Gnarly Album Covers (#1)

Best album cover thus far this year.



Thoughts?

Alone By The Sea

Two years ago, James Vincent McMorrow decided to take an unorthodox approach to writing his new record. Accompanied only by his thoughts, McMorrow took his instruments, some recording equipment, and only a single microphone with him and moved into a lonely house on the beach. After five months spent in a self-imposed isolation of creativity, he ultimately completed eleven acoustic tracks that would come to be known as "Early in the Morning".

It becomes clear, from the beginning, "Early in the Morning" is a dish best served when your appetite is for relaxing and keeping the volume knob no higher than half way up (i.e. 5.5 for PD). The album opens with "If I Had a Boat", a drifting love song about longing to bridge the gaps of distance, either physical or psychological, narrated by McMorrow's gentle falsetto. This is followed by another delicate ballad, "Hear the Noise that Moves So Soft and Low", a nostalgic, forlorn ode to an extinguished flame. A slight change in tone is found on "Follow You Down to the Red Oak Tree", a quietly haunting tune that hits your ears as smoothly as a misted wind. "Down the Burning Ropes" combines eerily beautiful vocals with ominous lyrics, and is a standout cut as well.

The underlying theme of "Early in the Morning" seems to involve the end of a long relationship, followed by mournful reflection, then ultimately walking away, only to continue to look back and never feel comfortable if the bond is completely out of reach. McMorrow creates vivid mental images with his allegory-laden lyrics, and explores the battle between a man's faith versus his desire for personal satisfaction. Each track is then woven together by sprinkles of piano, airy guitar chords, soft percussion, and McMorrow's distinctly graceful voice. Consequently, "Early in the Morning" is tranquil in its entirety, with only a rare attempt at up-tempo flare. So if you're ever in need of suitable music for a peaceful hour of quiet contemplation, this album would be an excellent fit.

No Ordinary Yo-Yo

Hayes Carll is an artist who physically appears almost exactly the way he sounds: gristly and refreshingly unrefined. Accordingly, his 4th album, "KMAG YOYO", would play as an appropriate soundtrack to an evening of kicking back a few drinks with your buddies in a small town saloon. Carll's storytelling is reminiscent of Todd Snider, and his mix of humorous lyrics with driving country music makes for an entertaining listen

The disc leads off with "Stomp and Holler", a steak and potatoes ditty showcasing Carll's growly voice over meandering electric guitar, with barroom country overtones ever-present. Later on is the title track, "KMAG YOYO", which is a military acronym for "Kiss My Ass, Guys, You're On You're Own". This rambling rocker is full of witty wordplay, bluesy electric guitar, and thinly-veiled objections to war. The following track, "Another Like You", is a duet with folk-singer Cary Ann Hearst that contains a fun, flirty, sarcastic repartee on the way to drunken sex. An additional highlight is "The Lovin' Cup", a tune that finds Carll jestingly detailing the rocky end of a relationship's "honeymoon" period, before thinking better of it and playfully returning to his better half, hat-in-hand. There are also multiple twangy ballads interspersed throughout "KMAG YOYO" that add even more rustic paint to the this country-filled portrait

"KMAG YOYO" is filled with down-on-your luck stories, anecdotes about drowning your sorrows in whiskey and beer, and the perplexing motivation of trying to live right despite continually catching bad breaks. There is a certain irreverent swagger to Hayes Carll's performance, and his music comes off as delightfully unpolished. The listener may find themselves living vicariously through him as he haphazardly experiences life's many conquests and missteps. In the song "The Letter", Carll declares, "This life is like to kill me, but it sure has been fun..."; I don't think I could have said it better myself.

Swing Low Sweet Anthem

Thus far this decade, there seems to be an almost unlimited amount of folk music being released every month. At times, it is difficult to differentiate between artists, as many songs sound increasingly uniform, with the small exception of the lyrics. However, there are a select few bands who have distinguishing characteristics that allow them to stick out from the homogenous background of their peers. The Low Anthem of Providence, RI, is one such example, as frontman Ben Knox Miller's distinct, raspy vocals are beautifully unmistakable.

"Smart Flesh", the 4th album from The Low Anthem, begins with the elegant "Ghost Woman Blues". This track is a delicate weave of piano, harmonizing vocals, clarinet, and Miller's dulcet delivery. My first listen to "Ghost Woman Blues" immediately reminded me of "The Bear" off of My Morning Jacket's "Acoustic Citsuoca", as they are both reserved ballads that just pull you in with their quiet splendor. Next up is "Apothecary Love", a wistful ditty that sways along with pedal steel and harmonica to give it a pleasant country vibe. The tempo picks up, albeit briefly, on "Boeing 737". This fuzzy rocker references "Man on Wire" subject Philippe Petit and the 9/11 attacks on the World Trade Center, and is far more forceful and loud than any other track on the album. As soon as the raw punch of "Boeing 737" fades, "Smart Flesh" slows down to a mix of morose lyrics and passive accompaniment for the remainder of the album.

The first half of "Smart Flesh" is filled with seductively gripping ballads and sonorous instrumentals, but the last half seems to bog down a bit much and becomes somewhat depressing. The Low Anthem has a vivid sound that is capable of subtly embracing the listener with their graceful music and Miller's engaging voice. And though exemplified but once on this album, they also have the ability to make a damn good rock song. However, to me, it appears "Smart Flesh" came out swinging with strengths, then turned and slowly walked away from the ring with serene yet non-descript offerings. On "Love and Altar", Ben Knox Miller opines, "To love is to play, lay your wealth upon the altar". I sincerely hope the Low Anthem put those words to practice on their next album, because the results just may be divine.

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"