I suppose I should begin by disclosing that I was working the front information desk at Occupy Wall Street from the fourth day until the day before the raid, and continue to work with the group attempting to reoccupy.

Working the desk for as long as I did, I inevitably and inescapably encountered what I admit was some of the worst thought-out and most repetitive musical displays I have ever seen. The drum circle, while spirited, never approached an intentional poly-rhythm, and would frequently vacillate between sounding like either the A train was perpetually approaching, or a very drunk person was knocking at the door. The people with acoustic guitars who would show up with freshly written songs were all of a sub-YouTube quality.

I heard “The Times They Are a-Changin'” what must have been 18 times in a single day once. It was never an especially good song. There was a song circle which took to meeting directly behind my info desk every day, singing “We Shall Not Be Moved” in two hour chunks. Some tents went up and they moved a little. Some more tents went up and they moved some more. Eventually they were surrounding the table and I had to tell them to move.

I began to think what song best captured the experience of actually occupying. After “I Wanna Occupy All Day (And Camp Out Every Night)” threw me off the notion of parody, an uncomfortable epiphany reared its head on the occupation’s 40th day. The song that most captured it all was…”Saturday in the Park”. Yes, the Chicago song. “40 days in the park / And every one the 4th of July”, the overwhelming disorientation in how many goddamn times they repeated “another day in the park”…yes. That was the song.

I thought one day…I’m a music writer. I should be able to scrounge up some protest songs to make this bearable. And so the Occupy America mixtape was born.

I selected the songs with no central qualifying criterion, but rather based on some element, small or large, that struck me in each.

“Class War” by DOA seems like a good opener. It’s perky, quick, simple, and pretty unambiguous. People could conceivably sing this at Zuccotti Park. And to top that, Alex Penley, lawyer for Anonymous and a frequent visitor to the desk, will break out into choruses of this song while attempting to slam dance.

“Part of the Union” by The Strawbs and “Jump Start” by Melissa Czarnik are two songs about union struggles and values which are conveniently positioned several decades apart. “Jump Start” gained some popularity in the Madison Wisconsin protests and is one of the few recent protest songs I’ve heard that works at all on a musical level.

The next pairing is of “Bloody Ludlow” and “El Derecho De Vivir En Paz”, they evoke the uglier side of political activism. The first is an account of the violent dismemberment by the Colorado National Guard of the Ludlow strikers’ encampment in 1914, which resulted in somewhere between 19 and 25 deaths. They were protesting against several Rockefeller-owned coal companies. “El Derecho” meanwhile, is a fairly peaceful song with a calm melody made haunting by the eventual gruesome death of its writer and performer Victor Jara. In the overthrow of Chile, he was corralled with 1000 other political dissidents into a stadium. His hands broken, the guards reportedly taunted him to play the guitar. He sang “Venceremos (We Will Win)” instead. He was killed and discarded several days later. I like that it adds something in Spanish to the tape, since so much of this country speaks Spanish.

Next is a trio of songs devoted to discontent in the youth, who comprise a large part of the occupation. I’m not sure “No Time to Be 21”, “Kill the Poor”, or “Payday” requires much exposition.

“Everybody Knows” captures, for me, the cynicism of many who come to the square, the strange impotence of knowing and the lack of clarity that can provide. Cohen captures this and as always lays down a great vocal performance.

“Pretty Boy Floyd” and “March! For Martin Luther King” fit together a bit less than the other pairings, but each has something to offer. “March!” captures the slow driving rhythm of the protest, while “Pretty Boy Floyd” sums up the double standard of criminal behaviors in American society pretty succinctly:

“Yes, as through this world I’ve wandered I’ve seen lots of funny men / Some will rob you with a six-gun and some with a fountain pen.

And as through your life you travel. Yes, as through your life you roam / You won’t never see an outlaw drive a family from their home.”

The Occupy America Mixtape
Compiled by Daniel Levine

01. D.O.A. – Class War
02. The Strawbs – Part of the Union
03. Melissa Czarnik – Jump Start
04. O.V. Hirsch – Bloody Ludlow
05. Victor Jara – El derecho de vivir en Paz
06. Monks – Monk Time
07. The Adverts – No Time to Be 21
08. Dead Kennedys – Kill the Poor
09. The Wobblies – Payday
10. Leonard Cohen – Everybody Knows
11. The Byrds – Pretty Boy Floyd
12. John Fahey – March! For Martin Luther King

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Shades of Springsteen’s Nebraska bristle within Lewis’ subtle yet stunning compositions. He gently plucks his acoustics, touting a bluesy swagger with a touch of reverb. Throughout L’Amour, the virtually unknown artist plays pianos and guitars organically with an eerie sense of complacency, produced at a gentle pace like a somber ballad. This patient mode of production helps aid the most noteworthy aspect of Lewis’ instrumentation: his use of synths. The album’s entirety will make fans of David Lynch’s Twin Peaks feel nostalgic. The synths retain a faintly ominous, albeit frequently playful, quality to them that casts a lush shadow on the other instrumentation – much like Angelo Badalamenti’s early work with Lynch. Lewis tends to let the synths evolve around brooding acoustics, unlike Badalamenti’s heavier emphasis on the low-pitched twangy bass. Essentially, L’Amour sounds like Springsteen collaborating with Badalamenti in the late ‘80s. It’s all the more stunning considering L’Amour was released in 1983. Lewis’ only release is remembered today as an overlooked gem that helped push solo singer/songwriter material from an era of gushy ‘70s pop into a more mature, emotionally vibrant range.

Lewis’ personal history is a complete mystery. He dropped off the face of the earth after the release of L’Amour. Some say Lewis may still be living in California. Others say Lewis was a reputed scammer and con artist who fled after not paying for L’Amour’s production costs. Or maybe he was an alien from another world. All these theories have similar credibility at this point, simply because no one really knows anything. Perhaps, considering the ethereal and otherworldly quality of his music, it’s for the better. There’s no doubt that it adds to the enigma. Whether or not that’s the way Lewis wanted it… who knows? His personal fate will probably remain lost forever, but his music will certainly not take the same path.

The gorgeous “Even Rainbows Turn Blue” is a stunning instrumental, aided solely by an acoustic guitar and whimpering high-pitched synth. The guitar progression is dripping with sorrow propelled even more by the backing synths, which resemble strings in their swaying pad-like approach. As on all tracks here, there is a noticeable vinyl crackling in the mix. Budget recording or done for effect? Again, we’ll never know – and it doesn’t really matter. “Even Rainbows Turn Blue” shows how strong songwriting can shine even under harsh circumstances. Much like the guitar lead here, some of Lewis’ most interesting pursuits include little more than the draining synths and a singular instrument. Other than guitar, piano shows dominance, notably on tracks like “Love Showered Me”. Here, a spacey synth with a prominent phasing effect twinkles over a gentle piano melody, which travels for a minute before Lewis’ caressing voice emerges. A highly idiosyncratic presence, his fluctuating range and bevy of emotional cues brings comparisons like Nick Drake, Bob Dylan, and Arthur Russell. It’s as oddly and frailly beautiful as the instrumentation that surrounds it.

“Romance for Two” – lovingly inspired by Christie Brinkley – is another piece of beauty. “Can’t take my eyes off you,” Lewis sings. “What can I do?” It possesses a very minimalistic structure, essentially repeating the same verse for four minutes with subtle variations in the backing synth and Lewis’ vocal tones. Still, “Romance for Two” is one of the most hypnotizing songs I have ever encountered. Just like the songs on Nebraska, this is one of several efforts on L’Amour in which the melody gets stuck in your head for days. This unpredictable and very subtle infectious quality is perhaps most noticeable on “Cool Night in Paris”, which struts a bluesy twang with a swanky fluctuating synth. Lewis’ cool-as-all-hell demeanor brings to mind Serge Gainsbourg, especially on this track with its sensual shuffle.

It’s hard to even search for L’Amour on Google, much less find it in a store, as it hasn’t been pressed in nearly thirty years. So hopefully you’ll come across some links to download it. L’Amour is truly the definition of a lost treasure in music; it’s a release that went completely unnoticed at its time of release, only to be appreciated by a small but passionate following several decades later. There are an overwhelming amount of absolutely gorgeous songs on here so the recent surge is understandable. I just wonder why it took so long.

RIYL: Bruce Springsteen, Nick Drake, Arthur Russell, Serge Gainsbourg, Bob Dylan, Angelo Badalamenti, American Music Club, Tim Buckley, Bert Jansch, Jackson C. Frank, Elliott Smith, Leonard Cohen

Lewis – Romance for Two

Lewis – Cool Night in Paris

Lewis – Love Showered Me

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by Jay Mattson

I truly, honestly, and completely believe that Ryan Baer will be the next prolific folk artist to go down in musical history among company such as Bob Dylan, Richie Havens, and Woody Guthrie. Under the moniker The Haret, Baer takes Depression-era folk music and gives it a fresh coat of paint without deterring from roots deeply planted in American blues. It has been quite awhile since an artist or band has hit me so hard so quickly. The Haret put countless, far more famous artists to shame with his effortless, breathtaking jangles about women, traveling, and drinking.

The Haret sound like a 1940s Mississippi blues quartet that would be far more comfortable on the front porch of the general store than a modern music venue or bar. Instead, live recordings have revealed that Baer often performs this music alone… on the street. In fact, the live recordings of Baer are partly the reason why I was so fascinated with him in the first place. Baer plays three instruments at once. While picking at a banjo, he also sings his lyrics or blows into a harmonica. The part that makes Baer’s street performances so intriguing is the full-sized acoustic bass that he’s reconditioned into a foot-operated instrument with pedals and all. He plays everything all at once and it’s impressive, to say the least.

Unfortunately, words do little to convey the soul and passion Baer lays into his music. His raspy ramble of a voice works perfectly with his three-repeat chorus and callback. And while the album has many original tracks, I find Baer’s take on traditional blues and folk songs (i.e. – “Going to Germany”, “My Bucket’s Got a Hole In It”, “Take A Drink On Me”, “Stackolee”) to be simply infectious. He manages to take the original song and make it his own on every level. It’s difficult to sincerely empathize with songwriters of the Depression era if you aren’t somehow directly connected to that time period, but The Haret recall those years with such vibrant and rich fervor that Baer should be considered as an equal to the folk greats of decades passed. And this is a guy from Ontario, Canada! Boy, those Canadians can sure make some great Americana…

The Haret – Take A Drink On Me

The Haret – Going to Germany

The Haret – Ghost Girl

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Christopher Owens reached indie-rock gold by the end of last year. After steadily putting out a handful of singles throughout the year – “Hellhole Ratrace” in July and “Lust for Life” in September – he released Girls’ debut full-length, Album, to nonstop acclaim. A year-end list felt invalid without Girls’ laudable effort reaching the top twenty (I had it #18 on mine). So it only makes sense that a follow-up of any kind would be widely anticipated.

Girls’ new six-song EP, Broken Dreams Club, was recorded in San Francisco, but judging by the opening “Thee Oh So Protective One”, you would think it was made in a tropical paradise made out of palm trees instead. The soulfully tropical feel is defined by a mariachi-like fervor, with a verse of heavily melodic guitar flutters evolving to a marching procession of horns. Owens’ voice gets more perky here, and already it becomes prevalent that Girls have retained their most enjoyable aspects (hooks and no-shrills pop-rock) with some stylistic expansiveness. The sound on Broken Dreams Club is more massive and flexible than on Album. This is probably best demonstrated by “Substance” and “Alright”, the latter actually implementing some free-jazz into thunderous alt-rock riffs. Radiohead comparisons are not too far off here. This is easily the most ambitious track on the release, as the instrumentation dominates any vocal cues. It even begins to resemble post-rock toward the end, and judging by these excellent closing moments I would love to see Owens pursue more of the style.

“Substance” is also pretty interesting – and pretty. As Owens sells a mystery substance that can cure all mental and physical deficiencies, the initial youthfulness makes a stern transition into a bleak plea for societal integration. “Who wants something real, when you can have nothing,” he sings over a delicate ‘60s-inspired riff, not ascending above a somber whisper. It is a successful effort for sure, laudably not getting too caught up in the melancholic mood to ignore Girls’ catchy pop-driven hooks as well. The reverbed guitar strum is one, along with the guitar lead that begins right before the three-minute mark.

“Heartbreaker” and “Broken Dreams Club” are both on the more conventional side, the latter perhaps too much so with its languid pacing. “Heartbreaker”, though, is fantastic and easily competes with any track on Album. In its gleeful progressions flying high over somber lyrics, Owens begins to resemble Felt’s Lawrence in more ways than one. He packs a nasally snarl during the verse, complemented by acoustic strums that align with his heightening range. The chorus introduces a gorgeous set of keys that twinkle alongside Owens’ plying “why”s, many of which add an alt-country feel expanded more upon in the subsequent “Broken Dreams Club”.

The closing track, “Carolina”, again brings up some surprising comparisons – Radiohead, Wilco, Sonic Youth, and Dennis Wilson. Owens’ voice has sporadically resembled the late Beach Boy before, and the comparison to Wilson – who wrote two phenomenal albums – emerges most triumphantly during the song’s final minutes, where Owens’ “doo-wob wob wob – doo-wob wob wob” harmonizes beautifully with his enthusiastic yelps proclaiming “Carolina, caroooliina!”. He sings this after a build-up that blends both post-rock and alternative. After the abrupt guitar halts and anthemic vocals in the following bridge, the vocal harmonizing feels like a calming after a storm. This is one release where the only issue is length; understandably it is generous for an EP at 35 minutes, but several of these tracks are so gorgeous that my desire for a new Girls EP has increased even more, which I didn’t think was possible at this point.

9.0/10.0

RIYL: The Beach Boys, Dennis Wilson, Sonic Youth, Wilco, Bob Dylan, Jonathan Richman, Best Coast, Wavves, Surfer Blood, Real Estate, Beach House

Girls – Thee Oh So Protective One

Girls – Alright

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by Stephen Swett

Three years removed from his last full-length album, Canadian sensation Jeremy Fisher follows through with his most complete album yet. Released on October 25th, Flood is an outstanding collection of indie-folk tunes that will leave you craving more from this Dylan-esque singer-songwriter.

Jeremy Fisher began his musical career with the independently released Back Porch Spirituals in 2001. Essentially a tribute to Fisher’s greatest influence Bob Dylan, each track features lively acoustic guitar melodies and an accompanying harmonica. There is even a tune found here called “Song For Robert Zimmerman”. The sound, however, is raw, and most of the songs are pretty similar. A terrific debut, but Fisher would have to break away from his imitation of Dylan if he wanted to make an impact on the music world.

Moving along, his next work, Let It Shine, was released in 2004 to a smattering of fans, but this album would push Jeremy Fisher into the limelight for the first time. He finally broke away from traditional folk, employing a variety of instruments to supplement his superb guitar riffs. Several Canadian radio stations awarded his single “High School” significant airplay over the next year, spreading his name to the masses.

With an ever-growing fan base, Jeremy Fisher did well to keep his followers in awe with his third full-length album, Goodbye Blue Monday, released in 2007. Simply put, this is one of my favorite albums of the past couple years. Every song hits me like a delicious Thanksgiving dinner, and I feel completely satisfied after listening. The choruses are innately addicting, but unlike modern pop songs these do not get tiring or overplayed.

Like many Jeremy Fisher listeners, I was curious how one could possibly follow up such a masterpiece as Goodbye Blue Monday and, to be honest, was not expecting a comparable encore. Jeremy is now shoveling my words back into my mouth. Flood is fantastic, and it is clear now that Jeremy Fisher has fully grown into an expert singer-songwriter. His lyrics are clever and rich, while his melodies are still intoxicating. It is impossible not to sing along to his catchy choruses as well. It’s hard to imagine that former Bob Dylan-wannabe Fisher could transform his sound so completely into an individualized act. Now that he has found his own voice, this Canadian journeyman definitely has the talent to rise to the top of the indie music scene.

The album opens with the single “Shine A Little Light”, a delightful track that lends itself to being the single as it is probably the most conventional song of the collection and, therefore, fit for a wider audience. But that does not mean the song lacks spirit or energy. What makes the song even better is Jeremy Fisher’s homemade music video, featuring his iPhone.

The next track is called “Naked Girl” and is about exactly that. Despite the near immaturity of the song’s topic, Fisher is surprisingly able to blend profound lyrics with incredibly poppy ones. In one moment, Fisher sings, “Everybody wants to see a naked girl,” which I hope needs no explanation. Later on he sings, “The shadow of a shadow is the sun itself,” which had me thinking for a while after I heard it.

Next is the tune “Laissez Faire,” which is less of a critique on Western political-economic systems and more of a Vampire Weekend-like reggae-rock track. Once again, the chorus pulls the song together, and we now have three songs which are all in the running for the best on the album. What follows is the ukulele-driven “Come Fly Away”, which is best described as fun to listen to. It may seem like a lazy adjective to use, but once you hear it you’ll know what I mean.

The fifth song on the album, “Nothing to Lose,” sounds like it’s straight off Bob Dylan’s Infidels album. Fisher’s piano playing matches his talent on the guitar in this slower, uplifting ballad. The lyrics, “Life is just a speck in the sky, a teaspoon of honey, the blink of an eye,” bears a striking resemblance to Dylan’s simple yet enlightened verses.

“Alison” comes next and might be the best song on the whole album, although I could say that about every one. The infectious chorus carries the tune and leaves you wanting more. It’s gotten to the point where terrific and catchy choruses are just expected from Jeremy Fisher songs. How does this man keep churning out these unbelievable refrains song after song? Every band takes a track off here and there in order to fill in the gaps of an album, but Fisher maintains quality throughout.

Next we find “Morning’s Broke,” a beautiful and brilliant piano piece which offers a relaxing three minutes of listening. After that, however, Fisher reverts back to his immaturity with the track “On A Monday,” a song about “getting messed up on a Monday.” Once again, the chorus is supreme and lyrics down-to-earth, forming a tune that’s thoroughly enjoyable.

The simplicity of “Summer Rain,” Flood‘s ninth track, is refreshingly uplifting and bound to put a smile on your face. Next is a traditional folk jingle, “Umbrella,” which might easily be found on the Juno soundtrack if it were written a few years ago. Then, at the 02:40 mark of the song, Fisher switches drastically to a sing-a-long chorus which could have been a terrific song in itself. Jeremy Fisher ends strongly with “All We Want Is Love”, a song with a strong bass line and, (do I even need to say it?) a great chorus.

As a full compilation of tracks, Flood is extraordinary, drawing from a wide range of influences, and will hopefully cement Jeremy Fisher as one of the premiere indie artists to emerge this year. I fully recommend that you download this album. But be warned, once you listen to these songs you will be hooked on this Canadian musical talent for some time. Once believed to be a Bob Dylan impersonator, Jeremy Fisher has now found his own unique sound and should continue to impact the music world for a long time.

RIYL: Bob Dylan, Matthew Sweet, Kings of Leon, Kasabian, The Kooks, Tallest Man on Earth, The Dead Weather, The Black Keys

Jeremy Fisher – Come Fly Away

Jeremy Fisher – Cigarette

Jeremy Fisher – Shine A Little Light

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by Mike Mineo

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40. The Leisure Society – The Sleeper

Through glimpses of luxurious chamber-pop and melodic folk, The Leisure Society present listeners with a ceaselessly soothing style that is made memorable by lead vocalist Nick Hemming’s delicate voice and naturally infectious songwriting. Simplicity is a concept that The Leisure Society appear fond of, both in their charming songwriting and lyrical content. Whether they sing of yearning for the days when “life was so much simpler” in the ukulele-driven “Love’s Enormous Wings” or the overemphasis on assigned tasks in “A Short Weekend Begins With Longing”, it is evident that this British collective value enjoyment through the simple things in life, those in which people often overlook because of demanding schedules and occupational conformity. Abrasiveness is not found on one note throughout the 11 tracks on their debuting The Sleeper, showcasing the meticulous craft of Hemming’s songwriting.  The bare effort of a ukulele eventually finds itself complemented by an upright bass, woodwinds, and sparkling keys, paving the way for the song’s excellent development. The melody tends to repeat itself throughout the entire track, with the instrumental additions of a new string arrangement or woodwind accompaniment establishing the subtle melodic alterations. Considering that it is so beautiful though, it is hard to complain. The track perfectly summarizes how The Leisure Society are able to craft beautiful gems using little more than conventional structures and highly melodic instrumentation. Well, let us not forget Hemming’s stellar songwriting as well. On The Sleeper, all of these forms are showcased in an accessible and memorable manner that should have listeners coming back for more, whether they are in the middle of a workday or just beginning a weekend. The Leisure Society fit nicely on both occasions, even if they tend to be partial to the latter.

The Leisure Society – Love’s Enormous Wings

The Leisure Society – A Short Weekend Begins with Longing

Willkommen Records

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39. Atlas Sound – Logos

Another regular on this annual list, Bradford Cox has wowed visitors with both of his projects (Atlas Sound and Deerhunter) in the past few years. Easily one of the most interesting songwriters of the decade, Cox’s erratic and stream-of-conscious tendencies bring out a rare breed of musician that is neither concerned by commercial appeal nor structural fundamentalism. The result is always something creatively willing and unpredictable, whether it involves glistening post-punk, screeching experimental-rock, or lush ambient electroncia. Bradford’s most useful talent, in my opinion, is his ability to tame his ambition. Clearly he has an assortment of ideas, but his devotion to cohesiveness on each of his releases is inarguable. An early leak of Logos had Cox fuming, saying the leak was nowhere near the final product. When the final version was released, its fascinating appeal was not a surprise. Although he would have obviously preferred it never to leak, comparing a rough draft with Cox’s final version simply shines a bright light on his accompanist abilities. The album’s center stroke of genius, “Walkabout”, finds the dreamed-about collaboration of Bradford Cox and Animal Collective’s Noah Lennox come to fruition. It is absolutely gorgeous as one could imagine, ironically enough serving as one of the most pop-oriented efforts from both careers thus far. Cox and Lennox are some of the most inventive songwriters of the past few years, so to see them avoid previous ideals and stereotypes to create an absolutely stunning pop song is highly commendable. ’60s AM radio meets the lovechild of “Good Vibrations” and Animal Collective’s “Grass” and the result is profoundly effective. As far as the rest of Logos goes, Cox continues to marvel listeners with his raw throwback approach. “An Orchid” has an eerie air to it with heavy doses of acoustic reverb and clashing percussion. Cox’s vocals take on their lovingly indistinguishable feel, generating hooks as the slow plow of muddled acoustics push forth an elegant melody that slowly unfolds into gushing melodic bliss.

Atlas Sound – Walkabout (with Noah Lennox)

Atlas Sound – An Orchid

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38. Cats on Fire – Our Temperance Movement

Cats on Fire take listeners back to mid-’80s Britain. Familiarly clawing jangle-pop is their trade, led by a witty vocalist that sounds part operatic and part maudlin balladeer in his somber and quivering delivery. Their familiarity to certain jangle-pop legends are evident by now, we get the point. For this familiarity to negatively impact the band’s work, though, would be an absolute crime. This is simply the music they grew up on, and for once within the stream of new artists it has nothing to do with image or commercial appeal. Morrissey, Felt, and the Go-Betweens all show up for a cup of tea at some point throughout Cats on Fire’s second full-length, Our Temperance Movement, but none stay and chat for too long. The treatment of their influences can be integral in determining whether an artist prefers to imitate or innovate, and tending to such obvious artists more out of respect than imitation is how Cat on Fire’s evident growth in maturity is demonstrated on this sophomore effort. These are solid and impeccably arranged tracks and their precise songwriting is evident. This songwriting, a virtuous use of arpeggios, and rich melodies are the album’s biggest strengths. “The Borders of This Land” is one example of this arpeggiated mastery, which can be a tricky device for pop musicians considering its tendency to run rampantly and excessively. It brings to mind how Aztec Camera’s Roddy Frame impressed with his acoustic work on gems like “Oblivious”, or how Johnny Marr accentuated Morrissey’s sullenly unique voice with stellar guitar-centric production. The guitar work on tracks like “The Borders of This Land” and “The Steady Pace” bring to mind legendary accompanists like these, but acoustics are not the only force at work. The trickle of keys toward the conclusion of “Lay Down Your Arms”, the contagious use of muted harmonics on “Letters From a Voyage to Sweden”, or the burst of triumphant awe in “Horoscope” all provide plenty of satisfying variation. Our Temperance Movement is full of surprises like these, making its replay value considerably high for a pop album of its stature.

Cats on Fire – The Borders of This Land

Cats on Fire – Letters From a Voyage to Sweden

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37. Klum – We Carelessly Turned Amazingly into Nothing

It helps when all your bandmates are multi-instrumentalists, like in the California-based Klum. This versatile aspect allows their songwriting to serve as a display of an extraordinarily impressive cumulative effort, reinforced by a mutual dedication to melodic astuteness and successful pop experimentation that each member demonstrates in their own unique way. Klum’s second full-length album, We Carelessly Turned Amazingly Into Nothing, can show the band’s excellent chemistry just in the quality of the eleven songs alone, but experienced listeners will likely walk away more impressed by their ceaselessly unpredictable approach and tactful cohesiveness. Klum delivers the type of experimental pop music that hardly sounds experimental, an oddly exciting result that derives from infectious melodies, uplifting brass arrangements, and an unpredictable assortment of instrumentation and vocalists. are not restricted by any linear stylistic identity. “For Sale a New Life” plays like an amiable indie-pop charmer with its twinkling keys and ukulele accompaniment, while the fascinating “The Showmen” benefits from boisterous electric guitars, backing pub-like yelps, and concise brass arrangements. The former sounds like some spawn of Unicorns and The Leisure Society, while the latter finds distinctive comparisons to Elbow, British Sea Power, and art-rockers in the vein of Franz Ferdinand and Dogs. These comparisons alone suggest a vast difference in style on a track-by-track basis, which is true. But what must not go overlooked is Klum’s apparent ability to implement the stylistically diverse into a style that is honest, unique, and something that they can truly call their own. This is what they show consistently throughout We Carelessly Turned Amazingly Into Nothing and it attributes to an excellent release that this promising group should be proud of.

Klum – Nonbeliever

Klum – For Sale a New Life

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36. The xx – xx

The XX playfully list their influences in regard to opposite spectrums, commercial success and cult success. It is not so much dependent on style, but instead how similar approaches can end up differing dramatically based on the pressures of derivative automation. They like everything from Aaliyah to CocoRosie, Rihanna to The Cure, and Missy Elliott to Chromatics. Some sharp contrasts, sure, but their message is clear in describing their influences this way. This London-based quartet is the antithesis of independent elitism, showing both their adoration for mainstream pop music and independent stylistic mash-ups with a sound that contains the commercially receptive allure of acts like Rihanna and Aaliyah but without the repetitive, industrialized facades that tarnish their images. It makes it even more amazing when considering the three members are barely of legal drinking age.  Like Junior Boys or early Air, The xx’s debut 2.0 possesses a late-night feel that can be attributed to serene soundscapes, mostly led by a rumbling rhythm section that paces itself perfectly. It complements chilly synths and husky vocals with absolute precision, alternating between concise bass lines and highly rhythmic propulsions when the song calls for it. It helps that, like many musicians, The XX seem to work almost exclusively at night. The quality shows. Oliver Sim and Romy Madley Croft are responsible for these aforementioned vocals, showing their beautiful abilities in the form of both duets and solo accompaniments. Their voices often sound trapped in an icicle-laden cave, the reflection of reverb becoming apparent due to the minimalistic arrangements. Synthesizers and guitars collide in the beautiful “Infinity” as both interchangeably emit a soulful croon, with a slight tinge of Afro-pop being evident in the spright keys of the similarly presented “Basic Space”. All 11 efforts on 2.0 unfold with beauty, elegance, and precision, never hesitant to surprise a listener with innovation enclosed in an atmosphere of ethereal beauty.

The XX – Basic Space

The XX – Crystalised

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Rough Trade Records

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35. Antony and the Johnsons – The Crying Light

A piano is usually the only instrument Antony Hegarty needs to emit his wide range of emotions, and that is if we are being greedy. His voice is one of those rare entities that sounds beautiful and flawless regardless of accompaniment or lyrical content. The motivation for his naturalist lyrical disposition and words of worth are driven purely by his passion for music, a reverence that can be displayed through the sincere quiver in his piercing voice, the haunting arrangements he is able to so masterfully conceive, and the transcendent melancholic perspectives that are enriching rather than demoralizing or melodramatic. “One Dove” is a pretty little stunner, the sensual aroma of ’50s brass sweeping up after the elegant keys and Hegarty’s whimper subside into little more than a percussive rattle. I have been in love with this man’s voice since their self-titled debut in 2000, but The Crying Light finds new heights for Antony in his musical ambitiousness. While previous efforts consisted mainly of ballads and occasional anthemic stomps, the exploration of various genres throughout The Crying Light is breathtaking. One can enjoy the jazzy influence of “One Dove” with its brass developments or even explore operatic musicals on Broadway with the very expressive “Everglade”. A masterful and sweeping closer to an excellent album, the use of various orchestral instrumentation plays wonderfully over Antony’s vocals. “Epilepsy Is Dancing” is notable for being one of the album’s more accessible efforts in its rapid demeanor, restrained only by an orchestra section not all too familiar with dance music. The Crying Light brings so many interesting circumstances like these to light, in turn crafting an excellent album that sees this extraordinarily talented songwriter still finding room to grow. Few artists take such tremendous strides with each successive release as Antony.

Antony and the Johnsons – One Dove

Antony and the Johnsons – Everglade

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34. Foreign Born – Person to Person

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born is one of the few to prevail. Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Garrett Ray has a strong presence with his fierce drumming skills. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. Merely avoiding the sophomore slump is an achievement in itself. To make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

Foreign Born – Early Warnings

[audio:http://mineorecords.com/mp3/fborn-ear.mp3]

Foreign Born – Blood Oranges

Secretly Canadian Records

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33. Richard Hawley – Truelove’s Gutter

Richard Hawley continues to produce the best solo career out of any former Pulp member, releasing albums consistently enjoyable enough to separate himself entirely from any past associations.  Low-key and proud of his modest English background, Hawley has perfected the craft of luxurious and inoffensive pop music. His style has always recalled a “Wall of Sound” influence, complete with reverb-heavy strings and twinkling keys that play counteractive to the slick guitar licks and a soothing vocal presence. His last two albums, Coles Corner and Lady’s Bridge, were fantastic so the success of Truelove’s Gutter is not that surprising. The album’s most striking track, “Open Up Your Door,” is one of Hawley’s best efforts to date. Backed by a stirring accompaniment of strings and guitars that propel into an emotional wrath of various interweaving orchestral instruments, it finds this simple but resounding sentiment at the forefront: “Love is so hard to find, and even harder to define.”  “I’ve never been so sure,” is the only other phrase repeated throughout this lengthily gorgeous chorus on “Open Up Your Door”, but Hawley’s confidence has never sounded so sincere and effective. The music really shows it too. ’50s maudlin balladeers were obviously an influence for Hawley’s throwback style, and his ability to integrate this with the chops he learned as Pulp’s former guitarist and as a solo artist is what makes Truelove’s Gutter so magical. Like his close friend and collaborator Jarvis Cocker, Hawley’s work remains most appealing to an English audience. His lyrics reflect the English lifestyle to a sympathetically engaging effect, often using native landmarks of Sheffield in naming his album and song titles. Truelove’s Gutter is further remarkable for expanding upon this limited ideology. A romanticized focus on universalized loss is more consistent throughout the album, with flourishes of optimism appearing in forms of instrumental capriciousness. As usual, Hawley has delivered with another outstanding album and step forward.

Richard Hawley – Open Up Your Door

Richard Hawley – As the Dawn Breaks

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32. Neon Indian – Psychic Chasms

Neon Indian was clouded in ambiguity for quite some time before Alan Palomo (Vega) and Alicia Scardetta were revealed as the duo behind the illuminating glow. It followed in the footsteps of recent electronica artists, who in the vein of artists like Burial used ambiguity to their advantage. The reason for ambiguous success on Neon Indian’s part is the atmospheric ability that the group conveys, evident in a style that strays on the borders of dream-pop, italo-disco, and psychedelic electronica without fully committing itself to one specific niche. The approach is consistent throughout their debut EP, Psychic Chasms, and results in one of the most promising releases of the year. In addition to using sparkling synths and hazily reverbed vocals to construct their style, they hold something in common with Sweden’s Air France. They released an EP, No Way Down, in 2008 that brought their radiant electronica to the masses due to widespread acclaim. Psychic Chasms is nearly identical in length and overall quality, providing listeners with a sample that should have them excited for the duo’s promising future. “6669 (I Don’t Know If You Know)” shows how their music is both innovative and accessible, blending in varying elements of pop and electronic. The vibrato-led bass line is reminiscent of italo-disco and dance, but the fusion of wavering synths and tranquil vocal melodies appears more indicative of dream-pop or even shoegaze despite its technological origins. The beauty of this track arises in its multiple layers, as they accentuate one another beautifully with a blissful style of production that capitalizes on the consuming flexibility of synthesizers while maintaining a lo-fi quality that it not hindered by forceful or overly elaborate components. Although Psychic Chasms lacks the length of a consummate album, it shows enough to provide Neon Indian with the credibility they need to get their music deservedly exposed to an audience that does not have to work hard to enjoy it. This is the type of stuff that consumes and rewards the listener effortlessly.

Neon Indian – 6669 (I Don’t Know If You Know)

Neon Indian – Deadbeat Summer

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31. Afternoon Naps – Parade

Afternoon naps are a pretty amiable thing to name your band after, even if it is hardly the most exciting. These few hours are simple but highly productive, at least in the sense that recuperation amidst a weekday’s chaos is rare, and these are the reasons why it can be so enjoyable. Although somewhat misleading, this was precisely the intention the Cleveland-based Afternoon Naps had when exposing their sound. They do not hold back that their structures are traditional, their instrumental selection is restrained, or that their influences have been making great power-pop before them. It sounds familiar and simple, just like their namesake, and this is ironically why their second full-length album, Parade, has resulted in such a success. It sounds like a product of shimmering jangle-rock, catchy ’60s pop, and richly arranged Brit-pop, all genres interconnected by a similar tendency to remain durable, accessible, and musically impressive throughout the simplest of appearances. Simplicity does not always correlate with predictability though; guitars, keys, synths, and bass were all lead instruments at some point for the greatest of these artists in their respective genres. Afternoon Maps should become notable with Parade for applying just this, which results in a remarkable sophomore effort that sounds both freshly invigorating and oddly nostalgic. Some of the finest creations on Parade are influenced by psychedelic-pop, as “Beach Bums” could easily show. Complete with its lead organ, bustling rhythm guitar, and accompanying acoustics, “Anything you want to ask of me just whisper it to the breeze,” they both sing. “I will try my hardest not to scream as waves crash on top of me.” The melodrama of ’80s British post-punk and jangle-pop is certainly evident in the lyrical content and vocal tone of both singers, and the melody is more distinctively reminiscent of psychedelic-pop with its hazy underlying production and use of reverb. Parade is a colorful album with its nostalgic influences and sharp production, and it results in resounding success because most of the songs refuse to keep in a straight stylistic line.

Afternoon Naps – Beach Bums

Afternoon Naps – Mitten Fingers

HHBTM Records

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The post Best Albums of 2009: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

Foreign causes are often distinctive enough to warrant recognition on their own. Food is probably the most common instance of this, with the international food industry comprising for a substantial bulk of food sales in the US. After all, restaurants that are in contrast to burger joints and other casual American delicacies offer more than just food. Atmosphere is just as important, and for exotic eateries it can be the difference in retaining a customer or turning them away. There is the actual product and then the appearance, which can either relate to the appearance of the product or the atmosphere in which the product exists. Such distinctions surprisingly overlap into the music industry as well, with the allure of a foreign product being comparable. Audiences become consumed by how songwriting techniques vary from country to country, how these international musicians present their work, and how prominently their influences are displayed (in addition to who their influences actually are). It is a change of pace, and for that audiences may become more lenient or even ignore them altogether due to their foreign status. After all, culture shock can be intimidating and this relates to numerous areas, including food and music. Although their name suggests otherwise, Foreign Born are simply a bunch of guys from Los Angeles. However, their music implies a more collective fusion of influences that makes their presentation distinctive enough for the title.

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born looks to finally prevail with a new album that blends their large assortment of influences beautifully.

To avoid the factor of intimidation that applies to most music with a variety of inspirations, Foreign Born’s new album, Person to Person, has the distinction of treading within a familiar style while exploring new territory in each song. Their first album, On the Wing Now suffered from a lack of cohesion despite some worthwhile standouts, serving as an example of a young band with heaps of potential but a lack of focus. Despite this though, they were proclaimed as one of the most promising groups in the LA area and earned some generally positive reviews. The most prominent aspects of the album included Matt Popieluch’s soaring vocals and Garrett Ray’s outstanding drumming ability. Foreign Born held the distinction of being a group with a capacity for anthemic heart-pumpers, and this is hardly different on Person to Person. If anything, this strength is capitalized upon even more with the expansion of the group’s instrumental repertoire, featuring an assortment of woodwinds, strings, brass, and synths. From the twinkling of synths in “It Grew on You” to the exotic, Lennon-like use of strings in “See Us Home”, there is plenty of eclectic musicianship on Person to Person. This is where the importance of Ray shines more than ever, as he is often the only steady force amongst a flurry of impressive instrumental additions. With an astute ability to turn even the simplest melodies into an intricately empowering force and the overly complex efforts into a more accessible format, Ray is largely responsible for restraining the group’s lofty ambitions to a point where their material is accessible and instantly rewarding.

Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Ray’s largely complementary role in modifying some good songwriting to make it excellent. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. The feel-good nature of “Early Warnings” benefits heftily from this, as the verse’s lack of frantic percussion complements the unavoidable entry of it in the chorus extraordinarily. “Blood Oranges” also offers an excellent build-up, primarily found in a stunning rhythm section led by Ray and bassist Ariel Rechtshaid. “Anthemic” was a word used often to describe Foreign Born’s debut, and Popieluch’s vocal performance here remains indicative of that as well. On the Wing Now was impressive for a debut album, but Person to Person exceeds it on most fronts in being the summation of Foreign Born’s underrated depth and potential. Merely avoiding the sophomore slump is an achievement in itself, to make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

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Foreign Born – Early Warnings

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Foreign Born – Blood Oranges

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Foreign Born – It Grew on You

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Experience is invaluable toward the delicate craft of music. Despite some ingenious qualities, all artists have only a limited amount of entirely imaginative ideas with little to no personalized dimensions involved. Their personal lives encompass a degree of relevantly invigorating reflections – whether it is through their own experiences or those of their acquaintances – that uplift their music into something that is wholesomely personal, consequently making their material enthralling if other more musically-laden elements are successfully prevalent. Whether you look at legends like Bob Dylan chronicling the unlawful justices of historically documented racism in a track like “Hurricane” or Johnny Cash relaying the rite of passage from youth to adulthood on “Don’t Take Your Guns to Town”, the majority of the most venerable songwriters of this generation and past have used both events and experiences that they have personally related to in an effort to make their music much more than a catchy melody or a series of intricately impressive arrangements. They have created art that is both admirably thought-provoking and genuinely invigorating, aspects that many contemporary artists now take wisely to heart. While looking at her influences and admirable method of songwriting, it is quite evident that Jolie Holland values many of these aspects in a form that other modern artists push foolishly aside.

For her fourth studio album, Holland has taken on a thematic approach that will not seem bizarre at all to listeners of her previously acclaimed three albums. Ever since the release of her debut album, Catalpa, in 2003, listeners have been treated to her perspective viewpoints on the present and past, a constantly reoccurring theme among her albums and the songs within them. As one of the founders of The Be Good Tanyas, Holland found her ambitions to be too individualistically expansive for a group atmosphere, departing from the group in 2001 after contributing to the release of their first album, Blue Horse. After a move back to San Francisco, she began smoothing out her pre-written songs and put them in demo form. The demos exhibited a remarkable fusion of folk, blues, and country, with tinges of the latter showing Holland’s original Texas roots in stylishly memorable form. It was even enough to grab the attention of Tom Waits, the legendary songwriter whose selfless qualities have always seen him swoop up unrecognizable songwriters into a deservedly influential spotlight based on his name alone. He even went as far to nominate Catalpa, her released collection of demos, for the Short List Music Prize. It did not make the final cut, but gave her plenty of recognition to garner a substantial fan base and begin work on her second album, Escondida.

Translating to “hidden” in Spanish, the titling of Escondida was somewhat ironic in the sense that it uncovered Holland to an even broader audience with her first batch of new material designed specifically for one album. It was received just as well as her debut, displaying a variety of classic American genres with her accustomed forms of folk and country now being integrated with a sharp jazzy demeanor. In addition to playing a handful of instruments on the album herself, she was also credited with production credits in addition to lead vocals, guitar, piano, and ukulele. The album was a somewhat lighter experience than Catalpa without sacrificing the brooding imagery and eclectic thematic grasp, resulting in an album that was just as strong as the first. Her third album, the bleakly titled Springtime Can Kill You, saw the most widespread acclaim yet with Holland once again taking the helms as producer in addition to lead songwriter. The style was a continuation, but many felt that the batch of songs that Holland put out were the most captivating of her new but exciting career. French horns, glockenspiels, tubas, accordions, and Hawaiian guitars were only a few of the instruments that accompanied Holland’s impressive stylistic accompaniment. From the progressively jazzy demeanor of the title track to free-flowing country tracks like “Moonshiner” and “Ghostly Girl”, the album was a winner in all formats.

To keep up with her constant discography, Holland released her fourth studio album, The Living and the Dead, on October 7th through Anti Records, the label that has released all four of her albums. Now featuring a few familiar names like M. Ward and Marc Ribot on guitar, Holland resumes her role as producer (alongside Shahzad Ismaily) and lead songwriter on ten tracks that again define why her simultaneous grasp of several American music genres is hard to compare amongst contemporary songwriters. It is highly prevalent even on the opening “Mexico City” that her talents as a vocalist should not go overlooked either, as they are responsible here for a variety of emotionally credited hooks that sees her extensive vocal range quiver and somberly reflect upon the loneliness of life’s travails as she concludes resoundingly by repeating the album’s title, “the living and the dead”. It is all part of the album’s theme, one that opts to successfully display the emotional embodiments of the past and present. Like songwriters in the vein of Tom Waits, one of the individuals responsible for bringing the talented Holland to light, she is able to create characters and scenarios that effectively portray her thematic intentions and genuinely foretold experiences effectively.

“Only a few old petals left on the rose that touched your hand,” she sings on the ceaselessly expanding guitar-led fervor of “Palmyra”. “My little heart is a graveyard; it’s a no man’s land.” Frustration, regret, and moving on are all highlighted in this outstanding effort, proving to be yet another great example of Holland’s talents as a lyricist and songwriter. Other highlights include a sparsely enjoyable cover of “Love Henry” with subtle electronic elements and the exotically enthralling thump of the rhythmically led “Fox in Its Hole”. As for the majority of The Living and the Dead, I found it to be her best release yet. Considering that she seems to be getting better with each successive release, it should only be a matter of time before she becomes a brand name in a genre that will never be quite singularly definable.

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Jolie Holland – Mexico City

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Jolie Holland – Palmyra

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Jolie Holland – Fox in Its Hole

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Taking a voice away from a vocalist is like taking away a pen from a writer, a brush from a painter, and the means necessary to express genuine ideals from any type of artist. Though Brandon Summers will always have his skills as a guitarist to fall back on, one can only imagine how he felt when a doctor informed him in 2005 that he would lose his voice if he did not take an immediate break from singing. As half of the Oregon-based duo, The Helio Sequence, he retrospectively knew that the precautions would be necessary. After all, after nearly a decade of playing together, Summers and best friend/keyboardist/drummer Benjamin Weikel had finally hit the big time. About a year earlier, the duo had signed with the prestigious Sub Pop label, releasing their third album (and Sub Pop debut), Love and Distance, a few months later. Jumping to such a prominent label meant an onslaught of back-to-back shows along with other media obligations, eventually taking its toll on Summers both vocally and mentally. The beginnings of Summers’ vocal difficulties can be traced back to a lengthy six month stretch of shows after the release of Love and Distance. Alongside the likes of Modest Mouse, Blonde Redhead, and Kings of Leon, The Helio Sequence chugged on as Summers’ vocal chords grew weaker and weaker as he attempted to wash the pain away with songwriting and whiskey. At one point, he resisted talking during daylight to save his vocal energy for gigs at night. Eventually though, it got to a point where he could not carry on. As he recalls, “Going into 2005 I actually had to think, ‘If I lose my voice, what will I do?'”

The Helio Sequence’s fourth album, Keep Your Eyes Ahead, is impressive in so many more ways than a listener without background knowledge of the band would even begin to comprehend. It is demonstrative of the duo’s dedication to their work, as Summers has successfully overcome an obstacle that most vocalists would consider a career-ending plague. Nearly like a baby learning how to talk, Summers began a self-teaching process in 2005 that involved vocal exercises, jogging, and microphone techniques, all in an effort to revive an ability that was unfortunately all but lost simply because of the duo’s commitments to their show-going fans. In addition to lots of Throat Coat Tea, Summers also attributes his vocal rediscovery to an artist who, despite a continuously weakening voice, continues to dominate the music industry whenever he releases new material. Yes, of course – Summers listened and sung along to Bob Dylan songs as an exercise of sorts, an appropriate method that turned out to work quite effectively. Though Dylan was never the most powerful of vocalists (he let his music and lyrics do the talking), there is no arguing that he did the best with what he had. On Keep Your Eyes Ahead, Summers takes a similar approach. Though his vocal range and flexibility has diminished noticeably, he still carries himself well on all 10 tracks. Friends since their middle school days, Summers and Weikel appear to have a bond that will not allow any obstacles to block their pathway to success, even if it means reconfiguring a primary aspect of their sound altogether.

It remains somewhat ironic that although Summers’ vocals are not as strong as The Helio Sequence’s past three efforts, Keep Your Eyes Ahead is the duo’s most enjoyable release since their excellent debut, Com Plex, in 2000. This is not to say that his vocals are by any means weak though; they are just weaker in comparison to their previous releases. In fact, if one were not familiar with his past struggles, I would be surprised if any listener even identified Summers as an individual whose vocal chords are damaged. One listen to the album’s most engaging track, “Can’t Say No”, should prove that wholeheartedly. It is the strongest form of songwriting that The Helio Sequence have displayed in several years, with both the instrumentation and vocal work being highly impressive. Initially led by the fluttering of a spacey synth-led melody that glides serenely throughout the entire song, a series of reflective guitars eventually supplements the entrancing melody. “Even if you wanted to, even if you could, oh-oh you can’t say no,” Summers sings effectively during the song’s infectious chorus, marking one of the most accessible moments on Keep Your Eyes Ahead. Though the influences that they earned in their first two releases to shoegaze and psychedelic post-punk acts in the vein of My Bloody Valentine and the Jesus & Mary Chain will be relinquished by this form of synth-oriented indie-rock, the transition appears suitably enjoyable. Though I still prefer the sounds of psychedelia and drenched reverb in their earlier material, Keep Your Eyes Ahead presents plenty of gems in a genre that The Helio Sequence manage to pull off just as well.

Considering that I personally found their Sub Pop debut, Love and Distance, to be an unexciting step back from their excellent first two releases, Keep Your Eyes Ahead is a fresh sigh of relief. Despite the stylistic transition that the duo has chosen to take, the majority of tracks are executed successfully. “The Captive Mind” appears more guitar-led than its preceding “Can’t Say No”, drawing noticeable comparisons to Modest Mouse in Summers’ fast paced, Isaac Brock-like delivery. The comparison is not at all surprising though, as Benjamin Weikel played drums for them on their 2004 album, Good News for People Who Love Bad News. The chorus in “The Captive Mind” distinguishes itself as a variation of guitar effects and transitioning vocal pitches, hearkening back to the band’s first two albums in superb form. Though the vocal melody is repetitive, the slick guitar licks and imposing underlying production effects provide for an exciting listen. As the longest track on the album, “Hallelujah” stretches only 4 and a half minutes long and, though it can be conventionally classified as the album’s anthem with its hearty chorus, it proves to be yet another spectacle of sheer accessibility. It being the longest track also provides good indication of the album’s general structure; Keep Your Eyes Ahead is filled with 3-minute songs of a consistently accessible nature, often interchanging variations of synths and guitars over Weikel’s steady percussion. And once again, Summers has to be commended for a job well done. Though his superb guitar work is appeasing as expected, his ability to handle the vocals proficiently after his past experiences deserves considerable praise. The satisfying Keep Your Eyes Ahead drops on January 29th.

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The Helio Sequence – Can’t Say No

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The Helio Sequence – The Captive Mind

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The Helio Sequence – Hallelujah

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Americana has taken quite the beating over the past couple of years. The genre appears to be the custom choice for overplayed car commercials and embarrassing NFL promos, giving the namesake for rootsy American folk a bad reputation for the younger crowd in the process. It is a shame too, as many youths who are unexposed to quality music may brush off quality artists like Uncle Tupelo, Will Oldham, and The Jawhawks without even giving them a chance. Those three artists are just commonly used examples too; the genre actually remains quite flexible in its classification. Popular artists like Bob Dylan and Johnny Cash could be grouped into the Americana circle without any suspicious glares, as the genre remains to be a steady blend of folk, country, rockabilly, and alternative. I just find it to be a shame that some popular songwriters seem eager to tarnish their reputation with intentioned overexposure. Sure, while it may be hard to turn down such a substantial paycheck, I find myself asking why artistic credibility is declining at such a rapid rate. There are actually some people who consider commercialized mediocrities like John Mellencamp’s “Our Country” and Bon Jovi’s “Who Says You Can’t Go Home” to be the epitome of quality in its respected field of Americana. Do esteemedly knowledgeable music fans think this way? Of course not, but I truly believe that even the most casual of music fans deserve to be treated with the best quality possible.

Based out of Washington, Kasey Anderson is one of these overlooked artists within the resilient genre that could easily be defined as quality. While his structural ambitiousness and will not earn him a spot in an overplayed Chevy Silverado commercial, he should take it in stride. His recognition comes more in the form of his solid arrangements and cohesive melodic delivery, not cheesy choruses or generic lyrical emphasis. With such prevalent talents, he will be sure to earn that check elsewhere in a more respectable way. Those familiar to Anderson should remember his second album, Dead Roses, well. Released in 2004, he propelled Anderson to a state of critical acclaim, earning a spot on several year-end lists that heralded his comparisons to Steve Earle, John Mellencamp (his older material), and Bruce Springsteen. Such comparisons were suitable too, as Anderson has the ability to relay a heartbreaking story while utilizing the involvement of expertly crafted instrumentation. It is a lost art that, when you find an artist with its ability, should be cherished. Dead Roses was ultimately a romantic album, detailing heartbreak and fragile emotions over the delicate delivery of acoustics, keys, and strings. Often found transitioning between songs of story-like and poetic detail, Anderson’s most prominent strength comes in the form of his genuine lyrical involvement. Whether he speaks in first-person or from the perspective of a fictional character, his power to elicit sympathy is extremely admirable.

For those who were satisfied with Dead Roses (and I don’t know many who were not), you should be pleased to know that Anderson’s newest album, The Reckoning, is a continuation of Anderson’s previous strengths with a larger emphasis on diversity in tow. Along with his tender acoustically plucked ballads, Anderson shows shades of rockabilly and country in enjoyably overlapping forms. It is what one should expect from an artist releasing his third album. At this point, Anderson is familiar with the production and songwriting aspects of classic American folk and he certainly demonstrates such capabilities throughout the ten tracks on The Reckoning. The album is more thematically cohesive than his other material, shying away from any minor cliches that may have made his material somewhat unaccessible to those previously exposed to him. Being from a perspective that is more character-based than singularly represented, The Reckoning is Anderson’s most engaging material yet, from both a lyrical and musical perspective. “These characters are all at odds with their circumstances, they’re all in a position to make a choice for change,” Anderson says of the focus on his newest release. “These songs are about the moments that lead to those choices, and the consequences of the decisions made.”

With The Reckoning dealing largely with the state of human discontent, the songs are shrouded in a tone of romanticized desperation. Anderson’s voice reaps from its amiable raspiness, a seemingly content trademark for artists who tend to stray in topics of imagery and personification. However, like the influences before him (specifically Springsteen), he shows the ability to transition between vocal approaches throughout the album. On the exceptional opening self-titled track, Anderson’s tone is gritty and hoarse. “The Reckoning” beckons upon a feel of minimalism, using a repetitive key progression over the thump of percussion as peaks of guitar distortion shudders through the song’s climax. He remains in the same tone throughout the majority of the duration, showing his most prevalent strains of emotion once the buildup subsides toward the conclusion. The lyrical content is politically and emotionally rousing, making the gritty approach suitably invigorating.

Throughout the distinguishable lyrical moments of the “The Reckoning”, Anderson appears to be speaking to a higher authority, possibly in the vein of the supreme court. “Sir, I have no doubt that justice is somewhere out there,” Anderson admits. “Between the rise of ground and the siren’s howl, it’s just gettin’ a little hard to hear.” As the intensity of the instrumentation gains momentum, Anderson questions the legibility of the justice system and equality in general. “How can you stand all that blood on your hands?” he implores before asking his final question: “Who pays for this? Who pays for all of this?” His boldness to question the system of justice is not at all startling. He sounds powerfully convincing, as the resounding effect that the chilling instrumentation has attributes to general effectiveness of the song. To see a slight shock factor, compare “The Reckoning” to the carefree tone of “Wake Up” and “Hometown Boys”, two catchy songs that dwell on aspects of rockabilly and country while simultaneously giving verbal nods to Leonard Cohen and small-town daydreaming. Anderson’s ability to write masterful songs of political, romantic, and carefree impressional tones is a skill that remains difficult to rival. The Reckoning is certainly a strong display of it.

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Kasey Anderson – Wake Up

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Kasey Anderson – The Reckoning

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Kasey Anderson – Hometown Boys

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