Keep EP/Mind Bokeh/In Love With Oblivion/No Color

Keep EP - Animal Collective (Keep, 2011)

To go along with the release of the show they designed for the Keep brand, Animal Collective released a cassette EP featuring one solo track from each member. Geologist's "Jailhouse" is a droning ambient track that befuddles me as to why it was chosen to open this EP. But, then I remembered it's Animal Collective we're talking about here. Avey Tare's "Call Home (Buy Grapes)" is pretty, polite and weird. Deakin's "Country Report" is arguably the most gorgeous tune here with its swirling samples and surprisingly nice vocals. Lastly, Panda Bear does not disappoint with closer "The Preakness," which sounds like it would have fit pretty well on his newest LP, Tomboy. Nothing crazy or mindblowing here, but definitely an interesting look at where the band is headed, especially with the rejoining of Deakin.

Mind Bokeh - Bibio (Warp, 2011)

Initially, I was taken aback in the really good way by Bibio's latest, Mind Bokeh. I was pleasantly surprised by the fun and varied sounds found throughout. Over time, my infatuation with these songs has waned considerably, but there still is quite a bit to enjoy here. To name a few of its highlights Mind Bokeh features what I consider to be an obvious nod to Thin Lizzy, a number of songs showcasing gorgeous, warm and entrancing guitar loops, and one of those popular kind of summery, Caribbean type jams in the vein of The Very Best/The Ruby Suns/etc., which actually turns out to be the best song on the record. Everything in between is solid but somewhat forgettable.

In Love With Oblivion - Crystal Stilts (Slumberland, 2011)
Front to back, Crystal Stilts' long-awaited follow-up to 2008's Alight of Night should be considered an improvement. The gloomy production here is even better, not to mention the songs and everything about them. Crystal Stilts put a dark spin on their jangly post-punk, yet seem to have developed even more of a sense of humor, which is appealing. Brad Hargett still sounds like he's channeling the ghost of Ian Curtis, and most of the time its charming. I was surprised by how bright songs like "Silver Sun" and "Half a Moon" are, and they are unsurprisingly the outright highlights of the record. In Love With Oblivion is a step in the right direction for Crystal Stilts, and I'm sure my feelings for it will only grow.

No Color - Dodos (Frenchkiss, 2011)
Here's a band that I've never really cared about it, even if I check out their albums every time they release one. 2008's Visiter was completely overrated, while the follow-up, Time to Die, was slightly underrated, but still not anything especially great. Now we come to The Dodos' latest, No Color, which is another pleasant surprise in 2011. The guitars are folky but so much more interesting than that, with various sounds, textures and rhythms. The same thing could be said about the polyrhythmic drums. Meric Long's voice is perhaps a little too good, but sometimes its nice to hear someone sing so well. Album opener "Black Night" is probably the best thing this band will ever do. I honestly don't see No Color having much staying power with me, but I'm enjoying it quite a bit for now.

Juliet, Naked/No Country for Old Men/Practical Demonkeeping

Juliet, Naked - Nick Hornby (2009)

Nick Hornby's most recent novel definitely isn't great, but was totally enjoyable. Great, exaggerated characters and intensely nerdy dialogue that reminded me of plenty of conversations about music that I've had with my closest friends. The plot and events that take place in the book are ridiculous if not completely unrealistic and serviceable at best, but the characters and dialogue make up a bit for that. Juliet, Naked is humorous, fun to read and is simply another solid novel by Hornby.

No Country for Old Men - Cormac McCarthy (2005)

What I found most interesting when reading No Country for Old Men is how Cormac McCarthy uses so little detail regarding human description and characteristics that the events and characters of this story seemed blurred together at times, making a lot of sections hard to follow. Yet, he describes every character's most unimportant actions in insanely specific detail. It all creates a nice sense of ambiguity here, which made for a fascinating reading experience. Otherwise, for the entirety of reading this book, I couldn't help but constantly compare it to the Coen Bros' film. Both mediums that present this story are done masterfully. In retrospect, the Coens portrayed the violence and all of the themes and characters extremely well. The one main thing that I think makes the film actually better than the book is how they each ended. The Coens cut out McCarthy's nice yet somewhat pointless conclusion and ended it in a better albeit even more ambiguous place. However, I might only feel this way due to seeing the film first. Regardless, really great read.

Practical Demonkeeping - Christopher Moore (1992)

This is my first foray into the writing of Christopher Moore, and I probably shouldn't have started with his first novel. Moore's style is quirky, delinquent and supposedly funny, which is appealing, but Practical Demonkeeping is severely lacking in the laugh department. I don't know, maybe it was a little too childish, and it seemed that Moore was trying too hard to be edgy as well? What I did like about the book was how surprisingly complex the plot was. There are some really nice twists and random interesting details that pop up here and there (which can also be a turn off, as a lot of those were pretty pointless). Practical Demonkeeping may have been overtly juvenile and nonsensical, but, it still was fun.

Underneath the Pine/Smoke Ring for My Halo/Share the Joy/Yuck

Underneath the Pine - Toro y Moi (Carpark, 2011)
In 2010, Toro y Moi mastermind Chazwick Bundick released Causers of This, a fine debut LP that easily fit under the chillwave subgenre. Apparently, didn't want to mess around, for he has already released the follow-up, Underneath the Pine, which just might be the best record to be released so far in 2011. While there are definite similarities between the two albums, Underneath the Pine is advanced in all the right ways, thus making it superior. The chillwave title has been shed from these songs, as they sound more like slightly psychedelic, smooth, midtempo and upbeat R&B jams. It seems like Bundick assembled a band for this recording, and they are very good musicians putting on great performances to tape. Every song here is good, but "New Beat" is one of the three best songs I've heard so far this year.


Smoke Ring for My Halo - Kurt Vile (Matador, 2011)
The Kurt Vile hype unsuspectedly caught me in its grasp, and I am glad for it. I started with last year's Square Shells EP, which featured one lengthy psych jam session amongst several gorgeous folk ballads ala a grittier Nick Drake or maybe even what I imagine Springsteen's Nebraska might sound like. Smoke Ring for My Halo, Vile's fourth full length, doesn't sound much different from that, aside from the fact that songs are even better. The production on these songs is both warm and eerie, which adds up to perfect. Vile's melodies are insanely good, and his flawed voice makes them even cooler. Smoke Ring for My Halo presents a brand of folk music that I can really get behind, especially with an album opener like "Baby's Arms," which is also one of the three best songs I've heard in 2011.


Share the Joy - Vivian Girls (Polyvinyl, 2011)
2009's Everything Goes Wrong was the album where Vivian Girls truly arrived, in my opinion. Don't get me wrong, their 2008 self-titled debut features some of their greatest moments, but Everything Goes Wrong was a real album's album. On Share the Joy, their Polyvinyl debut, the gals go back to simply releasing a collection of songs that may or may not all work together (I'm still on the fence about this). There are a number of details on the album that prove that it is a transitional one. That some of the songs have taken an even more 50s doo-wop twist is interesting. Unsurprisingly (though not necessarily a good thing for a band like this), the production has gotten even better. The reverbed guitars are the best on a Viv Girls album yet. Most of the songs are good if not great, but there are some corny moments that I have a hard time getting over. Also, Cassie Ramone's voice sounds like it has gotten worse, which is another problem for me. It sounds like the gals are having a difficult time deciding which direction they want to go in, and Share the Joy suffers a little bit from that. But, I still enjoy it, and at the very least, it turns out that "I Heard You Say" is one of the absolute greatest tunes the Vivs have composed.


Yuck - Yuck (Fat Possum, 2011)
It's weird to me that an English band like Yuck is so blatantly inspired by American alternative rock from the 1990s. On their self-titled debut LP, there are pretty obvious nods to the likes of Dinosaur Jr., Sonic Youth, Smashing Pumpkins, maybe even The Lemonheads, The Vaselines or even Gin Blossoms at some points. When a really good band also happens to be full of shameless revivalists, I don't usually mind one bit, and that stands with Yuck. Here, there is absolutely nothing challenging or original, but the songs are so good, it doesn't even matter. I could have done with a few less ballads, but that is made up for with all the badassery presented on tracks like "The Wall" and "Operation." And, as for that third song to make the list of the three best songs I've heard from 2011 thus far, it is Yuck opener "Get Away."

Favorite Albums of 2000-2009: #5-1

Alright, we've finally made it to the end of my incredibly late decade-end best of list. It's been fun, but I'm glad I can finally put this all to rest. All 25 albums have been extremely important to me, but these top five are obviously the cream of the crop. These records have played a huge role in shaping and changing the way I listen to and think about music, let alone how I view life. Dramatic, much? Sure, but it's true.

I hope these especially lengthy blurbs are easy to follow and enjoyable to read. Going through them again before I post, they seem a bit scatterbrained and stupid. I apologize.

Anyway, here we go!


(5) You Forgot It in People - Broken Social Scene (Arts & Crafts, 2002)
You Forgot It in People is not only the album that put Broken Social Scene on the map, but it utterly blows everything else anyone in the band has ever done (and probably ever will do) out of the water. I like all three of the other BSS albums, but You Forgot It in People is just a pure behemoth of a record in every way. It is so great, that even the two or three boring moments are good. From front to back, it's hard to ignore the elements of experimentation, collaboration and outright talent. It is a huge bonus that the album sounds like it was incredibly fun to make, and seeing the band play these songs live is evidence of that. You Forgot It in People opened my mind to the repetition of a groove and made me fall in love with the concept of raw, gnarly sounds recorded and produced really well. The sounds here are so varied, between the anxious and driving "KC Accidental," the Caribbean tinged instrumental "Pacific Theme," the spacey, beautiful and utterly creepy "Anthems for a Seventeen Year-Old Girl" and the soft whispers of "I'm Still Your Fag" (to name a few examples). But, somehow, it all works together as one cohesive whole, and I think that is what is so impressive about it. Blah blah blah, you've all heard this album before. I'm glad that it has affected me so much and that it still sounds fresh to these ears.
Top jam: "KC Accidental"


(4) Transatlanticism - Death Cab for Cutie (Barsuk, 2003)
I gotta say that I feel pretty lame for loving this, Death Cab's popular mid-career album, as much as I do. But, screw it. When Transatlanticism was released in the fall of 2003, everything in my life was aligned just so that it had a tremendous effect on me. That fall was a weird and transitional but really really great time for me. Most of my fondest memories are from that school year, and they are all attached to this album. That is what makes it so great. While, technically and musically speaking, We Have the Facts and We're Voting Yes and The Photo Album are probably better, I don't have nearly as pertinent and memorable of experiences to go along with them. That's not to say that good memories are all that Transatlanticism has to offer me anymore, as it is a damn fine album in its own right. "The New Year" is probably their second best album opener after "Title Track." "Death of an Intierior Decorator" is one of the band's most underrated jams (the bridge is one of their greatest moments ever). "We Looked Like Giants" is quite a departure, and the extended ending is another one of their more brilliant moves. The melody and lyrics on "Expo '86" are some of Ben Gibbard's absolute best. Even the ballads "Passenger Seat" and "A Lack of Color" are fantastic. Transatlanticism is full of beautiful moments, and they are all intensified by the memories connected to them. It's weird and rare and nice to have an album where the depths of emotional connection are more important than the music, but Transatlanticism still flourishes at both.
Top jam: "Expo '86"


(3) Tones of Town - Field Music (Memphis Industries, 2007)
Here's another record that timed its entrance into my life perfectly. By the spring of 2007, I had pretty much ditched my passion for overtly complex music dominated by drums and guitars for simple pop songs. Then Field Music's sophomore effort, Tones of Town, came along and amazingly merged the two worlds together. On it, the insanely talented brothers Brewis present wonderfully crafted Beatles-esque tunes with a touch of XTC (Skylarking in particular) and a whole lot of curveballs. The songs' arrangements, structures, rhythms and time signatures are all very complex, but the hooks are still prominent, and that's why Tones of Town is perfect. The guitar and bass lines are incredibly smart. the melodies and harmonies are otherworldly while maintaining catchiness and the drumming is quirky in the best way. Combine all of that with some gorgeous strings and all of those intricacies mentioned above, and you've pretty much got THE album that perfectly defines me as both a music fan and a musician.
Top jam: "Give It Lose It Take It"


(2) Discovery - Daft Punk (Virgin, 2001)
Even though I am not really interested in dancing at all anymore, Discovery is the album that first made me love to once upon a time ago. There's really nothing to say about Daft Punk's disco-house magnum opus that hasn't been said before. With it I have fond memories of dance parties both good and bad (mostly good). Every song, sound, sample, beat, miniscule detail needed to be on this album. "Aerodynamic," "Crescendolls," "High Life," "Something About Us," "Face to Face" and "Too Long" are all top highlights. The only thing is, "Digital Love" has been downgraded from my favorite song of all time to my second favorite song of all time. That's the only remotely negative thing I can say about Discovery. Perhaps it might be the most perfect album on this list of five perfect albums.
Top jam: "Digital Love"


(1) Kid A - Radiohead (Capitol, 2000)
I apologize for this obvious choice sitting in my number one spot, but every other person, magazine or blog who picked Kid A as the best album to be released between the years of 2000 and 2009 is correct. Here's the thing about it: Not only is it my favorite record from the decade, the one that I've listened to more than any other, but in my heart of hearts, I believe that it is also the most important release or even artistic statement from that time. I'm sure that by this point, all you friends are extremely sick and tired of my obsessive rambling on Radiohead. But, they deserve, and Kid A deserves it more than any other album from that decade. Now, let me talk about this music. There is not one questionable moment on this record (even though Eno-esque instrumental "Treefingers" is appropriate and weirdly gorgeous at least). The themes of fear, anxiety and alienation are just as relevant and moving as they are on OK Computer, just in a slightly different way. The band's foray into electronics and more ambient soundscapes is incredibly successful and really lends itself to the versatility of the record. "Everything in Its Right Place," "Kid A," "How to Disappear Completely," "Optimistic," "In Limbo," "Idioteque" and "Morning Bell" are the album's best tracks, and could and should all be considered some of Radiohead's absolute greatest ever. It is such a bonus that along with everything that makes the album perfect technically and musically, I also have good memories from and sentimental ties to it from high school. Anyway, to summarize: Kid A is a provocative yet awe-inspiring statement from a band that was already at the top of their game. It blows my mind that a band can make such potentially career destroying moves only to end up furthering their legacy with each release.
Top jam: "Kid A"

Favorite Albums of 2000-2009: #10-6

(10) Feels - Animal Collective (Fat Cat, 2005)

I'm not sure if Feels is my favorite Animal Collective record because at that point, there weren't any other bands or artists in existance who sounded remotely close to it, or if it just really is better than Merriweather Post Pavilion. Regardless, I prefer Feels, but only slightly. I'm not sure I can even explain why specifically, aside from the fact that this is the album that first won me over. Sometimes I think its because Feels is much more organic. There are actually drums, guitars and pianos being played. But, I like the synth-affected, sample heavy sounds of their more recent material just as much. "Brother Sport" is better than anything heard on Feels, and "My Girls" and "Taste" might be as well. My slightly more intense fondness for this album might have everything to do with my simply appreciating the moodiness presented on these songs. Also, MPP helped to create a slew of terrible acts in its wake, while Feels is completely untouchable and to this day I've never heard anything quite like it. I'll quite my rant at that.

Top jam: "Banshee Beat"

(9) Designing a Nervous Breakdown - The Anniversary (Vagrant/Heroes & Villains, 2000)

Just before The Get Up Kids got really shitty, they must have passed on some of their powers to Lawrence, Kansas friends, The Anniversary. The bands much underrated debut LP, Designing a Nervous Breakdown, combines the best of TGUK's first two albums (the rawness and emo-ness of Four Minute Mile and the catchiness of Something to Write Home About) and that is stirred up with even more 80s synths (mostly if not exclusively of the Moog variety), a girl singer and vague, literary lyrics. I love everything about this record, including but not being limited to the huge, detuned drums, bouncy bass, boy/girl vocals and somewhat classically emo guitars. Believe it or not, even the lyrics are great in a similarly literate and nostalgic way as Bob Nanna's for Braid. Even though it's another record that brings me back to my high school days, if I even had one complaint, it would be that the closer, "Outro in No Minor" goes on a little too long. Otherwise, Designing a Nervous Breakdown is still perfect to this day.

Top jam: "Till We Earned a Holiday"

(8) Apologies to the Queen Mary - Wolf Parade (Sub Pop, 2005)

Even though at the time I had ranked Sufjan Stevens' Illinois as my favorite album of 2005, in retrospect, it is easily Wolf Parade's debut full length, Apologies to the Queen Mary, that I am foremost reminded of when I think back to that year. Being the only truly great Wolf Parade album to exist thus far, it came from that special time of "blog rock," but has outlasted absolutely everything that came from that culture. Along with the ghostly feel of the record, the anthemic, warbling vocals, gnarly guitars and drums and all those cheesy, fantastical, catchy-as-hell synths always have been and always will be what draws me to this record. Everything just lined up wonderfully for this band at this time, and I am thankful for it, because it produced a perfect record.

Top jam: "Shine a Light"

(7) Change - The Dismemberment Plan (DeSoto, 2001)

I am always going back and forth between Emergency & I and Change as to which album by The Dismemberment Plan I prefer. It usually just depends on which version of the band I want: the somber, introspective and zany one, or the somber, introspective and mature one. It doesn't matter, they're both perfect for some of the same reasons, and a lot of different ones. Change first came to me at around the middle of my freshman year of college. It was an incredibly awkward time in my life, and I think that that's one of the main reasons why I have so much attached to it. The specificity of the lyrics and the ambiguity and all those minor chords throughout the songs really just hit the spot during that weird time, and I've never looked back. Plus, I don't know that there's a better opening to a record ever like the one-two-three punch here of "Sentimental Man," "The Face of the Earth" and "Superpowers." No big deal, just one of two perfect albums from one of the greatest underground bands to ever exist.

Top jam: "Sentimental Man"

(6) In Rainbows - Radiohead (TBD/ATO, 2008)

If you know me at all, you knew that this list was going to feature a Radiohead album. There's so much to be said about In Rainbows, and I'm going to try really hard not to say it all, but I am making no promises. To start, I'm not even going to say anything about the strategy of which it was released (as fun and amazing as it was). At its most basic, In Rainbows is Radiohead's return to rock 'n' roll that Hail to the Thief was supposed to be. But, obviously, it's much more than that. First off, and in spite of what the band have said retrospectively about the recording process, it sounds like Radiohead are actually having fun on In Rainbows. Apparently that's not actually true, but whatever, the record sure sounds that way. There are way more upbeat songs than usual. There are some different production ideas (like close miccing the drums instead of using the room, to name one). Some of the songs even sound like love songs. Unlike all their previous albums, which are full of paranoia and anxiety, In Rainbows is warm, lush and absolutely gorgeous, with layers upon layers of shimmering guitars, tight rhythms and all the other usual Radiohead characteristics. These songs just have faster tempos and like I stated earlier, warmth, for once. Although "Videotape" is one of my least favorite Radiohead closers, I probably don't even need to tell you that I still think this is a perfect album.

Top jam: "House of Cards"

Neverwhere/MASH

Neverwhere - Neil Gaiman (1996)
Considering the fact that all of my friends on Goodreads who have read Neil Gaiman's first novel, Neverwhere, gave it five stars out of five, I really wanted to love it. Unfortunately, that did not end up working out. I love fantasy, especially of the dark, mysterious kind, but I just could not get entirely into Neverwhere. All the main characters were boring, the villains were not even hatable in a likable way, the dialogue was pretty ridiculous and it seemed like barely anything happened in the story. All of that being said, the imagery was pretty cool and there were a few nice twists/faux twists. Seeing as this was Gaiman's debut novel, it was still enjoyable, and I can forgive some of his missteps here. I guess Neverwhere just seems to have been aimed at a younger or at least different audience than I was hoping.

MASH - Richard Hooker (1968)

A bit boring in places and not as good as I was hoping, MASH: A Novel About Three Army Doctors is the book that spawned the popular film and television series. What ensues are some humorous and memorable events (the football game chapter in particular was excellent) and some pretty fantastic characters. I think I was spending too much time looking for and focusing on the humor and characters to fully grasp the social and political commentary. Entertaining, but not absolutely great.

Favorite Albums of 2000-2009: #15-11

(15) Clap Your Hands Say Yeah - Clap Your Hands Say Yeah (self-released, 2005)

Back in 2005, when it was really popular for a band to break out if a couple blogs loved their record, this little doozy snuck through that terrible time in music (that is still sort of happening, I guess) and ended up having a ton of staying power. Unfortunately, nothing that Clap Your Hands Say Yeah has done since has come even close to their self-titled debut. But, in retrospect, during such a temperate time in music, I am not going to complain about receiving one nearly flawless album from a band before they turned shitty. This record features pretty much everything you'd want from an upbeat indie pop band and then some: rich, jangly guitars, bouncy rhythms, plenty of great melodies and even some charming zaniness. It seems that a lot of people have completely forgotten about this record, and that is tragic, because it is actually quite unforgettable.

Top jam: "Is This Love?"

(14) Everyone Who Pretended to Like Me is Gone - The Walkmen (Startime, 2002)

The Walkmen are a special band, as they've never released a record that wasn't at the very least really good. However, after five proper albums, for me, I don't think they've been able to top their first one, 2002's Everyone Who Pretended to Like Me is Gone. I won't deny that maybe some of their other albums feature better songs than any of the ones that are on here (such as "Little House of Savages," "My Old Man," "In the New Year," even "Woe is Me," perhaps, maybe). What makes Everyone Who Pretended to Like Me is Gone untouchable for me is mainly the slightly more gnarly production, the overarching eerie mood that creeps over almost every song ("We've Been Had," for example, is an exception, for it is simply gorgeous) and all the awkward grooves found throughout. I'm having a hard time describing why this is the ultimate Walkmen record, but maybe that's the point. It's mysterious, smart, raw and beautiful, and there's just something about it. What a beginning of a career for one of the absolute best bands around.

Top jam: "We've Been Had"

(13) Moving Mountains - The Casket Lottery (Second Nature, 2000)

Finally, my first emo entry on this list. The Casket Lottery's sophomore LP, Moving Mountains, was one of the greatest things I had discovered all throughout high school. It is chock-full of complex song structures, rhythms and guitar lines. Nathan Ellis' and Stacy Hilt's vocals are intense and stronger and even catchier than your average emo band's. Ed Rose's production is huge and appropriate. The Casket Lottery put a darker, more intricate twist on the emo pop style of The Get Up Kids' early days. And, even though when I revisit it I can't avoid all the high school memories that are attached, Moving Mountains still is just about perfect to this day.

Top jam: "Rip Van Winkle"

(12) Oh, Inverted World - The Shins (Sub Pop, 2001)

I honestly don't have much to say about The Shins' first and best record. While I prefer the more hi-fi production of Chutes Too Narrow and even Wincing the Night Away, to a degree, Oh, Inverted World is superior to both in every other way. Well, the other two Shins records may be hosts to some songs that I like better than any on here. But, still, there are simply more great songs on Oh, Inverted World, if that makes any sense. I like how the songs here aren't quite as bright sounding, in spite of this still being a mostly upbeat pop record. Front to back, Oh, Inverted World features no mid or low points, making it as close to perfect as The Shins have ever gotten (and more than likely ever will).

Top jam: "One by One All Day"

(11) Low Level Owl: Vol. 1 & 2 - The Appleseed Cast (Deep Elm, 2001)

Another nod to my high school days, I am actually not all that surprised by how well The Appleseed Cast's biggest and greatest statement still holds up for me. In spite of consisting of 26 total songs that run over the span of almost two hours, both volumes of 2001's epic Low Level Owl aren't even close to overwhelming. With this separately released double album, The Appleseed Cast were the first band to open my mind to two things I have absolutely loved in music ever since: the voice simply used as another instrument and unhinged experimentation in the studio. Another Ed Rose production, every instrument, minute or major, manipulated or not, sounds amazing. But, what I have always loved most about Low Level Owl are those chiming, shimmering, waterfall guitars. Even though some are relatively boring, I am still utterly impressed with every single song here. As cheesy as it may sound, during my junior year of high school I was of the opinion that Low Level Owl felt like much more of an experience than just listening to a record, and I still feel that way today.

Top jam: "Signal"

Derealization EP/Disguised as Ghosts/Fading Parade

Derealization EP - The Forms (Threespheres/Ernest Jennings, 2011)
Finally, The Forms have released something new! Well, only kind of. I have been chomping at the bit for some new material from these guys since their excellent 2007 self-titled LP, but all Derealization offers up is newly recorded versions of six old songs. Seriously, what the hell? It's not that these updated versions are bad. In fact, only one of them is mediocre, and the rest are actually quite good (there are even two songs toward the end that harken back to Anathallo's heydays a little bit). I guess I just don't understand the point, and I'm not nearly as into this more electronic twist that these songs have taken. I miss those beefy, spacey guitars and the rock solid Bonham-esque drumming. I still want to pick this up so that I at least get the vinyl version of The Forms' first album, Icarus, that comes with it. But, c'mon guys. Please write and record some new songs!


Disguised as Ghosts - Mock Orange (Wednesday, 2011)
What a terrible name and cover for such a solid rock record. I had long forgotten about this band, and here they come pleasantly surprising me. Mock Orange have existed since 1993 and have matured from a young emo band with mathy tendencies to the well travelled, guitar pop band they are now. Nothing has changed all that much between 2004's Mind is Not Brain, 2008's Captain Love and this year's Disguised as Ghosts, but that's totally alright. All three of these records are fairly interchangeable, and to me, they all bring to mind what Built to Spill's post-Keep It Like a Secret material SHOULD have sounded like. Anyway, the focus here is Disguised as Ghosts, and on it can be heard great melodies sung by a voice not too unlike Doug Martsch's or Jeremy Enigk's, layers of interesting and enjoyable guitar lines and some truly fantastic drumming. All the songs are good to great, and this is just one of those random gems that pop up a couple times per year.


Fading Parade - Papercuts (Sub Pop, 2011)
Libby Hopper introduced me to a little project called Papercuts back in the summer of 2007, and their album that had been released then, Can't Go Back, was perfect for me at that time. A nice, mellow, summery pop record dominated by folky ballads I suspected to be styled after The Byrds and The Zombies. In 2009 they released the follow-up, You Can Have What You Want, and while there was slightly more variety and definitely a larger sound, it didn't hit me nearly as hard. Now comes their Sub Pop debut, Fading Parade, and it is basically just an extension of You Can Have What You Want, only it is better. For the most part, the songs here are still mellow, but the overall sound is huge, and thankfully, not in a distracting way. Fading Parade's mood is definitely downtrodden, but also dreamy (as are the guitars), which I think perfectly fits the title of this record. This is a nice indie pop album that can be boring at parts, but is easy to get lost in (in a good way).

Carrie/Misery/The Adventures of Tom Sawyer/The Corrections

Carrie - Stephen King (1974)
I went into Carrie knowing very little of the story aside from the climax. I actually had quite high hopes and was sort of let down. For as short of a novel as it is, the pacing was pretty slow and it dragged on way too long post-climax. Still, it was written in a very interesting way, mixing King's usual style with faux-excerpts from studies, reference books and news reports. The best and most intriguing thing about the book is Carrie's backstory, especially the history of her dangerously religious mother and their relationship (all of which is incredibly creepy). Not as great as I was hoping, but still pretty good.

Misery - Stephen King (1987)

Messed up, difficult and painful in all the right ways, however, King drags his story on quite a bit longer than he needed to. More of a demented character study than anything, Misery is a fascinating look at the psyche of a murderously insane woman and how a relatively normal big-wig author deals with being alone with her for an undetermined amount of time (at least many months). The gory parts are good, the painstakingly slow build up is great, but the ending is pretty lame, if not terrible.

The Adventures of Tom Sawyer - Mark Twain (1876)

Perhaps due to only being passively interested in classics, I've never read any Mark Twain before. I was surprised to find how enjoyable and witty The Adventures of Tom Sawyer ended up being. Twain's masterful usage of language made this hit-and-miss, jumbled together collection of adventures that much better. Not the most amazing thing I've ever read, but truly fun.

The Corrections - Jonathan Franzen (2001)

I had very high expectations for Jonathan Franzen's claim to fame, The Corrections, and they were easily met, if not exceeded, even if the story was much different than I thought it would be. As utterly depressing as pretty much everything that occurred in this novel was, Franzen's style is biting, hip, witty and tremendously fun. Every single main character was equally lovable and infuriating. Though I don't think tensions within my family will ever reach the heights that they do here for the Lamberts, a lot of that aspect of this story hit close to home. Not quite as messed up as I was expecting (and sort of hoping), the ending to The Corrections was satisfactory if not pretty great, and overall it was a fantastic read that I would recommend to anyone and everyone. Easily one of the best books I will read all year, and probably beyond that.

Favorite Albums of 2000-2009: #20-16

(20) Smile - Brian Wilson (Nonesuch, 2004)

36 or so years after the original fact, The Beach Boys' mad genius Brian Wilson rerecorded the Smile sessions to optimal effect. I cannot deny that this over-produced, totally cheesy 2004 version is a novelty. However, that doesn't take away anything from the brilliant arrangements and melodies present on this album. In fact, a certain kind of charm is lended to these songs because of this. I listened to Smile a ton when it first came out, and very rarely listen to it anymore, but every time I do, it is a real treat.

Top jam: "Heroes & Villains"

(19) The Photo Album - Death Cab for Cutie (Barsuk, 2001)

After years of inner-dialogue and debate, I think I can admit to The Photo Album representing Death Cab for Cutie at their peak. The production, lyrical flow and content, guitar sounds and performance, and drumming are all at their absolute best. It helps that "A Movie Script Ending," "Blacking Out the Friction" and "I Was a Kaleidoscope" have to be three of DCFC's five greatest songs. There are not enough good things I can say about this record to do it justice. There is just something about Ben Gibbard's melodies, the way the snare drum snaps, the way the guitars chime, etc., etc., etc.. There are a lot of miniscule, subtle elements that just add up to make The Photo Album special. Also, I find it appropriate that I really fell in love with this when I was emotionally transitioning from high school to college. It breaks my heart that we will never see this side of DCFC again, as we all know what sort of terrible band they've turned into.

Top jam: "I Was a Kaleidoscope"

(18) Oui - The Sea and Cake (Thrill Jockey, 2000)

It's crazy to me that The Sea and Cake's most critically acclaimed album probably isn't even my favorite of theirs. But, when all eight of your albums are no worse than really great, does this even matter? No, of course not. That being said, what makes Oui just slightly better than the band's other three albums that were released last decade is that, not unlike The Photo Album, it features three of their greatest songs, ever ("Afternoon Speaker," "All the Photos" and "Midtown"). In addition to this, drummer John McEntire's production is impeccable (as is his drumming, obviously), and at this point in their career, The Sea and Cake had already mastered their addition of subtle synths and electronic grooves to their signature combination of jazz, Caribbean, rock and pop styles. Anyway, One Bedroom, Everybody and Car Alarm might've deserved this spot, but Oui just barely rises above.

Top jam: "All the Photos"

(17) Funeral - Arcade Fire (Merge, 2004)

Yes, I know, Arcade Fire's groundbreaking debut, Funeral, is an important statement that was made during the temperate, inconsistent climate of indie rock during the middle of the last decade. Though this statement led to a slew of terrible wannabes (like, every band that got together in 2005 and 2006 and started using an acoustic guitar, keyboards AND violins and the like) every critic and nerdy music fan alike seemed to love it, and for good reason. In addition to being epic and dramatic in surprisingly tolerable ways, Funeral is beautiful, emotional and just really awesome. Its production is great, the variety of instruments used was very interesting at the time (it sorta still is, I guess), and the raw energy and emotion is virtually untouchable. There was a span of about a year or so where I thought I liked 2007's Neon Bible more, and then one day during a trip to the Traverse City area in early 2009, I was slapped in the face and ears with reality.

Top jam: "Haiti"

(16) Up in Flames - Manitoba (Domino, 2003)

I'll be surprised if this doesn't surprise pretty much everyone who cares to follow this list. I don't talk about Up in Flames much, if ever, but it really is the best thing that Dan Snaith (who traded in his Manitoba moniker for that of Caribou for 2005's The Milk of Human Kindness) has ever done. Snaith has done no wrong in my eyes, and everything he has created as Caribou has been either really good or excellent. I guess Up in Flames is just more my style. Here, he uses virtually no filter. A lot of the songs are all or nothing, or at least build to that level at some point. It features a lot of things I really like, such as completely insane double drumming, beautiful and entrancing samples, awesome melodies sung by a singer who's voice is technically mediocre at best, and subtle, video game synth sounds. There is a certain indie rock swagger here, and as much as I hear The Zombies and even a little Byrds on 2007's Andorra, Up in Flames is certainly the most psychedelic recording Snaith has produced yet. This was a real eye opener for back in my college days. That the organic and electronic could be married and manipulated in such a way blew my mind then, and still intrigues and impresses me to this day. Thank you Dan Hopper for randomly introducing me to this album during finals week of the fall 2004 semester. I've kept it close ever since.

Top jam: "Crayon"