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1 Peter, Bjorn, and John, Writer’s Block (Wichita Recordings) “Young Folks” is the feel-good hit of the year. Listening to it brings the same thrill as dancing with your friends without a care in the world. Their sweet style recalls Belle & Sebastian at their very best.

2 Arctic Monkeys, Whatever People Say I Am, That’s What I’m Not (Domino Records) Every ten years or so, England produces a band that unites the nation. Arctic Monkeys articulately portray the gritty underbelly of a city center with the manic energy of a piss-up. On “Fake Tales of San Francisco,” Alex Turner sings in a vernacular dialect with such a love of language that you want to feel the words in your mouth. Chant along with the rest of us.

3 The Blood Arm, Lie Lover Lie (City Rockers) One of my friends described this album as the Blonde on Blonde of contemporary alternative pop music, and I agree. Nathaniel Fregoso’s lyrics are detailed personal snapshots of small moments and hidden desires. The Blood Arm’s bold garage sound demands your attention. This album captures the real Los Angeles sound—dark soul and unbridled energy.

4 Mogwai, Mr. Beast (Matador Records) I’ll always love this band for kicking a member out for talking during an Arab Strap show. That attitude lies deep within Mr. Beast. Uncompromising nerve is met with the nuanced expressions that come from hard-earned experience. You find Mogwai’s signature use of progressively rising white noise cut with moments of near silence, and then, on a song like “Acid Food,” you are suddenly embedded in an electronica-tinged country landscape that sounds the way only guys from Glasgow can make it.

5 Rodrigo y Gabriela, Rodrigo y Gabriela (ATO Records) Classical acoustic guitar meets a thrash-metal sensibility, from two maestros whose talents are staggering.

6 Eagles of Death Metal, Death by Sexy (Downtown) This album is infused with libidinal tension and electricity. It viscerally recalls those moments when you need sex so bad that you can’t breathe. In “I Gotta Feeling (Just Nineteen)” the singer taunts his lover about the guy she’s been seeing by saying, “You know I’m everything that he’s just not.” If I could choose my death, it would be by sexy, but these guys would make you beg for it.

7 Mojave 3, Puzzles Like You (4AD) Joyous renditions of Mojave’s alt-country sound. Neil Halstead channels nature in his fingertips. Perfect for Sunday mornings of any season.

8 Youth Group, Casino Twilight Dogs (Epitaph) Bright and lush, Youth Group update the shoe-gazing sound. This album is packed full of immediately catchy songs.

9 Larrikin Love, The Freedom Spark (Wea/Infectious) Imagine an Irish Ron Weasley singing Smiths lyrics over reggae beats, and you’ll have new rave favorites Larrikin Love. At the Reading Festival the singer’s mom came onstage to play the spoons while teenagers threw glow sticks at one another. The album has that same youthful exuberance.

10 Cold War Kids, Robbers and Cowards (Downtown) Intoxicating songs that feel like they were recorded in an abandoned warehouse. Cold War Kids try to fill the emptiness with a series of elegant instrumentations, raw lyrics, and unpredictable sounds that inspire both dread and anticipation.

Wendy Fonarow is a Los Angeles–based anthropologist specializing in live music performance. She is the author of Empire of Dirt: the Aesthetics and Rituals of British Indie Music (Wesleyan University Press, 2006).

Cover, left to right, from top left: Martin Kippenberger, 7. Preis (7th Prize), 1987, oil on canvas, 70 3/8 x 59 1/16". Pawel Althamer, Fairy Tale (detail), 2006. Installation view, Pferdeställe des Postfuhrants (Post Office Stables), Augustrasse, Berlin. Photocopy of a reproduction of David Hammons, Higher Goals, 1986. From “David Hammons: The Unauthorized Retrospective,” Triple Candie, New York, 2006. Mike Kelley, Heartthrob Split, 2005, mixed media with video projection and photographs, dimensions variable. Installation view, Gagosian Gallery, New York, 2006. Park Chan-wook, Lady Vengeance, 2005, still from a color film in 35 mm, 112 minutes. Lee Geum-ja (Lee Young-ae). Students reenacting Allan Kaprow’s Household, 1964, as part of the exhibition “Allan Kaprow: Art as Life,” Haus der Kunst, Munich, 2006. Piotr Uklanski, Summer Love, 2006, still from a color film in 35 mm, 93 minutes. The Stranger (Karel Roden). Tacita Dean, Kodak, 2006, still from a black-and-white and color film in 16 mm, 44 minutes. Hannah Höch, The Beautiful Girl, 1919, photomontage and collage, 13 3/4 x 11 1/2". Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, still from a color video, 90 minutes. Gustav Klimt, Adele Bloch-Bauer II, 1912, oil on canvas, 74 3/4 x 47 1/4". Ashley Bickerton, Green Reflecting Head Sam No. 2, 2006, printed paper with steel pins, 49 x 39". Maureen Gallace, Cape Cod, Winter, 2004, oil on panel, 11 x 14". View of “Isa Genzken,” 2006, Wiener Secession, Vienna.  Brice Marden, Lethykos (for Tonto), 1976, oil and beeswax on canvas, four panels, overall 84 x 72". Poul Kjærholm, PK O, laminated wood chair, 1950–51. Lee Lozano, Ream, 1964, oil on canvas, 72 x 96". Yves Klein, Untitled monogold (MG 17), 1960, gold leaf on board, 78 3/8 x 60 1/4". From Blue monochrome, monogold, and monopink, “triptych,” 1960. Nuri Bilge Ceylan, Climates, 2006, still from a color film in 35 mm transferred from video, 97 minutes. Isa (Nuri Bilge Ceylan). Sigmar Polke, Untitled, 2006, artificial resin on polyester fiber, 46 x 54". James Benning, Casting a Glance, 2006–, strip from an unfinished color film in 16 mm, approx. 90 minutes. Invitation for “Jürgen Klauke: Works from the Early ’70s,” Ritter/Zamet, London, 2006. View of Herzog & de Meuron, “Perception Restrained,” 2006, Museum of Modern Art, New York. Peter Fischli and David Weiss, Natural Grace (detail), 1984–85, color photograph, 16 x 12". From the series “Stiller Nachmittag” (Quiet Afternoon), 1984–85.  Dominique Gonzalez-Foerster, Parc Central, 2006, still from a color video, 50 minutes. Nate Lowman, Oops Maxima (Peach), 2005, silk screen on canvas, 30 x 30". Tony Oursler, Spaced, 2006, fiberglass sculpture, DVD, DVD player, Plus U7-132 XGA DLP digital projector, 50 x 67 x 27". Damien Hirst, Ira Dei (The Wrath of God), 2005, acrylic, metal, shark, and formaldehyde solution, 78 x 108 x 36". Cerith Wyn Evans, Please pay attention motherfucker, 2006. Installation view, Institute of Contemporary Art, London. Photo: Danny Birchall. Sofia Coppola, Marie Antoinette, 2006, still from a color film in 35 mm, 123 minutes. Marie Antoinette (Kirsten Dunst). Robert Rauschenberg, Charlene (detail), 1954, oil, charcoal, paper, fabric, newspaper, wood, plastic, mirror, and metal on four Homasote panels mounted on wood with electric light, 89 x 112 x 3 1/2". Mel Bochner, Money/Obscene, 2006, oil on velvet, 74 x 47". Adam McEwen, Dresden (Phosphorbrandbombe), 2006, phosphorescent paint and chewing gum on canvas, 90 x 70". Christopher Williams, Rollerstacker, R-136MR, Manufacturer: The Kaynar Company, Los Angeles, CA, 90054. Date of production: 1975. Vancouver, BC, April 6, 2005 (NR. 1, 2 & 3), 2005 (detail), triptych, color photographs, each 16 x 20". Joan Jonas, The Shape, the Scent, the Feel of Things, 2005. Performance view, Dia:Beacon, Beacon, NY. Cameron Jamie, Kranky Klaus, 2002–2003, still from a color video, 26 minutes. Seth Price, Untitled Film, Right, 2006, still from a color film in 16 mm, 14 minutes. Venezuelan President Hugo Chávez addressing the 61st session of the United Nations General Assembly at UN headquarters, New York, September 20, 2006. Photo: AP/Julie Jacobson. View of Thomas Hirschhorn, “Superficial Engagement,” 2006, Gladstone Gallery, New York.
Cover, left to right, from top left: Martin Kippenberger, 7. Preis (7th Prize), 1987, oil on canvas, 70 3/8 x 59 1/16". Pawel Althamer, Fairy Tale (detail), 2006. Installation view, Pferdeställe des Postfuhrants (Post Office Stables), Augustrasse, Berlin. Photocopy of a reproduction of David Hammons, Higher Goals, 1986. From “David Hammons: The Unauthorized Retrospective,” Triple Candie, New York, 2006. Mike Kelley, Heartthrob Split, 2005, mixed media with video projection and photographs, dimensions variable. Installation view, Gagosian Gallery, New York, 2006. Park Chan-wook, Lady Vengeance, 2005, still from a color film in 35 mm, 112 minutes. Lee Geum-ja (Lee Young-ae). Students reenacting Allan Kaprow’s Household, 1964, as part of the exhibition “Allan Kaprow: Art as Life,” Haus der Kunst, Munich, 2006. Piotr Uklanski, Summer Love, 2006, still from a color film in 35 mm, 93 minutes. The Stranger (Karel Roden). Tacita Dean, Kodak, 2006, still from a black-and-white and color film in 16 mm, 44 minutes. Hannah Höch, The Beautiful Girl, 1919, photomontage and collage, 13 3/4 x 11 1/2". Douglas Gordon and Philippe Parreno, Zidane: A 21st Century Portrait, 2006, still from a color video, 90 minutes. Gustav Klimt, Adele Bloch-Bauer II, 1912, oil on canvas, 74 3/4 x 47 1/4". Ashley Bickerton, Green Reflecting Head Sam No. 2, 2006, printed paper with steel pins, 49 x 39". Maureen Gallace, Cape Cod, Winter, 2004, oil on panel, 11 x 14". View of “Isa Genzken,” 2006, Wiener Secession, Vienna. Brice Marden, Lethykos (for Tonto), 1976, oil and beeswax on canvas, four panels, overall 84 x 72". Poul Kjærholm, PK O, laminated wood chair, 1950–51. Lee Lozano, Ream, 1964, oil on canvas, 72 x 96". Yves Klein, Untitled monogold (MG 17), 1960, gold leaf on board, 78 3/8 x 60 1/4". From Blue monochrome, monogold, and monopink, “triptych,” 1960. Nuri Bilge Ceylan, Climates, 2006, still from a color film in 35 mm transferred from video, 97 minutes. Isa (Nuri Bilge Ceylan). Sigmar Polke, Untitled, 2006, artificial resin on polyester fiber, 46 x 54". James Benning, Casting a Glance, 2006–, strip from an unfinished color film in 16 mm, approx. 90 minutes. Invitation for “Jürgen Klauke: Works from the Early ’70s,” Ritter/Zamet, London, 2006. View of Herzog & de Meuron, “Perception Restrained,” 2006, Museum of Modern Art, New York. Peter Fischli and David Weiss, Natural Grace (detail), 1984–85, color photograph, 16 x 12". From the series “Stiller Nachmittag” (Quiet Afternoon), 1984–85. Dominique Gonzalez-Foerster, Parc Central, 2006, still from a color video, 50 minutes. Nate Lowman, Oops Maxima (Peach), 2005, silk screen on canvas, 30 x 30". Tony Oursler, Spaced, 2006, fiberglass sculpture, DVD, DVD player, Plus U7-132 XGA DLP digital projector, 50 x 67 x 27". Damien Hirst, Ira Dei (The Wrath of God), 2005, acrylic, metal, shark, and formaldehyde solution, 78 x 108 x 36". Cerith Wyn Evans, Please pay attention motherfucker, 2006. Installation view, Institute of Contemporary Art, London. Photo: Danny Birchall. Sofia Coppola, Marie Antoinette, 2006, still from a color film in 35 mm, 123 minutes. Marie Antoinette (Kirsten Dunst). Robert Rauschenberg, Charlene (detail), 1954, oil, charcoal, paper, fabric, newspaper, wood, plastic, mirror, and metal on four Homasote panels mounted on wood with electric light, 89 x 112 x 3 1/2". Mel Bochner, Money/Obscene, 2006, oil on velvet, 74 x 47". Adam McEwen, Dresden (Phosphorbrandbombe), 2006, phosphorescent paint and chewing gum on canvas, 90 x 70". Christopher Williams, Rollerstacker, R-136MR, Manufacturer: The Kaynar Company, Los Angeles, CA, 90054. Date of production: 1975. Vancouver, BC, April 6, 2005 (NR. 1, 2 & 3), 2005 (detail), triptych, color photographs, each 16 x 20". Joan Jonas, The Shape, the Scent, the Feel of Things, 2005. Performance view, Dia:Beacon, Beacon, NY. Cameron Jamie, Kranky Klaus, 2002–2003, still from a color video, 26 minutes. Seth Price, Untitled Film, Right, 2006, still from a color film in 16 mm, 14 minutes. Venezuelan President Hugo Chávez addressing the 61st session of the United Nations General Assembly at UN headquarters, New York, September 20, 2006. Photo: AP/Julie Jacobson. View of Thomas Hirschhorn, “Superficial Engagement,” 2006, Gladstone Gallery, New York.
DECEMBER 2006
VOL. 45, NO. 4
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