25. Volcano Choir – Unmap (Jagjaguwar; September 22nd)

Bon Iver’s Justin Vernon and the guys from math rock outfit Collections Of Colonies Of Bees make their debut record; and it’s a fractured take on music, experimenting with sound and structure until the song itself doesn’t so much resemble an actual song as it does a collage of noise and textures. Don’t get me wrong; it’s not experimental in the “I can’t listen to this nonsense” way, it’s experimental in that it seeks to achieve musical harmony without traditional or conventional instruments. In fact, the studio itself is the main instrument on Unmap- that also doesn’t mean you won’t hear Vernon’s trademark falsetto (it’s there in most of the songs); it just doesn’t dominate the landscape like it does with his day job. And there ain’t a whole lotta guitars on this records either; there’s an mbira, some auto-tuned vocals (that I hate to say really work nicely here) and more cuts and edits with a certain super-expensive premium music software program that I should hate, but strangely have endeared themselves to my ears far too often these past few months.

Key tracks: Island, IS; Husks And Shells, Still, Seeplymouth

24. Neon Indian – Psychic Chasms (Lefse Records; October 13th)

Do you miss your old Sega Master System? Cuz I miss mine; I was thinking about buying one off eBay so I can play Out Run and Alien Syndrome and Alex Kidd In Miracle World. See, this album by Alan Palomo (the one-man 8-bit army behind Neon Indian) has got me jonesing something fierce for my old video games. We weren’t as cool as the Nintendo kids, we got Sega for Christmas in 1986, while all of our friends were playing Duck Hunt and Super Mario Bros., we had Hang On and Safari Hunt (the bastard cousin of Duck Hunt). Our friends would come over to play and treat the Sega as a leper, refusing to play or even look at it. That’s what this album reminds me of; the soundtrack to a childhood spent down my basement trying to get to the next level of Black Belt.

Key tracks: Deadbeat Summer, I Should Have Taken Acid With You, 6669 (I Don’t Know If You Know), Terminally Chill

23. Japandroids – Post-Nothing (Unfamiliar Records; April 28th)

Apparently no one plays bass anymore. That ain’t a bad thing- just the other day I saw a bumper sticker that said “Everyone follows the bass” and I immediately blurted out (to no one in particular) “I fucking hate bass players”. Yeah, too bad everyone that starts a band nowadays either wants to be the drummer or guitar player. Later, bass. Vancouver garage duo Japandroids don’t need one anyway, their “heavy-on-the-toms-and-cymbals” sound fills the air with what could be some low-end notes, but a bass would really slow these guys down. They both share singing duties, trading back and forth or going at it together. If there’s one thing the Pacific Northwest can do is rock the shit out of a garage. Without a slow, plodding bass-playing jerk fucking them up. I fucking hate bass players.

Key tracks: Young Hearts Spark Fire, The Boys Are Leaving Town, Wet Hair, Rockers East Vancouver

22. Wildbirds & Peacedrums – The Snake (The Leaf Label; April 13th)

These Swedes rely heavily on larger-than-life vocals from Mariam Wallentin and drum circle beats from her husband Andreas Werliin. Now Bjork would be too obvious (because of Sweden’s proximity to Iceland) and I’m hearing something else in there as well; but it’s really hard to describe in the context of direct influences. This is pretty unclassifiable as far as a genre is concerned; they won the award for the Best Swedish Jazz Act of ‘08- but it’s not quite “jazz” as much as it’s a freak-out, albeit a controlled one. There’s really no “instruments” besides drums, vocals and occasional ambient synth washes or a few notes here and there; oh, and drums. Did I say drums? Every song is a workout, there’s an amazing amount of range in Wallentin’s voice (sometimes it’s bare, other times she’s multi-tracked over herself, I’m hearing Siouxsie, PJ Harvey, and Kate Bush) and the timbre of the drums go from warm to bright and open to resonant. Wildbirds & Peacedrums‘ The Snake is one of the “dark horse” records of the year- coming from out of nowhere. I’m glad people are making music like this.

Key tracks: There Is No Light, Liar Lion, Island, Chain Of Steel

21. The Rest – Everyone All At Once (Auteur Recordings; April 21st)

Big, anthemic songs wrapped in heavily orchestrated strings- I’m hearing great hooks here; the vocals recall both the yelpings of Clap Your Hands Say Yeah’s Alec Ounsworth and the plaintiveness of Belle & Sebastian’s Stuart Murdoch; the music is akin to Arcade Fire’s brand of baroque pop with a dash of The National’s shadowy melancholia thrown in for good measure- but it doesn’t do this band justice by lumping them into those easy comparisons. Showcasing a vast array of styles, Everyone All At Once is exactly that- you get everything all at once. Retreating to the faraway northern woods of Ontario to record this record, this band has crafted a genuine masterpiece- fully realized, beautifully crafted and dynamic in scope; The Rest should be the next big band to come from The Great White North, and if they aren’t on critic’s “year-end/best-of ‘09″ lists I’m formally lodging a criminal investigation to as why they aren’t.

Key tracks: Modern Time Travel (necessities), Walk On Water (auspicious beginnings), Apples & Allergies, The Lady Vanishes

20. DM Stith – Heavy Ghost (Asthmatic Kitty Records; March 10th)

Since there isn’t a track on the record called Heavy Ghost, I’ll just have to say that the name captures the feel of the record- it’s somber, haunting and reflective. Stith’s vocals are lilting and ethereal, the sparse guitars and reverb-drenched pianos are at times juxtaposed by strange percussion (or none at all); it’s a charming and creepy psychedelic folk album that at times abandons what could be considered “western popular music structure”. DM Stith creates a creepy and fragile (yet insanely interesting and charming) alternate reality within this record- it’s a haunting reminder that some of our waking hours are inhabited by unseen forces that can be a burden; or we can acknowledge them and try to make peace.

Key tracks: Thanksgiving Moon, Pity Dance, Braid Of Voices, Isaac’s Song

19. DOOM – Born Like This (Lex Records; March 24th)

MF, Metal Face, Metal Fingers, Viktor Vaughn, Supervillain, King Geedorah. Whatever name Daniel Dumille wants to use, he creates a new persona just like that- and here on Born Like This, he uses all the top producers; Jake One and Madlib as well as a few unreleased beats from J Dilla (who is still the best producer in the game, three years after his passing). It never sounds recycled or stale- obviously the work of this gang of hard working crate-diggers is beyond anything anyone else is doing and the samples are getting more obscure. Should I also mention guest rhymers like Raekwon (rhyming over the slowed-down version of ESG’s UFO) and Ghostface (appearing here as his Tony Starks character) straight slay the mic on their tracks; but they don’t steal the spotlight from DOOM- it’s his record and it’s full of verbal acrobatics.

Key tracks: Microwave Mayo, Yessir! (ft. Raekwon), Angelz (ft. Tony Starks), Gazillion Ear

18. Dirty Projectors – Bitte Orca (Domino Records; June 9th)

Accessible? You bet- Dave Longstreth’s music is usually a workout; it can be both hard to listen to and lyrically obtuse (but not even a little bit on Bitte Orca). This is more of a group effort and Dirty Projectors’ sound is rounded out by the lovely voices of Angel Deradoorian and Amber Coffman; as if their David Byrne-collaboration wasn’t a precursor to how awesome their music was about to sound; when this album leaked the internets basically shit themselves in anticipation, by the time the album hit the shelves the reviews were pouring in with accolades. Crafted with care, it’s artier components aren’t that much of a stretch (try listening to Slaves’ Graves & Ballads or the New Attitude EP if you want to be challenged), conceptually it follows the design laid out by Longstreth in previous releases- brown finches, sleepwalking through life, post-9/11 paranoia, war, etc. There’s music for stupid people and then there’s music for thinkers. Guess which one this is…

Key Tracks: Stillness Is The Move, No Intention, Cannibal Resource, Temecula Sunrise

17. Dark Was The Night – A Red Hot Compilation (4AD Records; February 16th)

You know; humanity’s defining feature, the one thing that gives me a glimmer of hope for this seemingly doomed world is the fact that when faced with adversity, we humans have a remarkable knack for banding together and breaking down our self-imposed barriers- so at a glance the musical pairings on this record would suggest the gap between artistic differences can be easily bridged. Some not so unexpected; Dirty Projectors have culled a huge influence from David Byrne’s catalog so I can totally hear how the album’s opener Knotty Pine works, Cat Power and Dirty Delta Blues (teaming up for a cover of Amazing Grace) have toured together, Leslie Feist’s collaboration with Ben Gibbard is well matched (both write really nice three-minute pop gems) and Conor Oberst paired with Gillian Welch is no stretch; two insurgent country mainstays sharing a track seems natural enough. What’s hard to believe that some of these songs would be considered “throw away” tracks, not making it on to these bands’ albums; The National, The Decemberists, Bon Iver, Yeasayer, Grizzly Bear, Arcade Fire and Beirut all have given excellent songs. The centerpiece of the album (placed at the end of the first disc) is Sufjan Stevens‘ cover of Castanets‘ You Are The Blood, turning it into a sprawling and strange epic, an electro-classical magnum opus with piano breaks and brass sections over club-banger beats- it’s as if he’s trying to convey the entire scope of his musical output in ten minutes and fourteen seconds, joining the electronica of Enjoy Your Rabbit with his Seven Swans-era and those states-themed concept albums. Canadian hip-hopper Buck 65 remixes this track on the second disc, adding his two cents in the way of furiously spit verses.

Key tracks: Tightrope (Yeasayer), Sleepless (The Decemberists), Knotty Pine (Dirty Projectors + David Byrne), You Are The Blood (Sufjan Stevens)

16. Phoenix – Wolfgang Amadeus Phoenix (V2 Records; May 26th)

I wanted to hate this so bad. I knew what it was (electro-synth pop/rock), knew who made it (the French) and have read so much hype on this band before the album was even out that I was rolling my eyes every time I saw their damn name. Phoenix Phoenix Phoenix Phoenix Phoenix Phoenix every-fucking-where. You know something, it’s a really great record. Songs like 1901, Lisztomania and the album’s closer Armistice are a few of this year’s better tracks, and they’re all on one record. It’s like that damned MGMT’s Oracular Spectacular- initially I hated its freaking guts, but it kept polluting my mindscape until one day I let my guard down and BAM! I got it. And I get this- it’s supposed to be fun, dancy keyboards-and-guitars pop for the iPod generation. That’s exactly what it is. Can’t fight that…

Key tracks: 1901, Lisztomania, Armistice, Fences

15. jj - n°2 (Secretly Yours; July 1st)

This album has a stickiness factor of nine; once you get these songs in you you’ll be humming them to yourself throughout the day. They seamlessly jump from genre to genre; at once they’re dipping down low into downtempo chillout trip-hop jams next to African-influenced sing-alongs up against tropicalia beach tracks then on to an acoustic, folky number and back again… Are these kids for real? Oh, they’re Swedish, so they were born with the “Scandanavian pop melody gene” inherited from ABBA and heard in Jens Lekman, The Knife, et al. I knew they were too good to be true.

Key tracks: Ecstasy, Things Will Never Be The Same Again, Are You Still In Valida?, My Love

14. Taken By Trees – East Of Eden (Rough Trade; September 8th)

My god, this is a beautiful record- another Swede (damn they’re talented) named Victoria Bergsman (who you may remember as the female voice from Peter Bjorn & John’s ubiquitous song Young Folks) made one of the surprise albums of the year by traveling to Pakistan to record with local musicians; let’s just say the effect is stunning. Perfect pop sensibilities crossed with Eastern instrumentation infused with polyrhythmic drumming and Sufi vocalizations from Sain Muhammad Ali. There’s a theme running through East Of Eden; of ancient harmonies given current twists- Noah “Panda Bear” Lennox stops by to lend his ethereal lilt to a track, as well as give his blessing to a cover version of one of his band’s songs. In short; a Swedish singer doing Beach Boys harmonies over Middle Eastern music.

Key tracks: Watch The Waves, My Boys, To Lose Someone, Anna

13. Animal Collective – Merriweather Post Pavilion (Domino Records; January 20th)

Envision The Flaming Lips having an orgy with The Shins on really strong microdot while channeling Brian Eno and Robert Fripp’s tape-loop manipulations, all the while conjuring up a seance with Brian Wilson’s Pet Sounds harmonies; that’s a pretty close idea to what Animal Collective has done on Merriweather Post Pavilion. And the artwork is pretty rad; stare at it long enough and you’ll get the sensation of movement. Maybe you can still see it with your eyes closed. Maybe, you can get yourself into that “tunnel” and really trip out. Who out there knows what I’m talking about? Indubitably the Collective’s Avey Tare, Panda Bear and Geologist have been inside that lysergically-induced mind warp and this record will probably serve as some sort of spirit guide for a new generation of chemically experimental kids, much like Dark Side Of The Moon or Sgt. Pepper’s did thirty-plus years ago.

Key tracks: My Girls, Brother Sport, In The Flowers, Summertime Clothes

12. The Love Language – The Love Language (Bladen County Records; February 10th)

Where’s this band been hiding all my life? Ahh, North Carolina, Raleigh to be exact. Okay, next question: how do you get that delicious reverb coating on your songs? This whole record has that wonderfully lo-fi Tascam four-track feel to it (or could be Fostex) and the aesthetic works to great avail; the songs are so wonderfully melodic they could’ve been recorded underwater and I’d still get the point. The back story is also too good to ignore; lead singer/main songwriter Stuart McLamb gets kicked out of previous band, breaks up with abusive girlfriend, drinks a lot, ends up in an overnight holding cell, moves in with parents, sobers up and writes/records this album. I swear, Hollywood writes shit like this; but it’s too good to not believe- and I for one am a believer. Another huge surprise album for me in a year filled with nice surprises.

Key tracks: Lalita, Sparxxx, Two Rabbits, Stars

11. A Sunny Day In Glasgow – Ashes Grammar (Mis Ojos Discos; September 15th)

Ashes Grammar is a 63-minute icicle of ambient-electro-shoegaze-dream pop from the Philadelphia sextet known as A Sunny Day In Glasgow (they got the name from a former band member who spent some time in the lovely Scottish city); there are hints of murky psychedelia, club/dance beats half-buried under said murk and noisy passages strung all throughout the journey here- think My Bloody Valentine crossed with Stereolab produced by Brian Eno. It’s got some of the most gorgeous music I’ve heard this year, there are little bits of the record where it drags at times but if you can just sit through those few awkward minutes, you’re rewarded with some true aural beauty, time and time again.

Key tracks: Close Chorus, Shy, Curse Words, Failure

Stay tuned for albums #10 to #1, coming tomorrow!

Zu – Carboniferous (Ipecac Recordings; released February 10th, 2009)

Holy fuck this is a heavy album, and I don’t mean heavy like heavy metal; I mean heavy like sludgy, post-rock jazz prog-metal. I don’t even know what to call this, it’s so immense. It just feels like “weight” if you catch my drift. Barreling headlong into so many different styles can be both a blessing and at times confusing- it has prog’s weird time signatures, chunky, churning riffs like sludge metal, drumming that would make Buddy Rich blush and that post-rock cinematic grandiosity. It’s an intense listen. That being said, it gets bogged down in the aforementioned sludge at times, but there’s so many different facets to this record it’s at least an above average album. Grade: 7/10

Mountains – Choral (Thrill Jockey Records; released February 16th, 2009)

Barring a Brian Eno record in the next eight months, I’d say this is the best ambient album of the year. These two art-school chums (Koen Holtkamp & Brendon Anderegg) make aural art with a slow, atmospheric record- designed to both entrance the listener and melt into the background. As much as you want to walk away from it, it holds your attention. Like a sculpture you didn’t know was in the room and when you suddenly realize it’s there, it’s like the most important thing in there. Remember those cheesy New-Age Pure Moods albums with Enya and Moby from the late 90s? Yeah, fuck those. This album is the shit- floating out there in the ether somewhere between Discreet Music and that Fennesz record from last year. Grade: 8/10

Fol Chen – Part 1: John Shade, Your Fortune’s Made (Asthmatic Kitty Records; released February 17th, 2009)

From Fol Chen’s bio on Asthmatic Kitty’s website: You know that mysterious black object that the creepy family is staring at on the cover of Led Zeppelin’s “Presence” album?  Fol Chen sound like that. So Fol Chen sounds like a 12-inch square black dildo? Not exactly, but they revel in extraordinary pop music of the future; it’s got synths, 808 hand claps, bass lines out the wazoo- but they’re not a dance band per se, more of a sway band. Tracks like No Wedding Cake and Cable TV are there to get the party started, while songs like The Believers and You And Your Sister In Jericho shut it down. If there’s such a thing as post-pop, Fol Chen is it. So that’s what that damn family is staring at… Grade: 8/10

These Are Powers - All Aboard Future (Dead Oceans Records; released February 17th, 2009)

I was hoping this band was British because you can never have enough reasons to hate on the English. Then I saw that they’re from Brooklyn. That sounds about right. I was going to give it a three, but look at this album cover. I mean, really- this is why sometimes you gotta love those shitty reviews in Vice Magazine, because my immediate knee-jerk reaction to this album was, “God damn it, do they even know how to match up the drums and bass, or are they doing it on purpose to be edgy?” Then the album cover convinced me, they really have no idea… Grade: 2/10

Kurt Vile – God Is Saying This To You (Mexican Summer Records; released March 3rd, 2009)

Please, send me your address so I can mail my fist to your face for not listening to Philly’s Kurt Vile. Sometimes member of The War On Drugs, Mr. Vile’s two albums have been in heavy rotation for the past two weeks. Three reasons I miss living in Philly: the Phillies’ World Series Win last October, cheesesteaks and probably being able to run into Kurt Vile at a.k.a. Records. It’s like a trip down memory lane listening to this record- that is, if I was alive to hear early 70s AM radio; so I’m imagining that memory anyway. With Vile’s classic voice and the fractured way he pastes his lyrics and songs together, another record that’ll be up near the top of a year-end list. Obviously any album I give a nine or ten to I’m recommending highly. Duh. Grade: 9/10

Say Hi – Oohs & Aahs (Barsuk Records; released March 3rd, 2009)

No. Just no. I saw this guy at the Khyber a few years ago as Say Hi To Your Mom, actually discovered his music from a skate video- his first three albums are aces; really nice bedroom recorded glitchy emo-pop. Then he dropped the “To Your Mom” part from his name, and in the process lost a lot more than three words. I think part of why I’m not being as objective as I should be is because I met this guy and he was kind of a dick. Oh well- I guess moving to Brooklyn to start a band will do that to a person.  Grade: 1/10 (which is as low as I can go, I’m saving the zero for something really awful)

Bishop Allen – Grrr… (Dead Oceans Records; released March 10th, 2009)

Bishop Allen’s 2003 debut album, Charm School is a great record. Bishop Allen’s 2006 12 EPs (one for every month of that year) are really good little records. Bishop Allen’s 2007 album, The Broken String is a terrible record. Bishop Allen’s 2009 album, Grrr… is an average album. Jimmy Mac’s 2009 review of Bishop Allen’s career is awful because he uses superlatives and hyperbole like “great”, “good” and “terrible” which they teach you to never do in rock critic school. In indie rock school (unless your band is named Vampire Weekend), using strings in almost every song is not allowed. Bishop Allen breaks this rule early and often. Grade: 6/10

Handsome Furs – Face Control (SubPop Records; released March 10th, 2009)

I wanna say this band is “The Kills, Part Deux” because electro-rock duo Handsome Furs are a Canadian version of them. The husband-wife team of Dan Boeckner (Wolf Parade) and Alexei Perry create an album rife with the imagery of high-stakes Russian club culture- songs like Talking Hotel Arbat Blues, Passport Kontrol, Nyet Spasiba and Radio Kaliningrad reference the post-Soviet party, all over jagged guitar riffs and pulsing beats. It’s a sleazy, post-apocalyptic dance party with skinny blonde Russian mail-order brides and mobsters and all that, like that episode of SVU a few weeks ago… Grade: 6/10

The Mountain Goats & John Vanderslice – Moon Colony Bloodbath (Cadmean Dawn Records; released March 18th, 2009)

So this is a split EP between Darnielle and Vanderslice- recent tourmates (as this is a tour-only release) trading 1-2 punches; tracks 1, 3, 5 and 7 go to JD and 2, 4 and 6 to JV. Both are master songwriters, both have keen, almost overly aware powers of perception and the ability to put it into words and from there to melody. Upon repeated listens, there seems to be a common thread- three songs mention Colorado hills, one mentions the desert outside LA and on references the moon. Maybe something about harvesting organs in there as well. Grade: 8/10

Condo Fucks - Fuckbook (Matador Records; released March 24th, 2009)

Condo Fucks is not Yo La Tengo. Yo La Tengo is Ira Kaplan, Georgia Hubley and James McNew. Now; (follow me here) Kaplan, Hubley and McNew are Condo Fucks. Got it? Basically, it’s their new “project”, more of a lo-fi garage sort of thing that totally rocks. I was just thinking the other day, “Man, I need a summer album…” Well folks, this is probably gonna be it, unless Wavves or No Age drop a record in the next three months, which, considering their output, isn’t that far of a stretch. Anyway, Yo La Tengo Condo Fucks would love to have you believe that they’ve been around for years, even going so far as to make a “fake” bio on their Matador Records page. I could care less, this record fucking rocks. Covering songs by The Small Faces, Richard Hell, Beach Boys, Electric Eels, Troggs, Flaming Groovies and Slade- it’s pretty much a raw-ass, gritty sounding record and I love Yo La Tengo Condo Fucks. Grade: 10/10

Camera Obscura - My Maudlin Career (4AD Records; released April 21st, 2009)

Twee as all fuck. It’s an easy listen- and if there’s anything I hate more than an easy listen it’s getting drowned in velveteen and chenille, because that’s exactly what this record feels like; cheap showy fabric designed to hide the fact that there isn’t a ton of substance. It’s the elevator muzak version of Belle & Sebastian, which is as close to being an elevator version of itself as any band on the planet. There’s the nice strings, soft melodies, vocal harmonies that would make Madison Avenue circa 1963 ad men jizz in their drawers. Only two listens, no more, please! Grade: 3/10

The Breeders - Fate To Fatal EP (self-released; April 21st, 2009)

Kim Deal, what’s yr deal? A cover of Johnny Mathis‘ Chances Are? Whoa now, shark jumping aside, really? I should’ve known this EP was gonna really suck because they self-released it. Did they give it to 4AD (who released last year’s Breeder’s average-at-best Mountain Battles album) and the label was like, “Uh, yeah, Kimmy, babe- we don’t want our good names sullied by this crap…” and Kim and sis were like, “Fuck you guys, we’re doin’ it…” and then I paid a dollar for it on eMusic and even I feel ripped off? I never feel ripped off- but these four songs (three suck, actually the first song I kinda like) are why people “steal” music off the internet, If I paid .37 cents I would feel okay about it, because that’s what it’s worth to my ears. Any typos in this review? I don’t care, I’m fucking mad as hell at The Breeders and I can’t type when I’m mad… Grade: 37 cents on the dollar

DM Stith – Heavy Ghost (Asthmatic Kitty Records, released March 10th, 2009)

Ten years ago, Sufjan Stevens and some friends started a small boutique label called Asthmatic Kitty Records. Their claim to fame (besides for releasing Sufjan’s records) is that they’re known for bringing together strange and eclectic new sounds. Their list of clients reads like an all-star festival of weird: My Brightest Diamond, Castanets, Rafter, Cryptacize, Fol Chen and Bunky, just to name a few.

(I got temporarily sidetracked on their website just now and ended up going to eMusic and downloaded some of these wonderful and strange new sounds…)

Back to the review now- David Michael Stith was actually working as a graphic designer in Brooklyn up until being approached by Shara Worden (she of the amazing voice behind My Brightest Diamond) and was corralled into producing their 2006 breakthrough album Bring Me The Workhorse. He then started writing his own music as an experiment, recorded a demo called Ichabod & Apple, kept honing his songwriting, released an EP (Curtain Speech) at the end of ‘08, kept writing, recording and the album Heavy Ghost is the end result of all that hard work.

Since their isn’t a track on the record called Heavy Ghost, I’ll just have to say that the name captures the feel of the record- it’s somber, haunting and reflective. Stith’s vocals are lilting and ethereal, the sparse guitars and reverb-drenched pianos are at times juxtaposed by strange percussion (or none at all); it’s a charming and creepy psychedelic folk album that at times abandons what could be considered “western popular music structure”. Take the opening track for example: Isaac’s Song, a clanging and dissonant piano over an unsettling rhythm with scary sounding vocal runs- I wouldn’t listen to this record after midnight or with the lights out.

But Pity Dance shows that Stith is indeed concerned with things like melody and tone quality; that’s exactly what this record is full of, a palette rich in dark colors and earth tones. Creekmouth sounds like a tribal gathering- the driving and rhythmical drums and bass line bubble underneath, carrying the song towards an electro-synth finale and into Pigs, which is more subdued in mood and eerier, yet there’s an indescribable beauty involved here, as if in communion with a spirit world.

A perfect segue into Spirit World, as Stith continues to haunt the listener’s ears with his spooky apparitions. There’s some backwards-masking over a deep and dubby bass, the spectre is gone as quick as he arrived; into the ether. Providing a bit of commentary is the next track BMB, imploring, “…what did you say?” over and over; it’s as if this song is begging the ghost that visited in Spirit World to answer. Thanksgiving Moon is a sparser composition; it’s just Stith, guitar, an unidentifiable instrument (some type of organ or possibly a hurdy gurdy?) and some barely-there horns that give way to a chilling choir- he’s masterful at creating a mysterious and ghastly setting.

The album’s most beautiful and fully-realized song, Fire Of Birds, is fleshed out of a combination of all the elements that make this record what it is; acting as a distilled version and boiling down the entire scope of the full-length’s 44 minutes- it’s at times shiver-inducing and creepy; the next beautiful and life-affirming. Then it appears sparse and frail; then it’s dense and sturdy. It’s this delicate balance that makes this record so outstanding. On Morning Glory Cloud, Stith mentions it as a dream: “I have a dream and it’s gone, Catholic clouds rolling on…”- which now makes a whole lot more sense to me; I was raised Catholic and I’m familiar with our superstitious love/hate relationships with “ghosts” (the Holy Ghost, exorcisisms, risen from the dead after three days, etc…) so it leaves the impression that Stith, too, was influenced by his religiosity. That song rolls to a full boil until it gently fades into the stark piano piece GMS with its soft and mournful wails. The only other instrument on this song is a plaintive violin, giving it a melancholic vibe.

Braid Of Voices is a reflexive piece in that it sounds like it could be looped end-to-end and never resolve; the slow building intro gives way to the semi-explosive middle section and then the hanging, single-note fade into the minor chord piano outro that mimics the intro section. It’s a nice lead-up to the album-closer, Wig, and its buzzsaw-like quality of sonic waves, and that familiar churning hurdy-gurdy sounding thing.

The album unfortunately comes to a close here, I could go on listening for another hour (at least), DM Stith creates a creepy and fragile (yet insanely interesting and charming) alternate reality within this record- it’s a haunting reminder that some of our waking hours are inhabited by unseen forces that can be a burden; or we can acknowledge them and try to make peace.

Tracklisting:

1.   Isaac’s Song
2.   Pity Dance
3.   Creekmouth
4.   Pigs
5.   Spirit Parade
6.   BMB
7.   Thanksgiving Moon
8.   Fire Of Birds
9.   Morning Glory Cloud
10. GMS
11. Braid Of Voices
12. Wig

DM Stith