Tapes on the Floor's Favorite Albums of 2009

I finally got around to this, a few weeks later than I would have liked, but this year I really needed the extra time to pick my favorites. As I mentioned before, this is the first year I've ever had to set a limit for myself while writing my favorite albums list. I'm not sure if this speaks to the overall quality of 2009 releases or my inability to pick favorites, but I knew I had to narrow things down some. The albums on this list are records that I became attached to almost immediately, and that have stayed in heavy rotation far past their initial release. I narrowed it down to 10, and they're presented here alphabetically by artist:

Set 'Em Wild, Set 'Em Free - Akron/Family
While I've certainly enjoyed some of their work with Angles of Light, I can't say that I've ever been a huge fan of Akron/Family. All that changed the moment I put on this record and heard the opening strains of "Everyone is Guilty". This record takes all the psych-folk leanings of their previous work, pumps up the volume and puts it in a pretty rock n' roll package. That's not to say that the group's more nuanced, finger-picked acoustic tunes are left by the wayside, quite the opposite in fact. There are enough sing-a-longs here to make you feel as if you're sitting around a campfire with the band, more participant than listener. It's a feeling best summed up in the lyrics of the song "River": 'You and I and a flame make three'.

Keep It Hid - Dan Auerbach
Who knows what possessed Auerbach to take these particular songs and strike out on his own, but the resulting album was well worth the trouble. It's not that these songs couldn't have been perfectly good Black Keys tracks, it's just that the end result is a bit different sounding than usual. And therein lies this album's charm, from the soft strains of the acoustic album opener "Trouble Weighs a Ton" to the the southern rock swing of "My Last Mistake". All of this is anchored by Auerbach's most important instrument: his voice, which still sounds like its pulled straight off of some old blues record. Something tells me this won't be his last solo outing, but we probably won't see another for a few years. Fine with me, I'm still enjoying this one for all it's worth.

Embryonic - Flaming Lips
After two back to back career-defining albums, the Lips' 2006 record At War With the Mystics was a bit of a letdown. Thankfully, I think Wayne and the rest of the guys felt the same way, which is how, in 2009, we ended up with one the group's weirdest albums in years. It sounds thrown together in the best sense, an album that isn't overly produced or planned out, like we're listening to the band in the studio making their own completely unfiltered brand of rock and roll. Sonically, there are some amazing moments on this album, from the pulsing krautrock of "Convinced of the Hex" to the swirling distorted groans of "Worm Mountain". It's a record that has a very definite sound to it, one that successfully combines just about everything this band is really great at doing. And, if the title is to be believed, this is only the beginning of the Flaming Lips' rebirth.

Veckatimest - Grizzly Bear
Nevermind that small Massachusetts island, to me the name Veckatimest will forever be synonymous with the sound of a band that sounds completely comfortable in their own skin. Grizzly Bear embraced every characteristic that makes them unique and crafted an album that is blatantly unapologetic. The pop sensibility demonstrated on this record is staggering; these are songs in which every note is carefully placed for maximum impact. First, there's the unrequited longing of "Two Weeks", set against a bouncing, jovial keyboard melody. Then, the outright confessions of "Ready Able" riding atop swirling guitars and minimalist rhythm. And finally, the sweeping crescendos of "While You Wait for the Others", the centerpiece of a record overflowing with noteworthy moments.

The Visitor - Jim O'Rourke
Eight years after his last Drag City release, O'Rourke finally saw fit to bless us with another record. The Visitor consists of a single, 38-minute instrumental track, meticulously arranged and performed exclusively by O'Rourke. It's admittedly a challenging record to listen to, as it's best experienced in one rather long sitting. But if you're an O'Rourke nerd like myself, it's one of the most rewarding listening experiences you can have. It's a veritable symphony, replete with shifting movements which build, repeat, and evolve throughout the course of the track. O'Rourke's inclusion of small nods to his prior work is the icing on an already sumptuous cake. The Visitor is O'Rourke at his best; an extremely enjoyable ride through the mind of a man who is nothing short of a musical genius.

Let's Build a Roof - LAKE
For a group that started off as a Fleetwood Mac tribute band, LAKE sure have come into their own. Let's Build a Roof is collection of succinct pop rock songs, all constructed around the theme of forging ahead and creating something beautiful. It's a fitting message for an album that truly seems to embody the ethos it imparts. Towards the beginning of the record a track called "Madagascar" acts as the manifestation of reluctance, with it's echoing refrain of 'I wanna give up'. By the album's conclusion, an extremely catchy rhodes and saxophone driven number called "Don't Give Up" provides the juxtaposition to that prior sentiment. A rotating cast of male and female singers lend further contrast, all atop spotlessly clean production work care of K-Records mainstay Karl Blau. LAKE takes songs that could easily come off as coy or disingenuous and adds the feeling needed to make them truly inspirational.

The Eternal - Sonic Youth
In my mind, Rather Ripped was Sonic Youth's version of the straight ahead rock record, whereas The Eternal finds the band sounding more like themselves than they have in quite some time. Guitarists Thurston Moore and Lee Ranaldo continue to mature, finding new ways to make noise part of their songs, not the foundation upon which they are built. Kim Gordon is in particularly fine form here, providing the lead vocals on two of the album's more upbeat tracks, "Sacred Trickster" and "Malibu Gas Station". Another highlight is "Poison Arrow", which is a good summation of what the band is currently capable of. Much like John Fahey's swirling cover art, this record is a blend of the band's sounds and textures from throughout the years. It doesn't exist to draw comparisons, but to show that Sonic Youth is just as formidable now as they always have been.

Beacons of Ancestorship - Tortoise
The forefathers of the Chicago post-rock scene return once again with a record that sounds quite different from anything they've previously done, yet still absolutely recognizable as a Tortoise album. The synth-heavy opening track "High Class Slim Came Floatin' In" provides a pretty good indication of the electronic tone this record takes. Keyboard blend into guitars which in turn blend into drum machines creating a dense sound-scape that quickly becomes something much different than the sum of its parts. Tracks like "Penumbra" and "Monument Six One Thousand" sometimes sound like sketches or pure experimentation, but fit within the context of this record. Tortoise is a group unafraid of trying something different, and on this record you can hear that joy of sonic discovery.

Tight Knit - Vetiver
Frontman Andy Cabic has a knack for writing songs that are quiet and understated, yet brimming with an emotional warmth and depth that's lacking in much of modern folk music. Tight Knit collects ten such songs, beautifully recorded and produced to bring out even more of that aforementioned warmth and depth. Whether it's the dual acoustic guitars of "Rolling Sea" or the clinking triangle of "Sister", every detail of these recordings is beautifully realized. On one of the album's more upbeat tracks entitled "Another Reason to Go", Cabic flirts with a sort of funk-folk hybrid complete with a horn section, and the amazing thing is that it works flawlessly. On Tight Knit, you can hear Vetiver springing to life in the studio, turning in one of the best records of the year from a band whose best work is likely yet to come.

Wilco (the album) - Wilco
The more I hear this record, the more I feel like it may be the quintessential Wilco album. Granted, it's not my favorite of their discography, but every time I listen to it, it creeps up that ladder a bit more. This is Wilco (the band) playing songs that are uniquely their own. I don't think anyone else could get away with writing a song about their band, but "Wilco (the song)" works as an ode to fans and a distillation of what this group is all about. There's a sense of adventure present here, manifesting itself in the unconventional arrangement of "Deeper Down" and the driving staccato stabs of "Bull Black Nova". There's also an encompassing familiarity, exemplified in the classic rock stomp of "You Never Know" and the alt-country twang of "I'll Fight". It's a record that sums up what Wilco is capable of while simultaneously exploring new sonic territory.

A Milestone & Fall Concerts Galore!

The article your about to read marks my hundredth post here at Tapes on the Floor, a feat that took me just a little over three years to achieve. This entire blog has grown in fits and spurts, taking long hiatuses and then resurfacing without warning. To me, it's a tangible document of the part that music, film, etc. has played in my life over the past three years. I hope you, the reader, has been able to take away something from it as well. Now that we've marked the occasion, let's get to the good stuff...

The past few weeks have come with a deluge of concert announcements in the Central Ohio area that I'm very excited about. First and foremost was the not entirely unexpected revelation that Wilco would be making another stop at the Wexner Center in Columbus, playing the Mershon Auditorium on October 12 as part of their fall tour. The first time I ever saw Wilco was at the Mershon back in 2005 when the group stopped through in support of a ghost is born, so the venue itself holds a special significance to me. Needless to say, I'm very excited to hear some songs from the new album in a live setting. I'm also curious to see who they bring along as their opening act, Wilco has a knack for picking bands that make the ticket price seem like a bargain. As with all things Wilco, you'll certainly be hearing more about this one from me as the day of the show approaches!

Next up was the totally unexpected announcement that Yo La Tengo would be making a stop at Stuart's Opera House in Nelsonville, OH on September 24. For the uninformed, Nelsonville is just a 5 minute drive away from Athens where I currently attend school. Stuart's is, in fact, a beautiful old opera house that played host to the free Arcade Fire concerts I attended last year. Still, it's a little bit unbelievable that a band as legendary as Yo La Tengo will be coming within just a few miles of my adopted hometown to play a show. I really loved their performance at Pitchfork Fest last month, and I've really been digging what I've been hearing from their new record Popular Songs, so it stands to reason that I'm very psyched about this show. Should be an excellent night at the opera (house)...

While were on the subject of bands I've recently seen, Built to Spill, another of my Pitchfork Fest favorites, will be playing a show at the Newport on October 1. This sounds like the perfect kickoff to a weekend in Columbus, which is playing host to Mid-Ohio-Con on October 3 and 4. The group will hopefully be playing some tracks from their forthcoming record There Is No Enemy, due in stores sometime this October via Warner Bros.

Finally, rounding out my planned concert itinerary for this fall is an appearance by Dan Auerbach on November 5th at the Newport. Auerbach will be kicking off the next leg of his tour in support of his superb solo record Keep It Hid which was released earlier this year. This is a record that has really grown on me over the past few months, so I'm very excited to hear most of these tracks live. Joining Auerbach will be a pretty solid bill of supporting acts, including Jessica Lee Mayfield, who's latest album Auerbach produced, and Justin Townes Earl.

Don't think there's been this many groups I want to see coming through Columbus/Athens in quite some time. Central Ohio must be building a good reputation for live music, and rightfully so. I'll see some of you at the shows!

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.

Dan Auerbach Goes Solo, M. Ward Streams, Watchmen Movie Marches Forward

Let's start with something I heard rumblings of back in November, but didn't think to look up until now. Dan Auerbach, the singer/guitarist half of Akron, Ohio's very own Black Keys, will be releasing his very first solo album on February 10. Entitled Keep It Hid, the record is a collection of 14 songs which Auerbach wrote while touring in support of the Black Key's Attack & Release. A few tracks from the record have made their way onto the internet, all of which you can find conveniently grouped on Nonesuch's website. These tracks reveal that Auerbach is content to not stray too far from the sound established on Attack & Release. "I Want Some More" sounds like a Black Keys song, albeit one that has been fleshed out with organ and bass like many of the songs on the band's last album were. It's kind of baffling as to why Auerbach felt he needed to go solo to do these tunes justice, but the results speak for themselves. It should be a great way to tide yourself over until the next Black Keys record.

NPR has posted yet another full-album stream, this time of M. Ward upcoming solo record Hold Time. The follow-up to 2006's acclaimed Post-War will be available on February 17 via Merge Records. From the sound of it, this one doesn't stray too far from the formula that helped Ward's previous solo project, and his most recent work with Zooey Deschanel in She & Him. Arrangements are sparse, and feel like recordings from another era entirely; a style that Ward has really built his reputation on. After a single listen through, my favorite moment on the album is Ward's cover of Buddy Holly's "Rave On", which takes Holly's fairly tame party-tune and slows it down to a crawl, simultaneously deconstructing and reinvigorating it. With any luck, Ward's newest release will get the same level of much deserved attention his last few have.

Finally, last Thursday brought an end to the legal battle between Warner Bros. and Fox over rights relating to the Watchmen movie. Fox will be getting a cut of the gross from the film and all related merchandising activities. The details of this settlement seemed to suprise no one, but fans the world over definitely let out a collective sigh of relief. This firmly cements March 6, 2009 as the date of release for arguably one of the more exciting motion pictures of the year. The marketing blitz, which I think was slighty delayed as a result of this legal battle, will now likely go into overdrive. Snyder promised another theatrical trailer before the movie's release, and there seems to be no better place for a premiere than during the Super Bowl. I'll be doing as much posting as I can regarding this movie in the coming weeks.