by Josh Taylor

Where does jazz fit in the contemporary music scene? Gone are the days of the beats and backalley jazz clubs that epitomized “cool.” While the jazz great like Ella Fitzgerald, Louis Armstrong, and Sarah Vaughan are still embraced by musicians, they are for the most part overlooked by the under-30 crowd.

Does the genre have anything new to offer without being, well, something our parents would listen to? Armed with his eponymous debut EP, John Nagle is aiming to find out if jazz would still be relevant if it took on a modern edge. Nagle’s neo-jazz sound – a la Michael Bublé – perfectly accommodates his whisper drenched vocal. And unlike Bublé, he isn’t trying to pass off Frank Sinatra’s technique as his own, or Bobby Darin’s or Dean Martin’s, for that matter. John Nagle makes his sound accessible by keeping the best elements of jazz and making it familiar by adding some pop elements and a modern instrumentation.

Musically, the EP is acoustic guitar-driven, with the majority of the songs featuring a mellow tone representative of the selection. The opening track “The Fire” has more of a backwoods feel, and feels out of place on the EP. It feels even more out of place because it’s the opening track and rather than setting up the mood, it’s setting up false expectations for what’s to come. The song is also more quickly paced than all the others, and the song that follows it, “Deeper”, is one of the slowest. The effect is more like a sudden halt than a gentle lull.

The second song, “Deeper”, introduces some jazzy horns halfway through the song and really brings them in at around four minutes in. For me, that’s when the song really gets interesting, but the wait is more than I would like.

“Keep It Cool” is more compelling than “Deeper,” particularly because the vocals are more emotionally involved. The harp accenting the chorus is a nice touch too and the dynamics keep the song from feeling as long as it is (4:40).

“On My Way” stands the best chance for widespread appeal. It has a Jason Mraz quality that makes it instantly accessible and it is quickly paced so it has a sweet little bounce to it. Nagle really shines when he achieves this subtle balance between pop and jazz.  He has the same cool panache, but the song as a whole has a modern feel. I’d even go so far as to say it’s pure pop if he continues in this vein.

“Mortal Love” is a great track to follow “On My Way” and reinforces the more upbeat mood that the EP is building toward. Right after that, “China Town” brings everything down a few notches, but to keep the EP from ending on a bland note it steadily introduces instruments left off the rest of the album. The synths are a welcome surprise and, after a brief vocal break, really come in full force. To some people, the synths might be out of place, but I think the song is long enough for it to afford some experimentation to keep it from getting tedious.

John Nagle is currently working on a full length album entitled Distractions. For the full length album to have some really strength, I’d appreciate some more distinctive hooks in his songs and some more solidified choruses. The way I see it, John Nagle the EP was trying to find direction and near the end, it has a pretty firm idea of where it wants to go. If Nagle can find that same perfect balance of pop and jazz, Distractions could be everything you wish contemporary jazz was: stylish, suave, and actually entertaining.

RIYL: Elvis Costello, Michael Bublé, James Morrison, Norah Jones, Peter Cincotti, Frank Sinatra, Chris Botti, Colbie Caillat, Jason Mraz, Robbie Williams, John Mayer, Diana Krall, Natalie Cole, George Michael, John Legend, Dean Martin, Take That

John Nagle – Deeper

John Nagle – China Town

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You could probably call it some sort of complementary bias, but I tend to be more selective when choosing which bands to feature from New Jersey. I guess it just comes down to tough love, as I would never want an artist who lingers in mediocrity to represent the place where I grew up. Springsteen has done wonders for the small (but crowded) state’s musical reputation, as have the likes of Parliament-Funkadelic and Frank Sinatra, but it has been quite some time since a newly formed act from the Garden State has turned heads. Well, the Jersey-based My Chemical Romance received a considerable amount of attention a few years ago, but I am referring more to bands who promote artistic ingenuity without being overly emotive in the process. Based out of Jersey City, The Black Hollies appear primed to be one of the more memorable acts originating from the east coast this year. Through an incorporation of their preceding influences of ‘60s soul and psychedelia with a contemporary indie-rock edge, the four-piece simultaneously express veneration for the past while demonstrating a knack for modernistic methods of production. The result is a bountiful form of psychedelic-rock that sounds strangely familiar and surprisingly effective, at least in the sense that few modern artists can capture the feel of psychedelia as well as their cherished influences from the ‘60s.

The Black Hollies formed in the summer of 2004, with all 4 of the members being good friends already. They made a habit out of hanging out in guitarist Jon Gonnelli’s attic, supplying entertainment by listening to ’60s soul records on a turntable while reading books on art, mysticism, and spiritual enlightenment. “I guess we were trying to pick up puzzle pieces of our lives while discovering new mediums to express our ideas,” lead singer and bassist Justin Angelo Morey explained. “I suggested trying to write similar music to the others and eventually we pulled the power plug of the record player out of the wall socket and turned ourselves on.” The jump from being observers to actual participants seemed only natural to the band, as all 4 members were well-aware of the common musical interests that they all shared. With that in mind, the release of their debut album, Crimson Reflections, was quick to follow in 2005. The group saw the release as an experiment of sorts, mixing together ’60s soul with accessible indie-rock to create a generally amiable listening experience. It had its rough edges, but Crimson Reflections drew acclaim nonetheless and produced an ample local fan base in the process. Guitarist Herbert Joseph Wiley V and drummer Scott Bolasci rounded out the quartet, though Bolasci was recently replaced with Nick Ferrante. Hot off performances at SXSW and CMJ that they deemed “unforgettable”, The Black Hollies are prepared to release their anticipated follow-up in the improved Casting Shadows.

The most glaring improvement found on Casting Shadows when compared to the preceding Crimson Reflections is the addition of psychedelia to the group’s stylistic equation. The band has always been followers of the style and they appear to enjoy just as much as soul and rock music, but they appeared to have some difficulty capturing the style on their debut. This resulted in a record that was occasionally predictable, albeit very enjoyable in the moments that were stylistically unwavering. The first track on Casting Shadows, “Whispers Beneath the Willows”, provides for immediate proof that the group’s stylistic boundaries are expanding considerably after only one prior release. Morey’s quivering vocals take on a slight warble of reverb, almost sounding like some tortured soul stuck in a vacuum. A steady repetition of twangy guitar progressions reverberate over a rhythm section that collapses and re-emerges sporadically, all until it is suddenly uplifted in velocity when the chorus makes its entry. When there, we find Morey engineering a series of collaborative dual vocals before a more diversified verse materializes. Overall, it is a very satisfying opener that sees the band at a much more matured stage at this early stage in their careers. The songwriting is stellar with a variety of hooks and the production is adjusted appropriately to the track’s specific leanings in psychedelia.

“Paisley Pattern Ground” should most certainly appeal to listeners who prefer garage-rock to the album’s more focused psychedelic intent. Though Morey’s vocals provide for the same form of quivering psychedelic tinge during the track’s chorus, the halted chords of the verse remains more reminiscent of garage-rock revivalists in the vein of Jet and The Vines. “Oh baby watch your step,” Morey snaps over the angsty rush of guitars. “You’re gonna dress like that.” His vocals take a turn from yelping garage-rock to quivering psychedelia as the verse and chorus alternate, being a rather tidy summation of the band’s stylistic capabilities. I personally prefer the more ambitious scope of “Whispers Beneath the Willows” and “Under a Winter’s Spell” to the straightforward “Paisley Pattern Ground”, but I foresee the track receiving considerable radio airplay nonetheless. “Under a Winter’s Spell” finds Morey sounding eerily similar to George Harrison himself, with the songwriting not a far cry from the Fab Four’s more psychedelic works. The guitar work of Gonnelli and Wiley is also particularly impressive, providing a sense of further variation over the constant rush of the bustling rhythm section and Morey’s impressively suitable vocals. Casting Shadows is available in stores now and is recommended for those who enjoy a fluid mixture of psychedelia and garage-rock.

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The Black Hollies – Whispers Beneath the Willows

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The Black Hollies – Paisley Pattern Ground

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The Black Hollies – Under a Winter’s Spell

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It is hard to believe that Christmas is merely three weeks away, even if the commercialized aspect of the holidays have been in full gear for over two weeks now. Along with the shortcoming imminence of Christmas comes the rush of holiday songs that accompany it, new and old. Whether you enjoy sipping a cup of hot chocolate while listening to the suaveness of Frank Sinatra’s version of “White Christmas“, decorating the tree to the optimistic delivery of Mogwai’s twinkling “Christmas Song“, or nodding your head to the catchy half-spoken-word anecdote in The Walkmen’s “Christmas Party“, the diverse array of styles within these “holiday songs” provides for an experience that never gets old (unless you play it out of season, of course). Even so, though all three songs above are reflective of the Christmas in style and substance, it is generally well-accepted that indie-rock songs usually do not fall in the category of stylistic clichés for the holiday season. In fact, if it were not for the lyrical content in the majority of them, they would not even be considered Christmas songs.

December also means that many up-and-coming artists will be providing toward Christmas compilations in an effort to gain reputability and hopeful fans. No strangers to holiday-based songwriting (check out their charming “Halloween Song”), indie-rock four-piece Evangelicals are the latest to contribute to such a compilation, with their song, “The Last Christmas on Earth”, being a standout on Mistletonia, a Christmas compilation compiled by the folks at the Australian-based Mistletone Records. Dead Oceans Records handles the domestic distribution of Evangelicals, as the four-piece is based out of Norman, Oklahoma. They released an enjoyable debut, So Gone, in 2006 and are planning to release their second album, The Evening Descends, on January 22nd. “The Last Christmas” will not be included on the latter, though if it translates to the same sort of quality on the album, I will be more than pleased. The stylistic approach presented in this holiday release reminds me heavily of The Walkmen, building up a force of distorted guitars over Josh Jones’ heavily reverbed vocals as he controls the song’s hooks on his vocal intensity alone. “Oh Jesus, can you save us?” Jones yelps during the chorus’ first exposition, continuing a phase of societal doubt that was well prevalent in So Gone. Consider it a bit of an ironic song in the very least, detailing “the last Christmas on Earth” in the form of some man-made apocalypse readily prepared to take over the world.

While those expecting tales of holiday cheer as snow gently falls outside in winter’s beautiful embrace will find “The Last Christmas” to be cynically pessimistic, it remains true that such unconventionality is what many of us have come to expect from indie-rock. Even if it comes off as initially unaccessible, the explosive chorus in “The Last Christmas” provides for stunning moments of structural creativity as the second half of the song appears as one big chorus, all until Jones concludes the song by prospectively repeating the song’s title repeatedly, clarifying an event

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Evangelicals – The Last Christmas on Earth

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Evangelicals – The Ghost of Abner E. Norman (The Halloween Song)

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On the other side of the spectrum, singer/songwriter Matt Duke‘s “Ash Like Snow” is certainly more a seasonal than holiday-themed song. He joins the ranks of familar songwriters who capitalize on acoustical folk-pop, though Duke’s sensitive aroma allows him to pull off the sincere singer/songwriter vibe quite well. Though not nearly diverse as acts like Sufjan Stevens or Sam Beam, he can be compared quite easily to the more accessible Jack Johnson. Duke’s instrumentation remains more widespread, with twinkling keys and electric guitar occasionally becoming heavily involved. He also has a knack for crafting moments of irresistibility through his smooth vocals and melodic prowess, revealing tales of political, religious, self-inflicted destruction, and romanticized longing through his diverse lyrical approach. The excerpt of “Tidal Waves” concludes immediately at the beginning when the excellent chorus is implemented, making me sincerely wish that the full song was available online. If you are as interested as I am, you can buy his very receptive full-length debut, Winter Child, on his web site.

“Tidal Waves” in particular touches on such political and religious themes, while “Nausea” serves beauty through a set of country-tinged guitars and organ-based synths. In addition to the exceptional vocal and keyboard work on “Listen to Your Window” and the rapid acoustically string-aided goodness of “The Love We’ll Never Know“, the rest of Winter Child is just as enjoyable. Unfortunately Duke has only offered “Ash Like Snow” as a full-length download, though you can stream the full versions of his songs on his web site; it is well worth it too. Not included on his album or even a compilation, the newly released “Ash Like Snow” is Duke’s lushest song. Like Evangelicals’ “The Last Christmas”, “Ash Like Snow” is unconventionally bleak. It is a summation of the common loneliness felt throughout the holidays. “Desperate hope reminds me I’m alone but, even so, inside I know I’ll see you again,” he sings over the subdued strums of an acoustic guitar, increasing in vocal and instrumental intensity as the song progresses. “We sang towards the sky to a God up above that may never come,” he further clarifies regarding the same religious uncertainty echoed on “Tidal Waves”, making it likely not a top choice to bring to your grandmother’s church on Christmas. Regardless, both Evangelicals and Matt Duke have offered up two holiday songs that, while bleakly unconventional, are extremely enjoyable in their own right.

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Matt Duke – Ash Like Snow

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Matt Duke – Winter Child (excerpt)

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Matt Duke – Tidal Waves (excerpt)

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His own description of “American mutt music” fits the genre of Stuart Rosh quite well. Rarely do I find an artist that admits he is “stealing” a style from someone in particular. Well, Rosh does not name any specific artists. No, not at all. Instead, he states simply: “The idea is to steal from sounds from the 30s, 40s, 50s, 60s, and 70s of the previous century and add contemporary lyrics.” This is what Stuart Rojstaczer, known by his stage name of Stuart Rosh, defines as “plain old American mutt music.” A native of Milwaukee, Rosh grew up listening to a variety of styles, gaining an admiration for rock, swing, jazz, country, and virtually every existent genre in between. In fact, Rosh appears to be one of those rare individuals who appreciates literally aspect of music. From Yiddish and religious music to classical music and opera, Rosh understands that quality music can be originated from any genre. Blatantly, Rosh is the direct opposite of someone who discriminates against specific genres.

Like his childhood musical interests, the style of his musical career has shifted throughout the years with his capable backing band, The Geniuses. Rosh originally began as an alternative-country artist with his first two albums, 2004’s Accept No Imitations and 2005’s Hummingbirds in Flight. Over two years later while looking back on his first two albums, Rosh offers some constructive criticism of his own previous work, calling the majority of the work “three chords” with a “faux Southern accent”. For him, it appeared his first two entries into the music industry were purely stemmed from his impulsive childhood love for music. Despite his apparently linear instrumental grasp at the time, Rosh displayed an impressive tendency to produce witty, thoughtful, and in-depth lyrics that were both captivating and entirely suitable in contrast to its instrumental backdrop. Several publications even went as far to compare him to Leonard Cohen or Warren Zevon, two lyricists which I personally believe are simply too untouchable for contemporary comparisons. Despite those two comparisons being quite overblown, I have to agree that Rosh is one of the best lyricists I have heard recently. In addition, his newest release, American Vernacular, offers a stunning improvement on the instrumental front.

While Rosh considers his first two albums, led by alternative-country, to be a reflective image of his childhood love for music, I believe that American Vernacular is a more accurate display of his diversity. Containing a plethora of genre-related influences, Rosh’s third album really jumped out at me compared to his previous releases. His vocal stylization has also improved alongside the instrumentation, offering previously unheard range and emotion. It is not difficult to compare the vocal stylizations on several songs to prominent artists, whether it be Sinatra on the soft key-laden “Schadenfreude” or the slight resemblance to Randy Newman in tracks like “Extra Read All About It” or the Southern flavor of “Loneliness & Gin”, featuring the spicy fervor of accompanying strings. Each song is supplemented by a fascinating story and often hilarious lyrical lines. The humorous opener, “Eat At Home”, muses about the temptation of adultery, bringing up some popular idolizers like Johnny Depp and Denzel Washington. “Don’t matter where you get your appetite, just as long as you eat at home,” Rosh sings half-grinning, deeply crooning clever line after clever line. “Even a dog knows where to bury his bone, you can save a lot of trouble if you eat at home.”

The saxophone contained in the introduction of the standout “Black Cherries” reminds me quite a bit of Springsteen and Southside Johnny, two artists who, being a New Jersey native, I have had the fortune of seeing several times. This is another example of Rosh’s musical expansion, showcasing a form of progression that is both enjoyably respectable and admirably progressive. “Extra Read All About It” is another notable track off of American Vernacular, being a traditional love-at-first-sight tale, reliving the first time a married couple of fifty years met. With its guitar twangs and infectious chorus, it is a heart-tugging song to remember. Still, Rosh’s good humor and impressive wit is not forgotten. “When you fall in love the world moves faster, it’s like Jimi Hendrix on a Stratocaster,” Rosh fits in the midst of a romanticized story-tale, somehow making it suitable enough for proper emotional impact. If the witty Jarvis Cocker was a bit less perverse and of American descent, Rosh’s comparison to Cocker would be highly evident. It is a bit ironic that Rosh sings on the ballad, “Little Egypt”, the specific line: “I’m not one for nostalgia.” For a man who borrows so many influences and rants about Amazon’s recent switch to MP3 sales, Rosh seems too enjoyably old-fashioned to abandon fine nostalgia.

Simply put, Rosh’s American Vernacular is an unpredictable gem. Lyrically, he relives accounts of childhood on songs like “Beats the Hell Out of Me” (“When I gave him reports cards I knew was damned, he handed them back with the back of his hand”), true love in the fantastic “Extra Read All About It”, heartbreak on the dramatic power-pop of “My Beautiful Ideal”, and even the origination of the word “Schadenfreude” (German word meaning “the pleasure taken from someone else’s misfortune”). Instrumentally, outstanding brass sections are complemented on the album in “Black Cherries” and “You Take Me” with the the impeccable guitar progressions contained in “My Beautiful Ideal” and the bluesy “Something Upstairs”; not to mention several enjoyable bar-room ballads featuring impressive piano arrangements. Rosh can seemingly transition his vocal style with comparisons to Frank Sinatra, Randy Newman, and even Craig Finn in an instant depending on the song, establishing a formula that will find difficulty getting tiresome. While I doubt that American Vernacular will receive much radio play or recognition due to its throwback sound, it is an extremely enjoyable album. You will not find many others this year that mixes lyrical ingenuity with instrumental brilliance in such a passionate display.

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Stuart Rosh & The Geniuses – Black Cherries

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Stuart Rosh & The Geniuses – Extra Read All About It

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Stuart Rosh & The Geniuses – Eat At Home

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It seems rather traditional to do a Christmas compilation, so I don’t like to be one who breaks the tradition. Usually, when people think of quality Christmas music they think back to the days of Frank Sinatra and Dean Martin when strong vocals and orchestral accompaniments defined the greatest. Perhaps it was back then when the words “Christmas” and “commercialized” were never uttered in the same sentence. The allure of Christmas is always brighter when just focusing on family though, so more commercials does not mean that contemporary Christmas music is not as heartwarming. While this year’s compilation mainly features the Sinatra’s and Martin’s of the past, several current artists like Sufjan and Snowden have provided covers, that while often unoriginal, bring the Christmas spirit that those who celebrate often search for. Christmas songs also originate from all over the world… from Siberia’s favorite orchestra to Japan’s popular B’z and Ryuichi Sakamoto, it is a holiday that is cherished by even those who are not particulary religious.

So, despite any religious views, I wish everyone a safe and merry Christmas. Just sit back and relax. For those unfortunate souls who have to work, hopefully these songs will bring some cheer. Have a good one. These type of songs are divided into two, from occasionally original and contemporary songs you may not be aware of to the classics that you have known since childhood.

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Ryuichi Sakamoto – Merry Christmas Mr. Lawrence

Sufjan Stevens – O Holy Night

Sufjan Stevens – It’s Christmas! Let’s Be Glad

Trans-Siberian Orchestra – Carol of the Bells

Trans-Siberian Orchestra – The Ghosts of Christmas Eve

John Cale – Child’s Christmas In Wales

B’z – Itsuka no Merry Christmas

Snowden – White Christmas

Some By Sea – The Saddest Christmas

Sparks – Thank God It’s Not Christmas

Joy Electric – Winter Wonderland

Pet Shop Boys – Jingle Bells

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Frank Sinatra – Let It Snow! Let It Snow! Let It Snow!

Dean Martin – Rudolph The Red Nosed Reindeer

Nat King Cole – Deck The Halls

Johnny Mathis – Have Yourself a Merry Little Christmas

Tony Bennett – Deck The Halls

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10. Jarvis Cocker – Jarvis

The definition of the word “witty” is generally defined as one who combines clever conception and facetious expression, though if you would like an enjoyable example, I would suggest listening to most songs by Pulp. Indeed, “witty” is one of the many complementary adjectives that could be used to describe Jarvis Cocker and Pulp. Ever since Cocker formed the band at the tender age of 15, the public has had eyes and ears focused on Cocker, their oddly enjoyable frontman. After some amateur but promising albums in the 80s, they propelled in the 90s as a huge success with such classic albums as Different Class and His ‘n’ Hers. In fact, they were my favorite band of the 90s. Now at the wiser age of 43, Cocker has released his first solo album with the simple title of Jarvis. While those few who disliked Pulp will probably feel the same concerning Cocker, Pulp fans and admirers of well constructed pop music should find Jarvis particulary pleasing. Cocker’s lyrical wit is still present, especially in the productive ‘Big Julie’, in which Cocker describes the perilous ordeals of an overweight girl in a superficial suburban society, only finding enjoyment in life by listening to the great joy that is music. Cocker’s descriptive lyricism manages to be hilarious, somewhat perverted, and emotionally touching all at once. In ‘Big Julie’, he motions momentum by exclaiming that Julie “knows sex is just for dummies anway, something you do when you’ve run out of things to say”, before a fury of strings build up an emotional closing. Cocker successfuly engages us in the troubled mind of someone half his age, something that other artists have often trouble doing. The diversity of Jarvis is also impressive, with the dark strings and soft vocals in ‘Disney Time’ reflecting on the loss of childhood innocence, while the rougher and more frantic pieces like ‘Tonite’ and the silly fun in ‘Fat Children’ do the album a great deal of excitement for those who prefer not to tread in melancholy. Though I was displeased at Pulp’s inactivity for the past five years, Cocker’s emergance as a solo artist is very gratifying in the grand scheme of things.

Jarvis Cocker – Big Julie

Jarvis Cocker – Disney Time

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09. Some By Sea – On Fire! (Igloo)

It’s a shame that Some By Sea will never gain much recognition outside of their native Washington. Now that the band has announced that they are no more, it means that On Fire! (Igloo) is their ode farewell. With that in mind, it’s at least a fantastic way to go out. Compared to the other artists on this list, Some By Sea is arguably the least publicized. I could take the easy route and blame whoever was their publicist, but truly I think it lied in the length of their songs. Not often do you find electric folk artists creating songs that, on average, reach over six minutes in length for each and every track on the album. That would equate to a lack of commercial radio outside of colleges in Washington, with most looking for easily accessible three-minute pop songs. Lead songwriter and singer Chris DuBray certainly has the musicianship to create memorable songs of this length, though the album is certainly not recommended to impatient listeners who take songwriting for granted on first listen. Those who are patient will almost certainly be rewarded with Some By Sea’s musical grasp, with cellos, horns, fiddles, keys, and harps being a few of the dozens of instruments that Some By Sea packages neatly in each song. ‘The Beginning Of The World Often Comes’ is a perfect example of the band’s collaborative talents, with a variation of strings leading the emotional track upwards in quality. As the song displays, their appreciation for classical music is no secret, as DuBray has the proper longetivity and passion throughout the entire album to guide even the rougher spots out of the doldrums. ‘Fables (Kentucky Social)’ is exclusively one of the accessible songs on the album, something they achieve without completely selling out. DuBray’s nasally voice gains fervor as the effective backing feminine vocals of Rachel Bowman harmonize well with her musical surroundings. Some By Sea’s larger than life songwriting ambitions may have been what tore the band apart but their fantastic music is still in tact, whether it remains undiscovered or not.

Some By Sea – The Beginning Of The World Often Comes

Some By Sea – Fables (Kentucky Social)

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08. Tokyo Jihen – Adult

Honestly, it takes quite a lot for a foreign album to place in my top ten for the year. I know that music is universal but I am one who finds lyrical comprehension to be an important aspect of a listening session. If I can’t understand them it takes a slight factor out of the decisionmaking on whether I enjoy it or not. That said, some foreign bands tend to grip you on catchy melodies and instrumental participation alone. Tokyo Jihen is one of those bands. Led by Shiina Ringo, who is genius in her own right, Tokyo Jihen is a collection of proficiently trained musicians who range in styles from blues and jazz to shibuya-kei and hip-hop. Ringo has been such a musical presence ever since being declared a musical prodigy in her teens. She is not only one of the best songwriters in Japan, but one of the most naturally gifted in the world. Those who speculate can take a look at her solo career, which always seems about ten years ahead of her time. The variation on Tokyo Jihen’s second album Adult is astonishing, with the subtle classical guitar in ‘Keshou Naoshi’ serving as example of Ringo’s natural ear for musical consistency. The backing band works incredibly well together, live and in the studio. This can be heard throughout, as most songs sound as if they were crafted by a perfectionist, giving indication for great production. Whether it’s the R&B influences in the catchy ‘Blackout’ or the intensifying blues combination in ‘Himitsu’, Ringo’s Tokyo Jihen has put together an extremely impressive selection of eleven original songs.

Tokyo Jihen – Blackout

Tokyo Jihen – Himitsu

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07. Junior Boys – So This Is Goodbye

Jeremy Greenspan and Matt Didemus both were issued large expectations for the Junior Boys’ second abum, So This Is Goodbye. The duo avoided the infamous sophomore slump with a lack of modification. Why fix something that isn’t broken? While the electronic style of some songs such as excessive trance influence in ‘Like A Child’ or the synthetic effects used in ‘FM’ are new in comparison to the acclaimed Last Exit, the new album exists in a similar world in terms of production and musical usage. Greenspan still has the slick vocals that execute perfectly with the late-night electronic sounds that Junior Boys are reputable for, with actual vocal improvement concerning the harmonics and melodical figuration in songs where Greenspan is most reliant, such as the restful cover of Frank Sinatra’s ‘When No One Cares’. So This Is Goodbye is more frantic than the debut, partly in thanks to the lively percussion, whether it be programmed claps or a robotic reverb. That is not to say the songs are particulary energetic, as the song has the mindset of a relaxing Sunday. Those who let the album take over an open mind will find it most enjoyable, unlike those who attempt to analyze every electronic component. ‘In The Morning’ and ‘First Time’ are both representitive of the surprising hooks that Junior Boys are known to create, with mastered ease and abruptly rewarding choruses that cause even the toughest critics to grin with satisfaction.

Junior Boys – In The Morning

Junior Boys – First Time

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06. Islands – Return to the Sea

Formed from the ruins of The Unicorns, Nick Diamonds and J’aime Tambeur brought the same type of musical delight to their new project, Islands’ debut Return to the Sea. While The Unicorns were lovingly aspirant in traditionally lo-fi fashion, Islands tends to be more mature and self-conscious of their surroundings. Diamonds has always shown clear aspirations in his creative touch, from The Unicorns’ unique blend of lo-fi indie pop to the rap-pop-electrohop of Th’ Corn Gangg, with Tambeur at his side for each project. Unlike old Unicorns favorites like the simplistic ‘The Clap’ or ‘Jellybones’, the leap in songwriting skill is recognizable right off the bat in Return to the Sea. The nine-minute opener, ‘Swans (Life After Death)’ teases us with a hook right after the two-minute mark before jumping back into the usual verse. With The Unicorns, one would expect the usual verse-chorus/hook-verse-chorus, but Islands tends to have a different philosophy. That hook is not used once again in the song, instead Islands capitalizes on the song’s flow and uses it to craft a series of brand new hooks, mainly evident during the distorted guitar outburst in the last three minutes. The song presents a great first impression, though all other songs on the album are of a different, more traditional nature. I mentioned in July that ‘Volcanoes’ was my favorite track of the year and that has not changed. Indeed, ‘Volcanoes’ is my favorite song of 2006. What establishes this song as a marvel is the fact that it is merely a building point for about four minutes. The third time that the chorus comes around, Islands utilizes already familiar chord changes and adds several layers of strings and keys on top of the chorus to present an explosion of sorts. The structure acts like a volcano itself, slowly showing signs of an eruption until the apparent burst. Other sensations range from the tropical ‘Jogging Gorgeous Summer’ to the light synth glaze of ‘If’. Though Tambeur has left the band, Islands has planned to carry on as usual without him. This is certainly good news, considering the band’s already evident amount of potential.

Islands – Volcanoes

Islands – Swans (Life After Death)

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05. Scott Walker – The Drift

It seems that anything Scott Walker touches, I fall in love with. From his brilliant 60s cover albums to his contemporary ambient works of art, I have enjoyed every morsel of Walker’s historically ambiguous career. It’s interesting to see the reaction of my friends when I play Scott Walker’s Tilt or The Drift. They are either stunned or completely disgusted, remarking that they could make the same type of noise by croaking and smashing pans together. While it is true that not all can embrace Walker’s unique idealization of sound, those who can have discovered that The Drift is much more than a common album. Walker’s booming vocals have not lost a touch at all since his days with the Walker Brothers, though this time instead of singing coherent popular songs on black and white television sets, he is crooning in what appears to be the darkness of his own residence. His vocals sense a rush of sadness on the verge of tears, all while propelling anger towards all his vaguely presented characters. In ‘Jesse’, Walker sounds disturbingly personal over a series of direct strings, as he asks a musical shadow, “Jesse, are you listening?”. You can almost feel Walker breathing down your neck in moments of vocal intensity like this, as disturbing as that sounds. That would make sense though, as disturbing would be one way to describe Walker’s nature. At this point, Walker claims that he just improvises every bit of each song, which is not surprising considering he has been in the industry for about fifty years. The Drift is one of the only albums that I have heard that is entirely unpredictable. Walker creeps out of the darkness with several surprises, such as the infamous “Donald Duck” vocal maneuvering in ‘The Escape’. I won’t spoil which part of the song that it appears at, though if you want to jump in your chair and you have not heard it before, I suggest playing the song at full volume. Whether the chills on my spine are due to the thought of Walker’s amazing career or The Drift itself is up in the air, but whatever it is, Walker has proved himself to be one of the most visionary songwriters of all time with his second masterpiece in a row.

Scott Walker – Jesse

Scott Walker – The Escape

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04. Sunset Rubdown – Shut Up I Am Dreaming

Spencer Krug just seems invincible these days. Wolf Parade, Frog Eyes, Swan Lake, AND Sunset Rubdown? Wow. Someone sure knows how to pick ’em. Though collaborators are involved, Sunset Rubdown is largely considered Krug’s first solo project, which is evident by the meandering production of Shut Up I Am Dreaming. Predictably, the songs aren’t that far off from the quality of Wolf Parade. Krug uses his multi-instrumental ability to play a variety of keys, harmonicas, xylophones, guitars, and compressed drums to create an album that in the end focuses on Krug’s talented ear for melody. His signature vocals now seem common in the Canadian indie scene, with murmuring and yelping being main components in matching with each song’s unique formula. ‘They Took a Vote and Said No’ is the most accessible song on the album, working around Krug’s vocal harmonization with the keys and beyond. His lyrical instincts are particulary interesting, posing questions such as, “I’ve heard of creatures who eat their babies, I wonder if they stop to think about the taste” in the rather mellow ‘Us Ones in Between’. When the music gets all too familiar, Krug always seems there to offer some sort of lyrical line that either makes you grin or scratch your head. The brightest moment on Shut Up I Am Dreaming comes in ‘The Men Are Called Horseman There’. The seven minute epic is of outstanding nature, being one of the best songs that Krug has ever written. His yelps of emotion almost echo back, “If I were the horse, I would throw up the reigns, if I was you,” taking a slight pause as the chorus reverb gathers itself, “but I am no horse and you are no angel”. The song is deliberately poking fun at those who are intimidated by anything foreign and new to them, doing so in an effectively creative stance. Krug is one of the most active songwriters at the moment, also undoubtly one of the most talented.

Sunset Rubdown – The Men Are Called Horseman There

Sunset Rubdown – They Took a Vote and Said No

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03. The Veils – Nux Vomica

The Veils’ fascinating debut The Runaway Found showed a band with a a collection of talented musicians, the promising voice of Finn Andrews and an organically unique sound. The debut displayed something incredibly promising, though it was confidence that the band lacked to break through to the elite. One would have hoped that The Veils’ second album would bring more success and live up to the promises that the band foreshadowed in The Runaway Found. After all, frontman Finn Andrews has been considered a “child prodigy” of music, ever since Columbia Records offered him a record deal at the age of fifteen. Oh, did I mention that his father is Barry Andrews of the great XTC? Of course, Finn’s childhood must have been filled with pressures of society that caused him to drop out of school at the age of sixteen to pursue his musical career. When The Veils formed two years later, they had no clue what sound to pursue. Switching back and forth between alternative, glam, folk and even New Orleans-inspired blues brought them to one final conclusion: play whatever comes naturally. Nux Vomica is the type of album that bystanders have been expecting from Andrews for years. While only ten songs long, there is not one weak track on the album. ‘Calliope!’ demonstrates a wider expansion of their sound, with Andrews’ influence of Bob Dylan present, as his quivering vocals are devastatingly effective throughout the song’s common message of motivation, with a waivering, “you’ve come such a long way, with no one to comfort you to tell you you’re needed” being the glue of the chorus and the song. The sparkling keys of ‘Advice For Young Mothers To Be’ even touches on a bit of reggae, though Andrews still manages to maintain his studious vocals in perfect fashion. Andrews’ vocals are most certainly more welcoming than in The Runaway Found, though there will always be those who dislike his unique style. The album’s ballad, ‘Under The Folding Branches’ is particulary touching as well, with a melody that is one of the most beautiful I’ve heard all year. Nux Vomica is exciting, heartbreaking, original, and… well, you get the point. It’s most certainly worth your time.

The Veils – Advice For Young Mothers To Be

The Veils – Calliope!

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02. The Divine Comedy – Victory for the Comic Muse

I have been praising Neil Hannon and The Divine Comedy all year long, so I don’t expect any of you to be taking this to a state of shock. I consider Victory for the Comic Muse to be Hannon’s strongest album in ten years, bringing a bit of everything to the table. Humor, depression, satire, and artistic appreciation are all present in the album, each separated by song. In simpler terms, it is easy to listen to Victory for the Comic Muse in any type of mood. Hannon’s powerful vocals have always shown shades of prominent frontmen like Morrissey and Scott Walker and while it is not an insult at all, Hannon has taken his vocal delivery to a different level for Victory for the Comic Muse, sounding the least linear he has in his career. The hilarious ‘To Die a Virgin’ is sung with a grin on his face and vocal flamboyancy present, recalling Hannon’s previous ‘Generation Sex’. Like Jarvis Cocker, Hannon has always been intrigued by the topic of sexuality, half-mocking society’s infatuation with the subject. The song remains true to heart though and some may even feel some sympathy for Hannon, though we can be rest assured that the song couldn’t possibly be written from his point of view. Could it? ‘Diva Lady’ is another humorous gem, this time poking fun at the celebrities who treat materialism like their own flesh and blood. “”She’s got thirty people in her entourage,” Hannon snickers, “just in case her ego needs a quick massage”. ‘Diva Lady’ also contains the line: “She’s got special needs, she wants chocolate candies, but no blue ones please”, which is an oblivious reference to Van Halen’s antics (refusal to eat brown M&Ms). Such wit often comes overrused in music, but Hannon makes it fit into each and every song with ease. Hannon’s shining moment comes in the touching ‘A Lady of a Certain Age’, where Hannon chronicles the life of a lonely widow with a husband who left her and kids who are gone and do not care for her. The setting of a dark and misty pub is relevant, as Hannon’s beautifully arranged melody is perfectly complementary to the vivid image of an old woman sitting in a pub telling her life’s story for a shot or two. The mixture of acoustics and strings do great justice to the troubling emotion conveyed, as Hannon is at his best in the entire album.
The Divine Comedy – A Lady of a Certain Age

The Divine Comedy – To Die a Virgin

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01. Xiu Xiu – The Air Force

Whether it’s the innovatively love-obsessed poetic touch that Jamie Stewart formulates into each and every song, or the eclectic instrumental fury that is touched upon in each and every musical layer, Xiu Xiu’s The Air Force is my album of the year. There is a feeling of wholeness whenever I listen to The Air Force, an album that I have been playing for the past seven months and have yet to grow tired of. This is the most diverse collection of songs I’ve heard this year, with the catchiness of ‘Save Me Save Me’ and ‘Boy Soprano’ in comparison with the edgy experimental touches of ‘Wig Master’ and ‘Buzz Saw’ are beyond me, but I do know that the album manages to flow cohesively despite the wide diversity. This time around, Stewart discusses the topics of bondage, rape, unrequited love, shielded homosexuality, racism, and various other unappealing topics. As disturbing as it may occasionally be, Stewart captures such emotion even in the barest of songs. ‘Wig Master’ is the best closer Xiu Xiu has done based on lyrical effect alone. There is nothing more than shrieking ambience in the background, but honest and sympathetic lines such as “Loneliness isn’t being alone, it’s when someone loves you and you don’t have it in you to love them back”, which details the rants of a madman envisioning an actual “night out” with someone to accompany him, is designed to offer a new perspective on loneliness and how other pathetic puppet musicians portray the feeling.

‘Save Me Save Me’ is a simple pop song, even disguised under all the complex strings and cleverly executed percussion. The shrieking chorus is played to remain stuck in your head for quite some time, forced or not. Along with ‘Vulture Piano’ and ‘Boy Soprano’, it is the one of the only tracks on the album with a predictable structure. The predictability comes at a right time for these songs though, as even Stewart recognizes when a break from the morbid is necessary. The musical verse in the intro of ‘Bishop, CA’ lasts throughout the entire song, even unknowingly as dozens of instruments and synth pile themselves on until a counted “walla-walla-hey” signals a furious onset of percussion and buzz effects, followed by some sort of odd extraterrestrial sobbing. It is these sound effects that are somehow planted masterfully into each and every song that is another impressive aspect concering Xiu Xiu’s credentials. ‘Hello From Eau Claire’ is the only innocent sounding song on the album, mainly because it is sung by the charismatic vocals of Caralee McElroy, though the lyrical content vaguely portrays a woman who is in an abusively controlling relationship. As Xiu Xiu continues to expose societal flaws in the most unpredictable ways, it seems that both poetic license and skilled musicianship are only two components of many ideas at play. Xiu Xiu has accomplished their greatest album yet, with a trend that just keeps getting better.

Xiu Xiu – Save Me Save Me

Xiu Xiu – Bishop, CA

Xiu Xiu – Boy Soprano

Xiu Xiu – Vulture Piano

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