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.

Calling a song “I Wish I Was in Hüsker Dü” seems pretty customary for a high school band. Maybe not today, but we can be sure that high school in the mid-‘80s consisted of many kids that would give up their newest cassette player to be in Hüsker Dü, R.E.M., or any other successful alternative-rock group of the era. Music-related dreams like these inhabit the minds of many artistically inclined high school students, as the end of high school generally marks a point where they must decide whether pursuing music full-time is realistic or not. I do not refer to respectable but somewhat conventional tasks like working as a session musician, music teacher, or music journalist, but instead that dream of rock ‘n’ roll stardom that has predominantly existed since the ‘60s among youths exposed to media. Nowadays, this sentiment seems to be replaced by a desire to scream voraciously and wear tight jeans, but that is a whole different story in itself. That Let’s Wrestle would name one of their early songs “I Wish I Was in Hüsker Dü” suggests an immediate influence, not so much directly in regard to Hüsker Dü but rather the era they resided in. Picture a surprisingly effective high school band in the 1980s and you will likely have something that sounds like Let’s Wrestle, a London-based trio that invokes nostalgia and a DIY ideology without lacking in stylistic originality or captivating songwriting.

Listen to Let’s Wrestle for about one minute. Which adjectives would you use to describe it? I imagine that a handful of critics with a nearing deadline would use words like “sloppy” or “awkward”, which is perfectly acceptable if you are a listener that judges a song by its first minute or so. Those with patience, though, will be rewarded unexpectedly and quite memorably. What is so enjoyably unique about Let’s Wrestle is how they exploit this sound of throwback ‘80s garage-rock, surprising listeners with an outstanding flurry of hooks after either opening up clumsily or showing little attempt at innovation. This always turns out to be highly intentional though, as the intricate components of the tracks are exposed after several studious listens. Much like their ‘80s alt-rock influences, Let’s Wrestle deliver a very raw sound that triumphs over its non-polish with solid songwriting, passionate performances, and clever hooks. Being in a high school garage band in the ‘80s was hardly a unique or innovative thing to do, but Let’s Wrestle’s implementation of alt-rock, post-punk, and psychedelia make such a scenario appear desirable because it reminds us of the days when a song did not need over-production and star power to get airtime on a prominent radio station.

Like any band indebted to the engaging force of ‘80s alternative-rock, Let’s Wrestle do have lyrical substance under their addictively concise melodies and the deep, nearly slurring vocals of Wesley Patrick Gonzalez. His vocals usually sound as if he is recovering from a very severe hangover, a very personable delivery that associates well with Let’s Wrestle’s grainy mixture of guitars, keys, and rhythm. Their music formula, Gonzalez’s vocals, and their lyrical content all result in something extremely relatable. In other words, they are the best modern group I have heard that can pass off sounding like a ‘80s garage-rock band. The relation to high school is distinctively reminiscent in their ardent depiction of a popular genre and the adolescent compatibility of their music For their youthful audience, it only makes sense that most of the lyrics on Let’s Wrestle’s full-length debut, In the Court of the Wrestling Let’s, involves everything from coping with lost loves to putting on the tea kettle. The latter is covered in “My Schedule”, a steadily trippy journey into a droll life inhabited by routine bouts with errands, forgetting to put the tea kettle on, and coping with lost love. “I wish that you’d call me but you don’t call at all,” Gonzalez says plainly, only to prepare the listener for the prevalent emotions that follow. When he beckons for the object of his affection to call him, Gonzalez’s voice strains and he begins to choke up. The emotion presented here seems genuine, and under the hazy reverberations of organs and whirring guitars it is an extraordinary moment that summarizes Let’s Wrestle’s explosive potential.

The serene woo-ing of the backing vocals in “My Schedule” are sure to send chills up most spines, displaying a side of Let’s Wrestle that is slower in tempo and more gradual in approach than most of the material presented on their 2008 EP, In Loving Memory Of. “My Arms Don’t Bend That Way, Damn It!” and “Tanks” show their post-punk leanings more, resulting in bustling rhythm sections and hooks . Check out the excellent bass line in the excellently paced “Tanks”, an excellent track that blends late ‘70s post-punk with modern art-rock. It sounds as if The Jam and Arctic Monkeys were somehow fused together, complete with Bruce Foxton’s irresistible bass lines and Alex Turner’s straining vocals. Gonzalez’s tone is deeper than Turner’s and most other artists in the genre, so it creates some pretty spectacularly unique moments like on the minimalistic “Diana’s Hair”, where Gonzalez seems to recall vintage Brit-pop with marching band percussion, a patriotically anthemic chorus, and an effective vocal delivery that uses his British accent to its full capacity. The melody here is delightfully bouncy, appearing as something Jarvis Cocker or Damon Albarn might have done during the late ’90s. And although shades of Brit-pop, post-punk, and art-rock appear throughout the album in sporadic doses, In the Court of the Wrestling Let’s is predominantly an ode to the diversity that quality ‘80s alternative-rock exhibited. And because of that, with their original hooks and stylistic variations, Let’s Wrestle’s full-length debut proves to be an eclectic release that finds a rookie band in the rare position of being fully confident and prepared for their stylistic direction, whichever way that might be.

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Let’s Wrestle – My Schedule

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Let’s Wrestle – Tanks

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Let’s Wrestle – Diana’s Hair

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Regardless of where one grows up, the role of music is prevalent enough to embed sentiments of nostalgia into one’s memory of their childhood. Whether it is predominantly exposed as cultural tradition or commercialized exploitation are the variables that depend on one’s location, but music’s cognitive effect is something that is definitive for all. Growing up in an urban, rural, or even isolated location certainly affects one’s lifestyle, but music tends to be universally relatable in that its effects have no bearing on one’s specific location. This is especially true for artists, as we have seen success stories originate from both the open countryside and bustling city streets. The artistically inclined struggle to avoid the allure of art’s impact and presence; they see its participatory effect as being either an escape from reality or a path toward the bright lights of stardom. Artistic fulfillment is derived from one’s reasoning for participating in musical practice, and whether it is to escape grim reality or to become etched in the history books is a motivational basis that tends to vary based on the individual. Pinpointing a specific artist’s true intentions for making music can be highly erroneous though, since there are so many possibilities. But if one pursues music as a gesture of adoration for the art in general, it is an act that has no geographical or cultural boundaries.

The appreciation of an art seems so sincere and instantaneous that the sociological effects appear to be either nonexistent or extremely minimal. There are certainly some implications – like how living in a wealthier area allows for more accessibility to the arts – but one’s level of receptiveness toward art is something that cannot be tampered with, regardless of where one lives. Tamara Nile grew up in a tiny cabin on Galiano Island, a British Columbian island with barely over 1,000 full-time residents. While most contemporary amenities were available to her, it is evident that living on an island has its fair share of artistic disadvantages. There is a good chance that not one decent band would inhabit an island of 1,000 people, if one band even existed at all. The lack of a music scene must have certainly subdued any artistic urges from younger residents, right? Not necessarily. As I mentioned before, I do not believe these sociological factors to have little bearing on one’s interest in art or their motivational ideology for pursuing it. Tamara Nile recently played in front of a very receptive festival audience, with the number of people in the audience being 20x more than the population of her native Galiano Island alone. She serves as evidence that not all artists are influenced by their surroundings. Some are just born to write damn good songs.

Although Nile lived on a small and somewhat isolated island, it would be unethical to not provide credit to her father, a multi-instrumentalist sidewalk entertainer. He travelled throughout North America and Australia mostly, with Nile tagging along ever since the young age of six. His influence on molding her prevalent appreciation for the arts is evident, and this in addition to her natural ability are the factors that make her one of the most impressive folk artists I have featured this year. Nile began trying her own hand at songwriting in her early teens and moved to Vancouver to pursue a music career at the age of 19. Her debut album, At My Table, was released shortly thereafter in 2006 to very positive reviews. Gems like “Trees” and “Get Together” showcased her modernistic take on folk, which combined typical acoustical folk instrumentation with unconventionally flexible rhythm sections, time signatures, and melodic accompaniments in the vein of shrieking electric guitars and howling vocals. It was a style that proved remarkably unique, treating the young songwriter to a plethora of festival appearances and awards. She was voted the “Best New/Emerging Artist” at the Canadian Folk Music Awards, indicative of her interesting take on folk music and its positive effect.

Nile’s newest release, The Cabin Song, is an EP that serves as a preview of her upcoming full-length, set to be released in early 2010. Despite being a short release, the seven songs (two of them being short interludes) on The Cabin Song are all highly impressive in their own right and do a remarkable job of showcasing Nile’s grittier, edgier, and more eclectic style of folk. There are some familiar folk elements, like the electric twang and acoustical accompaniment on “Cabin Song”, but subtleties that involve rhythmic and melodic elements are vital to the appreciation of Nile’s style. “Cabin Song” has a great feel to it with its brisk acoustics, but the throwback “Reverie” does even better with its revolving structure and sporadic percussion. “Reverie, come dance with me,” Nile pleads during the chorus, set afire by the frantic percussion. A concise banjo solo follows, and allows the old-fashioned and modernistic to fuse at least for a slight moment. This is what Nile does so well all throughout The Cabin Song though, so this is not the sole example. “Reverie” touts its heavy dub-bass line over evolving percussion and Nile’s ardent howls, but other tracks like the colorfully engaging “Sunrises” also achieve similar stylistic heights. For someone with Nile’s ability and appreciation for stylistic diversity, it is not surprising that growing up in a small town was not an obstacle in her triumphant path to success.

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T. Nile – Reverie

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T. Nile – Cabin Song

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T. Nile – Sunrises

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Eccentric personality traits can be quite glaring upon meeting a new person. For me, whether they are artistically focused with a plethora of innovative ideas or radically opinionated to an intolerable extent is often what separates creativity from pretentiousness. Similar qualities can be found in music, a field where success is often driven by these original ideas that may be considered eccentric or bizarre. The same can be said for the majority of arts, as few can find success with entirely conventional ideas after a type of art form has existed for over hundreds of years. Upon listening to her music, it is prevalent that Mica Levi values unconventional ideologies to an audibly unavoidable accent. Her musical interests have always been geared toward pop music for the most part, but the eccentric nature of her songwriting and personality has made for an odd pairing with perhaps the most straightforward genre in popular music. Like experimentally pop-minded contemporaries in the vein of Xiu Xiu or Animal Collective, Levi’s specialty lies in crafting songs that are unpredictable and unconventional without being overly inaccessible. When experimentation goes awry and inventiveness begins to border on pretentiousness, the lack of substance in a song can make it unlistenable. Levi does more than just make it listenable; she makes her one-of-a-kind style fun and constantly engrossing.

Now under the alias of Micachu, Levi has been building up buzz ever since her teens. She was acquainted with music early on, as her place in a musically adept family saw her writing songs before age ten. Her scholastic career was rooted in several distinguished art schools in her native UK, primarily dealing with the study of composition at the Guildhall School of Music and Drama. Around this period of study, she began to take the fast track to acquiring experience after she was commissioned to write a composition for the London Philharmonic Orchestra (which they played last April). She was not just honing her songwriting skills either, as Levi was also gaining recognition throughout London as a DJ and creator of a prominent mixtape, Filthy Friends. Looking to pursue the oddball variety of pop music that she had always envisioned, she proceeded to form a backing band called The Shapes before signing to Accidental Records. “Lone Ranger” was her debut single upon its release in May, while “Golden Phone” shortly followed in August. The singles achieved glowing reviews from local publications like The Guardian and Time Out, both lauding Levi for her elaborate ability to utilize unorthodox methods of production, instrumentation, and structural presentation while remaining instantaneously enjoyable.

When one can make the irritating sound of a vacuum sound fresh and engaging, you know there is a talent to be found. It is not the most startling thing in the world to find music comprised of field recordings or everyday sounds, but when an artist is able to transform the generic sound of a household appliance into something melodic and pop-oriented, it is something special. It does not stop there, as in addition to vacuums and household appliances, Levi has toyed with everything from glass bottles to homemade concoctions like the “chu”, a modified guitar that is played with “hammer action”, and a bowed instrument that she made out of a CD rack. Her debut full-length, Jewellery, contains 13 tracks that demonstrate Levi’s ability to juggle different homemade instruments with guitars, an assortment of synths, and a variety of inventive rhythm sections. Sure, anyone could throw a bunch of weird instruments on top of one another, but what makes Levi’s debut so special is her ability to infuse them so cohesively that the sounds of the “chu” or household appliances sound like they belong exclusively in her unique style of pop music. It also helps that the album is produced by Matthew Herbert, someone with few contemporaries ahead of him in the world of successful music experimentalism and top-notch production. When combined with little structural consistency, the sharp production and factor of unpredictability make Jewellery a unique ride that most open-minded listeners will never wish to end.

To get someone interested in an artist, I often find that showing them the artist’s most accessible song is usually effective, even if it is not their best. In the case of Micachu, there is no specific song that one may call her most accessible, as Levi’s focus is clearly and enjoyably that of crafting songs that appeal to both innovation and DIY dexterity, even if it sacrifices conventionalism in the process. “Golden Phone”, though, is a nice representation of Levi at her best. While the variety of synths, guitars, and percussion make this one of her more instrumentally conventional efforts, her vocal and structural approach is just as ambitious as experiments like the squeakily engaging “Just in Case” or the No Age-like appeal of the jagged guitars in “Lips”. She has a tendency of placing warbled guitar progressions under a plethora of twinkling synth lines, chopped up vocal samples, and sound effects; tracks like “Golden Phone” and “Just in Case” are both straightforward representations of this that should ease the listener into Levi’s stylistic realm.

In Levi’s case, it also helps that her vocals are quirky enough to make it seem as if she was born to experiment. Like a cross between Karen O and Mirah, she makes the best of her unconventional tendencies by encompassing a voice that feels right at home under a bustling array of otherworldly instrumentation. Check out “Eat Your Heart” for Levi’s vocal delivery alone. When she reaches a near-yodel when proclaiming, “’Cause I could eat your heart,” over a multitude of guitar progressions and sporadic synth lines, the importance of Levi’s uniqueness is prominent. So many pop artists tackle their songs with a radio-friendly approach that makes their material tiring. After listening to Jewellery, it seems as if the world could benefit from a few more songwriters like Levi, whose aim is not to climb the charts but rather to create something that has truly never been done before.

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Micachu – Golden Phone

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Micachu – Just in Case

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Micachu – Eat Your Heart

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The post Micachu Earns Her “Jewellery” appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

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20. Ra Ra Riot – The Rhumb Line

Losing a member of a band to death can be devastating. No matter how many arguments and fistfights were initiated in the past, it is a fact that many groups tend to form a family-like bond after years and even months of touring and working together. When Ra Ra Riot’s original drummer, John Pike, was found dead on June 3rd of 2007, his former band mates were stunned. “This has felt like the unraveling plot of a tragic piece of fiction,” they said in a press release. However, about a month after Pike’s death, the band announced that they would continue the group in Pike’s memory. A string of tour dates and the eponymous EP in 2007 brought the group increased recognition as they prepared their debut full-length album, The Rhumb Line. The album itself serves as a fine example of the group’s potential, with their flashy style of art-rock serving as both an accessible and contagious interpretation of contemporary indie-rock. The New York-based group works with tinges of post-punk and punk, implementing both cellos and violins over a zealous display of dazzling guitars and tenacious rhythm sections. Vocalist Wesley Miles emits a sharp, slightly high-pitched tone that is reminiscent of vocalists in the vein of Nick Stumpf (The French Kicks) or a more subdued Hamilton Leithauser (The Walkmen). All together, it creates a very convincing sound that proves memorable despite its common originations. In addition to his role as a co-songwriter on a handful of tracks, one notable posthumous contribution from Pike on The Rhumb Line comes in the form of lyrical content. With Miles, he wrote “Dying is Fine”, a gripping track that wholly capitalizes on the group’s stellar mixture of strings and guitars. With an E.E. Cummings quotation serving as the main hook, the topic is emotionally ironic and the melody is addictively consuming. The mournful “Ghost Under Rocks” also makes excellent use of strings, guiding yet another captivating chorus as Miles yelps in perhaps his most emotionally resounding vocal performance on the album. “Here you are, you are breathing like little ghosts under rocks,” he sings, speaking of romanticized suffocation in mildly poetic form. When compared to the regretful – though dynamically vigorous – yelps and moans of “Ghost Under Rocks” and “Dying is Fine”, Miles’ vocals in “Winter ‘05” are appropriately more somber as the strings increase in intricacy and the percussion subtly adds several shuffled components. Along with a cover of Kate Bush’s “Suspended in Gaffa” making the cut, it exemplifies how The Rhumb Line serves as an enjoyably eclectic album within a fused genre that desperately needs it these days.

Ra Ra Riot – Dying is Fine

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19. Gentleman Jesse – Introducing Gentleman Jesse and His Men

One of the most appealing aspects of power-pop is the ability it has to remain untainted in a world where stylistic alteration is often inevitable. While some may argue that the genre’s apparent lack of stylistic ambition is the cause for such sturdy pop ideologies, the crafters of such music never seem to be given enough credit for their reluctance to become submissive toward what is deemed as this week’s fad in the music industry. Gentleman Jesse and His Men, a talented four-piece based out of Atlanta, employ this highly accessible form of power-pop very well, but they are also quite unique when compared to other groups in the genre. Yes, they are comparably intent on hooking in the listener with exceptionally infectious choruses and stellar harmonizing, but Gentleman Jesse and His Men happen to be significantly more nostalgic in approach. Instead of employing a formula in which an overwhelming degree of varying styles clash within a comforting power-pop aroma, the four-piece instead opts to bring back what made the genre so great in the first place. Traditional punk and garage-rock are the main forces at work here, making comparisons to the early workings of power-pop greats Exploding Hearts somewhat unavoidable. Exploding Hearts certainly infused more elements of punk into their overall sound, but the approach and level of melodic alteration remains highly comparable in the sentiment that both groups rely on amiable simplicity to elicit a uniquely engaging charm in which the songwriting and consequential hooks sound freshly invigorating despite the minimal forces of instrumentation at work. On their debut, Introducing Gentleman Jesse and His Men, frontman Jesse Smith plays the role of accessible power-pop vocalist with apparent ease, extracting a youthful tone of amateur exuberance while simultaneously allowing his commendable melodic range to flow naturally with the brisk use of guitar-led instrumentation. This is perhaps best heard on “All I Need Tonight (Is You)”, a track that would likely have been considered a classic by now if it had been released 30 years ago. From the lyrics to the lead guitar progression, the approach is extraordinarily simple but the appeal arrives in the strong melodic form that Smith conveys with the utmost confidence. In conventional power-pop form, he utilizes a callback approach in the utterly irresistible chorus before embellishing the moment with an extremely concise guitar solo. “You Got Me Where You Want Me” and “Attention” also utilize this accustomed callback approach with surprising precision. Those who view most traditional power-pop as a one-trick pony will likely state the same about Gentleman Jesse and His Men’s debut album, but anyone who enjoys fantastic hooks guided by little more than a guitar and rhythm section simply needs to check it out. Intricate it may not be, but this album’s infectiousness is downright undeniable.

Gentleman Jesse – All I Need Tonight (Is You)

Gentleman Jesse – You Got Me Where You Want Me

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18. Håkan Hellström – För sent för Edelweiss

Swedish listeners first caught a glimpse of Hellström in 2000 with his hit single “Känn ingen sorg för mig Göteborg”, with Hellström also releasing his debut album of that same name in November. Prior to the release, Hellström was only recognized as fans of the Swedish indie-pop band Broder Daniel as their drummer, a position he vacated between 1988 and 1994. He then rejoined the band in 1997 with a new role as the bassist, leaving in 2003 to focus solely on his solo career. By that time, Hellström had also released a second album, Det är så jag säger det, in 2002 and was in the midst of writing Ett kolikbarns bekännelser, his third album that released in 2005. Nåt gammalt, nåt nytt, nåt lånat, nåt blått, a compilation of b-sides, was also released the same year. After announcing that he had become a father and planned to take a short break, he emerged with his fourth album, För sent för Edelweiss, three years later in 2008. Though his first three albums exhibited a form of potential that only arrives once every so often in Swedish pop music, Hellström’s style sounded awkward with occasionally out-of-key vocals and repetitive arrangements. However, with För sent för Edelweiss, it looks as if the skilled songwriter has finally lived up to his wholesome potential. When an artist names an album after one of their own songs in particular, the conceptual intentions of the self-titled track take on lofty expectations. When it comes to “För sent för Edelweiss”, it serves as arguably the most pleasing track on both the album and throughout Hellström’s blossoming career thus far. It features the type of melody that will cause anyone – regardless of whether they understand the Swedish lyrics or not – to grin in pure delight, with the hauntingly beautiful instrumentation contrasting impressively with Hellström’s ardent vocals. The light plucking of an acoustic guitar initially finds itself underlying a graceful piano melody as Hellström’s voice quivers over the corresponding melody. When the twinkle of a new piano melody takes charge and establishes the chorus, Hellström’s voice takes on a melodic shift and crafts a devastating hook in the process. When the track concludes with a Sigur Rós-like instrumental recap over the crooning of Hellström, it simply reminds the listener just how elegantly stunning the overall result actually is. Since the title track will generally be recognized as one of the more instrumentally subdued songs on För sent för Edelweiss, first-time listeners of the track will likely be curious as to what Hellström sounds like when accompanied by increasingly noticeable instrumental fervor. As both “Kärlek är ett Brev Skickat Tusen Gånger” and “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” prove, the result is actually just as satisfying. Both songs implement guitar within a style of pop that is most reminiscent of accessible indie-rock, with “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” especially being resounding of the sentiment with a fury of electric guitars and reflective keys. They each remain insanely catchy in their own unique ways though, with “Kärlek är ett Brev Skickat Tusen Gånger” benefiting most from the vocal correspondence between a bluesy guitar, effervescent keys, and Hellström’s impressive vocal performance. With so many great Swedish releases each year, it is quite an indicator that För sent för Edelweiss is one of this year’s best from Sweden.

Håkan Hellström – För sent för Edelweiss

Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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17. Thomas Function – Celebration

It would be premature for me to judge the chemistry in Thomas Function based on their music and online photos alone, right?. It could all just be a classic attempt to sell records. Well, considering that all pictures I have found of the members together depicts them having insane amounts of fun while at parties, playing shows, and in the studio, superficial corporate achievement seems to be the last things on their mind. In fact, It leads you to believe that these guys might even be having fun while making music together. And apart from the putting the “fun” in “function”, their music plays off just as naturally. Providing heavy doses of southern-rock and folk within a consistent showing of punk, the fact that Thomas Function are able to simultaneously provide odes to energized punk greats in the vein of Television and The Buzzcocks while delivering an array of styles related to folk and contemporary rock contributes prevalently to a style that is wholesomely unique and energetically engaging. The track that brought the four-piece arguably their biggest buzz in 2007 was “Relentless Machine”, a 7″ single that now once again has appeared on their excellent debut album, Celebration. Despite offering 13 tracks that are contained within a similar delivery, the boastful amount of hooks and instrumental variations provide for a form of excitement that most debuts only dream of. “2012 Blues” was a standout immediately for me from the first listen, as its acoustical folk origins are in stark contrast to vigorous punk-oriented gems like “Snake in the Grass” and “Conspiracy of Praise”, a style that reigns over most of the album. In a track like “Can’t Say No”, where a Pixies-like bass line is adjusted accordingly over an organ-led guitar progression that provides visions of classic Television and Velvet Underground, it almost makes for a colossal fusion of great indie-rock and punk bands who have made a significant mark in the past 30 years. The infectious “Can’t Say No” may be too hectic to make such past comparisons entirely spot-on, but the melodically charged energy that Josh Macero’s vocals convey makes the mixture of modernistic enthusiasm with past forms of punk and garage-rock a very satisfying blend. As for fans of The Buzzcocks or even Wire, one listen of “Snake in the Grass” should be convincing enough. Alongside “Conspiracy of Praise” and “A Long Walk”, it employs a concisely familiar form of catchy punk without being overly aggressive or manipulative in the process. With the rhythm section constantly impressing me with its tight coordination, the excellent guitar work making the comparisons to Television even possible, and Macero’s vocals being a constant source of hooks and youthful vibrancy, Celebration packs a very powerful punch that results in it being one of this year’s most satisfying debuts.

Thomas Function – Can’t Say No

Thomas Function – 2012 Blues

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16. Beach House – Devotion

Like many of those who immediately latched onto Beach House’s fantastic self-titled debut in 2006, I kept my admiration for the release no secret. It was an atmospherically beauteous album, flawlessly transcribing humane emotions as diverse as regret, embrace, and heartbreak into a sound that was as much accessible as it was ravishing. Beach House, a two-piece based out of Baltimore consisting of guitarist/keyboardist Alex Scally and vocalist/organist Victoria Legrand, were certainly the center of attention in 2006, as their well-received debut was an album that seemed to find its way onto everyone’s year-end list (it took a respectable #37 on mine). This year, they have reclaimed that same spotlight, with an excellent second album in Devotion that proves even more fulfilling than their debut. Though it may be subtle, Beach House’s own namesake provides for a cleverly suitable effect. Alex Scally and Victoria Legrand craft a sound that ushers the listener away from the hectic rush of complex urbanity, with their style being ceaselessly relaxing without any stylistic mundaneness. Like the location depicted in their namesake, the lushly written songs provide for an escape from petty demands and harsh realities; think of Devotion as a $15, 44-minute vacation. The exquisite “D.A.R.L.I.N.G.” is reminiscent of a lost love ballad from the ’50s or ’60s. Legrand’s vocals and Scally’s guitar progressions are seemingly able to put listeners into an entrancing state, this time being aided by a guitar soaked in reverb and a set of subdued keys. As per usual, Legrand’s vocals are beautifully chilling, being airily husky but giving off a frail sense of imagery in regard to the alluring backing instrumentation. The percussive involvement is always minute, but the lack of involvement makes the delicate nature even more suitably presented in the process. Another aspect that is revived from Beach House’s debut is Legrand’s ability to create a hook using her vocal range alone. Like “D.A.R.L.I.N.G.” and the majority of Devotion, “Gila” is aided by a guitar supplemented by a mixture of keys and organs. Though the bare instrumentation is enough to solicit immediate enjoyment, the moment when Legrand shifts her vocals into a deeper, more sympathetic range by stating, “Don’t you waste your time, no-oh-oh,” it provides for an instant realization in regard to the sheer beauty that the songwriting of Beach House conveys. With songs like these, Beach House’s Devotion is an elegantly beautiful release that sees this talented duo somehow improve upon the excellence of their self-titled debut.

Beach House – D.A.R.L.I.N.G.

Beach House – Gila

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15. Department of Eagles – In Ear Park

A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side. After putting out three EPs and two LPs under the name of The Whitey on the Moon UK, the roommates changed their name to Department of Eagles. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. However, the two returned to working together shortly, recruiting drummer Chris Bear and bassist Nat Baldwin earlier this year to focus on In Ear Park, the duo’s second album under Department of Eagles. While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccably placed value on songwriting and production.

Department of Eagles – No One Does It Like You

Department of Eagles – In Ear Park

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14. British Sea Power – Do You Like Rock Music?

The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. After the group released their follow-up, Open Season, in 2005, I found that the result was not something I was too personally enamored with. It was not a bad follow-up by any means, just a step back in the direction that the prevalently ambitious British Sea Power intended to go. With their third album, Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is arguably the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Scott “Yan” Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Do You Like Rock Music? opens, continues, and concludes in the same way: with consistent quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

British Sea Power – Waving Flags

British Sea Power – Canvey Island

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13. The Walkmen – You & Me

Whether or not The Walkmen regressed on You & Me is a topic with two sides to it. Yes, they returned to a style that was more indicative of their first two albums with a higher emphasis on heavily distorted guitars and angular vocal melodies, but there is still a glaring aspect of You & Me that separates itself from any of The Walkmen’s preceding four releases. While percussively aided keyboards were often at the forefront on Everyone Who Pretended to Like Me Is Gone and distorted guitars and yelps comprised most of Bows + Arrows, You & Me serves as arguably the most stylistically multifarious album of their commendably consistent career. Their usual use of overpowering guitars, shimmering keys, and clashing percussion is predominant, but when looking at it by a track-by-track basis it becomes evident that efforts like “On the Water” and “Red Moon” contribute to an album whose stylistic scope remains unpredictably consuming. The swirling mixture of keys and horns in “Red Moon” creates some charmingly melodic circumstances for a topic as simple as romantic longing, while the beginnings of “On the Water” invokes the same sort of exotic imagery that songwriters in the vein of Tom Waits have been so known to generate. As the rumbling of bass underlies a glistening guitar progression, singer Hamilton Leithauser concocts a series of vividly appropriate lyrics. “All the years keep rolling, the decades flying by,” he sings as the guitars pick up pace and the track reverts from a mystical bass-led enigma into a hard-rocking fury. “But ahh, the days are long.” This lyrical realization is complemented superbly by Leithauser’s uniquely invigorating howl, an aspect that is aided by instrumentation that increases in intensity as the track progresses. “Red Moon” and “On the Water” are particularly excellent usages of the band’s tendencies to use natural imagery, an effect that supplements the occasional tranquility of both tracks superbly. In terms of each individual song, the songs are not the most structurally adventurous or melodically intimidating in the band’s catalog, but other gems like the anthemic “In the New Year” and the innovative use of percussion in “Postcards From Tony Islands” should convince listeners that the five-piece have clearly succeeded in crafting one of their most fascinatingly compelling releases to date.

The Walkmen – On the Water

The Walkmen – Red Moon

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12. Wolf Parade – At Mount Zoomer

Few bands manage to be as innovative and instantaneously accessible as Wolf Parade, the acclaimed joint project of Spencer Krug and Dan Boeckner. The most impressive thing to me about the two collaborators, however, is not the infectious melodies they create or the constant critical acclaim that comes their way, but rather the stylistic transition that both are able to make seamlessly as they jump from project to project. Both have been renowned as a few of the busiest songwriters in indie-rock and their durability throughout the past several years can mainly attributed to the unique and melodically invigorating aspects that their songwriting triggers. At Mount Zoomer will hardly feel like a sophomore album to most listeners, as both Krug and Boeckner have been employing reminiscent styles in their respective projects of Sunset Rubdown and Handsome Furs ever since Wolf Parade originated. But it is also a common belief to state that Wolf Parade’s debut, Apologies to the Queen Mary, contains the most accessible material from either artist to date, an aspect that arguably derives from intentions to promote their material to a more diversified audience. Krug’s share of material on At Mount Zoomer appears most reminiscent to his work with Sunset Rubdown, with the eerily resounding flair of “Bang Your Drum” and “An Animal in Your Care” employing much of they key-oriented formula over the yelping vocals and consistently revolving song structures that made trademark Sunset Rubdown tracks so memorable. Keeping in mind that At Mount Zoomer comprises of a similar structure in that Krug and Boeckner contribute an even number of separate tracks, I am actually more impressed with Boeckner’s efforts this time around despite Krug’s showings also being expectedly strong. This can be primarily attributed to Boeckner’s increased instrumental virtuosity, as his use of keys and synths has noticeably become more prevalent. This is best evident on “Language City” and “The Grey Estates”, both tracks that utilize an array of sparkling keys in an infectious chorus that is also guided by guitars and rhythmic additives. Despite Boeckner providing for a more consistent offering of quality songwriting, Krug offers one of the best tracks in the excellent “California Dreamer”. Krug’s skills as both a songwriter and excellent keyboardist are in full display as he shifts a minimal introduction of singular keys and backing percussion into a chorus that is the most anthemic and memorable on the album. “I’ll be round, I’ll be round, I’ll be round,” he sings prior to the bridge. “Like a teenager in town where all the other young lovers are found.” It is a moment that is aided purely by the intensifying tempo of deepened keys, a technique that makes the exceptional chorus that follows even more satisfying. A few shrill chords on keys then follow as the fully bolstered rhythm section emerges for the first time. Boeckner’s “Fine Young Cannibals” also serves as a standout, mainly due to a catchy little guitar riff that manages to sound so seductively enthralling over a soulful blend of keys (à la “It’s a Curse”). As the steady delivery of a new wave-like guitar progression eases placidly over concise percussion, it takes over two minutes for the track’s greatest hook to appear. Signaled by the brisk entry of keys, a crescendo of chords flurry over the same guitar progression and intensifying quivers. Keeping in mind that a Krug-Boeckner release without some sort of epic would feel out of place, the concluding “Kissing the Beehive” makes use of both songwriter’s ability to craft alternating song structures within a familiar melody. Though the first several listen will treat nothing to the listener but a few unexpected melodic surprises, each new listen with a better comprehension of the structure provides more in terms of infectiousness and enjoyment. As that track ends, it is easy to note that Krug and Boeckner have once again collaborated for one of the most enjoyable indie-rock releases of the year.

Wolf Parade – Language City

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11. Portishead – Third

Unlike the majority of other groups during the mid ’90s in Britain, Portishead did not become legends by releasing a masterpiece or two alongside a dozen or so middling attempts at reviving glory. Instead, the trio’s status as one of the most mystifyingly ambiguous groups to have an undeniable influence on contemporary music was granted because of sheer quality, not because of an excess of tours or releases. Prior to this year’s release of Third, the group released two albums of new material in the span of 13 years. Both of them, Dummy and Portishead will forever be considered landmark achievements in the genres of trip-hop and atmospheric alternative-pop. Clearly, unless Portishead have something worth releasing, it is not going to see the light of day. This rare ideology continues with Third, an awe-inspiring release that ranks up there with the classic Dummy as being one of the most atmospherically brilliant releases of the past 20 years. Their arrangements are often initially sparse, such as in “The Rip” where only an acoustic guitar and haunting synth pad appears to back Beth Gibbons’ quivering vocals. Like many classic Portishead tracks though, the melodic and instrumental expansion of “The Rip” is what makes the group’s ingenious level of execution so irresistible. As a bassy synth arpeggio backs a lengthily stable croon from Gibbons, a simultaneous percussive ignition occurs as the track steadily fades to black. The vocally brooding nature of “Plastic” and the ethereal, guitar-based murmurs of “We Carry On” may provide indication that Third is Portishead’s least accessible album out of their three, but successive listens will reward even those who are reluctant of the trio’s atmospherically-based talents. Sure, there are less instantaneous hooks, but Third is a grower whose genius is slowly unveiled with careful audible precision. For immediate enjoyment though, a track like the appropriately titled “Machine Gun” (with its percussive bursts) and the melodically enchanting “Hunter”, the latter which proves to be one of Portishead’s most captivating efforts. Haunting is often a common word to describe Portishead’s atmospheric brilliance, and never has being haunted been so enjoyable. A sheer piece of atmospheric perfection, Third is an album to be treasured by fans of Portishead and newcomers alike.

Portishead – Hunter

Portishead – The Rip

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The post Best Albums of 2008: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

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40. Kristoffer Ragnstam – Wrong Side of the Room

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

Kristoffer Ragnstam – Happy Mistakes

Kristoffer Ragnstam – Sorry for Being the Man of 1000 Questions

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39. The Bug – London Zoo

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

The Bug – Angry (feat. Tippa Irie)

The Bug – Murder We (feat. Ricky Ranking)

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38. The Ruby Suns – Sea Lion

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

The Ruby Suns – Oh, Mojave

The Ruby Suns – There Are Birds

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

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

Love Is All – A More Uncertain Future

Love Is All – Movie Romance

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

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

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

Bryan Scary & The Shredding Tears – Venus Ambassador

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35. Kanye West – 808s & Heartbreak

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

Kanye West – Paranoid

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34. Amadou & Mariam – Welcome to Mali

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

Amadou & Mariam – Sabali

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Amadou & Mariam – Djama

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

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33. School of Language – Sea to Shore

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

School of Language – Disappointment ’99

School of Language – This Is No Fun

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32. Silver Jews – Lookout Mountain, Lookout Sea

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

Silver Jews – My Pillow is the Threshold

Silver Jews – Suffering Jukebox

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31. Elbow – The Seldom Seen Kid

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

Elbow – Grounds for Divorce

Elbow – Mirrorball

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

by Mike Mineo

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50. Hot Chip – Made in the Dark

Before they earned a Grammy nod or topped the UK singles charts, Hot Chip had a considerable amount of doubt surrounding them. Their 2005 full-length debut, Coming on Strong, showed signs of potential here and there with a few stellar hooks, but many found the London-based group to be lacking in three things that are often vital in electronic pop: energy, wit, and consistent infectiousness. They answered the criticism resoundingly with their second album, The Warning, a year later and have not looked back. It somehow found the perfect divide between creativity and accessibility, proving more accessible than Coming on Strong while also suggesting that the group was steadily evolving into something that could be easily separated from the hordes of generic synth-pop acts. The songs were bouncier, more energetic, and – most importantly – more fun. That being said, it was hardly a surprise when their follow-up, Made in the Dark, proved just as successful and arguably even more so when considering how remarkably consistent the album’s quality is. The budding catchiness of “Ready for the Floor” may very well be the best song of their short career so far, while even the more emotionally demanding pieces like the seductive “We’re Looking for a Lot of Love” and the swanky “Don’t Dance” prove wildly successful, providing a fair amount of diversity to an album whose genre usually does not demand it. It simply proves that Hot Chip are beginning to think outside of the box and, in doing so, are succeeding dramatically.

Hot Chip – Ready for the Floor

Hot Chip – We’re Looking for a Lot of Love

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49.Little Joy – Little Joy

When you are a member like an internationally renowned band like The Strokes, it can be difficult when attempting to separate yourself from your past projects in order to form a new one. These initial thoughts may have ran through Fabrizio Moretti’s head when he first formed Little Joy, but after the widespread acclaim of their self-titled debut album, the association appears nearly obsolete. Never mind the fact that lead vocalist Rodrigo Amarante can sound eerily like Julian Casablancas on tracks like the tropical “No One’s Better Sake” and the rockabilly-tinged “How to Hang a Warhol”. Little Joy is ultimately the product of a compelling stylistic focus, resulting in carefree and extremely accessible effort that allows simplicity to flourish in the most complementary way possible. Beautifully interweaved backing vocal harmonies, subdued rhythm sections, and the gentle twang of acoustic and electric guitars are a few of the components at work throughout the album, as is the powerful usage of Amarante’s breezy vocals. Though Little Joy was released a month or two after the warm days of summer, it is inarguably a perfect album for the season. Additionally, even though Amarante is the lead vocalist throughout the majority of the album, Moretti’s girlfriend, Binki Shaprio, shines brightly with her backing vocals and on “Unattainable”, an unrequited love ballad that blends gentle acoustical melodies and hushed vocal harmonies. This track, in addition to irresistibly luxurious efforts like “The Next Time Around”, makes Little Joy a sure winner.

Little Joy – The Next Time Around

Little Joy – Unattainable

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48. Phoebe Killdeer and the Short Straws – Weather’s Coming

At one time in her life, Phoebe Killdeer was an eight-year-old who admired few people more than her musical hero, Tom Waits. As a college student, such a fact was quite alarming to me. After all, I have some friends my age who STILL are not mature enough to even respect Waits as a songwriter. For an eight-year-old to recognize such prevalent talent, it can perhaps prove to be an indicator of their future musical endeavors. Well, this was at least true in Killdeer’s case. Now a renowned songwriter who, like Waits, continues to defy stylistic and methodical norms, her solo debut, Weather’s Coming, exhibited both a raw display of talent and a veneration for artists of the past and present with a swirling stylistic fusion of jazz, Afro-pop, blues, and folk. The audibly emotional fury of “Big Fight” plays with a form of vocalized free-jazz that sees a variety of woodwinds and brass combine with the constant use of an upright bass to create a purely enthralling sense of tension. It sounds like something Matthew Herbert would have crafted, but the credit here goes to Killdeer and her noted producer Marc Collin. “Let Me” sees her pop approach in more conventional form, using elements of Afro-pop in the echoey keys and supplementing electric guitar. Combined with the serene elegance of Killdeer’s voice, it creates a resoundingly successful atmosphere that contributes to an album that has been criminally overlooked this year.

Phoebe Killdeer & The Short Straws – Let Me

Phoebe Killdeer & The Short Straws – Big Fight

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47. Firekites – The Bowery

Speaking of criminally overlooked albums, Firekites’ The Bowery has subtly emerged as one of this year’s finest folk-oriented efforts. The focus throughout the release is folk music, but the subtle implementation of jazz and even electronica is executed flawlessly by this Australian collective. Some tracks like “Same Suburb Different Park” tend to have more emphasis on electronica, while the beautiful “New Year Has Spoken” seems more inclined to tread in folkier and jazzier waters. Regardless though, every track on The Bowery flourishes with exceptional songwriting and instrumentation that gives the group more depth than the majority of their contemporaries, a complement that also weighs heavily on their ability to multifariously emit a selection of styles. Two tracks in particular, “Autumn Story” and “Paris”, are particularly indicative of this wildly successful fusion of folk and electronica. “Autumn Story” gradually shifts from a sole acoustical melody to one that is accompanied by tragically empowering strings and steady percussion, eventually supplemented by a gurgling synth pad that echoes the initial guitar melody elegantly. The usage here is subtle underneath the strings and intricate guitar progression, but it adds to the atmosphere of the track even more so. The instrumental “Paris” utilizes synth pads in similar form, throwing it under a variety of simultaneous guitar progressions. When the distant use of an upright bass is heard, the percussion picks up and introduces the listener to a more vigorous instrumental approach. The introduction, like every stylistic preface on this beautiful album, is one that proves highly rewarding and consistently satisfying.

Firekites – Autumn Story

Firekites – Paris

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46. Destroyer – Trouble in Dreams

Dan Bejar, better known under his Destroyer alias, has made a name for himself as one of the most consistent songwriters in contemporary indie-rock ever since the 1996 release of his debut, We’ll Build Them a Golden Bridge. He is also known as one of the most prolific, releasing eight LPs in a span of eleven years and appearing on a countless number of year-end lists because of it. Well, here he is again with Trouble in Dreams, an effort that sees him continuing with his uniquely invigorating delivery and continuously impressive songwriting. Whether you happen to be a fan of The New Pornographers, Swan Lake, or Destroyer itself, Bejar’s vocals has become one of the most recognizable in contemporary indie-rock for good reason. Trouble in Dreams, his eighth LP, finds . Debating which Destroyer album is the most worthwhile can be a trivial affair, as it is a widely accepted opinion that he has yet to release an album under the alias that lacks his usual vigor and strengths as a songwriter. That being said, Trouble in Dreams is simply like his other albums: engrossing and melodically rewarding, both in ways that improve with each successive listen. The eight-minute “Shooting Rockets (From the Desk of Night’s Ape)” proves to be one the album’s best efforts, throwing in plenty of Bejar’s expected metaphors over a forceful display of swift keys and roaring guitars to create something that is epic and masterfully constructed. The same can be said for the majority of the album, as Bejar has once again crafted something worth contributing to his status as one of the most consistent songwriters in indie-rock.

Destroyer – Shooting Rockets (From the Desk of Night’s Ape)

Destroyer – My Favorite Year

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45. White Denim – Workout Holiday

The Austin-based White Denim hold more importance than being identified as one of the first groups to embrace netlabels as a source of distribution. They also are showing that the quality of music does not have to be poor or even mediocre for this type of distribution. In fact, the material can be quite excellent, as their debut album, Workout Holiday, quite perfectly demonstrates. The first version of the album (the “Tour EP”) was released in 2007 under the digitalized RCRD LBL, resulting in a considerable amount of attention for a group who had always been a live favorite in their native Texas. The EP version of Workout Holiday was then re-released in 2008 under the same name, featuring several new tracks and re-recorded versions of older ones. “Sitting” and “I Can Tell You” are two examples of their newer material, being two of the more gratifying displays of the group’s gritty mixture of blues and garage-rock. “Sitting” is an outstanding display of the trio’s youthful energy, as vocalist James Petralli indicates immediately with his quivering croon over a slick piano progression. The remainder of the group – bassist Steve Terebecki and drummer Joshua Block – then come in with a very lively rhythm section, an aspect of the band’s repertoire that proves to be one of their major strengths throughout the release. “I Can Tell You” also proves worthwhile as an ode of sorts to early punk, using a repetitive structure over aggressive guitars, a bustling rhythm section, and – the best component – a small sprinkling of keys at the end of each verse. Their methods may have changed from self-distributing CD-Rs at shows to signing with a netlabel and then signing with an actual label, but the newest release of Workout Holiday proves vastly enjoyable regardless of the release format.

White Denim – Sitting

White Denim – I Can Tell You

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44. Benoît Pioulard – Temper

The concept of lo-fi music can occasionally end up being too pretentiously overbearing for some. It can be used as an attempt to cloak a songwriter’s inabilities or a producer’s lack of grandiosity, but there is little doubt surrounding a select group of artists who embrace the style and use it masterfully. Benoît Pioulard is one of them. He recorded his debut EP, Enge, on a built-in computer, an early indication of his lo-fi endeavors. Listening to his second full-length, Temper, though, I start to wonder whether that “lo-fi” tag can even apply any more. Pioulard has hardly changed, with his interests in tape decay and field recordings fusing together to create a sound that uses elements of folk, pop, and electronic in a delicately consuming form. However, the amount of intricacies that lie in any one of the album’s 16 songs makes it seem like it is from another world; it is usually not an aspect of so-called “lo-fi”. Often using ambiance in the background of tracks, whether it be natural elements like rain falling in “The Loom Pedal” or melodic attributes like the eerie bells on “Ardoise”, Pioulard’s success derives primarily from an impressive amount of well-executed ideas. “Idyll”, one of the album’s more accessible efforts, sees a very simplistic acoustic guitar progression being repeated throughout the entire duration of the track. Adding on numerous complementary instrumental layers is what to be expected and he does so here, but when combined with his caressing, lyrically indistinguishable voice, the result is anything but predictable. The same can be said for a track like “The Loom Pedal”, where a repeating acoustic guitar progression is warmly embraced by a synth pad that alters the barren atmosphere into something resoundingly effective. While Temper is perfect for a late-night listen with its gently plucked progressions and use of desolate electronica, the cumulative innovational success engineered by Pioulard makes it more than a nightly affair.

Benoît Pioulard – Idyll

Benoît Pioulard – The Loom Pedal

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43. Howlin Rain – Magnificent Fiend

Back in the day when groups like The Grateful Dead and The Allman Brothers reigned supreme, live performances were just as valued, if not more than, the albums themselves. Even if one was able to acquire the show’s setlist beforehand, it would likely prove absolutely irrelevant in determining the content of the performance. The musicians in each group altered their initial songs drastically, throwing in a variety of musical styles over structural dissimilarities in a form that sounded ingeniously cohesive and somehow reminiscent of the original song at hand. When listening to Howlin Rain’s second album, Magnificent Fiend, it is quite conspicuous that the Oakland-based collective lean towards a similar school of thought. Appropriately meshed in with the “jam band” standards of blues, rock, psychedelia, and folk, Howlin Rain have crafted an album full of unpredictable hooks that are highly indicative of a group with a studied vision of their stylistic roots. “El Rey” is an excellent example of the grup’s multi-instrumental prowess, utilizing a variety of keys and organs over a prominent brass section. The chorus is the biggest treat here, where a series of brass clashes with Ethan Miller’s wailing vocals to show just how perfectly implemented his soulful presence is. Miller’s howl during “Dancers at the End of Time” sounds like some sort of possessed preacher, with a backdrop of vigorous guitar progressions and straining organs acting as the composed followers. The main lyrical focus of “El Rey” describes this group best: “You don’t have to change; you don’t have to hold onto your past.” A similar musical style has been evident for several decades, but the unpredictably enjoyable way that Howlin Rain present their outstanding songwriting and integration of influences is what separates them from the rest.

Howlin Rain – El Rey

Howlin Rain – Dancers at the End of Time

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42. Hilotrons – Happymatic

Relying heavily on a genre that fans and critics alike generally tend to call “outdated” can prove to be a risky venture. That is, unless it is performed in such a unique way that it instead appears as an updated memento rather than an outdated . With a clever mixture of humor, wit, and stylistic accuracy, Hilotrons have released one of the surprise successes of 2008 with their third album, Happymatic. Whether Happymatic finds the Canadian five-piece tackling synth-pop on “Emergency Street” and “Streets of Science”, new-wave on “Love Suit” and “Caught on Video”, or odes to the spaghetti westerns of Ennio Morricone on the instrumental “Feet First”, there is something for everyone with at least a slight hunger for everything good that came out of the ‘80s. That is not to say the album is entirely a trip to the past though, as tracks like “Deep River” and “Big Plans” provide an inventive edge to contemporary indie-rock with snappy guitar progressions and superbly vigorous rhythm sections that allow such efforts to stay within the cohesive range of successful attempts at synth-pop and new-wave. “Big Plans”, while not the most intricately impressive effort on the album, proves to be one of the most fun with a chorus that borders on ska and reggae. Mix in a bit of Hilotrons’ trademark new-wave and you have yourself an extremely appetizing style to gravitate toward. For a more proficient example of their songwriting, the intense build-up toward the chorus in “Big River” is hard to beat. For an album that contains so many styles (many of which are blasts to the past), it is extraordinary how cohesive Happymatic. For a group who has been flying under the radar for over six years now, this is a fantastic effort that should give them some well-deserved recognition.

Hilotrons – Deep River

Hilotrons – Big Plans

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41. Cineplexx – Picnic

After the sleepless city life of New York City prompted Sebastian Litmanovich to pursue music as a producer and songwriter, he did something slightly unexpected: he returned home to Argentina. You would figure that with all the connections, sights, and opportunities that New York City has to offer, an up-and-coming artist would be at least skeptical of leaving. Not Litmanovich though, as he valued comfort to . This wise decision allowed him to flourish as an artist, playing with the post-rock group Amarena Incident and co-founding a design studio before Cineplexx was even orchestrated. Now, after ten years and five full-length albums, he is widely accredited as being one of the most talented Argentinian musicians of the decade. For his fifth album, the masterful Picnic finds Litmanovich at his absolute finest in crafting an album that defies all atmospheric expectations. Using a variety of twinkling keys, placid guitar progressions, and synthesizers, he has created an extremely lush arena for his beautiful songs to play out in. The standout “Droga Paliativa” fuses together electronic and acoustical aspects of pop music to result in something that proves quite extraordinary. The varying use of reverb on Litmanovich’s hushed vocals adds to the atmospheric brilliance, with the infectiousness of the track also being an unavoidable characteristic of the overall success found on “Droga Paliativa”. For a more poised representation of Litmanovich’s skills as a pop songwriter and perhaps future composer of film scores, the beautiful “Humedad” reaps benefits from twinkling keys and sweepingly somber string arrangements. The same can be said for “Novatone 500mg”, an instrumental effort that sees a highly ardent melody flourish with the appropriate touches of synthesizers, samplers, and automated percussion. Whether he is using dozens and dozens of synthetically engineered samples or a single acoustic guitar, the lushly invigorating atmosphere that Litmanovich stirs up on Picnic is nothing short of breathtaking.

Cineplexx – Droga Paliativa

Cineplexx – Humedad


[audio:http://mineorecords.com/mp3/cplexx-hum.mp3]

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Ever since the emergence of California-based surf-rock instrumentalists like The Surfaris and Dick Dale & the Del-tones in the early ‘60s, it has become an overused practice to describe pop music originating from California by using adjectives like “summery” and “breezy”. When The Beach Boys popularized the format by adding some of the best vocal harmonies in the history of modern music, the stylistically evolving use of surf-rock had reached its pinnacle and evolved into something that was more characteristic of the era’s irresistible display of pop music. Later proving to be a trademark of popular music in America, the legacy of surf-rock continues to thrive to this day, even if such aforementioned adjectives make the genre appear much more linear than it truly is. Such lazily worded assumptions attribute to a challenge that many California-based pop songwriters face. In separating themselves from the stereotypes of surf-rock and ‘60s pop in general, stylistic desperation often becomes prevalent in attempts to diversify themselves on a critical stage. Many artists succumb to how easy it is to be too generic within a very receptive style, but others choose to capitalize on the fundamentals of traditional Californian pop music while simultaneously involving other styles that derive far from the coast of the Pacific Ocean.

At their heart, Carl Jordan’s songs recall a form of infectious simplicity that would have most fans of ‘60s pop quite enamored. His works are instantly memorable and highly melodic, two components that contemporary pop music often shuns for rampant displays of creativity that often turn out to be overwhelming and detrimental to the accessibility of a given song or album. Jordan’s California origins aside, his songs are essentially what many would envision when told of a contemporary indie-pop act from California. His vocals are smooth and tranquil, backed by a revolving array of acoustic guitars, bass, and twinkling synths. While his playing style is too lively and his instrumental arsenal is too focused on real-time rhythm sections and guitar progressions to be grouped within a vein of electronic-pop, his fusion of technology into his sounds allows his songs to flourish even more vividly. This brightly effused interpretation of electronic and acoustic pop is not the most stylistically startling or innovative in the world of contemporary pop music, but Jordan’s project, The Western States Motel, reaps most greatly from one very important aspect: the songwriting. Though his new EP, Painted Birds Flying in the Orange Mirror Sun, contains a mere five songs, there are enough hooks and flawlessly executed moments to compensate for a full-length album.

Not very surprisingly, Jordan apparently wrote most of his lyrics to his self-titled debut album while he overlooked the Pacific Ocean. Alternating between San Francisco, Monterey, and Santa Cruz, his musical career at that point proved to be as reliable as his residence at the tie. Passing freely between friends’ apartments, he took any sort of hospitality to heart as he continued to pursue his musical intents of releasing something under his name. This opportunity came in January of 2007, when he released The Western States Motel under Firebird Field Records. Recorded in a spare bedroom with a few cheap but sentimental items (a $15 acoustic guitar was one), Jordan used his experience from a few recording classes he took at UC Santa Cruz to construct a debut album that proved to be surprisingly memorable for someone with such low financial means. Quality music has a funny way of getting out though, regardless of how much extra cash the artist has in their back pocket. In fact, it can occasionally prove even more respectable if an artist is able to produce exposure without any extraneous expenses at all. For someone with such a DIY mentality close to their heart, Jordan’s songs contain a plethora of both melodic and instrumental alterations. Any questions regarding his skills as either a songwriter or multi-instrumentalist should immediately be put to rest upon hearing either his debut, new EP, or by attending one of his shows (which are backed by a full band, staying true to his expansive repertoire as a tactful multi-instrumentalist).

After Jordan’s original intent to make The Western States Hotel a project designed specifically for scoring local films was relinquished upon the release of his self-titled debut in 2007, he began to recognize that writing pop music was an arguably more accurate embodiment of his influences and aspirations. After all, the album proved so enjoyable that praise among peers and several publications (Spin, LA Times) prompted Jordan to begin working on a continuation to the debut. Like his debut, the process for creating Painted Birds Flying in the Orange Mirror Sun was long and required quite a bit of patience. 18 months resulted in five songs, but these five songs are definitively the best material that Jordan has put out. The excellent “Oh World” is led by an acoustical arpeggio during the verses, complemented by a sprinkling of high-pitched synths at the end of each measure. With its slick incorporation of both electroncia and acoustical pop, the chorus sits somewhere between the indie-pop flair of The Shins and the melodic amiability of Coconut Records. “So many days that just got lost in a haze,” he sings wistfully. “I should be changing my mind. I should be changing my ways.” The track treads no experimental territory, but there is no need for it either way with such brilliant usage of synthesizers and acoustic guitars.

The utterly infectious nature of “Oh World” remains synonymous with Jordan’s pop-oriented DIY intentions, as is also seen on a track like “A Moment in the Sun” where he employs a ‘60s vibe on his keyboards over automated, electro-like percussion. The chorus sees him transition to power-pop territory as a distorted guitar and synthesized strings establish yet another stellar hook on a release full of them. A fascinating instrumental snippet occurs around 01:50 for about 15 seconds, seeing two very snappy synths collide over a bustling rhythm section. This moment in particular reminded me of electronic experimentalism in the vein of Matmos’ recent Supreme Balloon, though the rest of the track and album consists of amiable pop that should be extremely likable upon first listen for many of those exposed to Jordan for the first time. Additionally, the opening “Stampede” deserves a mention for an excellent utilization of those aforementioned synthesized strings during the chorus. The track is also an excellent display of Jordan’s structural tendencies, with “Stampede” being the most varied he has released. As it transitions from a solely acoustic melody to a grandiose string-aided chorus and then back again into a series of dramatically differing melodies that consist of alternating instrumentation, I could not help but get excited about the potential of this young songwriter. Before one of his tracks appears on some esteemed teenage drama and pushes him into some well-deserved exposure, get a grasp of Carl Jordan’s songwriting prowess. You certainly will not regret it.

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The Western States Motel – Oh World

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The Western States Motel – A Moment in the Sun

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The Western States Motel – Stampede

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A prevalent veneration for the past can certainly be detrimental to an artist’s work if their techniques are either outdated or generic, but holding such a high esteem for successful precedents can also prove to be quite beneficial when the artist maintains a constant yearning for innovation and quality. This is especially true in the field of music, where artists can flawlessly imitate a style performed regularly over 40 years ago due to the technological resources we have today. Many musicians and fans alike feel that this modernistic advantage causes some artists to overly regard style over substance (the actual songwriting) and this is very true, but it also reminds us how important songwriting and natural chemistry is in appliance to the creation of music. With many computer programs that replicate reverb, droning, and other aspects of audible production with names of presets that are precisely indicative of certain glaring genres like “dream-pop”, “shoegaze”, and “hard rock”, it is not entirely difficult for budding artists today to attempt any style and the accustomed method of production within it. This can be a productive measure for the sake of accessibility because music fans can now pursue songwriting and realistically attempt to sound like their valued influences. Its detriment, however, arrives in the fact that many may regard it too highly and dismiss the importance of songwriting and creativity altogether.

While it is extremely noticeable that The Harpeth Trace employ a stylistic formula that is highly reminiscent of the past, they are one of the few acts that chooses to focus on songwriting to an equal or higher extent. Their interpretation of subdued ‘60s pop is undoubtedly one of the most accurately enjoyable versions I have heard in quite some time, and this is not even the main reason why I am so hooked. Instead, it is the band’s magnificent songwriting that most consumes me. While maintaining a high degree of pure nostalgic bliss, this trio-gone-duo utilizes a wide array of moods and emotions within a consistent showcase of instruments that complement an anecdotal lyrical approach with rich imagery and intelligent metaphorical allusions. Multiple types of guitars with accentuated delay and reverb, weightless backing keys, and a delicate rhythm section are the primary contributors to most of the tracks on the group’s full-length debut, On Disappearing, and the three members did an excellent job of infusing a sense of equality within them. On a track like “Who Knows Where Are You”, though, the group relays their atmospheric brilliance with additional elements like a whirring synth pad that consumes the background as a clip of a bird chirping as played as the gentle rhythm section incorporates itself over Josh Kasselman ‘s caressing vocals. It is just a single example of many throughout an album full of memorable ones.

Keeping in sync with their steady grasp on the past, The Harpeth Trace take their name from Kasselman’s former childhood street name (Harpeth Trace Drive). If he added his first pet’s name, I wonder if the name would have ended up looking like something on a porn star name generator. That interesting tidbit aside, the initial formation of The Harpeth Trace revolved around the workings of singer/songwriter Kasselman, bassist/guitarist Rune Freeman, and drummer Robert Poynter, three friends from L.A. and Phoenix who had decided that their stylistic direction of relaxing ‘60s pop and lo-fi alternative was the right way to go. Freeman left in late 2005, but Barry Poage was quick to take over his role. Capitalizing on their stylistic vision, The Harpeth Trace released their first release in 2005, entitled Man and the Cousin. Drawing critical acclaim for its timeless ability to capture nostalgic pop music while remaining within the realm of contemporary production, fans of psychedelic and ‘60s pop took notice and the group found a burgeoning fan base at their side as they began work on their full-length. Contrary to the recent release date of On Disappearing, the album was actually finished in December of 2006. Kasselman, though, opted to release the album in January of 2008 instead because he spent the majority of 2007 on a trip across Thailand, Laos, and Cambodia.

Unable to support the album from such a distant location, the decision to wait and release the album after he returned to US now looks like a wise one. After all, On Disappearing is one of those few debuting full-lengths that simultaneously offers a focused style and excellent songwriting that supplements that style in ways that are both innovative and captivating. Kasselman truly makes his mark as the group’s songwriter and vocalist, his airily high-pitched vocals being somewhat reminiscent of The Clientele’s Alasdair MacLean. The stylistic comparison to The Clientele is prevalent as well due to their mutual reverence for ‘60s pop, but I find The Harpeth Trace to have a significantly more subdued sound that is more focused on gradually evolving guitar progressions, intricately evolving rhythm sections, and progressive layers over The Clientele’s sweeping string arrangements and, in comparison, more bustling rhythm sections. For instance, one of my favorite tracks on On Disappearing, “Dead Eyes” begins with a single guitar progression before it gradually expands into an intricate array of multifarious guitars, bass, and percussion. The intensity of the group’s rhythm section is often indicative of the overall instrumental involvement, with the transitional movements in the bass lines and rhythmic spurs often establishing stellar hooks over impeccable harmonizing; this particular technique occurs in “Dead Eyes” around 01:55 after the keys emerge as yet another stellar accompanying attribute.

While “Dead Eyes” proves rather accessible for its ethereal grasp of ‘60s pop, another track like “Who Knows Where You Are” infuses psychedelic pop with minimalism (complements of the chirping clips) to create an outstanding effort that adds more depth and experimentation to an album that already boasts a nice amount of it. After the whirring synth pad becomes more subdued, a guitar progression emerges for the elegantly applicable chorus, one that features multiple vocal harmonies and a somber bass line that truly takes over the melodic bulk in fantastic form. “Georgia May”, while still in the vein of ‘60s pop, is the briskest effort on the album with a tinge of folk and country in Kasselman’s altered delivery. In terms of additional instrumentation, strings make a dramatic appearance toward the conclusion of “Kodachrome Wolves” to establish it as a graceful concluding effort alongside the sparse mixture of keys and acoustics in the beautiful closing “Hotel Bristol Forever” to wrap up an excellent album. Currently, after the departure of Freeman and recently Poynter, The Harpeth Trace is down to a duo with Kasselman and Poage. Still, as their web site states, they are already in the studio working on another album and “maybe even two”. Based on the effort of On Disappearing alone, that sounds like great news to me.

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The Harpeth Trace – Dead Eyes

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The Harpeth Trace – Georgia May

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The Harpeth Trace – Who Knows Where You Are

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I was originally going to begin this feature by comparing Katzenjammer’s passion for music to some relentless force of nature, mainly because this Norwegian quartet practically defines in their sound and exuberance what it truly means to enjoy playing music and succeed in doing so. Sometimes though, a video can be more expressive than words, especially when applied to certain circumstances that are too unique for conventional expressions. So, when I watched the four young women of Katzenjammer perform a live version of one of their several strikingly unique tracks, “Ain’t No Thing”, on a boat floating along the Nidelva River in their native Norway (here), it was immediately noticeable to me that it would take quite a bit to deter this group’s creative vision. A surprisingly effective interpretation of post-war blues, “Ain’t No Thing” appears as a very fitting choice for the video, starring a series of bluesy riffs and howling vocals that arise in dramatically poignant form as the four-piece traverses along the riverbank. The studio version, included as a bonus on their debut Le Pop, also happens to boast a sitar, showcasing some startlingly effective usage on a track dominated by a somewhat contradictory style of blues. For potential listeners, the video serves as an aptly accurate precursor as to what to expect on Le Pop.

Not only does Katzenjammer play with a wide arsenal of styles, but they attribute unconventional instruments in appliance to each style that would easily cause longtime fans of each style to come away quite startled (check out their instrumental arsenal in pictorial form here). This is mainly because they do it so well, whether they choose to implement a sitar in the bluesy “Ain’t No Thing” or mix the banjo, upright bass, and an infectious trumpet riff in the folksy “A Bar in Amsterdam”. The diversity on Le Pop is so wildly impressive that, even upon first listen, I was enthralled immediately on a track-to-track basis just to see what they would attempt next. “Tea with Cinnamon” is easily the album’s most accessible effort, seeing the four-piece get as close to pop conventionalism as ever but still succeeding in innovation by effortlessly introducing a plethora of key-led hooks that alternate in tempo and lyrical progression as the track intensifies. “It’s so beautiful” is the phrase sang throughout the chorus, a rather simple statement which contains a more significant premise as the lead vocalist employs several emphasized harmonic transitions that see her drag out the phrase in complementary form over a glockenspiel, accordion, and balalaika. “Now it’s night and I don’t feel so bright,” the sprightly vocals warn, signaling a foreshadowed tempo change that sees the chorus conclude the track in a more elegant and more subdued form that is done to accentuate the brilliance of the initial chorus. It succeeds remarkably, as does the entire duration of this masterful track.

Though “Tea with Cinnamon” may take the honors as the catchiest effort on Le Pop, it would be difficult to argue against “Hey Ho, On the Devil´s Back” being the most artistically successful one. It succeeds on so many fronts – melodically, lyrically, and stylistically – that it should appease any concerns among the few that may initially question Katzenjammer’s stylistic decisiveness. Clearly, stylistic intuitiveness is the skill present here, not stylistic indecisiveness. One listen through Le Pop should validate this, as the fact that all 12 tracks differ dramatically from one another with resounding success is evidence enough of the group’s ability. Considering that it follows “Tea with Cinnamon” in the track listing, the contrast in styles and mood is quite remarkable. The group goes from an optimistically gleeful, glockenspiel-led bounce to a brooding tale of vengeful redemption that features a swirling collaboration of swift and forceful rhythm sections, swelling piano crescendos, and ghostly backing vocals with remarks like “save our soul” and “hey ho! On the devil’s back!” The track has plenty of thematic allusions to boot. “I met the evil devil and he offered me a ride,” the vocals begin. “He said: “you look tired, let me carry you a while.”” Desperation and positional relinquishment are reoccurring themes throughout the track, resulting in an epic of sorts that is compelled by strong instrumental accompaniments, fervent vocal usage, and drolly effective lyrics.

The self-titled track is fascinating for a variety of reasons. After rushing through a flurry of circus-like enchantments, the group transitions into a sort of girl-group mentality as they each take turns with a very melodic vocal line over a dizzying rush of keys and bass. Think about what The Pipettes would sound like if they were somehow involved in Cirque du Soleil and this fast-paced gem is the result. “Wading in Deeper” serves as the ballad of the album, being a highly emotional effort as the vocals cry out, “LaLalalala, wading in deeper,” over a steady piano accompaniment and sporadic additions of a hastily plucked mandolin, à la Morricone. The second verse in the chorus goes from “up to her knees” to “up to her waist” and then “over her head” in each successive chorus until the track concludes, ending abruptly on a rather tragic note.

“To the Sea” is a short but satisfying track with a sharp string-aided chorus, while “Play My Darling, Play” is an accurate imitation of country-folk that has become a fan favorite for good reason. “Mother Superior” sits in the same boat as “Hey Ho, On the Devil’s Back” as being an epically invigorating epic, succeeding on all the same fronts and being a flawless closer to a sensational album. As you can probably see by my enthusiasm for each and every track on this gem of a release, I personally consider Le Pop to be one of the best debuts of the year. It is also one of the most stylistically masterful, not flaunting a single dull moment as this four-piece from Norway is one of the most passionately talented groups of musicians I have heard all year.

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Katzenjammer – Tea with Cinnamon

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Katzenjammer – Hey Ho, On the Devil’s Back

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Katzenjammer – Le Pop

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