Anthemic rock music really has to soar to earn its name. To rouse an audience because they are already familiar with your work is one thing, but to come out anonymously and take a crowd by storm is the most blatant asset in this glossy depiction of “anthemic indie-rock”. For a band like The Kissaway Trail, their label as a “blog band” comes from the massive online acclaim that treated other artists like the Arcade Fire and Clap Your Hands Say Yeah! To sudden success in prior years. Some of these blog-fueled acts prevail by seizing upon the immediate opportunity and never looking back, but most squander after an album or two. While these type of bands lack the traditional PR format of exposure, their online-based exposure is equivalent to the resonance of a vastly successful, albeit virtually unknown, artist at a show that takes first-time audiences by storm. The medium there is just a concert hall instead of a blog; one is physically substantive in real life but they both have a similar aim, that being the promotion of unknown artists that rouse listeners in ways only their familiar favorites previously could. That being said, it is hardly a surprise that The Kissaway Trail have generated substantial buzz with both their work in the studio and on stage.

Singer and guitarist Thomas Fagerlund calls Nirvana and The Smashing Pumpkins his favorite band and biggest influence, respectively. Such an appreciation for ’90s alt-rock is by no means concealed by The Kissaway Trail, who combine that with exhilarating indie-rock to produce a sound influenced by nostalgic alt-rock as much as contemporary, electronic-aided rock. On their new album Sleep Mountain, the Danish collective wildly impress with tones of both frailty and epic tendencies. Their electronic influences are primarily echoed in the production, which takes a routine rock-oriented cast of guitars and keys to sonorous heights. On one of the album’s brightest moments, “Painter”, we find the band at a beautiful place. The structural build-up this song literally makes me choke up, mainly because it employs the same gradual structural punch that orchestral epics do. It begins with a few splashes of keys sporadically interrupting an acoustic guitar, gradually giving way to gorgeous new accompaniments. Think a lyrically coherent Sigur Rós, especially once this one really gets going. Sure, The Kissaway Trail are pop musicians at heart just like most of their Scandinavian counterparts, but a remarkable effort like this shows their rare emotional depth. “Painter” is a more folk-laden tune accentuated by contemporary production, that being familiar with subtle sampling techniques. Its rootsy folk vibes are even apparent when several layers of vocal accompaniments, resonating strings, and reverbed percussion erupt in pure glory, never drowning out the simple acoustic guitar that is subtly the melodic heart of this beautiful epic.

The band likely groans whenever they hear an Arcade Fire reference, though even keeping that in mind I cannot resist when listening to “New Year” and “Beat Your Heartbeat”. It is one thing that Fagerlund’s vocals sound similar to Win Butler’s, but it is mainly the “anthemic” (oh, there’s that word again) type of songwriting that arises such comparisons. Producer Peter Katis (Interpol, The National) helps the case as well, even if comparisons to Manic Street Preachers would be more applicable. “Beat Your Heartbeat” sounds like a familial choir from the get-go, and when Fagerlund utilizes effects to alter his guitar’s tone into a more string-laden effect the comparison becomes even more evident. The haunting keyboard melody that creeps under the is proper reinforcement of an invigorating composition that would otherwise get lost in the intricate instrumentation and majestic production. Like Arcade Fire and Sigur Rós, The Kissaway Trail are quite extraordinary because they are able to make intricacy appear accessible and addictive. Similar to what Phil Spector did with his “Wall of Sound”, recent bands like Mono in VCF and The Kissaway Trail are showing his influence by infusing accessible songs with glossy production and intricate arrangements. Even if they are not the most theoretically complex works, the songs on Sleep Mountain play with such distinctiveness and passion, thanks to a one-two punch of fantastic songwriting and suitable production. There is no desperate audible plea for radio time, nor an overly stylistic public image that tarnishes their sound. The Kissaway Trail are one of the few contemporary bands today making stylish rock music without sacrificing their modest image. In showing that alone, Sleep Mountain is an enormous success.

RIYL: Manic Street Preachers, Arcade Fire, Sigur Rós, Mono in VCF, Interpol, Figurines, Choir of Young Believers, Kashmir

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The Kissaway Trail – Painter

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The Kissaway Trail – Beat Your Heartbeat

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The Kissaway Trail – SDP

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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

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

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.

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40. Mono in VCF – Mono in VCF

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

Mono in VCF – Escape City Scrapers

Mono in VCF – Spider Rotation

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39. Chromeo – Fancy Footwork

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

Chromeo – Fancy Footwork

Chromeo – Momma’s Boy

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

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

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

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

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

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37. Wilco – Sky Blue Sky

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

Wilco – Impossible Germany

Wilco – Sky Blue Sky

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36. The Shins – Wincing the Night Away

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

The Shins – Australia

The Shins – Phantom Limb

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35. M.I.A. – Kala

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

M.I.A. – Jimmy

M.I.A. – Bird Flu

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34. Justice – †

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

Justice – D.A.N.C.E.

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

Justice – Waters of Nazareth

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

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33. !!! – Myth Takes

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

!!! – A New Name

!!! – All My Heroes Are Weirdos

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32. Art Brut – It’s a Bit Complicated

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

Art Brut – People in Love

Art Brut – Direct Hit

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31. Dondolo – Dondolisme

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

Dondolo – A Question of Will

Dondolo – Fluffy Angel

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

July was another month containing quality music. A bunch of these new artists will most certainly see a deservedly large amount of exposure shortly.

01. Mono in VCF – Spider Rotation (post)
02. Testa Rosa – Ollie & Delilah (post)
03. B.C. Camplight – Soy Tonto! (post)
04. The Beauty of O.K. – Some Larger Epic (post)
05. Hail Social – Annabelle (post)
06. Tiny Dancers – Hannah We Know (post)
07. Scouting For Girls – Mountains of Navaho (post)
08. Paul Weller & Graham Coxon – This Old Town (post)
09. An Angle – Clean and Gold (post)
10. Air Traffic – Shooting Star (post)
11. Lavender Diamond – Open Your Heart (post)
12. The Budos Band – Budos Rising (post)
13. VHS or Beta – Take It or Leave It (post)
14. The Lovemakers – Misery Loves Company (post)
15. Code Pie – Kinsey, Are We Even? (post)

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The post Obscure Sound: Best of July 2007 appeared first on Obscure Sound: Indie Music Blog.

Ah, Phil Spector. You just have to love the guy. Whether it is his influential production technique found within the “Wall of Sound”, his indisputable influence on contemporary music, or his infamous hairstyle in the courtroom, Spector is a figure whose impact will live on long after his eventual death (or murder conviction). While Spector’s efficacious “Wall of Sound” method of production has been subdued over the years due to the preference of stereo channels, his utilization of echoed strings, orchestral power, and integrable guitars still resonates prominently as a large influence for several new artists. Even so, I rarely hear a band that uses it as successfully as Mono in VCF. Hell, it sounds like only Spector himself could do a better job producing the gripping style found within their tracks. The five-piece knows this just as well and proudly promotes it in the “Mono” aspect of their name, deriving from Spector’s ability to make the most out of mono recording. Since stereo channels were first distributed in 1958, they did not become overwhelmingly popular until the the 70s. In the 50s and 60s, Spector managed to revolutionize music production using only mono. Whereas orchestral accompaniments in previous songs by other producers sounded flat, Spector managed to invigorate the concept with a whole new life through a variety of techniques involving reverb and echo chambers. While Mono in VCF do not go as far to involve mono channels, the influence that Spector has had them makes their sound richly enjoyable. However, do not let that mistake you. Mono in VCF are one of the most original bands I have come across in quite some time.

If you were wondering about the “VCF” aspect of their name, it stands for “voltage-controlled-filter”. For those who are a bit perplexed on the technical terms, it is merely a feature on the majority of Moog synthesizers, another instrumental aspect that is implemented into their style. So, does Mono in VCF manage to incorporate both the “Wall of Sound” and synthesizers into their sound successfully? You bet. While it is entirely possible to compare lead vocalist Kim Miller’s fervently brooding vocals to the those of Goldfrapp and Sarah Nixey or to liken Mono in VCF’s dark and mysterious use of strings to Björk’s more illustrious material, their conclusive stylistic result remains entirely innovative. While they do borrow several components from respectable artists of the past, Mono in VCF’s mixture of these components is what separates them from the masses of indifferent pop bands polluting the music industry. In fact, Miller’s vocals allow the suitability of the band to range dramatically. Songs like “Escape City Scrapers” could fit in a 60s spy film just as effectively as it would in some Ferrari commercial, giving off a vibe of seductive luxuriousness with Miller’s formidable vocals clashing with chilling strings in being the two most conspicuous factors of irresistibility. In fact, it sounds like it would fit perfectly in a Tarantino film with its throwback vibe and vividly depicted emotional baggage. “In an age of decay in the city, I waste my hours away,” Miller soulfully yearns, depicting urbanization as a melancholic symbol of conformity and greed. “The friends I don’t need won’t see me but the rainclouds seem to stay.”

The lead songwriter for Mono in VCF is multi-instrumentalist Hunter Lea, a skilled musician who grew up admiring the lavish string-induced styles of Scott Walker and The Delfonics, the latter being the prime influence for the breathtaking “Spider Rotation”. Based out of Tacoma, Washington, Lea began performing with eventual bassist and co-songwriter Jordan Luckman when they were 17 after discovering a mutual admiration for The Beatles. When Mono in VCF began to establish themselves in 2005 with the release of their debut EP, The Voltage Control EP, their vocalist at the time was Charles Perales. Luckman described Perales to me as being a tremendously skilled singer with a vibrato reminiscent of Scott Walker or Tom Jones. After Perales made the unfortunate decision in 2006 to leave the band due to creative differences, the vocal duties were handed over to Kim Miller as the remaining members began to head into a direction that was more distinctive of psychedelic pop. Despite Perales’ notable contributions to the band’s sound, Miller seems like the perfect fit for this type of production. Her deeply resonating vocals are in a mold that is nearly extinct, flawlessly expelling tales of story-like lyrical narrative as they integrate seamlessly into the ornate backing instrumentation orchestrated by Lea, Luckman, guitarist/keyboardist Dylan Taggart, and drummer Jason Falk.

Considering that Mono in VCF are one of the most enjoyable bands I have listened to this year, it eludes me why they remain unsigned. It should only be a matter of time though. After all, the great Jarvis Cocker is a personal fan. Last April, he hand-picked Mono in VCF to open for him when he played in Seattle. Considering Jarvis’ recent flair for orchestral accompaniments and darkly dramatic attachments on his solo album, I could not have picked a more suitable opener myself. Not often do you hear artists who appreciate and incorporate the stylistic vein of more under-appreciated artists like Scott Walker, The Delfonics, or other hidden gems from the late 60s as well as Mono in VCF do. With their debut album nearly completed, Mono in VCF continues their search for an appropriate label. Whichever lucky label scoops them up first will likely find immediate satisfaction because, quite bluntly, Mono in VCF are in a league of their own.

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Mono in VCF – Escape City Scrapers

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Mono in VCF – Spider Rotation

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Mono in VCF – The Only One

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The post Mono in VCF… in Stereo appeared first on Obscure Sound: Indie Music Blog.