawrence, Kansas songwriter Andrew Morgan was first released by Moorworks in Japan in April. However, it is the digital version that Morgan released on his web site shortly after with a slightly different tracklisting that stands as the definitive version of his second full length. More accessible than its predecessor (2004’s wonderful Misadventures In Radiology), but by no means watered down, this is Andrew Morgan at the top of his game. Chamber pop may not be fashionable like it was at the start of this decade, but Morgan’s brilliant arrangements are breathing life into one of my favorite genres.

Benoît Pioulard – Temper (Kranky)
If you are a fan of Chicago’s Kranky label, then you have no excuse not to own this sophomore release from Benoît Pioulard. Temper isn’t necessarily new ground for Pioulard (real name Tom Meluch), serving instead as a pleasant extension of his 2006 debut, Précis. I struggle to think of another artist who is able to coherently blend melancholy folk with mesmerizing ambient instrumentals.

Chad VanGaalen – Soft Airplane (Sub Pop)
Of all the artists in Sub Pop’s history, Chad VanGaalen is among the most peculiar. Fortunately, he is also one of their best talents in recent memory. This Calgary resident splits his time between his basement and the half-pipe in his back yard. While he’s in the basement, VanGaalen builds instruments by hand for future compositions. His third LP, Soft Airplane, is a complex beast that features many of his best songs released to date. Some of VanGaalen’s work is compared to Neil Young, but with each record he releases, it is obvious that he is slowly establishing his own DIY sound that is morbid, beautiful, and exciting.

Mogwai – The Hawk Is Howling (Matador)
I wasn’t a big Mogwai fan prior to hearing The Hawk Is Howling, but they have my full attention now. A brutal combination of soft and loud. The drones coming out of Glasgow are still splendid.

Portishead – Third (Mercury)
I always say that Portishead isn’t a band I listen to often, but when I do go back and listen to their albums, I regain my immense respect for their music. Third is the comeback album of the year and very few people will argue that. It is the album that I never thought would happen, an album that I had enormously low expectations for. I’m not sure how, but they’ve managed to stay relevant all these years later.

Spiritualized – Songs In A & E (Fontant Int’l)
He had to go through a series of near-death experiences beforehand, but Jason Pierce finally released a new Spiritualized record in 2008. His voice has clearly aged, diminishing the strength of his vocals at times, but this only adds to the haunting nature of the album. One of the most startling things about Songs In A & E is that it was written before Pierce’s bout with periorbital cellulitis and bilateral pneumonia. Pierce’s fixation on blues and soul music remains, but the compact construction of A & E makes it one of his most cohesive releases yet. A & E soars because Pierce has learned that less can be more.

The Tallest Man On Earth – Shallow Grave (Gravitation)
Refer to my post from 12/6/08.

TV On The Radio – Dear Science (DGC/Interscope)
Refer to my post from 12/9/08.

• Artist: Mogwai
• Album: The Hawk Is Howling
• Label: Matador
• Release: 2008
• Links: Official Site, MySpace

Given my admiration for instrumental rock, Mogwai always seemed like a band I should love. I had attempted several times to get into the lauded Young Team, but came away underwhelmed every time. When the Scotland group’s sixth album, The Hawk Is Howling, leaked online in late August, I decided to give Mogwai one more try (Dear Matador, I have since purchased a hard copy of the album) and am enormously glad I did so. This album has pushed me to explore more of their previous work and I can report that it represents a more complete statement than 2006′s Mr. Beast. Hawk has the metallic bite of Mogwai’s fiercest compositions and the subtle moments that have made them one of their genre’s frontrunners.

Hawk begins with the aggressive pairing of “I’m Jim Morrison, I’m Dead” and “Batcat,” one of the year’s best singles. The former begins softly and builds to a pleasantly ear-swelling drone while “Batcat” is pure anger. The album’s middle portion remains strong, but is admittedly less exciting than the sections it is bookended by. Softer tracks such as “Local Authority” bring a necessary balance to the album though. “The Sun Smells Too Loud” is another exceptional track, thanks to its catchy riff and electronic flourishes. It is not surprising that Mogwai are featured in so many television shows and films when taking into account the variety of atmospheres they are able to sculpt.

If you hadn’t noticed, Mogwai have a twisted sense of humor that is frequently represented in their song titles, so I’m going to assume that their longtime fans weren’t surprised in the least when they learned of the tracklisting for Hawk. Three of the album’s final four songs continue the brutal nature of its first act. “I Love You, I’m Going To Blow Up Your School” (Twisted, no?) and “Scotland’s Shame” are beautiful and menacing. Just listen to the trademark Mogwai explosion in “I Love You” and the introduction to “Scotland’s Shame” for proof. It wouldn’t be right if Hawk didn’t cap itself off by damaging your hearing and “The Precipice” will certainly try to. It is as if half of this record intends to blow out your car stereo while the other half was written as a headphone lullaby. On Hawk, Mogwai master this balancing act more successfully than they have on most of their albums and that it is why it is easily one of their most rewarding works.