2008 was a year of dizzying highs and terrifying lows. While the United States elected their first black president and the economy took a nosedive, the year in music yielded similarly mixed results. Given the number of disappointments (we’re talking to you, Guns N’ Roses, Weezer, Oasis, and many other fading ‘90 superstars) and pleasant surprises, to call 2008 an unexpected year would be an understatement. Who could have predicted that Toronto’s two most important musical exports would be a stunningly melodic hardcore band and an electro twosome peddling alienating video game grooves?
Elsewhere, our local indie scene continued to thrive, and the influence of world music on mainstream culture grew so heavy even The Killers picked up on it. And of course, the Internet continued to play mind games with the music industry, as it reacted to Radiohead’s online distribution experiment, an idea that spawned many imitators (Nine Inch Nails, Bloc Party, Girl Talk).
If there was one discernable movement, it was that every smash hit in waiting had to be ready for the dance floor, making 2008 the year that indie rock finally got its groove on.
1. Vampire Weekend—S/T (XL)
It was a good year to be a hyper-literate indie rock nerd, as a bunch of khaki-clad Ivy League grads took their obsessions with chamber pop and African music and recycled them into a sugary collection of three-minute pop ditties. From the opening strains of “Mansard Roof” to the collegiate exuberance of “Cape Cod Kwassa Kwassa” to the raging sock-hop of “Walcott,” Vampire Weekend summed up the sweetest parts of academic life, adding an assortment of references to faraway lands that you’ll long to explore after graduation. Their debut album was a simple, escapist pleasure, one that’s even more valuable when you’re trudging across a snowy campus, trying to differentiate Barthes from Descartes.
2. Fucked Up—The Chemistry of Common Life (Matador)
If you caught their bathroom-destroying performance on MTV, you’ll know that Toronto’s Fucked Up don’t mind wreaking a little havoc. But as they growl about sex and drugs, their massive, layered guitars unveil an intensely melodic swagger. Before Fucked Up, I didn’t think hardcore could get this accessible.
3. Glasvegas—S/T (Columbia)
I picked Glasvegas to break out in 2008, but their lack of North American tour dates has left them unknown on this side of the pond. I’ll let my stubbornness get the best of me and say it again—look for this Glaswegian post-punk outfit to take their chilling anthems to proper heights when they finally hit our shores in 2009.
4. MGMT—Oracular Spectacular (Columbia)
Truly great albums are the ones that best sum up a year, and who among us didn’t spend many a drunken night on the dance floor with this Brooklyn duo providing the soundtrack? Whenever you need a shot of 2008 nostalgia, turn on “Electric Feel” or “Time to Pretend” and you’ll be walking on air.
5. Deerhunter—Microcastle (Kranky)
With Microcastle, Bradford Cox and co. streamlined their trademark shoegazer sound and delivered a brilliant, challenging pop album. Having discarded the jam-outs in favour of shorter, driving rockers like “Nothing Ever Happened” and “Never Stops,” it barely qualifies as noise rock—but who cares, it makes you feel good.
6. Crystal Castles—S/T (Last Gang)
They inspired a lot of love, a tidal wave of hype, and then the kind of massive backlash that only happens to the most buzzed-about bands. Nevertheless, our twitchy hometown anti-heroes turned distorted 80s video game sounds into an NME “Coolest Person of the Year” award for Alice Glass. It’s time we canned the hate and gave them some much-deserved applause.
7. Lil Wayne—Tha Carter III (Universal)
The most anticipated album of the year was worth the wait, selling nearly three million copies and yielding the inescapable singles “Lollipop” and “A Milli.” In the process, Tha Carter III cemented Lil Wayne as a hip-hop mastermind who plays up his own eccentricities instead of reaching for the instant crossover smash. Dr. Carter may lean heavily on Auto-Tune, but he doesn’t pander. Hear that, T-Pain?
8. The Last Shadow Puppets—The Age of the Understatement (Domino)
The biggest surprise of the year was this star-studded side project from Arctic Monkeys’ singer Alex Turner and The Rascals’ Miles Kane. The duo drafted James Ford (Simian Mobile Disco) to produce and man the drum kit, and our very own Owen Pallett (Final Fantasy) to take care of the string arrangements. The result? An orchestral wonder that’s as stylish and suspenseful as a ‘60s caper flick.
9. The Gaslight Anthem—The ‘59 Sound (SideOneDummy)
The ghost of Bruce Springsteen dominated indie rock back in 2007, but these Jersey shore punks call back to the Boss with the most authenticity. The ’59 Sound is a ragged, gutsy collection of heart-on-sleeve tunes that didn’t deserve to fall as far under the radar as it did.
10. Cut Copy—In Ghost Colours (Modular)
This Australian trio ruled the dance floor by moving your feet and tugging at your heartstrings with “Lights and Music” and the gorgeous “Feel the Love.” Blending indie rock and electro with a dash of ‘80s synth flavour that’s most evident on “Hearts On Fire,” Cut Copy had the secret recipe for success.
