Showing posts with label deerhunter. Show all posts
Showing posts with label deerhunter. Show all posts
July 25, 2011
Live Review: Pitchfork Music Festival 2011
December 31, 2010
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!
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!
December 14, 2010
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!
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!
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