Music – Page 6 – Lost in the Cloud

Best Albums of 2009 Revisited

Since Greg shared his more finalised version of the ‘Best Albums of 2009’ I figured it was as good a time as any to revisit my list. I would have simply updated the original post, but there have been some significant changes to my ‘Best Albums of 2009 (thus far)‘ list due to the release of several amazing records since I left America. I have therefore removed the following from my previous list:

Cass McCombs—Catacombs
Andrew Bird—Noble Beast
Sunset Rubdown—Dragonslayer
The Pains of Being Pure at Heart—The Pains of Being Pure at Heart

I must say that the four records above are worth buying, but in narrowing my list down to ten with the inclusion of a larger canon of new albums in 2009 (my previous list was posted nearly three months ago) I needed to revise my list. Therefore I give you my more official and updated ‘Best Albums of 2009‘.

07 - These Four Walls

10. We Were Promised Jetpacks—These Four Walls
I still stand by the excellence of this record, but it has slipped three slots (from seven to ten). Enjoy the incredible Scottish sincerity and steady flow of energy.

9. Atlas Sound—Logos
Bradford Cox (of Deerhunter) really did an excellent job on this record (released 19 October in the UK) with a little help from Noah Lennox (aka ‘Panda Bear’) and Lætitia Sadier (of Stereolab). Cox demonstrates his exceptional and deeply personal writing abilities and leaves room for many more excellent Atlas Sound records to come.

8. Times New Viking—Born Again Revisited
I first heard Times New Viking last year when they released Rip it Off. That album proved to be a great surprise (which was enhanced by the energy and precision of their live shows). This next record (released 21 September in the UK) proves to employ the same techniques – simple pop songs performed by a three piece band (drums, guitar, keys) and production that is intentionally downgraded for an extremely primitive and lo-fi sound. But the songwriting on this album represents a broader stylistic spectrum than their previous work which makes this record more accessible and even more listenable (for someone who usually enjoys what others have sometimes deemed ‘unlistenable’).

08 - Mythomania

7. Cryptacize—Mythomania
As I mentioned previously, this album was very surprising, and it has proven more surprising as I’ve listened on, securing it a rank of number seven (previously eight). At this point one might ask, “Wait, with this subjective switch aren’t your reviews worth the computer screens they are illuminated on?” Correct, the albums I deem worthy of listen are based upon my dynamic personal preferences. But in the end, we must wait for NME’s ‘Top Albums of the Decade’ instead of taking their top album from each year of the decade because of developing musical trends and tastes, so I don’t feel so guilty. This album deserves this spot and maybe even a higher one. This album possesses a near-perfect amount of creativity, innovation, skills and utter fun! A great improvement from Chris Cohen’s previous work on Asthmatic Kitty (Curtains).

6. Girls—Album
I first heard the track “Hellhole Ratrace” back in August. It was raved about by Pitchfork and Stereogum and I found the track very enjoyable, but not as incredible as the reviews were claiming. I bought the record soon after its release on 22 September and gave it a listen. By the second listen I was hooked. Think of a more nihilistic and energetic Elvis Costello circa 1977, with a hint of Buddy Holly.

04 - My Maudlin Career

5. Camera Obscura—My Maudlin Career
This record (along with Cursive’s new record) slipped a slot entirely due to the release of my new number three record of the year. As I’ve mentioned previously, this is probably my favorite release from Camera Obscura. The more I’ve listened the more I appreciate the record and also the more sure I am that I didn’t simply “love it so much because Belle & Sebastian hasn’t released an LP since 2006.” Well orchestrated and executed indie-pop, with plenty of Scottish wit. Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity.

03 - Mama

4. Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number [four] slot, but I will always have a soft spot for Cursive. This is not to say that this album is undeserving of praise. Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors). They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow. It reminds me of Domestica even. Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred. Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature. I don’t buy it (but not because it’s not packaged well). I say we drop the Enlightenment and read more Kierkegaard and Barth.

3. Converge—Axe to Fall
After all these years Converge is still bringing ‘it.’ What is ‘it?’ ‘It’ is unrelenting energy. Of all of the bands on this top ten album list, Converge is by far my favorite. This album (released 20 October) is both extremely heavy and true to Converge’s metal roots while remaining very accessible (like 2001’s Jane Doe). Axe to Fall has also made its way into my top three all-time Converge records.

02 - Merriweather

2. Animal Collective—Merriweather Post Pavilion
Retaining its number two slot, Merriweather Post Pavilion – though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense) – is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album. The songs don’t leave you asking, “When is this going to end/how does that even fit?”

01 - Veckatimest

1. Grizzly Bear—Veckatimest
I raved about their performance in Glasgow earlier this month and I stand by this pick as the ‘Best Album of 2009.’ My first listen of this record was a positive, but not profound experience. Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.” I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year). I sat with the album for another month and at that point it hit me. This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record. By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree. This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something.

Best Albums (and more) of 2009 (thus farther)

Our own brilliant Elijah Wade Smith posted his favorite new albums of the year a bit early this year (August) [ELIJAH ADDS: and with a stated reason for doing so…], but I’d like to pick up where he left off and share some favorite albums from this year, along with my definitive songs of 2009 and one marvelous musical discovery…

Since Elijah already listed 4 of the albums I would have chosen (We Were Promised Jetpacks, Cass McCombs, Grizzly Bear and Animal Collective), I will use this space to highlight 10 other albums (3 of which earned an honorable mention from my esteemed colleague). Between my regular CD purchases and my beloved eMusic account (which I was not paid in any way to mention), I was able to purchase around 50 albums this year, but I still feel like I have certainly neglected many more releases that should have been heard (e.g. I have not heard one note of the new Muse album).

Sadly, this year some of my favorite artists only turned out middling efforts at best (Andrew Bird, Jeremy Enigk, Imogen Heap, Patrick Watson) and deeply disappointing at worst (Doves, Pete Yorn, Morrissey). The jury is still out on the new Swell Season album (feelings are ambivalent–is it too derivative or a purposeful homage?) and I intentionally neglected to include U2‘s album, as I am unable to evaluate their work in isolation from their status/body of work. A final note: though Sufjan Stevens‘ “The BQE” was released this October, it feels like it belongs to another year (2007, when it was initially performed)…I will say that I LOVED his “You Are the Blood” on the Dark Was the Night compilation, and of course, I admire his work in general more than anything else I’ve ever heard, so I’m sure any appraisal of it would be unfairly elevated as well.

Without further caveat, I give you (alphabetically listed) the best, with my best…

TOP TEN ALBUMS (not on Elijah’s list):

Grumbles top 10 — Counter-offensive? Um, what counter-off...oh, that.

• Lou Barlow—Goodnight Unknown: I would include Barlow amongst the best living American songwriters. His stylistic range is somewhat limited (he’s practically copyrighted a particular kind of staccato down strum), but if it isn’t broke…(I couldn’t force the “ain’t” in there). He’s lyrically sentimental on some songs, but it’s the tender truthful sort, and then in other places he’s brutally insightful. A beautiful, rich album: see “Gravitate,” “Too Much Freedom,” and “Modesty.”

• David Bazan—Curse Your Branches: To quote from the Barsuk Records press release:

“…Curse your branches is his masterpiece — a beautiful, passionate, profoundly courageous work of art that deserves and will reward your close attention. It is a deeply personal, frankly autobiographical dispatch from the front lines of a crisis of faith. Song after song peers deep into the abyss of insoluble mysteries and comes up with something far more useful than answers.”

Do I agree? Maybe. Still, it’s light years better than any of the shite that makes millions these days.

• Neko Case—Middle Cyclone: One day, I drove my sister-in-law Megan’s truck up to LAX to pick her up and this CD was in the player. Love at first listen. I knew her voice from The New Pornographers (lovely, fierce, voluptuous), but her singing her own melodies and lyrics = twisted longing & lovely loss. The experience was so intensely moving I ended up listening to all 30 minutes of the last song–which is only the sound of crickets in the field outside her studio.

• Hayden—The Place Where We Lived: He was on my top 10 last year…how in the heck did he put another little gem together so quickly. I will say that he may be an acquired taste, so do give this album a test run before you trust my quirk-happy palate.

• Lightning Dust—Infinite Light: I have no recollection of where I came across this album, but it’s a rare flower: timeless (and therefore similar to what has come before) and unique (the quaver of the singer’s vibrato–again, may not be to all tastes–and her wry, experienced, and [creepy to say it] sexy delivery…kind of a Chick Jagger if you get my meaning).

• Passion Pit—Manners: The sound of this album is like eating a substantial meal of sweets. I’m not sure if people can keep from loving this band…it is my kid’s number one choice off my iPod. Unbelievable hooks, propulsive beats & a mystifying falsetto…

• The Low Anthem—Oh My God, Charlie Darwin: I’m just going to admit that before two weeks ago, I knew only the name of this band. I am so seriously excited about looking more into this band, past & future…go to iTunes and listen to the first three songs (then skip the next two) and tell me you can’t hear the talent. I’m anxious to figure out the evolution (if you will) of the lyrical themes, but it’s work I look forward to.

• Matt & Kim—Grand: Another admission–I only discovered this band because of the placement of their insanely catchy song “Daylight” in a Bacardi ad. BUT these two performers give me hope for the next generation of bands…and they DIY’d it without the help of a guitar, fueled only by raw passion and teen spirit.

• The Mountain Goats—The Life of the World to Come: Every song is named after a passage from the Bible, but just listen to the lyrics and you’ll know you’re not in Jesusland: “I became a crystal healer and my ministry was to the sick / Creeping vines would send out runners and seek me in their numbers / I sold self-help tapes.” I would strongly recommend “Hebrews 11:40,” “1 John 4:16,” and “Deuteronomy 2:10.” I haven’t yet looked up any of the scripture references, but I think that the passages will probably function in a way similar to the inspiration of the 10 commandments in Krysztof Kieślowski’s Decalogue. Perhaps this could be a topic for some student of theology & culture…in Scotland?

• Regina Spektor—Far: This album almost didn’t make this list due to the dolphin noises she makes at exactly 2 minutes into “Folding Chair”–she needs a naysayer in her entourage. But she can write a pop song or melancholy ballad with her piano and lovely, funny voice like nobody’s business (see “Laughing With,” “Human of the Year,” and “Genius Next Door” along with most of the other cuts…though “Machine” is a bit awkward as well). She’s really amazing…

BEST SONGS OF THE YEAR:

I made an iMix of these which can be found by pasting the words “Sgt Grumbles Best Songs 2009” into the iTunes iMix search box…570 seconds of goodness at least.

“Charlie Darwin”: The Low Anthem/Oh My God, Charlie Darwin
“Hard To Be”: David Bazan/Curse Your Branches
“Dear God (Sincerely M.O.F.)”: Monsters Of Folk/Monsters Of Folk
“Ten Thousand Words”: The Avett Brothers/I And Love And You
“Laughing With”: Regina Spektor/Far
“Too Much Time”: John Vanderslice/Romanian Names
“Two Weeks”: Grizzly Bear/Veckatimest
“Little Secrets”: Passion Pit/Manners
“My Girls”: Animal Collective/Merriweather Post Pavilion
“Wondering What Everyone Knows”: Lightning Dust/Infinite Light
“Daylight”: Matt and Kim/Grand
“Modesty”: Lou Barlow/Goodnight Unknown
“The Pharoahs”: Neko Case/Middle Cyclone
“Deuteronomy 2:10”: The Mountain Goats/The Life Of The World To Come
“The Executioner’s Song”: Cass McCombs/Catacombs
“An Almighty Thud”: We Were Promised Jetpacks/These Four Walls
“I Want You Back”: Discovery/LP
“Let It Last”: Hayden/The Place Where We Lived
“Lille”: Lisa Hannigan/Sea Sew

BEST DISCOVERY:

• The album The Texas/Jerusalem Crossroads by the band Lift to Experience. I don’t completely know how to describe how important this album has become to me. It is simply one of the most fascinating ALBUMS ever recorded, as in a musical composition where everything is working together towards one purpose/theme on EVERY LEVEL IMAGINABLE. You listen to it, and you must listen to in IN ITS ENTIRETY & you feel like you are in some run down warehouse listening to them play, no CREATE–right there and then–this mad, apocalyptic masterpiece of beauty and fierce passion that is flowing in some profane mixture of Ahab-esque monomania and true divine inspiration. I don’t have the inclination to ruin the bizarre experience of discerning the “tale” of this one-of-a-kind concept album, but here is a formula that may help give a sense of what we’re talking about here:

Jeff Buckley + Explosions in the Sky + My Bloody Valentine (the book of Revelation/ fundamentalist preacher’s kid) + Texan pride/outsider art (messiah complex) – worst album cover art ever (it looks like it was designed on Microsoft Word!) = one of the greatest albums ever

I was going to include some books, but I’ve asked enough of your time. I will be back with more later…

Elliott Smith, Intercessory Psalmist

This post, in partial attempt to push my last post under the radar, is more in my line of pseudo-expertise and at least non-inflammatory interest…

On 6 August 2009 Elliott Smith would have turned 40 years old. Instead, on 21 October 2009 we grieve six years without him. Readers may or may not know who Elliott Smith was (or is), but if you’ve heard the film soundtracks for either Good Will Hunting, Hurricane Streets, American Beauty, Keeping the Faith, Antitrust (sadly), The Royal Tenenbaums, Thumbsucker, Georgia Rule (unfortunately), The Go-Getter, or Paranoid Park, or if you’ve played through Guitar Hero 5, you’ve been exposed to at least a portion of his work. If you’ve not heard any of that, maybe you saw the 70th Academy Awards (1998) and caught his performance “Miss Misery,” which was nominated for best original song (losing to James Horner and Will Jennings for “My Heart Will Go On,” from the film Titanic). Though he never experienced a great degree of commercial success, Elliott Smith has left a legacy of what I believe are some of the best pop/folk songs ever written.

Elliott Smith’s singing voice can be characterized as a tenor-whisper (which is also doubled in most tracks – Elliott is among the finest/if not the finest doubling singers I’ve ever heard). When I first heard his unique voice I didn’t know what to expect regarding his looks. The first time you see a picture of Elliott after hearing his voice you might ask yourself, “Really?” Yet when you see a live performance (something now only possible through video recordings) the deep honesty of his voice is a perfect complement to the deep honesty of his weathered face.

Lyrically Elliott is typically rather dark, which typically leaves his listeners ultimately unsurprised (though devastated) when they learn of his suicide. His lyrics often feature the themes of existential despair, love (or the absence of such) and the looming prospect of taking one’s own life (“Instruments shine on a silver tray | Don’t let me get carried away | Don’t let me get carried away | Don’t let me be carried away” – last lines on From a Basement on the Hill‘s ‘King’s Crossing’, one of the last songs he ever wrote).

But contrary to accusations I’ve often heard against it, Elliott’s music is not a tool for thrusting oneself into despair. I cannot precisely explain the emotional quality that draws me into Elliott Smith’s music, but it is not one that is dismal so much as it is honest. When I listen to Elliott Smith I find an advocate, a counselor, one not above the darkness, but in its midst. Like the Psalmist, Elliott cries out for me when I have no words. And that is what gives Elliott the edge in my musical library: he is so substantive and of this earth. His passions, his pains, his loves, his hates, his strengths, and his weaknesses are all laid out with the utmost artistic integrity. I truly believe every word that comes from his mouth, or at least I believe that he believes what he is singing.

If you’re looking for shallow comfort listen to The Beach Boys’ ‘Wouldn’t it Be Nice’, one of my favourite pop songs of all time. But if you want to experience someone’s heart laid out before you and if you want to taste both the sweetness and bitterness of a true artist, give Elliott Smith a listen, a long intentional listen.

Elliott Smith Full-Length Releases

Let me first say that I consider every Elliott Smith album an excellent album, and I don’t award such praise lightly (at least I don’t think I do…).

01 Roman Candle

From 1991 to 1996 Elliott sang/played guitar in the alternative rock band Heatmiser. While in the band he began his solo career, resulting in 1994’s Roman Candle, nine tracks (the last one instrumental) that Elliott had not actually intended on releasing in album form. With this in mind, Roman Candle is much less cohesive than Elliott’s later releases, but still showcases his exceptional musical/writing ability, as well as the signature lo-fi production that characterizes most of his music.

02 Elliott Smith

Elliott released his self-titled album in 1995, like Roman Candle, while still in Heatmiser. This album includes the track, “Needle in the Hay,” featured in the film The Royal Tenenbaums.

03 Either-Or

Either/Or, released in 1997, follows in the same vein as Elliott’s first two releases. The title comes from Søren Kierkegaard’s book, Enten ‒ Eller. Several songs from this album were used in the film Good Will Hunting (though “Miss Misery,” the song for which Elliott was nominated for an Academy Award, was written specifically for the film and saw no studio album release).

04 XO

Elliott followed Either/Or with 1998’s XO, his first release through DreamWorks and thus his first release on a major label. Elliott’s earlier philosphical/aesthetic sentiments are present, but begin to manifest themselves differently through this album, which features more instruments and better production.

05 Figure 8

Following in the same musical/productive trajectory of XO, Elliott released Figure 8 in 2000. This album is simply incredible. The cover photo was taken in front of the A/V repair shop Solutions in Los Angeles by photographer Autumn de Wilde. If you’re in Los Angeles you can visit and leave a message on the wall (located at 4334 W. Sunset Blvd.), which has become an unofficial Elliott Smith memorial.

06 From a Basement on the Hill

At the time of his death, Elliott was still working on this album, which was released posthumously in 2004. Though we don’t have Elliott’s final product here, his former producer along with his girlfriend compiled this album from the material he had been working on in the studio. They did a good job.

07 New Moon

This album is actually a compilation of B-sides, outtakes and rarities generally from the self-titled and Either/Or sessions, and the style/production is predominantly reflective of that period. It was released in 2007.

For more information on Elliott Smith visit Sweet Adeline, his official website.

Best Albums of 2009 (thus far)

It’s late August and I’ve already got a top ten list for the best albums of the year. As I pointed out in an entry last year, it isn’t really my thing to jump on ‘new’ music per se. I am typically balancing myself between ‘new’ music and ‘old’ music that’s ‘new’ to me. This year I wanted to challenge myself to listen to more “new” music (i.e. music that has been/will be released in 2009).

With the trusty aid of music blogs, Lala, random databases, and Greg I’ve been able to become exposed to a larger body of ‘new’ music this year and I decided that before I leave to Scotland and my postgraduate occupation with a large number of books, I would compile a list of my top ten albums of the year. Who knows, maybe this will be my final top ten list for the year (though it has been altered a bit even in the last 24 hours).

10 - Catacombs

10. Cass McCombs—Catacombs
Cass McCombs reminds me of T Bone Burnett and Neil Young more than ever. He remains very unpretentious and sincere, perhaps on this album more than his previous records. Two tracks to reel you in: “You Saved My Life,” & “Lionkiller Got Married.”

09 - Noble Beasts

9. Andrew Bird—Noble Beast
I really thought I would hate this album. I’m not much of a fan of Andrew Bird’s music. I’ve never enjoyed his voice. Perhaps Noble Beast’s inclusion on this list is a response to how much I tolerated it as opposed to how much I loved it. But I am leaning more toward its inclusion because I thoroughly enjoy listening to this album. Two tracks to reel you in: “Masterswarm,” & “Not a Robot, But a Ghost.”

08 - Mythomania

8. Cryptacize—Mythomania
This album was very surprising. I hadn’t been very impressed with Chris Cohen’s work with Curtains on Asthmatic Kitty, so I didn’t expect a lot. I saw Cryptasize for the first time with Danielson last November and they didn’t leave a very strong impression, but this album really brings out their strengths. It has a great mood—unpredictable but not irritating (like the Dirty Projectors’ new album…). Two tracks to reel you in: “Blue Tears,” & “Gotta Get Into That Feeling.”

07 - These Four Walls

7. We Were Promised Jetpacks—These Four Walls
Thanks to Sgt. Grumbles for this suggestion a couple months back. It reminds me of high school, in the best way possible. Enjoy the lovely accent, the token glockenspiel, and the incredible sincerity—one of the most important qualities I look for in an artist. Two tracks to reel you in: “It’s Thunder And It’s Lightning,” & “An Almighty Thud.”

06 - Pains

6. The Pains of Being Pure at Heart—The Pains of Being Pure at Heart
American faux-Brit pop never felt so great! It’s delightfully reminiscent of The Smiths, Jesus & Mary Chain, and My Bloody Valentine. Two tracks to reel you in: “Young Adult Friction,” & “A Teenager In Love.” Note: the album cover bears a ridiculously close resemblance to Belle & Sebastian’s 2006 album, The Life Pursuit:
Compare
05 - Dragonslayer

5. Sunset Rubdown—Dragonslayer
This album is a great step forward for Sunset Rubdown. It’s not obnoxiously poppy like Shut Up I Am Dreaming tended to be. There’s a lot going on musically, yet no component is overpowered by another within a song. Two tracks to reel you in: “Silver Moons,” & “Idiot Heart.”

04 - My Maudlin Career

4. Camera Obscura—My Maudlin Career
Let’s face it, I’m a sucker for Scotch indie-pop. This is probably my favorite release from Camera Obscura. Maybe I love it so much because Belle & Sebastian hasn’t released an LP since 2006. Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity. Thank you Tracyanne Campbell for your exceptional wit. Two tracks to reel you in: “French Navy,” & “My Maudlin Career.”

03 - Mama

3. Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number three slot, but I will always have a soft spot for Cursive. This is not to say that this album is undeserving of praise. Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors). They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow. It reminds me of Domestica even. Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred. Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature. I don’t buy it but not because it’s not packaged well. Two tracks to reel you in: “From the Hips,” & “Let Me Up.”

02 - Merriweather

2. Animal Collective—Merriweather Post Pavilion
Though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense), this album is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album. The songs don’t leave you asking, “When is this going to end/how does that even fit?” Two tracks to reel you in: “My Girls,” & “Summertime Clothes.”

01 - Veckatimest

1. Grizzly Bear—Veckatimest
My first listen of this record was a positive, but not profound experience. Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.” I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year). I sat with the album for another month and at that point it hit me. This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record. By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree. This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something. Two tracks to reel you in: “Two Weeks,” & “I Live With You.”

Compilations worth mentioning
Let It Roll: Songs by George Harrison – a compilation of George Harrison’s solo music spanning his entire post-Beatle career.
Dark Was the Night – a compilation release benefiting the Red Hot Organization.
Royal City – a Royal City B-side compilation released by Asthmatic Kitty.
God Help the Girl – a music/film project written Stuart Murdoch, the singer of Belle & Sebastian. Members of Belle & Sebastian with guest vocalists. CD Booklet features a short story that goes with the music.

Honorable mention
Lou Barlow—Goodnight Unknown
David Bazan—Curse Your Branches
Castanets—Texas Rose, the Beasts, and the Thaw
Dan Deacon—Bromst
The Decemberists (primarily because of Shara Worden’s contribution)—The Hazards of Love
Passion Pit—Manners
St. Vincent—Actor
Wye Oak—The Knot

Look out for
Converge—Axe to Fall (20 October)
Atlas Sound—Logos (20 October)

Why does anyone like
Dirty Projectors—Bitte Orca – It could’ve been so great, but it’s incredibly obnoxious.

Prick Up Your Ears…2008 C.E.

What follows is my unsolicited list of the finest 10 music albums of this year. Full disclosure: I have a rather limited musical palate and have been called a bit “elitist” when it comes to music (i.e. all tastes are not equally valid), so I apologize ahead of time for any arrogant presumptions or pretentious hype.

Continue reading “Prick Up Your Ears…2008 C.E.”