by Matt Keefer

Frontman Wayne Coyne approaches the tour at his own pace.

Few could predict that an indie punk group from Oklahoma City would have such an innovative presence in the music world. At 49, Wayne Coyne and his quartet of space-a-delic freaks, including bassist Michael Ivins and drummers Steven Drozd and Kliph Scurlock, have earned a Grammy, covered Pink Floyd’s “The Dark Side of the Moon” in its entirety, and toured relentlessly across the world. Currently on tour for their first double-album Embryonic (excluding Zaireeka, their 1997 four-album experiment), the self-deprecating Coyne delivers about the not-so-glamorous side of touring, as well as about future projects.

Matt Keefer: Thanks for your time. Do you mind if I record the interview?

Wayne Coyne: Sure. I don’t expect you to write it all down and remember it. I’m not doubting your ability to remember, but, see, I just talk. It might be a lot easier for you to say, ‘Nah, that fucker goes on too long.’

M: At 27, being 49 seems like a long way to travel.

WC: I remember when I was 27, I would think about someone who’s almost 50 years old: ‘Dude, are you alright?’ I don’t ever get the feeling that I’m any different. It’s only when I look in the mirror sometimes that I think, “oh wow, I look like a weird old guy.” I don’t feel different to myself. It’s a strange phenomenon.

M: How’s your tour for Embryonic going so far?

WC: We’re never really on tour for very long. We’ll go out for maybe about ten days, play some shows, then we’ll go home for ten days… we’re always doing everything at the same time. Since we’re playing some shows in the summertime, you always run into other groups, and we ran into a group, Trombone Shorty, just last night. They’re almost into their third consecutive month of playing. That can beat you down. I already did that several times – when I was your age – and it can be such a mind-fuck, you’re so torn away from your life that you’re trying to build, the people that you knew. Like I said, I’m 49 years old, and the other guys, they’re not as old as me, but they’re not in their early 20s. I think they don’t want to be taken away from their families and their lives for that long. And you can almost go endlessly the way we’re going. You can almost never stop, because we’re going full-time. Doing the Flaming Lips tour is kind of like working at Target: it just kinda is. It’s not too hard, you just get up and go to work.

M: I know some musicians that have kids, and touring must be rough on them.

WC: Especially for musicians. The reason I say musicians is that they have a sensitivity about them, or they probably wouldn’t like music. And all these things that play into human dramas and emotions are just a little bit more, either enjoyable, or a little bit more painful. Sometimes I think groups try to say ‘we’re going to play for six months straight,’ and then take three years off. You know, that’s easy to say, but a lot of things happen to people in six months that you cannot reverse. Especially if you have young children. Six months, they’ll be completely different little creatures by then. We don’t want that. We want to make our music, do our performances, do all these things because we love what we do, not put one thing that we love on hold so we can have another. We want to have it all at the same time.

M: On the positive aspect of that, do you have any good tour stories?

WC: (Laughs) I don’t know, a lot of times there’s not that much crazy shit going on. When we played at Bonnaroo about a month ago, you play into the night pretty long, and there’s a lot of young people there that are doing drugs and stuff. So those [gigs] always play more into the good old rock and roll stories. After we got done, it was about ten minutes after three in the morning, I went over to the LCD Soundsystem stage, where they had just started their set – and I sort of Tweeted about it the day afterward – but this big, naked guy sort of attacked the stage.  Me and, what’s this comedian’s name, Aziz Ansari? – this giant, freaked-out naked guy, had to be doing some acid or something, simply attacked the stage, and we sort of had to hold him down until the security guards could take him away. It was a very strange, charged moment, where that doesn’t happen to you every day. You know, where you’re suddenly assailed by a 300-pound, naked guy, and he’s all sweaty and he’s drenched. That’s probably the last phenomenal rock-and-roll moment that happened to us.

M: I guess at that moment you’re glad that you pump iron five times a week.

WC: I don’t do that much, but I do yoga almost every day. So, yeah, you’re glad that you have energy and you can react and you don’t feel intimidated. I know you’re saying that jokingly, but I mean it. To be in a group, and to do all these things; you wouldn’t want to do it if you don’t have a lot of enthusiasm. So yeah, I jumped right to task. We didn’t really want to. The guy was very strong but he was pretty slippery, because he was so sweaty. The slipperiness made it impossible to grab him. It’s a good trick. If you’re ever going to run from the cops, strip yourself naked and be slippery.

M: Sure. I should probably carry some cans of grease, too.

WC: (Pauses) Then their only solution is to tase you.

M: You’ve also toured Europe and around the world. Any places you’ve enjoyed outside of the US?

WC: It’s all pretty great when you’re a group like the Flaming Lips. Most everywhere that we would go nowadays, we’re invited to play by a group of enthusiastic ‘freaks.’ We just recently went to Croatia, and we played the Glastonbury Festival (in UK) and got to see Snoop Dogg, meet Mick Jones from the Clash. Hang out with Damien Hirst. There’s a lot of great things that can happen to you simply because you’re just traveling the world all the time. But the other side of it is that you spend a lot of time in airports and on airplanes. Sometimes you get done playing at two-o-clock in the morning, and you have to get to the airport at four-o-clock in the morning. Running from one show to the next, everything is ‘hurry hurry hurry’ all the time. Sometimes I think it’s too many experiences. It’d be like having to eat twenty meals in one day. There’s just no way you can enjoy all the things that are happening.

M: Do you have anything new on the horizon?

WC: We’re always – I don’t know if ‘contemplating’ is the right word – but you’re always considering new musical ideas, new things that you want to play into. We’re always doing little movies and little videos. I just shot an ending of a video for a song on Embryonic called “See the Leaves”. We were shooting this guy on the north side of Oklahoma City who has a big acreage where he’s burning a bunch of his brush that he had chopped down. So we saw this giant fucking bonfire. We shot for an ongoing piece in our storyboard there. So it’s always a kind of combination of everything: new music, and new movies, new videos, new things for our website, new toys, new t-shirts. Everything is a Flaming Lips creation. The great range of things that you can do readjusts your focus on music.

M: Last question: Karen O of the Yeah Yeah Yeahs made a brief appearance as a frog on Embryonic.  Would you consider a fuller collaboration with her?

WC: These are definitely collaborations of a sort. I don’t know. For me, I’m more comfortable doing these types of collaborations, where I have the song written, and I have the arrangement, and I just simply call Karen and say ‘All you have to do is be you, and I’ll do all the work.’ A lot of artists don’t really want to collaborate in the sense that people think they do. The art is a lot of times just made very intensely. You simply say, ‘I like this and I don’t care what you think.’ That is in a lot of ways how art is made. And when you’re collaborating with someone that you love and admire, the way that I was working with Karen O, it’s not so much a collaboration, as it’s me giving her a format for her to be her pure self. And that’s different than us writing a song or writing lyrics or writing an arrangement together. So, I don’t know. If whoever called me up and said, ‘Hey, do you want to do this,’ I would always be open for it. I’m open to new experiences and new failures or successes. But I could understand how a lot of people wouldn’t be. It’s nerve-wracking; it’s not always very pleasant. I try to make ours as easy, as quick, and as pleasant as possible. They simply can do this little thing, and be part of this bigger thing. That’s why most artists would want to do it in that way, more than a ‘Hey Henry (Rollins), why don’t you write a song today?’ A lot of people will do that to us. I’ll say ‘not really, but I will, if that’s what we’re doing.’

M: You’re definitely right: you talk a lot. But it works with interviews.

WC: (Laughs) I know I paint it like it’s going to be torture, but I’m trying to give you as much a lay of thinking about me as you can. Make me sound cool.

The Flaming Lips will be playing on 10/10 in Austin, TX. You can buy tickets here.

The Flaming Lips – Race for the Prize

The Flaming Lips – Fight Test

The Flaming Lips – It’s Summertime

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by Mike Mineo

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10. Super Furry Animals – Dark Days/Light Years

Try and think of a band that has released 10 albums over the past 13 years, all of them attaining acclaim and stylistic diversity in a uniquely identifiable manner. Maybe if Super Furry Animals existed a few decades ago a few contemporaries could have shared this honor with them, but in an age where both the number and progressive quality of albums continues to decrease the Welsh collective remain one of the few. Super Furry Animals is quite an easy band to be a fan of. You never want your favorite band to change, but at the same time you realize that exploring new territory could be beneficial. The Gruff Rhys-fronted group kicked off their career with two classics in Fuzzy Logic and Radiator. Since then there has been no drop in quality, only fluctuations in stylistic maneuvers. Following the hook-filled and shimmering pop of the outstanding Hey Venus!, Dark Days/Light Years is a return to the experimentation that albums like Phantom Power and Mwng were renowned for. Super Furry Animals will always produce infectious songs by nature, and it rarely depends on Rhys’ style whether it is the electro-pop of his other project (Neon Neon) or the guitar-based rock of Super Furry Animals’ earlier material. Dark Days/Light Years takes full advantage by being spread out all over the place. Punchy electro-funk in “Inaugural Trams” and sitar-aided psychedelic pop bliss in “The Very Best of Neil Diamond” are a few instances of lovable experimentation, as is the excellent opening “Crazy Naked Girls” (which borrows both the electro-funk and sweet psychedelia of the two aforementioned tracks). As a whole, the album is a continuation of material that is simply fun for Super Furry Animals. They have always enjoyed experimentation without sacrificing their audience’s well-being, which is especially respectable for a group of their ambitious nature. Dark Days/Light Years is one of those rare achievements for a band with plenty of them already. Few can be so simultaneously eclectic and accessibly infectious, but with Super Furry Animals we have come to expect it by now.

Super Furry Animals – The Very Best of Neil Diamond

Super Furry Animals – Inaugural Trams

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09. Sunset Rubdown – Dragonslayer

Sunset Rubdown have always been flexible. Shut Up I Am Dreaming toyed with minimalistic electronica and rock, while Random Spirit Lover was a showcase of multi-layered art-rock expansiveness. Both albums had their stylistic exceptions that did not serve as stylistic disruptions due to their cohesiveness, but the difference in songs between the two albums was clear. For their fourth LP Dragonslayer, Krug resorts to his hardest-rocking repertoire yet and it results in eight very infectious tracks that maintain their flexibility and separable qualities throughout. Contrary to the abundant use of varying effects throughout Random Spirit Lover, Dragonslayer utilizes little in terms of studio additives. In regard to the instrumentation and content, this is one of Krug’s rawest albums yet. “Idiot Heart” evolves from the rhythmic strum of muted guitars to an anthemic sort of disposition with roaring guitars, chanting xylophones, and a build-up that rivals the likes of “The Men Are Called Horsemen There” (which Krug reminds listeners of before heading into the chorus). The lyrical-musical juxtaposition is excellent as usual, especially when Krug proclaims the following: “Now I was never much of a dancer, but I know enough to know you gotta move your idiot body around.” Immediately after speaking of an inability to dance, percussion appears for the first time and the track reclaims the rhythmic infectiousness that the introduction did not initially emphasize. The line seems ironic at the time since the progression that follows is irresistibly danceable like few Krug efforts before it, just going to show how thought-out and thematically effective the tracks on Dragonslayer really are. “Apollo and the Buffalo and Anna Anna Oh!” is also one of the album’s brightest moments, whether one looks to its irresistible chorus or the outro where Krug presents a series of slick guitar progressions and catchy chants. Like most Krug efforts, the song is fun to analyze and the ambiguity simply adds to the allure. He can create vivid folk like “Nightingale / December Song”, nostalgic arena-rock like “Idiot Heart” and “Dragon’s Lair”, and fist-pumping anthems like “Black Swan”, but stylistic multifariousness is not the sole reason for Dragonslayer’s apparent success. It is the consistency, thematic focus, and sheer ability throughout the album that makes this one a potential classic.

Sunset Rubdown – Apollo and the Buffalo and Anna Anna Anna Oh!

Sunset Rubdown – Silver Moons

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08. Salem – Astronaut

Salem Al Fakir’s debut full-length, This Is Who I Am, was one of the most enjoyable albums of 2007. It was a debut that sounded like it was crafted with decade’s worth of experience, staying true to the clever vein of Swedish pop that the native Al Fakir appeared to flawlessly grasp. Even in that accessible realm though, the album showcased a wonderful display of worldly influences as Al Fakir successfully integrated soul, blues, and psychedelic-pop into a sound that could be most aptly described as orchestral chamber-pop with dabs of nostalgic throwbacks. Retro-y synths and showtune-like orchestral accompaniments often set the stage for large presentations that Al Fakir’s soaring voice and confident presence fit perfectly in. Al Fakir has cut off his last name from the release, but Salem’s new album, Astronaut, is unmistakably from the same talented artist that put out one of 2007’s best. The narrative allure of “Astronaut” and “Black Sun Black Moon” retell similar stories of orchestral heartbreak, but apart from that Astronaut is a pretty excitable release that is dominanted by pulses of synths, heavy percussion, and even glam-rockers. “Twelve Fingers” mixes arena-rock with synth-pop, sporting an excellent bridge where an exotic synth line cohesively ushers in the subsequent guitars. “One of the Others” and “Bluest Eyes” both succeed in the realm of blue-eyed soul tremendously, with the latter’s country-ish twang being one instance of Salem’s tendencies to unconventionally mix and match different genres. Unlike most of the other tracks on the album, “Cold Shower” has no counterpart in its piano-pop. The dominance of keys and Salem’s flamboyant demeanor awakens comparisons to Elton John, and Salem’s undeniable ability causes “Cold Shower” to sound like a lost hit from the ‘70s. Just try and listen to the reggae-inspired chorus without grinning in delight. Another interestingly rewarding track is the phenomenal “Purple Lady”, a sprawling beauty of an effort that is also the most downtrodden on the album. Al Fakir has followed up one of the best debuts of 2007 with an album that is undoubtedly one of 2009’s best. This is a must-buy for any fan of pop music; there is something on here for everyone.

Salem – Cold Shower

Salem – Twelve Fingers

Salem – It’s Only You (Part II)

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07. St. Vincent – Actor

Despite naming her first album after an Arrested Development quote, Annie Clark’s debut was not something I could get into. The potential of Marry Me was evident but there was still something missing. Classified as a guitar prodigy by some, the brains behind St. Vincent delivered pleasant pop songs with a nice punch but not enough depth. Perhaps it was her immense talent overshadowing a rookie effort, but there was something missing. The Oklahoma native has taken momentous strides with her follow-up, Actor, in all aspects, especially in regard to increased focus, stylistic capacities, and overall confidence. Marry Me had a nice mix of bright and quirky songs and darker ballads, suggesting a hesitance to stick with one thematic mood. Doing so would also require sticking with the same musical arsenal, and restriction is never good for a talent like Clark. So, on Actor she does something very wise. She focuses on darker subject matter, both in an attempt to diversify her material and create a steady flow that results in Actor‘s greatness. The result is something largely melodic and reflective, one that shows Clark as more than a pretty voice. The songwriting here is quite special, never restrained by any electronic or world influence that may seep in. The brooding “Save Me From What I Want” has a chilly electronic vibe to it, its sparkling synth pad glittering over sputtering percussion as Clark pleads the listener for salvation from her desires. Unlike Marry Me, her sentiments on Actor are unbelievably convincing in her whimsical and naturally melodic approach. The track is filled to the brim with imagery that contrasts with the music quite nicely, and when the various guitar progressions and samples conclude the track it reinforces Clark’s maturing songwriting very nicely. This is also demonstrated through, “Laughing With a Mouth of Blood”, which is lighter with its acoustic guitars, gentle bass lines, and twinkles of strings and keys. Clark echoing her own thoughts with a distant reverb is reminiscent of ’60s pop, as is a fantastic chorus that uses build-ups of strings and swift guitar progressions. Flourishes of jazz are found throughout the track, but by this mid-point of the album listeners are accustomed to such variation. I was one of the few not entirely convinced by Marry Me but this has done it. Actor is a true triumph. There is no other album this year that accomplishes this sound with such precision.

St. Vincent – Laughing With a Mouth of Blood

St. Vincent – Save Me From What I Want

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06. The Veils – Sun Gangs

On The Veils’ third album, Sun Gangs, Finn Andrews offers the audience his most diverse vocal showing to date. He tackles everything from piano-led balladry to heavily distorted alternative-rock, doing so in an effectively cohesive manner that proves reflective of the group’s contrasting array of moods. This should be nothing entirely new for listeners though, as both preceding Veils albums were impressively eclectic in their own right. The excellent placement of “Sit Down By the Fire” as the opening tack of Sun Gangs has rewarding intentions, greeting listeners with an effort that shows most of The Veils’ strengths in four minutes. With its fluttering acoustics, driving keys, delightful melody, and strongly poetic lyrics, it serves as a nice introduction for new listeners and a refresher for the many fans that have been waiting patiently since the release of Nux Vomica. “Sun Gangs” finds itself placed between two tracks that seem to be at least moderately intricate in instrumentation, providing a breather between “Sit Down By the Fire” and the brilliantly consuming “The Letter”. Andrews has placed tracks accordingly in order to manage the variety of moods cohesively on all of The Veils’ past releases, but the structural organization throughout Sun Gangs is his best work in this department yet. As far as “The Letter” goes, it is one of Andrews’ finest efforts to date and should make as a hugely successful single. Like “Advice for Young Mothers to Be” and “One Night on Earth”, Andrews’ alt-rock leanings are present, although one could say that this is arguably the most definitive representation of it. Guitars are most prominent here, especially after the chorus where several guitar progressions clash to produce a sound somewhat reminiscent of The Arcade Fire. Andrews’ voice and lyrics, though, make this entirely his own. After the heavy industrial-rock of “Killed by the Boom” and Celtic folk-influenced “Three Sisters”, “The House She Lives In” returns the album to somewhat more conventional territory, offering a nostalgic mixture of keys and guitars to craft a verse that is depictive of ‘60s pop. The slick chorus and accompaniment of strings is classic Veils though, and it results in being one of the best songs on the album because of it. Although the last three songs lack in the focus of other songs on the album, the moody “Larkspur” and soft-spoken “Scarecrow” and “Begin Again” are still too memorable to be classified as filler. Even stacked up against The Veils’ other albums, Sun Gangs is simply another step in the right direction.

The Veils – The Letter

The Veils – The House She Lives In

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05. Dirty Projectors – Bitte Orca

Sometimes it sounds like Dirty Projectors are showing off. More often than not actually, throughout their new album Bitte Orca, the Brooklyn-based quartet make success sound so effortless. I have always envisioned David Longstreth as a young Matthew Herbert of sorts, embedded with a more pop-oriented ideology that benefits from his interest in a wide variety of styles. The production on Bitte Orca is outstanding mainly because it holds together Longstreth’s ridiculously hefty ambition, which for the first time sees complete cohesiveness. As expected, this translates to brilliance. Bitte Orca plays like an adventure novel of sorts in its variety of themes, the constant variation almost sounding like a rock musical with some R&B and soul addeded to it. There are tracks like “Cannibal Resource” that work with orchestras as they integrate themselves within wildly accessible indie-rock, while other efforts like “Temecula Sunrise” start with lo-fi pieces of acoustical passion and grow into epic, stylistically multifarious accomplishments. Whichever way the structure seems to move, Dirty Projectors unveil something worthwhile in every song on Bitte Orca. Many songs like “Cannibal Resource” and “Temecula Sunrise” benefit from an assortment of layer and contrasting harmonies, but those skeptical of the group’s raw abilities should check out the intro to “The Bride”. Little more than a beautiful voice and acoustic guitar accompaniment forms a sound similar to traditional folk. Dirty Projectors conquer nearly every genre that has influenced indie-rock throughout the album and this is just one instance of it. It then grows into a heavier, more distorted sound to make things interesting, but the stunning verses that precede it are indicative of Dirty Projectors’ ability. Some of the tracks on the album are filled with so much variation to the point where they may be intimidating, so a track like “No Intention” really fits nicely with its joyously accessible vibe. It is really the only “feel-good” song on the album, but Bitte Orca stirs up plenty of emotions with its riveting material. This is exactly where the Herbet comparison comes in for me; Longstreth is showcasing an astute ability for several genres and mastery in production has now led him to great things. Now that his talents are showcased in such a polished and genuine way, it is incredibly easy to enjoy.

Dirty Projectors – Stillness is the Move

Dirty Projectors – Cannibal Resource

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04. Grizzly Bear – Veckatimest

I remember fondly that Grizzly Bear’s Yellow House was one of the first features on this site. It was pretty clear that it was going to bring them considerable attention, which was shown through their enduring relevance throughout the past three years. It is hard to believe that Yellow House was released over three years ago, especially considering how great songs like “Knife” and “Marla” sound. It will likely be looked back upon as one of the better psychedelic-folk albums of the decade, which makes the equally respectable success of its follow-up Veckatimest important. While retaining the great songwriting and harmoniously serene nature of Yellow House, Veckatimest sees the group expand their horizons in terms of production and sound. A string quartet and even more interweaving vocal melodies are abundant, but they are not the only reasons for the stunning melodic repertoire of Grizzly Bear’s third album. Droste and company have crafted a beautiful pop album by any stretch of the imagination, evolving from the singular folk of their early material into a band that touches upon everything from psychedelic jazz to traditional folk. The former is immediate from the opener, “Southern Point”, which uses a brisk acoustic shuffle over a fuzzy bass through serene interludes and brilliant percussive breaks. It is a great opener in establishing an enjoyably complex sound, even if the stunning “Two Weeks” following it returns listeners to the delightfully harmonic roots of Grizzly Bear. Keyboards, various layers of choir boy-like vocals, and a placid bass line combine for a very ethereal experience that is both infectious and nostalgically touching. It presents old-fashioned pop in the best sense possible. “Cheerleader” follows in that same throwback sense, sounding like a lost ’60s gem with the glittering reverb of reverbs and doo-wop vocal accompaniments . The production on this track is stunning particularly because Grizzly Bear opted not to go the gimmick-y, lo-fi route in terms of nostalic ’60s pop. This is crisply produced bliss and it touts its strengths. By now, Droste is a natural at crafting emotionally driven gems like these. There is no need to cloak things in extraneous arrangements and, with the coherently stunning Veckatimest, this much is clear.

Grizzly Bear – Two Weeks

Grizzly Bear – Cheerleader

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03. Wild Beasts – Two Dancers

Distinction will never be an issue for Wild Beasts. With a voice like Hayden Thorpe’s, it almost seems as if the English four-piece could put any arrangement under his dramatic delivery and the result would sound great. The most quirkily enjoyable thing about Wild Beasts is the juxtaposition of their varying influences. Thorpe’s lead vocals are strongly reminiscent of the quivering cries for help that Billy Mackenzie made famous in the realm of post-punk, but their music often hints at lights of optimism that are rare in a genre that encompasses such an enjoyably sullen haze. But while Thorpe makes post-punk the most oblivious practice on their second album, Two Dancers, but their tendency to use unconventional practices like chirpy guitar progressions or exhilarating choruses is what creates their signature sound. They are able to reach into the depths of melancholy without coming across as melodramatic, just as they are able to scale the dizzying heights of pop elegance without coming across as too desperate for fame and fortune. These tendencies result in a sound that borrows neither too much from the past nor excess from the present, resulting in a sound that is fresh and engaging without being classified into the ridiculously flexible genre of art-rock. Two standouts, “When I’m Sleepy” and “All the King’s Men”, are direct in their respective descriptions of death and desperation. Mumbled vocals that weep over reverbed guitar tremolos are present, of course. The bass lines are subtler than typical post-punk, but the dramatics of the distorted guitars and emotive vocals are still there, stuffed with pop-oriented theatrics that make the style more accessible for those somewhat opposed to the dramatics of Joy Division or The Cure. “We Still Got the Taste Dancing on Our Tongues” finds Thorpe’s most theatrical crooning uplifted by guitar tremolos and sprinkles of haunting keys that coincide with his vocals to craft a sound that is as elegantly uplifting as it is haunting and serene. And this is what Two Dancers is; it serves as phenomenal album that quickly follows up a debut to prove that Wild Beasts are more than clever stylistic imitators. Most importantly, it shows that they are great songwriters and producers in their own right, leading to the credibility of all forthcoming recognition.

Wild Beasts – Hooting & Howling (video)

Wild Beasts – All the King’s Men

Wild Beasts – We Still Got the Taste Dancing on Our Tongues

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02. The Flaming Lips – Embryonic

It would be easy to give the Flaming Lips a free pass at this point since they have yet to release a lackluster album in their 26-year career. Their releases are also often such a mind-consuming experience that it becomes impossible not to criticize or complement. Their twelfth studio album, Embryonic, is particularly true of this. There has been no other Flaming Lips album that is strongly comparable to this one, both in thematic effort and general style. Structurally, it is a mess when compared to the ethereal works of Yoshimi or The Soft Bulletin, where laid-back anthems like “Do You Realize??” and “Race for the Prize” were Lips standards. On Embryonic, there are no heartwarming singles like “Free Radicals” that casual fans will adore, nor overly fluttery examples of bubblegum-pop like “Yeah Yeah Yeah Song” that provide some ease to the always-present level of experimentation. So, with this in mind, why exactly is Embryonic one of their best releases to date? Like many Flaming Lips releases, the reason becomes apparent after a full listen. Like most Flaming Lips albums, Embryonic begins with a kick-in-the-face sort of track. Guitar distortions whimper in disarray, the reverb-heavy percussion plays with a sense of unpredictable fury, and Coyne delivers an eerie croon that finds itself reminiscent of Joy Division’s Ian Curtis in its drolly robotic allure. In doing so, “Convinced of the Hex” is a clear ode to both Kraut-rock and post-punk. The layers of sound build up until the rhythm section becomes the showstopper, gradually introducing bursts of bass as the percussion intensifies with heavy hi-hats. It nearly makes the listener picture an automation line, one superb addition after another. The different keyboard chord that appears after every other measure also does a great job of keeping this one in place in adding subtly invigorating forms of melodic variation in addition to Coyne’s vocals.

“Powerless” is indeed the biggest achievement on an album full of many, combining evolutionary post-rock with the touch of sparkling keys and unconventionally boisterous guitar solos, the latter of which sounds more like impulsive chordal strikes than melodic construction. There are several guitars to accompany keys which glitter gracefully throughout, the most prominent emitting a single chord that abrasively leads the effort with heavy distortion and hand swipes. It is a wonderful technique, mainly because the subtle and less audible guitar accompaniments provide beautiful additions thanks purely to the group’s songwriting skills. The only major variation occurs when the western-y bass line suddenly drops a few pitches with each succession, the lead guitar remaining steadily boisterous as the others emit stunning melodic whispers that will send chills down under listener’s spine. The way these instruments and melodies combine to create this epic force is absolutely stunning, making this one of the best Flaming Lips tracks released. The second disc begins with another knockout force in “The Ego’s Last Stand”, an effort that shows off the rhythmic precision of this album beautifully. Percussion has never before been so prominent for the Flaming Lips, so it is nice to see a diversified amount of efforts in regard to all sorts of instruments being the beneficiary in leading tracks. Percussion and bass appear to converse here by rarely coexisting, instead taking turns speaking before guitars and brass-like mute effects concoct a truly spectacular and anthemic chorus. Embryonic is hardly the most beautiful album to the Flaming Lips’ name, but its rough edges are so defined that the result is more engrossing than any of their albums from the past decade. Like any double-album there are a handful of tracks whose absence would not be missed, but the highlights are so memorable and purely fascinating in approach that it propels Embryonic to the echelon of 2009’s best releases.

The Flaming Lips – Powerless

The Flaming Lips – Convinced of the Hex

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01. Animal Collective – Merriweather Post Pavilion

The rise of Animal Collective has been one of the most enjoyable stories of the year, particularly because they actually deserve the acclaim. Merriweather Post Pavilion, their eighth studio album, was arguably their most anticipated release for a reason. For nearly a decade they have ignored any slight conception of contemporary pop music, taking note of both classical and worldly influences in addition to relevant sample-based technology to form a style that is literally incomparable to anything before them. They write pop songs with hooks so strong and prevalent that admirers of all genres are stimulated by it, whether through the breezy psychedelia on Feels or the choppy electro-experiments of Strawberry Jam. Those with knowledge of their ambitious discography are aware of various stylistic experiments the band has undertaken,  some being failures and others succeeding immensely. The issue with previous Animal Collective albums were that bursts of brilliance seemed to be subdued by occasional clutter, which was often little more than extraneous over-experimentation. Still, with each successive release they took new strides with more cohesive ideas and less clutter. Fans had anticipated an album as cumulatively successful as Merriweather Post Pavilion for some while as a result. 2009 finally fulfilled their expectations.

Merriweather Post Pavilion begins in grand style with “In the Flowers”, perhaps the best opening track of the year in its developmental brilliance alone. Its subtle growth in percussion signals an imminent rhythmic explosion that the trickling minor guitar arpeggios portray early on. Fuzzy bass, accelerated percussion, and a repeated synth effect enter during the exhilarating and lengthily foreshadowed chorus. Building up hype and then satisfying listeners entirely is just what this album does from start to finish, so “In the Flowers” is nice introductory analogy for this album’s vast scope of pleaure. Enough has been said of infectiously repetitive tracks like “My Girls” and “Summertime Clothes”, but the most durable tracks on Merriweather Post Pavilion are gems like “Bluish” and “Also Frightened” that show the band’s more expansive side rather than their sample-based, repetitive ones (which can be just as great). “Also Frightened” sounds like the majestic psychedelic-pop work the band has always aimed for in their majestic ambition, restrained previously only by a lack of structural coherency. This effort is clearly from due experience because it achieves remarkable sereneness and accessibility while retaining traditional components of psychedelia. Like “In the Flowers” and “Bluish”, it is pretty much perfect. “Daily Routine” is an enjoyable novelty in its transitioning from messy organs to lush shoegaze-y synth pads, while the soft twinkle of the pop-lullaby “No More Runnin” provides for some relaxing reprieve before the hectically fulfilling “Brother Sport”. The lush throwback pop of “Bluish” is perhaps the most surprisingly rewarding track on the album though, showing a side of Animal Collective that is not hesitant to write a song not invested in innovative recording techniques or stylistic achievements. Sometimes moderation can be a good thing, and Merriweather Post Pavilion shows this perfectly by blending its styles with groundbreaking precision.

The most remarkable thing about Merriweather Post Pavilion is that it already appears timeless less than a year after its release. Although some tracks like “My Girls” boast synthesizers and sampling, the hooks and structure of the songs are relative to any period in pop music past the 1950s. Trying to spot Animal Collective’s influences is looking for a needle in a haystack since they hide them so well; their own creativity takes over in ways other bands could only dream of. Merriweather Post Pavilion is the best album of 2009 because it represents both the creativity and eclectic capacity of a band whose recognition is preceded by years of various experimentation. It will be considered a classic for years to come not because it broke out a a great band though. Instead, its legacy will live on as an influential stylistic achievement with prevalent impact on the decades of music to come.

Animal Collective – In the Flowers

Animal Collective – Bluish

Animal Collective – My Girls

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by Mike Mineo

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20. Volcano Choir – Unmap

When describing their influences, Volcano Choir throw around a variety of names like Steve Reich, Tom Waits, and other heroes of experimental music and pop. They also claim though that their most prominent influence “is music itself.” Such a statement may sound overbearing or pretentious, but one listen to Unmap, the sextet’s debut, should reveal complex layers of beauty that almost seem to concisely display each of the member’s talents in one wholesomely satisfying package. Comprising Bon Iver’s Justin Vernon and an assortment of Wisconsin-based musicians, Volcano Choir’s Unmap is one of the more naturally ethereal albums of the year in its collaborative, layer-based approach. Whether the group tackles Sigur Rós-like Gregorian chants in the sprawling noise-pop of “Dote” or turn in one of the year’s most satisfying singles in the choppily brilliant “Island, IS”, each maneuver is a success that slowly but steadily constructs Unmap as a stunning debut. “Island, IS” uses several chopped-up samples of guitars and assorted string instruments over the reverbed echo of Vernon’s somber croon. The clash between minimalism and folk is extraordinary done, with the repetition of melodic fragments colliding beautifully with Vernon’s voice and the building percussion of Jon Mueller. As one of the album’s more barren numbers, “And Gather” is appropriately titled for a style that comes across as joyous and inviting. The soft strumming of an acoustic guitar is hidden behind steady handclaps and gleeful whimpers that seem to vocally involve all six members in some way. It seems to be sitting comfortably in a campfire setting, perturbed by nothing apart from any unnatural force intent on interrupting this spontaneous creation of music. Unmap concocts a lot of imagery without even emitting distinguishable words, a sign of brilliant production and musicianship at the very least. Collaboration can be a complex maneuver in music, but Volcano Choir have crafted one of this year’s finest by involving all of its members in an equal and sophisticated manner.

Volcano Choir – Island, IS

Volcano Choir – And Gather

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19. Brazos – Phosphorescent Blues

Recorded in his reclusive South Austin home, Brazos frontman Martin Crane injects a series of classic naturalist themes in an intimate showing of folk and alternative-rock strongly indicative of both his poetic and melodic capabilities. The Austin-based trio are bound to attract enough attention with their constant wit displayed throughout Phosphorescent Blues, their first full-length after two EPs were released in 2007. While Walden showed Thoreau’s “life in the woods” as breakthrough personal meditation, Phosphorescent Blues represents Crane’s commentary on life’s most imminent and affecting tribulations in the perspective of external contemplation. Despite the chronological and reputable differences of the two works, this examination is their meeting point. Phosphorescent Blues is so easy to relate to that its exposition of intricate concepts come off in a way that is lighthearted without being offensive. You know how your best friend tends to complete your sentences? “My Buddy” covers that with wit and caressing layers of surprisingly melodic distortion. What about that person in your life who offers great sex but nothing else? “Day Glo” medicates it with humor, joined by a droning style of key-tinged folk that recalls Phoenix with its abrupt elegance. Specifically, the unique nature of each track brings out a resoundingly strong effort that should contend for one of the year’s best full-length debuts. One of the reasons for this is how the trio is able to transcribe life’s complexities into a humorous or witty vein. “I don’t mind dying when I make love to her,” Crane sings on “Day Glo” before an entry of trippy brass unexpectedly descends upon the acoustics and keys. “Close but not close, far but not too far away.” The keys that seem to dance and mingle under Crane’s quivering voice brings to mind a versatile folk artist like Andrew Bird, though Brazos do express more variation in tempo and style. Stylistic versatility, intelligent contemplation, and melodic captivation are all characteristics of Brazos, as any song on their memorable Phosphorescent Blues could tell you.

Brazos – Day Glo

Brazos – My Buddy

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18. Girls – Album

2009 has seen in much in terms of hazy, surf-rock inspired acts like Wavves and Washed Out. A movement classified by many as “chillwave” is emerging and looking good. Girls may have similar influences but they do not apply. Instead, they reclaim sunny ’70s pop and psychedelia that is crisp and coherent rather than contained in an ethereal reverbed bliss. The San Francisco-based quartet have really made a nice pop album with their debut, Album. It is so easy to got lost in the swirling guitars of centerpiece “Laura”, recalling both sunny ’70s California pop and twangy southern-rock. The result is also one inspired by the goofy but technically astute power-pop of Jonathan Richman, whose wit and simplistic ability to relate was influential in addition to his melodic prowess. The ambition on Girls’ part is blatantly apparent and the consistent throughout Album is shocking considering the band’s inexperience. It serves as one of the few debuts this year that touts quality from start to finish, serving as a true throwback in never focusing on one instrument or melodic lead. The playfully mopey vocals of Christopher Owens suggest a DIY, minimalistic feel, but prominent influences like the Beach Boys inspire rich multiple melodies. Still, a laudable effort like “God Damned” benefits heavily from its lo-fi production. One could easily envision a one-man band when listening to its raw intensity. You hear an extremely powerful melody being portrayed by Owens’ emotive vocals, backed by the shuffle of an acoustic guitar and various minor percussion elements. Its minimalistic, sure, but it packs a heavy emotional punch that is equal to more complex pop songs like “Laura” or the gorgeously epic “Hellhole Ratface”. The latter finds a fusion of acoustic and electric guitars combining with a loud bass drum, all leading up to an anticipated melodic burst that is reminiscent to Spiritualized’s better material. Such comparisons are admirable for any debut, and this is exactly the reason why Girls are receiving so much acclaim. This one may be looked back on as one of the better debuts of its decade, especially if Girls live up to their lofty potential.

Girls – God Damned

Girls – Lust For Life

Girls – Laura

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17. Manic Street Preachers – Journal for Plague Lovers

Manic Street Preachers had a surprisingly cohesive career after the disappearance of Richey Edwards, a talented lyricist who contributed well to the band’s sound on the classic The Holy Bible. Their ninth album, Journal for Plague Lovers, is a delayed successor of sorts, using lyrics left by Edwards and collected from his portfolio and also revitalizing a sound the heaviest and most unpredictable it has been since The Holy Bible. Lyrics by Edwards are certainly a nice novelty and contribute to the album’s sincerity as expected, but the band’s stellar performance is what prevents it from being simply a tribute album. The new material here is some of the best from the band in a decade, clearly showing that Edwards’ collection had inspired the band to great things. Oddly titled tracks like “Jackie Collins Existential Question Time”  with their fascinating . “Oh mommy, what’s a Sex Pistol?” repeats as a very jubillant series of guitar riffs present themselves. The shimmering quality of the song is bolstered by several hooks that James Dean Bradfield delivers with his usual power. Journal for Plague Lovers is not exactly a comeback since the Manic Street Preachers never embarrassed themselves, and it is pretty impressive how raw and powerful the band sounds after all these year. There is no sign of aging here, as boisterously anthemic tracks like “She Bathed Herself in a Bath of Bleach” proclaim with tumultuous guitar riffs and choppy solos. It contains the sort of unpredictable angst that made early Manic Street Preachers so satisfying and relevant. Their foray into readily accessible and radio-friendly pop songs provided some great enjoyment, as did their previous experimentation in genres of electro-pop and power-pop. Somehow though, the throwback approach done on Journal for Plague Lovers sounds the most appropriate for a band of the Manic Street Preachers’ stature.

Manic Street Preachers – This Joke Sport Severed

Manic Street Preachers – She Bathed Herself in a Bath of Bleach

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16. Richard Swift – The Atlantic Ocean

Since his sixth great uncle is famous satirist and writer Jonathan Swift, one could say that good storytelling runs in Richard Swift’s family. Naturally, his lyrical ability is wildly impressive and has been since the since the double-release of his first two albums, Walking Without Effort and The Novelist, in 2005. The primary theme of The Novelist was heavily indicative of Swift’s forte, a writer who often comes across the romanticized perspective of unheralded artists. Both albums also showed a blissful interpretation of Tin Pan Alley pop, stemming from a raw interest in pop music that developed within Swift as he sang in Quaker churches throughout his early teens. Swift’s new album, The Atlantic Ocean, appears to be his most stylistically decisive effort yet, opting for a highly enjoyable mixture of piano ballads and key-led pop, with an occasional guitar here and there providing for a touch of rock ‘n’ roll. The keys are often adorned with bouncy synths, a trait that makes tracks like “The Original Thought” and “A Song for Milton Feher” a few of the best on the album. Swift’s voice is endearing in a throwback sort of way, at times becoming startlingly reminiscent of the late Dennis Wilson and his brooding voice’s ability to sound remarkable over a piano. Swift’s material is a bit more excitable and upbeat, but a track like “Ballad of Old What’s His Name” succeeds tremendously with a spine-chilling chorus that has Swift repeating, “Please don’t you cry anymore,” he sings with a rollicking southern-rock flair. The guitar progressions are later accentuated by a beautiful horn section, which sounds stunning under Swift’s excellent chorus. The equally outstanding “Already Gone” capitalizes similarly on Swift’s ethereal vocals during the chorus, though this time it is preceded by a brooding piano as Swift takes on a nasally delivery that seems almost Elvis Costello-like. “You know I love you, so honey don’t go, too many secrets you’ll never knows,” he croons in a near-whisper over the wavering of synths and a forceful piano. “But it’s already gone.” For Swift, it is only beginning.

Richard Swift – Ballad of Old What’s His Name

Richard Swift – Already Gone

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15. Cass McCombs – Catacombs

Cass McCombs is one of the few artists that managed to first get my attention via a b-side. A psychedelic gem on the single of “Sacred Heart”, “Twins” is an underrated gem that all should check out (MP3 below). It is generally indicative of ‘60s British psychedelia with a brooding introduction that features an instrumental whirlwind of both post-punk and psychedelic influences. I find the contemporary relevance of McCombs’ specific style to be very reminiscent of Pulp’s This Is Hardcore, adding yet another British comparison to McCombs despite the fact that he is a Californian. It simply speaks to his knowledge of his targeted genre, and in “Twins” he literally does no wrong. Alternating between a whimpering croon and series of self-induced backing harmonies, McCombs continuously comes back to a chorus in which he somberly repeats, “You lied to me, you lied to me.” Underneath a spectacle of melancholic keys and thickly reverberating guitars and bass, “Twins” speaks more to McCombs’ ability than any other song I have come across. Well, that was until he released Catacombs this year. McCombs abandons the heavy reverb and psychedelic-heavy sound of past releases and opts for a crisper version of pop. His folk influences also shine through on Catacombs, which despite its stylistic differences is the best cumulative effort of McCombs’ career so far. “Dreams Come True Girl” is sweet and tender with its pleading snippets of guitar, backed by a Motown-inspired bass line that moves with McCombs’ haunting croon. “Prima Donna” reaches similar heights with little more than a guitar and McCombs’ voice, his poetic lyrics and nasally croon portraying the same traditional alt-folk as Billy Bragg. Like Bragg, the lyrics are endlessly captivating and his musical accompaniments are sweet and tender. McCombs is continuing to grow nicely as a songwriter, although letting loose once awhile to produce another track like “Twins” would not hurt.

Cass McCombs – Dreams Come True Girl

Cass McCombs – Prima Donna

Cass McCombs – Twins

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14. Fever Ray – Fever Ray

By the time that Swedish brother-sister duo Karin Dreijer Andersson and Olof Dreijer released their third full-length album in 2006, The Knife had already achieved a status as one of the most reputable electronic groups in Sweden. Two Grammi (the Swedish equivalent of the Grammys) nominations in 2003 brought them their first glimpse at national recognition. Their 2006 release, Silent Shout, shot the duo to internatonal fame with their dark and chilly electronica. Five successful singles came from it as well, giving the siblings a bit of career flexibility. Karin Dreijer Andersson has certainly kept herself busy with the debut of her new solo project, Fever Ray. One of the debut’s standouts, “Now’s the Only Time I Know”, is an accessible example of how Andersson has carried over her engaging techniques from The Knife throughout Fever Ray’s ten new songs, many of which are equal to or even surpass several tracks on Silent Shout. It is also one of the best examples of the way her vocals evolve throughout a given song in accordance to its instrumental accompaniment. Her first few lines are barren, reflected by a similar vocal track that is delayed by a few seconds. However, when a synth pad emerges and the percussion intensifies with an extra kick, her intensity rises and an extra dose of reverb is found alongside a chorus that works wonders with a bubbly bass line and trickling synths. “When I Grow Up” sees a more minimalistic approach, with a more consistently ardent delivery reminiscent of The Knife’s “Like a Pen”, only without the driving pulse of techno. Using a synth arpeggio as its steady heartbeat, a twinkle here and there of chirpy keys adds to the irresistibility of “Triangle Walks” in a way that, like “Now’s the Only Time I Know”, should appeal to listeners who have little to no familiarity with The Knife. Those who enjoyed any of The Knife’s prior releases, though, will find Fever Ray’s self-titled debut to be more than capable of delivering the same thrills that one of the best albums of 2006 did so effectively.

Fever Ray – Now’s the Only Time I Know

Fever Ray – Triangle Walks

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13. Kinetic Stereokids – Kid Moves

Preparing a sophomore album is always a sensitive topic. It is the band’s first exposure to a world of expectations, regardless of whether your album went gold or sold ten copies. Criticism tends to be taken more prominently for the most mature artists, as these eventually come to be perceived as free constructive criticism rather than some blowhard lamenting his biased disdain for a style he personally does not enjoy. That Kinetic Stereokids have released an epic for their second album seems like a gesture of sorts, perhaps to the critics that found their 2007 debut, Basement Kids, too inconsistent for their tastes. Sometimes it was too flip-floppy, while other times it was consistent but too mundane. The impressive qualities certainly outweighed the bad ones, but it struggled like most debuts do in attempting to capture a cohesive feel throughout the album. This often relies on thematic and melodic consistencies, which are two qualities that Kinetic Stereokids’ new album, Kid Moves, accomplishes with relative ease. Its length spans over 70 minutes, but the consistent focus on recapturing youth results in some of the freshest and most inventive material you are bound to hear this year. The opener, “Free Money”, sounds like one of those summer jams from the ‘90s with its infusion of hip-hop percussion and chirpy vocals corresponding excellently with the near-improvised distortion of several electric guitars. As the band personally clarifies, fusing the sounds of Sonic Youth and the Beastie Boys is not the worst idea in the world. “Twisted Thoughts” is not as intricately interwoven but it still packs a similar punch, contrasting an automated robot voice with naturally sweet acoustics and a natural croon that shows Kinetic Stereokids as supremely talented musicians with a great knack for melody. That it is followed by the psychedelic hip-hop of “Drugs Is a Drag” is no coincidence, as Kid Moves is an album that flows with surprising precision despite its daunting stylistic diversity. “Drugs Is a Drag” later flows into some Avalanches-like mash-up that leaves me thoroughly impressed; the incorporation of guitar solos over the samples of an operatic tenor, hazy percussion, and warbled vocals make this an effort of extreme innovation, just like Kid Moves itself.

Kinetic Stereokids – Planes with Teeth

Kinetic Stereokids – Twisted Thoughts

Kinetic Stereokids – Drugs Is a Drag

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12. Junior Boys – Begone Dull Care

For their third album, Begone Dull Care, Junior Boys have found somewhat of a middle point between both of their preceding releases. Their grasp of illustrious pop music remains strong, even as several aspects of their music have taken a more constricted approach. Ironically, this constraint proves to be beneficial on several tracks, most notably on efforts like “Sneak a Picture” and “Parallel Lines” where the use of percussion is extremely minimal compared to their previous, more hectically involved works like on “Birthday”. On “Parallel Lines”, the album’s opener, the percussion relies more on reverb and subdued flexibility than intensity. Combined with a bass arpeggio and a few percussively enabled samples, the introduction sounds surprisingly bare for Junior Boys’ standards. However, as the track later proves, its build-up is dependent on its success. When Greenspan’s vocals emerge nearly simultaneously with a brief electro-sax accompaniment and a whirring synth pad, the listener is reminded of the infectious tranquility of gems like “Teach Me How to Fight” and “Neon Rider”. While Greenspan does not turn into some gaudy diva on this album, his voice is more prevalently involved in the songs. On “Bits and Pieces”, one of the duo’s most infectiously concise efforts to date, he alternates between a falsetto and suave electro-pop flamboyance. The song’s structure is simple enough, but he brings the track to unforeseen heights during its bouncy chorus and seductively minimalistic verses. “Hazel” shows more of this vocal swagger, whether in the snappy verses or his disco-y “ooh, ooh, ooh” whimper during the club-like series of synthesized chords toward the track’s conclusion. These moments are surely excellent, but few can rival the brilliance of “Sneak a Picture”. Beautiful from its inception, both scratchy bass-like and fluttery synths collide in “Sneak a Picture” to establish an initially memorable melody that does nothing but get even better. When Greenspan’s vocals enter the picture, he is only accompanied by a squirmy synth at the end of each measure and a high-pitched arpeggio. The latter remains steady for most of the track, but the track’s brilliance derives primarily from a series of ingeniously constructed ideas that include a chorus that somehow finds the perfect meeting place between cohesiveness and precisely executed variety. Begone Dull Care was written as an ode to animator Norman McLaren, and like his genius work Junior Boys are able to create heaps of expression with minimalistic means.

Junior Boys – Sneak a Picture

Junior Boys – Bits and Pieces

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11. The Antlers –  Hospice

Rarely is an album as dense as Hospice so utterly captivating. Concept albums strive so hard to avoid pretentious themes that they often end up sounding overly hesitant as a result. Hospice is different though. This is a sincere, resoundingly dramatic album centered around a young home-care worker who falls in love with a patient. Frontman Peter Silberman is stunning as the haunting protagonist, his quivering vocals relay tales of anguished heartbreak that few albums this year could even compare to in sincerity alone. “I’d happily take all of those bullets inside you and put them inside of myself,” he sings in “Atrophy”. “I’m bound to your bedside, your eulogy singer.” Rarely do words and musical accompaniments go so well together. Hospice is like a great book in the sense that it strikes such an emotional chord that you want to share it with friends. It plays like one of the most heartfelt dramas you are likely to hear all year, backed by excellent performances that circulate from the piano-led balladry of “Atrophy” to the upbeat acoustics of “Two”. Silberman wrote this during a period of “social isolation” that must have also served as a period of rewarding contemplation. Like Bon Iver’s Justin Vernon, he prevailed to release one of the greatest albums of the year that is propelled by a unique emotional interpretations of life’s virtues and risks. Occasionally complete with horns and extravagant arrangements, The Antlers are certainly more expansive pop music but that does not detract from the intricacies. Silberman’s amazing narrative abilities are enough to behold on their own, and it makes it so easy for the listener to get lost in the hazy ethereal gaze of “Shiva” or the exuberant burst of excitement during the chorus of “Bear”. This certain burst is part of an excellent narrative detailing a 21st birthday of self-discovery, one that is clearly tragic and very personal despite the upbeat acoustics. It is an example of how The Antler are able to mix stellar hooks with some very realistic and sensitive issues, most of them universal in being recognized as unfortunate plights. The result that Hospice produces is utterly brilliant and highly recommended. The Antlers clearly have what it takes to be one of 2010’s most talked-about acts.

The Antlers – Bear

The Antlers – Atrophy

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by Mike Mineo

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30. Yeah Yeah Yeahs – It’s Blitz!

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

Yeah Yeah Yeahs – Zero

Yeah Yeah Yeahs – Heads Will Roll

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29. The Clientele – Bonfires on the Heath

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

The Clientele – Jennifer and Julia

The Clientele – I Know I Will See Your Face

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28. Phoenix – Wolfgang Amadeus Phoenix

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

Phoenix – Lasso

Phoenix – 1901

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27. Julian Casablancas – Phrazes for the Young

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

Julian Casablancas – 11th Dimension

Julian Casablancas – Ludlow St.

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26. Marissa Nadler – Little Hells

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

Marissa Nadler – Mary Comes Alive

Marissa Nadler – Rosary

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25. Cymbals Eat Guitars – Why There Are Mountains

All bands have to start somewhere, and for Cymbals Eat Guitars it was as a high school band that dabbled mostly in Weezer covers (from their first two albums, fortunately). Listening to the music of Cymbals Eat Guitars in their current state though, Weezer is practically the farthest thing away from them in the indie-rock stratosphere. Though Cymbals Eat Guitars may immediately come across as a group whose intensity relays Modest Mouse’s early classics like The Lonesome Crowded West or The Wrens’ Secaucus, their overall sound actually appears to be more indebted to a wider variety of successful indie-rock trends of the past several years. One of the centerpieces on their debut, Why There Are Mountains, shows this better than anything. A flurry of guitars and frontman Joseph D’Agostino’s yelp-ish croon take charge during the intro of “And the Hazy Sea” as a singularly possessive guitar progression serves as an abrupt bridge between the song’s true introduction. “Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens. “Indiana” is just as effective, with the most notable aspect being the mixture of keys and horns that cleverly fuse together to create something that is wholesomely infectious. In addition to the dramatically effective accompaniment of strings in “Cold Spring” and the guitar feedback-led allure of “What Dogs See”, it sees Cymbals Eat Guitars at their most subdued. This takes nothing away from the overall quality though, as it sits equally alongside infectiously vigorous greats like “Indiana” and the brisk “Wind Phoenix”, the latter of which sees an amiably successful mixture of keys and guitars show how Cymbals Eat Guitars can maintain their accessibility while still being bold and unpredictable. Much of Why There Are Mountains loudly speaks similar sentiments of ingenuity.

Cymbals Eat Guitars – Indiana

Cymbals Eat Guitars – And the Hazy Sea

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24. JJ – JJ N° 2

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

JJ – Things Will Never Be the Same Again

JJ – From Africa to Málaga

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23. Ramona Falls – Intuit

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

Ramona Falls – Russia

Ramona Falls – I Say Fever

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22. Röyksopp – Junior

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

Röyksopp – You Don’t Have a Clue

Röyksopp – The Girl and the Robot

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21. Washed Out – Life of Leisure / High Times

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

Washed Out – Belong

Washed Out – Feel It All Around

Washed Out – Luck

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

by Mike Mineo

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40. The Leisure Society – The Sleeper

Through glimpses of luxurious chamber-pop and melodic folk, The Leisure Society present listeners with a ceaselessly soothing style that is made memorable by lead vocalist Nick Hemming’s delicate voice and naturally infectious songwriting. Simplicity is a concept that The Leisure Society appear fond of, both in their charming songwriting and lyrical content. Whether they sing of yearning for the days when “life was so much simpler” in the ukulele-driven “Love’s Enormous Wings” or the overemphasis on assigned tasks in “A Short Weekend Begins With Longing”, it is evident that this British collective value enjoyment through the simple things in life, those in which people often overlook because of demanding schedules and occupational conformity. Abrasiveness is not found on one note throughout the 11 tracks on their debuting The Sleeper, showcasing the meticulous craft of Hemming’s songwriting.  The bare effort of a ukulele eventually finds itself complemented by an upright bass, woodwinds, and sparkling keys, paving the way for the song’s excellent development. The melody tends to repeat itself throughout the entire track, with the instrumental additions of a new string arrangement or woodwind accompaniment establishing the subtle melodic alterations. Considering that it is so beautiful though, it is hard to complain. The track perfectly summarizes how The Leisure Society are able to craft beautiful gems using little more than conventional structures and highly melodic instrumentation. Well, let us not forget Hemming’s stellar songwriting as well. On The Sleeper, all of these forms are showcased in an accessible and memorable manner that should have listeners coming back for more, whether they are in the middle of a workday or just beginning a weekend. The Leisure Society fit nicely on both occasions, even if they tend to be partial to the latter.

The Leisure Society – Love’s Enormous Wings

The Leisure Society – A Short Weekend Begins with Longing

Willkommen Records

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39. Atlas Sound – Logos

Another regular on this annual list, Bradford Cox has wowed visitors with both of his projects (Atlas Sound and Deerhunter) in the past few years. Easily one of the most interesting songwriters of the decade, Cox’s erratic and stream-of-conscious tendencies bring out a rare breed of musician that is neither concerned by commercial appeal nor structural fundamentalism. The result is always something creatively willing and unpredictable, whether it involves glistening post-punk, screeching experimental-rock, or lush ambient electroncia. Bradford’s most useful talent, in my opinion, is his ability to tame his ambition. Clearly he has an assortment of ideas, but his devotion to cohesiveness on each of his releases is inarguable. An early leak of Logos had Cox fuming, saying the leak was nowhere near the final product. When the final version was released, its fascinating appeal was not a surprise. Although he would have obviously preferred it never to leak, comparing a rough draft with Cox’s final version simply shines a bright light on his accompanist abilities. The album’s center stroke of genius, “Walkabout”, finds the dreamed-about collaboration of Bradford Cox and Animal Collective’s Noah Lennox come to fruition. It is absolutely gorgeous as one could imagine, ironically enough serving as one of the most pop-oriented efforts from both careers thus far. Cox and Lennox are some of the most inventive songwriters of the past few years, so to see them avoid previous ideals and stereotypes to create an absolutely stunning pop song is highly commendable. ’60s AM radio meets the lovechild of “Good Vibrations” and Animal Collective’s “Grass” and the result is profoundly effective. As far as the rest of Logos goes, Cox continues to marvel listeners with his raw throwback approach. “An Orchid” has an eerie air to it with heavy doses of acoustic reverb and clashing percussion. Cox’s vocals take on their lovingly indistinguishable feel, generating hooks as the slow plow of muddled acoustics push forth an elegant melody that slowly unfolds into gushing melodic bliss.

Atlas Sound – Walkabout (with Noah Lennox)

Atlas Sound – An Orchid

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38. Cats on Fire – Our Temperance Movement

Cats on Fire take listeners back to mid-’80s Britain. Familiarly clawing jangle-pop is their trade, led by a witty vocalist that sounds part operatic and part maudlin balladeer in his somber and quivering delivery. Their familiarity to certain jangle-pop legends are evident by now, we get the point. For this familiarity to negatively impact the band’s work, though, would be an absolute crime. This is simply the music they grew up on, and for once within the stream of new artists it has nothing to do with image or commercial appeal. Morrissey, Felt, and the Go-Betweens all show up for a cup of tea at some point throughout Cats on Fire’s second full-length, Our Temperance Movement, but none stay and chat for too long. The treatment of their influences can be integral in determining whether an artist prefers to imitate or innovate, and tending to such obvious artists more out of respect than imitation is how Cat on Fire’s evident growth in maturity is demonstrated on this sophomore effort. These are solid and impeccably arranged tracks and their precise songwriting is evident. This songwriting, a virtuous use of arpeggios, and rich melodies are the album’s biggest strengths. “The Borders of This Land” is one example of this arpeggiated mastery, which can be a tricky device for pop musicians considering its tendency to run rampantly and excessively. It brings to mind how Aztec Camera’s Roddy Frame impressed with his acoustic work on gems like “Oblivious”, or how Johnny Marr accentuated Morrissey’s sullenly unique voice with stellar guitar-centric production. The guitar work on tracks like “The Borders of This Land” and “The Steady Pace” bring to mind legendary accompanists like these, but acoustics are not the only force at work. The trickle of keys toward the conclusion of “Lay Down Your Arms”, the contagious use of muted harmonics on “Letters From a Voyage to Sweden”, or the burst of triumphant awe in “Horoscope” all provide plenty of satisfying variation. Our Temperance Movement is full of surprises like these, making its replay value considerably high for a pop album of its stature.

Cats on Fire – The Borders of This Land

Cats on Fire – Letters From a Voyage to Sweden

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37. Klum – We Carelessly Turned Amazingly into Nothing

It helps when all your bandmates are multi-instrumentalists, like in the California-based Klum. This versatile aspect allows their songwriting to serve as a display of an extraordinarily impressive cumulative effort, reinforced by a mutual dedication to melodic astuteness and successful pop experimentation that each member demonstrates in their own unique way. Klum’s second full-length album, We Carelessly Turned Amazingly Into Nothing, can show the band’s excellent chemistry just in the quality of the eleven songs alone, but experienced listeners will likely walk away more impressed by their ceaselessly unpredictable approach and tactful cohesiveness. Klum delivers the type of experimental pop music that hardly sounds experimental, an oddly exciting result that derives from infectious melodies, uplifting brass arrangements, and an unpredictable assortment of instrumentation and vocalists. are not restricted by any linear stylistic identity. “For Sale a New Life” plays like an amiable indie-pop charmer with its twinkling keys and ukulele accompaniment, while the fascinating “The Showmen” benefits from boisterous electric guitars, backing pub-like yelps, and concise brass arrangements. The former sounds like some spawn of Unicorns and The Leisure Society, while the latter finds distinctive comparisons to Elbow, British Sea Power, and art-rockers in the vein of Franz Ferdinand and Dogs. These comparisons alone suggest a vast difference in style on a track-by-track basis, which is true. But what must not go overlooked is Klum’s apparent ability to implement the stylistically diverse into a style that is honest, unique, and something that they can truly call their own. This is what they show consistently throughout We Carelessly Turned Amazingly Into Nothing and it attributes to an excellent release that this promising group should be proud of.

Klum – Nonbeliever

Klum – For Sale a New Life

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36. The xx – xx

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. It makes it even more amazing when considering the three members are barely of legal drinking age.  Like Junior Boys or early Air, The xx’s debut 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”. All 11 efforts on 2.0 unfold with beauty, elegance, and precision, never hesitant to surprise a listener with innovation enclosed in an atmosphere of ethereal beauty.

The XX – Basic Space

The XX – Crystalised

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35. Antony and the Johnsons – The Crying Light

A piano is usually the only instrument Antony Hegarty needs to emit his wide range of emotions, and that is if we are being greedy. His voice is one of those rare entities that sounds beautiful and flawless regardless of accompaniment or lyrical content. The motivation for his naturalist lyrical disposition and words of worth are driven purely by his passion for music, a reverence that can be displayed through the sincere quiver in his piercing voice, the haunting arrangements he is able to so masterfully conceive, and the transcendent melancholic perspectives that are enriching rather than demoralizing or melodramatic. “One Dove” is a pretty little stunner, the sensual aroma of ’50s brass sweeping up after the elegant keys and Hegarty’s whimper subside into little more than a percussive rattle. I have been in love with this man’s voice since their self-titled debut in 2000, but The Crying Light finds new heights for Antony in his musical ambitiousness. While previous efforts consisted mainly of ballads and occasional anthemic stomps, the exploration of various genres throughout The Crying Light is breathtaking. One can enjoy the jazzy influence of “One Dove” with its brass developments or even explore operatic musicals on Broadway with the very expressive “Everglade”. A masterful and sweeping closer to an excellent album, the use of various orchestral instrumentation plays wonderfully over Antony’s vocals. “Epilepsy Is Dancing” is notable for being one of the album’s more accessible efforts in its rapid demeanor, restrained only by an orchestra section not all too familiar with dance music. The Crying Light brings so many interesting circumstances like these to light, in turn crafting an excellent album that sees this extraordinarily talented songwriter still finding room to grow. Few artists take such tremendous strides with each successive release as Antony.

Antony and the Johnsons – One Dove

Antony and the Johnsons – Everglade

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34. Foreign Born – Person to Person

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born is one of the few to prevail. Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Garrett Ray has a strong presence with his fierce drumming skills. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. Merely avoiding the sophomore slump is an achievement in itself. To make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

Foreign Born – Early Warnings

[audio:http://mineorecords.com/mp3/fborn-ear.mp3]

Foreign Born – Blood Oranges

Secretly Canadian Records

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33. Richard Hawley – Truelove’s Gutter

Richard Hawley continues to produce the best solo career out of any former Pulp member, releasing albums consistently enjoyable enough to separate himself entirely from any past associations.  Low-key and proud of his modest English background, Hawley has perfected the craft of luxurious and inoffensive pop music. His style has always recalled a “Wall of Sound” influence, complete with reverb-heavy strings and twinkling keys that play counteractive to the slick guitar licks and a soothing vocal presence. His last two albums, Coles Corner and Lady’s Bridge, were fantastic so the success of Truelove’s Gutter is not that surprising. The album’s most striking track, “Open Up Your Door,” is one of Hawley’s best efforts to date. Backed by a stirring accompaniment of strings and guitars that propel into an emotional wrath of various interweaving orchestral instruments, it finds this simple but resounding sentiment at the forefront: “Love is so hard to find, and even harder to define.”  “I’ve never been so sure,” is the only other phrase repeated throughout this lengthily gorgeous chorus on “Open Up Your Door”, but Hawley’s confidence has never sounded so sincere and effective. The music really shows it too. ’50s maudlin balladeers were obviously an influence for Hawley’s throwback style, and his ability to integrate this with the chops he learned as Pulp’s former guitarist and as a solo artist is what makes Truelove’s Gutter so magical. Like his close friend and collaborator Jarvis Cocker, Hawley’s work remains most appealing to an English audience. His lyrics reflect the English lifestyle to a sympathetically engaging effect, often using native landmarks of Sheffield in naming his album and song titles. Truelove’s Gutter is further remarkable for expanding upon this limited ideology. A romanticized focus on universalized loss is more consistent throughout the album, with flourishes of optimism appearing in forms of instrumental capriciousness. As usual, Hawley has delivered with another outstanding album and step forward.

Richard Hawley – Open Up Your Door

Richard Hawley – As the Dawn Breaks

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32. Neon Indian – Psychic Chasms

Neon Indian was clouded in ambiguity for quite some time before Alan Palomo (Vega) and Alicia Scardetta were revealed as the duo behind the illuminating glow. It followed in the footsteps of recent electronica artists, who in the vein of artists like Burial used ambiguity to their advantage. The reason for ambiguous success on Neon Indian’s part is the atmospheric ability that the group conveys, evident in a style that strays on the borders of dream-pop, italo-disco, and psychedelic electronica without fully committing itself to one specific niche. The approach is consistent throughout their debut EP, Psychic Chasms, and results in one of the most promising releases of the year. In addition to using sparkling synths and hazily reverbed vocals to construct their style, they hold something in common with Sweden’s Air France. They released an EP, No Way Down, in 2008 that brought their radiant electronica to the masses due to widespread acclaim. Psychic Chasms is nearly identical in length and overall quality, providing listeners with a sample that should have them excited for the duo’s promising future. “6669 (I Don’t Know If You Know)” shows how their music is both innovative and accessible, blending in varying elements of pop and electronic. The vibrato-led bass line is reminiscent of italo-disco and dance, but the fusion of wavering synths and tranquil vocal melodies appears more indicative of dream-pop or even shoegaze despite its technological origins. The beauty of this track arises in its multiple layers, as they accentuate one another beautifully with a blissful style of production that capitalizes on the consuming flexibility of synthesizers while maintaining a lo-fi quality that it not hindered by forceful or overly elaborate components. Although Psychic Chasms lacks the length of a consummate album, it shows enough to provide Neon Indian with the credibility they need to get their music deservedly exposed to an audience that does not have to work hard to enjoy it. This is the type of stuff that consumes and rewards the listener effortlessly.

Neon Indian – 6669 (I Don’t Know If You Know)

Neon Indian – Deadbeat Summer

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31. Afternoon Naps – Parade

Afternoon naps are a pretty amiable thing to name your band after, even if it is hardly the most exciting. These few hours are simple but highly productive, at least in the sense that recuperation amidst a weekday’s chaos is rare, and these are the reasons why it can be so enjoyable. Although somewhat misleading, this was precisely the intention the Cleveland-based Afternoon Naps had when exposing their sound. They do not hold back that their structures are traditional, their instrumental selection is restrained, or that their influences have been making great power-pop before them. It sounds familiar and simple, just like their namesake, and this is ironically why their second full-length album, Parade, has resulted in such a success. It sounds like a product of shimmering jangle-rock, catchy ’60s pop, and richly arranged Brit-pop, all genres interconnected by a similar tendency to remain durable, accessible, and musically impressive throughout the simplest of appearances. Simplicity does not always correlate with predictability though; guitars, keys, synths, and bass were all lead instruments at some point for the greatest of these artists in their respective genres. Afternoon Maps should become notable with Parade for applying just this, which results in a remarkable sophomore effort that sounds both freshly invigorating and oddly nostalgic. Some of the finest creations on Parade are influenced by psychedelic-pop, as “Beach Bums” could easily show. Complete with its lead organ, bustling rhythm guitar, and accompanying acoustics, “Anything you want to ask of me just whisper it to the breeze,” they both sing. “I will try my hardest not to scream as waves crash on top of me.” The melodrama of ’80s British post-punk and jangle-pop is certainly evident in the lyrical content and vocal tone of both singers, and the melody is more distinctively reminiscent of psychedelic-pop with its hazy underlying production and use of reverb. Parade is a colorful album with its nostalgic influences and sharp production, and it results in resounding success because most of the songs refuse to keep in a straight stylistic line.

Afternoon Naps – Beach Bums

Afternoon Naps – Mitten Fingers

HHBTM Records

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The post Best Albums of 2009: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

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50. God Help the Girl – God Help the Girl

Belle & Sebastian have always been one of the finest examples of how simplicity and intricacy are not exclusive entities in music. The Glasgow-based group’s melodies have always been extremely accessible, the arrangements featuring a consuming assortments of keys alongside orchestral elements that are smoothly integrated under Stuart Murdoch’s wistful, choir boy-like vocals.  Murdoch revealed his initial intentions surrounding a new project, God Help the Girl, in August 2007, stating in a blog entry that he was looking for three vocalists (two girls, one guy) to help him with it. Contestants submitted a self-portrait and a recording of their vocals over instrumental versions of two Belle & Sebastian songs, “Funny Little Frog” and “The Psychiatrist Is In.” As desperate as the concept may have sounded at the time, God Help the Girl’s debut was a delightful effort that reminded listeners of Murdoch’s remarkable past. For God Help the Girl, the style of music may be a tinge different than Belle & Sebastian, but the level of quality remains the same. The official web site coins God Help the Girl as a mixture of “musicals, sixties’ girl groups, eighties’ indie and, most of all, classic pop records.” The charm of Murdoch’s songwriting and the Belle & Sebastian band’s background instrumentation is familiar and constantly refreshing, and the additional emphasis on the girl-group pop ideology provides a fascinating flux toward Murdoch’s chirpy indie-pop or acoustical tales. God Help the Girl plays wonderfully with the clichés of girl groups while maintaining originality, modernistic relevance, and the majestic pop songwriting that one could come to expect on any quality Belle & Sebastian album.

God Help the Girl – God Help the Girl

God Help the Girl – Musicians, Please Take Heed

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49. King Midas Sound – Waiting for You

If it is possible to be ambitiously impatient, Kevin Martin would exemplify it perfectly. His ambition and impatience often clash for the listeners’ enjoyment, producing a variety of projects that all encompass his ingenuity without being restrained by observational cohesiveness. He has exhibited knowledge in dozens of genres – from dubstep to surf-rock – since his emergence in the early ’90s and his ambition, innovation, and preciseness have led to his abundance of projects. The Bug is his most recently notable, with last year’s London Zoo appearing on my best-of. He was recently quoted as calling that project too too “caricatured” of late though, so he consequently formed King Midas Sound with friend and former collaborator Roger Robinson. They based the formation out of mutual interest for “Lovers Rock”, a stylistic movement which found its peak in London during the ’70s with its seductively lavish form of reggae (female vocalists, smooth soul influence, etc.). In combining Martin’s originality in the fields of dubstep and electronica with Robinson’s serenely hypnotic vocals, King Midas Sound is one of Martin’s most fascinating ventures yet. Opener “Cool Out” sounds as if the ghosts of reggae greats congregated in a dance hall and let their spirits do the singing. Robinson’s vocals are suave and accentuated as Martin employs a very choppy, reggae-oriented rhythm section. The vocals and percussive stomps are reverb-heavy as expected in the realm of dubstep, but it is never unnecessary in this case. Some electronic projects have the tendency of getting sloppy with reverb, in turn creating excess layers of sound that do nothing but tamper with the song’s core. The tracks on Waiting for You are different though, as Martin and Robinson’s masterful synchronization produces a sound that is at times haunting, infectious, and absolutely stunning.

King Midas Sound – Cool Out

King Midas Sound – Waiting For You

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48. CFCF – Continent

Prior to listening to CFCF’s Continent, I had stumbled upon Michael Silver’s extremely promising material in an odd sort of way. I had posted alongside him on a music forum for a few years, not realizing he was behind CFCF until I saw the forum’s response to the outpouring of positive reviews for debut full-length. It saw plenty of acclaim but what made me check it out was not the abundance of press. Rather, Silver’s modest nature surrounding the project was the selling point for me. There was no touted elitism from the man behind CFCF regarding his escalating status or current stylistic relevance, which in the age of egotistical online-savvy musicians was surprising to me.  As it turns out, Continent is one of the most masterful debuts of the year and Silver was simply letting the music do the talking. He brings listeners to a realm of absolute consistency, showcasing an extraordinary array of confidence as he stretches across realms of disco revivalism, ambient makeout bliss, and Swedish beach-foam pop. “Invitation to Love” or “Big Love” sound parts disco and parts ’70s psychedelia with their booming bass and soft-rock feel, while “Letters Home” represents a form of electronic-pop complete with strings and twinkling keys that stands reminiscent of Swedish pop groups like Air France and The Tough Alliance. The cover of Fleetwood Mac’s “Big Love” shows Silver’s eclectic and creative virtues exceptionally well, not to mention his great grasp of keyboard-based intricacies in both melody and production. It is a great choice as well considering that the original was followed by an extended dance mix in 1987, showing its disco-oriented potential over two decades ago. It took someone like Silver to fully bring that vision out in a modernistic sense. He emits bursts of innovative brilliance like this throughout Continent with jaw-dropping appeal. Silver is one of electronica’s hottest names at the moment and his reputation should continue to grow.

CFCF – Big Love

CFCF – Letters Home

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47. Camera Obscura – My Maudlin Career

Speaking of consistency, Camera Obscura have been synonymous with it ever since their debut, Biggest Bluest Hi-Fi, in 2002. The aforementioned Stuart Murdoch produced that certain debut and, since then, the Scottish collective have spread their wings on their own and become one of the most venerable indie-pop acts of the decade. Their consistent stream of success is somewhat comparable to The New Pornographers, another one of the most consistent indie-pop acts of the decade. Never overly prevalent in their approach, Camera Obscura have played with everything from country-tinged folk to orchestral pop music in recent years, and their albums’ placements on year-end charts seem imminent at this point. Their fourth album, My Maudlin Career, marks a shift in labels to 4AD, but their quality songcraft remains the same. Fans of their last album, Let’s Get Out of This Country, were delighted again with a countless number of hooks practically building themselves over the grace of Tracyanne Campbell’s vocals and the band’s assortments of emotive strings and plucked guitars. Producer Jari Haapalainen makes it sound as if the band never left the studio after recording Let’s Get Out of This Country, seeing gems like “French Navy” bring out some of Camera Obscura’s most moving efforts to date. We have heard Campbell elegantly singing of heartbreak before and we know how great all those glossy strings sound over crisp guitars and brass, but Camera Obscura’s ability to remain captivating and unpredictable despite such a grounded style is part of their success. They realize that fixing something that is not broken will only lead to disappointment.

Camera Obscura – French Navy

Camera Obscura – Away With Murder

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46. Timber Timbre – Timber Timbre

Calling your project Timber Timbre can be one way to show an admiration for the power of minimalistic differentiation, After all, Timber Timbre are able to powerfully emit an approach more powerful than any name or description  through the bare tweaking of folk, blues, and pop music. Timber Timbre’s instrumental arsenal and emotional capacity most often sound like they have been generated by a deceased choir that is broodingly unaware of their non-living state, making it quite startling that the project is led by only one individual, Taylor Kirk. In combining his blues-oriented influences and tactful songwriting, he has created a project worth dying for. Kirk began his career by manufacturing a series of lo-fi, acoustic-based songs that originated from his bedroom in Toronto. Appropriately entitled Cedar Shakes, his debut involved both warmly reverberating acoustical progressions and a central lyrical focus on nature and its surroundings. His new self-titled release boasts even more, all while retaining the focus of nature. While the shrill keys and halted bass of “Lay Down in the Tall Grass” may initially to be borrowed more from Afro-pop than blues or folk, the entry of Kirk’s ethereal voice once again establishes the perfect meeting point between subdued blues and evolving folk. Like “Trouble Comes Knocking”, the chorus in “Lay Down in the Tall Grass” is primarily an expansion upon the original melody in the verse. Here, a shrill organ takes over the leading keys and Kirk’s voice raises in intensity, all while the bass remains generally similar. “I was born white, dry, and scaly, but you still took me home,” he sings. “Dreaming every night of you, shaking at the sight of you.” Whether the song serves as an ode to a figure of maternity or romantic love, there is little doubt concerning Kirk’s sincerity and emotional resonance. The rest of the album is just as convincing.

Timber Timbre – Lay Down in the Tall Grass

Timber Timbre – Demon Host

Out of this Spark Records

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45. YACHT – See Mystery Lights

YACHT are steadily serving as the quintessential example of artistic growth, represented both by confidence and attributed experience. Sputtering percussive beats, samples in contrasting keys, and quivering vocals hardly embody the most conventional of pop music, but YACHT’s resourcefulness is grounds for universal acclaim. Lead beat-maker Jona Bechtolt is now officially joined by vocalist Claire Evans, who uses a more serene delivery than her counterpart to create some much-needed variation that was lacking on YACHT’s previous releases. See Mystery Lights was released on DFA Records so its dance influences are probably noted before the first listen, but this is much more than a dance album at heart. This is an extraordinary step forward in pop songwriting that transcends the conventional while retaining elements of other genres that, while not all familiar, sound relevant and suitable when aligned with dance. This is one of the reasons why fellow DFA-ers LCD Soundsystem became so successful, at least in the sense that all genres were fair game for James Murphy’s dance aesthetic. After a few EPs that showed as much hesitation as promise, See Mystery Lights will likely be considered the first big step for YACHT when their genius becomes apparent in the next several years. I say that out of sheer confidence generated from this album alone; See Mystery Lights is another step in the right direction, even if it spread out from Kraut-rock to ’80s post-punk. Tracks like “The Afterlife” have a certain Krautrock vibe to them with reverbed minimalist percussion, while certain moments like Bechtolt’s ominous delivery during the chorus or Evans’ musings en francais provide the vocalized variety to appropriately supplement the duo’s exceeding ambition. Oh yeah, and if you just feel like dancing, the vocoded choppiness of “I’m In Love With a Ripper” should be literally irresistible. A more focused stylistic cohesiveness will eventually bring YACHT even bigger things, but for now See Mystery Life is a magnificent step forward. GO Y?CHT…

YACHT – The Afterlife

YACHT – I’m In Love With a Ripper

[audio:http://mineorecords.com/mp3/yacht-imi.mp3]

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44. Wavves – Wavvves

Now this is a fascinating one. We may all be thanking Nathan Williams in a few years for revitalizing a youthful subculture that long preceded contrived emo dramatics. Heavily distorted guitars and fuzzy production head Williams’ project Wavves, which tends to blend both elements of noise and punk into a sound that is actually a lot cleaner than it appears. For me, it was a fantastic throwback to all things great about independent rock ‘n’ roll. So many artists attempt to sound “DIY” solely for appeal, but here it actually resonates with an effective quality that brings to mind both ’90s grunge and ’80s garage-rock in addition to flourishes of surf-rock and post-punk. I feel a bit wordy naming four different styles within one sentence but it stands rather indicative of Wavves, a project muddled in plenty of distortion but thankfully not enough to hide Williams’ unnervingly brilliant melodic structures. I find that regardless of how old you are, his breakthrough album Wavvves is so universally conceptual because the past three decades have had a movement at some point that was heralded by minimalistic or lo-fi rock music. The Clean and Wire, with their concise interpretations of punk-rock, are excellent examples of this and Williams serves as a descendant of this ideology. Tracks like “Beach Demon” prove stunning with intricately shimmering guitar solos suddenly emerge out of the rough distortion, just as it is vice versa when Williams makes even the sound of distortion sound beautiful. Get ready for tons of layered goodness and surprises on Wavvves, especially since it is the type of music made by a true devotee of the DIY movement. The hype for this one is warranted and a mere listen to either “Beach Demon” or “To the Dregs” should clarify that.

Wavves – Beach Demon

Wavves – To the Dregs

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43. Fool’s Gold – Fool’s Gold

An Afro-pop revival of sorts has been well-documented throughout the past two years. Groups like Vampire Weekend have utilized subtle components of the genre to cloak a style that is only minimally different from typical indie-pop, but others like Akron/Family and The Walkmen have used it more commendably. The LA-based Fool’s Gold use their adoration for Afro-pop quite prominently, but not to the flawed extent where it comprises the entirety of their audibility. What separates them from the rest is their designed usage of differing influences. In fact, “world music” might fit more aptly for Fool’s Gold, as they combine everything from middle-eastern folk to jazz fusion. The Afro-pop influence is most prominent, but it is not cloaked under generic shades of Americanized pop music. Fool’s Gold is a collective that is too eclectic, experienced, and ambitious for something like that. The fact that all songs are sung in Hebrew makes it even more interesting. Surprisingly enough, the language’s accentuation adds wonderfully to the components of Afro-pop, most noticeably the backing vocals and constant percussion that echo the genre’s traditions beautifully. “The World Is All There Is” is a track that is arguably most indicative of this, seeing a backing cast following along with Lewis Pesacov’s shimmering guitar progression. Sure, Afro-pop is clearly abundant here, but there is an interesting dynamic at play. Pesacov’s guitar, despite its African accompaniment, is more typical of indie-pop, while Luke Top’s Hebrew vocals add yet another beautiful influence at play. Whether this song is played at an African music festival, a bar in NYC, or a hookah bar in Israel, it should go over quite well.

Fool’s Gold – Surprise Hotel

[audio:http://mineorecords.com/mp3/fgold-sur.mp3]

IAMSOUND Records

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42. Barzin – Notes to an Absent Lover

The name Barzin may sound foreign to most of you at the moment, but their newest release shows an artist that is wholly receptive to tackling past errors and altering them for the better. A mysteriously vague songwriter from Toronto, Barzin H. has been active since his group’s self-titled debut in 2003. He actually began writing material in 1995, but perfectionism did not allow the results to flourish until the following decade. While not completely devoid of the somber material on his earlier releases, Barzin’s third full-length manages to inject a bit of optimism in his work to provide a cohesive balance between tear-soaked pillows and chin-up ideologies. The album’s thematic focus is still bleak, as most albums that deal centrally with break-ups are, but Barzin never attempts to exploit the topic with over-production or lyrical gripes. “Nobody Told Me” is an apt way to open the album, basically serving as a metaphor for Barzin’s artistic growth from the time of his debut to the release of Notes to an Absent Lover. It begins somberly with nothing more than an acoustic guitar and piano, but its expansion into a full-grown accompaniment of strings, percussion, and electric guitars finds Barzin repeating one key phrase throughout the track, altering his emotional delivery each time out: “Nobody told me forgetting could be so hard.” “Soft Summer Girls” is delicate in its instrumentation like the rest, but provides a reprieve from the typical content as Barzin instead nostalgically reflects upon the positive effects of relationships. And although he sings of times being passed and gone, he acknowledges love as a force that can aid one in life’s hardest battles. “They take me away from the one I used to know,” he sings, perhaps eluding to the outstanding capacity that Notes to an Absent Lover has to comfort those in tragedy and take them away into a realm of acceptance, emotional comfort, and quality music.

Barzin – Nobody Told Me

Barzin – Soft Summer Girls

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41. White Denim – Fits

One of the first bands to release their debut under a netlabel (RCRD LBL), White Denim have swiftly moved from inexperienced garage-rockers to energetically consuming surveyors of blues, grunge, AND garage-rock with the release of Fits. Fans who enjoyed the preceding Workout Holiday may find even more value in this one. I know at least I certainly did. To see a band like this take such a step forward shows quite a lot on their part; they not only managed to evade the sophomore slump but reverse the trend entirely. Nervous three-minute pop songs are now replaced by supremely confident epics, where any notion of a song structure is rendered useless by jaw-dropping musicianship that was barely touched upon in Workout Holiday. “All Consolation” is a pinnacle for the group in its breathtaking instrumental composition. Every single instrument – from the screeching electric guitars to the brisk and bustling bass line – is played with such precision that it sounds as if White Denim is another band altogether. The hooks on previous White Denim tracks may have been signified by quick bursts of keys or fervent yelps, but this one is more developmental in tone. There are fewer in-your-face moments of infectious brilliance, but the album as a whole plays so much more fluidly and satisfyingly than any of their past material. Their new emphasis on blues is clearly a phenomenal direction for the band to take, as it shines a brighter light on the group’s stellar instrumental prowess and allows the occasionally overshadowed James Petralli to tout his perfectly assimilated vocals. The Austin-based White Denim have found something special with Fits, as it touches upon a new and revolutionary sound for the group that should find them monumental success in the coming years.

White Denim – All Consolation

White Denim – Say What You Want

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The post Best Albums of 2009: #50 to #41 appeared first on Obscure Sound: Indie Music Blog.

I was a bit weary when Bishop Allen began their EP project, where they released an EP once every month for the entirety of 2006. Why rush artistic integrity and spoil the chances of a full-length masterpiece in the process? Many listeners probably had a similar first impression, but when hearing the type of content that the Brooklyn-based duo produced throughout these 12 EPs it began to make sense. They almost resembled lo-fi bedroom recordings with their amiable DIY dedication, their infectious indie-pop being led by an array of crackling guitars and pianos. Although the sporadic stream of releases prevented much press since most music publications would not dare review the same band every month, the concept alone generated plenty of recognition that brought acclaim for both the band’s work ethic and stylistic focus. To keep listeners coming back every month for a release that hardly varied in style was quite an achievement, and in doing this it represented the duo’s cunning songwriting ability. After the finale of this EP project, it was hardly a surprise when Bishop Allen landed a respectable label deal with Dead Oceans (which involves people from Secretly Canadian and Jagjaguwar) because of this new acclaim.

A Brief Smile are another group out of NYC attempting a similar concept, except this time without the major indie backing and promotion that Bishop Allen had. A Brief Smile has already released three EPs this year, one each on the first Friday of May, June, and July. Whereas Bishop Allen had previously established substantial recognition with a full-length debut in Charm School before undertaking this adventurous approach, A Brief Smile are generally unknowns still looking for their breakthrough. An short 7-track debut, R.E.S.T., was released in 2005 before a full-length album, Now We All Have Horns, appeared in 2007, but there remains a vague enigma surrounding this group. Each of their three EPs this year represent varying stylistic approaches, leaving a sense of unpredictability that can only be positive for a group as young as A Brief Smile, who all met while attending NYU. The estimations surrounding their next album cannot be conventionally hypothesized, as bassist John Carnes explains. “These albums are all different from one another sonically but I think if you really listen to the lyrics, you’ll find commonalities – a kind of narrative that goes from creation to destruction to creation.” This kind of stylistic multifariousness that A Brief Smile have shown despite a limited number of release is what makes them so promising for the future.

A Brief Smile’s absence from touring since August can likely be contributed to whispers of a full-length release. The five-piece is now at work on “a dance record” that uses “dark chugging synths” to pave the way for a return to the band’s pop roots, set to be released sometime in 2010. This return to their pop roots is in reference to their earlier material, which is in slight contrast to the tinge of indie-psychedelia displayed on Sunshine State, the most recent of their three EPs this year. “Animal Magnetism” shows off this psyche side quite well in addition to the five-piece’s versatility. “Do you believe in the hope of a magnetic soul?” DL Tashjian sings over impulsive stuttering of keys, assailing guitar riffs, and bursts of tuned-up bass. Tashjian’s vocals are crisp and delightful, adding melodic variations of vibrato similar to that of Jim James, though comparisons to the powerful quiver of Brandon Summers (The Helio Sequence) is more apt due to the shared uses of soaring melodies within a sparkling blend of indie-rock and electronic-rock. A track like this can be accredited to indie-rock with its conventional structure and length, but at times the soaring guitars make it feel like more of a post-rock effort. When all the instruments condense in the last minute over the hectic pattering of percussion and Tashjian’s echoed moans, it feels as if a ten-minute epic had just concluded. I mean this in the best way possible too; it is a song that makes time move slower due to its psychedelic leanings, while hardly abiding by the stereotype that enjoyment is best identified by time passing quickly.

“Bigger Lies” continues to tout its psychedelic influences like “Animal Magnetism” did, promoting its 4:20 length quite nicely. This is an extremely developmental effort, with a bass-keyboard fusion providing a leading melody that is no more than four notes. This unfolds as expected though, and judging how effective A Brief Smile are in exposing . You can just feel the anthemic section of “Bigger Lies” unfolding as the track progresses, the rhythm section hinting at possible bursts of melodic variation. Tashjian’s vocals continue to solidify any lack of variation that may occur during the track’s early goings, providing plenty of dramatic flair before interesting harmonic combinations and rhythmic appliances are utilized to establish “Bigger Lies” as one of the most convincing efforts of A Brief Smile’s career thus far. It should be the first of many monumental successes for this group . I honestly believe that this tracks will go overlooked simply because songs on 3-song EPs from unknowns generally tend to be disregarded. If these were perhaps put towards their eventual full-length then more exposure would have been imminent, but looking at these three EPs it was clear that A Brief Smile did this for their growing fanbase and not for commercialized potential. With A Brief Smile now hard at work in the studio, we have a gem like Sunshine State to tide us over until their dark, synth-savvy follow-up is released in 2010. Download a few of their EPs for free here or there until then; this level of quality is rarely distributed for free so take advantage of it.

RIYL: The Helio Sequence, Dirty on Purpose, The Happy Hollows, My Morning Jacket, Snowden, Annuals, The Main Drag

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A Brief Smile – Bigger Lies

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A Brief Smile – Animal Magnetism

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A Brief Smile – Honeycomb Shrinking

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To say that Lymbyc Systym represent the next large movement might be an overstatement, but their methodology is certainly becoming more prevalent among emerging artists. Almost all of us can remember being enamored with a certain technological breakthrough during our childhood, from color television to smart-phones. Many young artists today can probably remember when Atari or the internet first came out, which are now regarded as a few of the first interactive technological experiences available to the general public. Growing up in the ’80s or ’90s meant having these advancements pushed in your face, whether it was the social functions of arcades or the necessity of computer skills. Interest in technology unsurprisingly peaked as a result during this time among the public, whose younger demographic grew up to be already accustomed to the technological skills that older individuals have difficulty grasping. The musicians naturally hold true to traditional theory and influences, but many also fused their tech-savvy skills into aspiring musicianship to create music that used both today’s latest technology and the influential musicians of yesterday. Lymbyc Systym, among several others, have begun using this to create a successful project by today’s standards.

Brothers Jared and Michael Bell possess the obvious modernistic edge as the founders of Lymbyc Systym, and with that they should know that glitzy production and VSTs are not going to disguise sloppy songwriting (except in the genre of trance perhaps). Luckily for their listeners, the Bell brothers are not going to overburden you with robotic tendencies. Their influences range everywhere from free-jazz to thumping indie-rock, resulting in a glistening combination of powerful musical layers and styles that could probably be classified best as post-rock. Their approach is a tad more futuristic than others in the genre though, owing more to those in the vein in The Flaming Lips and Mercury Rev instead of Mogwai or Mono; the vibe is distinctively futuristic even if electronic forces are only subtly prevalent. Possessing the orchestral beauty of Sigur Rós and versatile prose of a Broken Social Scene in one, Lymbyc Systym successfully tread the dangerous waters of loops being implemented into post-rock. Whether it is percussive horse hoofs, washes of breaking waves, or trickles of a pulsing synth, Lymbyc Systym implement it all beautifully without sacrificing the delicately authentic nature of group-based post-rock.

Lymbyc Systym’s second full-length album, Shutter Release, should open great doors for the Arizona-based brothers, much in the way Lost and Safe did for The Books in 2005. I make this reference because the two duos are currently touring together, in addition to possessing similar styles of music that must make it a treat for audiences interested in sample-supported post-rock. Note the “supported” emphasis, for neither band make an issue of overusing it and abandoning the genre’s ethics. Both groups manipulate the boundaries of post-rock and electronica, producing a mesh of madness that is often incomparable. Lymbyc Systym shows this as well as versatility; the varying tempos on the album are remarkable for its diversity, like the gradual build-up contained after the imploring brass and twinkling of keys in the self-titled effort where it explodes from delicate chamber-music to a full-blown haze of shoegaze and intensifying post-rock. The previous two genres are perfectly represented through keys and rhythm, as guitars are prominent but more in their tonal direction. Their melodic content is irrelevant but done so intentionally to ensure the diversity and authentic entertainment of the track. Listening to this one, among others on the album, a few times or so will reinforce this.

Shutter Release can sound everything from dark and brooding to effervescent and triumphant, though its main point of interest is how these moods are delivered. The swipes of keys over bursts of childish laughter in “Teddy”, the infusion of guitars and keys to create the monstrous driving melody in “Ghost Clock” before reverting into anthemic indie-rock bliss, and the pit-pattering of percussion over unfolding organs and pulsating synth chords… these are just a few of the audibly descriptive examples I can provide after listening to Shutter Release a few times. The songs are so well constructed and maneuvered that the replay value on this one is tremendous, whether you are listening for that single hook or the entire song’s cumulative value. Everything is present in these tracks, as there is so much ambition and exploration that the topic of one’s enjoyment becomes subjective in a sense. There is so much to like here that the only thing listeners have to argue over is the best moment of any track. On an album like Shutter Release with so much to admire though, it would be unjustified to choose just one.

RIYL: The Books, Broken Social Scene, Sigur Rós, This Will Destroy You, The Album Leaf, Do Make Say Think

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Lymbyc Systym – Ghost Clock

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Lymbyc Systym – Shutter Release

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Lymbyc Systym – Teddy

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Stereotypes involving the carefree indulgences of a Californian summer have been circulating since surf-rock originated in the ’60s. Its inception was largely brought on by the development and popularization of the spring reverb, which at the time was said to mimic the sound of waves along one of these sunny beaches. Mickey Deora described surf music nicely by calling it “a syndrome — a cluster of symptoms, no single one of which is necessary or sufficient for the diagnosis.” The main symptoms include a limited instrumental arsenal, prominent use of either reverb or the guitar’s vibrato, and a short song length that appealed to the abundantly used metaphor of catching a wave. Similar to that accomplishment, the conventional surf-rock tracks were short, infectious, and brimming with components like reverb or picked staccatos. This action-audio analogy may sound pretentious by today’s independent standards, but back then it was simply incorporating a popular form of youthful expression into another popular form of youthful expression. Music and surfing were unveiled by these groups to have more in common than one would think.

Before even listening to them, it is readily apparent that Surfer Blood are a bit enamored with the style and period of surf music. Their name alone possesses an obvious reference, while expositions of personality on their MySpace site flash glimpses of ocean-themed tracks, references to fun things like weed and Condoleeza Rice, and a bunch of promo photos that are either in front of the ocean or expressing serene artistic emission. This might sound normal enough if you are from West Palm Beach like Surfer Blood, but many fans of indie-rock may find themselves weary of such beach-bound associations. The differences between contemporary indie-rock and surf-rock are prominent for the most part, and to immediately align Surfer Blood with The Beach Boys or Dick Dale would be a premature impulse that would unfortunately result in missing out on a great band for those not attracted whatsoever to these past groups. Surfer Blood do not abide by Deora’s aforementioned symptoms of surf-rock on a strict basis, but by possessing a similar type of musical ideology to their surf-rock predecessors Surfer Rock have crafted an ingenious debut that reaps from an old-fashioned sort of intensity that only those powerful two-minute surf-rock epics from the ’60s brought to the table.

Although they serve exemplary of an artist influenced by an ideology instead of a precise audible style, Surfer Blood’s own unique style is something that should delight fans of modern indie-rock. The charming upbeat pop of The Shins is certainly present, as are groups like The Explorers Club that cling on to ’60s pop and surf-rock through overlapping vocal harmonies, picked tremolos, and lushly serene orchestration. Surfer Blood are a bit more modernistic than a group like The Explorers Club though, evidenced strongly by the variation in guitar tones and levels of distortion in addition to the lead vocals of John Paul Pitts. Amiable and accessible, Pitts always maintains a gleeful and whimsical croon that simultaneously recalls the sparkle-and-spit of James Mercer and versatility of Brian Wilson by aligning his vocal melodies with corresponding guitars. Like in surf-rock and power-pop alike, guitars are the driving force throughout Surfer Blood’s debut album, Astrocoast. These are precisely the two influences at work most consistently too; surf-rock is abundant through its production techniques while the hooks and song structures themselves are more reflective of power-pop.

Apart from “Slow Jabroni” and “Anchorage”, Astrocoast consists of tracks following below the four-minute mark but still achieving incredible growth and innovation during that time, beckoning a similar feeling to that of instrumental surf-rock when it emerged in the early ’60s. It helps that accessible efforts like “Floating Vibes” takes any related stereotypes by the throat to turn it into a gem with precise revision, even if the track’s simplicity and imminent radio time means it is not as durably enjoyable as the rest of this fantastic album. These aforementioned surf-rock instrumentals are even recalled on Astrocoast to a slight degree, which finds its own reworking on “Neighbor Riffs”. Perhaps it resembles post-punk or art-rock due to its selected melodic and tonal choices, but the structure is inherently that of how surf-rock instrumentals were. An initial bass line kicks off the effort and does not subside for the entire duration, instead serving as the source of opportunity for a multitude of dexterous guitar progressions that benefit from aspects like tremolo, reverb, and staccato that undoubtedly resemble conceptual surf-rock. This is a quite a departure from most of the efforts on Astrocoast, but it sits excellently in the middle of Astrocoast as the bridge between indie-pop-minded sensibilities and voraciously raw surf-rock.

“Twin Peaks” is also nicely demonstrative of this medium, seeing a verse that alternates between aptly implemented chirps of guitar and bursts of distortion before going into an exotic infusion of woodwinds and guitars backed by festival-like ambiance. The fact that Surfer Blood are able to involve both of these conceptual ideas within mere seconds of one another is very impressive and it is easily one of Astrocoast‘s biggest strengths. “Fast Jabroni” recalls the fuzzy dance-punk of the late ’80s with its backing synths and excellent bridge, which uses cleverly engineered snippets of guitar arpeggios and strings to piece together a joyous chorus that exposes Pitts’ vocals in the best light possible. The guitar solo toward the end of the track brings us back to the days of quality ’90s power-pop, before the time Weezer transformed from indie-rock heroes to monetarily desperate cash cows taking advantage of their own status to release pathetic music and manipulate dedicated fans in the process. The prominent synths along with Pitts’ chirpy vocals would have allowed this to site well on Donnie Darko‘s soundtrack, where influences like Echo & the Bunnymen and The Church showcased the precursor to an effort like this in the background of rebellious and misdirected youth. There is a sort of concurrent wisdom and youthfulness found in Surfer Blood’s work and it serves as a rare factor that will undoubtedly separate them from the masses.

Other highlights on Astrocoast include “Harmonix”, easily the best psychedelic-geared effort on the album with its droning guitars and reverbed harmonics (as one would assume by the name), and “Take It Easy”, which brilliantly infuses fiddles and plucked staccatos to introduce an ingeniously calming chorus that summarizes this group’s feel-good vibes in more ways than one. There are so many sheer successes on Astrocoast that it is hard not to chalk it down as one of 2009’s best debuts. Their fusion of surf-rock and indie-rock has been attempted recently by groups like The Drums and Holiday Shores with some degree of success, but Surfer Blood appear to be doing it the best so far.

RIYL: The Drums, The Explorers Club, Holiday Shores, Girls, Fool’s Gold, Little Joy, Weezer, The School

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Surfer Blood – Take It Easy

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Surfer Blood – Harmonix

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Surfer Blood – Fast Jabroni

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Kanine Records

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The post Surfer Blood on the Astrocoast appeared first on Obscure Sound: Indie Music Blog.

Continuing with the recent theme of atmospheric pop music that Washed Out and Neon Indian showed us, Her Vanished Grace deliver a similar sort of layer-based sereneness that differentiates itself through dark and moody Brit-rock instead of chilly electronica or sample-based experimentation. By most accounts, Blue is their tenth release of new material since their debut, State of Grace, was released in 1991 with a promising take on atmospheric pop that revolved around assorted guitars and keyboards. Her Vanished Grace’s actual number of releases is somewhat debated due to their cult-like following, which has manufactured many assorted mixtapes and compilations in itself. If one thing is for certain though, it is the rare capability that this band has to remain interesting as time goes on. As their tenth release Blue shows us, it does not take a precise discography for a listener to witness Her Vanished Grace’s maturation. Their initial career reaped from interesting use of post-rock, noise, and shoegaze, wearing influences like Sonic Youth and My Bloody Valentine on their sleeves despite noticeably lo-fi production that prevented the New York-based group from reaching widespread recognition. Their work still touts those prestigious influences today, but now they infuse more of their originality in an effort to differentiate themselves. So far, so good.

The most recent incarnation of Her Vanished Grace commenced in 2000 with Colors Vols. 1 & 2, when the founding husband-and-wife duo of Charles and Nance Nieland disbanded the initial workings of Her Vanished Grace and combined forces with bassist Maria Theodosiadou and drummer Brian Haarer to form a more full-bodied version of their initial group. A vigorously talented rhythm section and higher-budget recording methods in addition to the songwriter-guitarist husband-and-wife duo paved way for their most successful period in the early to mid 2000s. Five new albums were released after Colors, the most recent being the excellent Blue. Although their success to date has been gaining momentum for several years now, Blue may be the knockout punch that propels this band from obscurity to unanimous acclaim. Charles and Nance met at New York’s Metropolitan Museum of Art about two decades ago, and ever since then they have been working together to pursue their dream of musical success. Time is only relative for artists, and many may consider success occurring after attributed experience is better than success prior to experience, for it is a factor that is a monumental factor in determining an artist’s durability.

Durability is synonymous with Her Vanished Grace, at least in the sense that longtime fans have yet to be disappointed with the four-piece. Billy Loose has since replaced Haarer on drums but the original duo along with Theodosiadou are still there along with their ambitions. In terms of stylistic exploration, Blue has little to offer in terms of breakthroughs, but their blending of familiar styles like power-pop and shoegaze into one beautiful audible landscape make up for any lack of stylistic innovation. To enjoy Blue one must push aside any stylistic biases regarding shoegaze, as common stylistic elements like reverb and gushing guitars are abundant but not utilized in a conventional manner. Since the melodies are crisp and polished in the form of modern indie-pop instead, the regressing influence is not exposed in the way one might expect. The excellent self-titled track instead reaps from an infectious blend of power-pop and post-punk, being grounded in production techniques involving heavy doses of reverb, thick tremolos, and heightening guitar arpeggios that clash with a bustling rhythm section to consume the listener through both pop-minded appeal and atmospheric vision. Like predecessors in the vein of Sonic Youth and Ride, Blue marks Her Vanished Grace’s true emerging period as a group putting their ambition to accessible use without sacrificing the ingenuity that got them there in the first place.

Although both Charles and Nance contribute vocal duties on Blue, Charles is primarily used due to the way his brooding vocals accentuate the retrospective and forlorn aroma of post-punk and shoegaze most commonly attributed to Her Vanished Grace. The band employs their differing vocal styles well, allowing each specialty to reap from their eclectic use of instrumentation. For instance, Charles is lead on the empowering “Blue”, where a brilliantly moody chorus provides awe-inspiring embrace in washed layers of guitars and synth pads. Its strength is dependent on darkening mood and evolving versatility, growing from an emotive guitar-driven piece to one guided by distinctive layers of sound that accompany a versatile croon that goes from low-pitched to an ethereal chant of sorts with heightened pitch. Charles’ presence is felt in the album’s darker tracks, leaving room for Nance to take control of more lighthearted efforts like “Rush”. With a better grasp of bubblegum-pop or lighthearted indie-pop in the vein of Metric or Mates of State, “Rush” works by using a bunch of repeating guitar chords before exerting itself into a chorus that reminds me of 90s Brit-rock in the vein of PJ Harvey, Black Box Recorder, or even less absurd Morrissey efforts like “Reader Meets Author” with its swirling sort of guitar-based simplicity. Although it strains itself from too much repetition, it is a nice reliever from Her Vanished Grace’s more emotionally complex efforts like “Blue and “Remember”, as enjoyable as they are.

The latter is narrative in approach as Charles and Nance participate in a duet, again retracing their steps to the amiable type of alt-rock that was abundant throughout the ’90s. With Charles’ vocals at times sounding like a cross between Gruff Rhys, Morrissey, and Hayden Thorpe (Wild Beasts), his versatile approach does wonders to this respective style along with the band’s tendency for anthemic hooks. Nance’s contributions contrast somewhat in terms of style, but the parallel creates very refreshing circumstances that are simply a testament to the group’s valuable chemistry. The diversity between efforts like “Blue” and “Rush” summarize the album’s success quite well, as Blue serves as an enjoyable release that relies on the band’s gathered experience in the spectrums of pop music and layer-based atmospherics. Without the experience of nearly two decades I would be surprised if Blue would have even been possible, but Her Vanished Grace have undoubtedly reached an artistic peak by doing so without sacrificing what got them here in the first place.

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Her Vanished Grace – Blue

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Her Vanished Grace – Slip Away

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Her Vanished Grace – Remember

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