When a band’s name derives from Charles Baudelaire novella that was released in 1847, I do not think that calling the members a bunch of bookworms would be an exaggeration. Many of us appreciate fine literature and its influence has fascinatingly proven to apply to more than just writers. Diction, vocabulary, and style are just a few basic things that a writer or poet can take as an influence from quality literature, but what the average reader can take away may be even more impactful. Movies can provide great visual justice as to how life looked in the 1700s, 500s, and 1 BC with costumes, set props, and overdone accents, but can any film truly exceed the historical relevance of literature that was actually written during its referenced period? It’s doubtful. Most historians would prefer studying the textual version of Beowulf to seeing the film version, for the reason that no amount of research can be as effective as practically going back in time by reading the thoughts, descriptions, and ideologies of individuals that existed at that specific time. This is the reason why Fanfarlo chose to provide an ode of sorts to Baudelaire’s La Fanfarlo, as the period piece is a summation of Fanfarlo’s appreciation for all things scenic, engrossing, and throwback.

The London-based six-piece have been through a wide array of books, with the titles ranging from Penguin’s History of the World to Kurt Vonnegut’s classics, and Fanfarlo allow their historical reverence shine through on a track like “Harold T. Wilkins” History buffs like Colin Meloy and Sufjan Stevens have fared well in the world of indie-rock, but comparing their material to Fanfarlo does not give enough individualistic justice to the six-piece. Apart from the fact that their lyrical approach is never pretentiously inclusive to listeners that wholly understand the historical context, Fanfarlo have a steady pop ideology that distances itself from other contemporaries that opt for intricacy over infectiousness. With this in mind, I guess it is no surprise that a Swede is responsible for the group’s origins. Simon Aurell formed Fanfarlo in 2006 with Justin Finch, performing as a duo until five others joined throughout the following years. It speaks enough of the Fanfarlo’s potential that the five others joined after seeing some incarnation of Farnfarlo live. After coming away so impressed, there was nothing else to do but join. Mark West left the band in December, making Fanfarlo a six-piece for the February 14th release of their debut full-length album, Reservoir. Prior to Reservoir, Fanfarlo released four singles on a four different labels. Two of the most recent, “Harold T. Wilkins” and “Fire Escape”, appear on Reservoir.

The glittery allure of “Fire Escape” has made it arguably Fanfarlo’s most recognizable song up to this point. The six-piece are likely relieved by this too, as the track summarizes their style quite well. Aurell shows off his pop songwriting chops with a majestic chorus that effervescently erupts with horns, bass, electric guitars, and Aurell’s balmy voice. The verses benefit from a similar degree of chamber-pop goodness, with a key-led arpeggio found focused under a thick array of electric guitar progressions and prominent bass use. When listening to this, it should make sense to listeners why Fanfarlo made “Fire Escape” the first single from Reservoir; the first several minutes are filled with purely infectious goodness, while the sweeping conclusion of trumpets and strings establish the sentiment that Fanfarlo’s vision is too ambitious to be grouped in with the other chamber-pop acts that stick together a few verses and a chorus and call it a day. This is a group that intricately crafts their songs for maximized cohesion, as the conventional structural tendencies that expose their distinctive style of pop music always has a good amount of ambitiousness at its side to make things diverse enough for everyone. Fans of chamber-pop, folk, and Brit-pop will likely be the ones most satisfied with Fanfarlo, but I would be surprised if anyone who enjoyed indie-pop could resist either “Fire Escape” or “Harold T. Wilkins”. Both are fantastic tracks that precluded the release of Reservoir very nicely.

The ode to Harold T. Wilkins, an early 20th century British journalist and historian, is more straightforward with its stylistic delivery. The folky, acoustical progression that is introduced along with Aurell’s vocals sounded immediately familiar to me, but Fanfarlo’s ability to execute melodic transitions allows the song to follow into uncharted territory once Cathy Lucas’ backing vocals are incorporated. Like “Fire Escape”, “Harold T. Wilkins” features a star-studded chorus that expresses both joy and charisma in its twinkling and melodically astute nature. As for the album’s new tracks, “I’m a Pilot” and “Ghosts” are two efforts that show an edgier side of Fanfarlo. A simplistically poppy bass line initially takes control of “Ghosts”, quickly to be accompanied by a flurry of strings that seem to act as a representation of tension and chaos. Although both of the album’s preceding singles were excellent, it would be hard to argue against “Ghosts” being one of their best written songs. A mixture of horns, keys, and guitars are used to their full potential here as the track separates between instrumental and vocal sections in increasingly effective form. The way that “Ghosts” builds up is extraordinarily and it proves highly indicative of the band’s level of talent. The opening “I’m a Pilot” is one of their more dramatic efforts, mixing somber strings with opportunistic keys over a percussive procession that steadily evolves over a repeating piano progression. Just like many other songs on the album, the conclusion is one of the finest points of the song because of the masterful way that it utilizes all previous instruments to orchestrate something moving and convincingly powerful. It is a representation of Fanfarlo’s grandiose scope, a quality that makes Reservoir one of the most memorable debuts of 2009.

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Fanfarlo – Ghosts

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Fanfarlo – Fire Escape

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Fanfarlo – I’m a Pilot

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In the life of Luke Temple, artistic transitioning nearly seems like a daily routine by now. In several career choices that are not particularly surprising from a multifarious talent, Temple has made a living out of being both a mural painter and a musician. Between painting murals in the grandiose houses of the New York City elite and singing his oddly infectious tunes in smoky barrooms, one could say that Temple likely has a good perception of what it means to struggle as someone who makes a living out of being an artist. Now, Temple appears to be doing just fine for himself, but his growing recognition did not come without any work at all. As he transitioned between considerably different jobs and states (from Boston to Seattle and California to New York), Temple gathered experience that proved beneficial to his talents as both a painter and musician. Perhaps most importantly of all, he learned what it took to alternate between various lifestyles and locales, all while maintaining a consistent focus on the reason why his renown is growing considerably: his art. While mural paintings supported him well enough, Temple’s true calling always seemed to be within the art of music. When he decided to prioritize his music-related pursuits above his respectable work as a mural painter, many wondered whether such a risky move would pay off in the end.

Considering that Temple pursued painting as a student at the School of Boston’s Museum of Fine Arts, it may strike many as surprising that he chose to pursue music over something that he was well-studied in. After all, why not just study music in school if it were your most ardent passion? The truth is that few people realize their true focused potential upon entering, and even exiting, college, leading onto lives of regret and contradiction. Well, it usually is not that bad, but Temple is a good example of how initial interests can stimulate a latent talent. There is no doubt that Temple is a talented painter, but it is also a skill that can be rendered unavoidably prevalent in childhood. After all, in grade school, a child drawing a picture is a more common and accessible occurrence than one who transcribes music or writes songs in crayon. This interest, along with an easily identifiable talent, likely led Temple to his choice of a career as a painter. This career choice, like many others though, led to something else that eventually resulted in more appropriate circumstances for a songwriter whose lyrical and melodic prowess transcends many of those who have been set on a musical career since their early childhood.

At this current decade’s beginning, as Temple was preparing to try out his hand at visual art, he began to develop an interest in music. He had enjoyed listening to music for the majority of his life, but it was not until then that he took a deep interest in songwriting, production, and the inner-workings of the art. An artist his entire life, the transitioning seemed nearly seamless as he released his debut, a four-track EP, in 2004. His full-length debut, Hold a Match for a Gasoline World, followed in 2005 and it was a fantastic display of the Massachusetts native’s songwriting ability. One thing that he kept the same was his commitment to striking visuals, an aspect that he accomplished through excellent lyrical imagery. For a former painter, I suppose it was not surprising. What was unexpected was Temple’s melodic virtuosity, a feat that was heavily accomplished despite the bare workings of finger-picked acoustics and folky ballads. The songs were not breathtakingly innovative or structurally unpredictable, but they were appealing and accessible enough for Temple’s words to flow with an emotional vigor that is essential in quality folk music. He found his first glimpse of mainstream success in 2006 after one of the album’s tracks, “Make Right with You”, appeared on Grey’s Anatomy, setting the stage for the release of his second album, Snowbeast, in 2007.

Snowbeast was a breakthrough for Temple on several levels. In addition to gathering the acclaim of both fans and musicians (Sufjan Stevens, Ben Gibbard) alike, it found Temple expanding upon his previous material without reverting to new styles of play or methods of production. Recorded in his Brooklyn apartment, the use of lo-fi folk was still prominent but the songs themselves benefitted from a more organized flow and a stylistic addition that saw some aspects of electronica being incorporated into Temple’s works. The structures were also noticeably more ambitious, with most of the tracks apart from the opening “Saturday People” taking unpredictable twists and turns that often resulted in an ingeniously engineered success. After the release of this, it was clear that Hold a Match for a Gasoline World was setting the stage for Snowbeast in showcasing Temple’s wildly impressive growth as a songwriter within only two years. And just like that evolution, Snowbeast has accomplished in preparing listeners for Temple’s newest release, a new project altogether that he entitles Here We Go Magic.

What Here We Go Magic’s self-titled debut does so well is that it takes the ambitiousness and electro-folk tinges of Snowbeast and combines them with unchartered territory that is not like anything Temple has done before. Half psychedelic-pop and half electro-folk, Here We Go Magic is yet another redeeming example of Temple’s growth as a songwriter. While a wide assortment of synthesizers, guitars, bass, percussion, and samples push him out of the lo-fi category, the songs here are more depictive of minimalistic experimentation than the structural ambitiousness found on Snowbeast. In fact, many of the tracks on Here We Go Magic like “I Just Want to See You Underwater” and “Tunnelvision” benefit from a repetitive riff or sample that remains somewhat consistent throughout the song. “Tunnelvision” sports an acoustic progression and a basic 4/4 drum beat that is not altered even once; the beauty of the track instead comes in the effectiveness of the warbling production and Temple’s high-pitched voice. The tone is ethereal and calming, a stark contrast from the synthesized arpeggios of “I Just Want to See You Underwater”. But this contrast is what makes Here We Go Magic so extraordinary. From the accessibly tropical pop sensibilities of “Fangela” and the use of Afro-pop in “Only Pieces” to the droning ambience of “Ghost List” and “Nat’s Alien”, this album is full of wonderful surprises. This especially applies to the concluding “Everything’s Big”, a track unlike anything else on the album with its naturalistic lo-fi sentiments involving acoustic guitars, keys, and a slight touch of strings. When this ends the album with its genuine flair of romance, it is difficult to even envision Temple pursuing a different art form. This is clearly his true calling.

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Here We Go Magic – Fangela

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Here We Go Magic – Everything’s Big*

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Here We Go Magic – Tunnelvision

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*”Everything’s Big” removed at the request of Western Vinyl

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The divergence of folk music has been a common observation among fans of independent music for the past decade or so. Whether one most prefers the interpretation of Eastern European folk by the likes of Beirut and Gogol Bordello, the imaginative and somewhat historically narrative folk of the Decemberists and Sufjan Stevens, or the amusing usage of the term “freak-folk” that describes the likes of Devendra Banhart, Joanna Newsom, and Akron/Family, the genre inarguably remains as one of the most domineering styles of utilization for independent artists due to its high level of flexibility and room for creativity. A decline in the popularity of contemporary British folk music has been somewhat noticeable over the past several years, but it certainly does not coincide with a decline in quality. As previously featured British acts in the vein of Tunng, Hush the Many (Heed the Few), and Richard Hawley have shown with their variety of respective styles like experimental-folk, fusions of chamber-pop and folk, and traditional folk, there is no reason to have any fear regarding the cultural state of the genre. Such proficient interpretations propelled their releases into being a few of my personal favorites from their respective years. To add another one to that list, Jonquil is the most recent British folk group to showcase their talent in dazzling form.

Unlike many other British folk acts who can be easily grouped into either a form of traditional and experimentally unconventional, Jonquil are resoundingly unique in the fact that they tend to incorporate both qualities. They have the same narrative edge of traditional British songwriters in the vein of Billy Bragg and Bert Jansch, but their musical and structural tendencies tend to fall within a realm that is more comparable to experimental artists like the aforementioned Beirut and Tunng. With their lyrical and vocal approaches recalling a more nostalgic feel, the fact that their music often remains modernistic and synchronized creates a uniquely enthralling sound that has brought the group critical acclaim ever since the release of their first album, Sunny Casinos, in 2006. The debut received praise from most of those who heard it, but a limited release caused the group to not truly see their first signs of deserved success until the release of their second album, Lions, the following year. Originally consisting as a collection of home recordings by lead singer and songwriter Hugo Manuel, Lions went on to establish the six-piece as one of the most promising acts in their local Oxford music scene. It proved to be a successful departure from the more atmospherically enabled Sunny Casinos, a release that contained some impressive production and innovative ideas but failed to show the group’s high level of songwriting in its true light.

After the group expressed their mutual desire to stylistically transcend into a more exuberant form of songwriting that proved more infectiously demonstrative of their ability to combine elements of traditional folk with experimental interpretations of pop music, success started to come almost immediately. The decision to make a stylistic transition also had to do with the reception Jonquil was receiving live when playing Sunny Casinos, as the members felt that a stylistic shift would result in a more excitable and engaged demeanor from the audience. “It was very much a product of the studio,” Manuel said of Sunny Casinos in an interview. “As soon as we started trying to reproduce that on stage, we realized it wasn’t really what we were after.” As heard from the self-titled track on Lions, it is very easy to notice the poppier demeanor that the group had chosen to undertake. They are clearly one of the few groups out there who are able to make an accordion progression irresistibly infectious, as the mixture of Manuel’s sonorous vocals, his accordion, and an abruptly emerging rhythm section creates a sing-along of sorts that certainly coincided with Jonquil’s ideology to make their performances more entertaining. “Our shows are all about having fun and we wanted to reflect that in our music,” Manuel said of Lions. As you can see with the album’s title track alone, the transition was certainly a success.

Now that they have had over a year to get accustomed to their stylistic alteration, many wondered what would be next for the young six-piece from Oxford. Their new EP, Whistle Low, is the first indication of that, showcasing the most confident and consistent stylistic focus from this tactful group yet. The opener, “Whistle Low”, sees Manuel’s vocals take a fluid approach over handclaps and the swift progression of an acoustic guitar, later to be complemented by an electric guitar and subtle whirring of synthesizers. “In the shade where no one knows, in the shade he whistled low,” he sings, sounding remarkably like XTC’s Andy Partridge in the process. The XTC comparison here may catch some off-guard initially, especially those who heard the first and second albums, but the style is certainly a stroke of success. The second section of the song is tranquil with two multiple guitar progressions, one electric and one acoustic, occurring concurrently as the vocal approach becomes more sporadically involved then before. “Putting Names to Faces” is also an outstanding effort for some excellent uses of percussion and structural shifts. Just shortly after the two-minute mark occurs, a hushed melody led by a harp-like instrument emerges that re-establishes the sheer beauty of the track. “Night Time Story”, as the name indicates, is a lush ballad that sees Manuel’s gentle voice soothed by an intricate acoustic progression, a simplistically reflective electric guitar, and a series of strings that surface at the conclusion to wrap up yet another beautiful effort.

For the seven songs presented on Whistle Low, it is quite remarkable that there is not one misstep to be heard. Though it only spans slightly more than 20 minutes, there is a prevalent sense of capitalization contained within the short duration; the group’s constant expansion of songwriting ideas is ceaselessly impressive, even on tracks like “Water is Yours” and “Parasol” where they opt for the more atmospheric ideals of their first album, Sunny Casinos. In fact, tracks like these add to the overall feel of an EP. Due to the short duration but exceptionally high level of songwriting presented, I can’t help but feel a bit teased. If anything though, it has made me even more excited for the eventual release of Jonquil’s third album.

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Jonquil – Whistle Low

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Jonquil – Lions

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Jonquil – Putting Names to Faces

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30. Richard Hawley – Lady’s Bridge

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

Richard Hawley – Lady’s Bridge

Richard Hawley – Tonight the Streets Are Ours

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29. LCD Soundsystem – Sound of Silver

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

LCD Soundsystem – All My Friends

LCD Soundsystem – Someone Great

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28. The Go! Team – Proof of Youth

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

The Go! Team – Grip Like a Vice

The Go! Team – Fake ID

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27. White Rabbits – Fort Nightly

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

White Rabbits – Dinner Party

White Rabbits – Take a Walk Around the Table

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26. Private – My Secret Lover

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

Private – My Secret Lover

Private – I Can’t Wait

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25. John Vanderslice – Emerald City

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

John Vanderslice – Tablespoon of Codeine

John Vanderslice – The Minaret

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24. Panda Bear – Person Pitch

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

Panda Bear – Comfy in Nautica

Panda Bear – I’m Not

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

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

Marissa Nadler – Thinking of You

Marissa Nadler – Rachel

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22. The National – Boxer

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

The National – Mistaken for Strangers

The National – Racing Like a Pro

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21. Arcade Fire – Neon Bible

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

Arcade Fire – No Cars Go

Arcade Fire – Windowsill

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It is hard to believe that Christmas is merely three weeks away, even if the commercialized aspect of the holidays have been in full gear for over two weeks now. Along with the shortcoming imminence of Christmas comes the rush of holiday songs that accompany it, new and old. Whether you enjoy sipping a cup of hot chocolate while listening to the suaveness of Frank Sinatra’s version of “White Christmas“, decorating the tree to the optimistic delivery of Mogwai’s twinkling “Christmas Song“, or nodding your head to the catchy half-spoken-word anecdote in The Walkmen’s “Christmas Party“, the diverse array of styles within these “holiday songs” provides for an experience that never gets old (unless you play it out of season, of course). Even so, though all three songs above are reflective of the Christmas in style and substance, it is generally well-accepted that indie-rock songs usually do not fall in the category of stylistic clichés for the holiday season. In fact, if it were not for the lyrical content in the majority of them, they would not even be considered Christmas songs.

December also means that many up-and-coming artists will be providing toward Christmas compilations in an effort to gain reputability and hopeful fans. No strangers to holiday-based songwriting (check out their charming “Halloween Song”), indie-rock four-piece Evangelicals are the latest to contribute to such a compilation, with their song, “The Last Christmas on Earth”, being a standout on Mistletonia, a Christmas compilation compiled by the folks at the Australian-based Mistletone Records. Dead Oceans Records handles the domestic distribution of Evangelicals, as the four-piece is based out of Norman, Oklahoma. They released an enjoyable debut, So Gone, in 2006 and are planning to release their second album, The Evening Descends, on January 22nd. “The Last Christmas” will not be included on the latter, though if it translates to the same sort of quality on the album, I will be more than pleased. The stylistic approach presented in this holiday release reminds me heavily of The Walkmen, building up a force of distorted guitars over Josh Jones’ heavily reverbed vocals as he controls the song’s hooks on his vocal intensity alone. “Oh Jesus, can you save us?” Jones yelps during the chorus’ first exposition, continuing a phase of societal doubt that was well prevalent in So Gone. Consider it a bit of an ironic song in the very least, detailing “the last Christmas on Earth” in the form of some man-made apocalypse readily prepared to take over the world.

While those expecting tales of holiday cheer as snow gently falls outside in winter’s beautiful embrace will find “The Last Christmas” to be cynically pessimistic, it remains true that such unconventionality is what many of us have come to expect from indie-rock. Even if it comes off as initially unaccessible, the explosive chorus in “The Last Christmas” provides for stunning moments of structural creativity as the second half of the song appears as one big chorus, all until Jones concludes the song by prospectively repeating the song’s title repeatedly, clarifying an event

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Evangelicals – The Last Christmas on Earth

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Evangelicals – The Ghost of Abner E. Norman (The Halloween Song)

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On the other side of the spectrum, singer/songwriter Matt Duke‘s “Ash Like Snow” is certainly more a seasonal than holiday-themed song. He joins the ranks of familar songwriters who capitalize on acoustical folk-pop, though Duke’s sensitive aroma allows him to pull off the sincere singer/songwriter vibe quite well. Though not nearly diverse as acts like Sufjan Stevens or Sam Beam, he can be compared quite easily to the more accessible Jack Johnson. Duke’s instrumentation remains more widespread, with twinkling keys and electric guitar occasionally becoming heavily involved. He also has a knack for crafting moments of irresistibility through his smooth vocals and melodic prowess, revealing tales of political, religious, self-inflicted destruction, and romanticized longing through his diverse lyrical approach. The excerpt of “Tidal Waves” concludes immediately at the beginning when the excellent chorus is implemented, making me sincerely wish that the full song was available online. If you are as interested as I am, you can buy his very receptive full-length debut, Winter Child, on his web site.

“Tidal Waves” in particular touches on such political and religious themes, while “Nausea” serves beauty through a set of country-tinged guitars and organ-based synths. In addition to the exceptional vocal and keyboard work on “Listen to Your Window” and the rapid acoustically string-aided goodness of “The Love We’ll Never Know“, the rest of Winter Child is just as enjoyable. Unfortunately Duke has only offered “Ash Like Snow” as a full-length download, though you can stream the full versions of his songs on his web site; it is well worth it too. Not included on his album or even a compilation, the newly released “Ash Like Snow” is Duke’s lushest song. Like Evangelicals’ “The Last Christmas”, “Ash Like Snow” is unconventionally bleak. It is a summation of the common loneliness felt throughout the holidays. “Desperate hope reminds me I’m alone but, even so, inside I know I’ll see you again,” he sings over the subdued strums of an acoustic guitar, increasing in vocal and instrumental intensity as the song progresses. “We sang towards the sky to a God up above that may never come,” he further clarifies regarding the same religious uncertainty echoed on “Tidal Waves”, making it likely not a top choice to bring to your grandmother’s church on Christmas. Regardless, both Evangelicals and Matt Duke have offered up two holiday songs that, while bleakly unconventional, are extremely enjoyable in their own right.

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Matt Duke – Ash Like Snow

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Matt Duke – Winter Child (excerpt)

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Matt Duke – Tidal Waves (excerpt)

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I am not going to take up much of your time with this, but I am sure many of you are aware of “I’m Not There”, the movie that serves as an “experimental” biopic of Bob Dylan and his storied career. Due to the overwhelming amount of press the film and soundtrack are receiving, it is difficult for a music fan to miss the hype, Dylan fan or not. This continues to solidify the common belief that, like The Beatles, Bob Dylan is one of those rare artists whose legacy will live on long after his death (in regard to both his career and natural state). Cover albums will be made annually, bootlegs will continue to flow freely, and remasters/remixes will be formed in spirit of an imminent revitalization period. Hell, we might even see a Dylan musical some day… not that it sounds the least bit enticing. Either way, when a major motion picture is created about an artist during that artist’s lifetime, something can certainly be said for the impact they have had. For those hoping to rant irrationally in the comments, I will not bother to argue about the importance of Bob Dylan. I understand that he is not everyone’s cup of tea, but attempting to argue that he is not one of the most important songwriters of all-time is downright humiliating. I do not mean to sound like an elitist in that sense, but if you consider the sound of his music to be putrid I suggest that listen closer to his work and the artists that followed him. The influence is inarguable.

I have no judgment on the film, as I have not seen it yet. I will likely see it once it receives a wider release sometime early next year. I at least want to check out Cate Blanchett’s impression of Dylan. I have been told that her demeanor is eerily accurate, even if her vocalized impersonations are flawed. Still, I cannot think of many women who would actually want to have the ability to accurately mimic Dylan’s deep and musky voice. Hats off to Blanchett for the artistic courage. She could have easily embarrassed herself but instead appears poised to grab a few awards for a job well done. If you could not tell, she is the left insert on the photo above. In the mean time until the release, the movie’s soundtrack has been keeping me quite busy. With names like Sonic Youth, Yo La Tengo, Jeff Tweedy, Sufjan Stevens, and Tom Verlaine involved with at least a song or two on the massive soundtrack (33 tracks, two discs), I had to at least check it out. There is too much talent involved to let it go by unnoticed. However, as to be expected from a cover album with 33 tracks, there are moments of both brilliance and ineptness. My personal description of a quality cover is one that accurately juggles the initial intentions of the original artist with a sense of innovation from the new artist attempting the cover. When they can achieve this without damaging the eminence of the original, I personally see it as a resounding success.

The issue with a Dylan cover album largely is attributed to the fact that he is one-of-a-kind. While this also allows ample opportunity for singularly unique representations, there will always be that certain group of people who feel intent on bashing it simply because it does not reflect the quality of the original. Let’s get this straight: A Dylan cover will never surpass the original. He is one of those artists where interpretations need to be taken in an open-minded manner. Depending which way you look at it, it is a win-win or lose-lose situation. On an instrumental front, the stars of the soundtrack are The Million Dollar Bashers, a supergroup comprised of guitarists Tom Verlaine (Television), Nels Cline (Wilco), and Smokey Hormel; bassist Tony Garnier; keyboardist John Medeski; and Lee Ranaldo and Steve Shelley of Sonic Youth. Along with the equally impressive contributions from Calexico, they are responsible for the majority of covers. The Million Dollar Bashers play a pivotal role in my favorite track on the soundtrack, Stephen Malkmus’ interpretation of “Ballad of a Thin Man”. One large reason for Malkmus’ degree of success in the song is that he does not sound overly desperate in his Dylan . He maintains his own vocal croon for the most part, adding strains of distinct emotion over the expertly crafted demeanor of bursting shrill keys and rhythmic explosions from The Million Dollar Bashers. The same can be said for Willie Nelson’s “Senor (Tales of Yankee Power)”. He sounds like, yes, Willie Nelson. Nelson’s veteran croon, in combination with the beautiful horn additions from Calexico, creates a cover that is absolutely stunning.

In the midst of all these successes, one of the few tracks I was disappointed with was Cat Power’s “Stuck Inside of Mobile with the Memphis Blues Again”. With it being frustratingly similar to the original, Marshall sounds generally disinterested in her vocal delivery. While I understand that this is a part of her appeal and it is generally intentional, I believe her talents allow her for greater results. The additional brass is nice touch but still cannot serve enough justice for one of my favorite Dylan tracks. Maybe my expectations are too high but, either way, there are plenty of other gems on the soundtrack. Charlotte Gainsbourg’s “Just Like a Woman” is delicately touching and wildly original, as she also uses Calexico’s brassy charm in combination with her whispery vocals. Antony and the Johnsons’ Antony Hegarty uses his accustomed minimalist appeal in his version of “Knockin’ on Heaven’s Door”. Fans of Hegarty will love it, those who are not followers will not; it is as simple as that. I am just relieved that he didn’t attempt a Dylan impersonation. That would have been a nightmare. In a nutshell, other personal highlights for me include Jeff Tweedy’s string-induced “Simple Twist of Fate”, Iron & Wine’s “Dark Eyes”, and Mark Lanegan’s haunting “Man in the Long Black Coat”. As his excellent covers album, I’ll Take Care of You, proved, Lanegan is no stranger in the art of crafting a masterful cover. With its brooding atmosphere soaked to the brim with Lanegan’s signature murky voice, “Man in the Long Black Coat” is definitely one of the best covers on the soundtrack. Additionally, it seems that nearly every song on the soundtrack in which Calexico is involved is a success. They certainly did their part on this one.

I am also left obliged to mention that the soundtrack includes one of Dylan’s best songs, the original “I’m Not There”. The film took its name from the song for good reason, as it is one of Dylan’s most appreciated songs despite the fact that it has never been widely released. Sonic Youth also provides a nice cover of it, touching on the beautifully quivering chorus in a satisfactory manner. It would be overbearing if I went over each and every track on the soundtrack so I will leave the rest up to you. All you need to know from me is that, even if you have no interest in the movie whatsoever, the soundtrack is definitely worth picking up. One of the most admirable things about the soundtrack is that it is as cumulatively reflective of Dylan’s prolific career as one could hope. The covers are not limited to Dylan’s early or latter years. The songs are spread out sporadically, reflecting Dylan’s durability throughout the years in combination with his initial influence and eventual legacy. I am just pleased that such a great and enjoyable honor has been granted to an unforgettable musical legend. This soundtrack had hefty ambitions surrounding it but it certainly succeeded on most fronts.

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Stephen Malkmus & The Million Dollar Bashers – Ballad of a Thin Man

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Willie Nelson & Calexico РSe̱or (Tales of Yankee Power)

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Mark Lanegan – Man in the Long Black Coat

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She simply goes by the name of Blair. Her last name and middle initials remain an absolute mystery to the casual onlookers but, for some reason, it hardly seems to matter. Blair can light up a room with her effervescent vocals; one of the many staggering qualities of this promising 23-year-old singer/songwriter based out of New Orleans. As far as the anonymity of her name goes, it is not a big deal. She wants the attention on her music, not her personal life. If it worked for Nico, it can certainly work for Blair. Oh, and if she were reading this for some odd reason, she would most likely be peeved that I already described her as a “singer/songwriter”. As her press release boldly states in argument against the tag: “it would be more accurate to describe Blairâ€s sound as the musical meeting of Dolly Parton and Radiohead.” Hmm. Well, even though I am unable see the cause for even a slight comparison to Radiohead, her likeness to the most bountiful blond in country music is certainly justified. However, unlike Ms. Parton, Blair does not rely solely on her Southern descent to gain a stylistic flair. She also does not depend on a pair of plastic flotation devices to attract a male audience. Her natural skill of songwriting does more than enough justice in that department.

With Blair’s soaring vocals being both authentic and emotionally absorbing, it could possibly cause one to unfairly overlook her lyrical prowess. As she displays on her debut EP, Pluto, Blair possesses a boatload of talent, leading her past the formulaic masses of atypical feminine folk songwriters. While Pluto only contains four songs, that is certainly not the fault of Blair’s creativity or work ethic. Just like any lovable DIY artist, the only reason that she was only able to record four songs was that she did not have enough money for extra studio time. “It would be a full-length if money had been no hindrance,” she said in a blog post. “But I only had enough to afford a certain amount of studio time.” While the lack of material is disappointing, Blair makes up for it in the sheer quality of each song. She certainly made the best use of her insufficient studio time through the selection of four very wholesome songs. From the socially challenging “Wolfboy” to the tender acoustics of “Blues Song”, Pluto is one of those small releases that strongly echoes the wise sentiment of quality over quantity. With a sophisticated lyrical intellect that expresses metaphors of social redemption pairing up with stellar instrumental accompaniments, the delivery is a striking success.

Blair apparently selected the name for Pluto based on the ex-planet’s now shameful classification as a dwarf planet. A longtime resident of New Orleans, Blair witnessed the devastating results of Hurricane Katrina first-hand. Keeping in touch with her apparent love for metaphors, Blair saw the planet’s sudden scientific shift as a metaphor for “life in New Orleans after Hurricane Katrina.” One moment all is well and, all of a sudden, life is changed by the unstoppable forces of nature. As Blair sings on the optimistic “Half Moon”, nature plays a powerful role in the lives of many, both in peer philosophy and sociological perspective. “No one dares to shout at the baby bird who flutters by,” Blair breezily sings over a fanciful assortment of keys and guitars. “In just one week he’ll make you cry, at the half moon.” Her artful intentions are only further clarified in the final sentence of the expressive song. “And the animals are pretty too, they can fuck you up like people do.”

Society is once again analyzed quite subtly in the opening “Wolfboy”. Known at this point as Blair’s trademark track around the good-willed blogs who have already posted about her, it is immediately recognizable why the track is so likable. Blair reaps vocal usage in the respectfully comparable vein of Jenny Lewis or Neko Case, using amiable approaches bordering on both country and folk. “Oh my god,” Blair sings hauntingly in the ardent chorus, as touching and emotionally bounded as the same exact words whispered by Sufjan Stevens in the exquisitely chilling “John Wayne Gacy, Jr.”. “Wolfboy” and “Mona Lisa” are both tracks that depict social isolation in its most effective form, with the latter being a humorous stab at the generally ambiguous nature of human emotion.

With a new EP on the way shortly, Blair’s fan base in beginning to pick up steam. The fact that several big names were thrilled to have her open for them is certainly a good sign. Cat Power, Calexico, and Bright Eyes are a few of those names who are also recognizable of Blair’s wholesome talent. Keep an eye out for this promising artist. When she finally manages to release a full-length album, I would not be surprised if it is received as one of the more respectable indie-folk releases of the year.

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Blair – Wolfboy

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Blair – Half Moon

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Blair – Mona Lisa

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It seems rather traditional to do a Christmas compilation, so I don’t like to be one who breaks the tradition. Usually, when people think of quality Christmas music they think back to the days of Frank Sinatra and Dean Martin when strong vocals and orchestral accompaniments defined the greatest. Perhaps it was back then when the words “Christmas” and “commercialized” were never uttered in the same sentence. The allure of Christmas is always brighter when just focusing on family though, so more commercials does not mean that contemporary Christmas music is not as heartwarming. While this year’s compilation mainly features the Sinatra’s and Martin’s of the past, several current artists like Sufjan and Snowden have provided covers, that while often unoriginal, bring the Christmas spirit that those who celebrate often search for. Christmas songs also originate from all over the world… from Siberia’s favorite orchestra to Japan’s popular B’z and Ryuichi Sakamoto, it is a holiday that is cherished by even those who are not particulary religious.

So, despite any religious views, I wish everyone a safe and merry Christmas. Just sit back and relax. For those unfortunate souls who have to work, hopefully these songs will bring some cheer. Have a good one. These type of songs are divided into two, from occasionally original and contemporary songs you may not be aware of to the classics that you have known since childhood.

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Ryuichi Sakamoto – Merry Christmas Mr. Lawrence

Sufjan Stevens – O Holy Night

Sufjan Stevens – It’s Christmas! Let’s Be Glad

Trans-Siberian Orchestra – Carol of the Bells

Trans-Siberian Orchestra – The Ghosts of Christmas Eve

John Cale – Child’s Christmas In Wales

B’z – Itsuka no Merry Christmas

Snowden – White Christmas

Some By Sea – The Saddest Christmas

Sparks – Thank God It’s Not Christmas

Joy Electric – Winter Wonderland

Pet Shop Boys – Jingle Bells

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Frank Sinatra – Let It Snow! Let It Snow! Let It Snow!

Dean Martin – Rudolph The Red Nosed Reindeer

Nat King Cole – Deck The Halls

Johnny Mathis – Have Yourself a Merry Little Christmas

Tony Bennett – Deck The Halls

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20. Band of Horses – Everything All the Time

The first time I heard Band of Horses, there was one immediate comparison that rang in my head. Vocalist Ben Bridwell sounds strikingly alike to My Morning Jacket’s Jim James, which I recognized as nothing less than a good thing. Everything All the Time is a solid debut built around a core group of songs, most reliant on heavy chord progressions that tend to reflect a sporadic movement. Bridwell’s soaring vocals carry the tracks often times, almost making the musical component sound more complex than it actually is. For example, the wicked great ‘Wicked Gil’ really is only built around a handful of chords and a simplistic song structure, but Bridwell manages to take the song and make it one of the most alluring of the album. When the musical inclimation reaches a peak in ‘The Great Salt Lake’, Bridwell just enhances what greatness is already there. Another fantastic debut.

Band of Horses – Wicked Gil

Band of Horses – The Great Salt Lake

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19. Scritti Politti – White Bread, Black Beer

This one took me by surprise. Decidedly, I’m not surprised that Green Gartside is still making music. The aspect of White Bread, Black Beer that shocks me is the general presentation. Gartside’s Scritti Politti has long generated songs expressive of hip-hop, dance, and stereotypical 80s corniness. What comes out of White Bread, Black Beer is a collection of relaxing songs that range from the light synth accessibility of ‘Throw’ to the low-tempo power pop of the XTC-influenced ‘Dr. Abernathy’. That being said, Gartside’s songwriting still is entirely original and in touch with human traits. Rather than staying stuck in the 80s, Gartside has fortunately moved on and is still creating some very enjoyable music, as displayed in the Mercury Prize nominee, White Bread, Black Beer. The nomination and album alone present a good image of Gartside’s durability.

Scritti Politti – Throw

Scritti Politti – Dr. Abernathy

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18. The Knife – Silent Shout

It is not be premature at this point to consider The Knife “the next big thing”. After all, it seems that almost every major music publication has Silent Shout listed as the best album of 2006. Just like the Arcade Fire and Sufjan Stevens in the previous years, The Knife should be expecting a major reputational boost for 2007 thanks in part to infamous online media “end of the year lists”. I’m not going to disagree that Silent Shout is a great album; it’s the sort of album that creates memories due to the wildly imaginative and unique sound. Silent Shout is subtle pop music, disguising choruses and rather straightforward song structures with atmospheric tones such as backing synth pads, vibrant rhythm sections, and in-key synth variations. ‘We Share Our Mother’s Health’ sounds like it comes from another world, with bouncing synthetic percussion that balances the song flawlessly. On first listen, one may question the choice of making it a single. Speculation will be proved wrong after several more listens, as patience is key to discovering each and every hidden component of The Knife’s lustful songs. The brother and sister duo from Sweden show perhaps their best work in ‘One Hit’, managing to create an anthemic style built around oddball vocal effects that circulate around sonorous production. The throbbing nature of Silent Shout comes off freely, establishing the album as one of great variety and passion.

The Knife – We Share Our Mother’s Health

The Knife – One Hit

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17. Herbert – Scale

These days, it’s hard to hand out a tag promoting anyone as a musical “innovator” or “genius”, largely due to the fact that music is so widely available through internet and media, thus creating a source for gathering and half-duplicating influences. Matthew Herbert is certainly one of the most original and skilled producers in music today. Perhaps he doesn’t have the organic sound skills that Steve Albini does or the mainstream credibility of Timbaland, but there is no point in arguing Herbert’s talent, whether it’s producing his wife and occasional vocal puppet Dani Siciliano or himself. Scale really is just what Herbert has done best in his previous albums. He has created a tour-de-force consisting of electronic dance elements that flow smoothly, ready for any type of listening whether it’s the early morning or late at night. It comes as no surprise that Scale is his most commercially successful, with 70s-vibe gems such as ‘Moving Like A Train’ that capitalizes on Herbert’s already masterful comprehension of contemporary production.

Herbert – Moving Like a Train

Herbert – The Movers and the Shakers

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16. Grizzly Bear – Yellow House

Grizzly Bear’s debut album, Horn of Plenty, was not bad at all. In fact, it was one of the more enjoyable releases of 2004. It’s just that the follow-up makes it look elementary. Yellow House will be looked on several years from now as the album that propelled Grizzly Bear to a new formed status. The avidity that surrounds the whole album is enchanting, with the 60s-tinged love song ‘Knife’ taking its worth to a new level. Ed Drost leads the band through a series of triumphs, adding a variation of dramatics from hazy backing vocals to the haunting strings and Tom Waits-esque feel of the marvelous ‘Marla’. Yellow House moves slowly, there is no doubt, but each and every moment sounds fresh as the band has now abandoned all stereotypes of average performers. At this point, they’re something special.

Grizzly Bear – Knife

Grizzly Bear – Marla

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15. Love Is All – Nine Times That Same Song

Is love all? The explosive five-piece from Sweden seems to think so. In an explosively original debut, Love Is All’s combination of art-rock, jazz, punk, and soul brought them headlines throughout the musical community. Singer Josephine Olausson has quite a range in vocal emotion, as her demeanor in songs such as ‘Busy Doing Nothing’ and ‘Used Goods’ are essential, even with the band’s expanded musical intellect. In a briskly effective Swedish accent, she blends in well with the popular involvement of Fredrik Eriksson’s saxophone and the assorted rhythm section. ‘Felt Tip’ is born off of that aforementioned rhythm section, as Johan Lindwall’s bass line builds an unbreakable wall throughout the entire song. Just like love, the song reaches the climax towards the end as Olausson lifts the song from a whisper to a shout with the signal of Eriksson’s brass. The anti-NME folks who are labeling Love Is All as nothing more than a singles band are doing it quite prematurely, as the album is one of those that many don’t grow out of.

Love Is All – Felt Tip

Love Is All – Busy Doing Nothing

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14. Pet Shop Boys – Fundamental

Pet Shop Boys and producer Trevor Horn seem to go like magic together. When the cult duo and Horn last worked together about ten years ago, the Pet Shop Boys were in their prime as the darlings of British pop. Throughout the 90s, the Pet Shop Boys have been surprisingly consistent though any form of large commercial following has all but left them. Their fanbase remains strong though and that appears to be all the motivation they require. Fundamental is the Boys’ most technologically advanced of their career, utilizing countless numbers of layers and still managing to craft insanely addictive pop songs like ‘Integral’, which is one of the best songs of their respectable career. While not exactly recalling their earlier days of simplicity, Horn takes the band to a new level with Fundamental that is highly influenced by the political events concerning George Bush and Tony Blair. The aptly titled ‘Twentieth Century’ is a brilliant stab at the administration, as Neil Tennant sounds somewhat prophetic declaring that “sometimes the solution is worse than the problem” in a convincing mindset. While political views certainly vary from person to person, the general consensus of Fundamental is that Pet Shop Boys have crafted their greatest album in over a decade.

Pet Shop Boys – Integral

Pet Shop Boys – Twentieth Century

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13. Morrissey – Ringleader of the Tormentors

I suppose an argument could be made that Morrissey is spoiled in one way or another. In a sense, working with the likes of Ennio Morricone, Tony Visconti, a full orchestra, and the most reputable children’s choir in Italy would only be provided to someone with the status of Moz himself. You could argue that Ringleader of the Tormentors deserves a lower placement under the lesser known artists just because of Morrissey has so much to work with, while other artists are living on one meal a day in their basement. While it’s true that the days of glorified amateur production are long gone for Morrissey, I am judging on the actual album. The circumstances could mean less to me. What I find is a collection of brilliantly produced songs, each representitive of amiable songwriting and dedicated effort. The album takes an unusual direction for Morrissey, resulting in an edgier, more rock-oriented sound. Despite the arrangements, Morrissey’s most prominent aspect to me has always been his lyrical intellect. Ringleader of the Tormentors marks a new era for the man: happiness. Yes, it seems that the majority of this album is actually filled with optimism and triumph as Morrissey declares his discovery of happiness from the ruins of Rome. I was a bit disheartned about this, as his sadness (satirical or not) was admittedly something I always took for granted. Luckily, he sprinkles a few dramatic ones in there as well, with the best song on the album being the epic ‘Life Is A Pigsty’. From the moment I could hear the raindrops in the intro, I knew it was going to be a memorable one. The songs reminds me of his classic ‘Late Night, Maudlin Street’ based on the general structure and usual atmosphere of loss and misfortune. The excellent ‘On The Streets I Ran’ is a reminder that Morrissey can contribute to a great song, lyrically uplifting or not. In one of his best vocal performances, Morrissey demonstrates that he can still perform as one of the best after twenty-five years.

Morrissey – Life Is A Pigsty

Morrissey – On The Streets I Ran

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12. Belle & Sebastian – The Life Pursuit

It seems that very few people despise Belle & Sebastian. Stuart Murdoch’s project has always been the epitome of “indie success”, never quite reaching the mainstream but still maintaining to be wildly successful in the small market. Like the Pet Shop Boys a few spots up, Murdoch enlisted the help of producer Trevor Horn for The Life Pursuit, a collection of jangly effective pop songs that deliver in several forms. While I was no fan of Motown attempts like ‘Song for Sunshine’, the rest of the album flows with sparkling specialties, whether it’s the insanely catchy single ‘Funny Little Frog’ or the upbeat melodics of ‘We Are The Sleepyheads’. The Life Pursuit is the band’s most resounding and fast-paced album yet, abandoning the usual acoustics and soft-spoken ballads. While most of their previous albums were great accomplishments, The Life Pursuit represents an even larger step forward for a band who has already established themselves as one of the distinguishable figures of indie pop.

Belle & Sebastian – Funny Little Frog

Belle & Sebastian – We Are The Sleepyheads

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11. Magenta Skycode – IIIII

Besides already established artists who released debuts under a new project this year, Magenta Skycode’s IIIII is the best debut album of 2006. The group from Finland stunned me on first listen, with a unique sound that borders between eerie and mystical. It’s ironic that the band has an interest in monochromatic photography, as their music is anything but colorless. In fact, it’s incredibly vibrant and colorful, all while maintaining to be serene and enjoyably atmospheric. With an assortment of synths and gentle guitars, Magenta Skycode utilizes the “clapping method” as percussion whenever they can. It’s in perfect form for IIIII, not being overused or underestimated. ‘Go Outside Again’ is a good example of the execution, being my favorite on the album and one of my favorites for the entire year. The song initially works around a building guitar-led verse, as some beautiful synth complements the surroundings before the fall into a enigmatically catchy chorus. Many of the songs on IIIII work in a similar fashion, with other highlights being ‘People’ and ‘Luvher Oh Hater’. Though they have yet to reach any state of popularity, if Magenta Skycode continues to write songs in the mold of IIIII it will only be a matter of time.

Magenta Skycode – Go Outside Again

Magenta Skycode – People

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The post Best Albums of 2006: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

While the extreme popularity of Sufjan Stevens has often become abrasive, there is no denying he is one of the most talented songwriters currently making music. Though literally thousands of blogs has posted material from Sufjan, I would never miss the opportunity to post something that is very new and exciting. While Stevens is no stranger to lengthy songs, ‘Majesty Snowbird’ is one of his most significant epics, reaching over ten minutes in length. Though no studio version is available yet, the quality for this live version is phenomenal.

Stevens’ vocals are introduced over a simple strum of an acoustic guitar, until a quick twinkle of keys signals the brilliant strings to take part. That’s certainly not all though, as some very effective brass stomps itself in as some heart pounding percussion momentarily appears. The most impressive parts of the song are the musical solos after Stevens’ initial verses, especially in the latter section of the song where Stevens creates an excellent vocal melody to blend in with the musical highlight. The conclusion to the song is also fantastic, as every single instrument previously introduced breaks free for two minutes of breathless awe. I’m really looking forward to hearing the studio version of this one, as the live performance is great.
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Sufjan Stevens – Majesty Snowbird

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Sufjan Stevens – John Wayne Gacy, Jr.

Sufjan Stevens – Concerning the UFO Sighting Near Highland, Illinois

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Official Web Site

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