This month’s compilation actually serves as a fusion of December and January. My primary focus in December was the Best Albums of 2008 feature, so there were not enough featured artists to suffice for an entire compilation. With that being said, the interval of time between the last feature of December and first feature of January allowed me to efficiently find some fantastic new artists. Whether you fancy icy electro-pop, bluesy indie-rock, or Japanese post-rock, there should be something for everyone in here. Stylistic variety has always been an aspect of music that I have striven to feature, and I am happy to say that this compilation is indicative of that.

01. Fever Ray – Now’s the Only Time I Know (post)
02. Andre Ethier – Easiest Game (post)
03. Here We Go Magic – Fangela (post)
04. Marissa Nadler – Mary Comes Alive (post)
05. J. Tillman – Steel on Steel (post)
06. Timber Timbre – Lay Down in the Tall Grass (post)
07. Ball of Flame Shoot Fire – Mugs (post)
08. Cymbals Eat Guitars – Indiana (post)
09. Music Go Music – Light of Love (post)
10. Dan Auerbach – When the Night Comes (post)
11. The High Dials – My Heart Is Pinned to Your Heart (post)
12. Future Clouds and Radar – Feet on Grass (post)
13. 4 Bonjour’s Parties – Satellite (post)
14. The Western States Motel – Oh World (post)
15. Dreamend – If Only for a Day (post)

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Created by ophthalmologist Adelbert Ames, Jr. in 1934, an “Ames room” is considered to be one of the most revered examples of an optical illusion. To sum it up, the room contains distorted dimensions that allows an observer to view two participants standing in separate corners, with one appearing as a giant and the other appearing as a dwarf despite their actual sizes being the same. When Silje Nes decided to name her debuting album Ames Room, I imagine that she had at least some idea as to how remarkably appropriate it was in appliance to her style. To a passing observer with a small degree of attentiveness, one may perceive Nes’ work as little more than a lush form of atmospheric invigoration. It is true, of course, that Nes’ mixture of twinkling xylophones and lightly strummed guitars provides for a listening experience that contributes immensely to a listener’s preceding feeling of relaxation, but what Ames Room will treat to the listeners who look even more closely is something of a unique marvel. Like electronic experimentalists in the vein of Tujiko Noriko and Haco have proven over the past decade, the most prevalent factor of enjoyment is occasionally found within the subtle intricacies of the respective work. And for the talented Silje Nes, it appears as if the marvelously titled Ames Room is both a result of this cultured belief and the undeniable talent that the Norwegian songwriter encompasses.

Nes’ musical beginnings trace back to 2001, a time when she had little musical resources other than a demo of some 4-track software and one of those little built-in microphones that come with most standard laptops. I suppose that this could be considered the most productive way for an aspiring musician to start out, with no forms of bloated production interfering with the songwriting and artistry of the musician’s work. By the time she started fiddling around with amateur recording, Nes’ background was rooted primarily in her studies of classical piano. Since many consider it to be arguably the most difficult conventional instrument to grasp, it came as no surprise that Nes was quick to adapt when learning other instruments like guitar and drums. Quite boldly, she decided to implement these new instruments into her recording. While most would expect several discordances out of such a daring approach, all of the material she has released so far has been surprisingly polished considering her bare arsenal. Even more impressively, Nes’ ability to tread in the waters of avant-garde electronica is uncommon for someone who previously had little knowledge of production or instruments outside of the piano. However, as Ames Room sturdily teaches, a background in theory and a boatload of talent can go a long way.

Silje Nes’ debut album, Ames Room, encompasses material that the Norwegian artist has written between late 2004 and the summer of 2007. Nes sent the Brighton-based FatCat Records an early demo in 2005 and the label was immediately fascinated with her compelling style. She chose the right one to send her material to as well, as FatCat is host to ambitiously acclaimed acts like Animal Collective, No Age, and the methodically similar Aoki Takamasa and Tujiko Noriko. Knowing since 2005 that she had the backing of a reputable international label who were known to sign artists with no stylistic restraint, Nes’ connectivity with FatCat allowed her to write and complete Ames Room without any hesitation. Somewhat unfamiliar with American audiences, I imagine that it brought her some comfort and ease in knowing that FatCat was appropriately gearing her sound toward listeners with an open-minded perspective. I have learned that this site is host to listeners with a similar mindset too, so I would be surprised if this post does not go over well. Regardless, when listening to Ames Room, it is easy to recognize how accomplished it is. While listeners who strive for immediate hooks may be turned off due to the unique nature of the release, the beauty of Ames Room comes in the unpredictably eclectic approach that Nes uses in each one of her songs.

Apart from the opening “Over All” (which she wrote with Kristian Stockhaus), the entirety of Ames Room was written and recorded by Nes. A bedroom effort at its finest, the album provides for a constant state of tranquility that few debut albums have matched. Much of it can be attributed to Nes’ breathy vocals, an aspect that coos and hums its way over melodies that are most commonly serene, inviting, and even tropical on occasion. “Dizzy Street” is unique for the minimalist Nes in that it is one of the tracks on the album with the most layers, providing a breezy chord-based acoustical melody over an underlying guitar progression that is eventually supplemented by the twinkling of keys. While electronica is not utilized as prevalently as contemporaries like Noriko, Nes’ use of backing audible effects like the sound of bubbling or clicking over an already present percussion is usually effective. “Bright Night Morning” is the type of track that lies on such aforementioned subtle beauties. It initially works purely off of a guitar and percussion, but as Nes’ enthralling vocals intensify in emotion, the use of a cello becomes increasingly prevalent. While not immediately noticeable unless the listener is attentive, the effect is beautiful for those who take notice. “Drown” is more typical of dreamy indie-folk, drawing comparisons to Marissa Nadler and Russian Red. Apart from the reverbed hush of Nes’ vocals, the approach found in all three featured tracks differ dramatically. This is one of the components that makes Ames Room such an enjoyable listen, marking Silje Nes as yet another eclectically invigorating addition to FatCat’s lineup.

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Silje Nes – Dizzy Street

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Silje Nes – Bright Night Morning

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Silje Nes – Drown

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When I wrote about the tactful Håkan Hellström earlier this week, the only nuisance that I found in regard to the Swede was the lack of information surrounding him. Come to think of it though, if I could read Swedish then it would not have been a problem, as it was finding informative details not written in Swedish that proved to be difficult. My lack of bilingualism aside, it simply provides indication that an artist who is heralded in their homeland has no sure guarantee of reaching a substantial foreign audience immediately. However, in regard to both Hellström and the Madrid-based Russian Red, I would be shocked if both of them did not become significantly recognizable names in the western independent music scene by year’s end. For Russian Red, the blossoming solo project of the attractive and talented Lourdes Hernandez, it appears that she already has an advantage when compared to her peers. Apart from dwelling on a similarly paced style of avant-garde folk music that has been lauded by both critics and fans alike over the past several years, English audiences will likely be pleased to know that Hernandez sings her songs in English. While Spanish remains her first language, her decision to sing in English mainly stems off the belief that more people could recognize the content and, in turn, relate to it.

Looking at Hernandez, a first glance would indicate that she is little more than a stylish and attractive college student. Like most seniors, she anticipates the future ahead of her, even if it remains conventionally indecisive at this point. At this point in their lives, most 22-year-old musicians still find themselves pursuing their dreams rather than immediately accomplishing them, but Hernandez is clearly already ahead of the game. With her bold talent providing to be the domineering force, Hernandez has been recognized in Madrid as one of the most promising artists of the past decade, with both her lyrical content and hauntingly unique vocal delivery providing for a plethora of very unique thrills. Seeing the unlimited potential of her craft, the somewhat local Eureka Records scooped her up last year. Now, after a variety of local performances and successful attempts at various forms of songwriting, Hernandez released her debut album, I Love Your Glasses, on April 1st. Though fame appears imminent for the young songwriter, she vows to never leave her love for Madrid behind. “I really like this place… and I really feel that I’m from here,” she said. “I suppose in a way that’s materialized in my songs.”

While localized odes provide for a commendable display of Hernandez’s proud cultural identity, many who listen to Hernandez without background knowledge would not even guess that she spent all of her life outside of America. Her voice recalls the oddly invigorating flair of contemporary female folkies in the vein of Joanna Newsom and Marissa Nadler, with not even the slightest sign of an accent. The lyrics are consistently clear in tone and the content is just as emotionally poignant as her recent indie-folk predecessors. The album’s delicate opener, “Cigarettes”, audibly illustrates the feeling of regret when one is unable to translate their emotions into words, leading to messy circumstances for all parties involved. The topic is quite ironic, considering that Hernandez has an undeniable skill in the craft. Her voice shows impressive range over a tinny reverb, with the repetitive and enjoyably lush guitar-led melody allowing room for Hernandez’s vocals to craft impressive hooks on their own. In the case of melodic additions, the faint strain of an additional electric guitar emerges during the second half of the song and the sprinkling of keys follows shortly thereafter. “Gone, Play On” also displays Hernandez’s haunting elegance in appealing form, with the track’s only weakness being that it ends far too soon. The instrumental additions are minimal but, as it is with most successful folk artists, the power of both “Cigarettes” and “Gone, Play On” is reliant on the wholesome emotion and touch of genuineness that Hernandez conveys through her powerful voice.

My favorite track on I Love Your Glasses is “Nice Thick Feathers”, a touching tale of unrequited love in its purest form. In contrast to most songs on the album where a bare guitar progression initiates the melody, “Nice Thick Features” is introduced by the bare progression of a guitar and the sound of Hernandez’s quivering voice. However, once the instrumentation subsides, Hernandez’s vocals emerge and a sense of warmth immediately encompasses the track. “And she wakes up, it’s freezing cold outside” she sings over the gentle plucking of a guitar. “And he’s not there, wherever he may fly.” Hernandez then utilizes the power of her breathtakingly ardent vocals as she heightens and lowers her pitch within seconds of one another, preparing for the eventual chorus in which a supplementation of twinkling keys occurs with impressive precision. The additional instrumentation displayed during the chorus actually resembles Italian folk music to an extent, led by a uniquely constant force that is slightly reminiscent of the zampogna. Over it all, Hernandez encompasses a voice that would sound wildly appealing even over constant instrumental discordance, with her variation of keys and pitches being incomparable. Fortunately for her though, the songwriting and instrumentation is fantastic. In terms of folk debuts in 2008, it is going to be tough to beat out I Love Your Glasses in terms of the pure and genuine emotion that Hernandez delivers on each and every track.

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Russian Red – Nice Thick Feathers

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Russian Red – Cigarettes

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Russian Red – Gone, Play On

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Some people say that twins have a sixth sense, an ability to mutually sense when their brother or sister is in a state of distress. Though telepathic interpretations remain too otherworldly to be of widely noted acceptance, it is not hard to fathom that twins often share a type of bond that is indescribable in mere words. Since twins are born and often raised together, I imagine that the shocking degree of emotional inseparability has something to do with paralleled brain structures, with both relaying similar emotions in regard to specific circumstances. That is just a mere guess though; apart from similar genetics, scientists do not have a concrete explanation for it. Now, if such twins happened to be musically capable to a collaboratively equivalent extent, imagine how flexible the working environment would be. With music often being a purging and delivery of emotions over wholly intended instrumentation, their similar ideals and emotions would likely create cause for a more efficiently productive atmosphere. I cannot speak for them personally, but it certainly shows on Ghost Bees‘ debut album, Tasseomancy, that these two Canadian twins possess the ability to work together in a form that simultaneously brings commendable results and expresses a bond that could only be found under familial circumstances.

Over the past year or so, I have noticed a pleasant developmental trend concerning the genre of folk music. Whereas stylistic limitations previously rendered the genre primarily inaccessible, indie music circles have increasingly been more acceptive of the style’s growing sense of ambition. Acclaimed artists like Marissa Nadler have shown no hesitation in their incorporation of psychedelic and shoegaze elements in folk, exposing a sub-genre that many have lovingly labeled as “dream-folk”. Ghost Bees are the latest to join the ascending ranks, portraying a hauntingly elegant form of folk music over lyrics that are poetically invigorating in meaning. Taking their lyrical influence from classic works of literature that deal with Gothic fiction, you can expect a slew of entertainingly original tales on the enchanting Tasseomancy. Whether the twins find themselves falling in love with a vampire on “Vampires of the West Coast” or recounting the candid circumstances of their birth on “Sinai”, the lyrical variability provides for plenty of engaging moments. Their instrumental focus remains one of subtle minimalism , incorporating a variety of brooding strings and subdued percussion over fastidious acoustic guitar progressions and hushed vocals; it is a style that lingers in less reverbed lamenting than Nadler, but the melodic consistencies create a more accessible listening experience when compared to the indie-folk likings of Joanna Newsom.

In proper alignment with Ghost Bees’ lyrical emphasis on components that are either foreign or wildly unconventional, Tasseomancy takes its name from tasseography, the method of foretelling the future by interpreting patterns of tea leaves, wine sediments, or coffee grounds. The process is completely unfamiliar to me, but so is the nature of the events described throughout the album. Take “Vampires of the West Coast” for instance, an enjoyable opener that touches on the importance of patience and genuineness in a romantic relationship. It would sound standard enough if left as it is, but the underlying tone that the Lightman twins convey is one of extreme ingenuity. Falling in love with a vampire can be a complicated ordeal, especially when he is on his last legs. They make the events endearing though, playing with the eerie tone to the best of their ability in the instrumental compatibility of the finger-plucked acoustic guitar and the forlorn use of strings. “He sings like a matchstick with wolves by the fire and old prairie candles that creak like a choir,” the girls sing delicately, both their tones being of a striking similarity. With that in mind, it makes sense that the girls exchange vocal usage equally on the album. It simply does not matter which one of the Lightman twins sings at any given time, as both of their vocals relay a form of captivating delicacy that is equal in comparison.

“Sinai” is another great example of the twins’ avant-garde tendencies, portraying their own birth as if they had the comprehension to remember their aligning emotions during the first moments of their lives. The first line spoken is, “You came tumbling outwards across the bedsheets across our mother’s bruised bloodroot thighs while I gathered courage inside the omphalos, too crooked and sorry to move.” Descriptive enough for you? Considering that Romy was born 5 minutes before Sari, it is apparent that the beginning of “Sinai” is from the perspective of Sari. While I imagine that the content will make some queasy, I can’t help but to commend the twins for making such an engagingly creative song. Though the strings do not make their usual noteworthy appearance on “Sinai”, occasional percussion and a twinkling glockenspiel provide the backing instrumentation over the consistent use of the acoustic guitar. The strings make their most memorable appearance on “Tear Tassle Ogre Heart”, with the track also being arguably the most melodically accessible on Tasseomancy. The twins’ vocals (in duet form) are most whimsical here as well, attempting a wider melodic range than displayed in their other tracks. Once again using a mythological creature for metaphorical purposes, the track is inherently descriptive of the Pol Pot Regime, depicting terror through cities “with their red embers burning”. The worthwhile debut from Ghost Bees will drop on April 15th, with it being a recommendation for all fans of unconventional folk music.

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Ghost Bees – Vampires of the West Coast

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Ghost Bees – Sinai

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Ghost Bees – Tear Tassle Ogre Heart

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30. Richard Hawley – Lady’s Bridge

As a longtime (and near obsessive) fan of Pulp, I suppose it is only natural that I admire Richard Hawley’s songwriting prowess with great veneration. Though many have surely known him as the guitarist for Pulp during their most successful years, Hawley has slowly but steadily unattached himself from the mere label of “backing instrumentalist” for The Longpips and Pulp. Instead, he has become recognized as an exquisitely talented solo artist in his own right, with releases like Coles Corner and Lowedges depicting a style that falls somewhere in between folk-rock, rockabilly, and Brit-pop. Appropriately enough, Hawley seems to be getting better with every release. Though it serves as a continuation of a style that capitalizes on the pride of working class British life, Lady’s Bridge is Hawley’s best effort to date. “Tonight the Streets Are Ours” sparkles in elegance under layers of keys, strings, and Hawley’s deeply luxurious vocals, while the excellent “Lady’s Bridge” is an masterfully crafted version of twinkling, key-aided folk. “Take me with you when you go, it’s the only place I know,” Hawley speaks of the landmark bridge, symbolizing the crossing between childish dreams and imminent realism. “We lost the dreams that we once had, how did our lives turn out so bad?” he questions emphatically, crafting a devastatingly emotional hook over the drowsy groundwork of keys and reverbed guitars. Like Bruce Springsteen or even the occasional musings of close friend Jarvis Cocker, it is wholly rewarding to see an artist hang on to his original ties despite becoming a prominent figure in the music industry. Hawley shows his admiration for his hometown of Sheffield, England in a beautiful manner, demonstrating a form of respect that most contemporary artists seem to foolishly forget.

Richard Hawley – Lady’s Bridge

Richard Hawley – Tonight the Streets Are Ours

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29. LCD Soundsystem – Sound of Silver

It says a lot when an artist picks up a Grammy nomination for a debut album, just like James Murphy did with LCD Soundsystem’s self-titled debut in 2005. The two-disc album was critically acclaimed, dishing out supremely successful singles like “Daft Punk Is Playing at My House” and “Losing My Edge” in the process. Murphy’s sophomore follow-up, Sound of Silver, is merely a continuation of what made the debut so fantastic. Like its predecessor, Sound of Silver sees Murphy build his hooks in a meticulous manner, often relying on droning mixtures of guitars, synths, and percussion to create a tightly knit melodic force. The compositions are often repetitively epic in nature, relying on interchanging instrumentation and concisely memorable vocal performances in an effort to provide successful electronic differentiation. He juggles the varying styles well, with the anthemic “North American Scum” being one of Murphy’s most rock-centric tracks of his career, while the standout “All My Friends” is driven by a series of pulsating keys that is richly supplemented by a powerful bass line. It serves as a momentous build-up, with snippets of guitars and whirring synths preceding the rising emotion of Murphy’s crisp voice. One of the most melodic tracks in “Someone Great” is taken from the infamous LCD Soundsystem-Nike collaborative promotion of ’45:33′, an entirely instrumental song of its self-titled length. This time around, Murphy adds some reflective vocals on top of matching keys to make the section even more engaging. Oh yeah, and though it almost seems like an annual event for him by now, Sound of Silver recently awarded Murphy his second Grammy nomination in just as many attempts. For Murphy, the term “sophomore slump” is seemingly nonexistent.

LCD Soundsystem – All My Friends

LCD Soundsystem – Someone Great

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28. The Go! Team – Proof of Youth

Even if you consider the rampant comparisons to cheerleader chants and retro television theme songs in relation to The Go! Team to be a desperate journalistic reach, there is no denying the unique pop flair that lead songwriter Ian Parton has the ability to convey. With a multifarious approach that touches on variations of throwback funk, electro-tinged hip-hop, and sample-led pop, the six-piece from Brighton appears to be in a league of their own when it comes to crafting a sound that would be suitably classified as ineffable. Proof of Youth marks the group’s second album, with styles ranging from star-studded hip-hop to cutesy indie-pop being seamlessly incorporated. Ninja, the group’s leading rapper, takes control in the infectious “Grip Like a Vice”. Though drizzling guitars and trademark horns make their entry during the infectious chorus, the majority of the track sees its strength in the form of Ninja’s ceaselessly energetic verse; it is lengthy and repetitive, but also actively engaging. “Fake ID” is an absolute pleasure of a song that uses an amiable vocal delivery that maintains a tinge of youthful innocence, all while maintaining credibility. While immediate comparisons will likely arise to an in-key version of Deerhoof’s Satomi Matsuzaki, the track remains equally, if not more, reminiscent of Cibo Matto’s more accessible tracks. The Shibuya-Kei influence is very prevalent — and enjoyably so. That the vocals sound like they could be delivered by a child is part of the charm in “Fake ID”. Between that and the masterfully executed trumpet solo found after the notably gripping chorus, it is hard to pick a favorite track from the album. Having the perfectly casted Chuck D. lend guest vocals on the zestful “Flashlight Fight” does not hurt their cause either. Who would have thought that Chuck D., rousing horns, and cheerleader chants would have gone so well together?

The Go! Team – Grip Like a Vice

The Go! Team – Fake ID

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27. White Rabbits – Fort Nightly

It appears as if much of today’s youth has a clear misconception in regard to ska music. Many assume that some offshoot of emo with a few brass instruments here or there equates to a quality ska sound. In such a scenario, I want to throw them an album from Madness or The English Beat, artists who replicated the original Jamaican-led form of R&B with enormous success. While attempting to sound like early ska greats Madness would sound somewhat outdated, White Rabbits certainly had the right idea with their exceptional debut, Fort Nightly. Instead of tackling the genre head-on, they chose to incorporate classic ska with contemporary aspects of indie-rock. The result is one of the finest debuts of the year, with the shuffling swagger of “Take a Walk Around the Table” and “Dinner Party” being heavily reliant on a bustling rhythm section, with the tinges of ska coming in the rhythmic guitar patterns and smatterings of brass. “Dinner Party” is particularly impressive, as the six-piece’s potential is on full display. The correspondence between the guitars and horns are top-notch, with a series of grim keys gliding underneath the robust vocals in a subtly ingenious manner. Fort Nightly defies expectations of conventional indie-rock, incorporating a true style of ska that is wrongly beginning to feel forgotten.

White Rabbits – Dinner Party

White Rabbits – Take a Walk Around the Table

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26. Private – My Secret Lover

By the end of next year, I would not be surprised if Thomas Troelsen practically owns the music scene in his native Denmark. Over the past year, the producer/songwriter’s new project, Private, has taken the country’s charts by storm with a form of dance-pop that appears seemingly untouchable in terms of initial catchiness and radio-friendly appeal. Though his style translates to a high level of flamboyancy that will likely turn off those who yearn for a more original style of electronica and dance, there is certainly nothing wrong with conventionalism if it is pulled off properly. Private’s debut, My Secret Lover, sees its appeal in such commendable execution by offering a plethoria of dance-oriented hooks that are executed flawlessly over crip production and infectious songwriting. Troelsen is an all-in-one package; his vocals are a ranging replica of pop perfection, his songwriting is enduringly sharp, and he appears to have mastered a style in which clichés seem to dominate. The album’s self-titled track is truly descriptive of that, being one of the catchiest singles of the year despite its structural simplicity and general predictability. As in most of the album, the song relies on sheer execution for success. Troelsen just seems to pull it off every time. Private is not just a sensation in Denmark either. They are rightfully beginning to get noticed overseas and, with an album like My Secret Lover hitting shores, I expect the reception to be much of the same.

Private – My Secret Lover

Private – I Can’t Wait

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25. John Vanderslice – Emerald City

John Vanderslice has a knack for writing about the bizarre, the politically invigorating, and the emotionally challenging. Indisputably one of the “nicest guys in indie-rock”, the “nice guy” tag certainly does not stop him from holding back his intelligent thoughts, even if they are wildly as areu ambiguous in nature. Though often cloaked behind instances of metaphors, his usage of poetic diction and melodic captivation has earned him the title as one of the most consistent songwriters of the past several years, with albums like Cellar Door and Pixel Revolt earning him cult followings as a result. Throughout his career, Vanderslice’s lyrical content has often been political in tone and his newest album, Emerald City, is no different. His sixth solo album, Vanderslice named Emerald City after the controversial “Green Zone” in Baghdad, a 4-mile area where American forces are in heavy control. The stabs at Bush in the excellent “Tablespoon of Codeine” are interesting to say the least, whether one is in political disagreement or not. Also, for once, the lyrical content is hardly ambiguous. “And what happened in September was a fake,” he sings over echoed keys and shifting percussion, “But they’re chasing demolition or remote control planes.” The gruesome realities of war (murder, rape, and destruction) are also depicted in the chilling “The Minaret”, a gruesomely realistic tale aided by the surprisingly suitable factor of highly pitched, chirping keys. For those who could care less about politics, Vanderslice’s more conventional musings of childhood nostalgia in the breezy “The Parade” should serve as relief, though I am sure one would be able to transform it into a politically active song if they put their mind to work. Though Emerald City is largely a thought-provoking political album, there are plenty of moments for varying fans of Vanderslice.

John Vanderslice – Tablespoon of Codeine

John Vanderslice – The Minaret

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24. Panda Bear – Person Pitch

Every year, there always seems to be one album on this list that results in a dozen or so disgruntled readers taking their frustration out in e-mails or comments directed toward me. Last year, several people were surprised enough that I placed Joanna Newsom’s Ys at #31 that some of them went as far to be in “shock and awe”, simply because seemingly every other publication had it in the top 5. I am expecting a similar situation with Panda Bear’s second album, Person Pitch. Before you start the backlash, let’s get one thing straight: I think Person Pitch is one hell of an album. Perfect? No, a repetitive latter part prevents that. But Noah Lennox (Panda Bear) reaches rare stylistic territory in one of the bravest efforts of 2007; Person Pitch is at a stylistic flux where many other artists merely fear to tread. While it can easily be classified as a summery album, influences to Brian Wilson and Bill Holt’s “Dreamies” are abound, especially in Lennox’s ability to implement a variety of unconventional samples into a serenely beauteous soundscape. Whether it is something startlingly simple like wind chimes and bells or an aspect more irrelevantly laced like profuse sobbing, Lennox’s admirable level of unpredictability allows for songs like “Bros” and “Good Girl/Carrots” to be some of the year’s best. Though both are over 12 minutes long, Lennox makes every second count. With his vocals soaked in reverb over instrumentation that is both originally implemented and abundantly sampled, Lennox’s ability to transform sounds that are naturally disregarded daily by the human ear into a musical element is true art in its own right.

Panda Bear – Comfy in Nautica

Panda Bear – I’m Not

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23. Marissa Nadler – Songs III: Bird on the Water

Regardless of how the talented Marissa Nadler demonstrates such practical skill, incorporating a sense of fragile beauty into songwriting is not as easy as she makes it seem on her stunning third album, Songs III: Bird on the Water. Classified appropriately as a dream-folk artist, her arrangements and vocal accompaniments are a haunting spectacle. Often shrouded in heavy doses of reverb, her spine-tingling vocals provide for a singularly identifiable listening experience. She quivers her way through delicate arrangements consisting of acoustic guitars, strings, and harps, luring the listener into an otherworldly listening environment with tales that trace back to chronological eras of medieval relevance where love seemed more courteously adaptable. Nadler has the ability to craft extremely intricate characters, like the alluring vision of desperately vanishing widows in “Rachel” or the contemplating lady in the heartbreaking “Thinking of You”, where a wife is in deep contemplation of leaving a supportive lord who seems cold and barren. “You never gave me nothing that I could hold on to,” she sings tenderly, yet still dreaming of the elusive character that she left for a more advantageous life far away. Nadler’s genius of a folk album pulls this card well — it engages the listener in tales of tragedy and triumph, with stunning instrumentation and vocal accompaniments aiding such virtues with tragic force.

Marissa Nadler – Thinking of You

Marissa Nadler – Rachel

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22. The National – Boxer

There are several logical reasons explaining why The National are one of the most revered indie-rock bands of the past 7 years. Matt Berninger’s uniquely identifiable baritone vocals could be one explanation. The words flying out do not hurt either; he is widely considered to be one of the greatest lyricists in contemporary indie-rock. The spoken content releases a feeling of genuine acrimoniousness over sociologically analytical lyrics that are often metaphorically derived, providing for a tireless listening experience that depicts emotions that many other songwriters would simply push aside and call indescribable. Though The National’s moroseness and pessimism may be too overwrought with grief for some to handle, those who appreciate the beauty of perspective analysis have fallen in love time after time with the Brooklyn-based five-piece. The remarkable quality about The National’s fourth album, Boxer, is its ability to transition between tempo and instrumental style on a whim. “Oh, you wouldn’t want an angel watching over you,” Berninger sings in his trademark baritone, “Surprise, surprise, they wouldn’t wanna watch.” In summation, Berninger is depicting “another uninnocent, elegant fall into the unmagnificent lives of adults”, a tale he has certainly tackled many times before. The mood of sullenness is much of the same throughout the album, notably on the Sufjan Stevens-aided “Racing Like a Pro”, an excellent track in which Berninger depicts the effect that corporate pressure can have on an individual. Societal pressures, lost loves, and sullen regret… yeah, it sounds like another quality album from The National to me.

The National – Mistaken for Strangers

The National – Racing Like a Pro

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21. Arcade Fire – Neon Bible

After releasing one of the greatest debuts of the decade in Funeral, Arcade Fire had quite a bit of pressure on their shoulders. Funeral was considered an epic achievement by many, a monumental mark in indie-rock in which a rookie artist decided to focus on actual familial-based emotional baggage instead of producing weightless words over a generic melody. Though such a stance is purely opinionated, one thing is for certain: Arcade Fire has emerged successfully with Neon Bible, their sophomore follow-up to the acclaimed Funeral. Though it does not boast the emotional depth of its predecessor, Neon Bible remains generally more accessible with fervent tracks like “No Cars Go”, “Keep the Car Running”, and “Black Wave – Bad Vibrations” providing as relief for more intensely brooding tracks in the vein of the organ-led “Intervention”, the symphonic string-induced cries of “Ocean of Noise”, and the rapturing closer in “My Body is a Cage”. The band even earned some complementary Springsteen comparisons on excellent tracks like “(Antichrist Television Blues)” and the epic build-up in “Windowsill”, with the likeness lying primarily in Win Butler’s ardent vocal delivery. The transitional vocal attempt it not consistent from track-to-track, but the diversity allows for exhilarating captivation. Though the album’s best track (“No Cars Go”) was already released prior to the album, Neon Bible provides plenty of worthwhile and original moments for intense replay value.

Arcade Fire – No Cars Go

Arcade Fire – Windowsill

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The post Best Albums of 2007: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

For fans of Becky Stark’s self-produced modern operetta, “Bird Songs of the Bauharoque”, it hardly came as a surprise when she hit it big with Lavender Diamond. Stark, the star of the widely acclaimed stage show, presented all the pizazz, dramatic flair, vocal ability, and stage presence that would be expected from a fledging indie-pop starlet. While Stark toured with her show across America in 2003, she distributed copies of her debut album, Artefacts of the Winged, throughout the tour, shining light on her artistic talents in more ways than one. By killing two birds with one stone, she was effectively exposing the nation to her talented array of expressively artistic passions. After moving to Los Angeles in 2004, Stark decided to focus more on her blossoming musical career, enlisting the help of guitarist Jeff Rosenberg, pianist Steve Gregoropoulos, and drummer Ron Rege, Jr. After releasing a few EPs under Lavender Diamond (most notably the impressive four-track EP, The Cavalry of Light), the four-piece signed to Rough Trade (UK) and Matador (USA), poising themselves for international success. Lavender Diamond released their full-length debut, Imagine Our Love, in May.

The most lasting impression that listeners of Lavender Diamond will gain is the exquisite vocals of Becky Stark. Classically trained and noticeably so, her voice sounds both beautifully frail and emotionally wounded. While the group’s ample incorporation of reverbed acoustics, lush piano melodies, and exquisite string accompaniments remains fairly traditional in the vein of common indie-folk, it is Stark’s vocals that resonate most distinctively in the summation of Lavender Diamond’s amiable concept. Matador’s site likens the group’s sound to “nursery rhymes or church music”, a comparison that rings true in both the melodic and lyrical approach of songs like the bouncy “Side of the Lord” or the catchy strums of “Here Comes One”. Stark’s beginnings as a vocalist actually date back to her childhood days as a member of her church’s choir; hardly surprising. On the impressive Imagine Our Love, tracks like the ardent “I’ll Never Lie Again” manage to blend elements of regret and morality, all while sounding impressively touching over delicate textures of instrumentation. While the chorus is a minimal but likable mixture of Stark’s vocals, acoustic guitars, and piano, the chorus transcends into an orchestral development that tugs at the heart. The strings sound occasionally like the more classical works of Van Dyke Parks — without the pretentious guest vocalists, of course.

One of the most enjoyable songs on Imagine Our Love is the impeccably executed “Open Your Heart”. Both charismatic and flavorful, the lively percussion in its first moments are a good indication of where the song is headed. Blatantly the most excitable track on an album that is primarily filled with delicate tunes focused on love lost or found, Stark displays his vocal diversity in “Open Your Heart” to the fullest extent. While it continues to complement on the approaches that made Lavender Diamond’s previous efforts admirable with more fantastic string and piano compositions, it is Stark’s vocal melody that shines the brightest. “Open your heart, tear it apart,” she signs with near glee, echoing over the alluring sounds of her capable backing band. More sullen songs like “My Shadow Is a Monday” and “Find a Way” tend to work more off repetition than the upbeat numbers in the form of “Like An Arrow” and “Open Your Heart”, detailing a formula that, while predictable, employs a fervent sensation through the sweet-natured vocal delivery of Becky Stark. Managing to recite influences both in pop and folk music, Lavender Diamond’s debut album is a likable and airy affair that is rarely held up by hesitation. Like the talented Marissa Nadler, Becky Stark has the voice of an angel; an aspect that can carry a band to great heights on the feature alone.

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Lavender Diamond – Open Your Heart

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Lavender Diamond – I’ll Never Lie Again

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Lavender Diamond – Side of the Lord

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