Still Burning Bright

Lifted or The Story is in The Soil, Keep Your Ears to the Ground" was my first experience with Bright Eyes. The song "You Will..." captivated me from the beginning, and I've followed Conor Oberst and company with great curiosity ever since. Bright Eyes 7th studio album, "The People's Key" is a departure from the recent folksy "Cassadaga", and leans more towards rock and effects. This album highlights Oberst's intellectual lyrics and quietly emotional vocals, and seems to be more highly produced than previous efforts.

Leading off the "The People's Key" is "Firewall". This track opens with over two minutes of spoken-word abstract musings (or "shamanic vocals" as they are referred to in the liner notes) by Denny Brewer of Refried Ice Cream. I found this to be annoying at first, but after listening to this CD a few times, Brewer's orations somehow just fit into the big picture like beaded door curtains in a college student's door room. If you can listen long enough to get past the far-out mysticism of Brewer's words, you'll be rewarded with a plodding, sharp, slow-rock tune that sets the tone for the remainder of the album. This is followed by "Shell Games", a beautiful tapestry of rock, pop, and poetic lyrics that makes for the most musically diverse track on the disc. Frantic rapid-fire snares introduce "Jejune Stars", a song that melodically bounces off your ears and finds Oberst defiantly crooning, "So it starts again, at our childhood's end, I'll die young at heart". Further on is "Haile Selassie", an upbeat rocker referring to the revered messiah of the Rastafari movement, punctuated by a yell of "One love" in one of the later verses. Also of note is "Ladder Song", a simple, pretty ballad highlighting Oberst's pleading voice over a morose piano background.

The People's Key" is laced with spiritual, lovelorn lyrics dealing with everything from the loss of long-held childhood beliefs to the struggle with faith and religiosity. Additionally, the ever-present theme of heartbreak permeates to the surface on multiple occasions as well. The production on this album is excellent, with the balance of electrical guitar, keyboards, percussion, and symphonic effects giving this album a quietly impassioned vibe, further augmented by Oberst's inspired, poetic prose. It has been rumored for some time that this will be Bright Eyes final album, and after repeatedly enjoying "The People's Key", I sincerely hope this is not the end.

Return of the King

Radiohead, the pride of Abingdon, Oxfordshire, England, has returned to the musical stage once again with eight new tracks collectively known as "The King of Limbs". Released with very little advanced billing, "The King of Limbs" is currently available as either a digital download or on vinyl from the band's website, with a CD-version to follow sometime within the following month.

As a longtime fan of Radiohead, I was excited by the news of a new album. Furthermore, I was curious to hear what sound they would embrace, as their first seven albums have shown a progression from guitar-injected rock to near total electronica, and ultimately back to a delicate mix of the two. I've always favored their earlier works ("The Bends", "OK Computer") over albums such as "Kid A" and "Amnesiac", principally due to the presence of multiple guitars. As it turns out, "The King of Limbs" is heavy on synthesizers and fairly light on guitar, but the result is nonetheless captivating and quite an enjoyable listen.

"The King of Limbs" begins with the multifaceted "Bloom". In "Bloom", Thom Yorke philosophizes, "So I lose and start over, don't blow your mind with why" over a fluttering piano, a convergence of drum effects, and a final deluge of horns and strings. Next is "Morning Mr. Magpie", another song featuring Yorke's hovering voice floating like feathers over the crisp, frantic beats below. Track 3 is "Little By Little", an up-tempo percussion-infused tune that's rueful, darkly pretty, and classic Radiohead. "Feral" is the record's only instrumental track, and the seemingly untamed mix of cadence and flow gives credence to it's title. This is followed by "Lotus Flower", spotlighting Yorke's hauntingly beautiful vocals over an understated musical backdrop. "Codex" is a piano-driven piece that slowly pulls you in and gently lets you down. There always seems to be one quiet, gripping ballad on each Radiohead release (the last one being "All I Need" from "In Rainbows"), and "Codex" admirably fulfills that criteria for me. Next is "Give Up the Ghost", a quiet, acoustic love song, followed by the final track, "Separator", a breezy musing that glides easily over an ethereal instrumental.

After the first listen I wasn't sure how I felt about this album, but I've grown more intrigued and impressed each successive time through. Amongst the myriad of snappy beats and synthesizers lies something calming and serene that makes "The King of Limbs" rather endearing. In "Little By Little" Yorke reflects, "Little by little, hook or by crook, never be an artist, never get judged". It's quite clear after 8 albums of continually changing scope and complexity that Yorke is far beyond caring about judgement, and Radiohead continues to march to their own satisfyingly unique beat.

Even On A Cloudy Day

Cage the Elephant's 2nd album, "Thank You, Happy Birthday", contains a wide spectrum of genres, ranging between the extremes of acoustic pop all the way to no-holes-barred punk. I had heard a few of their previous songs on the radio and had expected this disc to be rather one-dimensional; I couldn't have been more wrong. Matthew Shultz and company mix things up throughout, and the results are, well, mixed.

Thank You, Happy Birthday" opens with "Always Something", a quirky, meandering song with a plethora of audio effects and a palatable variety of guitar licks that will slowly (but ultimately) grow on you. Next is "Aberdeen", a screaming rocker reminiscent of the Arctic Monkeys. This song immediately stood out to me as the highlight of the CD, and is one of the catchier rock songs of early 2011. Further along is the uplifting "Shake Me Down", a song about perseverance beginning as an ariose ballad before being interrupted by machine-gun snare drum beats, transitioning into a punchingly raw vocal effort from Shultz, then concluding with a serene guitar hook and the fitting words, "Even on a cloudy day". Also, of note, is the punkish "2024", a tune somewhat reminiscent of the Dead Kennedy's.

Overall, I found "Thank You, Happy Birthday" to be a bit uneven. There are a few "throw-away" tracks, a couple of true pop-punk gems, and some agreeable filler interspersed all over. To me, Cage the Elephant is at their best playing irreverent punk-rock while maintaining a few melodic vocal hooks, but when structure is pushed aside they sometimes breach past the boundaries of being even an acquired taste. Nonetheless, this album is appealing enough for me to look forward to their next offering, and discover where their musical creativity ultimately takes them.

Blame it on my ADD, baby

I recently discovered a band called AWOLNATION. There is very little information about them on the worldwide web. They have a website - music only, no info. You'll see them on Facebook, MySpace and iTunes (of course). You'll find them on many other small music blogs (like this one). That's about it. These are the facts I've gleaned from these few limited sources:

1. The mastermind is named Aaron Bruno, he's from SoCal and his former band was called Under The Influence of Giants. They released one album in 2006.

2. Their only available recorded material so far is a five track EP released in May of 2010 called Back From Earth. One of the five tracks is a remix of one of the other tracks. You can buy it for $2.99 on iTunes OR you can get two free download tracks on their website in exchange for your email address. (I recommend Sail and Guilty Filthy Soul if you choose this option.)

3. Portland loves AWOLNATION, due in large part to their being featured as the first band in local radio station 94/7 Alternative Portland's "I Saw Them When..." series.

The rest of this review is based on opinion and perspective:

I first heard the name AWOLNATION when I was listening to 94/7 on the way to work. They were talking about the upcoming show, which is part of a new series showcasing bands that are thought to be on the verge of breaking out. The idea is to make it a memorable and accessible experience with a band that may not be so accessible down the road. In achieving this, tickets cost a cool five bucks. The show was due to take place at Lola's Room, the little downstairs sister of the legendary Crystal Ballroom. I was intrigued. Then they played the song Sail. I was impressed. Then they played it over and over again during the subsequent weeks. I was obsessed. So were the station's DJs and thousands of their listeners.

But I'm getting ahead of myself. As soon as I heard the song, I bought four tickets on the pre-sale. Within a day, I think, they announced the show was being moved upstairs to the Crystal because it sold out immediately. Probably not more than a week later the Crystal was sold out too. It was about this time I spent the extra 3 bucks for their EP, only to discover the rest of it was as good as Sail. It was also around this time I tried to find any scrap of information I could about the band only to learn that seemingly nobody had heard of them despite the EP's release about 7 months earlier. Then I started to wonder if it was all a put-on, a pseudonym for an already established huge talent; nobody could make music this irresistible and fly under the radar for so long.

It wasn't a put-on and the show happened two nights ago. Based strictly on word of mouth and constant airplay, the house was packed and bouncing. People were excited the band was excited and the show lived up to every shred of hype that preceded it. I stood in awe that night, as I've never seen such a music-related groundswell grow from nothing. While I don't know if they'll end up amounting to anything, I really can't possibly see how they won't. If they do, I think they'll owe a lot to this city and its discerning listeners. If they do it will truly be an "I saw them when" moment for me.

I won't describe their music here but I will highly recommend it:

http://www.awolnationmusic.com/

Whew, more WEW

Recently posted on his website, William Elliott Whitmore has finished recording his new record "Field Songs" to be released on Anti- records this spring!

For those not familiar with WEW, check out these songs as a start:

-Red Buds (from Song Of The Blackbird)
-Hell Or High Water (from Animals In The Dark)
-Diggin' My Grave (from Ashes To Dust)
-One Man's Shame (from Song Of The Blackbird)
-Sometimes Our Dreams Float Like Anchors (from Hymns For The Hopeless)
-Hard Times (from Animals In The Dark)

It's already shaping up to be a great year.

Band of Joy

Last year was filled with so much good music is was hard to stop and take the necessary time to absorb it all. I'm certain that my library is filled with sensational albums I haven't even begun to fully appreciate yet. When I heard Robert Plant was coming back to Portland with his new Band of Joy I decided it was time to give him his proper due.

Band of Joy is truly a joy and as much as I loved his previous release with Allison Krause, 2007's outstanding Raising Sand, this album is every bit as good. This time around, he traded in Allison for Patty Griffin and T Bone for Buddy Miller, but he didn't miss a beat. Reprising the moniker from his very first band in the 60's, Plant returns with a very listenable collection of eclectic covers of songs from Townes Van Zandt (Harm's Swift Way) to Los Lobos (the irresistable Angel Dance) to slo-core specialists Low (possibly outdoing the originals on Silver Rider and Monkey). This is one of those albums that gets exponentially better with every listen.

I love Led Zeppelin. I think they influenced my musical tastes every bit as much as the Stones or the Beatles or Johnny Cash. But after Plant's releases in the 80's and 90's I had essentially given up on ever hearing that golden voice produce any worthwhile music again. Thank god he hitched his wagon to this country/bluegrass/folk renassaince that sprung forth in the 2000's because we now have two full albums worth of roosty goodness and it looks promising for more in the future.

I first saw Plant at the Fargodome where he performed a full set with Jimmy Page performing mostly Led Zep songs and let me say, I was not disappointed. The next time was when I bought tickets for the Raising Sand tour two years ago and while the music was great, the seats were garbage. The VERY back row of the Rose Garden, a venue where the acoustics are horrible begin with. I decided to give it another go this April, only much closer to the stage and at the Schnitzer Concert Hall where the sound is sublime. While I'll likely never see the three living members of Led Zep unite, I think I'm OK with that. Robert Plant says he's moved on and I love the way he's done it.

Symmetrical Distortion

My first memory of hearing Social Distortion was in a sweaty underground weight room the summer after my freshman year of high school. Songs like "Bad Luck" and "99 to Life" provided a gritty, oddly motivational background to lifting, and fit almost perfectly with the dilapidated surroundings. Many things have changed in my life since that time, but Social Distortion, despite multiple line-up changes, has mostly stayed with the same consistent formula. On "Hard Times and Nursery Rhymes", they continue to produce their own unique blend of punk, rockabilly, country, and blues-rock.

"Hard Times and Nursery Rhymes" begins with "Road Zombie", an instrumental track that reassures the listener that Social Distortion has not abandoned their bread-and-butter sound, and sets the table for things to come. Next is "California", a weaving ditty dealing with the adversity-followed-by-redemption theme so prevalent in Social D's lyrics. This concept is perfectly exemplified when lead-singer Mike Ness rhetorically croons, "What's life without a little pain?" Later on is "Machine Gun Blues", a fast-paced rocker about a 1930s thug who leaves a wide path of carnage wherever he goes, sung with the same unapologetic tone that Ness uses to make abhorrent behavior actually sound cool. The rousing "Can't Take it With You" contains my favorite lyric of the album, "Never see a hearse with a luggage rack", emphasizing the concept of living in the moment and belying the axiom of a penny saved is a penny earned.

It may have been seven years since Social Distortion's last studio release, but "Hard Times and Nursery Rhymes" sounds almost as if no time has passed. This album is the same old Social D, with likable guitar riffs, up-tempo jams, and Mike Ness's signature scratchy voice. There may be nothing groundbreaking or particularly innovative on "Hard Times and Nursery Rhymes", but long-time fans will find it comfortably familiar. And, if I happen to find myself riding in the open box of an old pickup, cruising down a dusty section line with a beer in one hand and a smoke in the other, then a little Social Distortion on the radio would still fit just right.

Return of The Decemberists

The last time we heard from Colin Meloy, he was narrating the Decemberists' folkloric rock opera "Hazards of Love", a multi-layered, complex composition detailing the love affair between a woman and a mythical forest dweller over 17 interwoven tracks. In contrast to the intricate, multifaceted, and somewhat ambitious "Hazards of Love", The Decemberists' new album, "The King is Dead", is a stripped-down dose of straight-forward alt-country.

Upon my first listen, I was struck by how multiple songs reminded me of one of my favorite childhood albums, "Green" by R.E.M. This sensation was soon explained by the liner notes listing R.E.M.'s Peter Buck as an instrumentalist on 3 of the 10 tracks. Also contributing to "The King is Dead" is Gillian Welch, the long-time singer-songwriter whose signature bluegrass voice is a perfect complement to Meloy throughout the album.

"The King is Dead" starts off quickly with "Don't Carry It All", an upbeat country song with the theme of lifting up your fellow man, a familiar concept to a band said to list communism as one of its inspirations. Next is "Calamity Song", an REM-esque fast-paced pop song about the catastrophical end of the world as we know it (no pun unintended), featuring Buck on 12-string guitar. This is followed by the record's 1st ballad, the peaceful "Rise to Me", which speaks of fending off threats and adversity with the soft, harmonic Meloy-Welch chorus of, "I am going to stand my ground, they rise to me and I'll blow them down". Another interesting song is "Rox in the Box" which is highlighted by an interlude of bouzouki and violin that is very reminiscent of the traditional Irish folk music I've grown to love. Ballad #2 is is the elegant "January Hymn", a remorseful, longing ode to a lost love. Then comes the the most deliberate rock song on "The King is Dead", "Down By the Water", a track accentuated by Buck's electric guitar and Meloy's forlorn harmonica. The remainder of the album is delightfully more of the same: easy rock, country twang, and gentle harmonies.

Taken as a whole, "The King is Dead" is a work of reflective, folky, country music that is pleasing from beginning to end. The Decemberists' use of the fiddle, banjo, mandolin, pedal steal, piano, and violin creates a sincerely rustic tone that I've found repeatedly appealing. And, though "The King is Dead" is more of a "pop" record than the Decemberists' fans may be used to, Meloy still works in enough abstract lyrics to keep the hipsters from becoming too disenfranchised. I've only listened to this disc 4 or 5 times, but it keeps getting better with each successive spin, and has provided me with a pacifying soundtrack to this bitter-cold Midwestern winter.

Best of 2010 - JP Version

2010 will go down as the year that music almost passed me by unnoticed. I eagerly anticipated the new albums from Interpol, Ray Lamontagne, and Kings of Leon, only to be achingly disappointed (Interpol), uninspired (Ray Lamontagne), and flat out disenchanted (Kings of Leon). As a result, I leaned heavily on my older favorites, added to my vinyl collection, and gave little attention to the radio. However, during the few times I sought out new flavors, I was pleasantly surprised to find an abundance of great music. So, without further ado, my top 10 of 2010:


10. Edward Sharpe and the Magnetic Zeros - "Up From Below- Deluxe Edition" (7/27/2010)

Yes, I know this album came out in 2009, but the "Deluxe" version was released in 2010, and therefore I'm grandfathering it in. Alex Ebert and his merry group of troubadour's created a free-spirited, eclectic, rustic-feeling record with "Up From Below". Each track is filled with quirky and meandering musical theatre that, at points, will have any listener singing along. The mix of country beats, melodic whistling, and transcendental lyrics create a unique composite that leaves me curious as to what they'll come up with next.

Suggested tracks: "Home", "40 Day Dream", "Janglin"


9. Broken Bells - "Broken Bells" (3/9/2010)

The collaboration of the The Shins' James Mercer and musician/producer/songwriter Danger Mouse has yielded an easy-listening gem. Yes, there may be nothing shocking or unexpected on this self-titled debut, but I don't think that's the point. Fusing Mercer's glossy vocals and guitar with Danger Mouse's production and synthesizer accents, "Broken Bells" is an aurally pleasing, relaxing, dream-like cruise through the day. And, despite my hard-rock leanings, sometimes a little graceful ambience is just what I need.

Suggested tracks: "The High Road", "October", "Trap Doors"


8. Deerhunter - "Halcyon Digest" (9/28/2010)

Underground music can often be difficult to qualify, and the Atlanta-based Deerhunter is no exception. On "Halcyon Digest", Deerhunter is at times ethereal and abtruse, yet the bulk of the album is up-tempo lo-fidelity indie rock. I found the general theme of "Halcyon Digest" to be an examination of a subject all of us face at some point in our lives: the endeavor of aging. It's the fantasy about the freedom and almost mandated irresponsibility of youth versus the realization that a care-free, selfish lifestyle is simply incompatible with the reality of having a career, family, etc. And, upon reflection, we inevitably see that lost youth is much safer left behind as rose-colored memories, and recapturing it would be a risky proposition. Despite the subject matter, "Halcyon Digest" is a rather uplifting record and solid throughout.

Suggested tracks: "Desire Lines", "Don't Cry", "Revival"


7. MGMT- "Congratulations" (4/13/2010)

The duo of Benjamin Goldwasser and Andrew Van WynGarden continue to explore the outreaches of pyschedelic rock on 2010's "Congratulations". Though previous releases from MGMT may be more well-known for loud, almost anthematic electronica (see "Kids" and "Time to Pretend"), "Congratulations" comes off as a slightly more mellow work of art. This album features MGMTs unique ability to create chaotic amalgams of folk, trance, and new wave, and have the end results be orderly, captivating pop music. I've may never have taken hallucinogens, but I'd imagine the experience of listening to this disc in a dark room probably measures up.

Suggested tracks: "Flash Delirium", "It's Working", "I Found A Whistle"


6. Vampire Weekend - "Contra" (1/11/2010)

Vampire Weekend's 2nd album is a bit more electronically expansive than their 2008 debut, but also manages to stay true to their Afro-pop strengths. Still present are the up-tempo beats, marimbas, piano, and feather-light guitar riffs that give "Contra" a distinctive "island" feel. However, the highlight of the album is the prodding "Giving Up the Gun", a synthesizer-infused song that stylistically stands out from the rest of the record. Ezra Koenig's vocals are once again pitch-perfect, and "Contra" remains an easily digestible piece of pop music candy.

Suggested tracks: "Giving Up the Gun", "I Think Ur A Contra", "Horchata"


5. The National - "High Violet" (5/10/2010)

After hearing "Bloodbuzz Ohio" for the 9th or 10th time, it became stuck in my head to such a degree I found myself singing it at random times throughout the day. This trivial phenomenon lead me to purchase "High Violet", and it soon became one of my favorite discs. "High Violet" is essentially Matt Berninger's brooding baritone singing abstract stories of heartache and ill-fortune over an understated, appeasing instrumental foundation. Despite its relatively depressing content, "High Violet" makes an excellent background soundtrack to a quiet night with friends or an introspective drive down an wide-open road. This album is a dark, haunting beauty, and its most pleasing aspect is its soothing simplicity.

Suggested tracks: "Bloodbuzz Ohio", "Lemonworld", "Sorrow"


4. Arcade Fire - "The Suburbs" (8/3/2010)

This year's offering from Montreal's 7-member Arcade Fire is somewhat dark compared to their previous two full-length albums, and I found it to be quietly inspirational. Though the subject matter invariably deals with actual suburbs themselves, the underlying message is often the struggle between the sad complacency of being alone versus the comforts it provides. One of the standouts is the track, "Ready to Start". Each successive verse incrementally builds and retreats, like a person trying to break down a door, progressively bending the lock and splintering the wood until it finally gives way in a satisfying aural release. "The Suburbs" has a certain driving rhythm and lyrical cadence that is both deeply personal and anhedonically nostalgic, which are its most endearing traits.

Suggested tracks: "Suburban War", "We Used to Wait", "Ready to Start"


3. The Black Keys - "Brothers" (5/18/2010)

These days finding a good rock song on the radio is an accomplishment that cannot be taken for granted. The last fifteen years of music are infected with a such a deluge of low-quality pop-rock artists, that the true definition of rock has essentially been lost on this generation. The Black Keys, however, are the real deal. Their bluesy guitar, impassioned vocals, and raw sound are a throwback to the very roots of rock and roll, and this disc actually has the refreshingly grainy sound of a vinyl record. "Brothers" reminds me of an evening in the winter of 2003 I spent in a relatively empty blues bar in Pioneer Square in downtown Seattle, and discovered how an amazing night can be had with just three ingredients: beer, bluesy rock music, and having nowhere else to be. I'd love to see the Black Keys in such an intimate venue someday; unfortunately, the popularity of "Brothers" will likely render that impossible.

Suggested tracks: "Next Girl", "Tighten Up", "Howlin' For You"


2. Fitz and the Tantrums - "Pickin' Up the Pieces" (8/24/2010)

The first full-length album from the Los Angeles-based Fitz and the Tantrums was my guilty pleasure of 2010. Led by founder Michael Fitzpatrick, Fitz and the Tantrums has a distinct Motown flavor and is a welcome change of pace to modern radio fare. The combination of stirring throwback vocals from Fitzpatrick and back-up vocalist Noelle Scaggs, endless base grooves, soulful saxophone and piano, and a snappy percussion beat throughout consistently challenges you to avoid tapping your feet to the music. In fact, listening to this album makes me feel like I should throw on a suit, sip on a high-ball, and find the nearest dance floor. "Pickin' Up the Pieces" is packed with pop and soul, and "Money Grabber" is one of the catchiest songs of the year.

Suggested tracks: "Breaking the Chains of Love", "Money Grabber", "News 4 U"


1. Mumford and Sons - "Sigh No More" (2/16/2010)

It's truly a rare occasion when I hear an artist for the first time and am instantly captivated by their music. However, this was the case after my first spin of "Sigh No More", the debut album from England's Mumford and Sons. This folk-rock record is a sophisticated tapestry of intricate lyrics, euphonious vocals, and a myriad of crescendos and decrescendos that continually bathe the listener's ears as spiritually as the tide against the shore. From the beautifully apologetic title track, to the ballad "White Blank Page", "Sigh No More" continually wrestles with the themes of loss, hope, and perseverance through difficult times. It will simultaneously have you contemplating past regrets and celebrating the unknown of the future. Missing their show in the Twin Cities in October of this year will go down as one of my top 10 regrets of 2010; hopefully they will provide me with a chance for redemption by returning in 2011.

Suggested tracks: "Sigh No More", "White Blank Page", "The Cave", "Little Lion Man"

For Your Consideration...

I have a habit of making themed playlists and as I was reviewing albums for the year-end review I came up with a few amusing ones to share. These are EP length and include only songs in my iTunes library and released in 2010.

Directionally Challenged EP

Giving Up The Gun – Vampire Weekend

Burn It Down – Awolnation

Left The World Behind – Greenhornes

Thrown Right At Me – The Tallest Man On Earth

Classic Hindu Elements EP

Salt Of The Earth – Bettye LaVette

Winter Winds – Mumford and Sons

Cool Water – Johnny Cash

Fire-Power – These New Puritans

Destroyers Of The Void – Blitzen Trapper

Nth Degree EP

ONE – Yeasayer

Ten Cent Pistol – The Black Keys

100 Years From Now – Karen Elson

1000 Years – Portugal. The Man

Three Little Five Little Songs EP (this one was influenced by my new role as a father, but don’t buy this one for your kid. It takes a much different tone after the first track)

Five Little Monkeys – The Little Kids Band

Five Little Rooms – Menomena

Five Little Sluts – Avi Buffalo

And finally, The Coyote Doc EP

Room Full Of Eyes – Dillinger Escape Plan

Handshake Drugs – Wilco

Butt-house Blondies – Ariel Pink’s Haunted Grafitti

These Songs Are Real Good

Here are the greatest hits from the past year. This is a playlist you won’t soon tire of.

Palaces of Montezuma by Grinderman

Little Lion Man by Mumford and Sons

Ain’t No Grave by Johnny Cash

Sinister Kid by The Black Keys

Gold Teeth on a Bum by The Dillinger Escape Plan

I Saw The Light by Spoon

The Children by Yeasayer

New York Is Killing Me by Gil Scott-Heron

Angel Dance by Robert Plant

We Want War by These New Puritans

Lunasa by Karen Elson

Crown On The Ground by Sleigh Bells

The High Road by Broken Bells

Guilty Filthy Soul by Awolnation

Go Tell Henry by The Greenhornes

Best of 2010 - PD Version

2010 has come to a close and from a musical perspective it did not disappoint. The variety of albums, songs and quality releases was far superior than 2009. As reference, the top 7 albums here are practically flawless and could have easily been among the best albums of the last 5 years. Just as ZH pointed out, I was eagerly anticipating multiple albums in 2010 (ie. Iron Maiden, Spoon, The National), however because of so many stellar records released this year (and a few that I was anticipating but didn't quite measure up), they couldn't crack the top spots. And as many of my posts qualify, this one goes to 11. Here are my top albums of 2010.


11. Shining - "Blackjazz" (Metal/Avant-garde Jazz, released 2/2/2010)


"Blackjazz" is like nothing I have ever heard before; part metal, part jazz and should be packaged with a disclaimer reading "listening to this record may result in seizures." As I said before, Shining have turned jazz into something even the most extreme 'neckbreaker' would be proud to spin. It is jazzy, loud, chaotic, dark and surprisingly catchy. It could very well be the mother of all auditory mind trips (especially of those released in 2010.) For fans of Nine Inch Nails, Fantomas, John Coltrane

Choice cuts: 'Fisheye', 'HEALTER SKELTER', 'Exit Sun'


10. The Black Angels - "Phosphene Dream" (Psychedelic, released 9/14/2010)


The Black Angels (named after a Velvet Underground song) have nailed a sound that was initially made popular in the 60s. I am a huge fan of throwback bands (Graveyard, Dungen, Wolf) and TBA have created an authentic psychedelic vibe with all the tracks on "Phosphene Dream". Likely propelled by massive quantities of LSD and bong resin, this record is also a "trip", however, with a much more mellow flight. That doesn't mean The Black Angels don't rock as made apparent on tracks such as my personal favorite "The Sniper", Alex Maas and Co. delight listeners with a 70s-style jam with three narly riffs intertwined into one kaleidoscopic romp. The other songs followed suit. For fans of Pink Floyd (Syd Barrett era), Jefferson Airplane, The Beach Boys

Choice cuts: The Sniper, Yellow Elevator #2, Entrance Song


9. Jamey Johnson - "The Guitar Song" (Country, released 9/14/2010)


JJ has single-handily attained my interest for country (and western) music. He has reclaimed 'outlaw' country for the masses similar to which Merle Haggard and Waylon Jennings were associated with in the 1970s. The album is packed full of lap pedal guitar, keyboards, cowbell and a vibe similar to that of Southern rock played by The Outlaws and Lynyrd Skynyrd. Even fair weather fans of country music will find "The Guitar Song" intriguing and classic. For fans of Waylon Jennings, Merle Haggard, Hank Williams

Choice cuts: 'Poor Man Blues', 'Heartache', 'California Riots'


8. Danzig - "Deth Red Sabaoth" (Metal, released 6/22/2010)


The burly, Evil Elvis returns with his signature style of blues-infused, punk, swaggering doom rock with the release of "Deth Red Saboath." Danzig finds himself crooning like Jim Morrison throughout many tracks on this long awaited return to form. However, don't get lazy and let Glenn entrance you with the glorious 'On A Wicked Night', as the roid-riddled Roy Orbison still has plenty of nastiness with tracks such as 'The Revengeful', 'Hammer of the Gods' and 'Ju Ju Bone'. This ol' dog can still kick some serious ass. For fans of DANZIG!

Choice cuts: 'On A Wicked Night', 'The Revengeful', 'Hammer of the Gods'


7. The Dillinger Escape Plan - "Option Paralysis" (Metal/Alternative, released 3/22/2010)


Mike Patton may not be God (see the All My Children snippet tucked under ZH's Patton e' Dio post title) but he has influenced about as many hard rock/heavy metal acts as the Beatles (mild overstatement, not blasphemy). The similarities between all of Patton's projects and DEP are very recognizable throughout "Option Paralysis" as you can hear elements of Faith No More, Fantomas and Tomahawk in particular. DEP have quickly become the kings of Mathcore (heavy metal similar to metalcore but with rapid, schizophrenic time signatures). This time around, DEP continue with more of a mainstream sound (as hinted upon with their previous release "Ire Works") and a spattering of slower tempos intermixed within interludes of pandemonium. For fans of Mike Patton, Between The Buried And Me, Melvins

Choice cuts: 'Widower', 'Gold Teeth on a Bum', 'Farewell, Mona Lisa'


6. High On Fire - "Snakes For The Divine" (Metal, released 2/23/2010)


"Snakes For The Divine" is what metal should sound like... Ugly. Some of the reasons to love metal is that it is not mainstream or pretty, such as the appearance of many of its patrons, High On Fire is no exception. Matt Pike and Co. sound ugly, act ugly and are downright ugly themselves. Not necessarily in appearance (because I believe it's in the eye of the beholder,) but these boys create sludgy, prodding riffs with huge bombastic sounds and dark undertones. Along with this, Pike himself creates what sounds like a twin guitar assault similar to that of Maiden, Priest and Slayer. Plus lyrics dealing with aliens, reptiles and Bastard Samuri's only add to the ridiculousness that is pure metal. TOTAL BRUTAL!!! For fans of Motorhead, Slayer, Anvil

Choice cuts: 'Snakes For The Divine', 'Fire, Flood and Plague', 'Holy Flames of the Fire Spitter'


5. The Black Keys - "Brothers" (Blues/Alternative, released 5/18/2010)


Blues rock from Akron, Ohio, These two gents rock like many blues men before them bringing to mind Chester "Howlin' Wolf" Burnett, Muddy Waters and Robert Johnson while tossing in grooves and production entirely their own. The low-fi sound retains an authentic, classic vibe throughout this shoe tapping album. I really couldn't say it any better than ZH has... twice! [Yes, this album is that good.]

Choice cuts: 'Sinister Kid', 'Ten Cent Pistol', 'Howlin' For You'


4. Grinderman - "Grinderman 2" (Alternative, released 9/14/2010)


Nick Cave's Grinderman return with this sophomore release and ups the ante. G2 is heads above their first release and is filled with Cave's signature lyrics and musical quirkiness. The album sounds a lot like The Bad Seeds most recent albums (Abattoir Blues and Dig, Lazarus, Dig!!!) however retains what Cave's seminal band, The Birthday Party, brought to the table with loathsome and perverse themes. In a live venue, no one can touch Cave. And at 53 he doesn't seem to be loosing any steam. His stage presence is second to none as these guys spew machismo in a live venue. As ZH had pointed out, I hope this isn't just a 1-2 punch gig. With how much fun he seemed to be having under the spotlight, I would be surprised if this party stopped any time soon.

Choice cuts: 'Palaces Of Montezuma', 'Mickey Mouse and the Goodbye Man', 'Heathen Child'


3. The Sword - "Warp Riders" (Metal, released 8/24/2010)


The absolute pinnacle of metal in 2010, however "Warp Riders" also crosses into classic rock/blues territory. Hailing from Texas, you can hear old school 'Lone Star' state influences such as ZZ Top and Pantera spattered amongst the record. Fast paced guitar solos, thunderous drumming and pummeling bass provide any metalhead comfort that business is booming in the land of hard rock. The album plays as a concept record, akin to that of Rush which adds to the appeal and makes it hard to just listen to a single track as opposed to the entire magnum opus. Push play, crank it to 11 and enjoy the ride.

Choice cuts: Lawless Lands, Tres Brujas, Night City


2. Black Mountain - "Wilderness Heart" (Alternative, released 9/14/2010)


One of the greatest bands currently playing. Vancouver, Canada's Black Mountain combine influences of many 60's, 70's and 80's groups into their own unique sound. You can hear the likes of Fleetwood Mac, Iron Butterfly, David Bowie, Dio, Jefferson Airplane and Led Zeppelin throughout their music. The harmony of lead vocalists Stephen McBean and Amber Webber is nostalgic. Keyboards and guitars flourish on almost every track, yet not a single song sounds similar. There is not a bad track on the entire album. For those interested, Black Mountain's prior release "In The Future" is just as good.

Choice tracks: Radiant Hearts, Rollercoaster, Sadie


1. The Budos Band - "The Budos Band III" (Funk/Jazz, released 8/10/2010)


Entirely instrumental and completely bad ass! These gents from Staten Island (all together making a ten piece band) create music that could easily play as a soundtrack to "Shaft" (the 1971 Richard Roundtree flick, not the Samuel L. Jackson remake) or any Pam Grier blaxploitation film. They have created a new subgenre dubbed "Afro Soul" which would also work unbelievably well in a Quentin Tarantino movie. The barisax pounds each soulful song into the ground and brings to mind music created by Morphine from the early 90s. Compared to TBB's previous efforts (I and II), "III" has a darker, more sinister mood and can't help but put a grin on any listeners face. Slapping bass riffs, nasty keyboards and a horn section with brass balls. On many of the songs, trumpet, trombone and saxophone play riffs simultaneously acting as "lead vocals" which makes you forget there is no front man wailing on any of the tracks. Regardless, one cannot help but dance like Reed Rothchild in the recording studio from Boogie Nights while listening to these grooves. One word to describe this album would be "infectious" as I want this to be a gift that keeps on giving. I guarantee you play this record at a party and people will be wanting more. And with that, I proudly crown it the best album of 2010!

Choice cuts: Budos Dirge, Golden Dunes, Rite of the Ancients


Bonus material:
Best Songs of the Year (2010)
1. Grinderman - 'Palaces Of Montezuma'
2. High On Fire - 'Snakes Of The Divine'
3. Jeff Bridges - 'Brand New Angel'
4. The Budos Band - 'Budos Dirge'
5. Danzig - 'On A Wicked Night'
6. The Black Angels - 'The Sniper'
7. The Sword - 'Lawless Lands'
8. The Dillinger Escape Plan - 'Widower'
9. Black Mountain - 'Radiant Hearts'
10. The Black Keys - 'Sinister Kid'
11. Iron Maiden - 'Coming Home'
12. Hallways Of Always - 'Heavy Load'
13. Melissa Auf der Maur - 'Father's Grave'
14. Robert Plant - 'Silver Rider'
15. Mike Patton - 'Il Cielo In Una Stanza'

This is The Age of Adz

So here it is. Album of the year for 2010, Sufjan Stevens’ The Age of Adz. I know what you’re going to say: What the hell’s going on? Where did this pick come from? I’m scared! Well, this one surprised me too. I’ve been a very peripheral fan of Sufjan for several years. I found his music pleasant enough and had a handful of songs I liked a lot. I invested in his Christmas song box set a few years ago and play it often this time of year. I certainly never considered him a musical savant as the critics all seemed to. When I heard he had a new album coming out I gave it only passing consideration, but did take time to read a few reviews. The information I gleaned only seemed to lessen my interest. It was mostly described as a grandiose departure from his folky, banjo-flavored chamber pop in favor of a new electronically infused “future-Sufjan.” Coming off the aforementioned weariness of blips and bloops of some of this year’s other releases, I wasn’t thrilled. Still, due to the relative dearth of other notable album releases that week (save for Belle and Sebastian Write About Love in case I wanted to scratch that chamber pop itch) and my hankering to sink my ears into something new, I decided to give it a chance.

The Age of Adz had a feeling of immediacy from the first listen. It is most definitely a departure from the Sufjan of old, an album heavily produced and synthesized. It was an ambitious and risky turn that could have easily been a failure. Where Bright Eyes tried something similar a few years ago on the unimpressive Digital Ash in a Digital Urn, Sufjan’s album finds the magic formula and succeeds. Admittedly, as someone who wasn’t previously a die-hard Sufjan fan I may have a skewed view. It may be that he did end up alienating his fan base and this will ultimately be the beginning of his fall from indie-rock grace. I doubt it, though, and at the very least, he’s earned one new disciple.

The Age of Adz is an emotional powerhouse that runs the gamut from quiet contemplation to over the top, everything-but-the-kitchen-sink spectacle. It bothers me to even try to translate my thoughts about it into words because I know I’ll never come close. The best comparison I can offer is that this album is the aural equivalent of a Charlie Kaufman movie. It moves me in the same way Synechdoche, New York or Eternal Sunshine of the Spotless Mind does. So, knowing my description will be feeble, I’ll attempt to break down the album track by track:

He starts out with the most Sufjan-sounding track of the album, the hushed Futile Devices, which establishes a feeling of warmth and comfort and intimacy and familiar love, but also suggests an underlying thread of distance and longing, probably regret. He describes feelings being difficult to put into words, a theme that resonates with me even as I write this review. It’s the shortest track on the album but sets the tone perfectly. Next comes Too Much, the official introduction to the new production style. A gurgling molten lava effect cools to exacting and simmering percussion. Some of the effects he lays out here and throughout the album are reminiscent of the “intelligent techno” sounds we’ve heard before (for example Kid A) and they work well. Reflection on lost love continues here but has a decidedly more regretful tone. It’s clear that not every moment was sunshine and roses. There were obviously conflicts and things said that, painfully, cannot be taken back. The track ends with a flurry of horns and strings and chorus repetition and resolves into those Kid A sounds and fades to black before launching into the title track, the highlight of the album. Age of Adz bursts out of the gate with brilliant horns, trilling woodwinds and pulsing percussion and makes me feel like I’m attending the Hollywood premiere of a movie about Sufjan’s life. Or my life… Or maybe just life. It’s resplendent and glamorous and exciting. He begins “Well I have known you for just a little while. But I feel I've known you, I feel I've seen you when the Earth was split in fives,” suggesting this love he’s describing felt as old as eternity even from its inception. He continues in the chorus, “When it dies, when it dies, it rots. And when it lives, when it lives, it gives it all it gots” underscoring the passion and fire in this love when it flourished and the charred decay of its darkest depths. This tumultuous ride also describes the song itself as it soars and dips along for eight minutes before resolving into a tender apology for what could have been. I Walked continues in that same vain of guilt and despair which serves as a nice bridge between the high energy Age of Adz and the haunting, lilting beauty of Now That I’m Older, where a wisened and matured Sufjan reflects on and tries to come to terms with his past missteps.

Get Real Get Right sees him turning to God to get back on track and the dreamlike Bad Communication sees him futilely pleading to put the pieces back together. The next track, Vesuvius, is another standout. I’m not sure exactly how it relates to the love lost theme, but it’s absolutely beautiful and does have Sufjan singing in third person, urging him to follow his own heart. The narrative continues on the swells and hushes of the emotional All For Myself and the frenetic tempo of I Want To Be Well, where the tone becomes decidedly more serious as Sufjan pronounces, “I’m not fucking around” and sings about suffering and illness, life and death. The album concludes with the marathon track, Impossible Soul, which clocks in at over 25 minutes. There are two main reasons I shouldn’t like this song: 1) it’s 25 minutes long, 2) he incorporates the use of auto-tune technology, that annoying-ass vocal effect popularized by T-Pain. Remarkably, this is probably my second favorite track on the album. It’s really a seamless denouement in five parts. For me, it’s the perfect end to a near-perfect album, but could easily have functioned as a stand-alone EP if not for the amazing 10 tracks that precede it and set it up so well. It once again explores the depths of emotion using what NME described as “a melting-pot of every musical genre prevalent in the last decade.” And that auto-tune, that damned auto-tune. Who’d have thought it actually worked. I really can’t imagine the song without it now. The album winds down with repetition of the optimistic words “boy, we can do much more together” before making a slight variation, concluding and fading out with “boy, we made such a mess together.” I love these lines because they evoke for me that Eternal Sunshine mentality; this love was meant to be despite the fact that it’s hopelessly flawed. It’s beautiful, it’s fractured and it’s worth every minute.

I wrote all of the above several weeks ago, and as I go back and listen to it again and again, the metaphysical properties of this album keep unfolding. Rather than a journal the singer has written to the former lover, I’ve now come to feel that the album is an internal dialogue through which the singer is trying to learn to love himself and understand his place in the world. The album was apparently inspired by an artist named Royal Robertson. I haven’t read anything about him and I have no idea what Sufjan’s intention was with any of this, but this album obviously touched me deeply. I doubt anyone who reads this will feel quite the same way about this album as me and I’m not even sure I’ll feel the same way about it a year from now. For me, though, albums like this don’t come along very often. I can probably only come up with about half a dozen ever. I put it as number one because it surprised me and it moved me and it reminded me of the power of music and why I love it so much.

There you have it, my long-winded review of the music of 2010. It was a great year and this one has the potential to be even better. My most anticipated new albums of 2011 will be coming soon, but not before some differing opinions from PD and JP.