Devendra Banhart "Nino Rojo" (2004)

This is unexpectedly wonderful.  Coming from a place of childlike playfulness, Banhart gives us acoustic gems that are fun and hilarious. Here his affectations feel like play rather than cheap guile.

Jackie Mittoo "Last Train to Skaville" (2004)

Ever wonder why ska was so beloved?  This will let you in on the secret.  It's packed full of funky jams from Jamaica in the 60s.  Brilliant brilliant stuff.

Madvillain "Madvillainy" (2004)

If you're wondering where the line is between commercial viability and experimentation, it's here.  This is the collaboration between two outre musicians blending their warped sensibilities into one woozy vision of supervillains blunts and crimes.  It is as much a commentary on the gangsta ethos of hip hop as anything else, a fact which seems to have been forgotten by the larger community.  It's a shame, as this record shows a way out of the lowest common denominator trap that has become so prevalent.

Various "Cambodian Cassette Archives" (2004)

There was a weird little scene around the "Cambodian Rocks" album.  That one was a compilation of 60s & early 70s garage punk from Cambodia.  It basically sounded like you were listening to Nuggets through your apartment wall.  Anyway, that compilation was a hipster hit.  And so we have other comps in roughly the same vein.  The problem with this one is that the music isn't from the same sweet spot.  There are a lot of synthesizers in use, and you don't have that wonderfully familiar feeling.

Califone "Heron King Blues" (2004)

Wilco are sometimes referred to as the "American  Radiohead".  In fact, this other Chicago band has a better claim to that title.  While both bands have roots in traditional American music, Califone are far more experimental, and are more firmly planted in the European tradition as well

For me, in fact, that line straddling is problematic.  They seem to be committed to neither tradition.  Maybe it's just me, and I can't handle the cognitive dissonance.  But I would rather that the music was either more traditional, or more experimental.

Elliott Smith "From a Basement on the Hill" (2004)

Released posthumously, FABOTH sounds like the partially finished work that it is.  Not as smooth and beatlesy as the high points of his LA years, it is also worlds away from the lofi DIY feel of the earlier Portlandia records.  For the completists only.

Jack Rose "Raag Manifestos" (2004)

Does the cover art give away too much?  This album is Rose as acoustic psychedelic warrior.  There are not many with both the technical chops and the inclination to record long acoustic drone work.  Rose somehow pulls off what sounds like it should be terrible.

Paul Weller "Studio 150" (2004)

A decidedly minor effort from the ModFather.  An entire album of covers is a bit much, at least for me.  One or two sprinkled around with originals is really the way I prefer things.

Blueridge "Side By Side" (2004)

There's a certain category of bluegrass bands -- and I think that this album falls into that category -- that sound more or less generic to my ears.  It's not that there is anything particularly wrong with the recording, but nothing really stands out.  If anything, it feels a bit too safe.  The musicians in this band are very talented.  I'd like to feel that they are taking some risks.

Espers "Espers" (2004)

Does the cover really say it all?  While "The Weed Tree" was so loaded with covers that it put their influences out where they couldn't be missed, this initial release keeps those influences implied.  While probably not as strong as some subsequent releases, "Espers" is a strong effort right out of gate.  Highly recommended for those interested in this variety of folk rock.

The Pixies "Wave of Mutilation" (2004)

Wow.  What do you want from a best of compilation?  Wave of Mutilation does exactly what you want.  The best songs, from the core albums.  Plus a few extras, like "Winterlong" from the Neil Young tribute.  Excellent stuff.  This is the 80s that TV doesn't want you to know about.

Nouvelle Vague "Nouvelle Vague" (2004)

OK, it's a gimmick record.  Brazilian pop covers of classic New Wave songs.  But it's awesome. Song selections, performances, the whole thing.  This is one of my favorite summer records of the 21st century.

Otis Gibbs "One Day Our Whispers" (2004)

When you sit down & start to listen to numerous releases from a single artist, you start to notice the changes.  In some cases, it's experiments gone bad.  Other times, it seems like the technique shows improvement over time.  Of course we don't always know the whole story -- were the songs written over a long period of time?  were there issues with drugs or alcohol?  But even without the complete context, it's interesting to hear what changes & what stays the same.

"One Day Our Whispers" covers ground similar to Gibbs' later releases.  But the songs aren't quite up to the level of what he created later.  There are some definite high spots, but the consistency is missing.

Rose Polenzani "August" (2004)

Well, I tried. 

Sometimes you listen to something & while all the elements are there, it doesn't do anything for you.  Good songs, well played, nice vocals.  Yet I kept feeling like I was trying to connect, but just couldn't do it.

Sam Bush "King of My World" (2004)

Sammy just keeps on going, playing his own brand of music.  It's rooted in bluegrass, but he's not afraid to experiment with reggae, rock, & whatever else strikes his fancy.  That eclecticism can make for uneven recordings, but when it works, it works.  This is one of the better ones.  High points include "Eight More Miles to Louisville" & "A Better Man".