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

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

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

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M. Bison – All Things to All People

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M. Bison – Samurai Showdown

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M. Bison – Elves Sing La La La

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Official Web Site

MySpace

BUY

The post M. Bison Attack! appeared first on Obscure Sound: Indie Music Blog.

Nathan Pemberton refuses to abide by the DIY stereotype. He records in his Florida garage with an economical home studio, which supplies just enough firepower for him to make his innovations come alive. But despite the allure of lo-fi minimalism that comes attached with these modest circumstances, Pemberton is pursuing the most majestic sound possible in accordance to his personal repertoire. He is a multi-instrumentalist in the truest sense, using his experience with a multitude of instruments to encompass his material in its entirety. There are few collaborators to be heard, only the ideas of Pemberton and his five friends/roommates as they flow gracefully in a mixture of epic jams and dreamily intricate indie-rock. They go under the alias of Holiday Shores, a name that will certainly be reputable by year’s end. Hip-hop, punk or metal, and lo-fi pop have always seemed to be the easiest to tackle with a home studio due to their respective forays in sampling, tremolo riffs, and bare minimalism, but Pemberton, Holiday Shores’ songwriter, seems to have crafted a winning combination with doses of heartfelt pop nostalgia and contemporary indie-rock wizardry. He possesses the ambition of a jam band or post-rock experimenters, all while retaining the pop sensibilities that fellow genre-mashing contemporaries like Sunset Rubdown and Deerhunter have flawlessly exhibited throughout the past several years. But do not overly associate Holiday Shores with these acts. After all, their greatest strengths are in their own ideas, not the inspiration of others.

Being seemingly aware of your past and present is simply one of Pemberton’s strengths, as concocting an original sound from a variety of influences is not the only ingredient required for success. Songwriting and flow are both elements that are overlooked by many groups new and old, not necessarily because they disvalue it but because it is so difficult to combine great and captivating songwriting with a sound that is entirely your own, whether it derives from past successes or not. Pemberton accomplishes this tricky venture with rare precision, making the best of his garage studio to unveil his enigmatic voice and compositional prowess in a manner that should mark Holiday Shores as one of 2009’s breakthrough acts. Pemberton’s pop sensibilities often result in songs barely exceeding four minutes, but both his capitalization of minimal resources and extremely impressive grasp of several instrumentals combine for unconventional endeavors that make four-minute efforts feel epic in the best way possible. For instance, the sputtery “Days Drag” uses the echoes of guitar distortion to craft an initial feeling of rough-edged repetition, only to be beautifully complemented by a twinkling bundle of keys. The transitional phases that this song encompasses, like many others on its album, are always one step ahead of their subsequent outcomes, resulting in an album full of replay value.

On Holiday Shores’ debut album, Columbus’d The Whim, the initial development always turns into something extremely gratifying and precise, like the keys in “Days Drag” or the evolution of muffled percussion into expansive hi-hats in “Tremor Rolls the Peak”. These turns are unexpected, but Pemberton’s strong pop ties often make the ideas sound extremely appealing after the second or even first listen. A beauty like “Edge of Our Lives” requires only a few minutes to recognize its brilliance though, sounding like the perfect mash of a lost ‘60s classic and today’s indie-pop breeziness. I would be surprised if it is not a college-radio favorite by year’s end. Between Pemberton’s tranquil voice, the interweaving guitar arrangements, and explosive hook that the chorus crisply generates, this is a surefire accomplishment in every regard. That it is difficult to spot the hook I am referring to is part of the song’s allure; there are so many different methods of achieving melodic greatness here that describing only one is an injustice. There also seems to be a slight undertone of jazz in the use of keys and guitar, again beckoning to jam bands of the past and their tendency to unveil pop hooks under an intricate cast of evolving instrumentation. This may be one of the album’s more accessible tracks, but there are few that show the group’s apparent high level of musicianship as well.

Comparisons, as I mentioned before though, are a bit extraneous in regard to Holiday Shores, as so many influences can be found in their sound that it eventually becomes influentially indistinguishable. However, as a songwriter and vocalist, Pemberton seems to recall the ingenious ability of Tom Verlaine most vividly. Like many up-and-coming indie-rock acts these days, the work of Verlaine and Television is a strong influence in Pemberton’s sound. This is most notable in his songs’ ability to evolve into full-scaled epics, usually with the innovative pushing of a particular instrument (most often in a soaring guitar solo or trickle of keys). He also emits a similar croon, finding a warm place between nasally elegance and brittle yelps over series of concise guitar progressions and hectically implemented keyboards. It all depends on the track though, as Columbus’d The Whim is so enthused with its own ambition that it achieves greatness on its innovation alone. But considering it IS a pop album at heart, the stellar songwriting of Pemberton certainly helps the cause. Both fans of modern indie-rock and nostalgic pop music will likely embrace Holiday Shores because of this, not only because it can remind them of their favorite bands, but also allow them to discover a new one in the process. I consider Columbus’d The Whim one of this year’s must-haves. It is an enormous accomplishment for any album, making its status as a debut album that much more impressive.

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Holiday Shores – Edge of Our Lives

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Holiday Shores – Tremor Rolls the Peak

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Holiday Shores – Days Drag

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MySpace

Two Syllable Records

BUY

The post A Holiday Shores Getaway appeared first on Obscure Sound: Indie Music Blog.

In one room sits a huddled group of professionals, ranging from for-pay songwriters to conniving promoters. Their eyes are all on a whiteboard that lists several opportunities for their fledging client on this starry Friday night. Should he show up at a star’s birthday party, present at an awards show, or attend a charity dinner? It must be such a hassle to be forced to choose just one. Most of the independent groups featured here would probably laugh at such a scenario, either shocked or appalled at the fact that publicity is more important than the music itself these days. But can you really blame those who take advantage of it? When you have a travelling circus of songwriters, performers, and executives by your side throughout the touring and studio sessions, is there really anything else to do apart from flaunting a pretty face and throwing some vocals into an auto-tuner? Artists often struggle to resist the allure of automated production like this, with the major labels hot after a certain talent or superficial component that they can manipulate and promote to produce millions. You are guaranteed a house in Malibu and a new collection of sports cars, but your artistic integrity will be forever plagued, even if the PR firm expertly crafts the image that YOU are the songwriter and not some struggling professional with a knack for melody. Some artists hardly have a choice in the matter, but others are able to find the perfect divide between polished, accessible production and DIY ethics.

The XX playfully list their influences in regard to opposite spectrums, commercial success and cult success. It is not so much dependent on style, but instead how similar approaches can end up differing dramatically based on the pressures of derivative automation. They like everything from Aaliyah to CocoRosie, Rihanna to The Cure, and Missy Elliott to Chromatics. Some sharp contrasts, sure, but their message is clear in describing their influences this way. This London-based quartet is the antithesis of independent elitism, showing both their adoration for mainstream pop music and independent stylistic mash-ups with a sound that contains the commercially receptive allure of acts like Rihanna and Aaliyah but without the repetitive, industrialized facades that tarnish their images. Perhaps this applies not so much in teen America or MTV’s headquarters, but more in regard to readers of this site. You obviously come here to discover bands that have little to no recognition as of its publishing date, and to produce something that I and others deem quality without substantial recognition usually means that ambition and/or innovation has prevented the act from scaling the dizzying heights of national recognition. I do know that many listeners of these acts strive to be “ironic” for the hell of it, but it is hard to imagine anything more ironic than innovation and ambition serving as detriments to an artist’s career opportunities.

In another ironic twist of sorts, perhaps The XX’s maturity can be attributed to their young age. It sounds nearly contradictory, but these four schoolyard friends from southwest London clearly embody a new musical philosophy that seems completely aware of the fact that pop music does not need to be overproduced, stylistically derivative, or full of Hollywood cameos in order to manufacture great hooks. It is a rare and admirable sight to behold, especially when art-rock natives like the Arctic Monkeys lately appear more focused on whether their songs are good enough for radio airplay than the album itself. Unlike most of their contemporaries, The XX have crafted an album, not a collection of songs that they jumbled together for purposes of exposure. The desperation is clearly not prevalent for the four-piece, which is all the more admirable when one considers that they are barely out of their teens. For their debut album, 2.0, it is audibly indicative that the members stayed up well past their bedtimes. Like Junior Boys or early Air, 2.0 possesses a late-night feel that can be attributed to serene soundscapes, mostly led by a rumbling rhythm section that paces itself perfectly. It complements chilly synths and husky vocals with absolute precision, alternating between concise bass lines and highly rhythmic propulsions when the song calls for it. It helps that, like many musicians, The XX seem to work almost exclusively at night. The quality shows.

Oliver Sim and Romy Madley Croft are responsible for these aforementioned vocals, showing their beautiful abilities in the form of both duets and solo accompaniments. Their voices often sound trapped in an icicle-laden cave, the reflection of reverb becoming apparent due to the minimalistic arrangements. Synthesizers and guitars collide in the beautiful “Infinity” as both interchangeably emit a soulful croon, with a slight tinge of Afro-pop being evident in the spright keys of the similarly presented “Basic Space”. This track reminds me of a Matthew Herbert effort; the arrangement evolves into an absolutely brilliant progression as Croft’s angelic vocals become complemented by Sim’s low, grizzly croon. He himself sounds a bit like Rufus Wainwright, perhaps driven by the seductive mixture of icy keys and slick guitar tremolos. “Crystalised” is another standout, opening with two simultaneous guitar progressions before unfolding into a largely bass-driven gem. The vocals of Sim and Croft do an exceptional job of building into the chorus, first delving into a duet before the explosive chorus of guitars, bass, and subtle samples that illustrate a sense of urgency with a distantly operatic synth pad. “We just keep on getting closer,” they sing before this moment occurs, once again showing that irresistible pop hooks can unfold from even the simplest of circumstances. 2.0 may be deemed minimalistic by casual admirers of pop music, but the fact is that The XX’s debut is more intricate and involved than most releases you are bound to pick up this year. All 11 tracks unfold with beauty, elegance, and precision, never hesitant to surprise a listener with innovation enclosed in an atmosphere of slight familiarity. 2.0 needs to be heard, as it is easily one of the best debuts of 2009.

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The XX – Basic Space

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The XX – Crystalised

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The XX – Infinity

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Official Web Site

MySpace

Rough Trade Records

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The post The XX appeared first on Obscure Sound: Indie Music Blog.

Another day, another elusive electronic artist from Sweden. It seems like I have come to expect the small country to dominate the realm of innovative electronic-pop, mainly due to its roster of impressive acts that show no hesitation to incorporate sampling and stylistic multifariousness into gorgeously intricate, yet accessible electronic music. Some Swedish artists, like Sally Shapiro and Pacific!, chose a throwback approach that capitalized upon the italo-disco explosion in Europe during the ‘80s. Others, like The Tough Alliance and The Knife, churned out a more modernistic style of electronic-pop that found its sentiments more rooted in updated techniques like sampling, genre manipulation, and the glorification of youth. I classify these groups rather broadly due to their separable enigmas; their success is independent of one another due to styles that are undoubtedly their own (even if they are occasionally indebted to styles of the past). One of the most buzzed-about Swedish groups last year was Air France, a group that took sampling and electronic-pop to extraordinary heights with an EP that retained its summer-y vibe similarly to that of another landmark electronic album from this decade, Avalanches’ Since I Left You. Its ability to incorporate sampling, irresistible pop hooks, and unconventional production techniques was echoed in Air France’s No Way Down EP, serving as an indicator of just how great Sweden has treated the emerging genre of sample-based electronic-pop since its emergence.

Despite consistent successes that range from Sally Shapiro to Air France, there is often a divide between throwback electro-pop artists and those that opt for modernisitically stimulating techniques like sampling in their sound. Both types of artists have shown tremendous staying power in Sweden and abroad, but there are not many artists that are able to simultaneously capture heartfelt nostalgia and contemporary sparkle in Sweden and elsewhere. To successfully infuse these two styles together would undoubtedly result in something big, as the buzz surrounding artists like Air France and Shapiro was big enough alone to warrant their reputable statuses. Perhaps it is a coincidence that most of these Swedish electronic artists play the shy card, leaving little personal information for fans to swallow and enjoy. A simple discography is often the only thing that coats their official site, as is the case with JJ. I admit that I have little information regarding this Swedish whiz, but what I can offer are a few tracks that show JJ as one of the supreme forces in current Swedish electronic-pop. With that in mind, it is no surprise that JJ sits aside similarly entitled artists like The Tough Alliance and Air France on one of Sweden’s best and most consistent labels, Sincerely Yours.

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 determinably 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 an album that will undoubtedly receive praise as one of the most accomplished electronic releases of the year. I am hard-pressed to call an album flawless, but the album’s faultless style and short length leave little room for mistakes. The 27-minute run time makes it seem too short, even though the nine tracks pack enough punch to keep listeners captivated for quite awhile. The opening “Things Will Never Be the Same Again” shows this off quite well, sporting strings and African-inspired percussion over twinkling keys to establish a glittering glimpse into a tropical paradise where only the inspired roam. For the less serious, “Ecstasy” is a cover of Lil’ Wayne’s “Lollipop” that finds JJ turning an excitable track into an ethereal and subdued experience; this is the type of cover that does not detract from the album one bit though, exposing JJ’s style as one that does not require specific cliches within the genre of ethereal electronic-pop in order to be successful. The reflective “Intermezzo” is also a deserving standout, truly serving to its name in being an instrumental that gracefully represents JJ’s style and presence as one that cannot easily be forgotten.

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JJ – Things Will Never Be the Same Again

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JJ – From Africa to Málaga

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JJ – Intermezzo

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Sincerely Yours Records

BUY

The post JJ Explores the World appeared first on Obscure Sound: Indie Music Blog.

Anti-normative behavior is expected from most successful artists. There is little reason for them to pay much attention to the Top 40, since worthwhile artists do not derive their material from popular opinion. It may seem like a bold statement, but there is little purpose in devoting a large amount of time to a songwriter who sounds like everyone else on the radio. Listeners come to expect innovation but there is often a personal struggle for artists that wish to find the middle ground between accustomed accessibility and staggering innovation. This process often cannot be resolved through practice though, as the proper ideology appears to be embedded within the talented scope of an artist whether it is before they start writing songs or not. If one has a tendency to gravitate toward the unconventional in the early stages of their life, it can provide good indication of such an embedded ideology. When Julian Velard was in his teens and started to become wildly interested in music, one can imagine the social circumstances that surrounded him. Unlike today’s auto-tuned R&B and subliminally linear pop music, the 29-year-old experienced the likes of Pavement, Nirvana, and the Pixies when music began to first tickle his ears. He enjoyed the emerging genres of grunge and indie-rock but, unlike his peers, much of Velard’s attention was diverted elsewhere: cabaret-style pop music.

While Velard’s similar adoration for stylistically contrasting groups like XTC, Hall & Oates, and Rage Against the Machine is indicative of his eclectic persona, his favoritism for piano-based cabaret pop in the vein of Elton John and Randy Newman shows most prominently in his music. However, Velard is not guilty of exploiting the past, as he allows his steady influences to be effected by components of contemporary pop music in order to ease the transition for his modernistic audience. Similarly to Rufus Wainwright, Velard’s demanding presence as a performer, vocalist, and songwriter is a simultaneous force that appears both on record and on stage. Hearkening back to the days of cabaret, he is a multi-instrumental whiz who uses his highly melodic vocals, engaging storytelling ability, and key-based instrumentation to construct a wide arsenal of uplifting pop hooks and melancholic ballads. In Velard’s case, this force is also inherent behind his webcam. Success has never been immediate for the NYC-based songwriter, but his practice of recording cover songs by the likes of Madonna, Michael Jackson, and Kings of Leon has provided him with nearly one million views on YouTube, being very symbolic of Velard’s method of obtaining success thus far. Although he has yet to attain substantial recognition in the US, Velard’s online fanbase continues to grow both domestically and internationally due to his personable online presence.

It was through Velard’s digitalized awareness that he has become a very recognizable name in the UK. One of the many spectators of Velard’s covers on YouTube and his online cult following were a few British music executives that eventually landed Velard a deal with EMI in 2007. Detecting that the British audience would be more receptive to his style of cabaret-pop, Velard moved to the UK and began writing material for his new album, The Planeteer. Prior to this, Velard had self-released three albums that were well-polished but went mainly overlooked. In the UK, however, the opposite was true. There are just certain groups (The Jam come to mind) who find momentous success in the UK and not in the US, and Velard’s case is fascinating since the US is actually his country of origin. Even so, it perplexes me as to how no American labels took notice of Velard before EMI picked him up. His style is distinctively accessible, enough so that his twinkling keys and impressive vocals craft hooks that are instantly prevalent and very radio-friendly. If I were to guess though, The Planeteer should be explosive for Velard’s stateside recognition. Apart from being his first release on a major label, it finds his excellent pop songwriting chops refined by sharper production, an increase in confidence, and less pressure due to his previous accomplishments (signing with EMI, touring with the likes of Goldfrapp and Ben Kweller, etc.). If both EMI and Velard accomplish what they have the potential to, The Planeteer could be one of the most prominent breakthrough albums of 2009.

Now that Velard has finally been given the opportunity to widely distribute his material, it is hardly a surprise that a few fan favorites are re-appearing on The Planeteer. Both “Jimmy Dean & Steve McQueen” and “Joni” appeared on 2006’s The Movies Without You, but they are certainly memorable enough to warrant placement on his first major release. “Jimmy Dean & Steve McQueen” is an irresistible ode to Velard’s appreciation of film and the idolized actors in them. Whether he sings of plastic surgery or unrealistic nostalgia, the loss of innocence relayed in “Jimmy Dean & Steve McQueen” is the perfect example of Velard’s delivery with its entertaining lyrical quips and assortment of saxophones, guitars, and keyboards. “Joni” is another particularly engaging pop song, being somewhat reminiscent to Ted Leo’s “Timorous Me” in its reflectively romanticized approach. The chorus here is marvelous, using an effective assortment of sparkling keys and swift strings to construct what has the potential to be Velard’s first stateside “hit.” Velard’s lyrical content is never particularly complex or thought-provoking, but his words are fun and his infectious melodies supplement them beautifully. As seen on any of these tracks, Velard has an astute ability to judge a pop song. His songs never stray too long or end too abruptly; they are always filled with enough melodic alterations to hook the listener from start to finish. It is a rare skill among modern songwriters and producers alike, and it is likely one that will finally carry Velard to success on a national level.

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Julian Velard – Jimmy Dean & Steve McQueen

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Julian Velard – Joni

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Julian Velard – Love Again for the First Time

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Official Web Site (this site won awards for a good reason — check it out)

MySpace

BUY

The post Julian Velard Is The Planeteer appeared first on Obscure Sound: Indie Music Blog.

It must be a thrill to have a professional song written about yourself. Even one success could bring the targeted interest to their knees, especially if the songwriter at hand actually holds a reciprocated romantic interest of some sort. Unlike other indie-pop groups who were already conjoined by romantic relations before or in the midst of their formation like Mates of State or Viva Voce, the two married members in Loquat had to grow accustomed to involving marital topics several years after the group’s formation in 2001. Songwriter/vocalist Kylee Swenson fell for bassist Anthony Gordon in the most musically productive way possible prior to the release of Secrets of the Sea, channeling their emotions into songs that were highly reminiscent of the band’s accessible indie-pop approach and romanticized atmosphere due to the sudden increase in personal activity. In fact, one could easily make the argument that the expansion of their relationship into something more idealistic consequently resulted in an expansion of their music on both an emotional and stylistic level. Soaked over an array of guitars, keys, and synthesized strings, both members found that the song’s topics could be about them at any time. For a band like Loquat, though, who specializes in breezily memorable hooks and romantically anecdotal lyrics, it simply adds to a rarely accomplished feat in contemporary pop music that is focused on sincerity.

Despite the emergence of marriage allowing for a generally more cohesive lyrical front on Loquat’s newest effort, it turns out that the recent marriage of Swenson and Gordon was only one of the few things that effected the recording of their second album, Secrets of the Sea. “Births, deaths, and a lot of intense things happened while we were recording this [Secrets of the Sea] album,” Swenson claimed, heavily hinting at the fact that the several members of Loquat contribute to songs that are in more ways personal than they are theoretical. Compared to their debut album, It’s Yours to Keep, and the success it saw on several television shows like One Tree Hill, the content is deeper and more sincere on Secrets of the Sea. Experience and personal relationships are the prime beneficiaries here, resulting in a wider range of styles and emotional approaches that allows the five-piece to explore their stylistic roots while simultaneously expanding upon their previous emotional usage. “Stop your complaining cause it’s draining me out, for them it’s freezing yet you think of yourself.” Swenson sings during “Go Hibernate”, a track whose focus on self-absorbedness almost comes off as a warning against the unfortunate majority who subconsciously manipulate their partner through white lies and false morality.

While the lyrical content serves as the strongest batch of songs Loquat has released on that front, the most striking aspect to previous listeners will be the diversified array of styles and melodic forms that the previously linear group has attempted and mostly succeeded in. The aforementioned “Go Hibernate” capitalizes on feelings of betrayal and regret by introducing a focus on a heavily chugging bass line that is abruptly complemented by a few concise synth keys. When the chorus arrives and Swenson reveals to the listener a variety of revelations pertaining to an immoral lover who remains unchanged against the harsh brush of society, the perkiness picks up in her voice as the rhythm section explodes into full force and the guitars shift into a vigorous progression. The transition from serene verse to distorted chorus is commendably done, even if the remainder is somewhat predictable in tone and structure. For listeners who find appeal in tracks with a heavy set of emotions, catchy instrumentation, and unintimidating structural tendencies though, a track like “Go Hibernate” can work wonders. A track with a more guitar-led approach like “Comedoewn’s Worse” succeeds and falters in similar ways, sacrificing ambition for surefire hooks but doing so in a way that is not overly desperate. All in all though, the consistencies found on each and every track on Secrets of the Sea makes the effort very worthwhile for fans of the indie-pop genre and for those who appreciate genuinely invigorating pop hooks. The fact that they have become more emotionally progressive also remains wildly appealing.

For a group consisting of Loquat’s female-fronted indie-pop atmospherics, comparisons to acts like Mates of State, Cat Power, and Metric seem bound to come up. The question of how Loquat separates itself from the pack can be rather unassuming at first, but a concentrated listen throughout the album will treat patient listeners with several rewards. A track like “Harder Hit” immediately opens up the album with an extremely radio-friendly effort that sees Swenson’s heartrending vocals at their ultimate best. In typical form, a star-studded chorus sees instrumental additives illustrate themselves cohesively over an operatic performance from Swenson herself. Once again, the transition from subdued verse to highly volatile chorus is present and not even nearly shameful, as the diversity that Loquat presents in their songwriting on tracks like the key-tinged “Harder Hit”, the orchestral accompanied and acoustical flair of “Clearly Now”, and the slick synth-based rhythms of “Sit Sideways” is certainly enough for a band of their engagingly appealing nature. They are not the most structurally ambitious folk writing indie-pop songs today, but there is no denying that the 5 members in Loquat have the esteemed ability to write hook-filled songs that will remain stuck in your head for days. On Secrets of the Sea, they have simply perfected their own formula through the involvement of personal relationships and sociological patterns.

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Loquat – Go Hibernate**

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Loquat – Sit Sideways

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Loquat – Harder Hit

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Official Web Site

MySpace

BUY

**Track removed upon request of artist**

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One Jens Lekman lyric that remains so humorously memorable to me was a line on “The Cold Swedish Winter” which remarked that many people have assumed his native Sweden to consist of nothing but “porn and gonorrhea”. Regardless of how accurate it may have appeared though, it is inarguable that many western music fans have formed a new perception of the small Northern European country over the past decade or so, mainly due to the astonishing number of new artists from the country who are generating quality material by the hundreds. I have spoken about my high regard for the Swedish music scene already, so I will not bother going into further depth regarding it. However, with the plethora of conventional Swedish indie-pop that has been featured here by the likes of Håkan Hellström, Pelle Carlberg, and Salem Al Fakir, what I and many other people have somewhat forgotten are a few other genres that are being shamefully neglected by listeners seeking out the “next big thing” from Sweden. Synth-pop has been a revered genre in Sweden since its global emergence in the ‘80s, with the Swedish group Page being the first to bring electronic pop music to the country during the same period. What has followed them has been a variety of underrated acts operating in the same vein who have been overlooked by seemingly everyone apart from the respective scene. However, with the likes of Sally Shapiro, Private, and The Legends bringing a modern touch to Swedish synth-pop, it has opened up expectations for a new contemporary edge on electronica from a country that has already made irresistible pop hooks a standard in their music.

Another Swedish electro-pop group who appears imminent to break out is Pacific!, a duo comprised of Danny and Bjorn, two 35-year-olds from Gothenburg who have known each other since the age of 7. They take their influences from both their Swedish and international counterparts, incorporating an infectious display of nostalgically romantic synth-pop with contemporary interpretations of funk and disco. Sound familiar? If the French duo Air came to mind, it would make sense. “We were definitely influenced by the whole French contingent,” Danny said. “We love their music and vibe.” They also reference the brilliant pop harmonies of the Beach Boys and other forms of West Coast psychedelia as being defining influences, an aspect that may be best heard in the “woo hoo”-ing backing vocals of the irresistible “Sunet Blvd”. Their name choice derives from the duo’s admiration for the South Pacific and Asia, specifically Japan, a country that Pacific! appears indebted to for their “small but very dedicated” following. Audiences did not have much material from Pacific! apart from three 12″ EPs until recently, when they released their debut album Reveries. It proves that Pacific has the potential to be much more than simply a great singles band. With 5 tracks emitting a glowing form of quality within a genre whose formula still maintains a certain sort of freshness and mystique, Reveries is definitely worth the look.

“Sunset Blvd” is one of the several tracks from Reveries that has already garnered some substantial buzz. A prime example of the group’s seductive synth-pop flair, it is guided by a collaboration of synthesized chords, twinkling bells, and a bass line reminiscent of ‘70s funk. The nostalgic quality it emits can be attributed to both the melodic content and the vocal usage throughout, an aspect that varies between the reverbed appeal of the lead vocals and a series of surf-y backing vocals that appear to signal the re-entry of the sparkling chorus alongside the thumping bass line and backing percussion. There are plenty of reasons why I believe that “Sunset Blvd” will be one of the most popular tracks this summer among dance-pop niches, but the primary one is simply the infectiousness that this talented duo is able to deliver in such simplistically charming form. The track holds little structural variation within itself, which is only indication that Danny and Bjorn’s inherent knowledge that the initial melody is strong enough to carry the track on its own. The chorus simply builds upon the initial chord-based melody with the ample twinkles of keys and thrust of rhythm, leaving the listener’s joints in a state of lovable anticipation as their memory becomes diluted into consisting substantially of the melody. Pacific’s implementation of both funk and dance is heavily prevalent and it resounds with absolute success on the nearly flawless “Sunset Blvd”, a track that should jump the duo into international stardom.

Another highlight on Reveries is the more subdued “Break Your Social Tension”. This one drifts placidly under the haze of bass and airy synth, rapid percussion, the gentle murmur of a guitar, and plucked strings, providing a serenely invigorating form of synth-pop. “Can’t you see you’re not the only one,” they sing delicately under the whirring of a synth pad during the chorus. The loop of the initial plucked string progression is then repeated for emphasis as a slick guitar riff begins to concludes the song, once again halted by a synthesized bass as it gradually concedes into silence. I am also a fan of “Sunrise”, a track that serves as the most beautifully tranquil on the album. The vocals remind me of Wayne Coyne, a comparison that makes the orchestral touch on their serene rush of electronic pop even more satisfying. Their western influences are really on full display here and it is one of the most subtly impressive examples of a beautifully woven electronic pop track I have heard in quite some time. Not to leave out “Sunset Blvd” though, as I seeing it as being a wildly successful single by the end of the year. Reveries is currently available to import and it is highly recommended for fans of synth-pop with an enjoyably futuristic touch.

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Pacific – Sunset Blvd

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Pacific – Break Your Social System

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Pacific – Sunrise

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10. B.C. Camplight – Blink of a Nihilist

Musicians who have struggled with past mental illness are often tagged with a very undeserving label. Foolish critics shout names like Brian Wilson and Syd Barrett without even regarding the new artist’s work or current state of mind. All I ask of new listeners to Brian Christinzio (alias: B.C. Camplight) is to pay attention to his musical output, not his past history. Though his conquering of a mental illness certainly makes for an interesting lyrical perspective, the only aspect that should be regarded is that his second album, Blink of a Nihilist, has emerged as a dark horse in being one of the catchiest albums of the year. By integrating synths and crisp vocal production with brass orchestral elements and piano-led melodies, Christinzio’s knack for classic pop hooks beckons back to the days of the Beach Boys and Beatles, relying on simplistic but effective melodic additives in the crafting of a very accessible sound. In contrast, his variation of styles shifts from contemporary guitar-based indie-pop in the vein of The New Pornographers (“Officer Down”) to suave brass-led chamber-pop like in the exceptional “Soy Tonto!”. The choruses are often substantially invigorating, with the bridges being subtly interwoven in the result of a structurally sound composition. Blink of a Nihilist is a fresh mixture of classic influences like The Beach Boys and The Beatles that overlap with more conventionally modernistic nods to The High Llamas, The New Pornographers, and The Shins. Do not be surprised to see Christinzio lauded for eventually landing in the upper ranks with the latter group. With an album like Blink of a Nihilist, he now certainly has the credentials.

B.C. Camplight – Soy Tonto!

B.C. Camplight – Officer Down

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09. World’s End Girlfriend – Hurtbreak Wonderland

Katsuhiko Maeda is truly a master of capturing human emotion through the art of music. His incorporation of classical music, avant-garde production, and tumultuously layered samples has created cause for acclaim in his solo project, the oddly titled World’s End Girlfriend. Still, “solo” does always seem quite a tiring word in appliance to Maeda; his usage of piano, strings, upright bass, and nearly every orchestral instrument imaginable creates an experience that is elaborately detailed, yet never overwhelming. One is usually shocked to find that the output of World’s End Girlfriend is done in majority by one individual, and one very talented one at that. Like his past releases, Hurtbreak Wonderland is dark and often chaotic in tone. Always keeping the listener on edge, Maeda has proven that, at any moment, he can transform an instrumentally tranquil setting into a scene of abrupt chaos. His typically expansive instrumentation is often found laced with sound effects in the feverish vein of a door quickly closing shut, the scream of a child, or the laughter of a deranged madman. These all are expertly implemented, providing an atmosphere that is too eerie to find a home in even the most chilling of horror movies. Apart from the maniacal laughter and screams found within the brilliantly chilling “Dance for Borderline Miscanthus”, Hurtbreak Wonderland is largely an instrumental record. Though Maeda still blends in the use of samples – like the creaking of a door in “Bless Yourself Bleed” or the sound of rainfall in “River Was Filled With Stories” – the use is much more subtle and less involved than in previous releases in the form of The Lie Lay Land. For a suitable example of Maeda’s raw emotional power, try listening to “Dance for Borderline Miscanthus” in a room that is entirely dark for its entire duration without flinching. If you do, your nerves are certainly stronger than mine. Thanks to Maeda, few albums can accomplish as much emotional depth as Hurtbreak Wonderland.

World’s End Girlfriend – 100 Years Of Choke

World’s End Girlfriend – Dance For Borderline Miscanthus

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08. The Tough Alliance – A New Chance

If one were to attempt to neatly fold the various styles within the bustling Swedish music scene into one package, the result would likely sound something like The Tough Alliance’s A New Chance. Their quality is reflectively expected too; the Swedish duo weave elements of irresistible pop seamlessly with electronica that, while occasionally complex, offers more than a handful of melodic swoons capable of instant memorability. Though the duo’s central focus remains within the somewhat conventional realm of electronic pop, the showmanship presented on their sophomore album, A New Chance, is stylistically remarkable. From the infectiously danceable leading synth line in the irresistible “First Class Riot” to the brilliant incorporation of reggae and electronica in “Looking for Gold”, it is difficult to strictly classify The Tough Alliance as either an electronic, pop, or even reggae artist. It truly depends on which song on A New Chance you are exposed to, as the album is spread all over the place in an enjoyable form. Though the core of many songs on the album is driven by a synth-laden pulse largely reminiscent of popular electro-pop dance, the variation of styles both old and new establishes a fresh listen that keeps listeners coming back for more. What perplexes me is that if Justice can literally become the “next big thing” with “D.A.N.C.E.”, why are The Tough Alliance not getting recognition for a stopper like “First Class Riot”? Regardless, though the import-only price is rather hefty, A New Chance is well worth the price of admission.

The Tough Alliance – First Class Riot

The Tough Alliance – Looking for Gold

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07. David Vandervelde – The Moonstation House Band

When I first heard David Vandervelde’s debut, The Moonstation House Band, way back in January, I knew that it would take something special to overtake it as the debut album of the year. Though 2007 saw plenty of excellent debuts in the following months, I sit here at the end with the unwavering confidence to say that The Moonstation House Band remains my favorite in that regard. It would be easy to relate the Chicago-based songwriter to a songwriter like Marc Bolan, the talented frontman of T.Rex, a group that can be credited as one of the most influential glam acts of the ’70s. In fact, “Feet of a Liar” sounds remarkably similar to Bolan’s “Ballrooms of Mars”, both haunting tracks that are aided by sparkling keys and heavy doses of reverb. Though glam-rock is one of Vandervelde’s most blatant influences, a variety of different classic rock idiosyncrasies are utilized throughout the album, including string-led compositions that are driven by alluring hooks and sweeping instrumentation. Beautiful strings performed in such tracks as the stunning “Corduroy Blues” and “Wisdom From a Tree” were done by the legendary Canadian composer David Campbell (Beck’s father). Much like Joanna Newsom and Van Dyke Parks, the duo of Vadervelde and Campbell work flawlessly together. “Corduroy Blues” serves as one of the year’s most ravishing tracks and, even if “Nothin’ No” and “Jacket” have enough initial charm to garner themselves as Vandervelde’s most radio-friendly tracks, his true potential is exposed in the extravagant “Corduroy Blues”. Thanks to the album’s consistent output of quality (and short, half-hour duration time to boot), there is not a dull moment to be found on The Moonstation House Band.

David Vandervelde – Nothin’ No

David Vandervelde – Jacket

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06. Sunset Rubdown – Random Spirit Lover

It takes quite a lot to finish in the “Top 10” two years in a row. But in appliance to Spencer Krug, I guess it is to be expected. After all, some consider calling him “the busiest man in indie-rock” to be an understatement. It is not the quantity of work he puts out (usually 2 or 3 albums per year under different bands), but the quality that each release conveys, always incorporating something fresh and exciting into a trademark style that fans have grown lovingly accustomed to. Wolf Parade and Swan Lake aside, I have found that Krug’s strongest material is often present under a group alias where he seemingly has the most control, Sunset Rubdown. Last year’s Shut Up I Am Dreaming scored high on my list at #4; this year’s Random Spirit Lover sees much of the same success. For fans of the prolific “The Men Are Called Horseman There” on Shut Up I Am Dreaming, the majority of Random Spirit Lover will come off as immediately satisfying. Not only is Krug once again focused on treating instruments like building blocks, throwing various melodies on top of one another through various works of instrumentation, but numerous tracks on the album are representative of Krug’s inherent ability to craft emotionally wounding build-ups. Like Krug also shows on “Winged/Wicked Things” with a slight strain of synth and “Stallion”with a trickle of keys, he works with an initial melody and then expands it into several modified arrangements until dozens of different layers are fluidly implemented into one. A similar approach is used in the awe-inspiring “The Taming of the Hands That Came Back to Life” as Krug utilizes guitars and synths as a compatible pair, resulting in arguably the most satisfying song on the album. His lyrical adeptness is also in full force, with the humorously titled “Magic Vs. Midas” being a contemporary societal comparison of sorts to Midas, a mythological Greek king who could turn anything he touched into gold. “Hey woman, with the gold that you keep or which keeps you in your place,” Krug quivers over piercing keys before cleverly remarking, “Do you recall that it’s just green and copper taste?” Well, there is no need for King Midas to touch Random Spirit Lover. It is already pure gold.

Sunset Rubdown – The Taming of the Hands That Came Back To Life

Sunset Rubdown – Winged/Wicked Things

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05. Frog Eyes – Tears of the Valedictorian

I can honestly say that I have not come across a band similar in approach to Frog Eyes. Leading man Carey Mercer, upon first impression, possesses the vocals of a madman. He whimpers, squeals, and trembles his way through hordes of unconventional instrumentation, somehow regaining enough emotional ardency to carry out a strong melody in the process. I suppose that you could group him in with his aforementioned roommate/collaborator Spencer Krug if you were desperate, but even Krug’s unique style seems nearly accessible compared to the sounds Mercer conveys. His lyrics are presented in a hectic daze, an aspect that seems to serve nearly exclusively as a melodic element, simply because the lyrical content is too ambiguous and muttered to even attempt interpretation. Like their previous three albums, Frog Eyes’ songs fly at a furious pace in Tears of the Valedictorian. Though their style remains similarly adjusted, the reason why Tears of the Valedictorian is Frog Eyes’ best album of their career is a simple one: every song is worthwhile. “”Stockades”” is one of the best songs Mercer has ever written, being a display his ability to craft pop hooks despite arrangements that are chaotic enough to send an early bird into a daze. Led by the ceaseless hammering of keys, Mercer transcends into a series of yelps and sighs; his tonal aggression provides as structural indication for a song that, to many, remains thoroughly unpredictable. In terms of epics, “Bushels” is also one of the most impressive songs Mercer has written. Stretching over 9 minutes, it begins rather barefaced with the strains of a single guitar. As expected though, Frog Eyes seems too impatient to rely on the same tempo and melodic pattern for the entire song. Less than a minute inwards, it explodes into a chorus of epic proportions with pulsating keys and rapid percussion. Mercer’s ability to toy around with such intricate songs remains perplexing but also equally impressive. On Tears of the Valedictorian, his impatience is simply a rewarding virtue.

Frog Eyes – “Stockades”

Frog Eyes – Idle Songs

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04. Jens Lekman – Night Falls Over Kortedala

All Jens Lekman fans know that the tragedy of heartbreak is a concurring theme throughout the majority of his songs, whether it be in the twinkling “Rocky Dennis’ Farewell Song” or the humorous “Psychogirl”. So, when Lekman announced that he was retiring from music last year, fans suddenly became the embodiment of that certain captivating character in his lyrical tales of humor, wit, and anguish. What a pity it would have been if the Swedish native followed through on it too. The so-called “retirement” merely lasted a few months and the outstanding Night Falls Over Kortedala was released in September. What followed was merely validation that Lekman is one of the most talented pop songwriters of the decade. While such a tag may seem initially overwhelming to handle, Lekman’s soft-spoken nature leaves him unphased. After obtaining a massive fan base, both in and out of Sweden, through the releases of his debut album, When I Said I Wanted to Be Your Dog, and its proceeding compilation, Oh You’re So Silent Jens, the pressure placed on the budding songwriter seems nearly obsolete. Instead, Night Falls Over Kortedala offers the best work of Lekman’s career, with jazz-tinged gems like “Friday Night at the Drive-In Bingo” mixing fluidly with string-induced dramatic in the vein of “If I Could Cry (It Would Feel Like This)”. But perhaps the album’s best moment comes in the exhilarating “Kanske Är Jag Kär I Dig”, a humorously metaphorical lyrical tale about a little boy who was forced to have a pig for a pet because “his mom was once attacked by a dog”. Backed by a sample that sounds reminiscent of ’70s soul and doo-wop, the song’s eventual expansion into the chorus led by a brass-led accompaniment of swanky soul is brilliantly executed; it is moments like this throughout the album that truly makes it an outstanding accomplishment. There is little doubt in my mind that Jens Lekman has the potential to become one of the greatest pop songwriters of our generation. With another impeccable album like Night Falls Over Kortedala under his belt, he is certainly on his way.

Jens Lekman – Kanske Är Jag Kär I Dig

Jens Lekman – Friday Night at the Drive-In Bingo

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03. Dr. Dog – We All Belong

Though a bunch of raving critics would state otherwise, I believe that there is nothing wrong with a band embraing ’60s pop music in their sound — as long as they pull it off, of course. The primary reason that Dr. Dog have not found similar success to the other nine artists in the “Top 10” simply derives from their strength (or weakness) to latch onto an influence and generally manipulate it into a contemporary style in prominent embodiment of throwback execution. The thing is, Dr. Dog are far from copycats. They simply are fans of legendary songwriters like Harry Nilsson and John Lennon, in turn using their ability to craft irresistible pop hooks that sound, well, timeless. Take “Ain’t it Strange” for example, widely considered a ballad in the world of Dr. Dog. Lead vocalist Scott McMicken relays a reverbed snarl over the pairing of melodic keys, synchronized to perfection. When the heavy twang of a newly added guitar is overlapped with an ardent change in vocal pitch, the hook is simply too powerful to refuse. The same can be said for “Alaska”, a swankily enjoyable tune that sounds like some gem taken out of the Harry Nilsson vault. Whether you are a fan of retro revivalism or not, We All Belong is justifiably one of the best pop albums of the year.

Dr. Dog – Alaska

Dr. Dog – Ain’t It Strange

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02. Spoon – Ga Ga Ga Ga Ga

When I saw Spoon perform live at the Roseland Ballroom in NYC a few months ago, there was one thing that initally perplexed me. “This is the biggest event that we’ve ever headlined for,” frontman Britt Daniel quipped to the audience. Looking at Spoon’s wildly consistent discography, I suppose it can come as a shocker that the Austin-based four-piece are just beginning to break out in a big way. Sure, while Kill the Moonlight and Gimme Fiction were of fantastic quality, their sixth album, Ga Ga Ga Ga Ga, is their first entry into the upper echelons of the music charts. Whether it can be attributed to the album’s immediate level of accessibility or the infectious pop that the four-piece conveys, it can be confidently traced back t0 the veteran musicianship that the band has acquired throughout their past 14 years together. Ga Ga Ga Ga Ga is largely a rhythmically led album, with domineering bass lines steering the rush of guitars and flurries of keys in sensational tracks like “You Got Yr. Cherry Bomb” and “My Little Japanese Cigarette Case”. Arguably the most infectious, however, comes in the exceptional “The Underdog”. Featuring a plethora of brass and halted acoustical patterns, Daniel’s whimsical array of vocal melodies makes the inevitable comparison to Billy Joel come true. Yes, I know you have heard that one before, but it truly fits the glove surprisingly well. Though their past releases are reputable for their scattering of bright spots, Spoon’s Ga Ga Ga Ga Ga serves as one singular accomplishment throughout its entire duration.

Spoon – The Underdog

Spoon – You Got Yr. Cherry Bomb

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01. Radiohead – In Rainbows

Just over ten days prior to the release of In Rainbows, most fans assumed that Radiohead was still in the midst of writing new material, roughing out the edges for the imminent production of an album that would, in best case scenario, be released by the end of 2008. On the first day of October, when the group left an ambiguous message on their blog stating that In Rainbows would be released a mere 10 days, I did not know what to think. I had a fairly good idea of what my favorite albums of the year were at the time, and I had no intention of reserving a vacant spot on the list for a new Radiohead album. After all, after waiting 4 years for the newly coined “LP7”, impatience had literally grown to a state of numbness. I admit that I paid literally nothing for the album’s first release (in download form), yet I figured that paying $80 for a box set would somewhat compensate for my general appreciation of the group’s efforts. This “pick-your-price” distribution sparked a prominent interest within the music industry. There were thousands of rants regarding how it would effect the music industry, with many considering the “death” of the record label as we know it. For the most part, I considered such assumptions to be narrow-minded. People should realize that Radiohead is only one of the handful of bands in the world who could pull this off and actually make a difference. They have earned it too, with a body of work that has earned them the title of arguably the most accomplished band of the past 20 years.

Apart from all of this industrial mumbo-jumbo that journalists seem to focus on a bit too much, let us turn to the musical side of things: In Rainbows is what I consider to be the best album of the year. I admit that I was initially hesitant, as I considered their previous album, Hail to the Thief, a mixed bag of sorts. It reflected a period of stylistic hesitation and, though I also consider it an accomplished album, there were moments on Hail to the Thief where the album’s cohesiveness seemed skeptical at best. Compared to the likes of Kid A or OK Computer, its inconsistency raised slight concern. Still, comparing an album to such giants is never a lawful approach to take. In Rainbows appears to be the group’s most stylistically confident album since Kid A, showing a level of maturity that is more than well-deserved at this point in their careers. Apart from the energetic “Bodysnatchers”, it serves as some of their most subdued work to date. They appear tired of experimentation in attempts to transcend a singular style, resulting in an album where their genuine intrepidity is parallel to sheer greatness. One of my favorite tracks, “Nude”, contains some of the best songwriting I have heard from the group in some time. Initially built on soft percussion and rumbling bass, Yorke’s voice appears frail but also on the verge of emotional insatiability. Throughout the track, a swelling of strings build up in contrast to Yorke’s quivering tone. When the song takes a slight halt and the strings become reflective of Yorke’s soft, heartbreaking hum, it is a spine-chilling induction that serves as one of the finest moments on the album.

Yorke’s vocal techniques are as equally impressive on the album’s debut single, “Jigsaw Falling into Place”. Like several gems in the vein of “Nude”, “All I Need”, and “Faust Arp”, the use of strings is expertly implemented, causing a sound that resonates in a devastatingly tragic manner. “Reckoner” has already become a fan favorite for good season, fusing together various orchestral and pop techniques to create a haunting flow. Though I still am one of the many that prefers the more energized live version of “Videotape”, there is little to fault In Rainbows for. Even their decision to change “Arpeggi” from an orchestrally laden ballad into a guitar-based build-up works well in contrast to the rest of the delightfully interwoven In Rainbows. In fact, such blatant stylistic confidence remains the primary reason for it being one of Radiohead’s best albums of their career. A landmark achievement in both industrial distribution and musicianship, In Rainbows is the definitive album of 2007.

Radiohead – Nude

Radiohead – Jigsaw Falling into Place

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40. Mono in VCF – Mono in VCF

Various bands often attempt to sound “outdated” for stylistic effect. In most cases, when such a method is attempted, there is a thin line between substantial success and ultimate failure. In their self-titled debut album, rookie four-piece Mono in VCF have managed to incorporate their modernistic influences fluidly with past musical approaches that recall Scott Walker, David Axelrod, and The Delfonics. Basically, if you happen to be a fan of underrated musicians from the ’60s who found solace in a darkly haunting sound, Mono in VCF’s debut will likely be one of your favorite albums of the year.. Seamlessly incorporating elements of Phil Spector’s “Wall of Sound” with several contemporary aspects of production involving synthesizers and heavily reverbed guitars, Mono in VCF is a thrilling listen from start to finish. Lead vocalist Kim Miller churns out one of the best overall vocal performances of the year on the album, turning her fervently brooding vocals into a spectacle over arrangements that are often descriptive of dark, illusive orchestral compositions. Her seductively gloomy vocals overlapped with the exotic strings in “Escape City Scrapers” makes it seem like a chilling track from a little-known ’60s spy film (Quentin Tarantino should take note), with stunners like “Spider Rotation” often resulting in the same effect. With such a stunning atmosphere implemented in the album, Mono in VCF is easily one of the most impressive debuts of the year.

Mono in VCF – Escape City Scrapers

Mono in VCF – Spider Rotation

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39. Chromeo – Fancy Footwork

Despite an album cover that appears to intentionally promote a whole new realm of B-list cheesiness, Chromeo’s Fancy Footwork has steadily climbed the rankings as one of my favorite electro-pop albums of the year. Their sophomore album is a mixture of funk and dance, steadily interchanging keys, synths, guitars, and a variety of proficiently executed samples. The duo of P-Thugg (Patrick Gemayel) and and Dave 1 (David Macklovitch) seem intent on bringing their musical approach back about 20 or 30 years ago; considering the sheer quality of Fancy Footwork, it is hard to blame them. Songs like “Momma’s Boy” would have fit perfectly in one of those classic ’80s teen flicks, reflecting the nostalgic approaches of ’80s favorites like The Cars and Hall & Oates in its plentiful array of synth-led hooks. Even though poppy gems in the vein of “Momma’s Boy” and “Outta Sight” are enjoyable enough, the greatest moment of Fancy Footwork comes in the title track, a more modernistic sounding dance track that pulls off all the right stunts. The blaring sound of a police siren kicks off an infectious romp that sees a wholly irresistible chorus, touched by tinges of Moogs and twinkling keys, transform into the epitome of dance-funk perfection.

Chromeo – Fancy Footwork

Chromeo – Momma’s Boy

[audio:http://mineorecords.com/mp3/b07/chromeo-mom.mp3]

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38. Stars of the Lid – And Their Refinement of the Decline

Since their formation over 14 years ago, the Texas-based duo known as Stars of the Lid have churned out some of the most beautiful music within their unique genre of drone-based ambient music. While there are few active bands who have both the talent and patience to manipulate a style that sounds even remotely similar, the importance of composers Adam Wiltzie and Brian McBride toward the scene is incalculable. On their eighth and arguably finest album, And Their Refinement of the Decline, they continue with a style that has earned them such a massive following. A massive double-album that stretches two hours in length, And Their Refinement of the Decline is a stunning listen whose atmosphere is near incomparable. Wiltzie and McBride are composers of the utmost degree, using a variety of neatly laced keys, horns, and strings over stylistic leanings of minimalism and post-classical. The lack of percussion on the album is actually rewarding, as the soundscape that the duo crafts is elegant and imperturbable in nature. Easily one of the most relaxingly enjoyable listens of the year, And Their Refinement of the Decline may very well go down as a classic in its unique genre.

Stars of the Lid – Apreludes (In C Sharp Major)

Stars of the Lid – Articulate Silences, Pt. 2
[audio:http://mineorecords.com/mp3/b07/starsof-art.mp3]

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37. Wilco – Sky Blue Sky

Few will argue against Jeff Tweedy being one of the better songwriters of the decade. Whether you personally consider his early work with Uncle Tupelo or his latter material with the Grammy-winning Wilco to be his absolute best, the frontman’s blend of alternative rock, country, and folk-rock has made him one of the most distinguishable musicians in indie-rock for nearly two decades. As Wilco’s sixth studio album, Sky Blue Sky, earns another Grammy nomination for “Best Rock Album”, one can’t help but think if Tweedy will ever drop in quality. Though the receptive Sky Blue Sky does not compare well to earlier classics like Yankee Hotel Foxtrot or Summerteeth in terms of stylistic depth, Wilco’s newest is certainly an accomplishment to be proud of. The stunning “Impossible Germany” is the album’s clear epic, a tour-de-force that sees Tweedy and guitarist Nels Cline at their absolute best. Though the first two minutes plays off like a conventionally enjoyable Wilco folk-rock song, the final 4 minutes are of exceptional virtue. Transforming into a guitar-led jam session (although it is excellently organized), it proves to be one of the best songs of Tweedy’s illustrious career. With other tracks like the lush “Sky Blue Sky” and the piano-led twang of “Hate it Here” being additionally impressive, Sky Blue Sky touches on more strengths than it does weaknesses.

Wilco – Impossible Germany

Wilco – Sky Blue Sky

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36. The Shins – Wincing the Night Away

Though The Shins are generally a household name at this point thanks to a few unnamed films of questionable quality, it is admirable that they have proven with their third album, Wincing the Night Away, that an increase in commercialization has not tarnished their ability to write instances of utterly irresistible indie-pop. Though the album has topped at #2 in both the US and UK, The Shins’ charm remains quite durable due to their reluctance to let go of their earlier approach. Though Wincing the Night Away is their most polished album to date, The Shins still sound like, well, The Shins. If one is able to wisely look past the sudden recognition they are receiving, old fans of The Shins really have no reason to change their disposition. James Mercer still sings breezy, melodically engaging melodies over quickly captivating guitars, churning out pop hooks in an impressively abundant manner. “Australia” and “Phantom Limb” will likely go down as classic Shins songs, capitalizing on the form of easy-listening indie-rock that has brought the five-piece so much success. Even the cutesy aroma of the synth-tinged “Red Rabbits” and the lack of initial instrumental involvement in “A Comet Appears” are appealing in their own right. Though it certainly will not “change your life”, Wincing the Night Away is one of The Shins’ finest efforts to date.

The Shins – Australia

The Shins – Phantom Limb

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35. M.I.A. – Kala

After releasing the most talked-about debut of 2005 in Arular, M.I.A. could have easily sunk under the pressure and released a disappointing sophomore follow-up. It is what many other artists do, after all; many find the hype and pressure too much to handle. But coming from the outspoken, intelligent, and confident Maya Arulpragasam, it is not much of a surprise that Kala is of an equal, if not better, nature than her receptive debut. She has lived a life that just begs for a movie, making such music-related pressures seem obsolete in comparison. Kala is a continuation of the stylistic genius displayed on Arular, exchanging instances of hip-hop, world music, electro, ragga, and funk over rapidly paced lyrical deliveries that are often either political or ambiguously unidentifiable in nature. M.I.A.’s unique style is what has given her such widespread recognition, as no genre seems out of reach in her ceaselessly expanding bag of tricks. The throwback electro-dance in “Jimmy” makes it one of the album’s catchiest tracks, while the sample-oriented, unconventional hip-hop flair in “Bird Flu” is as equally enjoyable despite the comparative style being in stark contrast to “Jimmy”. Kala is an album that is impossible to describe in just a few words, as M.I.A.’s stylistic flair is too impressively widespread to attempt a concise explanation.

M.I.A. – Jimmy

M.I.A. – Bird Flu

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34. Justice – †

It would be easy to call Justice one of the most acclaimed bands of the year. Suitably enough, it is hard to find a year-end list that does not list their absolutely infectious “D.A.N.C.E.” as one of the best singles of the year. It is certainly justifiable too; the debut album from France’s latest electro-house duo is filled with moments of absolute irresistibility, with the catchy ode to Michael Jackson (“D.A.N.C.E.”) being the most immediately accessible of the impressive 12 tracks on the ambiguously titled album. Though a few fillers stop † from being a true dance classic, gems like “D.A.N.C.E.” and “Waters of Nazareth” are impossible to disregard. Regarding a prominent Daft Punk influence with a more pop-oriented flair, Gaspard Augé and Xavier de Rosnay have incorporated slick production with brilliant dance-enabled hooks that result an absolute tour-de-force. Though a similar style of production is repeated throughout the album, the glorious synth-aided melodies are guaranteed to have the majority of the album’s tracks on repeat for quite awhile. From the gritty moogs in “Waters of Nazareth” to the chirpy throwback style of “Valentine” (excellent shades of Yellow Magic Orchestra), the diversity within the repeated style is reason for listen alone. Additionally, one of the greatest aspects of the release is the output of great remixes from the album; it is proof of other artists’ admiration for this infectious output. Whether you are blasting † alone in your dorm room on a Monday afternoon or if one of the album’s stellar tracks is pulsating through the dance floor on a Friday night, Justice’s † has certainly lived up to the hype. It is one of the most infectious dance albums of the year.

Justice – D.A.N.C.E.

[audio:http://mineorecords.com/mp3/b07/justice-dan.mp3]

Justice – Waters of Nazareth

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33. !!! – Myth Takes

Though their unconventional name (pronounced “Chk Chk Chk”) may give off the impression of a disregard for , the musical output of !!! says otherwise. In their third release, Myth Takes, the group puts forth an exceptional effort through excitable, genre-bending songs that are virtually tireless in nature. Previously known for their pushy rock epics that simultaneously tackled topics like drugs, demons, and politics, Myth Takes marks a step forward in their stylistic ambitiousness. Funk is arguably the most prevalent, with the outstanding “A New Name” capitalizing on Justin Vandervolgin’s pulsating bass line. Between the rhythm section lies a swipe of an electric guitar every measure, all until singer Nic Offer expertly pulls off some demonic Barry Gibb impression. Though older !!! fans may listen and scratch their heads, “A New Name” is clearly one of their best songs to date. The rest of the album is very enjoyable as well, with the energetic Zappa-induced “All My Heroes Are Weirdos”, the swooning “Heart Of Hearts”, and the guitar-driven eight-minute epic “Bend Over Beethoven” being additional highlights. To make things even better, Myth Takes also encompasses some of the best, albeit appropriately apocalyptic, cover art of ’07. In the most accessible album of their careers, the enjoyably named !!! have achieved admirable success.

!!! – A New Name

!!! – All My Heroes Are Weirdos

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32. Art Brut – It’s a Bit Complicated

Witty one-liners, snappy guitars, hilarious sociological musings… yeah, Art Brut’s excellent debut, Bang Bang Rock and Roll, was all of that and more. It was one of my favorite albums of 2005, with Eddie Argos’ distinctively British vocals being in perfect contrast to the rhymes and melodic croons that he seemed at ease conveying. Set against the backdrop of catchy punk-pop and indie-rock, Argos often found himself transformed into a humorously fanatical poet, relaying hopeful tales of “drinking Hennessey with Morrissey” on some faraway beach while simultaneously lamenting frustration of NME’s ridiculous stylistic niches. Two years after their debut, It’s a Bit Complicated follows up in expectable form. Though Argos’ wittiness has appeared to decreased ever so slightly, the melodic instrumentation is as strong as ever in exciting tracks like “Direct Hit” and “People in Love”. Though it is less prevalent on several other tracks, Argos’ lyrical wit remains fully demonstrative in the album’s best track, “People in Love”. “People in love, lie around and get fat, I didn’t want us to end up like that,” he opens the song, fully confident of his band’s peculiarly delightful style. Though nothing on It’s a Bit Complicated reaches the anthemic charm of “Emily Kane”, Art Brut’s sophomore album continues the band’s uniquely engaging stylistic trend of treating listeners to a mutual appreciation of witty lyrical wordplay and infectious instrumental prowess, resulting in an experience that is nearly as excitable as its predecessor.

Art Brut – People in Love

Art Brut – Direct Hit

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31. Dondolo – Dondolisme

Another French electronic artist? Indeed, but with the quality that such a demographic is putting out, there is absolutely no need to complain. Compared to native contemporaries like Justice, Air, or Daft Punk, Romain Guerret’s electro-funk project, Dondolo, is certainly on the same page, though his implementation of funk and ’80s power-pop creates cause for separable acclaim. While synths do make up the majority of his tracks, Guerret also implements funk guitar riffs, mesmeric bass lines, and ceaseless percussion mixed with variations of vocoder and spoken monologue. On his latest album, Dondolisme, Guerret features nearly-instrumental synth gems like “J’ai Deux Amours” and “Zarte Melody” along with the power-pop infused guitar-led irresistibility of “A Question of Will”, the latter being one of the catchiest tracks of the year. With its swiftly executed guitar riffs and fast-paced vocal mumblings being a full-on embrace of guiltless new-wave, the male-female vocal correspondence is executed faultlessly in a throwback style of sorts. Whether one enjoys the sensational new-wave revivalism in “A Question of Will” or the lusher, more synth-oriented atmosphere in “Fluffy Angel”, the diversely enjoyable Dondolime is both catchy and methodically variegated enough to warrant an impressionable taste. It is an impressive effort from Romain Guerret, a name that is certainly climbing the ranks of elite French electronic producers.

Dondolo – A Question of Will

Dondolo – Fluffy Angel

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The post Best Albums of 2007: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

Oh, here we are again. I hope you were looking forward to this as much as I was. 2007 was a great year in music and, just like last year, I have rediscovered a bunch of great artists from the earlier months of ’07 in the process of compiling Obscure Sound’s annual “Best Albums” list. As for the most recent — it would be extremely easy for me to say that 2007 was a great year in music. Since this list is compiled from merely the viewpoint of one individual, I remind you to keep in mind that there is no “master list” of sorts. If you have found that our music tastes have overlapped in the past, I believe we will mostly be in agreement. If not, I look forward to engaging in a few cleverly worded comments below. Either way, I recommend a listen to anything that interests you. The aspect that separated 2007 from its near predecessors is the stylistic diversity that quality artists have put out. From indie-rock and dance-pop to dubstep and funk-jazz, I was constantly embraced with a plethora of different genre-led approaches this year. Due to this, I never found myself tired of one genre throughout the entire year. This list is reflective of such ceaseless enjoyment. So, enough with the rambling. Let’s get to it…

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50. Tunng – Good Arrows

We kick it off with Tunng, a collective of experimental folkies from the UK. After early careers as softcore pornography composers, frontmen Mike Lindsay and Sam Genders have found success after three albums with Tunng, offering unconventional folk-pop that sparkles with acoustical instrumentation, backing melodic vocals, and smatterings of electronica. With Genders’ delicate vocals carrying itself swiftly over Lindsay’s proficient guitar work, the result on their third album, Good Arrows, is often of initial enjoyment. It marks their most mature effort yet too, with a newly acquired stylistic confidence resulting in an increase of electronic implementation. The album’s centerpiece, “Bullets”, sees an array of pop hooks uplifted by several vocal accompaniments in the infectious chorus, led by a pair of keys that increases and decreases tempo on a whim. The variety of shuffled sounds implemented, from the chirping sound of an insect to the slight twinge of an unidentifiable woodwind instrument, among the song’s impressively intricate structure provides for an unpredictable, yet enjoyable, listening experience. With each song’s intricacy being intertwined with Tunng’s trademark form of oddball folk, Good Arrows is Tunng’s best effort to date.

Tunng – Bullets

Tunng – Take

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49. Dogs – Tall Stories from Under the Table

The punk-oriented aggressiveness that the appropriately named Dogs convey has been tough to match this year. Led by the snarling vocals of Johnny Cooke, Dogs’ second album, Tall Stories from Under the Table, encompasses all the traits of a post-punk revivalist band that actually does things right. Though it would be easy to initially dismiss their guitar-oriented sound as sloppy or disconcerting, Tall Stories from Under the Table has proved to be a very enduring listen. With the rapidly presented tale of suicide, “On a Bridge, By a Pub”, being a prime example, the abundance of hooks eventually becomes an undeniable factor as the album progresses. Depicting lonely nights and self-infliction over a faultless rhythm section and guitars, the social malcontentedness conveyed comes off ardently genuine. You can thank the uniquely capable vocals of Johnny Cooke and the outstanding guitar duo of Rikki Mehta and Luc Vargas for that one. The melodically empowering riffs incorporated behind the snarls of Cookie provides for an exciting listen that could push Dogs to the forefront of post-punk revivalists. If I did not convince you, maybe Paul Weller (former frontman of Dogs’ most glaring influence, The Jam) will. He contributed vocals on a track, “Let It Lay”, on the album after becoming impressed with the group’s debut.

Dogs – On a Bridge, By a Pub

Dogs – Soldier On

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48. Deer Tick – Deer Tick

Age certainly does not hinder John McCauley. The sole performer and songwriter for Deer Tick just turned 21 and has already amassed an extremely dedicated fan following. Listening to his debut album, War Elephant, it is not hard to see why McCauley has been labeled a folk sensation ever since his teenage years. One of the few rising folk artists who actually focuses on both melodic and lyrical depth, McCauley’s War Elephant is an extremely impressive debut. Though the majority of the songs tend to be acoustic, various forms of strings, percussion, and guitars are abundant throughout. With twangy vocals somewhat reminiscent of Neil Young or Dan Boeckner, McCauley’s mixture of yelps and emotional quivers prove to be extremely effective. “Long Time” sounds like a lost country-folk classic from the ’60s or ’70s, while “These Old Shoes” takes a Chris Paddock acoustic original and turns it into an energetic romp featuring intertwined strings and rollicking guitar riffs. Despite being one or two tracks too long, War Elephant is an extremely enjoyable debut that serves as a grandiose display of McCauley’s rich potential.

Deer Tick – These Old Shoes

Deer Tick – Long Time

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47. Julius Airwave – The City the Forest

As they perform on stage with a custom-made (tubes, light bulbs, and LCD lights) robot by their side, attendees at a Julius Airwave show may find it initially difficult to take the band seriously. However, once they kick into one of the excellent songs on their sophomore album, The City the Forest, the number of skeptics in the audience should reduce dramatically. Playing a straightforward set of infectious indie-rock, The City the Forest is one of the biggest surprises of the year for me. Having never heard of the Florida-based five-piece before, I popped in their latest album and was hooked immediately. Apart from lighthearted breeziness of the fantastic “Glory Glory” and the deadly synth-guitar combo in “Shipwreck”, the brilliantly infectious “Appley” is one of my favorite songs of the year. Though it amounts to structural simplicity, the chorus erupts into a series of guitars and synths that provides for immediate excitement. Comparisons to The Strokes should be abound, as frontman Rick Colado encompasses vocals that are eerily similar to Julian Casablancas, especially in the impressive “Appley”. Give that song in particular a listen; it gives The Strokes a run for their money.

Julius Airwave – Appley

Julius Airwave – Glory Glory

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46. Testa Rosa – Testa Rosa

For some, it may prove somewhat difficult to pinpoint Testa Rosa. After all, the trio’s influences are spread anywhere from ’60s Motown to synth-infused post-punk. Such circumstances can either create an epic mess or an audible state of diverse bliss. On Testa Rosa’s excellent eponymous debut album, the latter fortunately applies. Testa Rosa seems to be most masterful when attempting an fusion of folk and pop, an eclectic mixture that proved to circulate throughout one of the year’s most addictive songs, “Ollie & Delilah”. Detailing a contemporary Bonnie and Clyde, lead vocalist Betty Blexrud-Strigens “Delilah softly holds his arm while Ollie smiles, swallows heart,” she sings before the stunning chorus, “And he says, ‘Don’t be scared, I am here, you’ll always have my heart.'” Blexrud-Strigens relays a slight tinge of country in addition to her excellent range, reminding me of Stevie Nicks and her classic mixture of folk and country. Though the album’s best two tracks are the first two in “Ollie & Delilah” and “Book About Clouds”, Testa Rosa closes gracefully with “I Want to Be Alone on Christmas (Here With You)”, a melodically beautiful tale of loneliness at a time when “it’s too cold to cry”. For a heart-tugging array of dynamically written songs, you cannot go wrong with Testa Rosa’s wildly impressive debut.

Testa Rosa – Ollie & Delilah

Testa Rosa – Book About Clouds

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45. Dungen – Tio Bitar

Dungen, primarily the work of vocalist/composer Gustav Ejstes, has the pleasure of being the first Swedish artist on this year’s list. Obviously, considering the number of quality artists the country is outputting, he will not be the last either. Regardless, Ejstes has become reputable for straying outside the norms. He does not craft sugar-coated indie-pop like many of his native contemporaries. Instead, he incorporates instances of post-rock and psychedelia, with sprinklings of a Swedish pop mindset occasionally entering the picture. With flutes, organs, and strings accompanying other more conventional instruments, Dungen’s fifth album, Tio Bitar (“Ten Pieces”),. With guitar-led anthems like “Du Ska Inte Tro Att Det Ordnar Sig” blending seamlessly on the same album with intricately layered 9-minute epics like “Mon Amour”, Ejstes is a pure master of unpredictability. The beautiful string arrangement in “Carolina Visar Vagen” over the rapid plucking of an acoustic guitar and the hushed momentum of an organ serves as a good summation of Ejstes’ talents. He is able to blend several instruments together seamlessly, always keeping his arrangements excitably dramatic. Tio Bitar serves that sentiment well, with all “ten pieces” being worth the time.

Dungen – Du Ska Inte Tro Att Det Ordnar Sig

Dungen – Caroline Visar Vagen

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44. Interpol – Our Love to Admire

When Turn on the Bright Lights was released in 2001, Interpol could do no wrong. It proved to be one of the best debuts of the decade, conveying an original sound of contemporary garage-rock while simultaneously channeling legends like Joy Division and The Chameleons UK in the process. Few would argue that Interpol was easily one of the most likable bands in the earliest stages of this decade. Though many fans will continue to beg Interpol to stick with their original sound, it is perhaps in their own reluctance to “give something new a try” that sees each release decrease slightly in quality. Though I say that, remember I do not think Our Love to Admire is not bad by any means. After all, it made the list. Though Interpol’s quality is slowly but steadily decreasing, the enjoyment on Our Love to Admire tends to be more sporadically discoverable than their previous two releases. There is no denying that songs like the energetic fervor of “Who Do You Think”, the progressive “Pace is the Trick”, or the brooding “No I in Threesome” are Interpol at their near-best, but to once again reach their absolute best (“The New”, “Hands Away” most of TOBTL), a newly discovered transitional period of structural diversity would be something to consider.

Interpol – Who Do You Think

Interpol – No I in Threesome

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43. Shiina Ringo – Heisei Fuzoku

I always hold a decent amount of respect for foreign artists who draw a worldwide following. As one of the greatest songwriters Japan has ever seen, Shiina Ringo can seemingly do it all. As she has proven time after time with her own solo career and self-formed collective Tokyo Jihen, her eclectic offering of styles allows for a presentation that incorporates a numerous variety of excitable genres. Rock, J-pop, jazz, and funk are just a few that are shown on her fifth solo album, Heisei Fuzoku, and – as usual – it is done so in In the spotlight since her teenage years, longtime fans will see Heisei Fuzoku as no surprise. Though it is not even considered her best solo album (check out Karuki Zaamen Kuri no Hana for that), Heisei Fuzoku should please admirers of grandiose, orchestra-laden pop music, with additional tracks like “Meisai” capitalizing on a desirable “big band” sound. Heisei Fuzoku follows a 4-year solo absence, after Ringo previously vowed to devote all her time to Tokyo Jihen. Fortunately for everyone, she has chosen to now juggle both at once. The result is just as appealing as when she left, with songs like the epic “Gamble”, in which the orchestrally domineering hook in the chorus is viable to easily send chills up one’s spine, being devastatingly powerful. Though she is only 29, it seems that Shiina Ringo has been around forever with her plethora of quality releases. She is doing anything but overstaying her welcome.

Shiina Ringo – Gamble

Shiina Ringo – Ishiki

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42. Girls Aloud – Tangled Up

Undoubtedly the best thing to ever originate from a music-related reality television show (though Kelly Clarkson ain’t half bad), Girls Aloud have produced one of the year’s catchiest dance-pop albums in Tangled Up, their fifth and most accomplished album to date. Though they will be one of the most recognizable names on this list, I believe that Girls Aloud deserve all the acclaim that they receive. Led by writer/producer Brian Higgins and the insanely talented songwriting team of Xenomania (writers of 16 consecutive “Top 10” singles in less than 4 years), the five gals in Girls Aloud should be grateful with their latest output; “Girl Overboard” and “Can’t Speak French” are a pair of the best songs Higgins and co. have written – and they have written some great ones before. While those who oppose high levels of flamboyancy will likely not be in favor of Girls Aloud’s club-friendly version of techno-pop in the fantastic “Girl Overboard” or “Call the Shots”, those more receptive to variety should embrace it. Though I was never keen on one group being controlled behind a curtain by a group of songwriters, the talented vocalists in Girls Aloud were certainly well-selected on 2002’s “Popstars: The Rivals”. With sparkling choruses, seductive vocals, and infectious melodies being the core in each and every song on Tangled Up, fans of dance and pop music should walk away extremely satisfied with Tangled Up.

Girls Aloud – Girl Overboard

Girls Aloud – Can’t Speak French

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41. Joe Henry – Civilians

I previously mentioned that 2007 has been a year abundant with stylistic diversity. With that in mind, Joe Henry’s career is has been an epitome of what I consider a blessing in regard to this year. Stretching more than 21 years, the veteran songwriter/producer has consistently churned out quality album after album, whether he was writing his own solo material, scoring movies (most recently, the Knocked Up soundtrack with Loudon Wainwright III), or producing albums for the likes of Ani DiFranco, Solomon Burke, Elvis Costello, or Allen Toussaint. Henry’s solo career has encompassed a countless number of genres, from audacious country-rock and somber acoustical folk to rhythmic jazz and gritty blues. On his eleventh solo album, Civilians, Henry primarily chooses to dwell in an area of expansive folk, with collaborations from the legendary Van Dyke Parks (he supplies the tragic piano on the barefaced beauty of “I Will Write My Book” and the haunting “Civil War”) contrasting beautifully with Henry’s lyrical tales involving politics and nostalgia. “Our Song” is particularly gripping, where Henry uses an anecdote concerning a run-in with Willie Mays as a device to share his thoughts on the shameful state that modern baseball is in due to illegal substance and greed (Barry Bonds, anyone?). One of my favorite tracks on the album is “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.” One thing is for certain – Joe Henry is one of the most consistent artists of the past two decades. With the powerful Civilians, it merely proves as more solidification to Henry’s prolific status as a highly skilled musician and producer.

Joe Henry – You Can’t Fail Me Now

Joe Henry – Civil War

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The post Best Albums of 2007: #50 to #41 appeared first on Obscure Sound: Indie Music Blog.