Best of the Aughts

i) This is a list of albums that were the best of the last decade
ii) This list represents my personal opinion; if you disagree, cool
iii) You might notice that there are several bands with more than one album on here, this is because, I feel, the few bands that caught onto something amazing in the 2000's, did it more than once.

1. "Merriweather Post Pavilion": Animal Collective
Let's face it, this album is incredible. Never have so many styles, sounds, ideas, and techniques been combined in such a flawless setting. 11 songs, about an hour, incredible harmonies, infectious melodies, etc. This album proved that Animal Collective are really The Beach Boys with samples and synthesizers. Oh, and the Noah Lennox is a genius.

2. "Illinois"- Sufjan Stevens
I fell in love again. This man is a genius. Proof; he made biblical references tolerable and interesting in a secular, urban genre. But then again, he is really the modern day Bob Dylan with a jazz-tinge. This album is a modern classic in every aspect. He is such a great story teller, and his dexterity in music and raw talent is evident in every note. I feel that in 20 years, this album will be held in even higher regard. "Casimir Pulaski Day" could make the devil cry tears of joy.

3. "Oh, Inverted World"- The Shins
This is such an incredible piece of pop music. In 2001, modern Indie was still a developing genre, and what they created here lit the fuse on the Indie Pop scene. Their sound was instantly influential because bands in the later 2000's cited The Shins as an influence. Very few bands have created such an impact in such a short amount of time, and this album gets me every time. Every song, to me, is a masterpiece, especially "Girl Inform Me" and "New Slang". James Mercer is the Brian Wilson of today, and in my mind a living legend.

4. "Is This It?"- The Strokes
Julian Casablancas is a freaking badass. Who would guess that the drunk lead singer parading around the stage in leather pants is the mastermind behind it all? They have such an edge that is the envy of any musician, because everyone wants to be badass. But beneath the edge, they are really very melodic and somewhat wise. The lyrics consist of sex, drugs, rock n' roll, living in the city, and being young. The modern Velvet Underground.

5. "Room For Squares"- John Mayer
You may not like John Mayer, but on his first album is where he managed to create a really solid debut that highlights his guitar skills, songwriting skills, and pop sensibility. He writes songs with really complex structures and it's really impressive from a young guy (at the time). This song is one of the first albums I ever got into, and it has always been really endeared to me because the songs are so meaningful.

6. "Ganging Up on the Sun"- Guster
Sort of a dark "Pet Sounds", this album can effectively soothe any sort of somber feeling. Which is kind of odd because of the moody nature. But the dark soundscapes are contrasted with really well crafted lyrics. It is apparent to me that this album was meticulously crafted. The melodies are just as infectious as The Shins, which has made me always associated this album as sort of a cousin or brother of "Wincing the Night Away".

7. "Wincing the Night Away"- The Shins
By 2007, the Shins were all grown up. The broken heart was a continuity, but no more happy sunshine pop (save "Australia). This definitely finds them exploring the night element of Indie, if their first two albums were morning and afternoon. This is a perfect winter album because it encourages introspection, and it's extremely comforting and satisfying to listen to "Sleeping Lessons" at night and just think about things. "Girl Sailor" is one of my favourite songs of all time.

8. "Oracular Spectacular"- MGMT
Not the Management, em gee em tee. Dear MGMT, thank you so much for introducing Indie kids to psychedelia. But wait, MGMT isn't psychedelic? Shut up. "Electric Feel" is hawt and naughty. "Time to Pretend" gives me goosebumps every time I listen to it because it reminds me how badly I want to be a successful musician, and it really lines out why musicians do what we do. "Kids" is epic, and sort of a U2 like anthem in a modern setting. The other songs on the album are perfect precursors to "Congratulations", and if you paid enough attention to that section of the album, then you got a feel for who MGMT actually are. All the songs are hinting at the rising difference between mainstream and the counterculture, and our generation has a growing awareness for the latter, which makes me feel incredibly optimistic for the next decade in music.

9. "Fleet Foxes/Sun Giant EP"- Fleet Foxes
I had to group them together. They go together flawlessly. All I have to say is wow. Talk about young talent, Robin Pecknold has got it. They turned harmonies into an instrument again, and flawlessly seamed it through an entire album. Robin's voice is really powerful, and when I saw them live, they were magnetic. You could hear everyone singing with the band, and it was just awesome. The lyrics just really click with me. "He Doesn't Know Why" and "Blue Ridge Mountains" are really really meaningful to me, and I will always identify this album with the summer I got it. I read the review of the this record in Rolling Stone, listened to the samples on itunes, and immediately drove to Best Buy and bought it. Love.

10. "A Rush of Blood to the Head"- Coldplay
Two words: "The Scientist". All you have to do is put this album on and it matches whatever you're feeling. They took what they started on their first cd and really took it to the next level. "Green Eyes" feels wicked poetic, and Chris Martin is quite skilled as a lyricist. Sure, they kind of abused this sound on "X & Y", but if you caught onto this sound and found out that worked so well, you would probably abuse it as well.

11. "Chutes Too Narrow"- The Shins
James Mercer...you. It's not quite as shimmering as their debut, and not quite at the introspection of "Wincing", but this beats a shit ton of other albums from the past 10 years. This album was always my least favourite of the three Shins' LP's, until this past summer. During that time I began to understand what the words were really about, and I started focusing less on the music which isn't quite as poppy as their debut. "Those To Come", "Kissing the Lipless", and "Gone for Good" cement James Mercer's name in the book of incredible songwriters.

12. "Wolfgang Amadeus Phoenix"- Phoenix
Elastic comes to mind a lot when I think about their sound. Air tight is another one. Every note and every line seems mechanically placed into each other. Not mechanical in an anesthetic sense, but the songs are extremely air tight and engineered to a tee. I love that they are French, because I love hearing a third person's interpretation of the English language and the words he chooses to piece together the lyrics. Everyone loves when Thomas Mars does his little squeal, and repeats syllables over and over again, but they manage to throw together long instrumentals with lovely pop songs. Giiiiiirlfriend. And the words to "Lasso" are a big slap in the face to any mean girl ever.

13. "Future Sex/Love Sounds"- Justin Timberlake
Okay before you shake your head at me for liking Justin, remember all the times you've nodded your head to "Sexy Back". It just proves that in pop music, everyone wants to dance. So just put this shit in and dance, already! And have sex...that'd probably work for this one too...just sayin...

14. "Vampire Weekend"- Vampire Weekend
The whitest band of the last 10 years? Maybe. But they've got enough West African Soweto influences to be rightfully compared to The Police. First off, Ezra Koenig doesn't speak like WE do, he just kind of puts random words together and decides which syllables to pronounce. When I first read the lyrics to "A-Punk" I was like "there's NO way he's saying that". But besides the elliptical enunciation of the English language, this album has so much melody. The guitar never takes up too much space, Rostam does his production thing, the rhythm section is boisterous, and you can just groove to it. This was my summer 2008 album, and it was so perfect for the time, and I will always love this album for all the good times I associated it with. Love.

15. "Give Up"- The Postal Service
Whether you like Death Cab or not, this side project successfully linked electronica/techno with Indie. Like Passion Pit? You can thank The PS for making synthesizers okay to use on a regular basis in the genre. "Such Great Heights" is one of the most incredible songs of all time, and this album has done incredible things for innovation.

16. "The End of History"- Fionn Regan
Probably the one true folk albums of the last decade. There's nothing complex here, it's just him and an acoustic with some small embellishments. His lyrics deal with a sort of critique of modern society, sort of with life in the Irish countryside, sort of with the struggle of urban life, and managing to tie it all together with really heartfelt and intimate delivery.

17. "Feels"- Animal Collective
Beautiful. No one can pull off screaming in a song like they do in "Grass". This album is extremely raw when compared to MPP, yes, but the melodies are just as extravagant. Most songs either consist of a bones-y delayed guitar with grooving percussion, or really chill and mellow piano lines. The piano, by the way, was specifically tuned to sound a little too sharp because they liked the way it sounded. Unorthodox, yes, but thank God orthodox and Animal Collective don't have to be associated with each other.

18. "Parachutes"- Coldplay
"Don't Panic" has always seemed extremely odd to me that that is the first song of their first album. First off it's unique in that it's just over 2 minutes, something extremely uncommon for them. I always grow way too attached to a band's first album, but in this sense, it's perfect. Because they hadn't quite found their feet yet like they did on their second album, but they weren't too repetitive and cocky about it like on "X & Y". "Shiver" gives me shivers, and "Yellow" and "Sparks" are delicious.

19. "Person Pitch"- Panda Bear
As if it wasn't enough to have "Strawberry Jam" and "Feels" already under your belt, Noah Lennox (of Animal Collective) decided to release a dynamite solo album too. He seriously has talent coming out of every orifice. I am soooo jealous. "Ponytail" is incredible. I will never forget going to see Fleet Foxes and they had the recording of this playing and they all ran on stage, locked arms, and jumped up and down. Incredible. "When my soul starts growing..."

20. "Veckatimest"- Grizzly Bear
It took a long time for me to properly appreciate this. But once I got it, I was all over it. They take the harmony thing seriously, not in a CSNY way like Fleet Foxes, but in more Beach Boys way, but a little darker, if that makes any sense. It makes sense to me that the album is named after an island in Massachusetts, because it definitely feels like this has an ocean of reverb, and really great instrumentation.

21. "Furr"- Blitzen Trapper
This is a band that successfully breaks down the barriers of all genres in a generation where everyone is always asking, "what genre are they?". Well, to answer that, within the context of this often folk-rocky album, they are psychedelic, jam band, experimental, folk, acoustic, rock, dance-hall showtunes, soft rock, the list really goes on. But what really matters is not their skill of transcending, but their overall skill. Eric Early is just as much Bob Dylan on "Furr" as he is Johnny Cash in "Black River Killer", both songs that will be remembered as some of the decades best, along with this album, in the years to come.

22. "For Emma, Forever Ago"- Bon Iver
"This wasn't planned...the goal was to hibernate". Well, you took your skinny love out to the boonies and you effectively composed a 9 song slap in the face. I hope whoever "Emma" is feels really great about herself, because whatever she did to Justin Vernon, he got her back. Oh and by the way, it's pronounced "bohn ee-vair". But if you want to keep saying "bawn eye-ver" and sounding stupid, that's okay too. ; )

23. "Smile"- Brian Wilson
All I have to say is that this album took 37 years. Incredible. Are you Brian Wilson? Oh what's that? You're not? Oh okay.

24. "Our Endless Numbered Days"- Iron & Wine
The other great folk album of the decade. This album is so summery that it feels wrong to listen to it anywhere but on the back porch at sundown in a lawn chair. Or in a field of grass at dawn. Love.

25. "Myths of the Near Future"- Klaxons
Indie/Rave/Dance/Punk. Sort of a Justin Timberlake meets Franz Ferdinand at a rave. And of course, what the hell is a golden skan? Who cares. It's an incredible title for a song

"Battle Studies"- John Mayer

8.3


I like to treat a John Mayer album like a good thesis paper. A strong, comprehensive thesis, a nice intro and contentions, which are the songs. In Mayer's case, most contentions are strong, a couple weak ones, and a foggy conclusion that usually leaves the reader (listener) asking for more or wondering why. Take this approach to Mayer's albums, and perhaps it'll make a little bit more sense. Now, I am no harsh critic of him, but I do like to overanalyze him because it seems like no one else does. For instance, "Continuum", his last effort, had a weak ending song; whereas "Heavier Things" had a couple weak contentions. Don't get me started on how impressive his first LP was. With this in mind, "Battle Studies" is another 2009 heartbreak album. At first describing breaking up as warfare, noting the second guessing (see "Break Up" by Pete Yorn), and the desire for moving on and closure.

"Heartbreak Warfare" is a U2-esque love-meets-anthem song. It seems to continue the same atmosphere as "Continuum" but with more narration like his first. At first, this album may be dull and unimpressive (save "Half of My Heart), but this album took a few listens to get into. The lead single, "Who Says" is a cheap knock off of himself on "Stop this Train", and is overall unimpressive. "Half of My Heart" is the diary of a conflicted lover. It has the maturity that this album is demonstrating, but with the naive attitude or delivery of "Room for Squares". Taylor Swift makes a publicity appearance singing back up. I can indentify with this song so well because it describes nearly word for word how I felt about my previous relationship. "Half of my heart's got a right mind to tell you that half of my heart won't due" shows that part of him has an idea of right and round. But "half of my heart is the part of a man who's never truly loved anything" suggests that despite love, success, and relationships, that Mayer has remained a self-sufficient, independent young man. This idea is continued on "Perfectly Lonely", perhaps in a more jovial way.

Those who are waiting for the "Your Body is a Wonderland" love songs of the past, will be disapointed to know that there is nothing even close. "Battle Studies" finds Mayer questioning love, enjoying the single life, overall longing for something more, but still a little resiliant and stubborn despite being wisened. The tone of "All We Ever Do is Say Goodbye" shows a small amount of remorse, but generally women and girlfriends in particular are not held in high regard. "Assassin" is a dark, well-produced song about malicious plans to break someone's heart. "Do You Know Me" is incredibly dark and melodic. The guitar work on that track is really impressive. It also highlights the other half of his heart that was sure that love couldn't work at all. "Friends, Lovers, or Nothing" is exactly the ending I was hoping he would grow out of. It leaves the listener with no closure, perhaps like Mayer in the relationships described herein.

"Crossroads" is barely forgivable. "Assassin" is interesting; par, I would say. It does point out something interesting though: falling for someone without completely giving yourself, only to fall and realize that the other person was doing the exact same thing. "War of my Life" is the perfectly reserved, quaint song that this album needed. It adds a little air to the heavy subject matter. "If fear hasn't killed me yet, than nothing will". Lyrically, this album may be his strongest, most comprehensive, and pathos jerking yet. He seems to know exactly what to say, and his narrations of the broken heart are strikingly spot on.

Mayer has always been growing. "Room for Squares" may have seemed impossible to grow from, but he did. He's constantly grown deeper and smart and wiser. His music gets more tricky and more hook-filled. And overall, he gets more and more impressive. Although this album takes awhile to love, you will love it. I don't mean to say that this album is flawless, but it is impressive. As good as he is at describing heart break, whether "Friends, Lovers, or Nothing" demonstrates any closure on John's part, with "there I just said it, I'm scared you'll forget about me", you be the judge.

Key tracks: "Half of My Heart", "Do You Know Me"

"Phrazes for the Young"- Julian Casablancas

9.3


The album cover catches an 19th century Julian relaxing in a nice arm chair in a nice studio. Pay attention to the colour in the background. However grimaced Julian may act, the colour in the background suggests the colourful, melodic core that is sometimes hiding in the Strokes' songs, but no longer does so on his first solo LP.

"Somewhere along the way that pleasure turned to madness/somewhere along the way that madness turned to pain". Although the drums on this record are synthetic, the soul comes off in his voice, and instrumentation. I feel like Julian, on this record, took off his leather jacket and traded it for a corderoy one. The choruses on this record are some of the best in years. It is virtually impossible to not sing along to the infectuous melodies in "Out of the Blue", "11th Dimension" and "Left and Right in the Dark". Because there are only 8 songs, Julian sort of gets in and gets out, which doesn't suggest that the record doesn't satisfy; because it certainly does. Definitely not the feeling you would expect from an 8 song LP.

When I first heard of this album, I was afraid it would be too similar to a Strokes record, but not good enough. It turns out, "Phrazes for the Young" is actually better than the last two albums from the Strokes, in my opinion. Casablancas has definitely taken time to grow up, sit back, and observe the world he's created for himself. "Watching the urban decay, all around us, oh boy", suggests that he's drawing from more mature, stable inspirations on "Phrazes". Most of the songs, like I said, boast racing choruses that force the listener to sing along. The verses, are a little bit more introverted, but the lyrics definitely show off some of his wisdom. "Left and Right in the Dark" has a sort of industrial slide to it; very airtight. "11th Dimension" takes the record to a little bit more fantasy-like place; "I live on the frozen surface of a fire ball". Interesting. The chorus, however, "forgive them/even if they are not sorry" continues the maturity of the record so far. But when I say maturity, I don't mean that Casablancas has lost his bad ass, and silly sides. Rather, I think he's found a happy medium between experience and naivity.

After the first three tracks, the record cools off a little bit. "4 Chords of the Apocalypse" is softer, and even gospel-esque (?!). The Rhodes organ gives it a nice stammer, and the chorus allows him to stretch his vocal chords once more. "Ludlow Street" proves that the world has changed, and Julian has grown up and even changed with it. The song, a description of one of his favourite streets in New York that has since gone through drastic changes. New York is definitely changing. This song allows Julian to really open up, and reveals insight to his past; "Everything seems to go wrong when I start drinking", alluding to his childhood drinking problem. "River of Brakelights" is the only dud on this album, surprisingly, but does not hinder the album altogether in any way. "Glass" starts with a ghostly whistling that sort of makes you feel like you're in a dark alley. I hate to dote on the same thing, but "Glass" has another incredible chorus. I really cannot believe how impressive the melodies are on this album. If the first three tracks are sing along-type choruses, then "Glass" is the epic, deep, anthemic chorus, that really represents the height of the album.

"Tourist" is a dark, world-esque closer of an album. And, for the last time, a great chorus hook. The beat in this song is very percussive and swaying, complimented by sentiments of a traveler. "Feel like a tourist in the big city", possibly suggesting that Julian has no real home. Who knows. Perhaps not everything on this album is meant to be analyzed like this, which is why I try not to over-analyze it. For me, this album could be the highlight of his career, both lyrically, and melodically. I feel like he has created something greater than just a solo record, and these songs deserve to be listened to in their own right, which I have done many many times, and I'd encourage you to do so as well. And after one chorus, I know you'll be hooked.

Key Tracks: "Glass", "Out of the Blue"

"Family"- Le Loup

8.6


Behold: "Family". The first full band LP from DC band Le Loup (and for you monolinguals, le loup is French for the wolf). Just take a second to grasp the album cover.........wow right? The album cover goes along with MPP for causing headaches at first glance. But like most good albums, the album's cover says almost everything about it, without giving away the sheer mystery of dark, ghostly tracks like "Beach House" and "Go West" that meander (in a good way) in the dark for a couple minutes, and evolve into choral, Fleet Foxes-esque celestial harmonies.

"Family" is everything Grizzly Bear's "Veckatimest" could have been, if they wouldn't have been so drawn out and dark all the time (see "Chearleader"). Rather, "Family" explores the darkness of "Veckatimest", the experimental mentality of "MPP" with the pop tendencies and instrumental prowess of Fleet Foxes. Take one listen to "Family", and you'll understand. These comparisons, however, don't suggest that Le Loup are copying anyone, or aren't unique; rather, they take the best of so many worlds of 2009, and take them even further. These comparisons won't make you think Le Loup are any less creative in their own right, but they help understand their merit, and possibly their influences.

"Saddle Mountain" is one of the most grandiose openers in awhile. Lead singer, Christian Ervin has a sort of George Harrison-esque Indian tendency for tones. It's really refreshing. "Beach House" is as much of a James Bond outtake as it is a Fleet Foxes one. The bass line is grooving and the atmosphere is mysterious, but later in the song all the arrangements come in and make the song shimmer. "Grow" is a jivin' tune; 'nuff said. "Morning Song" is the first wow. This track is honestly incredible. The use of the banjo and the acoustic guitars make everything sound so primitive and Appalachian, but the vocals are warm and welcoming, with lyrics to match it. "Pulled through the window while the world woke up/you found us folded together in the ghost-lit dawn"; if that isn't a poetic intepretation of morning, then screw you, because that is a poetic intepretation of morning! The harmonies on this song are pristine in the ghost-lit dawn. As with the album's title, family and home are recurring themes which help develop a purpose to the album and connect the songs together. The songs are truly folded together.

The title track recalls the Indian drones of "Saddle Mountain", but in a less addictive way. Again, with the family references that tie they album together wonderfully; "I know my father/I know my mother/I know grandfather/I know grandmother". "Forgive Me" is a rushing anthem. I can almost hear U2-esque guitar lines being put in here and it sounding perfect. Another theme in this album, ghosts. Whether the ghost-lit dawn, or wondering why the ghost won't haunt you, this album's darkness is clearly self aware. The instrumentation on this album, like I mentioned, shows that the band is very strong. Grass-roots instruments like banjos ("Go East") and acoustic guitars combine with pianos and weird loops. Let "Sherpa" grow into the sing-along that is it, let "Go East" grow into the anthem, and your ears will be rewarded. It doesn't take a lot of thought or time to appreciate or even love this album. "Neahkahnie" is sort of a reprise of "Beach House" but with the same effect as "Morning Song".

"I am a man but I take it further/not just a surface but a complicated structure"; this wise line can be used to summarize the whole of "Family". This album takes dark atmoshperes, choral harmonies, grandiose drums, rootsy banjos, and sweet melodies further. And to boot, "Family" is definitely a complicated structure.

Key tracks: "Morning Song", "Beach House"
Listen if you like: Fleet Foxes, Animal Collective, Grizzly Bear

"XX"- the xx

7.6

Much ado about nothing, a phrase that, to me, adequately describes how I feel about this album. I could tell you that this is another great debut from an upcoming band, but that's not the case. For me, I received it as "Really? Another band from England with white-boy soul and ghostly Indie tendencies?". Another phrase that adequately describes how I feel about this record.

Moving on, the first guitar licks from "Interlude" are sick, I'm not going to lie. The album's opener is a great track. It's as much ghostly as it is sly and groovin'. It's also worth noting that "Interlude" is instrumental, a sort of bold move that puts them in the instrumental club along with Sufjan Stevens and a select few other bands from this decade. On the downside, its an exciting to a mostly uneventful and anticlimactic (in respect to tempo) LP. "VCR" has a wonderful jangle, with more one-at-a-time guitar antics. "You used to have all the answers/and you/you still do", a lyric sung by the xx's raspy, soulful female singer. "Crystalised" lets the British Justin Timberlake wanna-be of their lead singer take over, while continuing the duet-structured lyrics with enough sexual tension to light a room on fire. This song also helps the album take off a little bit more, and along with fellow track "Islands", emulate the sound you miss when the second side comes around. Enter "Islands"; my favourite track on the album. It has the punchy groove they're going for with dance-rock, and of course the ghostly, haunting nature of their songs, with a little bit more punch, and an atmospheric keyboard (atmosphere being a first). "I am yours now/so now I don't ever have to leave/I've been found now/so now I'll never explore"; words of two satisfied young lovers who quote the fear of committment, as well as giving into desire. This song's ending is as climactic as it gets on "XX" unfortunately, something you don't see coming at first, but makes for more disappointment later.

The guitar takes up the most space in nearly every song. The simplistic production set-up gets too predictable, and frankly, too old. "Fantasy" starts a long dynasty of empty, boring songs that lasts for the rest of the album (save "Basic Space"). Like I said, the biggest problem is that I am constantly waiting for this album to take off; they've got so much potential with their sound and a lot of creativity. I can't imagine what seeing them live would be like, they're trying to be a soul/dance oriented band but their songs hardly ever make you want to move more than tapping your foot. I want the band's two singers to belt it, there's so many opportunities for it, and they just let their songs stay in the shadows and linger. For the vocals, the female comes off as whiny, moaning and kind of a drag near the end of the album, which doesn't make this album any easier to listen to. As far as merit, I will give them that they're pretty much the only band that sounds like this right now, but unfortunately being unique is not always good when you're not that great. Hopefully we can expect more from them on their sophomore record. If that happens, I'm very interested to see where it goes.

I guess this album could be pretty cool to make out to; or at least interesting.

Key tracks: "Islands"

The Beatles' Remastered Catalogue

7.5

Their first record begins where any 60's pop band would. A mixture of old standards, love ballads, and love pop songs. This is a dull album save "I Saw Her Standing There", the title track, and the select few that have gone on to be classics. Although full of covers, it does begin to show the Lennon-McCartney dynamic and how it developed over the years. This album is more respectable because of what it started, rather than how it sounds.

7.4

Another year, another album for the Beatles, another 2 singles meshed with 12 others on a LP for 30 minutes. This is perhaps evidence that every group, even *gasp* the Beatles, had a sophomore slump. This shows that the pressure on a group has always been high after a well received record. Let me reiterate a point, and my outlook for these reviews: I am not going to look at every Beatles album as a classic. This is a flaw that most reviews of their records have. When this came out, no one thought that the Beatles would be the biggest thing in the world, so I'm reviewing it based on sound, the songs, with a small thought of influence and the fact that it's the Beatles. This album suffers from "single-itis" worse than the record before. Standouts are the blissfully in love "All my Loving", and little George singing "Roll Over Beethoven". How cute, the Beatles make their first mess up; however, this album shows a lot of progress in the strength of their writing, and choice of covers.


8.0

Here we go! Their first great record. From the first track, it doesn't seem like much has changed, but when listening deeper, it's clear that the Beatles had definitely searched deeper for their songs and it shows. The Beatles become self aware on "A Hard Day's Night". George's 12 string guitar jangles all across the world, and inspires all musicians who heard it to go and buy a Rickenbacker (see the Byrds). Even the regular songs on this album are easy to listen to. The album covers shows the Beatles playful, creative, and artistic, which is exactly what happened on this one. "And I Love Her" is gorgeous.

7.0

The album cover shows four grimaced, faux-bad ass Brits. By 1964, the Beatles were superstars and they knew it. This is the point in their career where they could release absolute garbage (see Let It Be) and it'd still go number 1 for a week or two. "Beatles For Sale", however, is not garbage. This was their second LP in one year, and that's an accomplishment in itself. They've still got some covers, but their songwriting is being developed more and more, and more and more great songs are coming out on the records. Unfortunately, there are still too many sub par songs typical of a 60's group that don't deserve very much merit. Listen to "Eight Days A Week" and call it a day.

8.2

The album title says it all. Enthusiastic, progressive; Help! has more happy songs than somber, lame ones. The listener deserves this. All songwriters are showing incredible progress, and there are more great songs on this record than any of the other ones. The first side is almost perfect. This album has several "classics" that we've come to know and love from these guys. "Help!" is also perhaps the first album with a strong core. It builds on what "A Hard Day's Night" had, and expands it in a more "Rubber Soul" kind of way. And this album helps them get from the poppy, early 60's vibe, to the next record. "You've Got to Hide Your Love Away", "Ticket to Ride".



9.5

Expanding on what "Help!" started, "Rubber Soul" takes the folk-rock genre that the group explored even further. Also, this LP started the elements of psychedelia that would come to fruition on "Sgt. Pepper" and so on. The psychedelic font and long, messed up hair on the cover says it all; the 60's were changing, and so were the Beatles. This album is their first incredible album. The sitar in "Norwegian Wood", the more thoughtful love songs like "You Won't See Me", the lulling, francophile "Michelle", this album is the first one where the great songs out weigh the mediocre ones. This album also bred competition with The Beach Boys. Brian Wilson heard "Rubber Soul" and was inspired to write "Pet Sounds"; the Beatles heard "Pet Sounds" and were inspired to write "Revolver". The folk-rock meets jangly pop take their sound to the most mature level yet. Harrison shines on the 12 string "If I Needed Someone", and Ringo is given a token lead vocal on "What Goes On" (see Sufjan Stevens). "Rubber Soul" was a key stepping stone to all future records for the Beatles, and brought folk-rock to the mainstream (see Bob Dylan, the Byrds, the Hollies).

9.8

Enter psychedelia, stage right. Just look at the fab four's faces on the cover. They look suspicious, ambitious, busy, and apathetic all at once. However, this record is in no way apathetic. "Revolver" isn't just a psychedelic record; this record tests the boundaries of typical pop formats, experimental instrumentation, and stereophonic arrangements. The sound is a little muted, and very wintery. There is a certain empty space that is in each of these songs, at times filled with horns and strings, vocals, or just backwards guitar ("I'm Only Sleeping"). Continuing the sitar contributions, this album has the biggest touch by Harrison, and shows some of his greatest songs. One could even call this record baroque. By 1966, the Beatles were looking and sounding like adults, and the songs reflect that. "She Said She Said" and "Tomorrow Never Knows" are incredible tracks from Lennon, while Harrison shines on "I Want to Tell You", and the funky "Taxman". "Revolver" is the first record that leaves the listener saying "wow" after listening.

10.0

A true classic, you can't argue that. What this record did to inspire other musicians is unmeasurable. While I can't argue that it's an incredible record, I can argue that it's not the best of all time (see Rolling Stones' list of 500 greatest [?] albums). It was now intensely clear that the Beatles were doing a lot of drugs, and they were making some of the most incredible songs of all time. The recording was at times meticulous, but it definitely payed off. The instrumentation and arranging was artistically pioneered. A record of monolithic achievements, and small faults ("Good Morning"); John Lennon's contributions are the weakest, and "Sgt. Pepper" was clearly a sign of McCartney's genius coming to fruition. This record is the first time that McCartneys out shine, out do, and really tarnish Lennon's contributions (save "A Day in the Life). "Within You Without You", Harrion's sole contribution, is a pristine, climactic, Indian jam. Wow, wow, wow. Does anyone else wish that the intro to "Lovely Rita" should go on forever? I do...

8.0

Take one look at the silly (stupid) costumes the Beatles are wearing on this cover. Take one look at that...interesting...cover and say to yourself this is a great album. Doesn't really fit does it? One would not associate mastery with random animal outfits and psychedelic eclecticism, and unfortunately, this album lacks the mastery and cohesiveness that "Sgt. Pepper" had. We are now in a different world for albums, we are no in the post-Sgt. Pepper era.

Most of the songs on "MMT" are singles or outtakes from "Sgt. Pepper" anyways. This album also has a darker, more distant face to it; George Harrison's dark violins drown in a sea of organs on "Blue Jay Way", a stand out on this LP. On a lighter note, the would-be classics "I am the Walrus", "Penny Lane" and "Hello, Goodbye" bring this album a lighter edge, and brings listeners those pop songs that they've come to expect, something they'll miss after the "White Album" hits. Perhaps this record is their last summer in innocense before growing up. Perhaps it's their last hoorah of fun, whimsical, no worries songs. Nonetheless, "MMT" is a return to their barely par, mediocre albums before "Rubber Soul".



9.5

What do you get when you take the biggest band in the world, bored with success, on a plane to India for an unset amount of time? An eclectic, unpredictable double album. This album showed the growing rift in each of the Beatles' opinions on how things should be. Everyone was writing; not only writing, but writing more and sometimes better than ever before. Each of them had a set idea of what they wanted "The Beatles" to be, and that was slightly different to each of them. But what's great about the "White Album" is that despite the differences, they all put forth their songs. Their writing was better, and there were more recording avenues than ever before that allowed them to pursue their ideas. Again, most of the crappy songs are by Lennon, whose good contributions are becoming more and more rare. McCartney has grown up, and is showing his individual strength in writing and instrumentation. Harrison has also grown up, and his contributions are perhaps the greatest. Highlights are the luring "Dear Prudence", "While My Guitar Gently Weeps", "Martha My Dear", "Mother Nature's Son", and "Long, Long, Long". Most of their songs are joined by orchestration, which compliments their pop formats greatly.

10.0

This is it. This is what the Beatles were made to create. "Abbey Road" is the ultimate stepping stone for them. If "Sgt. Pepper" was their best album in terms of innovation, concept, and instrumentation; then "Abbey Road" is their best album in terms of songwriting, technique, musical merit, and guts. This is it.

"Come Together" demonstrates how Paul McCartney sounds when his bass skills grow a pair. That grooving Rickenbacker glides through Lennon's song like a salmon swimming upstream. Harrion's "Something" is not only his best songwriting effort, but one of the best Beatles' song in general. In fact, it's so good that some people even believed that Lennon and McCartney had written it instead. McCartney's contributions on this album are sometimes insufferable, unfortunately. Starr and Harrison come together on "Octopus' Garden"'s jangle, child-like, under the sea extravaganza. On the almost 8 minute "I Want You", the Beatles are at their most impressive, jaw-dropping musical level yet. McCartney's basslines are walking and dynamic, the organ is evil and crunchy, Ringo's fills crash and roar, and the lead guitar is Clapton-cum-Hendrix, if you asked me.

On side 2, Harrison again knocks all the songs out of the water with "Here Comes the Sun". This song only confirms the fact that he is the best beatle musician. The rest of the side, is an entire contiuous suite; an spectacular, immaculate one I might add. They even use major 7th chords on "Because" and "Sun King", whose dreamy, spacy group vocals make you want to float down a stream or float off into a large orange summer sky. The greatest of these 1-2 minute clips in the suite, "Polythene Pam/She Came in Through the Bathroom Window". McCartney shows his name dropping story telling, and Harrison his climactic, decisive guitar. The Beatles had been waiting 10 years to write these songs, and they never even played them live. "The End" is just as much "All You Need is Love" as it is "Here, There and Everywhere". And you've gotta love "Her Majesty" tagged on to the end of it, ending the Beatles' last great album. "Let it Be" is not worth mentioning and will not be appended to this review.

Farewell, and remember that I reviewed these albums as albums themselves. It is not up to me to tell you that they're classic or not; as time has already proven that. Rather, to show how each album compares to something today, and to each other.

-GT

"Embryonic"- the Flaming Lips

6.8


Odds are if you an original or longtime fan of the Lips then you miss their old experimental, jam-rock, acid influenced, psychedelic, jams that epitomized their first few records. Odds are if you joined the Lips train from the Soft Bulletin or At War with the Mystics, you don't miss that phase at all, let alone even knowing it existed.

With that, "Embyonic", is a return to their early, experimental phase. Unfortunately, I do not have a lot of emotional investment in that era. Instead of looking at the Lips' career as a sort of "now and then" approach, I see it as an accomplishment to have survived long enough to evolve their style. The Flaming Lips, along with Sonic Youth (who also released a record this year), are quite possibly the only surviving experimental bands from the 80's. There is no doubt that this is a reason to respect the band, but I am still nonetheless generally unimpressed with the tracks on their latest, 18 track record.

In all honesty, there is nothing that you can't assume from the album that you can't assume from the first wah-wah belch of "Convinced of the Hex". The problem with this record is not the tracks themselves; rather, that continuity on the tracks. There are 3 types of songs on this record; the experimental jam (a loud drum beat, a fuzzy bass-line, weird guitar, and lyrics that start every line with "she"); next, the slow, abyss-like 6 minute jams; and finally, the weird instrumentals (like "Interstellar Overdrive" but less....good). Suffice to say "Embryonic" is an odd record that is predictable and too repetitive of style. "Aquarius Sabotage" stands out as one of the best tracks of the album, and one of the best instrumentals of the decade. A list that is filled with Lips' tracks. The weirdness of this record is just as much of a good thing as it is a bad thing. It's a good thing in the David Bowie, Syd Barrett era Floyd respect, but a bad thing in the Sonic Youth respect.

Next, the fact that this album has 18 tracks was an interesting choice. This type of double album fits along with the "White Album" pros and cons. It's a good thing because there are quite a bit of songs to choose from, but it's a bad thing because it seems like there was not a lot of censorship as far as what should be on the album or not; rather, just putting everything on there that they had. Which brings up the next problem, the songs are not cohesive. Besides the fact that most of them are freakin weird, there is no flow to the album.

It's sad to me that songs like "Silver Trembling Hands" and "Convinced of the Hex" are stuck on the same album as "Powerless" and "Gemini Syrignes". This is just not fair. "Silver Trembling Hands" is in the epic, best of the decade territory, but its greatness is out-weighed by all the other sub par songs. Maybe "Embryonic" would have been better off as an EP of 5 or 6 songs; maybe the album's weirdness will grow on me; maybe the fact that this album isn't incredible is what they were trying to do and speaks to their early attitude of recording music; maybe after making 11 records over 20 years, they really don't care that much anymore. Either way, "Embryonic" is way below what I would expect from a band who has pushed out truly incredible work. Perhaps if this were their first or second record, I would feel differently, but unfortunately I will never know.

Key tracks: "Silver Trembling Hands", "Aquarius Sabotage"
Listen if you like: Sonic Youth, Pink Floyd.

"Break Up"- Pete Yorn and Scarlett Johansson

9.0

"Break Up" is a bright, peppy, poppy, infectuous, lo-fi at times, pristine at times, album. Ignore the negative connotations of break ups when you read the album title; this record's potentially (and stereotypically) somber tones are masked with simplistic, acoustic laced, electric guitar crunched melodies. "Break Up", is a sensible pop record with the same amorous innocence as The Beatles, full of toe tapping, whistling wonder.

Considering that it's a break up album, it has the potential to be incredible. If anything, this record is a vehicle for Pete Yorn to show his musical prowess. None of the 28 minutes (9 songs) feels wasted. They fill every second with a hook, an cute boy/girl duet, a punchy chorus, slick electric guitar lines, or some other aural must for a record of this caliber. Being that it's only 28 minutes, after you listen to the whole record, you feel like it's missing something, but I feel that it would get redundant if they would've expanded it to a 11 or 12 track album.

Although there are only 9 tracks, there is a definitive side 1/side 2 difference. From the opener to "Blackie's Dead", the tracks are peppy, confident, and triumphant. From the distant guitars, dark side of the break up of "I am the Cosmos" to the closer, the songs are thoughtful, slower, and a little less conventional, which shows their strength by pulling off steel guitars, wah-wahs, and fuzzy basses. A credit to the production.

"Relator", is a confident, quick, and upbeat opener. Pete Yorn and Scarlett Johansson's amorous back and forth is met with a choir of overdriven guitar licks, and strings. Yorn's flowing, spacey acoustic guitar is a constant throughout the mix, and I feel that it adds to the lo-fi meets magnificent arrangements take on this album. The Rickenbacker bass acts like a heartbeat for the romantic second guessing of "I Dunno What to Do". The banjo and piano flirt amidst chamber strings in the triumphant climax of the song. A shift in tone, "Blackie's Dead" has a little bit of alt-country steel guitar. This gives them a sort of Johnny and June edge. A drum machine reminiscent of The Strokes' "Is This It?" is present in "Shampoo", accompanied by a fuzzy bass. "Clean" and "Someday" are the desire for the clarity or closure that you'll never get out of a break up, but have fun wah wah-ing.

Fuzzy bass lines ride along strings, banjos flirt with pianos, there's a lot of great instrumentation on this album. Pete Yorn's guitar licks range from Joe Satriani-esque to John Mayer on "Continuum", and puts Yorn with the best of them. Pete Yorn's voice is indifferent, cool, and sly; whereas Scarlett's is sweet, passionate, and endearing.

Key Tracks: "Wear and Tear", "I Don't Know what to Do"

"the Monsters of Folk"-

8.2

I'm sure you've already heard all about how this is the "Traveling Willbury's" of our age, so I'm not going to go on about how this is four brilliantly talented musicians who have their respective (and respected) projects.

First off, I'd like to say that the album cover gives good insight to the sound and feel of the album; rustic, folky, earthen (at times), and epic (at others). From the trip hop swagger of the opening track, the acoustic ballads, the spot on production, the spot off (when necessary) production, this album is many great things. I think it's also necessary to note that Conor Oberst (of Bright Eyes) is the weakest member; however, this does not mean that his contributions are weak, it just means that Jim James and M. Ward are that amazing.

Now...

"Dear God" is mysterious, sly, trip hop-esque, but clearly thoughtful hence the title. Just by reading the song titles, you can get a grasp of the themes of the album. These are God, war, Central America, the Wild West, and love. "Say Please" reveals the first slice of M. Ward, and boy is it good. This track is Crosby, Stills, and Nash vocally, but the Beatles musically. Although not a vocal frontrunner, Mike Mogis acts as producer for most of it, and his touch is evident in every song. "Whole Lotta Losin'" adds Americana and heartbreak to the mix of theme-ridden tunes. What I love about this song is how the first verse gives that American feel, but when the synth shows up in the 2nd verse, it gives a rushing, poppy sound that I feel is a great addition. This little mix up shows their stylistic versatility. Oh, and M.Ward dropped the Portland reference. "Temazcal" is the first time for Oberst to shine, and the first truly outstanding track. Folky, mysterious, and complete with Oberst's rusty vocal chords, the chorus harmonies are pristine, and give me the first reason to call this one of the best of 2009. "The Right Place" is worthy of being dubbed a "Workingman's Dead" outtake. Jim James is just as much Jerry Garcia as he is Robin Pecknold.

Conor Oberst is present in both the weakest ("Man Named Truth") and strongest ("Temazcal") points. Jim James seems to chime in at the perfect times for that pumping jam ("Losin' Yo Head") and the soft soothing folk songs ("Slow Down Jo"), and M. Ward seems to act as the father figure, as it feels like everytime he opens his mouth, he has the listener's attention. What I love about M.O.F. as opposed to most super groups is that each member brings their own experience and their own bag of tricks and adds it to the cauldron of indie rock in the center. There is no M. Ward song or Jim James song, they are all M.O.F. songs. Very cohesive. "Ahead of the Curve" keeps the group young, but shows their lyrical strength. "Losin' Yo Head" is by the far the most fast pace, loud jam on the album, and I think one of the strongest. For whatever reason it makes me imagine the group playing/practicing in a big mansion with a bunch of ghosts digging it. The last 3 songs on the album wind things down perfectly. I feel like "His Master's Voice" is a really meaningful song to have close the album. It includes many of the themes of the album, has a little bit of epic in it, a little bit of folk, and a little bit of everything great about the album.

This album is immediately great. It's not the kind that takes a couple listens to appreciate. The things they're singing about, the sounds they're creating, aren't anything too complex to grasp, and I feel like there is a great homey feeling to this album, probably because I love Indie so much. But this album doesn't need a genre label; it shines, it's great, and nothing else matters.

Key tracks: "Temazcal", "Say Please", "Losin' Yo Head"
Listen if you like: My Morning Jacket, Blitzen Trapper, CSNY

Catch Up #1: 2009

Catch Up #1:
What is it? Basically where I post a laundry list of albums or other things that have come up this year that I haven't had the time to review, or that don't deserve their own blog about it.

8.5
"Black River Killer EP"- Blitzen Trapper
More great tracks from the "Furr" era that won't be new to your ears if you've seen them live in the last year. Good job Eric Earley and gang.

5.0
"Wavvves"- Wavves
Alright, so there's been a lot of buzz over this Wavves kid and I don't get it. He flaked out of most of the gigs on his European tour, got pissed at his drummer, and did more E than one kid from California can take.

8.0
"Dark Was the Night"- various artists.
Tons of Indie hall of famers. The good part is that all of the tracks are new or b-side/rarities sort of thing, but the bad part is that all of the tracks are new or b-side/rarities. "Knotty Pine" is going to be a classic.

6.5
"No One's First and You're Next"- Modest Mouse
B-sides and rarities from the past 2 albums. My feelings about this idea fits in with the "Final Cut" and "the Wall" struggle between David Gilmour and Roger Waters nearly 30 years ago, and I agree with David Gilmour. If the songs weren't good enough then, why are they good enough now? I rest my case. Sorry Modest Mouse.

2.0
"Octahedron"- the Mars Volta
No one wants to listen to 7 minutes of "polyrhythmic" guitar solos anymore.

5.0
"The Eternal"- Sonic Youth
After hearing the Flaming Lips' new tracks from the forthcoming double album, and then hearing Sonic Youth's umpteenth album, it made me realize that alternative bands don't always last 20 years and make good music.

5.0
Tour EP handout- the Flaming Lips
Hearing these songs has made me question who told them they should release a double album of this uber psychedelic alternative fuzz.

But hold your head up!
Because in late 2009/early 2010, you can expect new records from.....
Vampire Weekend
Fleet Foxes
Guster
Architecture in Helsinki
the Strokes
Ra Ra Riot
the Shins

"The Ruminant Band"- Fruit Bats

8.1

Eric Johnson's voice sounds just as much like My Morning Jacket's Jim James as he does James Mercer. "the Ruminant Band" sounds as much like the Shins playing Blitzen Trapper, as it does Fleet Foxes playing Neil Young. There are plenty of comparisons one can draw from listening to Fruit Bats, but the band does well to retain their own brand of alt-country mixed with americana and of course folk (lead singer Johnson hardly lets an acoustic guitar go farther than inches from his hands).

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The vocal phrasing is similar to the Byrds. One line goes up, one goes back down. Johnson's voice does well with both, by the way. The music is the folky sometimes americana, while the vocals and guitar solo lines are the alt-country. The lyrics have their own Fruit Bats twist as well. Mexicans, hobo girls, Indian casinos, etc.

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"Primitive Man" is one of the greatest tracks of the year, and an incredible way to start out an album. The reverb applied to each song sounds like the vocal and the acoustic guitar was recorded in a big open room with stained-glass windows, with the sonic guitar passages then laid over. The title track carries the same sonic-meets-down home wonder as the opener. These songs also have a great camp-fire atmosphere to them. The listener, after three or four tracks could go as far as to describe their sound as "alt-country-campfire indie rock"; you heard it here.

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"Tegucigalpa" brings in the Western country influence. Which could make Eric Johnson and band look like a baroque Johnny Cash. "Beautiful Morning Light" is the first quaint campfire singalong that you can feel the strings being strummed, a style that recurrs in "Singing Joy to the World" again, possibly more so. That song makes you want to stare out a window on a beautiful summer morning. I feel like this album was released at the perfect time.; August. This is, to me, an August album, evoking sunlight, girls, love, happy feelings, old country Michigan, and rural fields at every chance it gets to. The instrumentation on this album should not go un-noted. Like I mentioned before, the guitar work is sonic, the bass and drums compliment it well, with sliced, punchy piano when needed: "the Hobo Girl", "Being on Your Own", "My Unusual Friend". "The Hobo Girl" brings back that late Byrds-esque psychedelic country rock feeling. It almost feels like the Fruits Bats are the Byrds of our era. The final track, "Flamingo", sounds like it was recorded in the 1930's.

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So basically what you have here is a modest album that comes off wonderfully most of the time, but does get too repetitive with the token alt-country at times. But please pay attention if you're looking for an end of the summer album full of county fairs, summer love, holding hands, and singing at the campfire.

Listen if you like: Blitzen Trapper, My Morning Jacket, the Byrds.

Key Tracks: "Primitive Man", "the Ruminant Band"

"3 Rounds and A Sound"- Blind Pilot

8.4

After completing a tour where Portland's Blind Pilot Israel Nebeker and Ryan Dobrowski biked from Bellingham, WA to San Diego, CA, the band sold out of their self released EP. Both of those feats are truly impresive. If you have ever listened to Blind Pilot, you'll discover there's another thing to be impressed by; their amazing whimsy amidst melancholy folk, and happy pop.
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Their sound is powerful; which is odd considering most of their tracks are an acoustic guitar and drums. There's something in Nebeker's voice that yields a powerful edge, while still holding a soft, gentle, endearing tone. The brushed snare drum, the carefuly strummed chords, the soothing hi hat or jazz cymbal, the stories, the element of Oregon, everything comes together to their advantage.
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In "Oviedo", the guitar seems to appear out of nowhere and get closer and closer to the mic. The lyrics hold a meaning and augment the soft music. Eventually the two Pilots are joined by a brass section that belt the melody; it's beautiful. "Paint or Pollen" has a jazzy, sly chord progression. "The Story I Heard" ties in elements of the Northwest, jumping a Utah train, things undone. "Poor Boy" is a somber song, but still not terrible to listen to like most sad songs. "One Red Thread" shows the full band potential of their live sound and touches on the upbeat and the slower grooves of this album. Beginning the same way as "Oviedo", but going into new territory with vibe lines in the middle are admirable, lyrics that are liberating, drums that are pumping but not too loud, and touching on the same quiet delivery as the slower songs.
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Although in recordings there is few tracks, a minimalist sense that I can respect, Blind Pilot are joined on stage by a full band that, I feel, takes their sound to the potential that is so obvious on "3 Rounds and a Sound". This album is a perfect album to listen to in your car on your way home. I almost feel like it's giving me a pat on the back. From the time I bought this album, in February '09, until about May, it was nearly all I listened to. This album is listenable all the way through, or if you're just feeling like a couple of their tracks, which makes this album versatile.
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" Go On, Say It" continues the energy that "One Red Thread" brought into the record, urging you to "come on say it right". This time joined by strings, which also course through the veins of their live sets. "Two Towns from Me" is a borderline alt-country song with that wonderful soothing quality, and a Rhodes organ! "Things I Cannot Recall" highlights all the fun of a young relationship; first kisses, trips to the beach, getting caught. "There are things I could not forget/I wish none had happened yet/There are some things I cannot forget/We were stronger than the preachers, wiser than the law". This song is one of my favourites from the entire year.
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Blind Pilot combines child-like innocence, "Things I Cannot Recall", "Two Towns from Me", with more mature situations, "The Bitter End", "3 Rounds and a Sound", as well as the story telling quality of early Decemberists. I truly believe there are great things coming from these guys. They are constantly expanding and I think it's safe to say we can expect a lot of great tunes from these guys in the years to come.
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Key tracks: "Oviedo", "One Red Thread", "Things I Cannot Recall"
Listen if you like: early Decemberists, Elliot Smith, The Shins

"The Funeral"; "Neon Bible"- the Arcade Fire

7.4

Well you're probably wondering why I chose to review both of their albums at once, and quite frankly, it's because neither of them are good enough to devote an entire review of each. Now before you get mad at me for, *gasp!* not liking Arcade Fire, stop; don't consider me a critic of the band, consider me a critic of their albums.

I've heard a lot of hype about this band, and I dodged listening to them for years before my friend finally lent me their discs. It pains me to see wonderful songs like "Neighborhood #1 (Tunnels)" and "Une Annee Sans Lumiere" get stuck on the same album as awful songs like "In the Backseat" and "Crown of Love". I have a feeling I'm not alone in this thinking either. People probably think that it got good reviews so they can ignore the couple bad songs on there. Unfortunately, I believe that a good album is mostly good with a couple bad spots, rather than mostly bad (aweful at times) and sometimes wonderful.

Like I mentioned, "Neighborhood #1" is an energetic, wintery way to start out an album, and I loved it. The band has a very French-Canadian sound, which I admire and respect, but when their female singer actually sings, it doesn't work out. The only noteworthy songs on this album are "Neighborhood #1"; "Une Annee Sans Lumiere", a nice split between French and English that tells a familiar tale that turns Talking Heads-epic at the end; "Rebellion" is alright as well. The turn atypical on themselves on their first album, not a good start.

8.0

Alrightey, number two. This one shows significant improvement from the artsy/faux-epic/atypical Indie Rock of "The Funeral".

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Continuing the French-Canadian influence, the first track belts "Un, deux, trois, dit mirroir noir!". A nice opener. "Keep the Car Running" is their best song yet. The fast, running, racing energy of it keeps you intrigued by the music, and the story telling. Most of the other tracks kind of run into each other without sticking out too much, but at least sound good. Their use of instruments is impressive, their use of French is impressive, but their particular brand of art-rock is not always charming and I don't always enjoy listening to their albums all the way through, rather a couple songs here and there.

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Like I said, it's not that I don't like Arcade Fire, I tried reaally hard to drink the punch like everyone else and just like them, but I can't help but think they are little too repetitive and odd at times.

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Key Tracks: "Neighborhoods 1", "Une Annee Sans Lumiere", "Keep the Car Running"

Listen if you like: Talking Heads, David Bowie, Wolf Parade.

"Illinois"- Sufjan Stevens

10.0


Who would've thought that from 2003's "Michigan", would come "Illinois" just two years later? Not to mention putting out an album in between the two fifty states project LP's. Sufjan is a beast of a songwriter. From the long song titles, the jazzy piano lines, the flourished classical elements, the variety of songs (from introspective folk songs, to grandiose epics), this album brings Stevens in with gusto, pazazz, but still singing with his quiet whisper of a voice.


First of all, "Illinois" has 22 songs. With song titles ranging from 1 to 52 words and styles ranging from tear-jerking folk (Casimir Pulaski Day) to jazzy, string flourished upbeat pop songs. From the song titles, you can tell a lot about his humour that's obviously hiding behind his soft-spoken image. There is so much life in this album, though. The songs talk about quiet memories in small towns in Illinois, big towns (Jacksonville, Chicago), sadness, and happiness. By the time your ear hears the first piano line in "Come on Feel the Illinoise", you'll be convinced, along with me, that this album is truly one of the greatest of our time.


"When the revenant came down/we couldn't imagine what we'd found". The opening lines of "Illinois". A strength of Sufjan is the tremendous modesty that comes off from his tunes. It seems as though he never boasts too much. His voice almost always remains a whisper; but doesn't lack the confidence or presence that a full blown shout has. Parsed among the dozen or-so 3-7 minute tracks, there are about ten interludes/outros/reprises. The first of these instrumental interludes, "The Black Hawk War, or,..."; which seems like the perfect narrative to a tribal fight scene. Like I mentioned earlier, the jazz influenced, "Come on Feel the Illinoise Parts 1-2", is probably the most upbeat song on the record. It not only shows the tempo highlight, but the song is also one of his most impressive lyrically. "Oh god of progress/have you degraded or forgot us?/where have your walls gone/I think about it now", then to "I cried myself to sleep last night/ and the ghost of Carl [Sandburg], he approached my window". There is no doubt in my mind that Stevens is a well read, intelligent individual, and his songs definitely do justice to that.


The first glimpse of the folky side of Stevens (on this album, anyway), is "John Wayne Gacy, Jr.", which seems almost like a part 1 to "Casimir Pulaski Day". "Jacksonville" sounds just as much like the Dead's "St. Stephen" as it does a Stevens song. "Decatur, or..." is a nice mix between up beat and folky. With Stevens' signature banjo punches keeping the beat. He is joined on this track by his brother, also a pro marathon runner, who harmonizes. The two sing, "Our step mom, we did everything to hate her/she took as down to the edge of Decatur". Stevens' guitar-meets banjo guitar playing sounds just like Jerry Garcia and Lindsey Buckingham. Now, I know that seems like it's a harsh similarity. But look at the three of them as songwriters, and there is a lot of similarities; now look at them as guitar players, with all three of them being fluent on the banjo as well. Now does it make sense?


"Chicago" takes the album to a completely new level. This song is as grandiose and epic as "Stairway to Heaven" to me. The blasting horns, the Rhodes lines, Stevens' whisper, the choir joining on the chorus; this song is just as grandiose as those 70's rock epics, and I hope in 20 years they'll look back "Illinois" and say the same about "Chicago". "I fell in love again/all things go, all things go/drove to Chicago/all things go, all things go". This song is what takes this album from "Album of the Year" territory, to "Album of the Decade" territory. Immediately from the strong orchestration on "Chicago", we're taken back down the the melancholy folk we've come to expect from Stevens with "Casimir Pulaski Day". This song, apparantly, about a teenage lover of Stevens who is diagnosed with bone cancer and finally passes "on the first of March, on the holiday". This song is definitely the tear jerker. His whipsery voice is his strongest quality in down-tempo songs like this, which tracks the events of Stevens and his lover's life from teenage years, to the present situation. The narrative in this song is so vivid that you are practically there, in the hospital room with them, and just as well, at the bible study, the navy yard, and the quiet houses. Once the words are through, the song is taken into a beautiful passage of choir-esque "da da da's" and trumpet/trombone lines. If there was one song that could make me cry, it would be this one.


"The Man of Metropolis Steals our Hearts" is a combination of "Come on Feel the Illinoise" and the folky songs on the album. A song where Stevens is, *gasp*, playing an electric guitar, whoa! The next songs on the album are mostly interludes, with a few more genuine songs, "The Wasp of the Pallisades...", "They Are Night Zombies...", and the rest are the lo-fi folk meets Sufjan orchestration. With "The Tallest Man, the Broadest Shoulders" returning to "the Man of Metropolis Steals our Hearts". The album's closer, "Out of Egypt...", is an instrumental classical led beauty that fades in and out. Which leaves me wanting more, and satisfied, and wondering which state will be next on the 50 states project.


Key tracks: "Come on Feel the Illinoise", "Chicago", "Casimir Pulaski"
Listen if you like: Belle and Sebastian, Iron & Wine, early Decemberists

"LP"- Discovery

7.9

Sideprojects these days rarely create something worth lasting. "LP" is no different. Just like you've heard from countless other reviews and blogs, this album's songs pick up for 2 and a half minutes and then dissipate into nothing without ever creating any kind of omnipresent force or motif. This is not necessarily a weakness though. This album is good, but it is (obviously) not as good as V dub or Ra Ra Riot. "LP" gives a nod to everything that any other electronica band has, the Daft Punk reference, Japan, discotheques, etc., but despite these cliches, some things do stick out.

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The first faux-pas is that the album's arguably strongest two songs are first. So basically once you hit through the Japanophile synths and beats of "Orange Shirt" and the fuzziness of "Osaka Loopline", there's not really a lot to look forward to. The songs on this album all fall into each other, which is nice when you're driving or cleaning your room or something. Don't get me wrong, I'm not trying to dog this album or make it not seem worthwhile, there are a couple of really good tracks on "LP". The next song, "Can You Discover" is a version of Ra Ra Riot's "Can You Tell" that has been beaten to death by auto-tune (which is used on almost all of the vocals) and synths. "So Insane" is a nice obvervation of a crazy disco club where everyone is hitting on each other doing the electric slide ("I'm gonna teach you, teach you"). Not too bad. The production quality of these songs is notable as well. Rostam's touches are audible everywhere on this album's sleek, air tight quality. "Swing Tree" is an unexpected jaw dropper about a day-dreaming of sea-going boy, with the same synth patch as "Blake's Got a New Face". The rest of the album is otherwise alright, with tracks receiving visits from Angel Deradoorian, Ezra Koenig (Rostam's bandmate), a Jackson 5 cover, and a hint at African influence with "Slang Tang".

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Key tracks: "Swing Tree", "Orange Shirt"

Listen if you like: Vampire Weekend, Ra Ra Riot, Daft Punk

"Talking Through Tin Cans"- The Morning Benders

7.8

I would say The Morning Benders are many endearing things. Cute, quaint, suttle, modest, innocent at times, passionate at others. The latter, passionate, keeps this album from the 8.0 you would want it to be after listening to side A.

From the very beginning, The Morning Benders will have you rooting for them. Their music, driven by Chris Chu, is punchy, peppy, up-beat Indie Pop. The feeling you get from listening to their tunes, is what you would expect to feel when looking at their album cover. The little boy talking into the huge tin can. This is representative of them as a band. The little band packing a big, impressive bunch. This is an audacious, and straight-forward debut, in a decade with several strong debuts (see Fleet Foxes, Vampire Weekend).

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"Damnit Anna" sets the tone for the album. Fast and upbeat, but with thoughtful lyrics. A fun note about these songs is that many of them merge into each other (Dark Side of the Moon, anyone?). The Morning Benders sound as much like The Beatles around "Rubber Soul" as The Shins on their debut and "Chutes Too Narrow". The first 5 songs on the album are gems; very straight-forward Indie-pop laced with organs and acoustic guitars with lyrics full of love, broken hearts, odd folk stories. These songs sound very familiar, nothing too progressive, a safe move on their part. Safe is another point I'd like to draw with this album. It's not necessarily a bad thing, but this album doesn't do anything that hasn't been done by The Shins and other indie darlings of the decade. Like I mentioned before, after Side A of the album, you're rooting for them, and ready to call this a great album. It's not that this album isn't great, it's just that the passionate, heart-broken lyrics of "Heavy Hearts", "Wasted Time" and "Chasing A Ghost" mess with the happy theme of the album that was going in Side A. I prefer that happy "I Was Wrong", "Patient Patient" and "Waiting for a War". But with "When We're Apart", the album's closer, all is forgiven. This acoustic ballad is wonderful. It shows the musicianship of Chris Chu and his habit for making happy, almost cute songs. These are the strongsuit of the album, and the Benders would do best to continue that on their sophomore effort. In my opinion, it's Side B that drags this album away from "great" territory, but a solid album nonetheless.

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Highlights: "Waiting For a War", "When We're Apart"

Listen if you like: The Shins, The Beatles, Little Joy

"Everybody, Come Outside"- Pomegranates

8.7

You can tell a lot about this album just from it's cover. Odds are the impression you get from a couple seconds of glancing at it are accurate: fun, colourful, innocent, bright, etc. All very good things, which this album happens to have a lot of. Let's take a short look back...

Last year, Poms released their first LP, "Everything is Alive", and almost a year to the day later, they have a second one out. This alone is amazing. Their first album had the potential, but none of the songs really stuck out (with the exception of a few). However, on this album, they took the potential and really honed it and found their niche.

The album starts out fun, in a jolt of indie rock with a nice beat and group vocals that make you want to groove along. Sonic is a word I would describe the soundscapes on this album. They define their sound as "art-pop" and I like this name for them. The songs have a nice gliding, easy-going feel to them. I feel like there are a number of high points in this album, and it definitely has more of a direction than their first. Their guitar lines are sweet; each song usually has a driving bassline with slick guitar phrases left and right with some atmospheric keyboards. "Beachcomber" is a nice song to bring in the summer with. The band's two singers comliment the songs really well. One singer has a higher, almost falsetto, that's very child-like and whimsical but definitely has gusto; where the other singer has the gusto and gives it a deeper feel. As far as motifs throughout the album, stars, dreams, the sky, space, land, and water. "The Southern Ocean" talks about a (girl?) swimmer with big dreams, and a peppy sound. This track really kicks off the album for me. "Sail (Away with Me)" is a cute indie love song that your ears will surely sail away on. The mellotron flutes give way to a very transe-like state, I like it. "Corriander" dabbles in progressive and art rock (hence 'art pop') with the sonic delay-filled guitar lines and talks about when "I was young/a few lightyears ago". "384 BC" is slow and dreamy. Dreamy, another point I'd like to bring up. The songs on "Everybody" are very innocent, dreamy, child-like, etc, but not unfocused or stupid. Rather their songs are child-like and fun, with psychedelic passages and a whimsy comparable to Syd Barret led Pink Floyd.

Another great thing about Poms is t

hat the songs aren't too long and they don't drag on too long. With the exception of "Jerusalem has a Bad Day" and "I feel like I'm a Million Years Old", which clock in at nearly 7 minutes and 13 minutes respectively. Their songs are easy to listen to, fun, psychedelic at times, playful, and very solid.

Highlight: "Everybody, Come Outside", "Tesseract", "The Southern Ocean"

Listen if you like: The Shins, early Pink Floyd, Arctic Monkeys

"Places Like This"- Architecture in Helsinki

8.5

Architecture in Helsinki, in a time where odd names seem to fit right in, so does this peppy, happy, upbeat, wonderful record. AIH has got more spunk than any other band around today. Lead singer Cameron Bird takes up most of the vocal duties on this album. His vocals fit somewhere between David Byrne and Isaac Brock. That comparison comes up a lot in my mind, Talking Heads and AIH are very similar in dynamic. AIH created a very fun record on "Places Like This", and you'll be grooving from the first synthed out track all the way to the end.

"Red Turned White" gives you the notion of the album and sets the scene really well. If you haven't already, check out the music video for "Heart It Races", it's pretty trippy. One of the strongest points of this record is that it's always fun, but it doesn't become "Skeletal Lamping" and get too un-serious. You can tell the musicians took their parts very seriously. "Hold Music" is straight groovy. Also, their background (Australia) comes to their advantage; it fits them very well. For example, "Let me tell you about Christmas time when it's hot", a line from "Like it Or Not". "Feather in a Baseball Cap" and "Underwater" take the album down a notch. "Underwater" is ghostly and wonderful, it kind of slides through your headphones. "Like it or Not" brings back the funk (and the weird). Their drummer, James Cecil, plays the trombone. Singing about somebody's mom being in love with you, don't think too much of the lyrics, but that's not a problem; there's plenty to tickle your ear's fancy. "Debbie" is their nightclub dance tune. "Lazy" shines through the odd and strikes beauty. "In the galaxy stars/with nothing in the middle 'cept the planet that we're on and it's playing 2nd fiddle": I love it. "Lazy" starts out quiet, but by the end the sweet guitar lines groove into each other and your feet will be tapping like hell. This song just sounds Australian, if that were to be a genre. "Nothing's Wrong" is another song that strikes gold. It pushes this album back into Talking Heads territory. The last song, "Same Old Innocence", takes it back up and back down, with a pumping tune.

Like I said, every song on this album is dance worthy. Some of the songs are weirder, but some of them (as I mentioned) are very respectable songs. There is a lot to listen to in this album, and I'm sure you'll be listening to it for a long time. Also, see them live if you can, they're incredible. I am excited for their (hopeful) 2009 release, but "Places" is a great place to start for exploring the AIH catalogue. Happy dancing...

Highlights: "Lazy", "Nothing's Wrong".
Listen if you like: Modest Mouse, Talking Heads

"The End of History"- Fionn Regan

9.5

It's been almost 2 years since I stumbled across this folk album, and almost 3 years since its initial release. What Fionn Regan created on his debut album was truly classic. First off, he plays guitar incredibly well, has a great Irish-accented singing voice, and is a talented songwriter. His songs evoke scenes in Ireland during the summer, long coasts, the gold old days, things undone, words unsaid, rain, sun, happiness, sadness, this is one of the greatest albums of the decade and I have no doubt that this album will get a spot in your memory as such.

From the first seconds on "Be Good or Be Gone", Regan's finger picked guitar, and matter-of-fact vocals are reassuring. I can't quite say enough how soothing this song is. "The Underwood Typewriter" takes you to rural Ireland on a nice summer day. His guitar is once again beautiful and flawless, and his storytelling is heartwarming. "Hunters Map", "Snowy Atlas Mountains" represent the darker side of Regan, but no less staggering. "Hey Rabbit" is a nice analysis of the world these days. "The Cowshed" talks about suicide, and is definitely a darker but nostalgic tune. "I still see you as a baby/I do/Climbing onto the stage in front of the school", I think anyone can relate to the feeling of this song. "Abacus" is another heartwarming tune. Something about it will shut me up instantly. There's something in the words that have a sort of let's leave now and run away together feeling to it. "Bunker of Basement" is an amazing way to end an album. The first half is occupied by the bright piano paired with his plucked guitar led by his vocals, where the second half lets the piano lead and invokes the scene of driving away.

I really think that anyone can relate to this album. It's a nice folk gem, but it's not boring like most folk records get. There's something very nostalgic, summery, melancholic, but still very happy about it. Listen to it, and you'll love it.

Highlights: "The Underwood Typewriter", "Snow Atlas Mountains"
Listen if you like: Bob Dylan, Fleet Foxes, The Cave Singers