The National & Owen Pallett head to MusicNOW 2011

The Bryce Dessner-curated MusicNOW announced the line-up for the 2011 edition of their festival, taking place May 13-15 in Cincinnati. Friday will feature Shara Worden (of My Brightest Diamond) performing with ymusic as well as Megafaun collaborating with jazz collective Fight the Bull on 'Sounds of the South. ' Saturday at Memorial Hall will see a trio of performances from Owen Pallett, Tim Hecker and Little Scream. On Sunday, the festivities move to the Cincinnati Music Hall where the National will play their first Cincinnati show since 2008 with support from Sharon Van Etten.

Astute readers might notice that the festival's dates directly conflict with the Nelsonville Music Festival. While I'm saddened that I will once again be missing out on attending MusicNOW, I see no reason why two musical events such as these can't happily coexist. Cincinnati is a three hour drive away from Nelsonville—one could conceivably catch The Flaming Lips and Yo La Tengo on Saturday and then make a short trip to see the National the following night. I'm just happy that our state is supporting such a great amount of quality live music, and even more pleased that it's happening in unique festival settings.

Tickets for MusicNOW go on sale March 15, and you can read my review of the 2008 edition of the festival here.

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 II)

Not content to merely list off my favorite records of 2010 and risk overlooking some really great music that didn't quite make the cut, I'm once again running through my favorite tracks of the year. You're about to embark into part two of my 36-song list—if you missed part one, you can find it right here. So, let's wrap this up—here's the second half of my list of my favorite tracks released this year, arranged alphabetically by artist.

Kings Go Forth - "Now We're Gone"
This Milwaukee-based neo-soul band was one of my favorite musical discoveries of 2010, cemented by their killer live show at the Double Door this past summer. Lead singer Black Wolf howls his way through this joyfully forlorn track, backed by a formidably tight horn section. Record store owner and band leader Andy Noble has undoubtedly done his crate-digging homework, arranging one of the most stirring nods to the classic soul sound without a Daptone logo on the spine.
Buy: The Outsiders Are Back

Maps & Atlases - "Living Decorations"
The topography-obsessed group's latest record strips away some of the overtly technical finger-tapping fret-play of their earlier work in favor of a more rootsy, percussion-based sound. "Living Decorations" is the most rousing demonstration of this new direction, replete with ample rapid-fire rhythms and melodies. It's a reminder of the unique musical territory this band occupies—bringing a heaping dose of musicianship to the realm of pop-rock.
Buy: Perch Patchwork

Marco Benevento - "Greenpoint"
Keyboard extraordinaire Marco Benevento showcases all his toys on this track from his latest release, seamlessly shifting from piano to organ to circuit-bent electronics over the course of six minutes. It's not a showy piece, but rather a calculated, atmospheric arrangement—a veritable symphony created by way of fingertips on keys. It can be difficult to take in all at once, but it makes for an immensely rewarding list from an artist clearly testing his own limits.
Buy: Between the Needles and Nightfall

Mimicking Birds - "Pixels"
I'm still not exactly sure if lead singer Nate Lacy is trying to sound exactly like Issac Brock, but if his intention is to provide the antidote to Modest Mouse's current overtly-pop tendencies, he's succeeding. This track in particular evokes the headier, less hook-ridden days of Brock's de facto outfit—that the trio still manages to find a voice of their own is an even greater accomplishment. It'll take some serious effort to come out from under their mentor's shadow, but a song like this proves they just might have the chops to pull it off.
Buy: Mimicking Birds

The Mynabirds - "Numbers Don't Lie"
Over the course of this track—as well as the record from which it originates—frontwoman Laura Burhenn joins the likes of Neko Case and Lætitia Sadier on my list of favorite female vocalists. Beginning with its wavering organ intro, the song quickly settles into a Motown-tinged groove, anchored by a jangling piano and some great back-up singers. To cap it off, production work from the amazing Richard Swift makes it all leap from the tape straight to your ears in the most pleasing way possible.
Buy: What We Lose in the Fire We Gain in the Flood

The National - "Bloodbuzz Ohio"
If you ask me, "Bloodbuzz Ohio" is a song about growing up and coming back to its titular state—something I've been doing quite a bit of myself as of late. As usual, Matt Berninger's wonderful baritone is carried on top of the Dessner brothers' atmospheric instrumentation, creating the moody sound for which this group is known. It's a track with an epic tone derived from sweeping moments of grandeur and a relentless sense of purpose.
Buy: High Violet

The Nels Cline Singers - "Red Line to Greenland"
The Singers have always been an outlet for Cline's incessant noodling, and as such, I can forgive the three minutes of effervescent noise that preface this track. When the main riff kicks in, Cline quickly proves why he's one of the best guitarists around, building a shifting post-rock melody with help from his able-bodied rhythm section of Devin Hoff and Scott Amendola. No one can do a six-string freakout quite the way Cline does, and as a showcase of that talent, "Red Line to Greenland" is a rousing success.
Buy: Initiate

Percolator - "Deduction"
Discounting the fact that I'm friends with the good folks of Percolator and even helped with the creation of the music video for this track, my love of this song transcends my association with it. The band's polyrhythmic, math-rock riffage is in full effect here, presided over by an oblique set of lyrics that would make Stephen Malkmus proud. It's something I would be listening to even if I didn't have a personal connection to it—is that high enough praise?
Buy: None of These Are Words

Pomegranates - "Anywhere You Go"
If there's one thing that really brightened the end of my year, it was the Pomegranates' particular brand of psychedelic space-rock, as exemplified on this track. "I like you / I really like you" screams Issac Karns, vocalizing a yearning which permeates this song, informing its ever-shifting dynamics and moods. It's the kind of finessed angst and hopeless romanticism that actually serves a purpose, coalescing in a song that is at once weird and beautiful.
Buy: One of Us

Quasi - "Repulsion"
Between Sam Coomes' gut-punching guitar-line and Janet Weiss' pummeling turn on the skins, fuzzed-out Portland rock and roll from a pair of former lovers doesn't get much better than this. Top that off with one of the best choruses to grace a song this year and you get an album-opening track that doesn't make any effort to hold back out of the gate. Vehemence, thy name is Quasi.
Buy: American Gong

Retribution Gospel Choir - "White Wolf"
You might never suspect it, given Alan Sparhawk's better-known day job as frontman of slowcore superstars Low, but the man can pen one hell of a rocker. Such is the case here, on the pick of the litter from Retribution Gospel Choir's second LP—a track dominated by '80s-style drums, a pulsating banjo line and beefy guitar chords. It's a rollicking good time that is as genuinely enjoyable as it is out of character.
Buy: 2

Santah - "Chips of Paint"
"How am I gonna be normal?" exclaims Stanton McConnell over this track's earnest opening strains—a question answered only by a song that transcends mere normalcy. With it's serpentine guitar leads and an exceptionally harmonious solo, the Illinois quintet create a phenomenally varied sonic composition with palpable emotional heft. Even its subdued last minute makes perfect sense, providing a sensible cool down after three-and-a-half minutes of meticulous intensity.
Buy: White Noise Bed

Sharon Jones and the Dap-Kings - "I Learned the Hard Way"
When a voice with the commanding presence of Sharon Jones' talks to you about love and loss, you listen up. Backed by the indomitable Dap-Kings, Jones' message is all the more powerful, riding atop the big brass sound of one of the most seasoned groups of players around. By the track's end, its abundantly clear that Sharon learned the hard way so we don't have to—she puts the 'soul' in resolution.
Buy: I Learned the Hard Way

Someone Still Loves You, Boris Yeltsin - "All Hail Dracula"
Over the summer a colleague of mine proposed that this track was about the record industry's blood-sucking tendencies. Singer Jonathan James shrugged that theory off and said the song was merely based off of a cool-sounding headline he read. That's an indicator of the fun-loving attitude that permeates the group's latest, Chris Walla-helmed effort. SSLYBY don't take themselves too seriously—the perfect attitude for a pop-rock treasure such as this.
Buy: Let It Sway

Stornoway - "Zorbing"
There's something about Brian Briggs' voice and the minimalist arrangement present on this track that evokes the pastoral English landscape that undoubtedly served as inspiration. Fleshed out with rumbling baritone harmonies and a jubilant horn section, "Zorbing" quickly takes on all the trappings of a left-of-center pop hit. It's no small feat for such a young group, but on a record full of similarly wonderful songsmanship, it's almost assuredly not a flash in the pan.
Buy: Beachcomber's Windowsill

Superchunk - "Digging For Something"
As the punk rock riffs and Mac McCaughan's nasally drawl come into sharp focus on this track, it's refreshing to hear just how little Superchunk has changed in the nine years since their last record. Age hasn't slowed down these pop-punksters—they sound as raucous and raw as ever, with years of experience to back it all up. It may have taken a bit of digging, but this track proves that these guys can still muster that magical sound.
Buy: Majesty Shredding

The Walkmen - "Angela Surf City"
It takes about a minute for this track to hit its stride, transitioning abruptly from a cursory ballad to a boisterous rocker. "Life goes on all around you" belts frontman Hamilton Leithauser, propelling this song forward with some of the most powerful pipes in the biz. For a group that have quickly become regarded as elder statesmen of indie rock, the Walkmen firing on all cylinders are still a beautiful sound to behold.
Buy: Libson

White Mystery - "Take A Walk"
The latest project from Alex White (who formerly headed up the Detroit-based Red Orchestra) finds the red-headed guitar-slinger teaming up with her similarly coiffed brother Francis to create heavy-hitting garage rock. On this track, White takes some simple lyrics about walking around Chicago and turns them into a blistering two-and-a-half minute showcase of joyous musical energy.
Buy: White Mystery

Keep an eye out for my Favorite Albums of 2010 list—guaranteed to be up before year's end!

Live Review: Sunday @ Lollapalooza 2010

Sunday morning rain-showers have been a reoccurring event at the festivals I've gone to this summer, so it was appropriate that Lollapalooza followed suit. Sure, things were a bit muddy for the remainder of the day, but there was a paved surface on which to traverse the grounds this year, so it wasn't that big of a deal. I only heard a few complaints from people who had managed to ruin their brand new white shoes.

I made it over to the festival a little late, but I did manage to arrive in just enough time to see the Dodos over on the north side of the festival. Even though the sky was still pretty gray, they drew a respectable-sized crowd. I actually wasn't aware that they were a trio, their albums have always sounded much fuller to me, but I suppose that's just the studio magic at work. One of the guys in the band only played vibes, which is an instrument I love seeing and hearing on stage. A few songs in, the band brought out Neko Case to do guest vocals on a few tracks. As usual, she sounded really, really great. I had to run away to take care of some intern business, but I was glad I got to partake in a few songs.

Blitzen Trapper are a band I saw for my first time last summer in Chicago, and were a total delight to see again. They're latest record, Destroyer of the Void, has really grown on me over the past few weeks, so it was a treat to see them play some of those songs, especially the sprawling title track as well as "Love and Hate". I think I might try to catch them again when they come through Columbus this fall for a show at the Wex, I feel like they're probably even better when removed from the festival setting.

For a good part of the afternoon, I caught bits and pieces of bands all around the festival. I saw a few songs from Mumford & Sons, who have this army of super-fans that I still don't quite understand. I also listened to a good majority of the X Japan set on the south side's main stage—their first American performance. It was as over the top and bombastic as one would expect, with a choral introduction leading into a set of throw-back glam rock delivered by a group of Japanese guys that looked like they'd stepped straight out of the 80s. Oh, and they also had cannons onstage. Additionally, I saw a bit of Frightened Rabbit delivering an epic set of their own over on a side-stage. The only tracks I recognized were "Swim Until You Can't See Land" and "Living in Colour," but the sizable crowd ate up the rest of their stadium-ready anthems. I'd be just fine with these guys stepping in to replace U2 in a couple of years.

There were many things I loved about the National's show at Lolla. They opened with the subdued "Runaway" after the high-energy romp of MGMT's preceding set. They dedicated "Bloodbuzz Ohio" to all in attendance from the titular state. They generally proved—once again—that they're capable of commanding the attention of a festival crowd, even if they are a bit understated and moody much of the time. Like I said, they were great. But I was a little dissapointed with how predictable their festival set was. The National's headlining set at Pitchfork last year was without a doubt one of my favorite moments of that festival. For much of their Lolla set, I kept being reminded of that night, especially when Berninger jumped out into the crowd during "Mr. November." I guess he does that frequently, so maybe it's not that big a of a deal. I also realize it behooves them to play their 'hits' to a festival crowd. Maybe it's the fact that I've really gotten into their back catalog as of late, but I really missed some of those older songs. I'm probably contradicting myself by now—I think anyone who was there who hadn't seen them before got an extremely great show, and curmudgeons like myself at least got to hear some of the High Violet stuff for the first time.

As for Arcade Fire? Well, they put on an Arcade Fire show in Grant Park. I don't mean to sound totally indifferent, but I guess I kind of was. I've seen Arcade Fire in one of the most epic settings as well as on tour, and while I dig their new record, it's pretty standard stuff for this group, and the live renditions of the newer material weren't exactly anything to write home about (although they make perfect blog fodder). Was it cool to see the assembled crowd yell the melody line to "Wake Up?" Sure it was. Was it the highlight of the weekend for me? Not in the least. But if David Bowie had showed up, maybe I'd be singing a different tune (curse you Bowie!)

Live Review: Saturday/Sunday @ Pitchfork Music Festival

Saturday at the festival started out slow, but a great set by The Bowerbirds on the side stage ended up being one of the best performances of the weekend. The group was road-testing a bunch of material from their forthcoming record entitled Upper Air, and if the studio recordings sound as good as the songs do live, they've got another winner on their hands. The group's folky sound and vocal harmonies shone through particularly well on their song "In Our Talons" from their superb debut record Hymns for a Dark Horse. With any luck, I'll get a chance to catch these guys on stage again sometime soon.

I must admit that I was hesitantly excited for DOOM's set on Saturday. I know that he has a history of not even showing up to his own concerts and sending a doppleganger in his place to lip-sync, but I figured he'd be forced to make an appearance for an event as big as Pitchfork. I didn't hear anyone crying foul, so I assume the real DOOM did show up, however his performance was lackluster at best. The vocal tracks to all his songs sounded pre-recorded, so odds are he was lip-syncing the entire show, although he probably didn't even have to move his mouth thanks to that big old mask. We got to hear tracks from a wide variety of his records, including The Mouse and the Mask, Take Me to Your Leader and Mm.. Food, as well as a few cuts off his newest album Born Like This. The most I can say is that it was an interesting experience, and if DOOM is to be believed, it's all about the music anyways.

Saturday night's headlining performance by the National was one that why also really looking forward to. The group delivered in spades, playing a set that focused on material from their most recent release, 2007's Boxer. Live versions of "Fake Empire", "Mistaken for Strangers", "Squalor Victoria" and "Start A War" reminded me just how solid of a record Boxer was. The highlight of the set for me was a new song called "Blood Buzz Ohio" which I'm a fan of not only because it's a great tune, but also because of its references to my home state. The main set was capped off with an energetic and loose rendition of "Mr. November", buoyed by Matt Berninger's stage antics and screamed vocals. The band was just as good as I expected they would be live, putting on a show that proved them more than worthy of their headlining spot.

Blitzen Trapper was first on my list of bands to see on Sunday, I've really been enjoying their 2008 release Furr as of late. The group turned in the most straight-ahead rock and roll performance of the weekend, channeling influences that ranged from the Eagles to the Band. Equal attention was paid to the amformentioned Furr and 2007's Wild Mountain Nation throughout the set. I actually wasn't aware that the band was comprised of six guys, but they took full advantage of this manpower on just about every song. My favorite songs of the set were "Sleepytime in the Western World", "Wild Mountain Nation" and "Black River Killer".

I had to sacrafice seeing the Walkmen and Grizzly Bear in order to get a prime spot for the Flaming Lips, but once the screen lit up and the confetti started to flow, it felt like the right decision. The Lips entered the stage in a way that looked like it was ripped straight out of a Spinal Tap show: they were birthed onto the stage by a giant glowing lady-part. Wayne really took the 'Write the Night' setlist to heart, making sure that the band played some songs that they didn't usually play. One of these was "Bad Days", which got my hopes up about a possible performance of "This Here Giraffe" although that ultimately didn't transpire. Another was a beautiful song from the Fearless Freaks soundtrack called "Enthusiam for Life", a song which Wayne said the band would likely never perform again. The group also made some time to debut a few songs from their forthcoming double album entitled Embryonic. The tracks they played sounds pretty weird and spacy, even for a band like the Lips, but pretty cool nonetheless. The rest of the set was pretty standard live Lips fare, but fun as hell. Had Wayne been a little less verbose, the band might have been able to squeeze in a few more songs, but everyone seemed to eat up his constant compliments to the crowd and the fest. Hearing ten of thousands of people sing along to "Do You Realize??" was a moment that I won't soon forget. My thoughts on the fest? Totally worth it, and I'll be back sometime soon.

Favorite Albums of 2007

Let me get you up to speed; yesterday we took a look at some albums that should have been on today's list, if not for a few missteps or the simple fact that they didn't make it out this year. It's always interesting to look back through the year's music and rediscover a few neglected tunes, or realize just how much you're (still) listening to releases from the past year. I'm always a little bit worried that I'm neglecting new music; I've done a much better job of keeping up with new releases this year, but I'm the still kind of guy who also likes to complete the back catalogs and find interesting old stuff to listen to. Anyways, here it is; my favorite albums of the year arranged alphabetically by title:

Armchair Apocrypha - Andrew Bird
This one has been criminally overlooked on all of the year-end lists I've looked through so far. Bird's latest not only tops his previous record, the critically lauded Mysterious Production of Eggs, but also substantially improves upon the unique style which powers his work. The addition of Dosh into Bird's inner circle of collaborators is one of the most perfect matches ever made, and the results are some of the best tracks on the record.

Boxer - The National
The subdued arrangements and flat vocals are an acquired taste, but once this one grows on you it's hard to stop listening. The National deliver a hauntingly beautiful record that strays from the all out rock of their previous release, instead concentrating on building an atmosphere and accentuating the subtleties.



Challengers - The New Pornographers
I initially panned this one for not living up to it predecessor, the high energy whirlwind of Twin Cinema. Since then, I've come to appreciate this as the Porno's maturing, so much so that the few bombast moments left in the wake sound forced in comparison. A.C. Newman and company have become an entirely different animal; this is the album where the New Pornographers stop sounding like a supergroup and start sounding like a band.

Drums and Guns - Low
Low's latest takes the band back to their slowcore roots, shying away from the more rock-oriented direction of their 2005 release The Great Destroyer. The songs are just as beautiful and sparse as ever, vocals in the foreground with instruments providing texture and context. Drums and Guns brings the slowcore genre comfortably into present day, with pertinent lyrics and the same old haunting sound.

Ga Ga Ga Ga Ga - Spoon
By now, Spoon is a well oiled machine and any album they decide to put out is met with impossibly high expectations. The band's latest manages to deliver, providing a marked improvement over it predecessor. Britt Daniel upholds his title as reigning master of the pop-rock song, and even manages to inject a little bit of studio weirdness without seeming pretentious. Jim Eno also gets a shout out for immaculate production, and some of the most precise drumming around.

I'll Follow You - Oakley Hall
I discovered this group just in time for their inaugural Merge release, which was good timing on my part. I'll Follow You tones down some of the noisier elements of the group, likely to appeal to a wider audience, but keeps all the alt-country vibe intact. From the vocal harmonies to the Skynard-esque guitar solos, it all makes for one heck of a solid record.



In Rainbows - Radiohead
With only ten day's notice, the world's premiere reclusive rock band released their best album since OK Computer. In Rainbows doesn't fizzle out (Hail to the Thief) or get too weird for it's own good (Kid A), it just delivers in spades. The band has never sounded better, so much so that it might even be worth picking up the forthcoming physical release, if only for the miniscule jump in sound quality.

Liars - Liars
The art-rockers tone it down a notch and release their best record to date. There's still plenty of deft studio manipulation and a healthy dose of electronics, but it's all packaged into some of the most rocking songs the band has ever wrote. It's a dark, at times abrasive, record but it's one of the most continuously enjoyable listens of the year.



Mirrored - Battles
Before this year the term 'math-rock' would have been met by most (myself included) with blank stares and disinterest. Battles' first full-length puts the genre firmly on the map with an album that sounds as fun as it is nonsensical. Somewhere between kraut-rock and aimless noodeling, Mirrored is one of the more unique records to hit my speakers this year.

Neon Bible - Arcade Fire
While not quite on par with their impeccable debut, the Canadian rockers' second release is far from a sophomore slump. Neon Bible is a bigger, bolder statement from a group that has the talent to make such melodrama work in their favor. The instrumentation, from booming pipe organs to swelling strings, is just as lush as it needs to be. I'm still listening to it well after its early 2007 release, so just like its predecessor; it has some staying power.

Sky Blue Sky - Wilco
Not the weird record that everyone expected for Nels Cline's first trip into the studio with the band, but certainly not a disappointment by any means. The album oozes with the ambience of laid back classic rock, while the spiraling solos on tracks like "Impossible Germany" and "Side With the Seeds" plant it firmly in the present. It's the next unexpected evolution from a band that seems comfortable in any number of genres.

The Good, The Bad & The Queen - The Good, The Bad & The Queen
I think many people wrote this album off as just another one of Damon Albarn's side projects, which doesn't make much sense because Albarn has an amazing track-record within the side-project arena. Couple that with the fact that this is more of a British supergroup than anything, and you're in for a very interesting record. Albarn and company churn out what can only be described as apocalyptic brit-pop. It's dark and seething at times, but all catchy as hell.