First and foremost:

The Ten Best EPs of 2009

10. Warpaint – Exquisite Corpse (Manimal Vinyl; October 5th)

Melancholy dream-pop in the vein of the Los Angeles eighties’ Paisley Underground scene; funny I should say “vein” because this six song EP is the aural equivalent of an opiate rush. It’s a mainline to your pleasure center; reverb-drenched guitars set to syrupy sweet vocals from Emily Kokal and Theresa Wayman over plodding basses (courtesy Jenny Lee Lindberg) and a steady, understated backbeat from Stella Mozgawa. On their MySpace page, under “Sounds Like” they describe themselves as Happy Nightmare, no doubt a nod to the Kendra Smith-slash-David Roback (and later Hope Sandoval) project Opal (that would eventually morph into Mazzy Star). Pretty nice sound, and wonderful influences, ladies!

9. Suckers – Suckers EP (IAMSOUND; April 14th)

First off, four songs at sixteen minutes is too short, and I’d only say that because this is good enough that I want more, at least 40 minutes of it. Second, Suckers make a unique brand of pop-meets-spiritual music in that they share a musical sensibility that’s equal parts Yeasayer and MGMT- so it’s both a gospel-esque sing-along (or shout-along) as well as rhythmic enough to get your head nodding, even danceable at times. Suckers are your urban hippies with synths- when music comes away from the campfire and into a studio full of electronics and midi sounds; the result is sublime- It Gets Your Body Movin’ is one of the best songs I’ve come across this year.

8. Abe Vigoda – Reviver EP (Post-Present Medium; February 17th)

Abe Vigoda gets a little more sloppy, slightly more experimental (there’s an almost two-minute noise excursion, a re-do of their own song Endless Sleeper; slowing it down by half and giving it a sonic re-interpretation, right in the middle of the mini-record) but for some reason it’s even more listenable- whetting my appetite for another full-length album from these guys. The track House sounds like there’s three or four different rhythms going on at once- each musician playing their respective instrument to the beat of their own disparate heart, yet it works so well; but the main focal point of the album is their cover (and liberal re-explication) of Stevie Nicks‘ Wild Heart- it’s a pretty good summation of Abe Vigoda’s mission statement (if they were to have one), this band is like a “fever gone higher…” and the line “…running around like a spirit in flight” fit so well capturing the essence of AV. The droning bass line and the plucky guitar work in conjuction with Vidal’s emotive and yearning vocalization make this track one of the young year’s best- and the searing distortion sneaking into the song doesn’t hurt at all- it adds to the urgency. AV is hitting their stride- I’m really excited to see what else comes from their world in the next year.

7. The Pains Of Being Pure At Heart – Higher Than The Stars EP (Slumberland; September 22nd)

Take some Power, Corruption & Lies-era New Order, add a dash of jangly twee-pop and a slice of The Jesus & Mary Chain’s sweet-and-fuzzy feedback and you got yourself a nice little sound here that TPOBPAH have cultivated into an EP of stellar tracks; not to mention their wonderful full-length released earlier in the year. It reminds me also (stylistically speaking, of course) of The Smiths in that the music has a sunny side yet the lyrics are dark and depressive- sort of like a subliminal message, with poppy side-effects…

6. Julianna Barwick – Florine EP (eMusic Selects; April 27th)

Wow. As far as I can tell, it’s just a woman, a microphone, various delay and reverb pedals, a looping machine, maybe a keyboard and a whole lot of creativity. This is one of the most soul-achingly beautiful releases of the year, a real sleeper. It sounds like a church service held at the bottom of the ocean, attended by whales and dolphins and run by some type of silken-siren voiced angel of a fairy. I don’t know. It’s psychedelic and it’s pretty. So there.

5. Beirut – March Of The Zapotec EP (Ba Da Bing; February 17th)

Aptly named for its Mexican funeral march feel, March Of The Zapotec was recorded with the help of a nineteen piece band, The Jimenez Band hailing from the state of Oaxaca. Inspired by Condon’s recent visit there as well as the Oaxacan/Zapotecan tradition of burying their dead with all their valuables, this EP is rife with the imagery and native folklore- the track La Llorona, (Spanish for “weeping woman”) is loosely based on the similar tale told throughout the Hispanic world. The instrumental My Wife, with its waltz-like tone shows that Condon can’t shake his eastern-European leanings just yet- which makes for an interesting study in an increasingly globalizing world- think of it as Beirut’s one-world philosophy; I think one thing Condon can say through his music is that we’re all basically the same. If indie hipsters can like the sort of music inspired by the clash of the Industrial Revolution and the Ottoman Empire, so be it.

4. Deerhunter – Rainwater Cassette Exchange (Kranky; 5/18)

I got a chance to hear three of these tracks at Noise Pop earlier this year; before I went deaf for two days. Yeah, Deerhunter’s live show is akin to My Bloody Valentine’s- you better bring some ear plugs because you’re gonna get some guitars. Anyway, the band treated those shows as pre-tour exercises (meaning: they gave 110% but also used the opportunity to “try out” new tracks Disappearing Ink, Famous Last Words and Rainwater). I remember them being louder for some reason… Anytime Deerhunter can throw out a quick 5-song EP in between albums/tours, even if it sucks, I’ll happily lap it up. This does not suck in the least; yeah, it’s too short- but it’s an EP so it whets the appetite ever so slightly, I’m excited for what they have next. A band that’s big on conceptual continuity; you could lay their releases end-to-end chronologically, hit play and listen to them as a series of ideas, where slight shifts in perception create little ripples in the psyche. Some of these ideas from their earlier stuff are still being felt now- that’s why their albums are musically dynamic yet still true to their vision. I can’t wait for what’s next.

3. Hezekiah Jones – Bread Of Teeth (Yer Bird; September 12th)

I run the risk of sounding trite, but Hezekiah’s been crafting these lovely, soul-crushingly beautiful songs since before I can remember; and I don’t say that because I know the guy personally, I mean it- he’s the best unknown artist in the world right now. You’re doing yourself an awful disservice by not checking out his rusty brand of American folk, but maybe you don’t want to be moved to almost tears by the track Traffic To The Sea, and I understand that, but these aching and fragile tunes (as well as the upbeat Iowa Alligator, a re-worked version of a reggae tune done by Hez’s old band StillWillis) will leave you wanting more; I guess a “stop-gap” EP whets the appetite as such.

2. No Age – Losing Feeling (Sub Pop; October 6th)

The guys from No Age sure have been busy- after 2008’s Album Of The Year award from yours truly they’ve gotten themselves fully immersed in the skate industry; first getting a clothing sponsor in Altamont and then an Ed Templeton-designed shoe for Emerica. Everything’s coming up No Age! Dreamy, shoegazey, at times heavy and fast; I guess the best approximation would be to just call them a noise pop band and send you on your way; but they’re so much more than that. Take the track Aim At The Airport; it’s an electro-feedback knob twiddling thing- I can’t tell if they’re using a backward guitar loops or some type of rotating Leslie effect, but either way it’s an interesting listen. I guess I’ll have to claim ignorance as to what studio/gadget trickery they’re using; regardless- it’s pretty awesome.

1. BLK JKS – Mystery EP (Secretly Canadian; March 10th)

BLK JKS‘ strength lies in its ability to harness the power of the drum. Hailing from Johannesburg, South Africa, and nearby Soweto; these four musicians are straddling the Atlantic- one foot firmly rooted in their traditional mbaqanga, marabi and kwela styles and the other in American indie rock. A perfect blend of polyrhythmic drumming, TV On The Radio’s dark and danceable synth pop, Lee Perry’s Black Ark dub and just a touch of psychedelia. It’s at times sparse, light and airy; others it’s dense, heavy and strangling. I could give you a million different styles of album reviews; however overwrought or unstrung they become with such a cumbersome tool like language- the fact remains that this EP serves as a glimpse into the mindset of the rapidly expanding globalization of our tiny world, a slice of modernization meets traditionalism. BLK JKS have come from a part of the world where I’d least expect this type of music to come from, and the result is rewarding if not compelling.

The Honorable Mentions; Albums #26-40

26. Mew – No More Stories / Are Told Today / I’m Sorry / They Washed Away // No More Stories / The World Is Grey / I’m Tired / Let’s Wash Away (Sony; August 17th)

Are you fucking serious? That’s not an album title, that’s a poem. Listen, reader- I’m not going to sugar-coat it; this is pretentious art rock with a side of rather proggy pop. It’s like these kids grew up with nothing but a few of their parents’ King Crimson and Yes records and a steady stream of ABBA on Danish AM radio. I saw these guys years ago open up for Bloc Party at The Stone Pony; most famous for being the Asbury Park venue that gave Bruce Springsteen his start. I remember thinking, if Bruce heard these cats play, he’d shit in his hat. And I think that’s why I love it; it borrows from over-the-top prog wankery as much as it does from Scandanavian ear candy (think Ace Of Base on mushrooms and ecstasy).

27. Kurt Vile – Childish Prodigy (Matador; October 6th)

Philly’s Kurt Vile has been killing it consistently, albeit in relative obscurity, for the better part of this decade- so when he releases three solo full-lengths, an EP with The Violators and still has time to play in The War On Drugs; you’d be apt to call him prolific. Lo-fi psych-folk jams that sound crusty and slightly aggro; through the syrupy haze of reverb-drenched vocals Vile’s message is plain and simple- he’s here to rock. And he’s just getting started; inking a deal with Matador that’ll keep him in front of the pack, and keeping me looking forward to more of his stuff…

28. Califone – All My Friends Are Funeral Singers (Dead Oceans; October 6th)

Probably the biggest sleeper record this past year; I say that because I slept on Califone since their last record, 2006’s Roots & Crowns. Three years between albums can make anyone forget your name; once you hear these fourteen songs you’ll realize that through all the densely layered tracks and intricately laced production, it probably took the better part of the last three years to make this. The result is a gorgeous pastiche of fractured Americana, a post-folk world where the soundtrack to Apocalypse: The Movie* is set to Califone’s music.

* – not a real movie, this is me taking poetic license. Did you need this note here? Is this insulting your intelligence? Anyway, this album actually is a soundtrack to a real movie, directed by Tim Rutili about a psychic woman that lives deep in the woods somewhere. Califone makes a cameo appearance. That is all…

29. Edward Sharpe & The Magnetic Zeros – Edward Sharpe & The Magnetic Zeros (Vagrant; July 14th)

This is what a traveling revival show would sound like if it was led by a crazy person that grew up on a steady diet that’s equal parts Jesus Christ: Superstar, CSN&Y and lysergic acid diethylamide. Based loosely on the concept that lead Magnetic Zero/Ima Robot guy Alex Ebert (appearing here as alter-ego Edward Sharpe) had of a being coming down to Earth to save us all, yet he keeps getting distracted from his ultimate goal because he falls in love over and over again. Sort of like a horny alien Jesus, or whatever the Scientologists believe in.

30. Dinosaur Jr. – Farm (Jagjaguwar; June 23rd)

Okay, I’m ready to drop my hatred for J Mascis- I’ve been holding on to a grudge against him for so long now I forget why I hated him in the first place. Oh, that’s right- for kicking the immensely talented Lou Barlow out of DJr, which, in retrospect- no booting of Lou, then no awesomeness that is Sebadoh, I guess. I still refuse to listen to any non-Barlow Dinosaur records, and that’s just how it is with me. Plus, I’m not really missing anything- all those records are basically Mascis solo records, I mean, he even booted Murph out before recording 1994’s Without A Sound (with that awful Feel The Pain song, but hey- Spike Jonze’s golfing-through-midtown-Manhattan video was rad, right?) and starting a love affair with the mid-90’s fratboy set that fortunately for everyone involved died shortly after as DJr went on a ten-year hiatus. So I’d be remiss if I don’t mention previous offering Beyond (first album with the original lineup since 1988’s Bug); Farm is a rocking continuation of that record; if you’re not bowing at the feet of Mascis‘ guitar prowess right this minute, light a candle and hit your fucking knees at the altar, bitch. His walls of guitar noise, feedbacked distortion that’s been processed perfectly, Lou’s basslines thudding and plodding on top of Murph’s metronomic drumming, it’s the best pure “rock” record I’ve heard this year. What can I say about an almost nine minute song (I Don’t Wanna Go There) that’s isn’t the least bit boring, including an extended scorching solo? Of course, Lou gets his obligatory album closer- so there’s something for everyone.

31. Condo Fucks – Fuckbook (Matador; March 24th)

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.

32. White Rabbits - It’s Frightening (TBD; May 19th)

I wish that I could just review a record without having to find out who produced it; when a record sounds as fully-realized as It’s Frightening does, I have to take a peek as the press packet to see who was twiddling the knobs on the other side of the glass. Spoon’s Britt Daniel is (in my opinion) the best producer in music today- just listen to any of his band’s albums from 1998’s A Series Of Sneaks up to now; he’s best at getting the songs to sound exactly what they’re supposed to sound like- this snare goes here, this guitar there, etc. Basically: perfect records. So White Rabbits entrusted Mr. Daniel to take their sound and do as he sees fit- the result is a heavily percussive affair (Percussion Gun) with piano lines doubling as bass lines (Midnight And I), layers of rhythm (Right Where They Left), textured bits of ambient passages (Lionesse)- White Rabbits are poised to make a surprise run at the top of some year-end lists.

33. The Decemberists – Hazards Of Love (Capitol; March 24th)

I don’t wanna give too much of the plot away, I’ll give you an abridged version- you find out Margaret’s pregnant (in the song A Bower Scene), has the baby (Isn’t It A Lovely Night?), the queen wants it (The Wanting Comes In Waves / Repaid), a terrible roustabout wants to destroy it (The Rake’s Song), Margaret eventually abducted and confronted (The Abduction Of Margaret), the river (Annan Water), the drowning (The Hazards Of Love 3 – Revenge!) and lovers re-united in death (The Hazards Of Love 4 – The Drowned). As far as the music goes on this record; it’s everything The Decemberists are known for: Meloy’s 12-string guitar and adenoidal vocal delivery, Jenny Conlee’s excellent keyboard work (I think there’s even some harpsichord in there, too), Chris Funk doing everything, and Nate Query and John Moen holding down the rhythm section. Take that basic recipe and then add all these newer ingredients: excursions deep into prog-rock, replete with chase music, power chord vamps, dizzying crescendos, the addition of both Shara Worden and Becky Stark and guest appearances from Jim James (My Morning Jacket) and Robyn Hitchcock.

34. Real Estate – Real Estate (Woodsist; November 17th)

Dreamy beach-pop (yeah, that shit was hot this past year) that sounds effortless; there were a slew of other acts in ‘09 that did something similar but Real Estate did it better. And they’re from Jersey, so the same beaches that inform their brand of sun-kissed pop were the beaches that I grew up on. That’s an unfair bias, but spin this record and try not to smile, I fucking dare you…

35. The Antlers - Hospice (Frenchkiss; August 18th)

Slow-burning anthems of melancholic regret weaved in and around a loose narrative of nurse falling in love with patient; the story line goes like this- lead Antler Peter Silberman moves to the big city, spends two whole years sequestered from society writing this album, losing touch with family and friends along the way only to emerge with this stellar offering of dolorous melodies and heartrending storytelling. Think Radiohead-meets-Bon Iver with an Arcade Fire fascination and you can begin to draw a line connecting The Antlers’ influences to one another. If you like pop songs structured around ambient textures and falsetto-styled vocalizations with anthemic aspirations, Hospice may be your favorite album of the year.

36. The Pains Of Being Pure At Heart – The Pains Of Being Pure At Heart (Slumberland; February 3rd)

Since it’s a self-titled album, I didn’t feel the need to write it twice, that’s a pretty long name to begin with. And it sounds like a really bad diary entry, maybe something from Angela Chase. Except this is really nice fuzzy noise pop with a heart of darkness; it’s an homage to the best stuff I grew up on in the eighties (Echo & The Bunnymen, et al.) and early nineties (Teenage Fanclub, et al.) as well as lending itself to the shoegazer textures of bands like Ride and My Bloody something. Valentine? Yeah, they like those guys too, a little bit. Actually, their influence is heavy on these twenty-something New York scenesters- listening to songs like Come Saturday and Stay Alive, that wall of guitar sound is all over here, built up around lovely pop structures. My favorite track from the record; The Tenure Itch, sounds as if it was recorded for the Pretty In Pink Soundtrack- it just has that angst-ridden teenager feel to it; set upon a gorgeous late-80s pop sensibility. The album has that overall feel; it goes jangly guitars one song, drony and feedbacked the next; all under awkward and unsure lyrics- it is so teenager it’s not even funny. The track Young Adult Friction is a marvelous little pun; it’s set against the backdrop of the high school library (undoubtedly in the young adult fiction section). So I’ve cut and pasted (from their website) a typically teen all-caps shouting of the lyrics: “BETWEEN THE STACKS IN THE LIBRARY / NOT LIKE ANYONE STOPPED TO SEE / WE CAME THEY WENT, OUR BODIES SPENT / AMONG THE DUST AND THE MICROFICHE”. How innocent, yet there’s a line in the same song about taking vicodins- and another shout-out to opiates later on, on the track A Teenager in Love: “AND IF YOU MADE A STAND, I’D STAND WITH YOU ‘TIL THE END / BUT YOU DON’T NEED A FRIEND WHEN YOU’RE / A TEENAGER IN LOVE WITH CHRIST AND HEROIN”

37. Mos Def – The Ecstatic (Downtown; June 9th)

I had given up on Mos Def. I thought Black On Both Sides was a fluke, and that I’d be consigned to get pissed every time I saw him in some shitty buddy movie, ranting and raving about how he coulda be a great rapper. Then Jimmy told me to check out The Ecstatic, and with skepticism I spent 16 of my valuable emusic credits getting it, swearing I’d never speak his name again if it sucked. Un-fucking believably good. That’s all I have to say. I knew it was all going to be ok when I heard Supermagic and it just kept getting better. His voice glides over the tracks, effortlessly weaving between, under, over and around incredible beats and samples.

Bad news and good dope
powder, potion, pills, smoke
baby how you trying to go
Duro o dulce
fast or slow
yay
no
it’s ok you can have it your way
naw, it aint all good but baby I’m cool
feeling great feeling good how are you
10% condition, 90% response
Survival mathematics the number man’s song

I swear the motherfucker just makes the shit sound easy, and like he was born to do it. I don’t pretend to be a hip hop aficionado, but Mos Def in his best form, as he is here, just inspires the shit out of me. -by Spencer

38. Morrissey – Years Of Refusal (Attack/Lost Highway; February 16th)

So what is Moz saying on his ninth solo album? That he’s wealthy (as opposed to “rich”) so there’s no need to worry about selling records (they will sell anyway, good or not) or pleasing the record company (he’s one of the few artists that the word “integrity” actually still means something to) and that he’s been able to maintain some semblance of a private personal life while selling somewhere in the neighborhood of 15 million records worldwide (I’m combining his previous body of work); it’s become painfully clear that Morrissey doesn’t need anyone.

39. Mountains – Choral (Thrill Jockey; February 16th)

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.

40. Andrew Bird – Noble Beast (Fat Possum; January 20th)

Andrew Bird is a big fan of life; both in an intra-personal aspect and on a molecular level. Continuing on a concept from his three previous records of breaking the biological constraints of life down to its basest parts- the album is again rife with the imagery of elemental vocabulary like calcium mines, radiolarians (some type of protozoic life form that produces intricate skeletal systems), sea anenomes, etc.- it’s as if you need your old bio textbook to read his lyric sheets. I’m going to go ahead and start calling him Dr. Bird, he’s probably the most cerebral songwriter around these days; and I can’t quite call his music “pop”, being that he’s a classically trained violinist his music veers closer towards a baroque sentiment- imagine pop music of the late 1700s set to brainiac post-Ph.D lyricism. But the musicianship coupled with the uber-intelligentsia slant makes for repeated interested listens; highlights include Oh No, Masterswarm, Not A Robot, But A Ghost, and the hands-down best piece of music on the entire record appears after the 2:15 mark of Anonanimal- it’s actually one of the nicest breakdowns in a song I’ve heard in a while. But then again, Dr. Bird can write some really fine melodies; so it’s completely expected.

Honorable Mentions; Songs #26-50

26. You Go On Ahead (Trumpet Trumpet II) – Sunset Rubdown Dragonslayer
27. Hey, Snow White – The New Pornographers Dark Was The Night
28. It Gets Your Body Movin’ – Suckers Suckers EP
29. Born On A Day The Sun Didn’t Rise – Black Moth Super Rainbow Eating Us
30. I’m On A Boat – The Lonely Island (ft. T-Pain) Incredibad
31. No Intention – Dirty Projectors Bitter Orca
32. Cheerleader – Grizzly Bear Veckatimest
33. Microwave Mayo – DOOM Born Like This
34. You Are The Blood – Sufjan Stevens Dark Was The Night
35. Brothersport – Animal Collective Merriweather Post Pavilion
36. Lucid Dreams – Franz Ferdinand Tonight
37. So Bored – Wavves Wavvves
38. The Wanting Comes In Waves/Repaid – The Decemberists The Hazards Of Love
39. The Akara – Beirut March Of The Zapotec EP
40. I’m Throwing My Arms Around Paris – Morrissey Years Of Refusal
41. The Tenure Itch – The Pains Of Being Pure At Heart s/t
42. Blue – Julie Doiron I Can Wonder What You Did With Your Day
43. I Am Goodbye – Bonnie ‘Prince’ Billy Beware
44. And The Hazy Sea – Cymbals Eat Guitars Why There Are Mountains
45. Home – Edward Sharpe and The Magnetic Zeros s/t
46. Coochie – Blakroc (ft. Ludacris & Ol’ Dirty Bastard) Blakroc
47. Should Have Taken Acid With You – Neon Indian Psychic Chasms
48. Traffic To The Sea – Hezekiah Jones Bread Of Teeth EP
49. Bode – Julianna Barwick Florine EP
50. Papa Was A Rodeo – Bright Eyes SCORE! 20 Years of Merge Records

Alright, that’s it for 2009. Later…

Some of these albums aren’t worth the plastic they’re pressed on, but whatever…

maudlin Of The Well – Part The Second (self-released; 5/14)

This record was one of those accidental finds- all I can say is it’s been one of the year’s most challenging listens for a number of reasons. maudlin Of The Well is an avant-garde art-prog outfit that veers dangerously close to post-rock; Part The Second is not an album you can throw on and clean the house to- it demands you pay close attention (for there are subtle nuances hidden all over this record) which ultimately leads to the record’s downfall; it’s challenging in that its overt influences make it somewhat pretentious; while the playing displays unparalleled virtuosity, the blending of rock with jazz saxophones and classical string arrangements make it too unfocused, the noodly guitars border on masturbatory, the vocal effects are annoying at times; it’s not a study in what prog should be (or could be), and for that I need my classic 70s stuff (Yes, Jethro Tull, et al.); there’s a reason the genre died- no need to exhume the bodies and study them again. This album is free if you want it, here’s the link. 5/10

Jeffrey Lewis & The Junkyard – ‘Em Are I (Rough Trade; 5/19)

Jeff Lewis is best experienced live- that being said; his albums are exercises in patience in that he’s as much a visual performance artist as he’s a musician, the music itself leaves a lot to be desired. His comic books are component pieces to his music; the time I saw him open for The Mountain Goats, his folk-punk story-telling was endearing because it was set as a narrative to his gigantic flip book of drawings (The Last Time I Did Acid I Went Insane and others). Furthermore; his web/TV show is pretty awesome- he’s huge in the UK where most of the episodes are set, as is his record label. Anyway, for this album it’s more vintage Jeff Lewis (lyrically it’s self-deprecating in that whole “I’m a dirty poet that can’t get laid, Oh how I have to suffer for my art…” thing) which isn’t all that endearing on celluloid- again; plays great on the camera and the canvas, but here’s it’s trite as fuck. Musically, it’s more mature (read: better production, better musicians, etc.) so that saves it a wee bit, especially the eight-minute jam-out The Upside-down Cross, but for the most part, it’s just a so-so version of the Lower East Side’s punk-folk scene- which even the best of that is probably just below average… 5/10

Rome – Flowers From Exile (Trisol; 6/26)

Another record I completely stumbled on by accident, how often do you find yourself perusing “industrial folk” duos from Luxembourg? I didn’t even know that genre existed, let alone the bold, deep baritone of lead singer Jerome Reuter’s voice- which is at once both startling and comforting; he recalls Leonard Cohen, Nick Cave, Tom Waits and The National’s Matt Berninger. Add Patrick Damiani’s production (complemented by field recordings, foreign voices, ambient textures, dark and brooding industrial-type rhythms, Spanish guitars, etc.) and you have an interesting listen to say the least. The story line follows that of the Spanish Civil War; making the album dark and apocalyptic in its scope, revealing a narrative of a war-torn and displaced people, soldiers, isolation, desperation- acting as a modern-day protest record in itself. It’s as European an album I’ll find all year; it’s making me want to delve deeper into the Old Continent’s vast expanses of undiscovered music reserves to find something as new and rewarding as this. 8/10

Wu-Tang Clan – Wu-Tang Chamber Music (E1 Music; 6/30)

Basically a mix-tape made by the RZA, even though only five of the Clan are featured (RZA, U-God, Ghostface, Raekwon and Inspectah Deck) it’s still a Wu release and for that I’m grateful. It’s the Wu, motherfucker; it doesn’t have to be good, it just has to be available. That’s all. But you can’t put Tony Starks, the Chef and Bobby Digital in a room together and it not be good, again- it’s Wu, mother fucker. Plus, New York legends Masta Ace, AZ, Cormega, Sean Price, Havoc of Mobb Deep, Kool G Rap and Brand Nubian’s Sadat X all show up for guest appearances and Brooklyn-based funk/soul band The Revelations provide live instrumentation for eight of the 17 tracks; it’s an interesting combination. Working with various producers (Andrew Kelley, Bob Perry, Noah Rubin, Tre Williams of The Revelations and Fizzy Womack of M.O.P) give this album a cohesive feel; after RZA’s production on 8 Diagrams created beef between him, Ghost and Rae for not having that “classic Wu sound” this can be seen as a return to that darker, sinister sound. Tracks like Harbor Masters, Evil Deeds and Ill Figures are all cut from the classic mold of Shaolin street knowldge; if you like hip-hop you’ll like this. If you like the Wu, you’ll love this. 9/10

Cass McCombs – Catacombs (Domino; 7/7)

Thanks to Jason Dill for introducing me to Cass McCombs. If you’re unfamiliar with Dill, he’s the pro skater that was pals with Jack Osbourne on the first season of The Osbournes, the dude who had a bottle of Jack Daniels among his possessions. Anyway, Dill skated to a McCombs‘ song (What Isn’t Nature) for his video part in DVS’ Skate More (2005) and Jerry Hsu followed suit a year later, skating to a different McCombs‘ song (Sacred Heart) for his Bag Of Suck part. So there’s your skate-video-music-cross-referencing-nerd-shit that I do. So onto the review of this Cass record now; I’d like to add that with each subsequent release, Mr. McCombs becomes a little more refined, his songwriting gets a little better- he’s moved away from the ethereal sounding, churning dream pop and towards a more “American” sound (which is to say a countrified brand of folk-rock that isn’t too much of either). I prefer McCombs‘ albums A and PREfection to this record, as well as his last (2007’s Dropping The Writ). It’s still a decent album. One thing McCombs does that I really like is this idea of “conceptual continuity”, carrying related themes and threads of consciousness from record to record. 7/10

Clark – Totems Flare (Warp; 7/13)

Just a quick peek at Clark’s labelmates on Warp Records and you have an idea what they are before clicking play: !!!, Aphex Twin, Boards Of Canada, Flying Lotus, Prefuse 73 and Squarepusher would all lead you to assume it’s electronic (correct) and dancy (somewhat) which would immediately raise an eyebrow- I like most of those artists (someonly for their visual collaborations; I’m looking at you Aphex Twin) but for the most part, I eschew any association with danceble electro music. Clark’s Totems Flare (minus the four songs that have vocals) is a decent album that doesn’t sway too far into hardcore techno or the other way into sleep-inducing downtempo trip-hopping; the other seven tracks are enjoyable as background music- never encroaching fully into your consciousness but hovering just below the line of noticeability. And for that, it’s a below average record. 6/10

The Duke & The King – Nothing Gold Can Stay (Ramseur Records; 8/4)

“Is that Cat Stevens?” says my girlfriend from the other room. Dear The Duke & The King: immediate musical fail. Now before you freak out and say, “YOU DON’T LIKE CAT STEVENS!?!?” I’ll interject with; I like the Cat Stevens, I don’t like post-millennial ripoffs, the man is still alive for Allah’s sake. You know, I don’t like this neo-country folk stuff all that much, there’s no dividing line that separates it from all the other lousy drivel- there’s just no hook. At least Sam Beam and Justin Vernon (Iron & Wine and Bon Iver, respectively) have that hook, I can’t put my finger on it in so many words, but whatever it is they do have, The Duke & The King don’t have it. This makes me glad I didn’t experience 70s AM radio firsthand, I don’t think I can get through this whole record without at least one suicidal thought. When you see me next, say thank you for listening to all this crappy music so you don’t have to. I’m taking a bullet for you… 3/10

Destroyer – Bay Of Pigs EP (Merge; 8/18)

If this record was made by anyone else I wouldn’t have given it the time of day. But since Dan Bejar has released three of the best records of the last ten years (2000’s Thief, 2001’s Streethawk: A Seduction & 2006’s Destroyer’s Rubies) he gets special handling. Why? Because it’s a damn disco record, an “ambient” disco record at that, clocking in at a bit over thirteen-and-a-half minutes. Halfway between casual dining music and 16-bit video game music (sorta like playing Sega Genesis at that hip Belgian place in the Mission) it doesn’t suck (completely) but it’s not gonna score high marks outside of the fact that it’s really a stretch for Destroyer, and going outside of your comfort zone is a big risk. But as far as the music goes, I’m not the type to hang out at Italian discos wearing guyliner and $700 shirts, so I’m gonna pass on Destroyer’s Bay Of Pigs- at least the first track anyway. Track 2, Ravers, is a vocals-synth-and-organ tune that’s not as out of place as the EP’s title track, yet it’s not as interesting. It works out to be a confusing piece of music, all 21-plus minutes of it. 3/10

BLK JKS – After Robots (Secretly Canadian; 9/8)

I’m going to contradict myself now; I said earlier that prog should rest in peace- I meant to say “only if it’s done poorly” as in the over-indulgent, self-aggrandizing form of the genre. Here comes South Africa’s BLK JKS (obviously pronounced black jacks) who can make rock music that’s both proggy and arty, sans wallowing in pretense. An exercise in energetic guitars, spastic drumming, deep-bottom basses, emotive and soulful vocals relating poignant lyrics from a part of the world that’s been sorely under-represented in popular music. They put out the best EP of the year so far (back in March, titled Mystery) and one of the best live shows I’ve seen this year; file them under Best New Act of 2009. The re-working of Lakeside (the stand-out track from the EP) on here isn’t as urgent and raw as it originally appeared, it fits with the overall mood of this record. If it remained as it did on the short-player it would’ve stuck out like a sore thumb; instead producer Brandon Curtis (of Secret Machines) made it a slower, more refined, vocals-up-front-mix. The album has a “dark cloud” sort of moodiness to it, all the while hinting at some type of silver lining; exploring dub rhythms, churning synths, interwoven guitar lines, out-of-this world drumming- BLK JKS‘ After Robots is a welcome addition to any music fan’s library. 8/10

Yo La Tengo – Popular Songs (Matador; 9/8)

This is YLT’s 309th release and their 373rd year together. Not really, but it feels like it, am I right or am I right? More like 25 years strong (17 with current line-up) and 46th release (18th full-length offering) would have you believe that the gang ain’t going anywhere anytime soon- and with their latest, Popular Songs, they’re right back at it. With other bands, the term “paint-by-numbers” would come as a dismissal that they were mailing it in, but paint-by-numbers Yo La Tengo is a good thing because they’re better than your average band; I wouldn’t want them to put an album of garage punk classic out now, would I? Oh wait, they did that… Anyway, that’s exactly what’s so endearing about YLT; the fact that all three members have an equal say; all three have shared songwriting credits since 97’s I Can Hear The Heart Beating As One- and here on Popular Songs it’s an obvious group effort. Classic YLT would prescribe that the band can’t be hemmed into one specific genre; so there’s the fuzz-tone jams, something for the shoegazer in us all (By Two’s, I’m On My Way), their noisy brand of pop (incorporating strings in If It’s True and Here To Fall), a heavier reliance on the Hammond B-3 sound and long experimental-type songs (The Fireside, And The Glitter Is Gone). In summation, a YLT album is a very, very good thing. 9/10

Throw Me The Statue – Purpleface EP (Secretly Canadian; 2/17)

I can’t figure out why this band’s 2007 debut Moonbeams was critically lauded as a lo-fi bedroom indie pop masterpiece, because it ain’t all that. Let’s jump forward to this EP, released all the way back in February (which is actually like 1998 in internet years)- it’s basically the same stuff, but somewhat more downcast in tone and affectation, maybe we can drop the “lo-fi” tag since the label is totally behind these guys. Again, it ain’t all that grand to be even writing about- tired Casio-esque beats give way to real drums, some synth washes here and there; the whole “I’m super sad since you left” vibe- a reworking of a previously released tune Written In Heart Signs, Faintly is a big miss; I’d say the original has an immediacy and sparseness to it that’s completely destroyed with piano and faux-break beat here. Good thing this was only an EP, 5 or 6 more tracks like this and I’d be giving the “skip” button a hell of a workout. 3/10

Kylesa – Static Tensions (Prosthetic; 3/17)

Answer: The Allman Brothers. Grateful Dead. The Doobie Brothers. Kylesa. Question: Can you name any bands that have TWO drummers? One of these bands seem out of place. Oh, yeah- it’s Kylesa; with their sludgy brand of metal, hostile vocal deliveries and overt aggressive musical tendencies that would scare any hippie out of a hacky-sack circle and into their Subaru Forester. They share a common thread with the Allmans in that they’re Georgia-natives; likewise there’s a commonality with the Dead in that they have some psychedelic-tinged nuances in their music, and, uh- they may have shared a doobie or two in their day, as “sludge” metal entails a certain stoner-rock affiliation. Add the fact that three vocalists share duties and you’re hit with the alternating shout/scream/growl/sing attack, there’s even a female voice in there somewhere. Standout tracks like Nature’s Predators and Said And Done showcase Kylesa’s best attributes (riffage and dual drumming, respectively) but the rest of the album serves as filler material; fellow Georgians Mastodon have set the bar so high that no one’s going to be able to come close to that this year (in terms of: METAL!) but Kylesa can always find work as one of Mastodon’s support bands in the coming years. 5/10

Au Revoir Simone – Still Night, Still Light (Our Secret Record Company; 5/19)

Self-described as “dreamy electronic lo-fi keyboard pop”, I gotta say they nailed themselves on their one-sheet; it’s a simple take on music with its “three keyboards and a drum machine” approach, all the while intertwining gorgeous vocal harmonies atop the mix. It’s funny that I can get down with some heavy-ass shit like Mastodon one minute and the next I’m fawning over these three ladies’ gentle and warm electro-pop goodness. Anyway; the songs here are crafted to sound like demos but in actuality they’re the finished product- and it works to overwhelming success. Either these three are some of the most muscially savvy individuals in Williamsburg or they’re really charmingly sweet and endearingly naive (both angles shine through their lyricism; whether it’s intended or constructed is the debate). I’m not going to overanalyze it because I friggin’ like it; so I’m giving Au Revoir Simone’s Still Night, Still Light the benefit of the doubt. 7/10

The Field – Yesterday & Today (ANTI-; 5/19)

Swedish. Minimal techno. Ambient house. Basically; it’s what’s playing when you’re eating at that oh-so-hip Peruvian-Asian fusion restaurant that consumes about 1/8th of your monthly paycheck and you only ate there just to say you ate there. If I want background music, play some Brian Eno or that Buddha Bar shit- this seems too “intelligent” for me. It pairs nicely with the Riesling or so I hear, but this music has no soul; faceless, futuristic- boring, repetitive, knob-twiddling, synthetic garbage for the “comedown” set. The album’s title track features drummer John Stanier of Battles (and Helmet) but you basically have to get through seven-plus minutes of techno dance bullshit before his three minutes of what I’m sum up as a kind of pointless appearance here. If you’re gonna take some ecstasy this weekend, then this record’s for you. If you’re part of a functioning society that doesn’t suck on pacifiers and wear candy necklaces out in public, avoid this whack shit at all costs. 1/10

Jay Dilla – Jay Stay Paid (Nature Sounds; 6/2)

Beats produced by Dilla, arranged and mixed by Pete Rock; basically a formula that works. Dilla’s passing in 2006 from a rare blood disorder saddened the hip-hop community, yet his legacy will go on for years because of the staggering amount of work he left unfinished; his little brother Illa J made an album from unused beats as well as all the records he was contributing to upon his passing (The Shining)- and his stuff is still showing up on releases from Q-Tip, Common and Mos Def. On J$P, the community gives love back in the form of guest vocals from Raekwon, Havoc, MF Doom, The Roots’ Black Thought, underground star Blu (Johnson&Jonson), Frank Nitty and Lil’ Fame. Not as good as his magnum opus Donuts, but then again what else in the instrumental hip-hop genre is? Since Dilla’s set the standard in the game, I can’t take anything away from his records except pure and utter enjoyment, Jay Stay Paid included. God bless you, James Dewitt Yancey… 9/10

DJ Quik & Kurupt – BlaQKout (Mad Science; 6/9)

This should’ve been called WhaQKout because it’s fucking whack as shit. Coming a scant fifteen years after The G-Funk Era was both relevant and listenable (not to mention commercially viable) comes this lovely pile of shit from the West Coast “gangsters” Quik and Kurupt. I mean really, this is awful- let me count the ways: all the backing tracks sound like Luther Vandross‘ band from 1988, Kurupt’s flow is godawful- he lags behind the beat, missing more cues than a one-armed billiard player. Listen, I grew up on the east coast; we don’t have the same love for the G-Funk era as some of you westsiders. I like my beats with that boom-bap and recognizable breaks lifted from old soul records, samples from Blue Note-era jazz records, basically any shit that Premier, RZA, Marley Marl or Scott La Rock was working with. This DJ Quik shit is basically R&B tracks with some fool tryna rhyme over it. I’m gonna re-open that whole east coast vs. west coast beef right now. Guess which side I’m on? 3/10

Gallows – Grey Britain (Warner Bros; 5/2)

I read an interview recently where both of the subjects were in agreement that most new punk was boring, except when its infused with with another genre; Gallows‘ Grey Britain is interesting in that its brand of balls-to-the-wall melodic hardcore punk is informed by elements of keyboard-based prog- I’m thinking of last year’s The Chemistry Of Common Life by Fucked Up. It’s the Anglo-centric version of that record’s proggier workouts- six-and-seven minute blasts (The Vulture Acts I & II, Crucifucks) of punk energy that meander with pummelling drums and jagged riffs that are able to sustain themselves over synth-driven anthemic shout-alongs. Punk isn’t dead, it’s suffered at the hands of its own formulaic structure (usually a 10-song, 26-minute paint-by-numbers affair) for so long- UK’s Gallows push its evolution ahead in a more engaging direction. 8/10

Deerhunter – Rainwater Cassette Exchange (Kranky; 5/18)

I got a chance to hear three of these tracks at Noise Pop earlier this year; before I went deaf for two days. Yeah, Deerhunter’s live show is akin to My Bloody Valentine’s- you better bring some ear plugs because you’re gonna get some guitars. Anyway, the band treated those shows as pre-tour exercises (meaning: they gave 110% but also used the opportunity to “try out” new tracks Disappearing Ink, Famous Last Words and Rainwater). I remember them being louder for some reason… Anytime Deerhunter can throw out a quick 5-song EP in between albums/tours, even if it sucks, I’ll happily lap it up. This does not suck in the least; yeah, it’s too short- but it’s an EP so it whets the appetite ever so slightly, I’m excited for what they have next. A band that’s big on conceptual continuity; you could lay their releases end-to-end chronologically, hit play and listen to them as a series of ideas, where slight shifts in perception create little ripples in the psyche. Some of these ideas from their earlier stuff are still being felt now- that’s why their albums are musically dynamic yet still true to their vision. I can’t wait for what’s next. 9/10

Passion Pit – Manners (Frenchkiss; 5/18)

Electro-pop must die. I say this because of 1) this record and 2) records like this. C’mon, people- this music has had its day, can we just leave it alone? What have we learned from the countless imitators of Gary Numan, Depeche Mode, Soft Cell and The Human League? Absolutely nothing. We know that Ladytron is still making music, but they should’ve maybe stopped after Witching Hour. A similar sentiment is extended towards Le Tigre. So now we have in our hands this record from Passion Pit- it’s bloody awful. Now don’t get me entirely anti- towards the whole scene (I quite like Hot Chip and MGMT) but for fuck’s sake, do we really need this? It’s basically emo-ass lyrics over Postal Service-on-cocaine music, which… now that I think of it, this record is probably a direct result of that album’s influence on an entire generation of kids who severely need their asses kicked. 2/10

Sunn O))) – Monoliths & Dimensions (Southern Lord; 5/26)

Does anyone else not get this shit? Guitar drone gives way to stretching rope, buzzing bees and a ram’s horn, all the while some Hungarian dude is doing his best Vigo The Carpathian impression, talking some shit about middle Earth and underground civilizations, and that’s just the first track, Aghartha- a 17-minute snooze fest that’s actually laughable at times. It doesn’t even begin to get remotely interesting until about five minutes into the next track; Big Church (Megszentségteleníthetetlenségeskedéseitekért), and yeah, that’s the whole name- apparently the longest word in the Hungarian language. I tried to translate it with “Google Translate” and got this: “because they once again seem to have behaved as if with a rendelkeznétek properties that you may not be deprived of the holy mivoltotoktól”. At least there’s a choir and some strings to save this song from its own developmentally challenged riffs. Dude, drone doom metal is gay. The whole “wearing black robes behind dry ice smoke while playing so distorted and slow” isn’t art, it’s playing right into a stereotype of tired cliches- the occult, darkness, suffering, grief, death, etc. I guess I’m too stuck in my “myopic conservatism” to understand Sunn O)))’s vision- oh well… On a bright note, there are a few moments on this album that are actually sublime; the 16-minute closer Alice employs some horns and strings, but sitting through 35 minutes to get to this track is criminal. 4/10

The Low Anthem - Oh My God, Charlie Darwin (Nonesuch; 6/9)

When this band is playing the whole ’round-the-campfire vibe, it works to amazing results. When they veer even slightly from this, the result is not so good. Since most of this record is a hushed affair, it scores big points for its melodramatic, whispered vocals and bare-bones folky instrumentation – think Bon Iver or Iron & Wine’s older stuff. When they play the faux-Tom Waits uptempo vaudeville act (The Horizon Is A Beltway & Home I’ll Never Be- the latter is actually a Waits‘ cover of a Jack Kerouac poem) the effect is somewhat confounding- I’d offer this: go with what you know. Kudos to the other ten songs on here- odes to Ohio, Charles Darwin, ghosts, caged songbirds; a pretty slice of Americana delivered to these ears via pump organs, harmonicas, acoustic guitars, upright basses, banjos and mandolins. This album was originally released September, 2008- it’s been remastered and given a national release by Warner imprint Nonesuch Records. 7/10

Major Lazer – Guns Don’t Kill People… Lazers Do (Downtown; 6/16)

This falls somewhere between dancehall and dubstep; a more apt approximation may well be what you’d hear while adrift in the metaphorical Bermuda Triangle outlined by Jamaican roots music to the south, deep and wobbly London basslines to the east and New York club bangers to the west- that’s a lot of ground to cover, but Philly-based Diplo and UK’s Switch are known for their worldly slant and danceclub savoir faire (Diplo brought Brazillian favela funk to the states, clearing the way for M.I.A.’s eventual world domination and Switch has produced tracks for her records as well as Santigold and Tricky). The guest toasters on this record reads like a “who’s who” in the current Kingston riddim scene: Vybz Cartel, Ward 21, Busy Signal, Mr. Vegas, T.O.K. and Turbulence, and it all went down at the world famous Tuff Gong Studios. If you’re a fan of reggae but have grown tired of its parity, give this record a try- it bridges the gap from rocksteady and roots to computer riddims and dancehall to dubstep and beyond; it’s as much an introductory lesson as well as an homage to the last 40 years of Jamaican-influenced music. 7/10

White Denim – Fits (Full Time Hobby; 6/22)

Probably my favorite album of the last three weeks; imagine a world where time machines exist- let’s put Grand Funk Railroad in a jam session with Pavement and see what happens. White Denim’s Fits, perhaps? GFR was a riff-heavy power trio and the Pave was the lo-fi, thinking man’s take on said “dude” rock. So to mash them two together would be the closest approximation to what White Denim appears to be going for; and to great success. Crammed full of riffs (the first five tracks); the musical ideas stretch into some dub explorations (Sex Prayer), down home-style country boogies (Paint Yourself), a funky Boz Scagg-meets-Jeff Buckley falsetto number (I’d Have It Just The Way We Were), acoustic-tinged dream pop (Regina Holding Hands and Syncn)- just when I thought “indie rock” was getting boring, here comes something that’s forward-thinking by looking back. When this Austin trio blows through town I’ll be sure to check them out. 10/10

Oneida – Rated O (Jagjaguwar; 7/7)

This is a massive, sprawling triple album from Brooklyn’s Oneida, as well as my introduction to their churning and bombastic take on experimental rock music. Repetitive and mechanical like krautrock, yet organic and free-form like jazz, it’s a study in getting the most sound out of one or two chord vamps- relying heavily on effects processors, analog synths and percussion. It can test your patience but ultimately it’s a rewarding listen, not for the faint of heart. I like challenging music, so for me it’s not an issue of getting into this record, it’s an issue of what I’m getting out of it, or rather what I’m taking away with the experience of Rated O. By cutting the record into its three parts I can describe each section as (disc 1; comprising of tracks 1-5) scary, dark and droning electronic songs, more on the exploratory bent; (disc 2; tracks 6-12) these next seven songs are exactly that; songs, ranging between three-and-a-half minutes to just under seven. Primarily these are the “rock” songs, with discernible structures, more or less built around the guitar and (disc 3; tracks 13, 14 and 15) are the thirteen-minute psychedelic-tinged sitar jam, simply titled O; a short instrumental piece End Of Time that acts as a passage to the ender, a near 21-minute workout called Folk Wisdom that encapsulates the entirety of Oneida’s expansive sound; a post-avant garde world that winks one eye at the Velvet’s Sister Ray while the other is fixed upon Can’s style of free improv. A genre-defying release like this with its moments of dancehall (Brownout In Lagos), Neu!-style motorik elements (10:30 At The Oasis), straight-ahead rocking (It Was A Wall) and sitar raga (O), and what you have is the year’s most riveting records, both diverse and engrossing. 8/10

The Alchemist – Chemical Warfare (ALC/E1 Music; 7/7)

First thing I gotta say is that the seventh track on this record, That’ll Work (with Juvenile & Three 6 Mafia) is fucking dope as shit; likewise the previous tracks: Therapy (with Talib Kweli, Blu, Evidence & Kid Cudi), Grand Concourse Benches (with KRS-One), the title track (with Eminem), Lose Your Life (with Pusha T, Jadakiss & Snoop Dogg) and ALC Theme (with Kool G Rap) are all tight- exercises in excellent beats/production by The Alchemist himself and expert verses all spit with precision and flow. Then comes track 8, Smile, an R&B jam that goes sour- playing Twista’s superfast flow against Maxwell’s smooth croon. I hate this shit; why can’t a hip-hop album just be hip-hop anymore? If I want R&B, I’ll put on some Otis Redding or Curtis Mayfield; the new jack shit is wack. Then the album does a complete 180, backsliding into oblivion- awful raps by Mobb Deep’s Prodigy, Lil’ Fame, Fabolous and Tha Dogg Pound ruin what was a pretty tight outing. A seven-song EP would’ve got this record a ten, instead it only scores half that. 5/10

Magnolia Electric Co. – Josephine (Secretly Canadian; 7/21)

I’ve been trying to throw together my “Best Of The 2000s” list and Jason Molina’s 2003 offering Magnolia Electric Co. (Molina’s last album under the Songs:Ohia moniker, and arguably his finest record to date; always capturing his mood perfectly on each record) figures somewhere in there. Then there’s his awesome 1999 record Axxess & Ace (bright and lively) that would figure high in my “Best Of The 1990s” list, and I could also mention honorably 2000’s The Lioness (ragged and melancholic like Neil Young’s Ditch Trilogy albums), then there’s the “working man’s folk” of Didn’t It Rain, I can go on and on with this- so when Molina puts something out I’m usually near the front of the line. So here’s Josephine now. I can say that it’s a good album, not great- nothing all that spectacular sticks out, even upon repeated listens. I feel like I was listening to this record with too much intent (if that’s possible, being a “reviewer” and all), trying to find the truly awesome passages- but alas; it’s more like truly awkward passages. Take for instance the most out-of-place saxophone on the album’s opening track (O! Grace) that’s used for no other purpose than to say, “Hey, we got a sax solo on here!” The horns inexplicably reappear on the sixth track (Song For Willie) that sound ridiculously corny. I understand Molina’s loss (bass player Evan Farrell died in an apartment fire during the early stages of recording) but to make an album that’s basically two long goodbyes (one to “Josephine” and one to Farrell) doesn’t really play on any of Molina’s strengths- he’s at his best when his music is unpredictable (here it’s overwhelmingly rote) and his lyrics have a hint of angry passion to them (again; here he’s just self-pitying, which leaves me to wonder- did Molina die or did his friend?) 6/10

The Lonely Island – Incredibad (Universal Republic; 2/10)

You know, I really didn’t want to review this record- I’ve been listening it for four months now and didn’t want to denigrate its awesomeness with a review. But there are too many great songs here to deny that it’s one of the best albums of the year- from the SNL Digital Short skit-based jams everyone already knows (the insanely viral Lazy Sunday with Chris Parnell, Dick In A Box with a metro-beared Justin Timberlake, a dirty-ass Natalie Portman on Natalie’s Rap) to the new ones (song of the year nomination goes to the T-Pain assisted I’m On A Boat; the hilarious ode to premature ejaculation Jizz In My Pants; lampooning corporate leadership skills on Like A Boss) and all the guest stars here: Julian Casablancas of The Strokes (Boombox), Norah Jones (Dreamgirl), an uncredited Joanna Newsom on the reggae-spoofing Ras Trent, hyphy Bay Area legend E-40 clowning Carlos Santana’s foray into the sparkling wine biz with Santana DVX, it’s the funniest album since… since… (don’t say Flight of The Conchords, those dudes are only mildly funny at best). The only weak spot is the Jack Black (Sax Man) song, someone must’ve forgot to tell these guys he’s several years past his prime. Still, it’s one of the best this year, or the year 3022- the year of Space Olympics. 10/10

UGK – UGK 4 Life (Jive; 3/31)

Four years ago an album by Houston-based rapper Mike Jones hit the streets- it was all I could listen to for about two months that year, imagine me rolling in a silver Suzuki Forenza bumpin’ that jam all day long. Seriously, I even made Back Then my ringtone. Then, as quickly as it came into my life, it was gone. UGK’s Bun B spit a verse on one of those songs, I remember thinking “is this the dude who rapped on Jay-Z’s Big Pimpin back in the day?” Yeah, that’s Underground Kingz- the duo of Bun B and Pimp C. Some of this album was finished after Pimp died in December of ‘07, so it’s as if he’s rapping from the grave on some of these tracks. Nevertheless, it lacks the infectiousness of some recent hip-hop favorites (Clipse’s Hell Hath No Fury is one I can think of). Some of the tracks are bangers, re-calling their 2007 International Player’s Ball (I Choose You); you couldn’t swing a cat without hitting that song two years ago. But, some of the songs are straight clunkers (all that new jack R&B shit is just whack- singers Raheem DeVaughn and Akon kill the momentum with their shmoove shit); but songs featuring West Coast legends Snoop Dogg, E-40 and Too Short are all tight. When it’s hip-hop, it’s a hell of a record, when there’s all those corny R&B hooks, it’s just hurtin’. Pimp C, rest in peace. 7/10

Suckers – Suckers EP (IAMSOUND; 4/14)

First off, four songs at sixteen minutes is too short, and I’d only say that because this is good enough that I want more, at least 40 minutes of it. Second, Suckers make a unique brand of pop-meets-spiritual music in that they share a musical sensibility that’s equal parts Yeasayer and MGMT- so it’s both a gospel-esque sing-along (or shout-along) as well as rhythmic enough to get your head nodding, even danceable at times. Suckers are your urban hippies with synths- when music comes away from the campfire and into a studio full of electronics and midi sounds; the result is sublime- It Gets Your Body Movin’ is one of the best songs I’ve come across this year. 9/10

Magnolia Electric Co. – It’s Made Me Cry (Secretly Canadian; 4/18)

Jason Molina has a voice that could stop traffic- or melt your heart; depending on what your tastes are, I’d say he’s a somewhat acquired one that puts an arrow in my chest upon every listen. Bordering somewhere around a high nasal register and adenoidal warble, his lofty vocalizations are a cross between Neil Young’s falsetto and Colin Meloy’s whine. This four song EP was released specially for Record Store Day, and while it’s classic in its Molina-ness; three of the four songs feature piano rather than guitar, and it’s only six-and-a-half minutes long. It’s basically a stop-gap between 2006’s Fading Trails and next month’s Josephine. “Stop-gap” sounds kind of shitty; in actuality it’s a benefit record for the late Evan Farrell’s Memorial Fund, Magnolia’s bass player that died in an Oakland apartment fire in December, 2007. Only 1,000 were pressed, so if you have a copy, consider yourself lucky because I haven’t been able to find one anywhere… 8/10

Cryptacize – Mythomania (Asthmatic Kitty; 4/21)

Mythomania is the outdated terminology for “pathological lying”; but there’s an earnestness in Nedelle Torisi’s voice and something ancient in there as well. Ex-Deerhoof guitarist Chris Cohen’s subtle studio wizardry (as well as singing lead on two tracks) is a perfect complement to their kitschy psychedelia. I’m drawing comparisons to a stripped-down Stereolab here; it reveals the wonder of a world we forgot (or never experienced)- the late 1950’s post-Sputnik sparseness of their sound is pleasureable in that it sounds simultaneously like something I’ve heard before and like nothing I’ve ever heard. It’s a musical conundrum that falls midway between a joke and high art; the riddle is how does this record sound so complex when it’s really so simple? I think that’s its instant appeal, however- it begs repeated listens, showing this listener more and more upon the next play and the next. 8/10

Diamond Watch Wrists – Ice Capped At Both Ends (Warp; 4/28)

Hella drummer Zach Hill and the ever-prolific Prefuse 73 (aka Guillermo Scott Herren, whose latest record was just reviewed in the post here) unite for a genre-bending offering of the WTF variety, equal parts prog-rock mess and incoherent folk-via-hip-hop; exactly what you’d expect if you’ve ever delved into Hill’s take on spazz-core kit skills (he’s the best in the game; if you say Don Caballero’s Damon Che, you’re not only wrong but an idiot- everyone knows he’s a total megalomaniacal dick and he edits his own Wikipedia page entries). Uh, anyway- Prefuse’s glitchy take on music combined with Zach’s crazy rad drumming is one of the year’s most head-scratching collaborations, and it works to some avail. That’s the good part; the bad is that some of the almost 38 minute album drags along at times, periodically being rescued by Hill’s beats (which P73 occasionally gives the “screwed & chopped” treatment to, slowing it down like it was sipping that Purple Drank). Battles’ Tyondai Braxton shows up on a track, but that’s about it for the highlights. 6/10

The Wooden Birds – Magnolia (Barsuk; 5/12)

Heartfelt, emotionally overwrought folk-rock; I usually love this shit (Iron & Wine and Bon Iver are immediately called to mind) but this is the main dude from The American Analog Set- and while I like their older stuff (they influenced one of my favorites, fellow Austinites Explosions in The Sky and got them their first record deal) they’ve veered towards a safer route as of late. This record follows that same “plays-it-safe” route as well; its songs are all four-minutes-or-less, adhering to that rootsy Americana formula AmAnSet frontman Andrew Kenny’s been delving more into, and away from the seven-plus minute sadcore jams his real band used to play. Do we really need another album like this? 4/10

Phoenix – Wolfgang Amadeus Phoenix (Glassnote; 5/26)

God, 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 not half bad. Songs like 1901, Lisztomania andthe 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… 8/10