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.

The Year of The Black Keys

My number two album of the year is The Black Keys’ Brothers. I posted a review on this album earlier this year after its release and I’m still blown away by it. I was fortunate enough to see them for the second time on this tour last month. After the performance I realized I have a few new thoughts about the album and the band since my review, so this will serve as a bit of an update.

I’m a selfish bastard. I can’t help it. When I find something I like I want to keep if for myself. I don’t play nice and I don’t share. From the first time I heard them after Thickfreakness was released in 2003, I was hooked on The Black Keys’ stripped-down drums, guitar and vocals aesthetic. What they were doing wasn’t necessarily anything new; their sound draws from their many blues-roots inspirations (see my previous review for examples). But there was something about their raw energy and irresistible hooks that made them stand out and I’ve been a faithful follower of their career ever since. They were one of those acts (like WEW) that you couldn’t believe didn’t get more recognition. How could a band be that good and no one’s heard of them. That being said, I always liked the fact that I was one of the insiders. I knew of the secret awesomeness that was The Black Keys. Even through their previous album Magic Potion’s release, they continued to put out high quality music yet still fly under the radar despite bringing in one of the hottest producers in the industry at the time. No problem, I thought, more for me.

It’s always bittersweet when that changes, as it did with the release of Brothers. It’s clear that these guys were ready to break out and they hired a phenomenal PR machine to ensure that it would happen. Flash forward to the end of 2010 and their album is on all the top 10 lists for the year (also number 2 in Rolling Stone’s rankings), selling out every show on the tour in minutes and rocking possibly the best (and most radio-played) single of the year, the ridiculously catchy Tighten Up. They were even nominated for 4 Grammys. The down side of this is that now I have to share. I have to share with the fat girl next to me at the show who sits down while they rip through Girl is on My Mind and Stack Shot Billy, but jumps up and screams and jiggles when they slog through Everlasting Light. I have to share with the poor saps who “just have to hear Tighten Up” and are willing to pay 100 bucks for a ticket from the douche bag, scum of the earth scalpers out front (those guys should all burn in hell) who scooped up all the tickets in the presale. And to make matters worse, what I’m having to share is, in many ways, a different band. The reason they slogged through Everlasting Light is because it is not a live song. It’s fantastic on recording and is the perfect opening track for a rock-solid album, but it does not translate well to the stage. Frankly, it’s boring and drags down the energy level. This is an extreme example of the “new stuff.” They opened the show playing the “old stuff,” which consists of Dan and Pat coming out and doing what they’ve always done; playing the pre-Brothers songs as hard as they can, totally in sync with each other and basically of one musical soul until they’re dripping with sweat and ready to drop. Then they bring out their bass guitar and keyboard-playing friends to launch into the “new stuff” with a proper band. Again, I love the new songs and the new sound, but, again, it just isn’t the same live. That connection between the two principles fades a little when the other guys are out there and the show loses a little steam until they boot the new additions off the stage and go old school again.

There, got that off my chest. Now for the bright side of the bittersweet. I couldn’t be happier for this band and all they’ve achieved this year. They’re finally getting the respect and recognition that I thought they deserved all along and things just keep getting better and better. Plus, although they’ve expanded their sound on the new album, they haven’t changed it. At its core, their music is still all about the blues. Further, the band continues to stay real and true beyond their music too. One of the Grammys they’re nominated for is best art direction, thanks to the awesome retro package that Pat’s younger brother, Michael Carney, put together. And in the year when all of Ohio was in an uproar because their patron saint LeBron left for greener pastures, the Black Keys still literally sing the praises of their home state, as heard in the b-side track Ohio.

Tis’ the season for generosity and in the year of the Black Keys I’m finally willing to share….just as long as the band promises to keep sharing too and putting out the same great sounds they always have.

Happy birthday to fellow blogger PD. Hope you had a great day and thanks for letting me ramble on with this list for a week and a half. I'm looking forward to reading yours. Odds are you'll never guess who's on tap for tomorrow. Number one, at long last, is up next.

Portland's Finest

The latest from Portland natives Menomena lands at number three. From their groundbreaking debut, I Am the Fun Blame Monster, to their sophomore effort, the outstanding Friend and Foe, I waited with confident anticipation for the first half of this year until the release of Mines in July. I knew I wouldn’t be disappointed. The agonizing three-year delay between albums is because of the painstaking efforts these guys make to create perfection. Their process utilizes a technology called a Digital Loop Recorder, or DLR for short, or Deeler for really short, developed by band member Brent Knopf. They basically start with a nugget of a song, usually the drums, on a loop and the all three members pass the track around over and over again, adding a saxophone here or a guitar lick there. All three band members play a wide assortment of instruments and all sing, so the more the track is passed from one guy to the next, the richer and more complex the song. This meticulous process is by necessity incredibly slow. In an excellent interview in the Willamette Week earlier this year, the band explained that the three members essentially email their contribution on to the next person and are actually very rarely in the same room together. To me it’s absolutely astonishing that they can produce such a polished sound while remaining so physically disconnected. But the reason I think this works, and definitely one of the reasons I appreciate this band so much, is because this process is absolutely 100% democratic. Although each track originates in the mind of one of the three band members, all have an equal say and the resultant album is a perfect three-way blend of their component styles.

I listened to this album nearly every morning for about 6 weeks and found it to grow organically. Every few days I had a new favorite track. The tone of this album is probably a little more somber and the tracks are more subdued than on Friend and Foe, owing at least in part to the fact that two of the three members went through divorces since their last album. The excellent opening track, Queen Black Acid, begins with a strummed guitar and bass line that builds to an emotional finish and seems to certainly be about soured love as Justin Harris laments in the chorus “You bring me down, so down.” TAOS starts with a heavy base riff and high energy and ends with a jazzy outro that makes good use of Menomena’s signature bari sax. The highlights are too many to name, but Harris’s Five Little Rooms was my first favorite and remains eerily awesome and Danny Seim’s Dirty Cartoons and Tithe are both builders that satisfy. My least favorite tracks, as on their previous albums, are the ones on which Knopf sings lead vocals. That being said, they’re still solid songs and essential to the album to maintain that perfect balance.

I’m fortunate to live in the same town as these guys because if affords me many opportunities to see them perform live. The diversity that they bring to their music translates well to the stage as they constantly switch instruments and trade off on vocals while maintaining a high intensity level.

And then there were two. See who got first runner up tomorrow.

How Swede It Is

God bless those darn Swedes. They've given us catchy indie-pop (see Peter, Bjorn and John) and the heaviest of heavy metal (I don't have a reference here, but I'm sure PD can fill in the blank for me). They've also given us a new generation of folk singers (see Jose Gonzalez and Jens Lekman). Most promising among this new crop is The Tallest Man on Earth and his 2010 release The Wild Hunt comes in at number four on my list.

I was glad to hear that PD had developed a newfound appreciation for Bob Dylan, because I’ve had this one earmarked for the swap for several months now. TMOE was a grower for me. I bought his 2008 album, Shallow Grave, after reading the glowing reviews it was getting, but didn’t give it much play time because I just couldn’t get on board with Kristian Matsson's voice. It was just too abrasive. Two years later the hype machine was churning again and I kept hearing great things about his latest release, so I invested again. Perhaps my tastes have evolved or my ears have matured over those two years, but I can now appreciate the TMOE’s genius. The Dylan comparisons are obvious and there’s no question that this guy drew a lot of inspiration from him, but I don’t think that’s got anything to do with why I’m drawn to his music. I place this album right alongside the rootsy, Americana folk of some of my favorite singers such as Will Whitmore and Bon Iver. Like these two gentlemen, The Tallest Man’s greatest strength is his songwriting. The funny thing is, now when I go back and listen to Shallow Grave, I realize it’s every bit as good as this album and the subsequent EP released this year, Sometimes the Blues is Just a Passing Bird (which technically expands my list to 10.5 albums). Highlights from this one include the hopeful Troubles Will Be Gone, the tender The Drying of the Lawns and the anthemic Kids on the Run wherein he trades in his guitar for rich piano chords.

I fully expect TMOE to appear on top 10 lists for many years to come. He used to play free shows in Portland from time to time on Sunday night at Rontoms. I regret never having gone out to see him. Every few years some artist is bequeathed the title “the next Dylan” and I guess it’s not hard to see why TMOE is one. Labels aside, this man is a singular talent and I anticipate his return to Portland as I won’t miss out next time.

Down to the top three! Bede, Lackthereof and Ramona Falls are bands associated with the three guys up next. Find out tomorrow about the latest release from their much higher profile outfit.

Heathen Children

Nick Cave is rapidly becoming one of my favorite all-time artists and his latest project, the second Grinderman album, rounds out my top five albums of the year. Joining Nick Cave again this time around are resident Bad Seeds Warren Ellis, Martyn Casey and Jim Sclavunos and Grinderman remains a sort of alter ego for the boys. Where Nick Cave and the Bad Seeds have based a long and prolific career on creating dark songs about topics such as religion, love and death, Grinderman has become their light-hearted, sometimes scuzzy, often mysogenistic, always hard-rocking stress reliever.

Grinderman 2 is clearly more polished and produced than their debut album. While I still relish the first set’s raw and raucous energy and fuzzy edges I appreciate the growth and evolution we’re starting to witness and I sincerely hope this isn’t just a quick two-off side project to pass the time. The opening tandem of Mickey Mouse and the Goodbye Man and Worm Tamer is a perfect segue between albums as the former closely approximates the first set’s unpolished edge while the latter preserves its man-centric attitude. Will worm tamer become the theme song for feminists everywhere? (I’m doubtful, but Mr. Cave might beg to differ). You can tell straight off these guys are still having a great time doing this. Heathen Child is all kinds of fun, When My Baby Comes is a creepy slow builder, What I Know is a sparse meditation and calm before the storm, Evil! is balls to the wall and earns its exclamation point, Kitchenette is a bluesy romp with “Oprah Winfrey on a plasma screen,” Palaces of Montezuma is an absolute pleasure and one of my favorite songs of the year and Bellringer Blues rounds out the album with psychedelic satisfaction.

After taking such a shine to this album since its release in September, I decided it was time for me to take a trip back in time to 1984. I decided to go back and listen to the Nick Cave discography, starting with his first album From Her To Eternity (I know technically it all started with Birthday Party, but this is close enough for now) and so far I’m through 1994’s Let Love In. Not every album is a homerun, but not one of them is a failure either. Each has something to offer and each is clearly distinct from the previous one. It’s astonishing that this guy can maintain the same essential sound and style he’s always incorporated, yet still continue to evolve and gain relevancy even in today’s overwhelmingly bland and homogenized music culture. Here's hoping he never slows down.

It's a tall order to make it into my top four of the year. The next artist pulled it off. Read all about him tomorrow.

Together Again

A sentimental favorite lands at position number six. I first heard about the Greenhornes many moons ago while reading an article about bands that Jack White was into. Hailing from Cincinnati, they, along with bands like the White Stripes and Mooney Suzuki, were instrumental in the so-called Rust Belt garage blues revival of the early 90’s. Their 2001 self-titled album is still one of my favorites with irresistible hard rockers like Nobody Loves You and Lies.

It’s now been 8 years since the release of their last full-length and 5 years since their last EP. Where have they been you may ask? Well, half of them have been keeping busy backing up Jack in his main side project, the Raconteurs. Further, bassist Jack Lawrence (also known as Little Jack) has pretty much been JW’s right-hand man over that time, being featured in not only the Raconteurs but also Loretta Lynn’s Van Lear Rose and other White side project The Dead Weather. Lead singer Craig Fox has been involved with a decidedly lower profile side band, The Cincinnati Suds.

My first thought when I heard they were re-banding for a comeback album was concern. How do you move forward when half of your band has spent the last five years selling out large capacity venues, headlining festivals and being nominated for Grammys under the wing of one entrepreneurial genius from Detroit while the others have been playing with…The Cincinnati Suds? Shouldn’t these last five years have stirred up enough feelings of jealousy on one side and superiority on the other to make this reunion doomed to fail? The answer, thankfully, is no and there are two reasons it didn’t. One, their new album was released on Jack White’s label, Third Man Records. Although I haven’t read it anywhere, I like to think that JW, as a fan, encouraged the group to reunite and record while giving them all the financial and PR support they would need. Instead of being the guy who ripped apart a great band, he’s the fan and friend who’s making things right again. Furthermore, band interviews confirm that Fox harbors no ill will toward his now famous peers, a testament to their friendship since high school. The second reason they didn’t fail is because they just know how to make good music. They open the album with British invasion-infused rockers Saying Goodbye and Underestimator. Fox turns then turns soul singer on the catchy Better Off Without It and then they change it up again with the psychedelic Cave Drawings. Their 60’s influences are clear as they have been throughout the band’s career and the album continues, cycling through these retro styles. For me the highlight here is Go Tell Henry, a sexy, psychedelic romp with a killer guitar riff. And any review of The Greenhornes would be incomplete without a mention of their signature keyboard component, best exemplified on the closing track, the bluesy Hard To Find.

I had the awesome conundrum a few weeks ago of deciding between seeing these guys and Portugal. The Man (see #7 on this list) as they happened to be playing the same night. I chose the Greenhornes because they were playing the soon-to-be-defunct Berbati’s Pan and because I figured P.TM would be playing here again before too long. After seeing them, I’m more than satisfied with my choice. Their new songs sound great live and they’re clearly back and better than ever.

Next we crack the top half of this list with Mickey Mouse, The Goodbye Man and Number Five.

Portugal. The Man

Number eight was one of the perennials. Number seven, by contrast, is a newcomer to this list and a band I’ve only just discovered in 2010. There are many reasons I love living in the Pacific Northwest and one of the big ones is the ease of accessibility to new music. On just about any given night I can open the Willamette Week and pick a show at one of the local venues to attend and very rarely will I be disappointed. Portugal. The Man is a band I haven’t yet witnessed in the live setting, but they’re a band that gets much publicity in this region. Originally hailing from Sarah Palin’s own Wasilla, Alaska, they made the wise decision to distance themselves from her and ventured south to Portland. Hardly a new act, American Ghetto is the band’s fifth full-length release. While I am eager to explore their back catalog, I can only comment on this current album and also highly recommend the previous one, The Satanic Satanist.

American Ghetto has a spaced-out, electric vibe, replete with synthesizers and produced effects. At their core, however, these guys are just great songwriters and produce irresistible hook after irresistible hook. There’s not a bad track in the bunch, but a few highlights for me include the urgent 1000 Years, the sinister The Pusher’s Party (I love the Paul’s Boutique-esque drum breakdown at 3:38 [I know the B Boy’s swiped this from someone else, but I’m too lazy to track down the rightful owner]), the regretful and mellow Just A Fool and the peppy, sitar-laced closer When the War Ends. This is an album catchy enough to be satisfying from the first listen, yet deeply layered enough to get better with each subsequent listen until it ends up on heavy rotation on your portable media player and well-placed on your year-end list. Not surprisingly, this album, which was part of the mid-year swap, has drawn favorable opinion from PD. He will be happy to know that P.TM spent much of this last year working on their next release, due out in 2011, which is described as having a more prog rock feel and draws comparison to Pink Floyd.

I had the pleasure of seeing the next band on the list perform last month at one of my favorite Portland venues, Berbati’s Pan. Alas, that great show would be my last as Bertati’s closed its doors for the last time on New Year’s Eve. No more knocking back tall boy PBR’s waiting for the show to start. No more feeling weird about whether to tip the bathroom cologne guy. No more prime positioning right in front of the stage. No more post-show VooDoo Doughnuts. Berbati’s you will be missed.