On the heels of next week’s CMJ festival in NYC, Tim Williams is exemplary of the local favorites you are bound to find there. The Brooklyn-based songwriter caught one of his first breaks at CMJ in 2004, shortly after his debut Tales of Digression, and has been riding the wave ever since. Employing a very formidable style of indie-pop, Williams’ mixture of slick guitar riffs, inventive chorus-based hooks, and ardent vocals with the occasional yelps and grunts should cater to fans of Phoenix, Ben Kweller, Danielson, and Modest Mouse. His sound has a very contemporary feel to it, due in part to the continuous sense of capriciousness that his caressing vocals and versatile guitar work collaborate to produce. As a result, Williams has always been one or two hits away from holding a similar status as these major players. He has always enjoyed little more than local success though due to his past two album’s lack of exposure and focus. Their primary gratification was the demonstration of potential rather than fully embodied talent. The songs on Tales of Digression and its 2007 follow-up, When Work Is Done, sometimes appeared rough around the edges or devoid of focus, but what they did have was an imaginative premise with expertly integrated hooks. Cohesiveness was simply the final ingredient that Williams was missing to formulate his success.

Williams’ third album, Careful Love, continues the artistic maturity that its predecessor, When Work Is Done, showed off so impressively. It is not that Williams is particularly groundbreaking or stylistically inventive; his style of indie-pop should sound familiar to anyone with an ear or two. Instead, it is what he makes of it that is so worthwhile. Listening to snippets of any given track probably will not convince anyone of his artistic merits, but what a full listen of Careful Love exposes is a sensibility that is rare amongst most contemporary pop songwriters. There is a sense of virtuosity here, which in itself is a commodity since the respective genre is one where playing it safe is often advised. Williams does a little bit of both on Careful Love, mixing imminent college-radio favorites like “I Hit Another Wall” and “Oceans” with more avant-garde efforts (at least for the realm of indie-pop) that explore varying tempos, deliveries, and styles ranging from the dab of funk in “Ozone Street” to the electro-industrial influence of the rhythmically inclined “Right All Along”. When these are supplemented every other track or so that instead contain breezy, carefree indie-pop that requires little attentiveness to enjoy, it finds a nice middle ground between overly accessible indie-pop and intimidating avant-garde.

That Careful Love falls into neither category as a cumulative effort is a feat that his previous two albums did not accomplish, though When Work Is Done came close to doing so. Williams wrote this most recent effort after he successfully underwent open-heart surgery in May 2008, wasting no time after getting out of the hospital in writing tracks that packed more sincerity and expansiveness than before. One of the reasons for this expansiveness was the addition of a full band, which make their appearance on Careful Love in fantastic form. Where previous efforts would find Williams strumming his acoustic guitar with little to no accompaniment, the heightened sense of collaboration on Careful Love also attributes to the stylistic ambitiousness that the release portrays. “Stilts” is another nice example of Williams’ inventive indie-rock, utilizing the sounds of a sliding electric guitar and reflective arpeggio as Williams . This particular vocal technique is done throughout the album, with yelps or whoo-hoos making apt appearances on entertaining choruses that also include “Right All Along”, the orchestral dramatics of “I Want to Die in California”, and “Oceans”. The latter is so serene that it almost becomes reminiscent of Coldplay with its melancholic keys or Little Joy with its bright guitar chords. The title implies relaxation and the composition strongly enforces that carefree ideology with a brisk melody and flourishes of tropical bliss.

Another interesting cut on the album includes “I Want to Die in California”, a genuinely touching closer that reminds me of David Vandervelde’s fantastic debut, The Moonstation House Band. In that album he juggled grandiose orchestral-pop with the likes of indie-rock and glam-rock, resulting in something both nostalgic and groundbreaking. This effort is quite similar, finding Williams converting his classically soothing indie-pop croon to one with a western-ish twang. It feels particularly old-fashioned with its natural pianos and strings on an album that is primarily led by guitars and electronic tweaking, but that is also part of its allure. He finds himself singing in the vein of Dennis Wilson, who was able to turn the simplest pop songs into awe-inspiring achievements of emotion with his vocal and songwriting talents. A songwriter like that is perfectly justifiable for comparison, as Careful Love shows an artist who is just beginning to recognize his own emotive skills. Williams’ songs have resulted in an album that will be looked back on as the commencement of Williams’ most prominent growth as a songwriter. When he takes the stage at CMJ this year, audiences that saw him five years earlier will likely drop their jaws at this guy’s improvement. He is still showing heaps of potential, but he has durable quality and consistency to back it up now.

RIYL: Phoenix, Ben Kweller, Danielson, David Vandervelde, Modest Mouse, Dennis Wilson

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Tim Williams – Ozone Street

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Tim Williams – I Want to Die in California

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Tim Williams – Right All Along

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by Mike Mineo

The author for the impending Flaming Lips biography must have it rough. There are few bands as consistently groundbreaking as Wayne Coyne and company, who would often devote concepts or stylistic trends into their work that defy the conventional norm. There was never a concise way to describe this band, whether referring to their one-of-a-kind live performances where a glowing Coyne-filled ball crowd-surfs in the audience or the ambitiously lofty career which describes their sound as still not concisely defined after over a dozen albums. This is precisely why the Flaming Lips will be remembered as one of the best bands of the past three decades, for their ability to remain entirely relevant and thought-provoking throughout that span in the midst of several stylistic revolutions is exemplary of their masterful demeanor. The thing with the Flaming Lips is that they were always ahead of the curve, preceding ’90s alt-rock with their late ’80s material and symphonic electronic-pop with legendary cuts like Yoshimi Battles the Pink Robots in the ’00s and its ’90s precedents. The latter is perhaps their most popular release, though part of the band’s beauty is that everyone seems to have a different favorite album. Yoshimi, The Soft Bulletin, and Transmissions from the Satellite Heart usually appear to be among the favorites, showing why The Flaming Lips have indeed lasted this long. The diverse acclaim attributes to a lack of consensual decisiveness among fans, which is strongly indicative of the group’s grasp of incomparable creativity and consequential stylistic relevance.

It would be easy to give the Flaming Lips a free pass at this point since they have yet to release a lackluster album in their 26-year career, but their releases are often such a mind-consuming experience that it becomes impossible not to criticize or complement. Their twelfth studio album, Embryonic, is particularly true of this. Immediate comparisons this will involve Zaireeka, their massive other double-disc offering, but only because of the effort’s enormous scope. There has been no other Flaming Lips album that is strongly comparable to this one, both in thematic effort and general style. Basically, Embryonic is a mess when compared to the ethereal works of Yoshimi or The Soft Bulletin where laid-back anthems like “Do You Realize??” and “Race for the Prize” were Lips standards. On Embryonic there are no heartwarming singles that casual fans will adore, nor fluttery examples of bubblegum-pop that provide some ease to the always-present level of experimentation. So, with this in mind, why exactly is Embryonic one of their best releases to date? Like many Flaming Lips releases, the reason becomes apparent after a full listen. Even though there is little conceptual theme or directed cohesiveness on Embryonic, the group’s tendency to constantly explore and engross in varying musical realms emits a vast array of satisfaction that accumulates throughout the release to eventually create one of the most lasting impressions of the year.

Like most Flaming Lips albums, Embryonic begins with a kick-in-the-face sort of track. Guitar distortions whimper in disarray, the reverb-heavy percussion plays with a sense of unpredictable fury, and Coyne delivers an eerie croon that finds itself reminiscent of Joy Division’s Ian Curtis in its drolly robotic allure. In doing so, “Convinced of the Hex” is a clear ode to both Kraut-rock and post-punk. The layers of sound build up until the rhythm section becomes the showstopper, gradually introducing bursts of bass as the percussion intensifies with heavy hi-hats. It nearly makes the listener picture an automation line, one superb addition after another. The different keyboard chord that appears after every other measure also does a great job of keeping this one in place in adding subtly invigorating forms of melodic variation in addition to Coyne’s vocals. One prominent method for his vocals throughout the album is to mix deadpan precision with emotive fury, like in “Convinced of the Hex” when he goes from a Curtis sound-alike to possessing the yelps of Britt Daniel (a la Spoon’s “The Ghost of You Lingers”) in the most inimitable way possible. This occurs again in “The Sparrow Looks Up at the Machine”, one of the most conventional Flaming Lips tracks due to its emphasis on electronic psychedelia. The production can actually be compared to Radiohead’s In Rainbows in that way, with multitudes of static bass clashing with heavily involved percussion to create atmospheres both ethereal and chaotic. Along with “Convinced of the Hex”, it packs an outstanding one-two punch to kick off an album full of surprises and engrossing stylistic maneuvers.

“The Sparrow Looks Up at the Machine” provides the listener with some nice Yoshimi nostalgia, though the album rarely goes in that direction again. “Evil”, one of the few ballads on the album, is one of the few exceptions. A synth progression possessing three notes repeats for several months as Coyne laments the past’s irreversible injustices. Backing vocals caress the melody nicely with the additional strings, though it never brings the listener to a place of complete satisfaction. Sure, it is soothing and relatively harmless, but when preceded by two gems it evidently lacks the full-bodied enigma despite its initial beauty. The same can be said for “The Impulse”, a nice novelty lullaby featuring vocoded synths over a half-symphonic, half-jazzy layered background. Once again though, the novelty of vocoders wears thin to the point where the majestic use of strings cannot salvage it enough. Perhaps it is being too critical, but when an artist releases a double-album there has to be due consideration for what would have been better removed. These are nice efforts, but they pale in comparison to rich compositions like “Convinced of the Hex” and “Powerless”, where constant compositional evolution is occurring throughout the entire five or six minutes. Coyne is a hard worker and extremely talented musician, but one gets the feeling that when he is not satisfied with a song he topples on strings or similar additives until the issue is cloaked, whether it is repetition or instrumental miscues. On a double-album, just tossing it out altogether would have been the wiser.

“Powerless” is indeed the biggest achievement on an album full of many, combining evolutionary post-rock with the touch of sparkling keys and unconventionally boisterous guitar solos, the latter of which sounds more like impulsive chordal strikes than melodic construction. There are several guitars to accompany keys which glitter gracefully throughout, the most prominent emitting a single chord that abrasively leads the effort with heavy distortion and hand swipes. It is a wonderful technique, mainly because the subtle and less audible guitar accompaniments provide beautiful additions thanks purely to the group’s songwriting skills. The only major variation occurs when the western-y bass line suddenly drops a few pitches with each succession, the lead guitar remaining steadily boisterous as the others emit stunning melodic whispers that will send chills down under listener’s spine. The way these instruments and melodies combine to create this epic force is absolutely stunning, making this one of the best Flaming Lips tracks released. The type of keys present here are used prominently in most of the album’s tracks, whether in the disastrously noisy Miles David-influenced “Aquarius Sabotage” or the more cohesive “Sagittarius Silver Announcement”, where Bowie meets new-age psychedelia in the vein of Spiritualized. In messes like “Aquarius Sabotage” or the overly percussive “Your Bats” it is too hidden away, especially in the latter where mostly everything is indistinguishable apart from the overly spastic percussion. In the more focused efforts though, it reminds us that this is a group intent on mastering both loud guitars and twinkles of keys. Hardly surprising considering their prolific resume.

The second disc begins with another knockout force in “The Ego’s Last Stand”, an effort that shows off the rhythmic precision of this album beautifully. Percussion has never before been so prominent for the Flaming Lips, so it is nice to see a diversified amount of efforts in regard to all sorts of instruments being the beneficiary in leading tracks. Percussion and bass appear to converse here by rarely coexisting, instead taking turns speaking before guitars and brass-like mute effects concoct a truly spectacular and anthemic chorus. Bass has always been a steady force though, so seeing its dominance in efforts like “Watching the Planets” is no surprise but as satisfying as ever. A stunning closer, it is a ceaseless expedition into fury that is complemented by a vigorous rhythm section and highly ardent vocal melody. Its heavy reverb, intentional sort of audible disarray, and heavy emphasis on rhythm are all indicative of the album it is placed on. Embryonic is hardly the most beautiful album to the Flaming Lips’ name, but its rough edges are so defined that the result is more engrossing than any of their albums from the past decade. Like any double-album there are a handful of tracks whose absence would not be missed, but the highlights are so memorable and purely fascinating in approach that it propels Embryonic to the echelon of 2009’s best releases.

8.5/10.0

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The Flaming Lips – Powerless

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The Flaming Lips – Convinced of the Hex

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We are producers. We make music for you. This is what UltraChorus convey on their web site, almost sounding like they cater to artists more than listeners in doing so. Such circumstances have the likelihood of create hazardous listening barriers, but in the realm of electronic-pop music it can actually make the process more seamless and enjoyable. Their “for-artists, by-artists” approach primarily relates to the handful of remixes the Minnesotan duo has released thus far, the artists including Phoenix, The Presets, and Daniel Merriweather to name a few. It would be easy to call UltraChorus – and other recent acts focused on remixing – a desperate plea for artistic individuality in the skewering of one’s work to compensate for your own lack of creativity, which is of course true for some. But in UltraChorus’ case, their first full-length release of original material shows how their experience with remixing contributed to an enjoyably individualistic sound that undoubtedly benefited from both practiced working and listening methods.

Electronic music, like any genre, requires practice and trial-and-error to increase one’s skill. However, considering that the genre relies on more intricate technology, one could make the argument that a melodic ear and great songwriting craft are not as prioritized as one’s technological grasp. In experimental music this can easily be the case, but when keeping in mind the implementation of pop music there remains a sense of simultaneous attentiveness that would result in generic placidity if ignored. Hot Chip, Chromeo, and Phoenix are a few examples of artists that maneuvered these waters successfully, and UltraChorus follow their footsteps in relaying a fun and infectious form of electro-pop that blends seductive R&B with tinges of art-rock and dance. This blend has been mashed together before, but UltraChorus’ prior familiarity with the practice of remixing leads to certain components that one would be hard-pressed to find in most other electronic acts. With this arises a question of whether UltraChorus or more electro-pop (Hot Chip) or art-rock (Phoenix). Perhaps certain technology at their disposal can reveal this.

Vocoders have been damned to hell by most “savvy” listeners by now. I agree with them for the most part, except when an artist executes it like UltraChorus have done on Ultra-Def. An example like this brings to mind how it is not the technology we detest that results in failures, but rather the culprits that misuse a device or method and provide it with a negative stigma. Listening to Ultra-Def in full will reveal UltraChorus as one of the good guys, using the vocoder not as a means to disguise melodic flaws but rather as a stylistic additive and songwriting tool. The opening “Scarlet Eyes” is shrouded in disco-infused bass lines and fragile piano progressions, making the vocoded element somewhat of a flash toward modernity. Like Pet Shop Boys, UltraChorus are able to turn electronic-pop into a meshing of several decades, this case being a fusion of ’70s pop and general balladry. The vocoded element is subtle and used somewhat sparingly in accordance to the track’s respective hook, and when it is utilized it provides a surprisingly refreshing take on electronic-pop without sounding too desperate for commercial attention.

Fans of the previously featured Pacific! are bound to fall in love with UltraChorus. That same sort of Swedish electro-pop wizardry with its glistening synths and heavily danceable rhythm section is prevalent, even if these two guys are from Minnesota. The same simultaneous focus on technical and pop-minded ideologies is evident though, as the diversity on Ultra-Def can show. “Bestin the Farther” tends to expand into flourishes of strings over its rigid keyboard progression; the vocoder is again featured to spice up the chorus’ emphasis on synthetic constructions. The subsequent bridge, featuring sped-up vocals over warbled synths, also tend to benefit from the device in its translation to a rhythmically complementary component. Swanky efforts like “Yucatan Peninsula” and “HouseParty5” benefit from sparse keyboard arrangements that are complemented by occasional bursts of bass, which always seems to be at its lowest tone possible. How the high pitches of twinkling synths collaborate with the lower resonates of bass is outstanding in crafting a serenely supreme atmosphere, paving the way for plenty of hooks in the process. “Hope that someday we’ll meet at that little cafe at the end of the street,” the vocals hopefully implore during the track’s final moments, attempting to make the daydream less of a dream by subsequently asking cream or sugar. The musings are simple and easy to understand, but the music resonates deeper than expected.

Although a mere three tracks are sampled here, I would strongly recommend all fans of electronic-pop to pick up Ultra-Def by Ultrachorus for the rest. What may sound like just another vocoder-aided electro-pop act will provide a treat upon extended listens. This is the rare type of pop music that emerges most prominently after familiarity reigns. Once you become accustomed to the album’s efforts, the element of predictability seems to coincide beautifully with the album’s concept of straight-laced hooks, simple-minded relations, and irresistible bouts of infectiousness. Ultra-Def is a remarkable effort by a Minnesotan duo that is poised for success.

RIYL: Pacific!, Hot Chip, Phoenix, Squeeze, Chromeo

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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We are all part of a certain generation, whether it involves flower children or hair-metal. I was born in the late ’80s, so I found myself in between the phases of hair-metal and the revolution of home gaming consoles. What many of us remember so fondly about our childhoods are the hobbies that captivated us, no matter how embarrassing or odd they were. Along with baseball, playing Super Nintendo was one of mine. It is rare when something captivates parents and children alike, but being able to play complex video games in your home was something I remember amazed both my parents and I when it hit in the early ’90s. Along with the rest of the gaming world, Street Fighter was one of the games I played to death. And although I have not been interested in video games for a few years, I can still recall some specifics that made my 12-year-old mind spin with delight. Maybe this is why M. Bison were so brilliant in choosing their name. As a bunch of 20-somethings, what better way to appeal to your target audience by naming your band after a video game character that will immediately instill nostalgia to the bulk of your potential audience? A looming video game character that aspired to be the world’s next evil dictator, M. Bison was hardly the cuddliest hero from the childhoods of most kids that grew up in the ’90s. But as a band that grew up in the era, who wouldn’t want to take advantage of that?

Songwriters Brian Kinsella and Jeff Grant were friends in high school, but the commencement of M. Bison did not occur until after their college days. Both had recorded demos in the seclusion of their dorms and eventually combined to release their debut EP, Not Bad!, in late 2007 with bassist Chris Jones and drummer Daniel Braithwaite. Below are a few tracks from their debut full-length, set to be dropped in December. As the bubbly infectiousness of “All Things to All People” indicates, M. Bison’s sound is modern and accessible, with guitars empowering a polished fusion of synth-pop and indie-rock that resembles Ozma, Weezer, and other acts specializing in power-pop hooks with backings of synth-pop and indie-rock. In this track, the bridge that joins synths with guitars embodies their motive in eventually readying for utter cohesion, indicated here by the unbiased use of piano. Its catchiness is irrefutable, and should lead to some airplay on college radio as a result. “Elves Sing La La La” is too full-bodied and dexterous for that type of exposure, but in showing the group’s songwriting and performing strengths it is highly impressive. Its tireless, energetic type of spontaneous guitar-led rock reminds me of early Sparks albums like Indiscreet and Kimono My House, a testament to M. Bison’s wide array of influences from the ’60s (The Beatles) to the ’00s (Dr. Dog).

“Going Home Soon” plays to their more sincere side, using little more than an acoustic guitar and percussive hop to establish the feel-good acoustic harmonics of a Jason Mraz or Jack Johnson. It is a pretty elementary pop song but Kinsella and Grant offer some phenomenal vocal harmonics to spice things up a bit. It is probably the weakest of the samples, if only because of a song like “Samurai Showdown” shows that the group can create some majestic works that tower in comparison. This one falls along the lines of The Flaming Lips or Avalanches in their alignment of outdated clips with futuristic takes on electronic music. The latter part of this song shows this with its clips from “Kids Say the Darndest Things!” meshing with a variety of synth progressions, but prior to that it falls with ’60s pop revivalists in the vein of Dr. Dog. The middle of the track uses the flimsiness of the introduction to introduce great expansion in the form of intensified guitars and greater vocal melodies with even greater intensity. The melody is distinctively throwback, but what makes M. Bison so nostalgic is not only their name. How the same group is able to produce “Going Home Soon” and “Samurai Showdown” traces back to the days when the word “eclectic” was not used as a rare complimentary word, but rather a common characteristic of most active artists during pop’s heyday.

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M. Bison – All Things to All People

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M. Bison – Samurai Showdown

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M. Bison – Elves Sing La La La

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With the ample amount of Swedish artists featured on this site and other music blogs, I would not be surprised if many of you have developed an indifference to the allure of a foreign musical product. Exotic originations often make any topic at least slightly more fascinating, but it has come to a point where I am featuring nearly as many Swedish artists as American or British artists. I aim to expose quality though, so the country of origin is irrelevant when I listen to an artist. However, whatever appeal is derived from the foreign and unknown may be lost for Sweden. It does not require such extraneous allures though, so I doubt that such outlooks will hinder the country’s production of quality music. What continues to amaze me is how so much quality material is derived from a country with a population of under ten million people. Although the census would never implement such a statistic, the percentage of successful musicians out of Sweden’s overall population likely eclipses all other countries significantly. A fantastic arts program and a rich musical history are a few reasons for Sweden’s astounding musical success, but it is the shared interest in music among Sweden’s population that is truly the cause for such consistent imported quality. A love for music practically seems unavoidable since running into a performer, producer, or songwriter in Sweden is going to happen eventually, probably more times than one.

The high number of musicians per every hundred miles or so in Sweden has affected two things most prominently: the public perception of music-related occupations and the accessibility of the entire scene in general. The latter is evident in the talented Anna Järvinen, a Swedish songwriter and chanteuse who is finding success through the seamlessness of collaborating with other artists and producers in Sweden. Well, her undeniable talent also plays a large role, but she certainly is indebted to the ample number of musicians in Sweden that are happy to lend a hand to someone with talent and artistic vision. For her debut album, Jag Fick Feeling, she attracted a prominent Swedish name with her talent and ardent pop-based delivery. Mattias Glavå has proven himself to be a great judge of talent before, as he produced Håkan Hellström’s debut album, Känn Ingen Sorg för Mig Göteborg, in 2000. As many fans of Swedish pop know, Hellström is now a household name and his enthusiastically eccentric vein of pop music has attracted success both in Sweden and overseas. Like Hellström, Järvinen honed her experience as the lead songwriter in a rock group (Granada) before undertaking a solo career. Hellström’s Broder Daniel achieved significantly more recognition than Järvinen’s Granada, but they both paid off similarly in providing the artist with the background, experience, and commitment necessary to construct a solo career. Also like her native contemporary, Järvinen’s true talent has begun to shine its brightest with the commencement of her solo career.

Although it did not make a big splash in the US or UK outside of the blogosphere, Jag Fick Feeling provided Järvinen with what she needed to become a recognizable name in Sweden. A Swedish Grammy nomination and winning the Stockholm City’s music prize certainly helped as well, setting Jag Fick Feeling up for ample exposure and consequential anticipation for Järvinen’s next release. There were never any questions about her ability, but some wondered how she would respond to a different producer after Glavå left the project. Well, I suppose it did not hurt to get one of the most talented artists in Sweden to produce her second album then, did it? Gustav Ejstes, the man behind Dungen, became interested in the project after hearing Järvinen’s debut. “Nobody has, like Gustav, silently and immediately understood my music,” she told a Swedish magazine. “I wanted to try and leave the songs with him so he could put his mark on and in them.” Ejstes is one of several Swedish artists that are very recognizable in the US and beyond, so his reputation will likely bring Järvinen some international attention upon the release of her second album, Man Var Bland Molnen (“One Was Among the Clouds”). Even more importantly, Ejstes’ eclectic production proves aptly fitting for Järvinen’s broadly classifiable interpretation of pop music.

Behind Järvinen’s angelic voice and soft-spoken demeanor lies a tactful talent for songwriting and stylistic ambition that surpasses many of her Swedish contemporaries, which is a bold statement considering the amount of talent that the Nordic country produces on a regular basis. Her mixture of orchestral chamber-pop, piano-laden ballads, and occasional guitar-based rockers should sound familiar to fans of Swedish pop, but it is the consistency of songs within this schematic that sets up Järvinen for success. The opening “Låt Det Dö” uses the traditional Swedish-pop assortment of twinkling keys, sporadic string arrangements, and backing vocal harmonies to establish a great introduction to her approach. The novelty here is enduring, as Järvinen’s voice has the same delicate approach as Lykke Li and it stands out well over the melodically concise guitar licks and abundance of hooks. Although faster-paced, “Här Är Du Ett Hån” is similar in its approach with its dependence on keys, occasional guitar licks, and backing vocal harmonies. Ejstes’ presence is certainly evident in the uses of guitar on “Låt Det Dö” and “Här Är Du Ett Hån”, as they fit unconventionally within a flurry of keys and strings and somehow end up sounding absolutely brilliant.

“Är Det Det Här Det Hela Handlar Om?” shows Järvinen’s edgier side with fuzzier guitars and a more intricate rhythm section, and it succeeds despite taking too long to execute some sort of melodic or instrumental variation, which is only present after three minutes or so. Once it arrives though, the hooks are led solely by a rhythm section that should wow listeners in its excellence and precision. “Boulevarden” is an excellent ballad that builds upon a light piano progression to eventually result in accompaniments by strings, bass, and percussion. The frail beauty of the track is apparent from the get-go as Järvinen quivers as a low string accompaniment subtly enters the picture. Each verse is supplemented by something new, whether it is a clever detraction or a beneficial addition. When the bass line emerges over Järvinen’s vocals and a light acoustic guitar clears the way for budding percussion, “Boulevarden” establishes itself as one of the finest efforts on an album that achieves more than just accustomed Swedish-pop excellence. Man Var Bland Molnen is an effort that transcends many limitations of pop music due to Järvinen astute grasp of orchestral accompaniment, heartfelt balladry, and even some rock ‘n’ roll.

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Anna Järvinen – Låt Det Dö

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Anna Järvinen – Boulevarden

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Anna Järvinen – Här Är Du Ett Hån

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The specific method of recording an album should never be used an indicator of an artist’s level of commitment. After all, not everyone can afford the $100/hour going rate and, unless an artist is one of the lucky few that gets scooped up by a label and has all of their recording expenses paid for before they even attempt recording a song, they often attempt some amateur recording to satisfy their immediate urges (even if the production quality is equivalent to that of a high school screamo band). You can probably scope out similar demos from reputable bands online by looking thoroughly enough. The point is, an artist’s level of commitment has no bearing on something that is financially driven, but rather how intensely they pursue recording in general. I suppose it speaks enough of Jason Quever’s passion for writing and performing music in the way he recorded the first batch of original material. All in good fun, he packed his eight-track and a bag and broke into his vacationing friend’s house. Making good use of the quiet environment, he recorded a few piano tracks for Cass McCombs’ eventual debut. Free recording space can have its perks, as can recording in a strange environment under odd circumstances.

Seeing that he could put together somewhat polished material, Quever used his gear and knowledge to record the demos for Mockingbird, later to be known as Papercuts’ debut. Although his style has grown more intricate with each passing release, Mockingbird was an impressive effort that drew praise and showcased Quever’s songwriting skills. Fronted by beautiful tracks like “Poor and Free” and “Judy”, Mockingbird found Quever lending his warmly crackling voice to a collection of suave indie-pop tracks with different showings of acoustic guitars, keyboards, violas, and organs. Even though these were his barest songs to date, it was still easy to recognize Quever’s influences. Arguably the most prominent is shoegaze, specifically in the vein of My Bloody Valentine. Quever never pummels the listener with droning chords or like in “When You Sleep” or something similar though; he instead captures beauty through beautiful song arrangements that are often too subdued to be grouped into a category of rock music. It is just stellar pop music at its finest. Quever’s tactful and serene style of songwriting also groups him nicely into a refined version of psychedelic-pop, exhibiting an extraordinary talent that proves similar to that of Caribou’s Daniel Snaith. If direct comparisons were required, this is the one I would make.

An excellent track like “Dictator’s Lament” is nicely representative of Quever’s psychedelic-pop leanings. The sound of an organ immediately becomes a memorable trademark upon the track’s introduction, filling itself in nicely with a pleasant melody that sinks in under a heavily reverbed bass line. Quever’s voice emerges as an innocent croon, sitting somewhere between the voice of Snaith and The Shins’ James Mercer. “Dictator’s Lament” is one of the shortest songs on Papercuts’ third full-length, You Can Have What You Want, but it efficiently presents one of the memorable moments of the album with a chorus that takes its listener to a breezy, colorful world of psychedelic perfection. The following track, “The Machine Will Tell Us So”, also accomplishes this extraordinarily, though in a darker tone that reaps greatly from an organ-bass combo that keeps Quever in a momentary state of ardent restraint. When he howls with fervor after nearly two minutes of build-up, the listener cannot help but feel satisfied as a slickly reverbed electric guitar concludes each successive verse. The following bridge also proves wonderful, working in a very effective bass line over an exotically invigorating organ melody. Both tracks are genuinely a listening journey, and all those that appreciate psychedelic-pop should find immediate comfort in Papercuts’ distinctive style after playing them.

Upon first listen, the folk-based introduction of “Jet Plane” may seem to indicate that You Can Have What You Want is heading for a different direction on the second half of the album, but when the beautiful collision of strings, bass, and percussion occurs it should make the listener fully comfortable and satisfied with Papercuts’ stylistic direction. Quever’s vocals here sound more nasally than usual, evoking either Billy Corgan or Wayne Coyne with his distinctive verse-based melody and backing vocal effects. Like the most upbeat pop tracks on the album like “Dictator’s Lament” and the self-titled effort, it succeeds in all ways imaginable by mastering the audible representation of tranquility. That same self-titled track in “You Can Have Why You Want” is also worth mentioning for its delicate mixture of acoustic guitars, twinkling keys, and wavering synth pad, once again demonstrating the highly impressive amount of beauty that Quever and his collaborators (one of them being Beach House’s Alex Scally) put into each and every song. You Can Have What You Want is a triumph from start to finish, and anyone who enjoys pop music should give it the proper time. Fortunately, all ten tracks grow easily on the listener with their distinctive melodies and original tone, solidifying Quever’s evident position as a supremely talented songwriter. For this longtime resident of San Francisco, 2009 should prove to be a very big year for Papercuts.

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Papercuts – Future Primitive

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Papercuts – Dictator’s Lament***

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Papercuts – The Machine Will Tell Us So***

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Papercuts – You Can Have What You Want***

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***Tracks removed upon request of artist***

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All bands have to start somewhere, and for Cymbals Eat Guitars it was as a high school band that dabbled mostly in Weezer covers (from their first two albums, fortunately). Listening to the music of Cymbals Eat Guitars in their current state though, Weezer is practically the farthest thing away from them in the indie-rock stratosphere. Though Cymbals Eat Guitars may immediately come across as a group whose intensity relays Modest Mouse’s early classics like The Lonesome Crowded West or The Wrens’ Secaucus, their overall sound actually appears to be more indebted to a wider variety of successful indie-rock trends of the past several years. They incorporate such aspects – whether it is sweeping strings, alternating song structures, or tonal experimentation – into a sound that proves perfectly depictive of what was so great about indie-rock music in the late ‘90s and early ‘00s. It is rather alarming that I find myself referring to those periods of time in such a fashion after they concluded less than ten years ago, but there is no denying the trends in independent music that have the potential to mold new artists, be it for better or worse. In the case of Cymbals Eat Guitars, their impressive stylistic approach stems not only off of their progressive talents as musicians, but also in their aptitude as fans themselves.

During the process in which Cymbals Eat Guitars evolved from a cover-centric duo to a wildly innovative group of their own, lead songwriter and vocalist Joseph D’Agostino advanced his own skills as both a listener and performer of music. During high school, he and drummer Matt Miller put together a very short LP under the name “Joseph Ferocious”, an alias that might as well apply to D’Agostino’s current work as well. He has always possessed a distinctively ardent vocal delivery, one that sits somewhere between the quivering croon of Isaac Brock, the vibrant angst of The Wrens’ Charles Bissell, and the vibrancy of Stephen Malkmus (another clear influence). When considering that D’Agostino’s songwriting also expresses a similar form of ferocity and hook-filled energy, it would have probably made sense to carry on with the “Joseph Ferocious” tag a bit longer. As with most high school bands though, distance became the primary factor in the eventual dissolution of the project after D’Agostino and Miller found themselves in college in separate states. After a few months, D’Agostino began writing songs again, intending to have his primary influence, Charles Bissell (of Wrens fame), produce them. For the task of recruiting a bassist, guitarist, and keyboardist for his upcoming session, he looked toward a somewhat conventional route: Craigslist. The site seems to have more bad deals than good ones, but as D’Agostino puts it, he got lucky with his choices.

After responding to D’Agostino’s Craigslist ad, bassist Neil Berenholz, guitarist Matt Cohen, and keyboardist Daniel Baer joined after they became fascinated by the 19-year-old’s songwriting and level of intellect. That’s right – when Cymbals Eat Guitars officially formed in February of 2008, D’Agostino was a mere teenager. D’Agostino’s former musical companion in high school, drummer Matt Miller, also joined the project shortly thereafter. The fact that two members are presently in their early 20s and the other two are in their early 30s has been no hindrance to the band though. After all, both D’Agostino and Miller are way beyond their years as capable musicians. If anything, the varying levels of experience contributes to their unique sound even more, even if two of the five members occasionally get irritated that they are the only ones in the band that are unable to legally purchase alcohol. Humorous incidents aside though, the chemistry within the group is undeniable, and that certainly is shown on their extremely impressive debut, Why There Are Mountains. I will say this much: There is a reason that a musician as respected as Bissell has went on to say that Cymbals Eat Guitar “will end up indie famous within the year”.

With an opener like “And the Hazy Sea”, it is hard to not take Bissell’s quotation seriously. A flurry of guitars and D’Agostino’s yelp-ish croon take charge during the intro as a singularly possessive guitar progression serves as an abrupt bridge between the song’s true introduction. “Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens. “Indiana” is just as effective, with the most notable aspect being the mixture of keys and horns that cleverly fuse together to create something that is wholesomely infectious. In addition to the dramatically effective accompaniment of strings in “Cold Spring” and the guitar feedback-led allure of “What Dogs See”, it sees Cymbals Eat Guitars at their most subdued. This takes nothing away from the overall quality though, as it sits equally alongside infectiously vigorous greats like “Indiana” and the brisk “Wind Phoenix”, the latter of which sees an amiably successful mixture of keys and guitars show how Cymbals Eat Guitars can maintain their accessibility while still being bold and unpredictable. Much of Why There Are Mountains speaks a similar sentiment, coinciding with Bissell’s statement that it would be a shock if Cymbals Eat Guitars went a year without some sort of unavoidable acclaim.

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Cymbals Eat Guitars – Indiana

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Cymbals Eat Guitars – And the Hazy Sea

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Cymbals Eat Guitars – Cold Spring

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by Mike Mineo

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20. Ra Ra Riot – The Rhumb Line

Losing a member of a band to death can be devastating. No matter how many arguments and fistfights were initiated in the past, it is a fact that many groups tend to form a family-like bond after years and even months of touring and working together. When Ra Ra Riot’s original drummer, John Pike, was found dead on June 3rd of 2007, his former band mates were stunned. “This has felt like the unraveling plot of a tragic piece of fiction,” they said in a press release. However, about a month after Pike’s death, the band announced that they would continue the group in Pike’s memory. A string of tour dates and the eponymous EP in 2007 brought the group increased recognition as they prepared their debut full-length album, The Rhumb Line. The album itself serves as a fine example of the group’s potential, with their flashy style of art-rock serving as both an accessible and contagious interpretation of contemporary indie-rock. The New York-based group works with tinges of post-punk and punk, implementing both cellos and violins over a zealous display of dazzling guitars and tenacious rhythm sections. Vocalist Wesley Miles emits a sharp, slightly high-pitched tone that is reminiscent of vocalists in the vein of Nick Stumpf (The French Kicks) or a more subdued Hamilton Leithauser (The Walkmen). All together, it creates a very convincing sound that proves memorable despite its common originations. In addition to his role as a co-songwriter on a handful of tracks, one notable posthumous contribution from Pike on The Rhumb Line comes in the form of lyrical content. With Miles, he wrote “Dying is Fine”, a gripping track that wholly capitalizes on the group’s stellar mixture of strings and guitars. With an E.E. Cummings quotation serving as the main hook, the topic is emotionally ironic and the melody is addictively consuming. The mournful “Ghost Under Rocks” also makes excellent use of strings, guiding yet another captivating chorus as Miles yelps in perhaps his most emotionally resounding vocal performance on the album. “Here you are, you are breathing like little ghosts under rocks,” he sings, speaking of romanticized suffocation in mildly poetic form. When compared to the regretful – though dynamically vigorous – yelps and moans of “Ghost Under Rocks” and “Dying is Fine”, Miles’ vocals in “Winter ‘05” are appropriately more somber as the strings increase in intricacy and the percussion subtly adds several shuffled components. Along with a cover of Kate Bush’s “Suspended in Gaffa” making the cut, it exemplifies how The Rhumb Line serves as an enjoyably eclectic album within a fused genre that desperately needs it these days.

Ra Ra Riot – Dying is Fine

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19. Gentleman Jesse – Introducing Gentleman Jesse and His Men

One of the most appealing aspects of power-pop is the ability it has to remain untainted in a world where stylistic alteration is often inevitable. While some may argue that the genre’s apparent lack of stylistic ambition is the cause for such sturdy pop ideologies, the crafters of such music never seem to be given enough credit for their reluctance to become submissive toward what is deemed as this week’s fad in the music industry. Gentleman Jesse and His Men, a talented four-piece based out of Atlanta, employ this highly accessible form of power-pop very well, but they are also quite unique when compared to other groups in the genre. Yes, they are comparably intent on hooking in the listener with exceptionally infectious choruses and stellar harmonizing, but Gentleman Jesse and His Men happen to be significantly more nostalgic in approach. Instead of employing a formula in which an overwhelming degree of varying styles clash within a comforting power-pop aroma, the four-piece instead opts to bring back what made the genre so great in the first place. Traditional punk and garage-rock are the main forces at work here, making comparisons to the early workings of power-pop greats Exploding Hearts somewhat unavoidable. Exploding Hearts certainly infused more elements of punk into their overall sound, but the approach and level of melodic alteration remains highly comparable in the sentiment that both groups rely on amiable simplicity to elicit a uniquely engaging charm in which the songwriting and consequential hooks sound freshly invigorating despite the minimal forces of instrumentation at work. On their debut, Introducing Gentleman Jesse and His Men, frontman Jesse Smith plays the role of accessible power-pop vocalist with apparent ease, extracting a youthful tone of amateur exuberance while simultaneously allowing his commendable melodic range to flow naturally with the brisk use of guitar-led instrumentation. This is perhaps best heard on “All I Need Tonight (Is You)”, a track that would likely have been considered a classic by now if it had been released 30 years ago. From the lyrics to the lead guitar progression, the approach is extraordinarily simple but the appeal arrives in the strong melodic form that Smith conveys with the utmost confidence. In conventional power-pop form, he utilizes a callback approach in the utterly irresistible chorus before embellishing the moment with an extremely concise guitar solo. “You Got Me Where You Want Me” and “Attention” also utilize this accustomed callback approach with surprising precision. Those who view most traditional power-pop as a one-trick pony will likely state the same about Gentleman Jesse and His Men’s debut album, but anyone who enjoys fantastic hooks guided by little more than a guitar and rhythm section simply needs to check it out. Intricate it may not be, but this album’s infectiousness is downright undeniable.

Gentleman Jesse – All I Need Tonight (Is You)

Gentleman Jesse – You Got Me Where You Want Me

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18. Håkan Hellström – För sent för Edelweiss

Swedish listeners first caught a glimpse of Hellström in 2000 with his hit single “Känn ingen sorg för mig Göteborg”, with Hellström also releasing his debut album of that same name in November. Prior to the release, Hellström was only recognized as fans of the Swedish indie-pop band Broder Daniel as their drummer, a position he vacated between 1988 and 1994. He then rejoined the band in 1997 with a new role as the bassist, leaving in 2003 to focus solely on his solo career. By that time, Hellström had also released a second album, Det är så jag säger det, in 2002 and was in the midst of writing Ett kolikbarns bekännelser, his third album that released in 2005. Nåt gammalt, nåt nytt, nåt lånat, nåt blått, a compilation of b-sides, was also released the same year. After announcing that he had become a father and planned to take a short break, he emerged with his fourth album, För sent för Edelweiss, three years later in 2008. Though his first three albums exhibited a form of potential that only arrives once every so often in Swedish pop music, Hellström’s style sounded awkward with occasionally out-of-key vocals and repetitive arrangements. However, with För sent för Edelweiss, it looks as if the skilled songwriter has finally lived up to his wholesome potential. When an artist names an album after one of their own songs in particular, the conceptual intentions of the self-titled track take on lofty expectations. When it comes to “För sent för Edelweiss”, it serves as arguably the most pleasing track on both the album and throughout Hellström’s blossoming career thus far. It features the type of melody that will cause anyone – regardless of whether they understand the Swedish lyrics or not – to grin in pure delight, with the hauntingly beautiful instrumentation contrasting impressively with Hellström’s ardent vocals. The light plucking of an acoustic guitar initially finds itself underlying a graceful piano melody as Hellström’s voice quivers over the corresponding melody. When the twinkle of a new piano melody takes charge and establishes the chorus, Hellström’s voice takes on a melodic shift and crafts a devastating hook in the process. When the track concludes with a Sigur Rós-like instrumental recap over the crooning of Hellström, it simply reminds the listener just how elegantly stunning the overall result actually is. Since the title track will generally be recognized as one of the more instrumentally subdued songs on För sent för Edelweiss, first-time listeners of the track will likely be curious as to what Hellström sounds like when accompanied by increasingly noticeable instrumental fervor. As both “Kärlek är ett Brev Skickat Tusen Gånger” and “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” prove, the result is actually just as satisfying. Both songs implement guitar within a style of pop that is most reminiscent of accessible indie-rock, with “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” especially being resounding of the sentiment with a fury of electric guitars and reflective keys. They each remain insanely catchy in their own unique ways though, with “Kärlek är ett Brev Skickat Tusen Gånger” benefiting most from the vocal correspondence between a bluesy guitar, effervescent keys, and Hellström’s impressive vocal performance. With so many great Swedish releases each year, it is quite an indicator that För sent för Edelweiss is one of this year’s best from Sweden.

Håkan Hellström – För sent för Edelweiss

Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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17. Thomas Function – Celebration

It would be premature for me to judge the chemistry in Thomas Function based on their music and online photos alone, right?. It could all just be a classic attempt to sell records. Well, considering that all pictures I have found of the members together depicts them having insane amounts of fun while at parties, playing shows, and in the studio, superficial corporate achievement seems to be the last things on their mind. In fact, It leads you to believe that these guys might even be having fun while making music together. And apart from the putting the “fun” in “function”, their music plays off just as naturally. Providing heavy doses of southern-rock and folk within a consistent showing of punk, the fact that Thomas Function are able to simultaneously provide odes to energized punk greats in the vein of Television and The Buzzcocks while delivering an array of styles related to folk and contemporary rock contributes prevalently to a style that is wholesomely unique and energetically engaging. The track that brought the four-piece arguably their biggest buzz in 2007 was “Relentless Machine”, a 7″ single that now once again has appeared on their excellent debut album, Celebration. Despite offering 13 tracks that are contained within a similar delivery, the boastful amount of hooks and instrumental variations provide for a form of excitement that most debuts only dream of. “2012 Blues” was a standout immediately for me from the first listen, as its acoustical folk origins are in stark contrast to vigorous punk-oriented gems like “Snake in the Grass” and “Conspiracy of Praise”, a style that reigns over most of the album. In a track like “Can’t Say No”, where a Pixies-like bass line is adjusted accordingly over an organ-led guitar progression that provides visions of classic Television and Velvet Underground, it almost makes for a colossal fusion of great indie-rock and punk bands who have made a significant mark in the past 30 years. The infectious “Can’t Say No” may be too hectic to make such past comparisons entirely spot-on, but the melodically charged energy that Josh Macero’s vocals convey makes the mixture of modernistic enthusiasm with past forms of punk and garage-rock a very satisfying blend. As for fans of The Buzzcocks or even Wire, one listen of “Snake in the Grass” should be convincing enough. Alongside “Conspiracy of Praise” and “A Long Walk”, it employs a concisely familiar form of catchy punk without being overly aggressive or manipulative in the process. With the rhythm section constantly impressing me with its tight coordination, the excellent guitar work making the comparisons to Television even possible, and Macero’s vocals being a constant source of hooks and youthful vibrancy, Celebration packs a very powerful punch that results in it being one of this year’s most satisfying debuts.

Thomas Function – Can’t Say No

Thomas Function – 2012 Blues

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16. Beach House – Devotion

Like many of those who immediately latched onto Beach House’s fantastic self-titled debut in 2006, I kept my admiration for the release no secret. It was an atmospherically beauteous album, flawlessly transcribing humane emotions as diverse as regret, embrace, and heartbreak into a sound that was as much accessible as it was ravishing. Beach House, a two-piece based out of Baltimore consisting of guitarist/keyboardist Alex Scally and vocalist/organist Victoria Legrand, were certainly the center of attention in 2006, as their well-received debut was an album that seemed to find its way onto everyone’s year-end list (it took a respectable #37 on mine). This year, they have reclaimed that same spotlight, with an excellent second album in Devotion that proves even more fulfilling than their debut. Though it may be subtle, Beach House’s own namesake provides for a cleverly suitable effect. Alex Scally and Victoria Legrand craft a sound that ushers the listener away from the hectic rush of complex urbanity, with their style being ceaselessly relaxing without any stylistic mundaneness. Like the location depicted in their namesake, the lushly written songs provide for an escape from petty demands and harsh realities; think of Devotion as a $15, 44-minute vacation. The exquisite “D.A.R.L.I.N.G.” is reminiscent of a lost love ballad from the ’50s or ’60s. Legrand’s vocals and Scally’s guitar progressions are seemingly able to put listeners into an entrancing state, this time being aided by a guitar soaked in reverb and a set of subdued keys. As per usual, Legrand’s vocals are beautifully chilling, being airily husky but giving off a frail sense of imagery in regard to the alluring backing instrumentation. The percussive involvement is always minute, but the lack of involvement makes the delicate nature even more suitably presented in the process. Another aspect that is revived from Beach House’s debut is Legrand’s ability to create a hook using her vocal range alone. Like “D.A.R.L.I.N.G.” and the majority of Devotion, “Gila” is aided by a guitar supplemented by a mixture of keys and organs. Though the bare instrumentation is enough to solicit immediate enjoyment, the moment when Legrand shifts her vocals into a deeper, more sympathetic range by stating, “Don’t you waste your time, no-oh-oh,” it provides for an instant realization in regard to the sheer beauty that the songwriting of Beach House conveys. With songs like these, Beach House’s Devotion is an elegantly beautiful release that sees this talented duo somehow improve upon the excellence of their self-titled debut.

Beach House – D.A.R.L.I.N.G.

Beach House – Gila

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15. Department of Eagles – In Ear Park

A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side. After putting out three EPs and two LPs under the name of The Whitey on the Moon UK, the roommates changed their name to Department of Eagles. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. However, the two returned to working together shortly, recruiting drummer Chris Bear and bassist Nat Baldwin earlier this year to focus on In Ear Park, the duo’s second album under Department of Eagles. While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccably placed value on songwriting and production.

Department of Eagles – No One Does It Like You

Department of Eagles – In Ear Park

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14. British Sea Power – Do You Like Rock Music?

The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. After the group released their follow-up, Open Season, in 2005, I found that the result was not something I was too personally enamored with. It was not a bad follow-up by any means, just a step back in the direction that the prevalently ambitious British Sea Power intended to go. With their third album, Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is arguably the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Scott “Yan” Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Do You Like Rock Music? opens, continues, and concludes in the same way: with consistent quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

British Sea Power – Waving Flags

British Sea Power – Canvey Island

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13. The Walkmen – You & Me

Whether or not The Walkmen regressed on You & Me is a topic with two sides to it. Yes, they returned to a style that was more indicative of their first two albums with a higher emphasis on heavily distorted guitars and angular vocal melodies, but there is still a glaring aspect of You & Me that separates itself from any of The Walkmen’s preceding four releases. While percussively aided keyboards were often at the forefront on Everyone Who Pretended to Like Me Is Gone and distorted guitars and yelps comprised most of Bows + Arrows, You & Me serves as arguably the most stylistically multifarious album of their commendably consistent career. Their usual use of overpowering guitars, shimmering keys, and clashing percussion is predominant, but when looking at it by a track-by-track basis it becomes evident that efforts like “On the Water” and “Red Moon” contribute to an album whose stylistic scope remains unpredictably consuming. The swirling mixture of keys and horns in “Red Moon” creates some charmingly melodic circumstances for a topic as simple as romantic longing, while the beginnings of “On the Water” invokes the same sort of exotic imagery that songwriters in the vein of Tom Waits have been so known to generate. As the rumbling of bass underlies a glistening guitar progression, singer Hamilton Leithauser concocts a series of vividly appropriate lyrics. “All the years keep rolling, the decades flying by,” he sings as the guitars pick up pace and the track reverts from a mystical bass-led enigma into a hard-rocking fury. “But ahh, the days are long.” This lyrical realization is complemented superbly by Leithauser’s uniquely invigorating howl, an aspect that is aided by instrumentation that increases in intensity as the track progresses. “Red Moon” and “On the Water” are particularly excellent usages of the band’s tendencies to use natural imagery, an effect that supplements the occasional tranquility of both tracks superbly. In terms of each individual song, the songs are not the most structurally adventurous or melodically intimidating in the band’s catalog, but other gems like the anthemic “In the New Year” and the innovative use of percussion in “Postcards From Tony Islands” should convince listeners that the five-piece have clearly succeeded in crafting one of their most fascinatingly compelling releases to date.

The Walkmen – On the Water

The Walkmen – Red Moon

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12. Wolf Parade – At Mount Zoomer

Few bands manage to be as innovative and instantaneously accessible as Wolf Parade, the acclaimed joint project of Spencer Krug and Dan Boeckner. The most impressive thing to me about the two collaborators, however, is not the infectious melodies they create or the constant critical acclaim that comes their way, but rather the stylistic transition that both are able to make seamlessly as they jump from project to project. Both have been renowned as a few of the busiest songwriters in indie-rock and their durability throughout the past several years can mainly attributed to the unique and melodically invigorating aspects that their songwriting triggers. At Mount Zoomer will hardly feel like a sophomore album to most listeners, as both Krug and Boeckner have been employing reminiscent styles in their respective projects of Sunset Rubdown and Handsome Furs ever since Wolf Parade originated. But it is also a common belief to state that Wolf Parade’s debut, Apologies to the Queen Mary, contains the most accessible material from either artist to date, an aspect that arguably derives from intentions to promote their material to a more diversified audience. Krug’s share of material on At Mount Zoomer appears most reminiscent to his work with Sunset Rubdown, with the eerily resounding flair of “Bang Your Drum” and “An Animal in Your Care” employing much of they key-oriented formula over the yelping vocals and consistently revolving song structures that made trademark Sunset Rubdown tracks so memorable. Keeping in mind that At Mount Zoomer comprises of a similar structure in that Krug and Boeckner contribute an even number of separate tracks, I am actually more impressed with Boeckner’s efforts this time around despite Krug’s showings also being expectedly strong. This can be primarily attributed to Boeckner’s increased instrumental virtuosity, as his use of keys and synths has noticeably become more prevalent. This is best evident on “Language City” and “The Grey Estates”, both tracks that utilize an array of sparkling keys in an infectious chorus that is also guided by guitars and rhythmic additives. Despite Boeckner providing for a more consistent offering of quality songwriting, Krug offers one of the best tracks in the excellent “California Dreamer”. Krug’s skills as both a songwriter and excellent keyboardist are in full display as he shifts a minimal introduction of singular keys and backing percussion into a chorus that is the most anthemic and memorable on the album. “I’ll be round, I’ll be round, I’ll be round,” he sings prior to the bridge. “Like a teenager in town where all the other young lovers are found.” It is a moment that is aided purely by the intensifying tempo of deepened keys, a technique that makes the exceptional chorus that follows even more satisfying. A few shrill chords on keys then follow as the fully bolstered rhythm section emerges for the first time. Boeckner’s “Fine Young Cannibals” also serves as a standout, mainly due to a catchy little guitar riff that manages to sound so seductively enthralling over a soulful blend of keys (à la “It’s a Curse”). As the steady delivery of a new wave-like guitar progression eases placidly over concise percussion, it takes over two minutes for the track’s greatest hook to appear. Signaled by the brisk entry of keys, a crescendo of chords flurry over the same guitar progression and intensifying quivers. Keeping in mind that a Krug-Boeckner release without some sort of epic would feel out of place, the concluding “Kissing the Beehive” makes use of both songwriter’s ability to craft alternating song structures within a familiar melody. Though the first several listen will treat nothing to the listener but a few unexpected melodic surprises, each new listen with a better comprehension of the structure provides more in terms of infectiousness and enjoyment. As that track ends, it is easy to note that Krug and Boeckner have once again collaborated for one of the most enjoyable indie-rock releases of the year.

Wolf Parade – Language City

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11. Portishead – Third

Unlike the majority of other groups during the mid ’90s in Britain, Portishead did not become legends by releasing a masterpiece or two alongside a dozen or so middling attempts at reviving glory. Instead, the trio’s status as one of the most mystifyingly ambiguous groups to have an undeniable influence on contemporary music was granted because of sheer quality, not because of an excess of tours or releases. Prior to this year’s release of Third, the group released two albums of new material in the span of 13 years. Both of them, Dummy and Portishead will forever be considered landmark achievements in the genres of trip-hop and atmospheric alternative-pop. Clearly, unless Portishead have something worth releasing, it is not going to see the light of day. This rare ideology continues with Third, an awe-inspiring release that ranks up there with the classic Dummy as being one of the most atmospherically brilliant releases of the past 20 years. Their arrangements are often initially sparse, such as in “The Rip” where only an acoustic guitar and haunting synth pad appears to back Beth Gibbons’ quivering vocals. Like many classic Portishead tracks though, the melodic and instrumental expansion of “The Rip” is what makes the group’s ingenious level of execution so irresistible. As a bassy synth arpeggio backs a lengthily stable croon from Gibbons, a simultaneous percussive ignition occurs as the track steadily fades to black. The vocally brooding nature of “Plastic” and the ethereal, guitar-based murmurs of “We Carry On” may provide indication that Third is Portishead’s least accessible album out of their three, but successive listens will reward even those who are reluctant of the trio’s atmospherically-based talents. Sure, there are less instantaneous hooks, but Third is a grower whose genius is slowly unveiled with careful audible precision. For immediate enjoyment though, a track like the appropriately titled “Machine Gun” (with its percussive bursts) and the melodically enchanting “Hunter”, the latter which proves to be one of Portishead’s most captivating efforts. Haunting is often a common word to describe Portishead’s atmospheric brilliance, and never has being haunted been so enjoyable. A sheer piece of atmospheric perfection, Third is an album to be treasured by fans of Portishead and newcomers alike.

Portishead – Hunter

Portishead – The Rip

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The post Best Albums of 2008: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

Emotional variability is an aspect of art that all musicians value. An artist limiting one’s self to a consistent set of emotions can be detrimental to a listener’s perception of the artist, primarily due to the fact that an entire discography consisting of sulking or romanticized longing can become repetitively dull and topically overwrought if not done correctly. You can look at some fine artists who can do this successfully – The Smiths, Mark Kozelek, American Music Club, etc. – and find that their musical styles and structures often diversify the songs enough. And if not, the vocal diction is varied enough to capture a consistent audience for decades. There will always be a small select group of people who opt to only listen to somberly reflective alt-rock or mindless sexually-driven pop music due to their linear perception of the art of music in general, but most listeners enjoy occasional doses of topical diversity in the music the dedicate a lot of time in discovering. To combat such linearly mundane approaches while simultaneously delivering a consistent theme and set of central emotions, Daniel Smith has become notable for crafting songs with rich imagery, brooding contrasting instrumentation, and – arguably most importantly – the ability to interweave the two aspect to craft tales of bleakly entertaining circumstances. Under the alias of Begushkin, his lyrical journeys prove both wildly engrossing and startlingly unique.

When Smith’s debut, Nightly Things, was released in June of 2006, critics took note of the young Brooklynite’s prevalent ability to emit a plethora of lyrically-led topics without overwhelming the listener. Lovelorn desperation, violence and angst, maddening loneliness, and self-inflicted emotional wounds were a few of the relayed emotions involved, all with a supplemented cast of fictional characters and exotic locales that would make even songwriters in the storytelling vein of Tom Waits and Lou Reed grin with approval. The release’s style was centered in folk, with a few other elements like gypsy-rock and glam making subtle appearances. Acoustics often led the melody in the unique of forms, usually in a blatant minor key due to the brooding topics and backing instrumentation involved. It was by no means a solely acoustical affair though, as strings and accordions also made cameos that added to the rich qualities of Smith’s songs in extravagant form. His vocals are on another as well; they quiver and moan with a likeness to two other Daniel’s who dwell in the realm of oddball folk: Dan Bejar and Danielson, though the latter Daniel Smith ironically has no relation to Begushkin’s Smith. The main difference between these artists and Begushkin, though, may lie in Smith’s stylistic bearings.

Treading on a path located somewhere between Middle-Eastern gypsy-rock and folk-based Americana, his wholesome sound and derived influences turn out to be wholesomely his own. For Smith’s sophomore album, King’s Curse, he has chosen to expand upon a sound that was already enticingly original enough for the acclaimed reception of Nightly Things. King’s Curse sees a larger emphasis on the shades of gypsy-rock that made Nightly Things – particularly on the bustling guitar-led “Hearth Light of Our Home” – so memorable. The emotional intensity of Smith’s quivering vocals has also heightened the aspect of zealousness that complements the increased ferociousness of his general stylistic demeanor. The self-titled track is highly representative of his newly initiated narrative approach, with this track in particular being one of the faster-paced efforts on the album. The tempo is in accordance with the song’s narrative focus, one that tells of ruthless hierarchical figures and creatures that would appear to fit well in medieval folklore. “The gypsy king at last is dead!” Smith pronounces with glee, followed shortly by the ghastly accompaniment of female vocals. “But his soul I couldn’t save and hollers like a lunatic from the diamond cave.” Such a vividly haunting conclusion is one component that makes Smith so memorable; he seems to always establish a song’s focus and carry through with it until the listener reaches an extremely satisfying conclusion.

Though King’s Curse is more expansive and ardently expressive on a superficial level, “Murderer” demonstrates his more subdued attempts at plot-based thematic involvement in excellent form. “Cranberry wine, dripping down her spine,” he begins, backed by an ethereal electric guitar progression and the faint whirring of an organ. The chorus sees the rumbling of percussion enter with a sparse melodic shift; the song actually takes over three minutes to truly build up, resulting in a monstrously successful guitar solo that sees all formats of instrumentation enhance tremendously before the track reverts to its original subdued format before the conclusion. “Refugee & the Hag” is notable for Smith’s excellent vocal delivery and the guitar usage that contrasts it. He opts to use several sliding techniques in addition to his quivering snarls, a vocal element that appears most openly effusive in both “Refugee & the Hag” and “King’s Curse”. The last two tracks on the album, “The Beat & the King” and “Gone to Hell”, are easily the album’s most structurally ambitious. “The Beat & the King” recalls vintage Sunset Rubdown with its marching-band rhythmic pattern and increasingly volatile vocal accompaniment, while “Gone to Hell” sees some of Smith’s most commendable guitar work to date. Both exceed six minutes in length, but knowing Smith’s talents as both a storyteller and songwriter, he can make time fly by seamlessly. The bulk of King’s Curse is chock full of material like this; time just flies by so quickly when entertained by a master storyteller.

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Begushkin – Murderer

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Begushkin – King’s Curse

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Begushkin – Refugee & the Hag

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A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. As someone who has just gotten accustomed to living with a roommate over the past few weeks, I know that I fortunately got lucky by having someone who is not a hassle at all. In fact, we have actually become friends in the process. As most of us know though, the chance that a random pairing of roommates who have the capability to collaborate successfully on an artistic project is minimal, mainly because it is difficult to find such a compatible individual even if you were searching on your own. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side.

The freshman duo began writing songs on a regular basis after months of rooming together, utilizing an array of samples with programs that they were not hesitant to call “pirated”. Illegal or not though, they productively honed their skills and eventually found a meeting point in their intended style. Spacey folk has remained the main force at work, though their implementation of electronica is heavily prevalent in a form that is neither overwhelming nor stylistically desperate. Throwing them into that awkwardly titled “folktronica” category may be deemed appropriate by some, but avant-garde folk with a culturally resounding influence remains the most descriptively accurate for me personally. Think about something in the ambitiously folky vein of Grizzly Bear; it actually proves to be more than a mere comparison with some supporting background information that I will explain later. Recordings that were originally designed for the ears of friends only was uplifted into something more recognizable when the California-based Isota Records swooped Rossen and Nicolaus up, now with the alias of The Whitey on the Moon UK on their side. Mo’ ‘Tussin – the EP, their debut release, was put out in 2002 by Isota, featuring an impressive cast of ardent lo-fi efforts that allowed for a peek into the duo’s stylistic potential. However, it seems that when their alias changed, their sound shifted into a more expansive display that was for the better.

After putting out three more EPs and two LPs under the name of The Whitey on the Moon UK, the duo changed their name to Department of Eagles. It was primarily done to avoid a dispute with a band based out of San Fran by the name of The Whitey on the Moon, though Department of Eagles appears to me as a more concisely memorable choice regardless. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. He proved vital to the success of the breakthrough Yellow House, an album whose critical acclaim remains nearly unmatched in the world of contemporary indie-folk. During this time, Nicolaus was worked a normal job but kept in constant contact with Rossen, supplying constant ideas as they continued to work on material for Department of Eagles. In December, the two began to focus on their second album under the name of Department of Eagles. Enlisting Grizzly Bear’s drummer, Chris Bear, and bassist Nat Baldwin to complete the rhythm section, they named the result In Ear Park when tracking and mixing concluded in May.

While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. While I do imagine that much of it has to do with Rossen’s newly founded experience as one of the main songwriters for one of indie-folk’s strongest acts in Grizzly Bear, longtime fans of Department of Eagles could easily tell you that chemistry between Rossen and Nicolaus created something that was eventual, regardless of any previous breakthrough projects. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccable value on songwriting and production. When In Ear Park is released on October 7th, I strongly recommend the purchase. It is an album whose critical acclaim is imminent for good reason.

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Department of Eagles – No One Does It Like You

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Department of Eagles – In Ear Park

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Department of Eagles – Teenagers

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