by Mike Mineo

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30. Yeah Yeah Yeahs – It’s Blitz!

They have only released three albums in their nine years together, but plenty of EPs and a reputation for being great live performers has given Yeah Yeah Yeahs a relatively solid reputation. Their first two albums, Fever to Tell and Show Your Bones, were rare examples of a band improving with few visible errors. The raw guitar schematics of Fever to Tell were indicative of a band enamored with ’80s garage-rock and ’90s punk, while Show Your Bones saw them improving upon all the little things to make a more art-rock style sound more polished. To hear Yeah Yeah Yeahs reaching their commercial pinnacle on It’s Blitz! is hardly surprising as a result. This is one example where commercial intentions are not such a bad things, as Yeah Yeahs Yeahs have retained the raw edges that made them so likable in the first place while they still strive toward a polished sound. The result is their most accessible songs to date, most complete with pulsating synthesizers, potent rhythm sections, and Karen O’s signature howl. Her voice has always been one of the band’s main attractions, and her fluid and concise vocal delivery is perfectly aligned with the electro-rock they are successfully attempting here. “Heads Will Roll” is a sure winner in this regard, its guitar tremolos and accompanying synthesizers forming an enjoyable fusion of post-punk and electronic pop that marks new territory for the band. It’s Blitz! has tracks like “Heads Will Roll” and “Zero” that are fantastic additions to their growing resume, which should see some interesting turns over the next few years. The trio has clearly established themselves as a band with few limits, and their next full-length will likely pack the same sort of dramatic punch or interesting stylistic development. As far as It’s Blitz! goes, this one is clearly a winner from the bursts of anthemic energy like “Zero” to glittering ballads like “Hysteric” and “Little Shadow”, both of which cap off a satisfying album in grand style.

Yeah Yeah Yeahs – Zero

Yeah Yeah Yeahs – Heads Will Roll

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29. The Clientele – Bonfires on the Heath

The Clientele’s fifth album, Bonfires on the Heath, is another installment to a very cohesive career. The London-based group has stuck with their autumnal and quaint form of psychedelic-pop since their debut full-length in 2003; they know what works and see little reason to alter it. Each album has boasted excellent songwriting though, and the fact that it seems to improve with each successive release is the cause for The Clientele’s recent surge in popularity. Well, that and the release of Bonfires on the Heath. The stylistic differences are sparse apart from the addition of Mel Draisey’s backing vocals and a larger emphasis on traditional folk music, and those accustomed to their orchestral-laden glimpses of serene psychedelic pop will not be disappointed. Bonfires on the Heath does stand alone in its overall consistency though. While Strange Geometry and God Save the Clientele had some fantastic tracks, but both albums lagged a bit when nearing its end. Bonfires on the Heath is a fully enjoyable experience for start to finish, suggesting the group may have just began to reach their peak. The primary reason for this is the emotional variation accomplished here. Their heavy reverb effects, hushed vocals, and slow-moving orchestral content sound melancholic by nature, so their ability to make tracks like “Jennifer and Julia” sound uplifting with joyous string accompaniments and choir boy-like vocal cues is part of a series of strengths that continue to grow for the band. Alasdair MacLean’s vocals over the brass in “Jennifer and Julia” or the beautiful trickle of acoustic guitars in the sweepingly romantic “I Know I Will See Your Face” remind any listener that The Clientele are capable of some majestically beautiful stuff. Bonfires on the Heath just happens to have plenty of those moments.

The Clientele – Jennifer and Julia

The Clientele – I Know I Will See Your Face

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28. Phoenix – Wolfgang Amadeus Phoenix

2009 was the year of Phoenix’s imminent breakthrough, something that most fans foresaw since the release of It’s Never Been Like That in 2006. Their concise and tightly constructed style of art-rock seemed bound to run into success sooner or later, most probably in the form of a few successful singles.  “1901” is indeed one of the best songs of the year, and this along with tracks like “Lisztomania” and “Lasso” has brought enormous success to the French rockers. It seems as if practically every song on Wolfgang Amadeus Phoenix has been used to some degree in popular media, whether in a commercial on ABC or a highlight clip on ESPN. This is a sign of some pretty accessible and universally likable material, which is the type of music Phoenix have always put out. It’s Never Been Like That did so and Wolfgang Amadeus Phoenix is pretty similar to its predecessor, the only difference being that the more recent is responsible of the biggest singles of its release year. “1901” shows a perfect mix of synthesizers and guitars; its success is almost entirely dependent on its variation, which touts a welcoming demeanor that excludes no fan of pop music. “Lasso” is more in the vein of strict guitar-pop that dominated much of It’s Never Been Like That. Wolfgang Amadeus Phoenix sees an increase in electronics and complementary synths, but the band’s guitar-based pop dynamics are still the charging force alongside Thomas Mars’ chirpy vocals. Occasional exceptions like the disco-tinged “Fences” are pulled off very well though, and hopefully their future albums will feature more variation like this. Wolfgang Amadeus Phoenix is not going to start a stylistic revolution, but it is definitely one of the most accessibly enjoyable albums of the year. It is easy to see why advertising agencies are so in love with Phoenix at the moment.

Phoenix – Lasso

Phoenix – 1901

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27. Julian Casablancas – Phrazes for the Young

To be young and responsible for The Strokes, a band whose positive legacy already seems durable, leaves plenty of room for contemplation and experimentation. Even if it was shorter than most expected, Julian Casablancas’ rise to the top with The Strokes’ genius debut . It was not exactly a fall, but more of a placid status that saw little development from a band that showed so much promise. Now that the group seems to be on a hiatus of sorts, the members have spread out to separate solo projects. Julian Casablancas and Albert Hammond, Jr. have budding solo careers, while Fabrizio Moretti is one-third of Little Joy. It is hardly surprising that Casablancas’ solo forays are the most energetic of the three, particularly considering his excitable stage presence and vocal delivery was always a noteworthy aspect of The Strokes. His long-awaited solo debut, Phrazes for the Young, finds the former frontman experimenting with a variety of styles. While not exactly the cohesive release of the year, seeing a talented songwriter like Casablancas release something like this is very encouraging. There is a lot of imagination here and a lot of the tracks are very well done, particularly “11th Dimension”, which is easily one of the catchiest pop songs of the year. We all should have expected synthesized power chords and sparkling guitars from Casablancas for his first single, as both relevancy and instantaneous appeal are what escalated The Strokes to eternal decade-laden fame. This one plays it safe with delightful electro-pop, and while other more experimental attempts like the playful blue-eyed soul of “4 Chords of the Apocalypse” or twangy, yuppie-fearing folk of “Ludlow St.” do not reach similar heights they have various degrees of captivation that are always worthwhile and slightly infectious at the very least. Phrazes for the Young is not the follow-up masterpiece to Is This It that we have all been waiting for, but it is the closest Casablancas has come so far.

Julian Casablancas – 11th Dimension

Julian Casablancas – Ludlow St.

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26. Marissa Nadler – Little Hells

Unanimous association with tranquility can be a turn-off for some, as they may perceive such a style to lack the vigor necessary to result in something memorable. But as Marissa Nadler has proven with her past three albums, haunting serenity can be one of the most powerful forces at work. This appears to be especially the case in folk music, where minimal instrumentation is often prevalent and effective lyrical imagery is vital toward success. On her fourth and finest album, Little Hells, Nadler’s arrangements are not bare by any stretch of the imagination with tinges of throwback synthesizers, distorted bass, and chilling organs. However, they do attain a quality that never allows her works to be overwhelming or stylistically desperate. In addition to her majestic songwriting, it can be traced to one thing: Nadler’s uniquely empowering voice. She is able to instill beauty, temptation, and pensive melancholy through a voice that sits somewhere between that of an airy ghost and an undeniably beseeching angel. In other words, it sounds like it is not quite from this earth. The ghostly “Rosary”, in particular, involves a very reverb-heavy slide guitar cloaked under a vocal melody that complements the instrumentation and choice of reverb beautifully. Although it is one of the album’s more subdued and less demanding tracks, it provides as one of the greatest examples of Nadler’s subtle elegance. “Mary Comes Alive” is distantly reminiscent of classic Portishead with a ghostly female voice crooning over a repetitively bustling guitar progression, thick bass drums, and a synth line that first appears sporadically before it emerges as a central point of the song. Here, Nadler sounds like she is on the verge of tears, which is effectively appropriate considering the tone of her lyrical delivery. And even on more expansive tracks like “Mistress” and “River of Dirt”, where her first accompanying “full band” shows off their powerful effect – Nadler’s beautiful subtleties resonate very powerfully. Though Little Hells is an effort that continues utilizing the aspects that made Nadler’s previous releases so memorable, both solid songwriting and the addition of a backing band makes Nadler’s fourth album a release of pure beauty.

Marissa Nadler – Mary Comes Alive

Marissa Nadler – Rosary

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25. Cymbals Eat Guitars – Why There Are Mountains

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. One of the centerpieces on their debut, Why There Are Mountains, shows this better than anything. A flurry of guitars and frontman Joseph D’Agostino’s yelp-ish croon take charge during the intro of “And the Hazy Sea” 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 loudly speaks similar sentiments of ingenuity.

Cymbals Eat Guitars – Indiana

Cymbals Eat Guitars – And the Hazy Sea

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24. JJ – JJ N° 2

One aspect that artists on Sincerely Yours seem to share is a vibe that is distinctively reminiscent of summer. The Tough Alliance’s infusion of reggae into electronica on tracks like “Looking for Gold” or Air France’s sampling of ocean waves and childish laughter over spright synths certainly attributes to this, but both artists’ sense of capriciousness within an accessible and prominently innovative style is more responsible for this enjoyable vibe. JJ unsurprisingly captures similar sentiments, leaving little room for balladry or rockers with a presentation that sits in between the throwback pop of Sally Shapiro and the contemporary electronica of artists like Air France or The Tough Alliance. JJ’s new album, JJ N° 2, also explores territory that shows an appreciation for world music, evident in the African percussion in the aptly titled “From Africa to Málaga”or the twinkling allure of Afro-pop inspired vocal minimalism over the fluttering acoustics and keys in “My Love”. The expansion of horizons is one reason to enjoy JJ N° 2, but its primary allure is in the cumulative stylistic brilliance presented on the album. The vocals are almost always present, more reminiscent of throwback electronic-pop than sample-based pop experimentation. Here, though, it works wonderfully with female vocals that are lush enough to echo the Cocteau Twins but ardent enough to resonate within fans of Sally Shapiro or even ABBA. When one combines the lush but ardent vocal performances of JJ with each and every song’s grace and beauty, it results in one of the most accomplished electronic releases of the year. The only issue is that its 27-minute run time makes JJ N° 2 seem too short, even though the nine tracks pack enough punch to keep listeners captivated for quite awhile. The elusive JJ shows enough throughout the album to warrant the acclaim though. Few electronic debuts this year have had a reception as positive as JJ N° 2.

JJ – Things Will Never Be the Same Again

JJ – From Africa to Málaga

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23. Ramona Falls – Intuit

Menomena frontman Brent Knopf admits that he initially kept his stronger material saved for the Portland-based indie-rock trio as opposed to his solo project Ramona Falls, primarily because he believes in the power of collaboration. It is understandable, but if you can write songs like Knopf then why rely on it? Like his initial work, Ramona Falls’ Intuit reveals a sophisticated vein of Knopf’s own pop songwriting that is enriched by everything from delicate piano progressions to the screeching of synchronized samples. He remains a pop songwriter at heart, but his interweaving and acoustical and electronic components are a gift for all listeners, especially those that are already Menomena fans. The songs on Intuit do not sound like DIY efforts, but Knopf’s ability to turn even the simplest of ideas into something extraordinarily grandiose is on full display. “I Say Fever” is not quite minimalistic, but its evolution from a bluesy guitar progression into an epic with roaring guitars and squealing brass is boisterously impressive. Rarely has the birthing of stylistic fusions been so enjoyable. With a croon that possesses the same nasally excellence and sincerity of a Michael Stipe sound-alike, Knopf also delivers a countless number of hooks in tracks like “Melectric” and the astonishing “Russia”. The constant use of keys makes this comparison even more apt, as the warble of acoustics and keys in the opening “Melectric” paves the way for brilliant bursts in rhythmic and vocal content that are quite reminiscent of similarly influenced ‘80s alternative-pop acts, even recalling Celtic folk in the process. “Russia” may be the best thing he has written, featuring musical snippets more abundantly than a conventional structure. They all combine to form something beautiful though, complete with string arrangements and revolutionary percussion. To say the least, it is the most epic three-minute song you are bound to hear. Knopf’s talent is extremely evident throughout Intuit but one must not forget how important his gifted support system and multifarious focus was toward this outstanding album’s final result.

Ramona Falls – Russia

Ramona Falls – I Say Fever

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22. Röyksopp – Junior

Taking another four years between the release of new albums, Röyksopp have infused an impressive introspective within the material on their third album, Junior. Although much of the material will prove readily accessible to those that have never heard of the duo before, those considerably familiar with Melody A.M. and The Understanding will likely discover a sense of satisfaction that exceeds the initial listens of Röyksopp’s first two albums. The reason for this lies in Röyksopp’s gathered experience, which has consequently allowed them to fuse the stylistic successes of both albums together. Many longtime fans will hold “Vision One” in very high regard, as it practically epitomizes the duo’s growth in the last several years. What begins as a serene trickle of high-pitched keys eventually transitions into a dance-charged series of flexible synths, complemented by the enchanting vocals of Anneli Drecker. At this point, both phases of Röyksopp are present in their execution of vocal-led dance and synthesized experimentation. The vocal harmonies are conventional and accessible, with the plethora of accompanying synths and percussion changing virtuously in unpredictable form. Contrary to the sunny-day escapades of “Happy Up Here” or the effervescent sci-fi musings of “The Girl and the Robot”, “You Don’t Have a Clue” succeeds with tonal resurgences that are haunting, exotic, and delicately interwoven. Anneli Drecker once again shows why Röyksopp keep bringing her back with a phenomenal vocal performance. Appropriate for a rainy day, the mixture of trickling keys, operatic backing vocals, and the somber strings that conclude them all craft an elegant composition with no rival on the album in terms of sheer melodic presence.  Great cameos that include Robyn, Lykke Li, and Fever Ray’s Karin Dreijer Andersson are a few reasons for the success and variation on the album, but Junior succeeds immensely primarily due to Röyksopp’s undeniable growth as songwriters. They have always had sharp production, but the cohesive stylistic direction that Junior has taken results in it being one of the most memorable electronic releases of the year.

Röyksopp – You Don’t Have a Clue

Röyksopp – The Girl and the Robot

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21. Washed Out – Life of Leisure / High Times

If stoner-rock is defined by slowly presented guitar riffs grounded in heavy doses of reverb and downtuned effects, then where does electronic music with a similar aim sit? The early works of Air, Massive Attack, and Boards of Canada – with their serenely intoxicating fusion of sweeping orchestras and placid synthesizers alongside other genres like hip-hop and trance – were among the first in a movement that now includes Caribou, Neon Indian, Chromatics, and Junior Boys. What many have  been previously classified as “trip-hop”, “chillout music”, or IDM have all had a hand in crafting a sub-genre that now, within the realm of independent music, has become one of the most thriving scenes in the world. As the main project of recent USC grad Ernest Greene, Washed Out is the latest in this line of artists, now often referred to as “chillwave” artists. Life of Leisure, Washed Out’s debut EP, was released earlier this year alongside a cassette-only EP, High Times. The latter, which only saw 200 copies, shows Greene’s massive scope of creativity quite well and is wholesomely recommended. Tracks like “Luck” resemble the respectable works of DJ Shadow with their genius use of sampling, accompanying synths, and hip-hop influences. The sputtering of the keys and inconsistent percussive ferocity paints an imperfect picture for this and the funk-influenced “You Will Be Sad” (which mixes brass samples and rhythm sections wonderfully), but each one always resonates with extreme success by its end. “You Will Be Sad” in particular has a beautiful interlude at its conclusion, featuring nothing more than an organ and bass line that comparatively gives the preceding stampede of brass and percussion even more prominence. “Belong” showcases Greene’s pop skills to the best extent, mixing an Afro-pop beat with the brooding electronics of ’80s artists like Orchestral Maneuvers in the Dark or The Human League. Just don’t be startled by the chills up your spine when the strings hit during the last minute with Greene’s soaring voice. Other efforts like “Phone Call” show more of a likeness to traditional trance and minimalism in its continuous repetition and supplementation, bearing more resemblance to than fellow pop-minded electronic artists. What these efforts cumulatively show us is the incredible range of diversity Greene has in the field of electronica, whether one is more willed to call it “chill-out music”, “psychedelic-electro”, or a new concoction altogether. This range has already led to plenty of acclaim, so all we have left to wait for is the landmark release that will propel Greene to the top.

Washed Out – Belong

Washed Out – Feel It All Around

Washed Out – Luck

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The post Best Albums of 2009: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

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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40. Kristoffer Ragnstam – Wrong Side of the Room

We all knew that it was only a matter of time before a Swedish pop artist made this list, and I will also admit that Kristoffer Ragnstam will not be the last before this year’s best-of concludes. I first took notice of Ragnstam when he released a great single in “Breakfast by the Mattress”, a sly effort that saw his practical use of fast-paced indie-pop flourish with irresistible melodies and gleeful hooks. Accessibly enjoyable melodies and hooks in Swedish indie-pop? Who would have known? Well, Ragnstam’s second album, Wrong Side of the Room, provides a wildly accessible look at some of the catchiest pop music to derive from the musically incessant country of Sweden in 2008. “Swing That Tambourine” is a gleeful sing-along that finds Ragnstam reciting the track’s title during a chorus filled with anthemic guitar lines and vocal outbursts, with the latter being a trademark of Ragnstam’s crisply invigorating delivery. “Happy Mistakes” may be the album’s most impressive effort with the stark contrast between the verse and chorus; the verse stems off of keys and guitars that gradually increase in force, while the chorus delivers a suave and seductively brisk accompaniment that sees keys and wind instruments collide for a compellingly memorable conclusion. The final minute or so sounds somewhat like a ‘70s spy flick, which is just one of the reasons why Ragnstam’s simplistically effective pop music remains so memorable. Other tracks like “Sorry for Being the Man of 1000 Questions” showcase his occasional synth-rock premise, while “2008” finds a seamless transition between acoustic and electric accompaniments that eventually finds catchy progression of high-pitched keys concluding each chorus. While his songs may be too simplistically orchestrated for those seeking avant-garde pop music, there are few albums this year that are as instantaneously infectious as Wrong Side of the Room.

Kristoffer Ragnstam – Happy Mistakes

Kristoffer Ragnstam – Sorry for Being the Man of 1000 Questions

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39. The Bug – London Zoo

He has recorded under six main projects and released over one dozen full-length albums in the past decade, but Kevin Martin still remains an elusive figure despite his undeniable contribution to the recently invigorated genre of dubstep. In the process, Martin’s variety of projects have allowed him to explore other genres like jazzcore and industrial hip-hop to an investigative extent, providing him with experience that most electronic artists foolishly dismiss as being stylistically irrelevant. Ever since his debut release, Techno Animal’s Ghosts in 1991, Martin has been building this type of experience gradually but productively, as this year’s release of The Bug’s London Zoo has proven. It is saying quite a bit that London Zoo is his most eclectic release yet, as Martin has never shown a reluctance to tread in stylistic territories that would be deemed abnormally progressive for artists who primarily specialize in dubstep and other forms of electronica led by bass and samplers. What London Zoo does so brilliantly is capitalize on Martin’s experience as a songwriter and his skills as a producer, resulting in something that sprinkles industrial hip-hop, dancehall, and grime into his mastered interpretation of dubstep. To add variety, he enlisted a different vocal performer on each track, basing his choices on the overall mood and pace of the track. It is an excellent collaborative method that makes the album even more redeeming. For example, Martin makes excellent use of Killa P’s sonorous delivery and his prevalent reggae-based influence to capitalize on the ominous, bass-led fury of “Skeng”, while Tippa Irie’s irate delivery makes for several discordantly appropriate political statements during the percussive stampede of “Angry”. Upon first listen, the tone of some tracks may sound irritated and disoriented, but with each successive play the listener will begin to realize the album’s success in delivering something that is both infectious and emotionally responsive. This in addition to Martin’s stellar production makes The Bug one of the finest electronic releases of the year.

The Bug – Angry (feat. Tippa Irie)

The Bug – Murder We (feat. Ricky Ranking)

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38. The Ruby Suns – Sea Lion

With the Internet now allowing anyone to access music from virtually any country they please, it has become a common practice for artists to integrate worldly influences into their initial sound. This high level of accessibility has made it convenient for some to expand their linear cultural perspective, but I would imagine that many would argue that a true cultural experience is accurately related to traveling to a country and experiencing it first-hand yourself. I imagine that Ryan McPhun, frontman for The Ruby Suns, would agree with this ideology quite well. A native of California, McPhun always had an interest in different cultures and countries, showing just that by moving to New Zealand in 2004 and forming The Ruby Suns while he was there. Prior to this move though, McPhun traveled around Africa and Thailand to quench his thirst for cultural exploration. A music fan all his life, he also took with him a different musical perspective after being personally exposed to the different types of art in each of the countries he visited. McPhun released The Ruby Suns’ self-titled debut in 2006 to some notice, though to an extent that was incomparable to their second album, Sea Lion. This 2008 release saw McPhun reach into his worldly repertoire and pull out a collection of songs that were both strikingly original and culturally influenced. Gems like “Oh, Mojave” and “Tane Mahuta” borrow trademarks of Latin folk to integrate into the group’s psychedelic-pop leanings brilliantly. “Tane Mahuta” is even sung in M?ori, an Eastern Polynesian dialect that is one of the official languages of New Zealand. For the tracks that sound a little more like home, “There Are Birds” is one of the standouts that are led by psychedelic-pop with a warmly reverberating mixture of keys and fuzzy guitars over McPhee’s tranquil vocal harmonies. With tracks that are both culturally resounding and melodically appealing, Sea Lion is a uniquely successful album with one the most ambitious scopes you are likely to find for an indie-pop group.

The Ruby Suns – Oh, Mojave

The Ruby Suns – There Are Birds

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37. Love Is All – A Hundred Things Keep Me Up at Night

Love Is All’s contagious formula of punk-tinged guitar progressions, devilishly triumphant uses of brass, and intricately bustling rhythm sections was so ingeniously engineered on their debut, Nine Times That Same Song, that it would be a crime to call the result even slightly derived; it simply did not fit in with either stereotypical Swedish indie-rock or western derivatives of punk music. Instead, the Swedish five-piece crafted a sound of their own that proved as successful as the plethora of hooks in their songs. As a result, you can probably imagine how gruesome it was for fans to wait three years for a follow-up. However, when A Hundred Things Keep Me Up at Night was finally released, most listeners were satisfied to hear that Love Is All did not change their stylistic make-up at all. Josephine Olausson maintains the same mixture of gleeful yelps and fastidiously passionate displays of emotion and the rest of the group engineers a countless number of hooks over their hectically melodic display of guitars, bass, keys, and brass. One of the album’s clear highlights is “A More Uncertain Future”. Olausson begins the track in a subdued manner when compared to the other brisker tracks, backed nearly exclusively by an expanding rhythm section as the slight overtone of an electric guitar gradually takes over prior to the emergence of keys. Olausson and Nicholaus Sparding both sing quite equally on the track, with the format being representative of a crumbling relationship as each vocalist relays the perspective of each significant other. Just like on “Felt Tip”, Sparding eventually takes over as vocalist to complement Olausson’s previous sentiments, only this time he takes on a larger role as he emerges after each verse. In a more excitable vein, the rush of guitars and heavy bass on “Movie Romance” reminisces their punk leanings to a larger extent with an explosive chorus in which Olausson and Sparding turn up their harmonizing abilities once again. “Last Choice” and “Wishing Well” feature choruses with a large emphasis on twinkling keys, and verses that see little more than a steady bass line and Olausson’s fervent vocals overlap for an effect that many fans of Nine Times That Same Song should find familiarly invigorating. For old fans of Love Is All and new ones alike, A Hundred Things Keep Me Up at Night is a surefire success.

Love Is All – A More Uncertain Future

Love Is All – Movie Romance

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36. Bryan Scary & The Shredding Tears – Flight of the Knife

I remember finding myself in a state of regret when I discovered Bryan Scary & The Shredding Tears’ debut early last year. With its portrayal of infectious ‘60s pop clashing fluidly with thematically invigorating forms of contemporary indie-rock, the quality exhibited would have likely stuck it in the top 20 of my “Best Albums of 2006” had I found it a few months earlier. That being said, my inattentiveness was not at hand for this year’s inclusion of their second album, Flight of the Knife. This effort finds the Brooklyn-based songwriter continue upon his emphasis on ’60s pop, though this time around his backing live band, The Shredding Tears, make their studio debut in fantastic form; their addition to Scary’s immense level of creativity expands his scope of ambition even more. It allows Scary to provide more variation in both songwriting and instrumentation, with the obstacle of playing every single instrument an album to sheer perfection now being diminished substantially. His focus here is clearly on the songwriting, an aspect of the album that proves utterly outstanding. His style remains as an operatic version of ’60s pop, providing for a very interesting twist on nostalgic pop music. Still though, Scary manages to not be overly pretentious in his interpretation of throwback pop, providing contemporary indie-rock snippets like the catchy “Imitation of the Sky” in addition to nostalgic pop gems like both versions of “Flight of the Knife” and the contagious key-led intricacies of “Venus Ambassador”. Like their debut, Bryan Scary & The Shredding Tears’ Flight of the Knife serves as one of the most ambitiously impressive and downright infectious albums of the year.

Bryan Scary & The Shredding Tears – Flight of the Knife (Part Two)

Bryan Scary & The Shredding Tears – Venus Ambassador

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35. Kanye West – 808s & Heartbreak

Up until the release of 808s & Heartbreak, it seemed like the only thing that was not controversial about Kanye West was the style of music he was pursuing on his first three albums. His singularly unique style of hip-hop, often with sharp production and soul-tinged samples, was something that seemingly everyone could get on board with. With a nice collection of Grammys, chart-topping albums and singles, and universal recognition as one of the most prominent producers in the world, West had no reason to alter his stylistic direction to achieve some sort of higher monetary success. His first three albums, all generally similar in style, were critically acclaimed for good reason, so the reason to pursue something completely new on 808s & Heartbreak must have been rooted entirely in some sort of emotional transition, right? After separating from his fiancée and coping with his mother’s death, a return to the jovial, radio-friendly appeal of a track like “Champion” did not appear to be in the near future. Instead, West chose to explore his fascination with electronica and synth-pop. As the first part of the album’s title indicates, automated electronic percussion is a standard throughout the album, along with the controversial use of Auto-Tune. The effect sometimes appears distracting, like in the Lil’ Wayne-guested “See You in My Nightmares”, but other efforts like “Paranoid” and “Heartless” see how it can be implemented successfully in both fast-paced hip-hop and somber soul music. Though the newer version of “Robocop” has been classified as being inferior to the original version, it is hard to deny the power of the chorus’ hook in which twinkling keys and strings overlap over a vocal melody that appears as West’s most upbeat on the entire album. “Paranoid”, on the other hand, sees synth-pop and hip-hop collide for something that may be one of the most impressive tracks West has released in his already storied career. While the new stylistic direction of 808s & Heartbreak may turn off some fans, West’s approach often proves immensely successful for anyone with an open state of mind.

Kanye West – Paranoid

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34. Amadou & Mariam – Welcome to Mali

Ever since they met in 1975 at Mali’s Institute for the Young Blind, Mariam Doumbia and Amadou Bagayoko have been inseparable. After they were married in 1980, Bagayoko made the transition from an aspiring solo artist to performing in a duo with a collaborative partner. Who was the other musician? Well, none other than his new wife, Mariam, of course. Since then, the duo has become one of the most respected performers from Mali and later Western Africa as a whole. They have been one of the acts that are prominently influential in the exposition of world music to young listeners, making it both accessible and fascinatingly cultural in the process. Their style in the ’80s was stark in its featuring of little more than a guitar and vocals, but their breakthrough period in the late ’90s saw them turn their focus to a more rock-oriented sound that was still heavily backed by influences pertaining to the traditional music of Mali. Their mixture of western rock with traditional Mali music has seen the duo play with anything from funk to electronica, with all of their albums in the past decades receiving critical acclaim all throughout the world. Their newest album, Welcome to Mali, is just as its title indicates: an extremely accessible journey into musical influences typical of Mali culture. The accessibility stems with how seamlessly Amadou & Mariam are able integrate western and African sounds, perhaps best shown in the Damon Albarn-produced “Sabali”. Properly acting as the album’s debuting single, “Sabali” incorporates Mariam’s distinctively edifying vocals over a synth-led beat. For someone who has cut so many out of Gorillaz, Albarn’s incorporated brilliance is not a surprise. A simplistic synth line is the tracks’ heartbeat throughout the entire duration, gradually backed by a whirling array of glittering synths that grows in prominence as the duo’s vocals increase in audibility. Along with other more culturally resounding gems like “Ce N’est Pas Bon” and “Djama”, “Sabali” heads a very impressive album.

Amadou & Mariam – Sabali

[audio:http://mineorecords.com/mp3/amamar-sab.mp3]

Amadou & Mariam – Djama

[audio:http://mineorecords.com/mp3/amamar-dja.mp3]

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33. School of Language – Sea to Shore

Though there are a few exceptions, there are admittedly not many solo artists who have matched or exceeded the quality exhibited in the main project from which they initially found recognition off of. After all, it is usually done after either the aforementioned main project breaks up or loses all credibility. Peter Brewis’ decision to go ahead and form his solo project, School of Language, was not because of either reason, as the band’s most recent release, Tones of Town, is one of their best and they are still together (though currently “on break” to try their hand at some other projects, like Brewis and his brother, Peter, have been doing). As one of the three members in Field Music, Brewis has proven to be a vital contributor toward the brand’s engaging sound, with his vocal and multi-instrumental work being highly impressive. Enjoyably enough, School of Language’s debut, Sea from Shore, does not stray too far stylistically from the shimmering pop flair of Field Music. Like his previous work with the band, Brewis produces admirable nods to pop greats in the vein of XTC and Brian Wilson, intertwining accessibility and melodic aptitude for an appeasing experience. The project’s differences are primarily on an instrumental emphasis, as Field Music’s Tones of Town held a similar form of instrumental dexterity but there was a larger abundance of keys and orchestral elements in the vein of strings and brass. Just because it is not a grandiose chamber-pop spectacle does not mean it suffers in any way though. In fact, the more personable nature presented on Sea from Shore allows Brewis to produce what a proficient solo project should sound like. While the emphasis on instrumentation may be marginalized in complexity, the melodies are as strong as ever. “Disappointment ‘99” remains to me as one of my favorite songs of the year. Brewis uses his form of vocal ingenuity brilliantly in the bridge, mimicking the quick chords of a high-pitched guitar with a shrill shriek. Surprisingly, that only serves as one of the song’s hooks, with the sole plucking of a guitar guiding a percussion-less form of Brit-pop during the chorus’ final moments (with vocals provided by Futurehead David Craig) also being aptly enjoyable.

School of Language – Disappointment ’99

School of Language – This Is No Fun

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32. Silver Jews – Lookout Mountain, Lookout Sea

Widely touted as one of the best lyricists of the indie-rock era, David Berman has grown to be one of the most venerable figures in rock music ever since his emergence in the early ’90s. Some of songs could appear eerily auto-biographical to any listener, while the contents of other tracks seem odd in a way that they could only exist in some atypical universe. A band whose lineup has changed constantly throughout its two decades in existence, the current lineup consists of nothing more than Berman and his wife, Cassie. Her most noteworthy presence on the Silver Jews’ excellent sixth album, Lookout Mountain, Lookout Sea, is on “Suffering Jukebox”, where she takes lead during the chorus. It provides for a remarkable transition between Berman’s deep and narrative vocals, as she is transitionally melodic over the expanding use of backing guitars. Berman delivers the lyrical meat with his somberly charged vocals and his wife delivers the melodic hook; it is a situation where fans of both lyrical and melodic content should find solace. As far as stylistic mongers go, country-rock has always been present in most material by Berman, and this track along with “We Could Be Looking for the Same Thing” is an enjoyable indication of just that. “My Pillow is the Threshold” may end up being a classic from Berman, as it echoes the sort of bleak desperation and hopelessness that Berman has delivered so effectively for the past 20 years. “Because the pillow that I dream on is the threshold of a kingdom,” he sings. “Is a threshold of a world where I’m with you.” Compared to his wife’s enjoyable presence on “Suffering Jukebox”, Berman exemplifies how he can take complete control of a song’s hook. His method is less melodic and more emotionally involved, with the slight quiver in his vocals creating the impression that Berman is indeed the victim of the anecdote at hand. The genuine tone of Berman’s voice, his poetic brilliance, and the raw power he is able to convey through a performance are aspects that have made Silver Jews such a brand name. On Lookout Mountain, Lookout Sea, listeners are simply convinced even more of his authenticity.

Silver Jews – My Pillow is the Threshold

Silver Jews – Suffering Jukebox

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31. Elbow – The Seldom Seen Kid

Bands that tend to improve with each release are a rare sight indeed. As bleak as it may sound, there are plenty of one-hit wonders and too few artists that withstand time and prove durable enough to learn from their own experience in a quest for incessant improvement. This is especially rare among contemporary artists, many of which appear too obsessed with monetary matters to stick with something that may not be initially successful. Finding initial success was never an issue for the British five-piece, Elbow, as they were nominated for the Mercury Music Prize with their debut album, Asleep in the Back, in 2001. What came next, though, could have been a devastating affair in seeing a group potentially chase the success of their first album embarrassingly, just like many other groups that foolishly believe that expanding upon an album or style is somehow detrimental to future success. Elbow made the wise choice though; they enhanced their sound to make it fuller, more exotic, and more intricate, with their songwriting and production also becoming more noteworthy with each successive release. Even more impressively, they chose to actually win the prize that they fell short of in 2001, releasing their fourth album, The Seldom Seen Kid, in 2008 and winning the esteemed Mercury Prize in the process. That they beat Radiohead’s In Rainbows and Burial’s Untrue was surprising to me, but I certainly felt that it was one of the best nominees and certainly well-deserved. Listening to the stunning “Grounds for Divorce” can attest to why such a choice was made, as I believe it to be one of the best songs of the year. With the backing harmonies invoking a sing-along effect of a very bluesy progression, the introduction to the song almost seems like a nod to Chicago blues and its integration of electric guitars and Delta blues. The chorus exists in an entirely different spectrum though, as it sees Elbow revert back to comfortable Brit-rock as Guy Garvey sings, “There’s a hole in my neighborhood, down which of late I cannot help but fall”. Other remarkable efforts include the progressive “The Bones of You” and the majestic “Mirrorball”, the latter of which features a haunting mixture of piano, strings, and acoustic guitars. Take the Mercury Prize’s word for it: The Seldom Seen Kid is one of the best albums of the year.

Elbow – Grounds for Divorce

Elbow – Mirrorball

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The post Best Albums of 2008: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

Some claim that technology dilutes originality and ambition, providing convenient sources to information that would otherwise be obtained through more arduous methods requiring a uniquely resourceful approach. While I do not disagree that technology has likely made the average person lazier, claiming technology to have a negative impact on creativity is laughable. Creativity is present in most individuals, triggered by circumstances that are unique to themselves. Give someone with no prior experience a guitar, bass, or drum set and you may have something special on your hands; it is a procedure determined as much by chance as it is talent. Technology has allowed music to exist in more forms than solid instrumentation, with many talented songwriters who are not the greatest guitarists or drummers finding solace in a more familiar source of output. As odd as it may sound, a laptop can be considered an instrument itself if the work produced on it exhibits an original form of songwriting and production that emits a sense of enjoyment. In fact, if not for technology, some contemporary artists may have never even discovered their truest stylistic intentions. Such is the case with Joseph Mount, the brains behind the highly touted Metronomy. If not for an unlikely technological purchase, his infectious songwriting may have never seen the light of day.

Prior to the formation of Metronomy, Mount had worked as a proficient drummer with a variety of bands around his native Devon, England. Current keyboardist/bassist Gabriel Stebbing actually played in quite a few of those bands, making the rhythm section familiar since the get-go. Considering that the bands mainly dwelled on conventional pop (The Upsides) and rock (The Customers), it was not until Mount’s father sold him a Mac G4 computer that his creativity started flowing. After grabbing a bunch of musically related programs, he began to discover a sense of melodic wizardry, a talent that he had been primarily unaware of. He played around with both the idea of writing his own songs and remixing other artists, honing experience as he interweaved the two skills steadily. He released Metronomy’s debut album, Pip Paine (Pay the £5000 You Owe), in 2006 to an initial pressing of 500 copies, with a more prosperous re-release occurring shortly after (it is also set to be re-released again this year, consequential to the buzz his newest album is receiving). It proved to be a fun effort that impressively displayed Mount’s fusion of electronica, dance, and synth-rock, leading to a period that saw Mount remix a large variety of tracks at a rapid rate. This included anything from Kate Nash’s “Foundations” to recently featured Late of the Pier‘s “The Bears are Coming”, earning further recognition as one of the most sought-after remixers of 2007.

Though Mount had received plenty of recognition based on the strong success of Pip Paine (Pay the £5000 You Owe) and his remixes alone, one trademark aspect of Metronomy’s performances have been their ability to put on a great show. Often aided by a cast of futuristic costumes, dance routines, and light shows, they are not ones to leave an audience with a feeling of dullness. However, Metronomy are also not a group set on style over substance. Mount is perfectly aware of the stereotype given to “laptop artists” in that their live performances often consist of some guy placidly sitting behind his laptop and he has done plenty to prevent this from applying to him. Apart from making his shows engaging with such charismatic fixtures, the music is often played in real-time by the consistent trio of Mount, Stebbing, and multi-instrumentalist Oscar Cash. Oh yeah, and about that music… it is quite impressive as well. Mount’s content contains too many instrumental elements depictive of rock and pop to be classified in a strict category of electronica, with the varying melodic forms being a prime component of his creativity. He appears to think similarly to Justice or LCD Soundsystem’s James Murphy, a performer whose boastful range of catchy electronic tracks offers both infectiousness and stylistic diversity despite being engineered in similar forms to one another.

Hot off dozens of memorable remixes, the buzz for Metronomy’s second album, Nights Out, is starting to reach its peak for good reason. In addition to expanding upon a sound that has already found success, the album already sports four great singles in “Radio Ladio”, “My Heart Rate Rapid”, “Holiday”, and “Heartbreaker”. “Radio Ladio” was the first to be released, debuting last November. Featuring a typically assorted array of whirring synths over a rhythm section that is curiously depictive of funk, Mount crafts his stellar hooks by revealing fresh progressions in the midst of a lead melody experiencing a slight structural tweak. This one takes a turn for the better when the synths heighten in pitch and a chorus of child-like vocals enters the picture, spelling out the track’s title in vibrant form (a la “D.A.N.C.E”). Throughout the album, Mount has a tendency to build upon simplistic synth lines with a highly intricate stage of evolvement, a feat that is best evidenced on the extremely infectious “My Heart Rate Rapid”. And even on a more subdued, vocal-led track like “Heartbreaker”, success is resoundingly achieved. While the lyrics speak desperately of romantic miscues, the subtleties within the track’s production transform it into a breakup song that, instead of enforcing melancholy, urges the victim to dance rather than procreate; it is a welcome change of pace. It would be too early at this point, but if one were to compare Metronomy to the success Justice experienced in 2007, it may be premature but certainly not unlikely.

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Metronomy – Radio Ladio

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Metronomy – My Heart Rate Rapid

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Metronomy – Heartbreaker

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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. In fact, if a casual music fan listened to a few select contemporary power-pop artists, it would not be surprising if they were unable to classify which era the artist was from if they were unfamiliar with the artist’s background. Apart from the technological aspects of production increasing with merit, the melodic approach and instrumental arsenal has not changed much since the genre first found its niche in the late ‘60s. For fans, this is simply part of its appeal. Considering that there are always exceptions, classifying an artist singularly in the vein of power-pop is extremely rare, as groups like Squeeze, The Cars, and even The Who all sound considerably different despite being grouped favorably into a vein of power-pop. Such multifarious examples will hopefully one day put qualms to rest about the genre’s supposed limitations, though a few up-and-coming artists may also help critics change their tune.

I covered a fun power-pop group in The Mood earlier this week when they displayed additionally memorable tendencies involving punk and surf-rock. Today’s feature covers Gentleman Jesse and His Men, a talented four-piece based out of Atlanta who could be grouped similarly into a consortium of power-pop. However, despite the analogous grouping, their approach differs dramatically. 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.

Although Atlanta locales may already recognize Gentleman Jesse himself as the bassist for one of the city’s most respectable punk-rock groups, The Carbonas, even those familiar with Jesse Smith may have been surprised to discover that he is also a guitarist and songwriter in his own right. Smith formed the group with fellow Carbonas drummer Dave Rahn, releasing a 7″ single for “I Don’t Wanna Know (Where You Been Tonight)” in 2006 on Douchemaster Records, an Atlanta-based label that has been home to The Carbonas and several other worthwhile local bands specializing in punk and power-pop. The single (with two b-sides) attracted buzz amongst The Carbonas’ thriving local fanbase, leading the group to fully form and start work on their debut full-length. A self-titled effort, it is now available and fully recommended to anyone who even has a slight weak spot for traditional power-pop. In addition to the 12 congenial originals produced by Rahn, a cover of The Equals’ classic “I Get So Excited” is included. Considering Gentleman Jesse’s style of choice, the cover fits perfectly mid-way into the album without botching up the stylistic flow (which, in my mind, should be the only circumstance for including a cover on an album full of originals). Also included is “(If I Can See You) You’re Too Close To Me”, which was included earlier this year on a 7″ split alongside Joseph Plunket’s “You Ruin Everything For Me”.

In addition to flaunting his skills as a songwriter and guitarist, 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. To be honest, it is one of the few songs I have heard this year that has remained fixated in my head for more than one day at a time. Something similar can be said for “You Got Me Where You Want Me” and “Attention”, both tracks who 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 its infectiousness is downright undeniable.

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Gentleman Jesse and His Men – All I Need Tonight (Is You)

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Gentleman Jesse and His Men – You Got Me Where You Want Me

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Gentleman Jesse and His Men – I Get So Excited (The Equals cover)

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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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Though such a statement may ring of dramatized pessimism, it is near impossible for a Japanese band to find a substantial following in the west. Unless you count the bilingual listeners who specialize exclusively in the language and culture, audiences from the US and UK generally find it too intimidating to actually search out foreign artists and obtain material from them (without the hefty importing fees). It is not that most of these music fans have linear tastes, but rather the fact that Japanese artists find a difficult time scoring a record deal that will promote their music in full-fledged international form. Where can fans that are eager to listen to new independent material from foreign lands go? MySpace, iTunes, and most middling music blogs usually fail to do the trick, but there are a few generally untapped sources like JPopSuki and Music Forest that certainly deserve a look or two. However, even if you stumble upon a site like CDJapan that offers to ship a plethora of Japanese albums internationally, very few people would be willing to pay upwards of $40 to listen to a single album from an artist that they are generally unfamiliar with. This is the grim truth of foreign independent music all throughout the world, with artists attempting to seek a global audience often proving more difficult than actually producing the material itself. Like many independent artists in America and elsewhere, finances are unfortunately becoming an increasing barrier when applied to the global promotion of foreign independent artists.

As a fan of all styles and originations of music, I look upon the lack of accessibility when applied to foreign artists with great disdain. However, I will also gladly admit that the music world is at a peak in terms of generalized availability. We can thank the internet for that one, providing an ample source for unconventional music in the vein of easily obtainable MP3 downloads – whether you do it legally or not. For that purpose alone, it gives me great pride in writing about Fujifabric. And no – it has nothing to do with their catchy-as-hell name. Considered one of the most respectable acts in the Japanese indie-rock circuit, I believe the four-piece has the potential to follow in the footsteps of Boris, The Pillows, and B’z in becoming one of very few Japanese groups that finds noteworthy success in the west. It is no surprise that Boris’ has found success on the other side of the world, but more lyrically-led artists in the vein of The Pillows and B’z can arguably be commended even more for breaking into a scene where the listeners cannot even the recognize the lyrical content. The same can be said for the excellent Fujifabric; their songs are sung in Japanese but their rich instrumental flair and stellar songwriting can be recognized by anyone, regardless of their native tongue.

Since their formation in 2000, Fujifabric have gone through several lineup changes. In fact, after the departure of Takayuki Watanabe in 2004, lead vocalist and guitarist Shimura Masahiko is the only founding member still with the group. This does not factor in negatively though, as the four-piece’s third full-length album, Teenager, demonstrates a form of intricately enjoyable indie-rock that is clearly the result of adept experience. Apart from being their most confident effort yet, the songs on Teenager are the sharpest and most infectious I have ever heard from the four-piece. Whereas previous albums like A la Carte and Fujifabric provided simplistic enjoyability in the vein of catchy guitar progressions and amiable hooks, Teenager is an expansion of their craft in both the fields of instrumentation and songwriting. Though they can still churn out exhilarating forms of power-pop goodness like in the accessible “Kinen Shashin”, “Teenager”, and “Romane”, their ability to involve other instrumental aspects like organs, synths, and brass over more precisely executed vocal melodies separates the excellent Teenager from its predecessors. One thing is for sure: Fujifabric have come a quite long way since being a forgettable cover band in junior high school. More recognizable to Stateside fans, the talented Roger Joseph Manning Jr. (former founding member of Jellyfish) also contributes to the album, co-writing “Chocolate Panic”. The majority of the album is expectedly written by Shimura, with guitarist Soichiro Yamauchi also contributing three tracks.

For anyone who has listened to any of Fujifabric’s past releases, they likely realized that it is not exceedingly difficult to have a reliable grasp of Fujifabric’s sound. Calling them the Japanese version of The Shins could be applicable enough, though I imagine that some longtime fans will have some grips with the comparison. Regardless, there is no denying that Masahiko and co. have a talent for crafting infectious hooks using elements of power-pop and indie-rock. I have to give the irresistible “Strawberry Shortcakes” a lot of credit for attempting something new. The band often relies on guitar and rhythm to produce their most successful singles, but “Strawberry Shortcakes” is instead led by a swirling organ and an accompanying synth, all rounded out by a fantastic chorus that incorporates both organs and guitars. Masahiko, as usual, lends his breezy vocals in complementary form, encompassing a near-perfect key for the desired genre of affable power-pop.

“Surfer King” also is a great example of the group’s growing creativity, this time toying with a variety of guitars, organs, and brass over a very expeditious tempo. It reminds me a bit of legendary natives Pizzicato Five for their implementation of several genres, though Fujifabric’s mastery of an eclectic ballad has yet to be examined. For a more conventional display of Fujifabric’s style, “Kinen Shashin” is an excitable track that appears destined to be a leading single in Japan. Led by a swift rush of keys in collaboration with an array of slick guitar progressions, it is simply hard not to love. Teenager was released in Japan in January, though importers may have a rough time finding the album for under $60. Regardless though, if the price tag is not bothersome to you or if you can obtain it for a more reasonable price, Teenager is well worth the purchase. At the moment, it is my favorite foreign release of the year.

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Fujifabric – Strawberry Shortcakes

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Fujifabric – Kinen Shashin

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Fujifabric – Surfer King

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Rewind back to the mid 1990s. Though the previously bustling style of grunge was beginning to fade out, explosive alternative-rock was in full form. With stateside bands like Smashing Pumpkins and Pearl Jam finding success alongside the likes of Brit-poppers Blur and Oasis, it was inarguably a good time to be a music fan. Keep in mind, much of this was after tragedy had struck for Nirvana fans a few years earlier; oddly enough, the music scene was stronger than ever despite Cobain’s death. I like to think that his abrupt death instilled more motivation in those with the proper potential to do great things. However, in the midst of all the quality music that was released during the decade, an aspect of the production and promotion process often went overlooked. The ’90s opened up a new phase for the revival of music videos, establishing the cause as one that was not limited to the swift steps of Michael Jackson, cheesy pop music, or early hip-hop innovators. Smashing Pumpkins, Radiohead, and are just a few of the respectable names . Whether it be the elusively masterful nature of “Tonight, Tonight” or the startlingly innovative “Just”, the videos for the respected songs added a new sense of depth to their illusory creativity. Good music, good movies, risqué fashion statements – looking back, it was a pretty good time.

When I heard that Minipop‘s newest music video, “Like I Do”, was drawing widespread comparisons to the flawless cinematographic production of Smashing Pumpkins’ “Tonight, Tonight”, I just had to check it out. Upon watching it on the trusty ol’ YouTube, I saw that the likeness was justified – both in musical and cinematographic aspects. Directed by Andrew Huang, it is arguably the most entertaining music video of the year. Like “Tonight, Tonight”, the landscapes throughout the video are abstract and creatively illustrated, implementing watercolor as the four real-life figures of the band inhabits the fantasy world freely. However, instead of being a mock silent-film in space, the adventures take place throughout a variety of environments. From evading a giant cat-like creature in a house to flying off the edge of a sprawling city and into the treacherous seas, even calling this an interpretative acid trip would not give it enough justice. Oh, I may have forgot to mention the end; a winged creature takes the band up into the night sky. Illuminated stars? Futuristically hopeful space vehicles? Yeah, it smells like something familiar to me. All it is missing is a nasally bald man in trousers. Even with such a great video, it brings me satisfaction to know that it did not overshadow the quality of Minipop’s songwriting. To my pleasant surprise, it was not the video that turned me on to the four-piece in the end. It was their music.

It is readily apparent that the four-piece from San Fran takes great pride in their sound, as it is consistent and dutiful all throughout their first full-length album, New Hope. While the instrumentation is a light form of synth-oriented arena-rock from the decades past, the charmingly lighthearted vocals of Tricia Kanne provides for a parallel collaboration that is both heartwarming and illustriously engaging. The most impressive thing about Kanne’s voice is that she initially comes off as delicate in several songs, notably “Like I Do” and “Precious”. This is not to say she is not a force though, as she reaches great vocal intensity all throughout the peaking moments found within the band’s material. She is a driving force that capitalizes on the instrumental strengths of guitarist Matthew Swanson, bassist Nick Forte, and drummer Lauren Grubb, often making her presence known during zealously layered choruses. The band personally claims that it sounds like “marshmallows on morphine and care-bears on Xanax”, a description that is surprisingly accurate. Consider Kanne’s vocals to be the edible aspect, while the accessibly soaring instrumentation can suitably be the mind-altering circumstances. Keep in touch with their unconventional demeanor, their name actually appears to be quite ironic. Minipop’s sound is as expansive as most would be able to find out of the contemporary alternative scene.

New Hope was released last week and you can purchase the download through Amazon’s MP3 service for a measly $9. Considering the remarkable quality, it is well worth it. It covers the majority of Minipop’s material from their formation in 2004 to the present, with the beautiful “Precious” previously being on the Precious EP, released last year. New Hope was produced by ex-Jellyfish collaborator Chris Manning (I covered his brother, Roger Joseph Manning, Jr., over a year ago) and it contains ten songs that are primarily in the vein of “Like I Do”, “Someone to Love”, and “Precious”. The latter tends to be the band’s attempt at a ballad, coming through successfully with Kanne’s angelic voice gliding effortlessly over the slight strain of keys, synths, and guitars. While “Precious” and the concisely catchy “Someone to Love” are enjoyable, my favorite remains the exceptional “Like I Do”. The keys, guitars, and Kanne’s vocals are incorporated nearly flawlessly, exposing a rare form of hook-laden alternative pop. Looking ahead, Minipop seems to have a bright future ahead of them. As long as they keep up with their quality songwriting (and music videos!), it is a guaranteed success.

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Minipop – Like I Do

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Minipop – Someone to Love

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Minipop – Precious

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After posting about a few new artists who were fresh on the scene with inexperience with nothing but hefty ambitions in their pockets, I figured a change of pace would do us all some good. This leads us to Joe Henry – the type of musician that young hopefuls look to in awe, aspiring to one day having at least half the impressive body of work that Henry has accomplished in his illustrious 21-year career. While he is far from being a household name, Henry has been one of the most actively consistent artists of the past several decades with his extensive stylistic grasp ranging from country-rock and acoustical folk to soul and jazz. While occasional stylistic experimentation is to be expected from an artist who has been around as long as Henry, he is one of the few who have actually written exceptionally strong albums in each musical approach. Whether it be the audacious country-rock found on Short Man’s Room, the tenderly somber acoustical folk of Shuffletown, or the tinge of rhythmic jazz on Scar, Henry has jumped from genre to genre seamlessly. However, despite such frequent changes in style, Henry has always maintained a strong focus on his lyrical content; always brilliant, provokingly astute, and poetically touching. Even from his debut in 1986, Talk of Heaven, Henry has held a strong reputation in being a poet at heart, frequently involving contemporary events in his content for an engaging experience. While it is pointless to argue whether Henry’s lyrical, melodic, or instrumental prowess is the most effectively employed, one thing is for certain: Henry is a multi-talented artist who is definitively one of the most underrated artists of the past 20 years. Now with ten solo albums under his belt after the upcoming release of Civilians on September 11th, For a closer look at Henry’s expansive discography, take a look at this excellent post.

Civilians is Henry’s first solo release since 2003’s Tiny Voices, an extremely admirable effort. While Civilians marks a four-year absence, Henry has certainly been keeping himself more than busy. Also a highly sought-after producer, he has produced albums by Ani DiFranco, Aimee Man, Solomon Burke, and Billy Preston among many others. He also produced the Elvis Costello-Allen Toussaint collaboration, The River in Reverse, in 2006. Just to show how proficient of a producer Henry is, Burke’s acclaimed album, Don’t Give Up on Me, won a Grammy in 2003. Speaking of respectable collaborations, Henry also teamed up with Loudon Wainwright III earlier this year to produce Strange Weirdos: Music from and Inspired by the Film Knocked Up; the original soundtrack album to Judd Apatow’s hilarious movie, Knocked Up. In addition to his production, Henry co-wrote both “You Can’t Fail Me Now” and “So Much to Do”. Legendary guitarist Richard Thompson and composer Van Dyke Parks were also involved in the production process, making it arguably the finest original soundtrack of the year. So, even though Henry’s solo career was on slight hiatus for four years, it was certainly for justifiable purposes as his status as a producer rose to new heights. “As a producer, you can see a project in a completely different way,” Henry said, “Working with other artists has given me an incredible freedom, so that when I come back to do work for myself, I plug into the music in a different way.” Just as he describes, Civilians is his most polished effort to date.

While I could write odd-but-true fun facts about Joe Henry all day (he’s married to Madonna’s sister, he went to school with Jeffrey Dahmer, etc.), the most interesting thing about Henry will always be his musical career. Whether it be as a producer or a musician in his own right, there are little artists who can reach the depth that he has. When I heard his newest album, Civilians, for the first time, I knew that the four-year wait was certainly worth it. Once again, just like in Tiny Voices, Henry has flawlessly associated all the styles that he previously explored throughout his prolific career. In doing so, it is also the most consistent album of his career. Instead of containing several memorable songs with an occasional hiccup of stylistic indulgence, Civilians is a cohesive gem in where the strengths lie in Henry’s ability to form emotionally inflicting songs revolved around lyrical adeptness and melodic aptitude. His coarse, all-American vocals are soaked in reverb, occasionally sounding like a more conventional version of Tom Waits. While that particular comparison may appear too desperately placed for some, Waits is the only other American folk artist that comes to my mind when I think of raw lyrical power relayed over swiftly effective instrumentation. Waits is also a diverse user of blues, jazz, rock, and traditional folk, making the comparison even easier on the mind. Henry’s idol and recent musical companion, Loudon Wainwright III, also could serve as a righteous comparison, though if only for his powerful, similarly story-focused lyrical delivery and folk upbringings.

Civilians also marks yet another collaboration between Van Dyke Parks and Henry. Parks supplies the heartrending piano lines on the barefaced beauty of “I Will Write My Book” and the haunting “Civil War”, the latter being a moving ballad that Henry describes as “more emotionally political than topically so.” As Van Dyke’s smooth piano glides under the gentle strumming of an acoustic guitar, Henry relays his trademark tone of sympathetic wisdom and philosophical intuition. Rather than being a bitter swipe at America’s current political system, Henry takes an unconventionally enjoyable route that is more philosophically reflective in nature. “Every truth carries blame and every light reveals some shame,” he sings of shameful sociological standards, “Progress rides with the thieves and whores, the stowaways of civil war.” While songs portraying the grim effects of war are common, Henry’s attempt is unique in its own righteous intent of revealing those who wish to remain neutral in times of desperate contemplation. One of my favorite tracks on the album, “You Can’t Fail Me Now”; a romantically gripping track that sees Henry at his genuine best, both melodically and lyrically. “I lost the thread among the vines and hung myself in storylines that tell the tales I never would allow,” he declares during the rapturous hook, full of expressive honesty and raw emotional power, “God knows the name of every bird that fills my mind like angry words.”

Much of Civilians sees a similar format of soft acoustic strums, aided piano lines, and occasional dashes of strings, percussion, and other rhythmic elements. Henry’s lyrics remain the foremost of importance in several songs, including the epic six-minute centerpiece, “Our Song”. Recalling both the true dignities of patriotism and modern arrogance, he tells of an imaginary encounter that Henry witnessed in which he encounters Willie Mays at a Home Depot in Scottsdale, Arizona. “The factory keeps my , my children have both been paroled and we get by and the peace we made,” he tells of the imagined experience, acting as a trigger of cherished nostalgia and, using “the greatest centerfielder of all-time” as a metaphor for all things pure of the past; the simpler times where such American pastimes were not tainted. “It’s no accident that the song falls where it does in the middle of the record,” Henry said of the relation to the recent Barry Bonds escapade, “It’s sort of the hub of the wheel.” Steroids, politics, and romance… you could easily say that Henry’s lyrical content is as ambitious as his career-defining sound. Regardless of the topic at hand, more people should take notice of Joe Henry. As he continues to lurk behind the scenes with his binding skills, he is releasing album after album of outstandingly memorable music. Whether you admire Joseph Lee Henry as a producer or a songwriter, there is no denying his pure talent within the music industry.

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Joe Henry – You Can’t Fail Me Now

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Joe Henry – Civil War

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Joe Henry – Our Song

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I suppose that you could say that Gerald Collier is aware of what most men want. On the cover of his newest release, How Can There Be Another Day?, is a photo of a young woman who is in the complete nude, sensually lounged back on a couch, a cigarette in her mouth. Such a cover should cause an uproar in most record stores, but I do not think Gerald Collier minds much. Taken by famed Russian erotic photographer Igor Amelkovich (who finds women’s nude bodies to be understandably “beautiful and unique”), Collier must find the photo and style of art to be particularly touching as well. I am not studied in the style of that specific art-form, though I can certainly understand how it will catch the eye of those perusing the record stores who actually allow it. Still, this tactic should be considered anything but menacing, as all proceeds from How Can There Be Another Day? are generously being donated to charity. Even though the album is a collection of demos and b-sides spanning Collier’s twelve-year solo career, it is still quite enjoyable to new and old fans alike, featuring six original songs and six cover songs apiece. After all, Collier has the sufficient amount of enjoyable albums and fans to compensate for any commercial loss, also recognizing that at this point in his career, he should be proud that he was never the result of an automated corporate machine. Over the past fifteen years, Collier has uplifted his quiet but durable status within two main projects. Collier made his debut with the Seattle-based rock quartet the Best Kissers in the World in the early 90s. The group found early success, signing with the then relatively unknown Sub Pop in 1991 and releasing a self-titled EP. The EP was touted enough to score them a major label deal with MCA, as they released the Puddin’ EP and their debut full-length, Been There, in 1993 under the label. Been There was an enjoyable assortment of alternative power-pop, also featuring a witty sense of humor with track titles like “She Won’t Get Under Me Till I Get Over You”. Collier was the chief songwriter for the Best Kissers in the World, writing the majority of their songs until the demise of their short-lived career in 1995. The band actually had their second full-length album, Yellow Brick Roadkill, recorded and mastered at the time when MCA dropped them from the label, causing the album to be forever unreleased. Frustrated, the band called it quits. One year after the collapse of the Best Kissers in the World, Collier released his debut solo album, I Had to Laugh Like Hell. In a different approach to his previous releases, I Had to Laugh Like Hell had a more focused emphasis on country-alternative, showcasing Collier’s influences more coherently. An admiration was visible for Willie Nelson and Leonard Cohen, with Collier even describing the release sounding like “Pink Floyd as a country band”. I suppose he was largely crediting his cover of Pink Floyd’s “Fearless”, his first in a very successful string of covers. Collier’s best release came in 1998 with his self-titled solo release, Gerald Collier, featuring eleven songs that were packed with emotion and artistic vigor. While it was an expected continuation of his alt-country approach, the songs were respectably solid with an impacting diverseness also being present, featuring a fair amount of catchy pop swipes and slow-moving rock ballads. For those who were not convinced of Collier’s songwriting talent with his previous releases, his self-titled release proved most skeptics wrong. In the following years, Collier released Low Tar Taste in 1999, took a short break and formed Deer Whistle with Dave Swafford and Tom Nurse in 2001, broke up the band a year later, and then followed it up with his fourth solo album, Breakin’ Down, in 2003. Low Tar Taste and Breakin’ Down were both commendable albums that pleased fans but did not find much in the form of a new audience.

All of the songs on How Can There Be Another Day? were recorded in either 1997 or 1998, during Collier’s creative peak. However, the specific album was just released this year under In Music We Trust in hopes to shine a new light on the largely undiscovered Gerald Collier. At the moment, Collier’s musical future is up in the air, though he hopes to record his fifth solo album shortly. “I’ve confused people with every release. I Had to Laugh Like Hell was a major curveball and Deer Whistle was a curveball too,” Collier said, still sharp with his sense of humor. “I keep telling Joseph to expect a reggae record in two years.” In short, How Can There Be Another Day? should satisfy fans for a short while until the next hopeful release. The album’s birth and original concept came when Collier’s former guitar player, William Bernhard, discovered a bunch of unreleased demos left behind after Collier and his wife had moved to Oregon. Bernhard, also living in Oregon at the time, had dinner with Collier and his wife to show them the newly discovered recordings. The three liked the demos and outtakes so much that they decided to turn it into compilation, equating into How Can There Be Another Day?. On the album, Collier’s covers includes the likes of Leonard Cohen’s “Is This What You Wanted”, Elton John’s “Rocket Man”, The Rolling Stones’ “Jigsaw Puzzle”, and Steve Earle’s “Sometimes She Forgets”. Whether Collier finds satisfaction in it or not, most of the covers outshine Collier’s originals. The cover of “Is This What You Wanted” is nearly spot on and though no one can compare to the raspy and legendary voice of Leonard Cohen, Collier comes pretty damn close. Showing a talent for imitation, Collier appears to be attempting a different vocal approach in each cover, trying to sound like the original artist to the best of his abilities. Either way, the instrumentation and melodic shifts are accurate and memorable, while several particular sections, such as the haunting chorus on “Is This What You Wanted”, makes them certainly worthwhile. “Rocket Man” is one of those covers that does not stray far from the original but still manages to maintain the fun factor and catchiness of the original, being a song that nearly everyone knows and can sing along to. “One Clear Shot” is an original song from Collier, being a good example of what his solo material sounds like. With several hooks and an aggressive vocal output, it is a very enjoyable song (especially for a b-side), though it does not nearly compare to the material on his self-titled solo release. While the covers on How Can There Be Another Day? make up for most of the enjoyable songs on the album, it’s worth the buy and listen, both for personal enjoyment and the $15 donation to charity. This release shows in living color what we were all about,” Collier says of the album. “If you were a fan of our material at all, you must appreciate this offering.”

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Gerald Collier – Is This What You Wanted? (Leonard Cohen cover)

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Gerald Collier – Rocket Man (Elton John cover)

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Gerald Collier – One Clear Shot

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