Tapes on the Floor's Favorite Albums of 2010

After taking almost the entire year to carefully consider the music that would appear on this list, I'm now ready to reveal my favorite records of the year—and not a day too soon. 2010 was another corker as far as music goes, but I feel as if I've been saying that every year for a while now. The truth is, I listened to more things this year than ever before, and while I loved quite a bit of it, the records on this list are the standouts that truly stuck with me. So here they are, my favorite albums of 2010 listed alphabetically by artist.
















Write About Love - Belle and Sebastian
It's probably bad form to call Write About Love Belle and Sebastian's comeback record—they never really left or went on hiatus, it just took four years between releases. However, even for a group who practically wrote the book on twee indie-pop, the musical landscape of 2010 is a far cry from that of 2006. This makes the fact that Belle and Sebastian haven't really changed one bit all the more delightful. They're still complaining about their day-jobs ("Write About Love") and making grandiose demands ("I Want the World to Stop") atop the bouncing strains of catchy, upbeat arrangements. "Make me dance/I want to surrender," croons Stuart Murdoch on the record's opening track—it's hard to come up with a better summation than that.
















Brothers - The Black Keys
I've always been a strong proponent of the Black Keys—much like myself, they're Ohio boys with a penchant for the blues. With this in mind, it should come as no surprise that I think that Brothers is their strongest effort since Rubber Factory. This record finds the duo melding the raw sound of their earlier recordings with the production values of their latter-day output—a near-perfect balance of old and new with a cohesive direction. Whether it's the swirling organ and earnest falsetto present on "The Only One" or the bellowing low-end of "Howlin' For You," Brothers proves that the Akron twosome still have a few tricks up their collective sleeve.
















Black Sands - Bonobo
There's at least one album I put on my list each year that I feel I really have no right talking about. I'd never heard of Bonobo (British producer Simon Green) until this record fell into my lap earlier this year, but his orchestral trip-hop arrangements instantly made me a fan. Black Sands is an electronic album planted firmly in the analog world, buoyed by a seemingly classically trained ear for melody that transcends the hook-obsessed state of modern electronic music. The danceable beats of "Kiara" and "1009" stand shoulder to shoulder with the meticulously composed instrumentals of "El Toro" and the record's title track. It's a juxtaposition that requires delicate control, but one that Green pulls off successfully and to great effect.
















Forgiveness Rock Record - Broken Social Scene
For the sprawling Canadian collective's fourth act, the group traveled to Chicago to record with John McEntire at Soma studios. The result is another art-rock opus featuring an ample cast of players and guests. For a band that has split off in so many different directions in the years since their last record-proper, it's refreshing to hear all these people bringing their influences into the fold and playing off each other in the same place. The variety is key, bouncing from anthemic Kevin Drew-fronted numbers like "World Sick" and "Forced to Love" to the soft trills of Lisa Lobsinger on "All to All" to Emily Haines' decidedly subdued "Sentimental X's." McEntire's production work negates any sonic disparity, making for an album bound together by an intense love of music in all its permutations.
















Halcyon Digest - Deerhunter
For a person such as myself who has always been intrigued with bits and pieces of each subsequent Deerhunter and Atlas Sound release, Halcyon Digest is the perfect blend of both projects' at-times disparate sensibilities. Under the direction of maestro Bradford Cox, the group takes their usual shoegaze-y sound and injects it with a bit more of the pop spirit of Cox's solo work. The result is a record that doesn't sound drastically different from the band's previous efforts, but one with many more memorable moments—be it the sax solo on "Coronado" or the synth-heavy repose of "Helicopter". Under the watchful eye of producer Ben Allen, it all comes together in a way that injects new life into the weird and wonderful melodies this group is capable of.
















Tommy - Dosh
What is there left to say about an album and artist that I've gushed about for the better part of this past year? Dosh's latest loop-filled release keeps the creative wheels turning, resulting in a record that holds new surprises at every turn. There's the fast-paced collage of an opener "Subtractions," which seems to throw in just about every trick in the book. Just down the line is the atmospheric "Airlift," which I suppose you could peg as Dosh's contribution to the 'chillwave' fad. Closing out the record is "Gare de Lyon," an expansive and fitting tribute to the album's namesake—the late soundman Tom Cesario. Tommy is a portrait of an artist putting familiar tools to new tasks, all the while finding new ways to excite and amaze.
















Skit I Allt - Dungen
I like to think that Dungen's latest record was conceived in a haze of pot smoke, amid stacks of Camel and King Crimson records. From the sound of it, my assessment can't be far from the truth, as the Sweden-based outfit's record is another slightly stoned take on the '70s prog-rock sound. Ringleader Gustav Ejstes populates each track with a sense of nostalgic wonder, drawing from a palette of fuzzed-out guitars, percussive organs and trilling flute. As should be the case, there is no lack of distinct and memorable melodies, evident on tracks like "Skit I Allt" and "Marken Lag Stilla". As indebted to their forbearers as this collection of songs may be, on this record Dungen lovingly crafts the sound into something that nearly transcends that association.
















Cosmogramma - Flying Lotus
On his sprawling sci-fi, jazz-tinged, hip-hop exploration, LA best scene producer and musician Steven Ellison creates one of the most alluring pieces of art to come out this generation's liberal cut-and-paste mentality. Flirting with everything from oriental melodies to sweeping orchestral overtures, FlyLo layers entirely disparate sounds between ample helpings of glitchy synths and sporadic beats resulting in a unique blend of classical and modern sensibilities. It's an interstellar voyage from start to finish, never dwelling on one musical thought for too long and packing in appearances from folks like Thom Yorke and Ravi Coltrane. That it succeeds is a credit to Ellison's off-beat musical mind, but its unlikely cohesion is something akin to magic.
















What We Lose in the Fire We Gain in the Flood - The Mynabirds
Laura Burhenn set out to make a modern Motown masterpiece, and with the help of producer Richard Swift, she succeeded. What We Lose in the Fire is the kind of record that oozes with soul, bouyed forward by Burhenn's awe-inspiring voice and pitch-perfect instrumentation. The slow-burning opening track sets the mood, augmenting a fairly simple arrangement with accents like a swirling organ and glistening horn section. "Numbers Don't Lie" sounds like some long lost Motown 45, preserved in all its dusty, jangly glory. It's a hodge-podge of influences and call-backs but a record that manages to pay its dues while still offering something all its own.
















High Violet - The National
Maturation is a natural part of life—even bands do it, and on the Nationals latest release you can hear them doing just that. High Violet is a record bereft of the sonic energy found on Alligator and portions of Boxer, replaced instead with an earnest serenity befitting of Matt Berninger's calm baritone delivery. That's not to say that the group's penchant for big musical moments has dissipated entirely, as tracks like "Terrible Love" and "Afraid of Everyone" deliver those in spades. However, more subdued cuts such as "Bloodbuzz Ohio" and "Runaway" come away as being the most memorable—perfect showcases for the kind of refined instrumentation the band has become known for. Growing up—hard as it may be—has never sounded this good.
















One Of Us - Pomegranates
A couple of minutes into the opening title-track of this record, it becomes abundantly clear that Pomegranates have struck upon a sound that is uniquely their own. It's a moment they've been building towards ever since the reverb-drenched strains of their 2008 debut, but on One of Us, it all solidifies into something undeniably magnificent. Shifting from the psychedelic stomp of songs like "50's" and "Prouncer" to the subdued ambiance of "White Fawn" and "Venus," the group strikes a balance between energetic release and calculated poise. In between the space-y atmospherics are songs that transcend their trappings and a band reveling in a strain of pop-rock that sounds like no one else.
















White Noise Bed - Santah
I forget exactly how I felt when I discovered the awful truth about Santa, but I'll never forget how I felt upon first hearing the excellent debut release from a band called Santah. The young group of players turn in a record that sounds wise beyond their years—a brilliantly cohesive folk-rock statement rife with moments of sheer musical bliss. It would be tempting to say that it's all the brainchild of frontman Stanton McConnell, but the growling organ care of Tommy Trafton and firmly anchored bass lines of Otto Giovanni betray this as an intensely collaborative undertaking. It's a record that ebbs and flows but never dips in quality, making for some of the year's most enthralling listening.

Happy New Year!

Tapes on the Floor's Favorite Tracks of 2010 (Part I)

Yet again, we find ourselves at the year's end and as I did last year, I find myself blessed with far too much music to fit into a simple 'Favorite Records' list. To remedy this dilemma, and heap some recognition on records that didn't quite make the cut, I'll once again be running through my favorite tracks of the year. This one's going to be a two-parter, so bear with me as we dive into the first half of the year's best tunes, arranged (as usual) alphabetically by artist.

Arcade Fire - "The Suburbs"
The Canadian indie-superstars' latest record still hasn't entirely grown on me, but there's no denying the strength of its title track. Pairing a bouncing piano line with group's requisite string arrangements, Win Butler and company stretch a fairly simple arrangement to its most epic conclusion. Amidst an album chock full of shmaltz, this one hits home the most—and with a beautiful melody to boot.
Buy: The Suburbs

Baths - "Lovely Blood Flow"
Chopping beats is all well and good, but finding a way to layer some vocals on top always manages to impress me. Such is the case with this track from Baths, the latest artist to come from LA's beat scene. Amid the stuttering drum hits and atmospheric static, Will Wiesenfeld's admittedly odd voice joins the fray, bringing a strange sense of union to this offbeat gem.
Buy: Cerulean

Belle and Sebastian - "I Didn't See it Coming"
The first time I listened to this song—the opening track on Belle and Sebastian's latest album—it was like reconnecting with an old friend. Sarah Martin greets you gently, breathily intoning over gently swelling piano chords. By the time Stuart Murdoch joins in, it's as if these Scottish twee-pop giants never left our sides. "Money makes the wheels of the world go round" sings the pair—a fitting chorus for a priceless song.
Buy: Write About Love

The Besnard Lakes - "Albatross"
Shoegaze has been slipping in and out of vogue for years since its heyday in the late '80s and early '90s. Today, few do it better than Canadian post-rockers The Besnard Lakes—a fact which this track exemplifies. All the tropes are there, from the wailing, pitch-bending guitars to the ethereal vocals provided by Olga Goreas. "Things got weird for a bit" she croons, just before a surge of distortion takes hold—a sonic demonstration of the powerful feelings this group expertly harness.
Buy: The Besnard Lakes Are The Roaring Night

The Black Keys - "Ohio"
Why this track wasn't included on the group's latest record is beyond me, but releasing it online, free-of-charge certainly doesn't elicit any complaints. The duo's ode to our shared home state is a straightforward, heartfelt song about coming back to the place you love, wherever that may be. Personally, it's my front-runner for replacing the woefully outdated "Hang on Sloopy" as our state rock song.
Buy: Brothers
Download: "Ohio"

Born Ruffians - "What To Say"
For a song about being unsure what to say, Luke LaLonde spouts off a fairly verbose set of lyrics that cleverly tackle the subject at hand. Backed by a stuttering beat and some minimalistic guitar and synth work, the trio effortlessly turn in what is easily one the year's catchiest tracks. I know it's one I found stuck in my head—oftentimes when I should have been planning my next sentence a bit more carefully.
Buy: Say It

Broken Bells - "October"
Every year I find a reason to sing my praises of Danger Mouse, and this year that reason was super-duo Broken Bells. Joined by James Mercer of the Shins, this track finds the pair drowning in a sea of string pads, Rhodes piano and flanged guitars. It's yet another demonstration of Brian Burton's immaculate pop-sensibilities, further heightened by Mercer's seasoned vocal work. Songs like this leave me hoping this will be more than a one-off.
Buy: Broken Bells

Broken Social Scene - "Forced to Love"
I think my favorite thing about this track is how clearly you can hear producer John McEntire's auditory fingerprints. Whether it's subtle synth drones or the relentless, prominent percussion—it's all the sound of one of America's foremost musical minds meeting with the art rock tendencies of this Canadian collective. Even for a song premised upon forced emotions, it's hard to come away from this one feeling anything but unbridled love.
Buy: Forgiveness Rock Record

The Clientele - "Jerry"
It seems as if Alasdair MacLean has been threatening to disband the Clientele for several years now, but it's songs like this one that make me glad he hasn't made good on that threat just yet. "Jerry" finds the group engaging in their usual water-tight arrangements, presided over by Alasdair's reverb-drenched voice. It's when the distortion pedal gets hit and the song's decidedly uncharacteristic bridge starts that things get really interesting. Never a dull moment with these blokes—here's hoping for more.
Buy: Minotaur

Deerhunter - "Revival"
For as long as I've been following his work, Bradford Cox has been a reliable source of dreamy, well-constructed nuggets of pop-rock. "Revival" continues the trend—a short, percussion-heavy number with dollops of fuzzed out bass guitar. It's over before you know it and if you're anything like me, you'll quickly find yourself skipping right back to the beginning (again).
Buy: Halcyon Digest

Dosh - "Call the Kettle"
For his latest record, Martin Dosh dug into his back catalog to refashion a three minute track from his Powder Horn EP into the dazzling five-and-a-half minute showpiece present on Tommy. Dosh lays his usual drums and Rhodes groundwork as saxophonist Mike Lewis twists his accompaniment around the underlying melody in strange and beautiful ways, adding facet upon facet to this instrumental wonder. Chalk this one up as another densely layered success for the Minneapolis loop wizard.
Buy: Tommy

Dr. Dog - "Where Did All the Time Go?"
It's a tall order to write a song that will undoubtedly be used as the soundtrack to a flashback montage in some sort of biopic in a couple of years. Luckily, psychadelic pop-rockers Dr. Dog are more than up to the task, delivering a track that revels in the group's timeless sound while being careful to not overindulge in nostalgia. Bolstered by production that accentuates the group's vocal harmonies and instrumentation, the Philly quintet make this little song sound appropriately gigantic.
Buy: Shame, Shame

Dreamend - "Magnesium Light"
The twangy weirdo-folk of Graveface Records owner and Black Moth Super Rainbow guitarist Ryan Graveface can admittedly be a tough pill to swallow. However on this dreamy, banjo-driven track, you can almost hear some of that initially off-putting strangeness melting away. Even as the noisier elements kick in part way through, there's an earnestness that makes this song (and the album its culled from) extremely listenable.
Buy: So I Ate Myself, Bite By Bite

Dungen - "Skit I Allt"
It's nice to know that somewhere in the cold expanses of Sweden, there's a group of guys celebrating the seemingly under-represented sound of '70s British prog. Many of the genre's usual devices are present on this track—from the wafting flute-line reminiscent of Ian Anderson's to guitar riffs that echo the likes of Andrew Latimer and Robert Fripp. Indebted as they may be, Dungen's modern sensibilities mesh with their influences to create a sound you won't hear elsewhere.
Buy: Skit I Allt

Elf Power - "Goldmine in the Sun"
The Elephant Six Collective mainstays' latest self-titled release came with no shortage of succinct indie pop statements—none better than this particular cut. "Goldmine in the Sun" finds the group laying down a wall of chords as Andrew Reiger spins one of his apocalyptic tales over top. The wonderfully simple guitar-work on the ending breakdown caps off a track that isn't so much a return to form as it is a reminder of this band's continuing prowess.
Buy: Elf Power

Girls - "Heartbreaker"
From time to time the buzz surrounding a group is well-deserved—such is the case with Girls, whose delicate, brilliantly-produced pop songs found their way to my ears despite the overwhelming wave of hype heaped upon them. Christopher Owens lyrics on this track get straight to the point, but the refined instrumentation surrounding them bring an authenticity to his bluntness. On an EP resplendent with heartbreak, this one lives up to its name.
Buy: Broken Dreams Club

Jaga Jazzist - "One-Armed Bandit"
Norway's premiere (and only?) nine-piece progressive jazz combo flex their musical muscle on this track, the best of the bunch from their LP of the same name. A constantly-shifting beast of a song, the group establishes a unifying theme and then take every opportunity to move away from it. The icing on the cake is the John McEntire superb mix which distills what could easily have been a mess of notes into a unified instrumental masterpiece.
Buy: One-Armed Bandit

Jonsi - "Tornado"
There were plenty of moments on Jonsi's inaugural solo release that were far removed from his work with Sigur Ros, but I think it's telling that the record's best song doesn't stray far from that group's sound. The simple piano melody, accompanied by a grandiose string arrangement and the otherworldly tones of Jonsi's unmistakable voice make for track with all the power of its titular whirlwind.
Buy: Go

Part II can be viewed here—Favorite Albums of 2010 coming soon!

Live Review: Friday @ Lollapalooza 2010

So, I survived the three-day ordeal that is Lollapalooza, managing to see a whole bunch of music, meet up with folks and fulfill my intern duties. I had a way better time than I expected to have, partially because the organizers at this festival make things pretty cushy for members of the press. We got put in a shady, fenced-off area that overlooked the main stage on the south side of the grounds, complete with plenty of gratis food and drink. Compared to the stuffy little tent crammed into a corner that Pitchfork supplied, this place was heavenly.

My Friday started out with a brush with Ohio rock-royalty: our first interview of the day was with the legendary Devo. Mark Mothersbaugh, Bob Mothersbaugh (Bob 1) and Bob Casale (Bob 2) sat down with my fearless leader John Dugan for a really insightful conversation on the origins of the group and their continued relevance almost 40 years later. As you can see, Mark did more of the talking for the group, proving himself to be both eloquent and brutally self-aware. I don't count myself as a huge Devo fan, but as a fellow Ohio-native with musical aspirations and someone who is at the very least familiar with their catalog, it was a humbling experience.

The rest of my day went a little like this: I caught a set from garage-rock quartet the Ettes, who did a fine job of translating their crunchy, bluesy tunes into a gripping live show, complete with some great vocal work from front-woman Lindsay “Coco” Hames. On my way back through the grounds, I managed to see about half of the Walkmen's set, which was extremely impressive. They debuted a good amount of material from their upcoming record Libson, which I've heard and can vouch for as being my favorite thing they've done to date. We did an interview with them a little later in the day and it was really interesting to hear how much material they recorded before culling it down to the tracks that ultimately made the record. I also caught up with Pat Carney backstage who assured me that his Audio Eagle Records imprint wasn't dead, but merely on hiatus. Royal Bangs, the label's most successful group, is on the verge of signing a deal with a bigger indie label, so Carney made it sound like his next step will to be bring some new talent to Audio Eagle (I'm still pulling for the next Brainbow record to come out via the label).

On my next run through the park, I caught a little bit of Peanut Butter Wolf's DJ set as I walked by the all-day rave that is Perry's stage. Appropriately enough, he was spinning Madvillians's "All Caps" before quickly segueing into some J Dilla. Unfortunately, I had to hurry off to cover Cymbals Eat Guitars for TOC, a set in which the group debuted a fair amount of newer material while still hitting all the highlights from their debut LP Why There Are Mountains. As much fun as the morning was, the day really got started as I got into position for The New Pornographers—a band I've seen before, but not with Dan Bejar in tow, as was the case on this particular occasion. I couldn't have asked for a better set, just two songs in they played "Myriad Harbor," one of my favorite Bejar-voiced tunes. Neko Case, decked out in a sun-hat, was an imposing vocal presence as usual, turning in a pitch-perfect version of "Challengers" that sent shivers down my spine (she was the one person I was extremely disappointed I didn't get the chance to meet). The handful of songs that they played from their latest record—"Moves," "Crash Years," "Your Hands (Together)"—also sounded great, but honestly, it was nice to hear such a varied set.

The Black Keys erected a gigantic banner for their set on the north side's main stage, depicting two clasped hands framed by a tire—reminiscent of the gigantic inflatable tire I saw them employ at a festival a couple of years back. The duo started out with some back catalog tracks—"Thickfreakness," "Girl is on My Mind," "Stack Shot Billy"—before bringing a bassist and keyboardist on-stage to delve into some track of their latest LP Brothers. Black Keys purists, say what you will, the expanded line-up lets these guys do so much more and really helps drive home tunes like "Everlasting Light" and "Next Girl." I didn't get to catch their entire set, but I left thoroughly impressed.

Over on the other side of the festival—recall that the press area over-looks the south side's main stage—everyone was getting into a tizzy about Lady Gaga's headlining set. The stage was covered in a gigantic black curtain, which eventually dropped away to reveal a translucent screen, on which—surprise, surprise—Lady Gaga's silhouette was projected on. The screams that went through the crowd were piercing... people were really eating this stuff up. I have no idea what songs were played, but the first 15 minutes or so of the set seemed like pretty standard pop-fare, with intermittent, extremely cheesy attempts at adding a 'narrative' to the proceedings. As the set wore on, Gaga kept stopping between songs to complain about how the kids made fun of her at school, and how no one ever thought she would be headlining Lollapalooza. I'm sure she could afford a great therapist—the ego-trip was just far to much to handle, so I made my way north for the Strokes. (If you would have told me six months ago that I'd halfheartedly write a Lady Gaga review this summer, I would have told you to get out of town)

What can I say about the Strokes? It was pretty cool to see them live, but they were exactly what I expected they'd be—which isn't a bad thing. They sounded great, and they played the songs that everyone came to hear, it was a crowd-pleasing set. Casablancas is still enthralling to listen to as he casually snarls his way through songs like "Reptillia" and "Last Nite." The group wasn't particularly animated, but they had some excellent visuals in back of them, including a really awesome videogame montage (Pong, Tetris, Pac-Man, Space Invaders) during "Juicebox." My favorite track of the evening was the set-closer "Take It or Leave It," which was a not-so-subtle retort to whatever criticism they may get for reuniting to play a few festivals. They're still the Strokes, so I'll take it.

The Black Keys bond over "Brothers"

Dan Auerbach and Patrick Carney are busy guys, but somewhere between the multitude of projects they took on last year they found time to record a new Black Keys record. The name of the album is Brothers, a reflection of the bond that the two share as musicians and friends. Most of the record was recorded at Muscle Shoals studios in Alabama, a studio which has been frequented by the likes of the Rolling Stones and Aretha Franklin. The majority of the songs were produced by the band, with the exception of "Tighten Up" which finds previous collaborator Danger Mouse back behind the boards. Brothers is due out on May 18 via Nonesuch Records.

Brothers Tracklisting:
1. Everlasting Light

2. Next Girl
3. Tighten Up

4. Howlin’ For You
5. She’s Long Gone
6. Black Mud

7. The Only One
8. Too Afraid To Love You

9. Ten Cent Pistol
10. Sinister Kid
11. The Go Getter
12. I’m Not The One
13. Unknown Brother
14. Never Gonna Give You Up
15. These Days

Review: Keep It Hid - Dan Auerbach

The first few tracks I heard from this album made it sound like a vanity project of sorts; songs Auerbach could have done with the Black Keys but decided to release as a solo effort. However, the more I listen to it, the less and less it sounds like that. These are songs that, while heavily influenced by distinct a blues and roots style, would not sound quite the same in the context of the Black Keys. Auerbach produced this record himself in his newly built home studio, and everything about it is tailored to his unique style. I hope Danger Mouse gives this a listen through, because he'll be flattered to hear how much Auerbach picked up from him after his production stint on Attack & Release. The title track uses a tinny electronic backing beat and heavily distorts Auerbach's vocals, while showcasing some great, bluesy guitar solos. There's even a fair amount of synths and full-sounding organs thrown into the mix on many of the tracks, and it all sounds just as great as it did on Attack & Release. One of my favorite moments on the record is "The Prowl" which is a growling blues number that finds Auerbach channeling a stalker-like persona through his lyrics. It's an edgier sound for him, but he pulls it off like it's second nature. Another high point is the soul-tinged "Whispered Words" which sounds like a cover of some obscure Motown tune, and even manages to match the sound of those recordings. Some of the most beautiful moments on the album find Auerbach trading his electric guitar for an acoustic, slowing things down a bit and doing some great ballads like "When the Night Comes" and "Goin' Home". This is a side of Auerbach that he really haven't heard up until now, and it ends up suiting him surprisingly well. Keep It Hid reveals alot of new things about Auerbach and his music and does exactly what a solo album like this should do. It gives us a great mix of both the familiar and the new; showing us just how musically versatile this man can be. Black Keys fans, you'll get your fix, but this is a record that has an appeal beyond that audience which, in my mind, makes it a total success and one of my favorite records of the year so far.

Tapes on the Floor's Favorite Albums of 2008

Every visit to just about every music related blog or website over the past week has reminded me that I need to cash in on the end of the year list craze once again. Most of the lists I've seen thus far are pretty samey; lots of buzz bands and albums, the safe picks, and not much in the way of anything else. So, if you're looking for a list with Bon Iver, Fleet Foxes or Vampire Weekend on it try one of these. If I've still got your attention, here's my take (in no specific order) on what's worth your time and money from the past year in music:

Wolves & Wishes - Dosh
I had to double check and make sure this record actually came out this year because I haven't seen it on a single 'Best of' list I've read thus far. That would make this album my number one most criminally under-appreciated record of the year. With Wolves & Wishes, Dosh expands his musical palette beyond that of his previous record The Lost Take. The same basic ingredients are still present; namely the Rhodes keyboard, a drum set and a looping pedal. But just as The Lost Take took Dosh into the realm of rock, Wolves & Wishes finds Dosh exploring more experimental territory. The song "First Impossible" is essentially nine minutes of droning guitar, made interesting by the way Dosh takes this sound and manipulates it, segueing into various different beats. "Bury the Ghost" features a vocal appearance from Bonnie Prince Billy, backed by a tribal drum beat and solo clarinet. However, the real meat of the record are songs like "If You Want To, You Have To", "Wolves" and "Capture the Flag" which show just how versatile of an instrument a looping pedal can become, creating catchy, unique songs that showcase all of Dosh's musical talents. If you're a fan of The Lost Take, or of the keyboard arrangements on Andrew Bird's last record (which were provided by Dosh) you owe it to yourself to check out one of this year's best albums.

Real Emotional Trash - Stephen Malkmus & The Jicks
None of Malkmus' post-Pavement output has ever really interested me much; I'd come to the conclusion that the guy reached his musical peak with the group and was now content to fade into obscurity with sub-par solo albums. However, something really clicked for me after listening through Real Emotional Trash in its entirety. This is an album that Malkmus never could have made with Pavement. It's full of drawn out, jam-heavy rock songs that were never Pavement's strong suit. But with the Jicks as is backing band. Malkmus makes this seem like what he was born to do. One of the greatest things about this record is that it sounds like a band just playing through its songs; there aren't a bunch of overdubs or overly complex arrangements. Nowhere is this more apparent than on the albums title track which is ten minutes of uninterrupted jamming backed by an extremely competent rhythm section. Malkmus' vocals and unique intonation take center stage on tracks like "Cold Sun" and "Out of Reaches", reminding you that this guy can still write and sing. Real Emotional Trash is a group at its best, and the perfect antidote to the glut of over-produced rock albums on the market today.

Dreaming of Revenge - Kaki King
Kaki King is way better at playing the guitar than you will ever be. She excels at a hybrid picking/finger-tapping technique that makes her sounds like she's playing multiple guitars at once. Dreaming of Revenge fleshes out this sound even further by backing her with drums and bass as well as overdubbing some immaculate solo work. The record is divided into instrumental and vocal-infused tracks, with the instrumental work solidly outnumbering the vocal efforts. At times, she's a pensive singer-song writer, as evidenced in songs like "Life Being What It Is" and "2 O'Clock". At other times, Kaki King is the unabashed rocker, providing both the vocal and guitar prowess that pushes a track such as "Pull Me Out Alive" to the next level. However, my favorite aspect of Kaki King's work are her post-rock tendencies which are brilliantly displayed in "Montreal" and "Air and Kilometers". This is a musician who's last record was produced by post-rock legend John McEntire, so she obviously knows what she's doing. Dreaming of Revenge was a great find for me in 2008, and I certainly look forward to hearing more from Kaki King in the future.

Dear Science - TV on the Radio
TV on the Radio have outdone themselves on their latest release, crafting a record that is every bit as fresh and different as 2006's acclaimed Return to Cookie Mountain. Dear Science is an unabashed pop record; it's got dance beats and catchy hooks. But what really makes it so exciting to listen to is that it takes the pop formula and turns it on its head. There is no other band out there that sounds anything like TV on the Radio, and this album seems like the realization of that fact. "Golden Age" takes a stilted rhythm, layers on some falsetto, Casio-handclaps and a horn section, and somehow manages to sound incredibly natural. All of this is underlined by smart lyrics that decry war, embrace love and suggest music as the solution to the world's problems. Just as Return to Cookie Mountain was an ode to a nation in ruins, Dear Science is a tribute to hope and reconciliation. Dear Science cements TV on the Radio as the Talking Heads of our generation; a group that is totally unafraid to make unconventional pop music with a strong message.

The Odd Couple - Gnarles Barkley
Gnarles Barkley's St. Elsewhere always struck me as the perfect one-off for both Danger Mouse and Cee-Lo. Then "Crazy" happened and everyone took notice. Expectations for their sophomore release The Odd Couple were understandably high and, while it didn't have a hit on the magnitude of "Crazy", it's a much better album than its predecessor. Danger Mouse's production is on the mark, capturing exactly the mood that each song requires. He casts Cee-Lo as the tortured soul man in "Who's Gonna Save My Soul" and "A Little Better" just as easily as he takes him into the realm of gospel in "Going On" and "Suprise". It's an album that deserves to be listened through in its entirety, if only to fully appriciate the bountiful and abrupt changes in scenery. Danger Mouse treats each Gnarles Barkley record like a movie, as evidenced by the film projector heard at the beginning and end of each album. He has a story to tell, and Cee-Lo is always the versatile leading man. This effort may not have been a blockbuster success, but it's sure to find its place as a cult classic for years to come.

Chemical Chords - Stereolab
Most people's main complaint with Stereolab is that everything they do sounds pretty much the same. Chemical Chords probably won't convert anyone with this opinion, but it does manage to stand shoulder to shoulder with some of my favorite Stereolab albums of the past. This one compares nicely to Dots and Loops, sharing its emphasis on electronic backing and processed drum beats. Chemical Chords finds Stereolab sounding just as aimless as ever, but in that great kind of way that makes it the perfect background music. High points of the record include the brass infused "Three Women" and "Self Portrait with 'Electric Brain'" as well as the xylophone driven melody of "Silver Sands". My only regret is that this record finds Tim Gane and company playing things fairly safe. In my mind, the Stereolab classics are from the Jim O'Rourke/John McEntire produced era where the band was trying new things to mixed, but often enjoyable results. We may never hear that side of the group again, but Chemical Chords is a reminder that Stereolab is still great at what they do best.

Attack & Release - The Black Keys
The Black Keys have gotten a bad wrap as of late. I found Magic Potion just as boring and predictable as everyone else, but their newest effort didn't deserve some of the harsher criticism it received. Attack & Release breathes new life into the Black Keys formula, thanks to the production work and guidance of Danger Mouse. Really, the only logical next step for the Black Keys was to expand their palette beyond the staid drum and guitar combo. Danger Mouse was able to do this in a tasteful manner that I doubt any other producer could have accomplished. The record still sounds distinctly like the Black Keys, but hearing the organ kick in throughout the last few second of opening track "All You Ever Wanted", it's clear that this is the band at a new level. My favorite moment on the record is the song "So He Won't Break" which finds the band channeling a sort of neo-soul groove, backed by a steady pounding beat and intricate, layered guitar work. In essence, Danger Mouse takes what the Black Keys are good at and casts it in new lights, resulting in their freshest record since Rubber Factory.

Með suð í eyrum við spilum endalaust - Sigur Rós
Listening through this one for the first time, I was found myself feeling unimpressed. This was far from the ingenious, lush, interlocking arrangements that had populated Takk. However this one grew on me fairly quickly. It's Sigur Rós doing something they haven't done very often as of late; trying something different. From the opening strains of "Gobbledigook" it's clear that this record is an entirely different animal. Most of the songs on this record are just the core members of the band playing songs, without much accompaniment. Another big difference is the abundant use of a brass section; a departure for the band, whom have relied on a string section for their past two albums. It results in a more regal and bold sound for the group, and is a stark contrast to their previously orchestral tendencies. Perhaps the weakest points on this album are when Sigur Rós attempts to go back to the well with the songs "Festival" and "Ára bátur". Both tracks push the nine minute mark, and are plodding affairs that build up to a grand climax within the last few minutes. In "Ára bátur" that climax includes a full orchestra and a choir backing the band which, even for Sigur Rós, seems like overkill. Perhaps inspired by the acoustic sessions they recorded for last year's double EP Heim/Hvarf, Sigur Rós has gone, for the most part, back to the basics on this record, and the results speak for themselves.

The Annual Re-Launch

Hello again, and welcome to the beginning of another season of semi-regular updates to this blog. I had aspirations to keep this place at least somewhat up to date over the summer but, alas, it was not to be. That's not to say I didn't have a pretty great summer vacation, which included a trip to Pittsburgh for the inaugural New American Music Union festival (more on that shortly) and the chance to finally see A Place to Bury Strangers live in Columbus (well worth the wait, I'll discuss that as well). However, the lack of a decent internet connection at my house this summer resulted in a decrease in ALL online activities, and this blog perhaps suffered the most. But now, with summer safely behind me, and after surviving a beginning-of-the-school-year-harddrive-crash, I find myself back at school with a little bit of free time on my hands.

The first thing to talk about is the New American Music Union in Pittsburgh. The festival exceeded my expectations, and was extremely well attended, suggesting that it may stick around for at least one more year. Friday night's highlights were a high energy set from Ohio's own Black Keys (although it's a shame they didn't play the same day as Gnarles Barkley and enlist Danger Mouse on organ) and a great show by The Roots, who I was pretty unfamiliar with, but have gained a new appreciation for as a result of seeing them live. Saturday was a much longer day of music (and standing around waiting for said music to start), all of which culminated in a performance from Bob Dylan. However, before the self promclaimed poet-lauriet of rock and roll took the stage, the crowd was treated to a string of great bands. First up was Gnarles Barkley, who packed pretty much every song you could ask to hear into their tight 45 minute set. It was just cool to see Danger Mouse in the flesh, playing the organ, xylophone, samplers, etc. on stage. Spoon played next, but with the expception of the songs on which they were aided by a horn section, I wasn't too impressed with their performance in comparison to my experiences with them in the past. Maybe it was just concert fatigue, but nothing really seemed to click for me, with the exception of a great rendition of "Underdog", a song that begs for the horns present on its studio version when played live. As the sun began to set, the Raconteurs took the stage, proceding to put on a show that was definitely on par with the energy the Black Keys had displayed the night before. The whole band was animated and looked like they were having a good time, especially when they were in the midst of playing highly modified renditions of their older material. Also, I'm now almost positive that Jack White and John Mayer had the same guitar-solo-facial-expressions coach. I won't spend much time talking about Dylan's performance, suffice to say that he pandered to the crowd a little bit with his choice to kick off the show with "Rainy Day Women #12 & 35" (imagine 10,000 people singing 'Everybody must get stoned') and "It Ain't Me Babe". But from there, Dylan pretty much meandered through the rest of his performance, as he often does these days; playing newer songs that aren't really what anyone came to hear. There were a few more glimmers of hope, namely "Tangled up in Blue" (although the impact of this song was reduced greatly by a sluggish tempo) and "Ballad of a Thin Man". And of course, there was the encore of "Like A Rolling Stone" which the audience attempted to sing along with, but quickly realized that they could not match Dylan's new syncopation of the lyrics. It wasn't the grand climax it should have been, but then again, no one really should have been expecting it be. For the price, it was definitely worth it, and with the reaction they got this year, I can easily see them doubling ticket prices and expanding the fest next year.
Now let's fast forward to a few weeks later; Skully's Music Diner, A Place to Bury Strangers has just taken the stage at about 1:00 in the morning after a string of some of the worst opening bands that Columbus has to offer (although that may just be my tired, impatient, grumpy side talking). The show was pretty much everything I imagined it would be, namely loud as hell. The band played a fairly short set, not more than an hour long, but they packed in just about every notable song off of their debut record, as well as a few b-sides from their bevy of 7" releases. Once the strobe lights kicked in towards the end, and the drone reached a peak, I think it was probably comparable to how people felt when they saw My Bloody Valentine back in the early '90s. At least that's what I'm telling myself, because I certainly can't afford to attend one of those reunion shows. It was a really good time, and I even snagged a copy of their new single.

So, there's the catch-up. Stay tuned, update your bookmarks, there's more on the way.

(Black Keys picture by Jana Robinson, APTBS picture courtesy of dotkom111)

I Shall Be Reviewed

I'm Not There Soundtrack - Various Artists
I'm still not sold on the concept of the movie; a little too artsy for my tastes. The soundtrack is a totally different story; Dylan covers from the likes of Calexico, Cat Power, Sonic Youth, Yo La Tengo, Stephen Malkmus, Jeff Tweedy and the Black Keys just to name a few. While a few artists turn in pretty standard approximations replete with faux-Dylan vocals (Cat Power's Stuck in Mobile is likely the best of this catagory), others provide some pretty unique interpretations that make for a fresh sounding listen. It's almost predictable at times; a blues-stomp take on "The Wicked Messenger" by the Black Keys, a meticulously arranged brass-heavy rendition of "Ring Them Bells" care of Sufjan Stevens, but this approach tends to work. And then there are the perfect moments like Yo La Tengo channeling the Band on Blonde on Blonde outtake "I Wanna Be Your Lover" or Stephen Malkmus ripping through "Maggie's Farm" backed by Lee Ranaldo, Steve Shelly and Nels Cline. It's one of the better artist-centric soundtracks I've ever heard, and a worthy tribute to the timeless quality of Dylan's music.

A Wheel Within A Wheel - Southeast Engine
My new hometown of Athens, Ohio seems to have a big thing for folk rock. The poster-child of the scene is local group Southeast Engine, who were recently signed to the independent Misra records, and have just released their first album for the label. A Wheel Within A Wheel exemplifies everything a homespun group like this should sound like; namely a minimal amount of studio gloss and a focus on capturing the group in an accurate way. The band's sound evokes the alt-country gamut, ranging from Ryan Adams to Being There-era Wilco. Highlights of the record include opener "Taking the Fall" and the Oakley Hall-esque "Quit While You're Ahead". The band also shows an impressive use of a string section on slower numbers like "Reinventing Light" and "Oh God, Let Me Back In". If this album is any indication, Southeast Engineis well on its way to joining the ranks of the aforementioned alt-country heavy hitters.

Favorite Albums of 2006

While sifting through this year's releases to compile this obligatory list, one thing became glaringly obvious to me; I don't listen to very much new music anymore. I blame this mainly on my predominantly used-record buying habits; why buy the newest release when you can get 3 older albums for the same price? Sure, I sampled plenty of the buzz albums this year (care of the many high quality MP3 blogs now infesting the web), but I couldn't bring myself to spend the money to hear them in their entirety. There's always next year, right? In any case, here are my picks from 2006:

Born Again in the USA- Loose Fur
I always thought the first Loose Fur album was kind of a one-time deal, so it was amazing to me that this follow up even got made. Gone are the winding jams of their first release, replaced with concise songs that sound like outtakes from Jim O'Rourke and Wilco albums. And when you're as good as these guys, even your outtakes are killer.



Mobile- Glenn Kotche
I never thought I'd include a solo percussion album on my list, but his one really deserves to be heard. Kotche churns out some of his most accessible work to date, with "Mobile Pt. 1&2" easily nabbing the award for the year's catchiest riff. Also, who can argue with a consistently impressive 12 minute drum solo?



The Gun Album- The Minus 5
Who knew the Minus 5 could make a great alt-country album? While not as cohesive as their previous release Down With Wilco, this one has its moments. Scott McCaughy and Peter Buck draw an impressive group of collaborators (Wilco, Colin Meloy, John Wesley Harding) and go to town with the alt-country vibe.



At War With the Mystics- The Flaming Lips
I wasn't thoroughly impressed with this record when I first got it. But I think seeing these guys live on two occasions this summer helped me change my mind. Most of the songs on this album are just as over-blown and epic as the Lip's live show. It's not as consistently good as Yoshimi but as a whole, it's one of the more entertaining anti-war albums you'll ever hear.


Rather Ripped- Sonic Youth
It was kind of weird hearing Sonic Youth being played on the radio this summer, but it's a testament to the more pop-like tendencies of this album. And it's by no means a bad thing; it's reassuring to hear that these guys can still reign in their more noise-oriented tendencies and create a great accessible record.



Chulahoma- The Black Keys
While I couldn't really get into their Nonesuch records debut Magic Potion, I really dug the blues on their final Fat Possum release. A tribute to the late bluesman Junior Kimbrough, Chulahoma oozes with his signature slow-burning style. Auerbach turns in some really nice vocal work and surprisingly over-dub heavy guitar interplay, while Carney shows some restraint from his usual primal pounding. I can't think of a better send off to the label that launched these guys.

The Crane Wife- The Decemberists
Call me crazy, but I've never really considered myself a Decemberists fan until I bought this album on a whim and it changed my mind. A mix of prog-folk and a smattering of classic rock influences, The Crane Wife is a consistently interesting listen. While a few tracks suffer from production that leans too far towards generic indie-rock, the overall quality of Meloy and company's arrangements redeems the record.