Here’s my top eight 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) (Original Review, Interview)
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) (Original Review)
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) (Original Review)
I wasn’t a big Mogwai fan prior to hearing The Hawk Is Howling, but they have my full attention now. The drones coming out of Glasgow are still splendid.

Portishead - Third (Mercury) (Original Review)
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 (Fontana 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: Portishead
• Album: Third
• Label: Mercury
• Release: 2008
• Links: Official Site, MySpace

It was more than ten years ago that Portishead appeared on an episode of Saturday Night Live that was hosted by Sarah Michelle Gellar. I wasn’t watching for Portishead. I was in middle school and had a crush on Gellar. I barely even listened to music at the time, so I just laughed at the group’s unusual band name. Ironically, a few years later I would discover their music and purchase Dummy thanks to a friend’s recommendation. I eventually heard the self titled follow-up to Dummy and thought it was even better.

Since then, I haven’t reached for those records very often because I’ve always felt that Portishead were a band you have to be in the mood for to listen to. When I heard that they were working on a new album, their first in a decade, I kept my expectations low. I learned that the album would be titled Third and when it leaked in early March I downloaded it, but let it sit on my laptop for a few weeks.

When I finally gave the album a chance, I was impressed at how the trio were able to deliver such edgy sounds after being out of the game for so long. I proceeded to order a copy of Third and since arriving it has grown on me with each listen. Third sees Portishead making an effort to reinvent their sound by moving away from the scratching that made them the darlings of the now dated trip-hop tag during the 90’s. Despite this shift, the band sounds remarkably comfortable. Don’t worry, the band’s personality is still intact thanks to Beth Gibbons’ trademark gloom.

I am particularly impressed with instrumentalist Geoff Barrow and guitarist Adrian Utley’s contributions to Third. On the industrial hell of the intense first single “Machine Gun,” Barrow manages to incorporate a homage to the Terminator theme song, a feat that is simultaneously awesome and hilarious. While the trip-hop vibe has mostly vanished, Portishead continues to explore their jazz influences on excellent tracks such as “Magic Doors.”

Beth Gibbons’ voice has aged just a hair in the last decade, but her vocal talents are still an instrument in themself. “Nylon Smile” is classic Gibbons and her performance on “Threads” ends the album thrillingly. Comeback albums are usually either a complete mess or merely tolerable. Third is an exception though. It succeeds because Portishead have adapted their sound on their own terms. Third may not be as innovative as its two predecessors, but even after a decade-long absence, Portishead still manage to rise above most of their contemporaries by simply evolving gracefully.