2009 Year-End List #10: Favorite Albums #20-1

Okay, I'm sorry this is taking so long. Finally, here are my 20 favorite albums of 2009. I promise in 2010 I will be much more timely with my year-end posts, ideally more like 2008.

Download a zip of one song per each of these albums (totaling 20, duh) via Medifire RIGHT HERE.

Alright, LET'S DO THIS.


(20) Sometimes I Wish We Were an Eagle - Bill Callahan (Drag City)
Another unsurprisingly great release from underground folk king Bill Callahan. Sometimes I Wish We Were an Eagle is his best since shedding the Smog name. These songs are wonderfully orchestrated and understated, and some of them, namely "Jim Cain," are the best of his career, as far as I'm concerned. Simply gorgeous.
Top jams: "Jim Cain," "The Wind and the Dove," "Rococo Zephyr," "Too Many Birds," "My Friend," "Faith/Void"


(19) Declaration of Dependence - Kings of Convenience (EMI)
Two folk records in a row! Declaration of Dependence is a bit more jazzy, rhythmic and perhaps even adult contemporary. Here, Kings of Convenience have crafted beautiful songs using only the bare essentials: vocals, acoustic guitars and some subtle strings and piano at times. They also successfully mime Simon & Garfunkel harmonies. This isn't usually my sort of thing, but hey, Nick Drake doesn't have to be the only person to have done this style of folk music right.
Top jams: "Mrs. Cold," "Me in You," "Rule My World," "Renegade," "Freedom and It's Owner," "Scars on Land"


(18) Waterparks - Alec Jensen (self-released)
Yup, Alec Jensen (both the musician AND the blogger) is a good bud of mine. And yeah, I play in a band with him. However, his talent and genius far outweighs any guilt I feel for including him on this list. I was a fan before friend, starting with his shockingly (at the time) great Best Friend EP, and his shit just keeps getting better. His latest, Waterparks, perfectly captures his essence. There are pop, country and 90s indie rock moments thrown through a lo-fi (in this case, simply meaning recorded at home) filter, showcasing his best work yet. I can't wait to hear what he does next.
Top jams: "Incarcerated," "You Do it Sometimes," "1989/1994," "Shear Us Sheep," "Elegance," "Waterparks"


(17) Farm - Dinosaur Jr. (Jagjaguwar)
If you've even only heard one Dinosaur Jr. song, then you should know exactly what to expect here (90s indie rock with really loud guitars and wanky solos). Farm is their second album since their 2007 reunion, and it is even better than that year's Beyond. In fact, I might go so far as to say that this is my favorite Dino Jr. album, period.
Top jams: "Pieces," "I Want You to Know," "Your Weather," "Friends," "See You," "Imagination Blind"


(16) Watch Me Fall - Jay Reatard (Matador)
Weird that I didn't check out Jay Reatard's music until this, his final album (due to his recent death, which I am not going to say anything about). I just recently downloaded 2006's Blood Visions, and have never listened to any of his 7"s, so I have no idea how to judge this against those. But, it seems like Watch Me Fall was a good place to start. This is some nice, versatile Buzzcocks-esque pop punk with a lot going on like layers of guitars (electric and acoustic) and keyboards every once in a while. The album features great melodies, really fun songs, and some of the absolute best sections of songs I had heard all year.
Top jams: "It Ain't Gonna Save Me," "Before I Was Caught," "Can't Do It Anymore," "I'm Watching You," "My Reality," "Hang Them All"


(15) Received Pronunciation - Pants Yell! (Slumberland)
Another album I have to thank my boy Travis Bravender for. Also, another top notch 2009 album from Slumberland Records. On Received Pronunciation, Pants Yell! play a smart brand of indie pop. The songs are subtle and never get very loud, and their structures aren't traditional. The guitars get pretty jangly, which is totally my jam these days, the vocals are hushed, and the melodies are slight, which is pretty cool too. There isn't anything to freak out about here, it is just a nice, very solid record that hit all the right sweet spots.
Top jams: "Frank and Sandy," "Rue de La Paix," "Cold Hands," "Got to Stop," "Marble Staircase," "Not Wrong"


(14) Psychic Chasms - Neon Indian (Lefse)
Of this new, poorly named "glo-fi"/"chillwave" trend, Neon Indian's Psychic Chasms is by far the best of it. I won't deny that it's quite top heavy (the second through fourth tracks are three of the best songs I heard in '09), but as a whole, it is still damn good. It is synth-heavy pop that is very 80s, very summery and technically very warped sounding (as if it were recorded to shitty cassette tape, which, maybe it was). I'm not sure how much for real this guy is, but I hope its a lot.
Top jams: "Deadbeat Summer," "Laughing Gas," "Terminally Chill," "6669 (I Don't Know if You Know)," "Mind, Drips," "Local Joke"


(13) How I Became Illustrated - The Word Play (Suburban Sprawl)
Hailing from the Detroit area, The Word Play are another band of buddies of mine. I have had these songs since late 2007, so I have spent a lot of time with them. How I Became Illustrated is a fantastic ode to the best of 90s indie rock. Built to Spill and Pavement are represented just about flawlessly here, and there are even some hints at DC art-punk soldiers Q and Not U. But, this album isn't just a tribute. It takes these influences and puts a new jagged, angular spin on them, reinventing the genre. These boys make me so proud!
Top jams: "The Critic Darling," "Action," "Nervous Driver," "Winning Prizes," "National Opera," "Tuning Out"


(12) Dark Days/Light Years - Super Furry Animals (Rough Trade)
I don't think Super Furry Animals' newest, Dark Days/Light Years, has even been released in the States yet, but it is a wondrous psychedelic pop juggernaut. It is simply awesome. There are so many different genres and sounds presented here, but it is a cohesive whole with ties to all the right 60s and 70s bands. The songwriting, musicianship and originality are all very impressive. It is a dynamic, never boring, keep-you-on-your-toes kind of pop record with too many memorable melodies to keep track. I don't love absolutely every song, but this is a fucking doozey of an album.
Top jams: "Moped Eyes," "Inaugural Trams," "Cardiff in the Sun," "The Very Best of Neil Diamond," "Helium Hearts," "White Socks/Flip Flops," "Lliwiau Llachar"


(11) Everything Goes Wrong - Vivian Girls (In the Red)
Who knew an all-girl band could sound so tough? Not I. Nor did I realize Vivian Girls were any good until seeing them at the 2009 Pitchfork Music Festival (and yes, they are total babes). Everything Went Wrong is a huge improvement over their critically loved, self-titled 2008 effort. The songs are still very lo-fi and drenched in reverb, but thankfully there is more variety in the production style and chord progressions. It doesn't hurt that the songs are even better.
Top jams: "Walking Alone at Night," "I Have No Fun," "Can't Get Over You," "The Desert," "When I'm Gone," "I'm Not Asleep," "You're My Guy"


(10) Actor - St. Vincent (4AD)
I thoroughly enjoyed St. Vincent's 2007 debut, Marry Me, but at times it sounded a little too singer/songwriter-y for me. On Actor, Annie Clark, the babe of all indie rock babes, has shed those singer/songwriter constraints, and has created a fascinating, ballsy and often times distorted record. It's still pop, and it's still gorgeous, but Clark got a bit more daring and damaged, or something, experimenting with some darker and more bad ass soundscapes. I totally prefer this.
Top jams: "The Strangers," "Save Me From What I Want," "Actor Out of Work," "Laughing With a Mouth of Blood," "Marrow," "The Party"


(9) Veckatimest - Grizzly Bear (Warp)
For most of the year, I thought that Veckatimest didn't even come close to touching Grizzly Bear's first claim to fame, 2006's Yellow House. Then, when I revisited it for the last time before getting this list completely in perfect order, I realized that I actually do like this better. Not by all that much, but its just that while the best songs on Yellow House blow any song on Veckatimest out of the water, there is just a higher number of songs on the latter that I like than on the former. I prefer the mood and overall sound of Yellow House over Veckatimest's poppiness, but it also has a song or two that I don't really like. I can't say that about Veckatimest. And, the more complex drumming definitely doesn't hurt. Regardless, Grizzly Bear is unique and awesome, and this album rules.
Top jams: "Southern Point," "Two Weeks," "All We Ask," "Cheerleader," "About Face," "While You Wait for the Others," "I Live With You"


(8) Real Estate - Real Estate (Woodsist)
The ultimate trend of 2009 seemed to be lazy summery songs about lazy summers, or something like that. Real Estate did this the best, and not just because of song titles like "Beach Comber" and "Pool Swimmers." Their Pavement-esque, shimmering guitars, bored vocals and bittersweet chord progressions perfectly represent a summer full of good friends, drinking and feeling depressed about being unemployed (which just so happens to be exactly what my summer was, how about that). Without question, the MVPs of Real Estate's self-titled record are the two guitarists. Dear lord do those guitars sound fucking gorgeous.
Top jams: "Beach Comber," "Pool Swimmers," "Suburban Dogs," "Atlantic City," "Fake Blues," "Snow Days"


(7) Popular Songs - Yo La Tengo (Matador)
Leave it to Yo La Tengo to be just awesome. One of the longest running bands in indie rock are part of a small but elite line of bands who have released nothing but stellar albums for many moons (Radiohead and The Sea and Cake are at the front of that line with YLT while Animal Collective are getting there). Needless to say, I was not surprised at all when I discovered that Popular Songs was as good as I was expecting it to be. Over the past couple of releases, the band seems to have expanded from the respected niche that they created into the territory of insane amount of variety plus cohesiveness. Much like 2006's I Am Not Afraid of You and I Will Beat Your Ass, Popular Songs sounds like what I think a YLT mixtape would sound like, while still entirely sounding like YLT. There is a motown song, a chimey ode to The Byrds, a song that sounds like YLT covering 90s YLT, and so many others. Not only do they rule for that, but I love that they have the balls to close the album with three songs that are each more than ten minutes long (actually, I can't believe I'm saying that). Gah! They are SO AWESOME.
Top jams: "Avalon or Someone Very Similar," "Nothing to Hide," "If It's True," "I'm on My Way," "When It's Dark," "All Your Secrets," "And the Glitter is Gone"


(6) Let's Build a Roof - Lake (K)
Here is my surprise album of the year. Lake's Let's Build a Roof came out of absolutely nowhere. I have no idea why I even retrieved it. Boy am I glad that I did, though. The songs here balance a line between bright, lo-fi indie pop and smooth and subtle R & B, often times combining the two. The recording quality is so appropriate for the songs; everything sounds just perfect. There's a lot of those chimey guitars that I love, and the band uses electric piano in all the right ways. Every song is good, more than half of them are fantastic. Get this album.
Top jams: "Breathing," "Gravel," "Madagascar," "Loose Wind," "Remote Control Cars," "Don't Give Up," "Christmas Island"


(5) Begone Dull Care - Junior Boys (Domino)
In 2008 I claimed that Hercules and Love Affair's self-titled record featured the best electronic music I've heard since Daft Punk's Discovery. Then I finally got into Junior Boys' So This is Goodbye, which slightly has an edge over Hercules and Love Affair. In 2009, them boys finally followed that up with an even better one: Begone Dull Care. With the exception of the loud and awesomely funky "Hazel," these songs are smooth, slow jams with incredibly smart chord progressions and blips and bloops that are present but not overbearing. Jeremy Greenspan's vocals are breathy and completely fitting. Alright, so this might be my favorite since Discovery.
Top jams: "Work," "Dull to Pause," "Hazel," "The Animator," "What It's For"


(4) Wolfgang Amadeus Phoenix - Phoenix (Glassnote)
Okay, so, now we have arrived at the Obvious Zone. If you at any point have talked 2009 music with me over the past six months or so (and happen to remember anything from the interaction), these top four albums shouldn't be too much of a surprise. Now, this was Phoenix's year, wasn't it? If everyone and their mom didn't already come to like them with 2006's It's Never Been Like That, they sure did with Wolfgang Amadeus Phoenix. The car commercials sure didn't hurt. I must admit, it is entirely deserving. I would be completely fine hearing Phoenix on top 40 radio. They are slickly produced, pure pop/rock, and their sound would sort of fit the format. Also, they are the best group doing this. Not only is their production impeccable, they have clever and amazing songs to boot. They deserve to be huge.
Top jams: "Lisztomania," "1901," "Fences," "Lasso," "Countdown (Sick for the Big Sun)," "Girlfriend"


(3) Taxis - Zoos of Berlin (self-released)
Zoos of Berlin are the best band in Detroit. Appropriately, I think I can say that Taxis is my favorite release to come out of Detroit as well. This album is pretty damn close to perfect. There isn't one moment here that I don't like, and I happen to even love most of them. The influence of Berlin-era David Bowie is evident, but there is a lot more going on than just that. The recording is somehow pristine without being too nice (if that even makes sense). They combine jazz, R & B, post-punk and pop with an Eno sort of ambience to create something entirely new and original. This just rules so hard.
Top jams: "Century Rail," "Black in the Sun Room," "Water Town," "Doctor Vine Passing," "Stay by the Ark," "Electrical Way," "Coliseum"


(2) Bitte Orca - Dirty Projectors (Domino)
What an improvement from 2007's Black Flag reinterpretation, Rise Above. Don't get me wrong, I really like that record, but Bitte Orca is leaps and bounds better. This is almost what I would imagine Led Zeppelin would have sounded like had they tried to record an R & B album. Sans "Remade Horizon," which sounds like a really obnoxious and bad Vampire Weekend song, this record would have been flawless. The guitars are a bit less wanky, David Longstreth's vocals are more tolerable, the girls vocals are even better and the rhythms are tighter while still being tricky. Bitte Orca ended up being exactly the album that I hoped for. If only they would have used the two songs from the single they recently released instead of that damn "Remade Horizon," this might have been number one.
Top jams: "Cannibal Resource," "The Bride," "Stillness is the Move," "Two Doves," "Useful Chamber," "No Intention"


(1) Merriweather Post Pavilion - Animal Collective (Domino)
Ah, here we are. Does this look familiar? Almost every blog and magazine seemed to love Merriweather Post Pavilion more than anything else in 2009, and rightfully so. It is the best. Even though I might not consider it my favorite Animal Collective record, they keep getting better in the way that each album sounds completely different than the prior one, and they are learning to balance their bizarre experiments with sounds and rhythms with being more accessible. The first time I heard this, I thought it would retain the number one spot all year. I'm glad I was right, because I love the hell out of this band. And, with how great and somehow still different the surprise Fall be Kind EP that saw release at the very end of the year was, I have no idea what to expect next aside from something incredible. Needless to say, I am excited.
Top jams: "My Girls," "Also Frightened," "Summertime Clothes," "Daily Routine," "Taste," "Lion in a Coma," "Brother Sport"

2009 Year-End List #9: Favorite Albums #40-21

Now we have arrived at the part of my year-end listing that I am most excited about. Below are #40-21 of my favorite albums of 2009. With all said and done, I am surprised at how confident I feel in this list. Though, per usual, I feel much more confident in my top 20.

Regardless, you can download a zip file of songs from each of these albums as a 20 song mix RIGHT HERE.

Again, I encourage you to not feel overwhelmed, get a cup of coffee or something, and have fun, please! Comments/thoughts are also encouraged.

Here we go!


(40) Wilco (The Album) - Wilco (Nonesuch)
After the 2007 Sky Blue Sky debacle, it's nice to have Wilco returning to what their best at: slightly off pop/rock tunes with great melodies and interesting folk ditties. There are a few snoozers here, but I would consider it a triumphant return. Though, it doesn't come close to touching Yankee Hotel Foxtrot or Summerteeth (not sure about A Ghost is Born). "Wilco (The Song)" is their best since the A Ghost is Born b-side, "The High Heat"
Top jams: "Wilco (The Song)," "Deeper Down," "One Wing," "You and I," "Sunny Feeling"


(39) Bromst - Dan Deacon (Carpark)
The chaotic, blip-bloopity electronic pop of 2007's Spiderman of the Ring showcased some great songs, but it was way too scatterbrained and obnoxious in places. On Bromst, Dan Deacon has definitely matured, and it is more cohesive, but it is still loud and completely nuts. The cohesion makes this much better, as do the more succinct ideas and overall more beautiful, bittersweet feel to the record. And, the moments where the digital player piano show up are simply breathtaking. Otherwise, don't be fooled; this is not as different from Spiderman of the Ring as everyone else is saying.
Top jams: "Build Voice," "Paddling Ghost," "Snookered," "Woof Woof," "Slow With Horns/Run for Your Life"


(38) Assemble - Hi Red Center (Joyful Noise)
I was requested to review Hi Red Center's Assemble for the print magazine I sometimes write for, Ghettoblaster, last spring. Of all the promo releases I've collected since writing for them, this is one of three that I was actually ended up excited about. Not too far off from the bizarre, schizophrenic, guitar-dominated indie rock of Deerhoof, Hi Red Center's talent and knack for fucked up time signatures and song structures are incredibly impressive, to say the least. They focus more on improvisation and harmonies, which thankfully separates them a bit from Deerhoof.
Top jams: "Littlest Giant," "Symmetry Chameleon," "Trees in a Row," "Los Olvidados," "Pipe Dream"


(37) Bonfires on the Heath - The Clientele (Merge)
Alec and Travis have been into The Clientele for a while now, and just like with R.E.M., I was way late to that game. Bonfires on the Heath doesn't seem too different from anything else I've heard from them, I guess I just happened to come around to it quicker. Its songs are slow to mid-tempo, moody ballads that sometimes feature subtle orchestration. There are also some dark but upbeat jangly tunes thrown in for good measure. Good stuff.
Top jams: "I Wonder Who We Are," "Bonfires on the Heath," "Jennifer and Julia," "I Know I'll See Your Face," "Never Saw Them Before," "Walking in the Park"


(36) Hidden Ghost Balloon Ship - Hidden Ghost Balloon Ship (Romantic Air)
Hidden Ghost Balloon Ship is an intriguing collaboration between Zoos of Berlin's Trevor Naud and ex-Pas/Cal drummer LTD. It is a collection of bizarre, spacey pieces of music made of looped drums, spacious guitars and keyboards and Naud's Bowie-esque croon. The whole thing flies by in just over 20 minutes, which, due to its awkwardness and urgency, suits this work of art perfectly.
Top jams: "Non A Non," "Jonaccce," "Latest Journey," "Nineteenth Usher," "The Game as a Hunter"


(35) Tragic Boogie - The Life and Times (Arena Rock)
Alan Epley's post-Shiner band The Life and Times has been releasing music for some time now, and I've finally caught on. Their latest, Tragic Boogie, is not too unlike Shiner at all, which is fine by me. It does space rock almost up to snuff with Hum, but the shoegaze elements in the guitars make it a different enough monster to keep me interested. Epley's voice is awesome, the drumming is completely ridiculous, and the guitars are fucking huge. Tragic Boogie should be able to help any Shiner fan get over their loss.
Top jams: "Que Sera Sera," "Fall of the Angry Clowns," "Dull Knives," "Confetti," "Tragic Boogie"


(34) There is No Enemy - Built to Spill (Warner Bros.)
Built to Spill haven't really been good since the 1999 release of their best (and perhaps my favorite guitar album of all time), Keep it Like a Secret. It seems like they're kind of back in business with There is No Enemy, which presents their best songs of the decade, aside from "Fly Around My Pretty Little Miss," the one sweet jam from Ancient Melodies of the Future. Doug Martsch and co. still get a little too jammy in places here, but the guitars have gotten back to those supreme, jangly, bending and sliding tones. It's about time.
Top jams: "Aisle 13," "Hindsight," "Good Ol' Boredom," "Done," "Planting Seeds," "Tomorrow"


(33) The Fresh & Onlys - The Fresh & Onlys (Castle Face)
The Fresh & Onlys do the lo-fi thing, and they do it well. They are especially hip since putting out a second album in 2009 on Woodsist. Another surprise from a Ghettoblaster promo pack, their self-titled record, which came out earlier on, is definitely the better of the two. With the exception of the late 70s post-punk of "Peacock and Wing," they play a retro 60s psychedelic rock inspired by the likes of The Kinks, The Velvet Underground and The Zombies. There are some throw-away tracks, but the highlights severely outweigh them.
Top jams: "Feelings in My Heart," "Fog Machine," "Peacock and Wing," "Shattered Moon," "Let's Hang," "Arm's Advice"


(32) Rose City - Viva Voce (Barsuk)
Here is a fairly safe pop/rock record with some touches of psychedelia. Viva Voce expanded from husband and wife duo Kevin and Anita Robinson to include two more people. I haven't followed them for long at all, so I'm not sure how much of an effect that had on the band's sound, but Rose City is totally good. The guitars and drums sound awesome and Anita's voice contrasts nicely with Kevin's deep baritone.
Top jams: "Octavio," "Midnight Sun," "Red Letter Day," "Good as Gold," "The Slow Fade"


(31) Mama, I'm Swollen - Cursive (Saddle Creek)
On Mama, I'm Swollen, their sixth full length, Cursive decided to shed most of the bells and whistles they've become known to use (strings, horns, keys) and let the guitars do most of the talking. This has led to to a return to the dark, emo-ish guitar rock of Domestica, and is easily their best since their 2003 masterpiece, The Ugly Organ. For this I am thankful.
Top jams: "In the Now," "From the Hips," "I Couldn't Love You," "Donkeys," "Caveman," "Mama, I'm Satan"


(30) You Can Have What You Want - Papercuts (Gnomonsong)
Papercuts' 2007 release, Can't Go Back, was the surprise album of that year for me, so I was pretty excited about this year's You Can Have What You Want. Unfortunately it didn't quite meet up to my expectations, though I wouldn't consider it a disappointment in anyway. Where Can't Go Back is a more lush, psychedelic bedroom recording, You Can Have What You Want is louder, organ driven slowcore that still slightly nods to psychedelic pop. It is still very beautiful.
Top jams: "Once We Walked in the Sunlight," "Dictator's Lament," "Dead Love," "Future Primitive," "The Wolf"


(29) Survival Strategies in a Modern World - Liechtenstein (Slumberland)
I have to thank my friend and Alec Jensen fiance Emily Jane Powers for this one. All girl, reverb drenched pop punk at its (almost) best. Liechtenstein may be lacking in actual musical talent just a bit, but they make up for it with their interesting to great at the very least melodies and harmonies. The dirty and sloppy edge to the songs make them even better. I wouldn't want to cross these Swedish ladies.
Top jams: "All at Once," "Postcard," "By Staying Here," "Roses in the Park," "Reflections," "The End"


(28) Here We Go Magic - Here We Go Magic (Western Vinyl)
Here We Go Magic seemed to be the top hype band at the 2009 SXSW festival, if my Pitchfork and Stereogum memory serves me correct. Then they seemed to fade away a little, quicker than even most blog bands do. I don't understand this, because their self-titled record is pretty brilliant, for the most part. There are some difficult, ambient tracks that don't go anywhere, but all five of the actual songs are absolutely fantastic. They mix the organic (namely acoustic guitars) with the electronic (synths, beats, etc.) in a flawless, effortless way. And bonus, sometimes the singer sounds like Paul Simon, especially on the opener, "Only Pieces."
Top jams: "Only Pieces," "Fangela," "Tunnelvision," "I Just Want to See You Underwater," "Everything's Big"


(27) The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (Slumberland)
I'm not convinced that I completely love The Pains of Being Pure at Heart yet. I have a hard time believing they'll be able to top this, let alone follow it up properly. However, I may not have exactly shown it, but I felt this way about Vampire Weekend, and now I know that I was wrong there. Anyway, TPoBPaH are a pure ode to The Smiths and pre-Loveless My Bloody Valentine (and I think The Cure, a little bit), and their execution is perfect. They obviously aren't trying to do anything new here, but they do a wonderful job at paying homage, and I am perfectly fine with that.
Top jams: "Young Adult Friction," "This Love is Fucking Right," "The Tenure Itch," "Everything With You," "A Teenager in Love," "Hey Paul"


(26) Embryonic - The Flaming Lips (Warner Bros.)
When you really think about it, The Flaming Lips didn't really take all that long to follow up 2006's critically maligned (but personally loved) At War With the Mystics. It was four years between that and their previous album, Yoshimi Battles the Pink Robots. And between ...Mystics and Embryonic there finally was the release of their film and coinciding soundtrack album, Christmas on Mars (which actually was released less than a year before Embryonic). All of this to say that I am shocked at how much this came out of left field. I mean, musically. Now, I have never listened to pre-Transmissions of a Satellite Heart Lips, but this sounds like nothing they have ever done. At first this was a bad thing, now I consider it good. I am very glad that "The Impulse" and "Silver Trembling Hands" provide a common bond with some previous Lips albums. But aside from this, it seems like the band decided to say, "fuck melody, fuck expansive instrumentation and fuck poppy two chord progressions." Instead they decided to make a noisy, discordant, distorted, disjointed rock 'n' roll statement. It took me a while, but I think I appreciate them doing this. Embryonic has to be my least favorite Flaming Lips album. I am a sucker for their outright, psychedelic pop records. But, Embryonic not only sounds like nothing the Lips have done before, but it doesn't really sound like anything I've ever heard before, either. Because of that, I cannot deny its brilliance.
Top jams: "Convinced of the Hex," "The Sparrow Looks Up at the Machine," "Your Bats," "The Ego's Last Stand," "The Impulse," "Silver Trembling Hands," "Watching the Planets"


(25) Dragonslayer - Sunset Rubdown (Jagjaguwar)
Sunset Rubdown's primary songwriter is Wolf Parade's Spencer Krug, and because of that fact alone, I have wanted to like each of their albums. Dragonslayer is the first one that I haven't been let down by. In fact, I think it's totally great. There are definitely elements of Wolf Parade, namely Krug's signature piano and synth playing. Dragonslayer's songs are even more fantastical than Krug's Wolf Parade ones though, if you can believe it. I'm indifferent as to if that's a good or bad thing. Regardless, these songs are epic, eerie, urgent and showcases Krug's warble a little too much, perhaps. With Dan Boeckner and Krug sharing vocal duties in Wolf Parade, much appreciated breaks are provided from that warble. But here, it's all you get. Thankfully the eeriness and urgency of Dragonslayer distract from that, and make for an incredibly interesting listening experience. To be honest, I'm not sure how else to explain why I like this so much.
Top jams: "Silver Moons," "Idiot Heart," "Apollo and the Buffalo and Anna Anna Anna Oh!," "Paper Lace," "You Go on Ahead (Trumpet Trumpet II)"


(24) Middle Cyclone - Neko Case (Anti-)
I said it in my blurb about "This Tornado Loves You" a couple posts ago, and I'll say it again: Neko Case has the best female voice in music right now. In spite of one or two dull moments, I like pretty much everything about her latest, Middle Cyclone. Its alt-country/folk at its best and brightest. Sure, Case's powerful voice carries the whole thing, but also, the instrumentation, structures and lyrics are completely gorgeous. Here's where I finally become a big fanboy.
Top jams: "This Tornado Loves You," "People Got a Lotta Nerve," "Vengeance is Sleeping," "Middle Cyclone," "Magpie to the Morning," "Don't Forget Me," "Red Tide"


(23) Dark Night of the Soul - Danger Mouse & Sparklehorse (self-released)
Dark Night of the Soul is a fascinating collaboration between Danger Mouse, Sparklehorse, David Lynch and a bunch of others involved in the hipster music scene, of which you can read about here. The sounds found on it are sometimes epic, creepy, heavy (figuratively speaking), original and varied. All in all it is a collection of dark pop where every song is a different genre and almost every song is good. Brilliant!
Top jams: "Revenge," "Just War," "Jaykub," "Little Girl," "Every Time I'm With You," "Dark Night of the Soul"


(22) Logos - Atlas Sound (Kranky)
When the proper version of "Walkabout" (my second favorite song of 2009) was unleashed on my ears, I had such high hopes for Logos. I got even more excited when I revisited Atlas Sound's 2008 record, Let the Blind Lead Those Who Can See but Cannot Feel sometime late last summer. Unfortunately it didn't quite live up to the hype I had created for myself (I had thought it was going to be this year's Person Pitch). I eventually came around. I don't like that more of this album sounds organic. I prefer Bradford Cox's manipulation of samples and experimentation with sound over his strumming of the acoustic guitar, and there is a bit more of that here. There are plenty of sweet jams though, some sounding like rough Deerhunter demos, and others harking back to 2008. "Walkabout" takes the cake though.
Top jams: "Walkabout," "Shelia," "Quick Canal," "Kid Klimax," "Washington School," "Logos"


(21) The Atlantic Ocean - Richard Swift (Secretly Canadian)
Upon my first couple listens, The Atlantic Ocean was in the running for surprise album of the year. I've always thought I would like Richard Swift though, and then the rest of the year happened, and so that didn't end up being the case. This is a completely zany piano pop record. Sort of like a less jazzy Ben Folds Five on a lot more and weirder drugs, I guess. Swift's voice kind of sounds Randy Newman-esque and it's weird, but it's pretty cool too. The songs are mostly upbeat with a few nice ballads (that aren't cheesy, unlike Mr. Folds). I would say synthesizer is the secondary instrument to piano here, and I like the way he meshes the two. I could see this album sounding obnoxious to some, but I'm pretty certain that I am way into it.
Top jams: "The Original Thought," "Ballad of Old What's His Name," "Hallelujah, Goodnight!," "The End of an Age," "A Song for Milton Feher," "Lady Luck

2009 Year-End List #8: Honorable Mention Albums

Now we get to the good stuff. I care much more about entire albums than individual songs. Seems like I'm a dying breed. I don't care, I'm still going to share with you my passion for 50 particular albums that were released in 2009. I will post links to download zip files of songs from my top 40 albums, when I type out those lists (which, ideally, will be later today).

Until then, here are ten honorable mentions that didn't quite make the cut.


Set 'Em Wild, Set 'Em Free - Akron/Family (Dead Oceans)
As I stated on my 20 favorite songs of 2009 post, Akron/Family's Set 'Em Wild, Set 'Em Free was a bit underwhelming. I was expecting more experimentation and weird time signatures and stuff like that, but those are few and far between here. Instead, there is a balance of southern gospel infected folk tunes and some slightly interesting guitar pop. Unfortunately, they blow their load within the first three tracks. "Everyone is Guilty" is a bit jammy but in a really sweet way, "River" is gorgeous, and "Creatures" is weird, disjointed pop. There are a few other highlights and outliers later on, but nothing touches those first three.
Top jams: "Everyone is Guilty," "River," "Creatures," "Many Ghosts," "They Will Appear"


By- - Bygones (Sargent House)
Bygones are a new collaboration between Hella's octopus drummer Zach Hill and Tera Melos guitarist Nick Reinhart. These songs are completely insane, bad ass, mathy guitar rock. Think a more melodic and tolerable version of Hella, or simply a better version of Marnie Stern. The musicianship these boys show is bone blowing to say the least, and it helps that most of the songs are damn sweet.
Top jams: "Click on That (Smash the Plastic Death)," "Fool Evolved," "Spray You With Your Own Trip," "Up the Shakes," "Error"


My Maudlin Career - Camera Obscura (4AD)
On My Maudlin Career, Camera Obscura continue their more bittersweet, reverb-y version of 2000s Belle & Sebastian. I'm not going to complain, because this is some really well done pop. Most of the songs are pretty slow and mellow, but "French Navy," "The Sweetest Thing" and "Honey in the Sun" are awesome upbeat numbers. Unfortunately, nothing touches 2006's "Lloyd, I'm Ready to be Heartbroken."
Top jams: "French Navy," "The Sweetest Thing," "Away With Murder," "Careless Love," "Honey in the Sun"


Paranoid Cocoon - Cotton Jones (Suicide Squeeze)
I am completely shocked at how much I like this record. Cotton Jones primarily features Michael Nau and Whitney McGraw, formerly of Page France, who's Hello, Dear Wind I loved, but was completely bored by everything else they did. Paranoid Cocoon doesn't stray too much from the Page France formula, but is bluesier, uses more reverb (and it works really well) and most of the songs are beautiful while not sounding as juvenile.
Top jams: "Some Strange Rain," "Gone the Bells," "Photo Summerlude," "Cotton & Velvet," "Blood Red Sentimental Blues"


Why There Are Mountains - Cymbals Eat Guitars (self-released)
I didn't care for this much until I saw them at the Pitchfork Music Festival this past summer. On Why There Are Mountains, Cymbals Eat Guitars play epic and dynamic odes to the best of 90s indie rock.
Top jams: "And the Hazy Sea," "Some Trees," "Indiana," "Wind Phoenix"


God Help the Girl - God Help the Girl (Matador)
God Help the Girl is a dramatic, twee pop opera composed by Belle & Sebastian's Stuart Murdoch. I instantly liked it, but I could see how it would be difficult to get over how cheesy the majority of the album is, and that element weighed down on me as time went by. But, there are enough moments where Murdoch's talent with orchestration and melody overcome the corniness, and I can still admit that it has some worthwhile pop songs, namely the title track and "Come Monday Night."
Top jams: "God Help the Girl," "Pretty Eve in the Tub," "If You Could Speak," "Perfection as a Hipster," "Come Monday Night"


Mecca - Office (Quack!)
Office's Scott Masson decided to give Chicago the ol' "fuck you" and moved back to Michigan, making the local scene here even better. Mecca is his first release since being back, and it is a doozey of a power pop record with brit-pop undertones.
Top jams: "Sticky Dew," "Nobody Knows You," "Trainwreck DJs," "Aphrodisiac Missiles," "The Silent Parade"


The Loud Wars - So Many Dynamos (Vagrant)
I think So Many Dynamos really love The Dismemberment Plan and Q and Not U, and have absolutely no shame about it (which makes me love them). This comes through much more on 2006's Flashlights, making this year's Vagrant debut, The Loud Wars, a more original affair. My heart still prefers Flashlights, though.
Top jams: "Artifacts of Sound," "Glaciers," "New Bones," "Friendarmy," "The Formula"


Tight Knit - Vetiver (Sub Pop)
If I had actually tried to put these honorable mentions in order, I think Vetiver's Tight Knit might have been #41. On first listen, I was taken aback by it. There isn't really anything special about it, it's just very nice, slightly odd folk pop. I like it a lot, and I'm not exactly sure why.
Top jams: "Rolling Sea," "Sister," "Everyday," "Through the Front Door," "More of This," "At Forest Edge"


Eskimo Snow - Why? (Anticon)
After my first few listens of Why?'s latest, Eskimo Snow, it seemed like a melodramatic afterthought that didn't contain any of the things I loved about their previous two records. Much like 2008's Alopecia, it lacked the bright atmosphere and chimey guitar sounds of 2005's Elephant Eyelash. It also lacks the most important elements of both of those albums: the hip hop beats and melodically brilliant sung rap vocals. Eventually this came to earn credit as its own entity: still melodramatic, but a beautifully dark, orchestrated indie pop album all to its own.
Top jams: "January Twenty Something," "Against Me," "Even the Good Wood Gone," "Into the Shadows of My Embrace," "Berkeley by Hearseback"

2009 Year-End List #7: Favorite Songs #20-1

Ok, finally, here we are! On to my 20 favorite songs of 2009!

Download a zip of #20-1 RIGHT HERE.

Please, enjoy.

(20) "Madagascar" Lake, from Let's Build a Roof (K)
Here is quite the slow jam from one of the great surprises of 2009. "Madagascar" is a sparse number with an awesome two chord progression manhandled by wurlitzer, and borders on R & B if it weren't for the nonchalant vocals and downtrodden mood. This is Lake at their best and absolute smoothest.

(19) "Ultimate Satisfaction" Bear in Heaven, from Beast Rest Forth Mouth (Hometapes)
This lone true highlight from Bear in Heaven's critically acclaimed Beast Rest Forth Mouth would fit perfect in a horror film. It expresses anxiety and desperation quite appropriately, at least musically. I could see this used for the final escape scene from a monster or murderer, where there is only one survivor. It's a little dramatic, but only explodes in little spurts during the choruses, only to die off fairly quickly. "Ultimate Satisfaction" is an awesomely dark, electronic yet organic nightmare, and I love it for that.

(18) "In the Now" Cursive, from Mama, I'm Swollen (Saddle Creek)
"In the Now" is Cursive's most purely emo track since 2000's Domestica, and it also might just be my favorite song of theirs since then. It is simple, fast, noisy and more dynamic than they've been in a while. No bells and whistles here, just bad assery.

(17) "Deadbeat Summer" Neon Indian, from Psychic Chasms (Lefse)
I'm bummed I didn't look into Neon Indian until fall, because "Deadbeat Summer" would have easily been my top summer jam. Hazy and warped like all this other "glo-fi"/"chillwave" stuff, what sets "Deadbeat Summer" and Neon Indian in general apart is simply the fact that chief member Alan Palomo's songs, melodies and voice are the best in this new genre. This just sounds and feels so much like summer, even when falling into the depths of January.

(16) "Useful Chamber" Dirty Projectors, from Bitte Orca (Domino)
After spending most of the year debating with myself, I have decided that "Useful Chamber" is not only the most insane track from Bitte Orca, it is the best. It is weird, really fun, and all over the place without being too all over the place. As the album's centerpiece, it is the sum of all that is good about the entire thing.

(15) "Taste" Animal Collective, from Merriweather Post Pavilion (Domino)
Why does no one ever talk about this song? Whenever I listen to MPP, "Taste" is the song I look forward to hearing most. It is the brightest and most accessible part of the album. I can't help but bob my head along every time. Everything about it is perfect, but mainly the reggae beat, video game synths, and the wonderfully vague lyric, "Am I really all the things that are outside of me?" I'm still trying to decide on what that means to me, but I like the way the question feels.

(14) "About Face" Grizzly Bear, from Veckatimest (Warp)
"About Face" is the least dynamic song on Veckatimest, but that's the way I like it, I think. An arpeggio guitar line with nothing much else going on aside from some subtle percussion and vocals, really. It doesn't really go anywhere, which is nice when the mood is just right. Other than that, I'm not really sure how to explain why I love this one so much.

(13) "Hazel" Junior Boys, from Begone Dull Care (Domino)
Talk about a fun dance song with a really great chord progression. With "Hazel," Junior Boys do what they do best: sing some nice breathy vocals, demonstrate their immaculate skills with 80s synth sounds and like I basically stated earlier, show off those great chord progressions that they know how to use flawlessly
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(12) "Wilco (The Song)" Wilco, from Wilco (The Album) (Nonesuch)
2007's Sky Blue Sky was such a let down, and thankfully, Wilco (The Album) is a nice pick-me-up from that. Apparently, Jeff Tweedy and co. decided that they can still rock (let alone release a good album again) while being appealing to fathers. "Wilco (The Song)" is the most triumphant example of that.

(11) "River" Akron/Family, from Set 'Em Wild, Set 'Em Free (Dead Oceans)
I have a few friends who are really into Akron/Family, so I decided with Set 'Em Wild, Set 'Em Free, I'd give them a fair chance. It's a pretty good album, but overall fairly underwhelming. I did take away three sweet jams, "River" being by far the best. It is a constant build, while still somewhat maintaining pop song structure. It is also utterly gorgeous.

(10) "When I'm Gone" Vivian Girls, from Everything Went Wrong (In the Red)
Noisy and sloppy girl punk done superbly. I wouldn't consider Vivian Girls the most talented group of musicians around, and I had been a naysayer for a while, but since I saw them live last summer, I've been a fan. The melody, harmonies and ascending bass line make "When I'm Gone" Vivian Girls' best song yet.

(9) "Silver Trembling Hands" The Flaming Lips, from Embryonic (Warner Bros.)
One of two songs from Embryonic that sound remotely close to anything I've heard the Lips do before. Not as dark sounding as most of the album, "Silver Trembling Hands" is more of the psychedelic pop that the Lips are known and loved for, and still is impressively unique.

(8) "Love is a Wave" Crystal Stilts, from Love is a Wave 7" (Slumberland)
Alec and Travis were way into Crystal Stilts' 2008 album Alight of Night. I didn't hate it or anything, but I sure didn't love it. The Love is a Wave 7", especially the title track, has gotten me very interested in what these NYC lo-fi post-punkers will do next. Such an awesome, bad ass song.

(7) "One Block Wonders" Cryptacize, from Mythomania (Asthmatic Kitty)
Cryptacize feature singer/songwriter Nedelle and former Deerhoof guitarist Chris Cohen. It completely makes sense, as Nedelle's voice rings true, and the lead guitar melody totally sounds like Deerhoof. I didn't really give two shits about the album, but "One Block Wonders" is incredible with its subtly off rhythms and wondrous melodies.

(6) "The Sweetest Thing" Camera Obscura, from My Maudlin Career (4AD)
Each of the past two records that Camera Obscura have released have unleashed one of the greatest songs of that given year. In 2006, it was "Lloyd, I'm Ready to be Heartbroken," which was my favorite song of that year. This year, it's "The Sweetest Thing," which didn't quite make it to the top, but close enough. Everything about this amazing pop song is perfect, so I'm not even going to go there.

(5) "Knotty Pine" Dirty Projectors featuring David Byrne, from Dark Was the Night (4AD)
Interesting that my favorite Dirty Projectors song of the year didn't even come from Bitte Orca. Earlier in 2009 saw the release of the Dark Was the Night compilation, and its lead-off track was this bone blowing collaboration between Dirty Ps and Talking Heads' David Byrne. "Knotty Pine" is short, rhythmically inexplicable and all of the vocal performances are top notch. It seems to be equally Dirty Projectors and David Byrne's baby. It cannot be stopped.

(4) "Terminally Chill" Neon Indian, from Psychic Chasms (Lefse)
While being slightly less memorable than "Dead Beat Summer," "Terminally Chill" is slightly better. Not sure why, aside from that it's even more summery. Regardless, here is my electronic pop jam of 2009.

(3) "1901" Phoenix, from Wolfgang Amadeus Phoenix (Glassnote)
I don't know that I would consider "1901" Phoenix's best song of their career, but its pretty damn close. It is awesomely produced, clever and simply awesome, much like all of Wolfgang Amadeus Phoenix. I guess it just stands out a little more than the rest.

(2) "Walkabout" Atlas Sound featuring Noah Lennox, from Logos (Kranky)
When "Walkabout" was first released to the internet in August (I think it was then, at least), and I saw that Noah Lennox (aka Panda Bear) was involved, I lost my shit. I had seen Bradford Cox (aka Atlas Sound and lead dude from Deerhunter) play this song at the 2008 Pitchfork Music Festival, and it was the best thing I heard that weekend. When it was posted on the web, I wondered if this was actually that song, and when I discovered it was, in spite of my shitty unemployment, all was well with the world. I was making claims like, "song of the year," and "my life is so much better because I finally don't have to hum this song to myself all the time." Obviously it didn't turn out to be my favorite song of the year, but it might as well have, because, I think at least, that it has quite a similar feel to the #1.

(1) "Brother Sport" Animal Collective, from Merriweather Post Pavilion (Domino)
Here they are again. Animal Collective. Four songs in my top 60 of the year. And, "Brother Sport" is the cream of the crop. The first time I heard a proper version of it (not a live video recording of it), I automatically assumed it would be my favorite song of 2009. It's THAT kind of song. The hopeful lyrics and bright tone of the song pretty much told me 2009 was going to be the best year ever. It most definitely wasn't, in fact it was one of the worst I've experienced yet. But, the song instilled in me this hope and yearning for a positive attitude. Even the chaotic, annoying and way too long middle section of the song gets me really excited because I know what I have to look forward to, which is the lengthy ending, where Avey Tare and Panda Bear's harmonies have never sounded better. The end is the greatest musical orgasm I've ever experienced in my life. I'm not saying "Brother Sport" is the greatest song of all time or anything, but the way that it ends is so incredible, I have no other words to describe how I feel. WHAT A SONG.

2009 Year-End List #6: Favorite Songs #40-21

Friends and celebrations have been taking up too much of my time lately. Not really, but I have had enough distraction keeping me from my year-end posts. Time to continue on.

HERE is a zip of songs #40-21. Download it and listen. Now, here are my thoughts.

(40) "Glacially" Asobi Seksu, from Hush (Polyvinyl)
Hush was a severe disappointment, but at least it lead to one really sweet jam. Asobi Seksu's brand of shoegaze pop is a bit too polished and is especially wussy, but "Glacially" is a pretty, upbeat number until the end, when things get slightly messy. The sort of tough, sparse shoegaze guitar at the end is the best part.

(39) "Stay by the Ark" Zoos of Berlin, from Taxis (self-titled)
This isn't the most accessible track from Zoos' masterpiece, Taxis, let alone is it the most obvious choice for favorite song. But, I think that is a huge part of why it is. Not that any point of the album is even slightly annoying or overwhelming, but "Stay by the Ark" is masterfully dowsed with subtleties, like the chopped up drums, its odd melody and the space between what little else is going on. It definitely only helps that it is so smooth.

(38) "What Would I Want? Sky" Animal Collective, from Fall be Kind EP (Domino)
Spoiler alert: this is not even close to the last Animal Collective song that will appear on this list. Could they have ended their year of years more appropriately than the surprise release of a new EP? Absolutely not. In spite of its challenging intro, the second half of "What Would I Want? Sky" is such a wonderful way to have capped off 2009. There is so much to like here: the 7/8 time signature, obviously the melodies and interesting chord changes (when they happen) and yes, even the Grateful Dead sample. But, most of all, this is Avey Tare's best vocal performance to date.

(37) "Lasso" Phoenix, from Wolfgang Amadeus Phoenix (Glassnote)
Based on my knowledge of Phoenix, "Lasso" seems to be the closest they have gotten to pop punk. It's a little more complex than that, and it's still ultra produced and poppy, but there is a bit more edge here in the guitars and drums (whether they are real or sampled). The song is fast and simply bad ass.

(36) "All We Ask" Grizzly Bear, from Veckatimest (Warp)
One of my musical characteristics, at least listening-wise, is that I am patient. This really comes in handy when listening to "All We Ask." This could have easily been the most boring song on Veckatimest. In fact, the song doesn't even get good until it reaches the point where there's only a minute left. All before that there are some nice things going, but it's not all that good, and is REAL boring. But, its final minute is the absolute best thing that happens on Veckatimest. It is so simple (there is only harmonies, stomps, claps and mellotron), and is completely worth the wait.

(35) "Nothing but Change Part II" Harlem Shakes, from Technicolor Health (Gigantic)
Technicolor Health is a collection of sort of interesting, quirky indie pop songs. It is mostly pretty lame. However, "Nothing but Change Part II" should be Harlem Shakes' pride and joy. It's not too far off from what Born Ruffians do, there is just more going on instrumentally. The song's greatest strengths are its unconventional structure and all around zaniness.

(34) "This Tornado Loves You" Neko Case, from Middle Cyclone (Anti-)
Everyone knows Neko Case has, like, the best female voice in modern music, right? It is showcased perfectly on the excellent Middle Cyclone, along with some gorgeous instrumentation. The ending to the song utterly crushes me.

(33) "Ancient Questions" Mount Eerie, from Wind's Poem (P.W. Elverum & Sun)
Have no idea how to explain why I love this song. It is sparse, understated, creepy and gorgeous. I've never been a big Phil Elverum fan, but "Ancient Questions" is my favorite song of his since "I Want Wind to Blow."

(32) "My Girls" Animal Collective, from Merriweather Post Pavilion (Domino)
Duh, this song is incredible. My favorite thing about it is how tricky the rhythms are. The way the song starts with those twinkling synths makes you think there is a nice swing to it, then shaker comes in after the first verse and makes you realize the rhythm is more straight than you were expecting, and then when the slightly harder beat comes in during the chorus, it's just over. Oh yeah, and the vocals and melodies are awesome, and the lyrics share a nice sentiment too.

(31) "Get Up" Washed Out, from Life of Leisure EP (Mexican Summer)
"Get Up" is a dark, hazey summer jam that could have existed in a previous life in the 80s. The synths are big and warped, the beat is muddled but hard and Ernest Greene's voice is ideal.

(30) "The Strangers" St. Vincent, from Actor (4AD)
I'm glad Annie Clark decided to get weird and tough and on her 2009 album. Don't get me wrong, I liked her more singer/songwriter oriented chamber pop stuff, and that is a huge element of most of Actor's leading track, "The Strangers." But, towards the end the gnarly, distorted guitar comes in, and it is bliss. I remember the first time hearing it and thinking, "Wow, Annie, you really grew some balls!" Maybe her next album will sound like a weirder version of The Breeders.

(29) "Island, IS" Volcano Choir, from Unmap (Jagjaguwar)
Volcano Choir is a collaboration between Justin Vernon (aka Bon Iver) and Milwaukee's Collections of Colonies of Bees (some of who used to be in an old Polyvinyl technical instrumental band I loved called Pele). The combined effort led to an interesting, albeit unsurprising result. "Island, IS" is the album's best track by far, featuring a soft but confusing rhythm, Vernon's soulful singing and some awesomely edited, finger-tapped guitars. I wish the whole album was this good.

(28) "The Dark" Woods, from Sunlit 7" (Captured Tracks)
I'm not sure if this song would suffer or benefit from lowering the pitch of its vocals, which are comically high. They're kind of charming, and I guess the song would be pretty standard sloppy guitar pop otherwise. Woods' full length from this year, Songs of Shame, was totally underwhelming, but thanks to Travis for showing me this terrific jam with its catchy melody and very strong ending.

(27) "Cannibal Resource" Dirty Projectors, from Bitte Orca (Domino)
"Cannibal Resource" is Dirty Projectors at their most Zeppelin-esque. Dave Longstreth's vocals aren't so ridiculous here, but the girls' back-up vocals sure are. The drums are very much Bonham in both sound and feel. I guess there are other songs on Bitte Orca where the guitars sound more like Jimmy Page, but overall, I can't shake how much "Cannibal Resource" sounds like a 90s indie rock band with R & B singers trying to be Led Zeppelin. And, I love it.

(26) "Helium Hearts" Super Furry Animals, from Dark Days/Light Years (Rough Trade)
2009 was the year that I finally decided to give Super Furry Animals a chance, and they did not disappoint one bit. "Helium Hearts" is a catchy, wonderfully orchestrated psychedelic pop gem.

(25) "Beach Comber" Real Estate, from Real Estate (Woodsist)
Real Estate sound like a less clever and more bored Pavement who care much more about how their clean-channeled guitars sound together than their vocal melodies (not that their vocal melodies are bad by any means), and this is easily their best song. The best part of "Beach Comber" is the tight jam session that doesn't go anywhere but doesn't last too long at the end.

(24) "Good Ol' Fashion Nightmare" Matt & Kim, from Grand (Fader)
Matt & Kim are loud, yelpy, whiney and thus, obnoxious. I should hate them. But their 2009 album, Grand, had three songs that I loved. "Good Ol' Fashion Nightmare" is the best of those three. The piano sounds great and is a really nice touch. The stomp/clap percussion comes in perfectly and doesn't change, which is smart. And, while the chorus melody is memorable, but isn't even close to my favorite (that honor goes to "I'll Take Us Home"), the melody during the verses is superb. "Good Ol' Fashion Nightmare" was a pleasant surprise, for sure.

(23) "Tunnelvision" Here We Go Magic, from Here We Go Magic (Western Vinyl)
Sometimes repetition can be wondrous, and Here We Go Magic really nail that with "Tunnelvision." Nothing really changes aside from layers of acoustic guitar and vocals being added on. The soft tip-tap of the drums pretty much never intensifies either, making this the slowest of builds. It all is really beautiful.

(22) "Before I Was Caught" Jay Reatard, from Watch Me Fall (Matador)
Another page of choppy, yet chimey pop punk taken from the book of Buzzcocks. As simple a song as this is, Reatard is at his absolute best here.

(21) "Legal Tender" Handsome Furs, from Face Control (Sub Pop)
Face Control is the second album from Handsome Furs, which features Wolf Parader Dan Boeckner and wife Alexei Perry. Just like the first one, it is only an okay record. But, Face Control's lead-off track, "Legal Tender" is a true jam. Boeckner's got that blue collar swagger going, and it's interesting to hear it in this electro-punk context, especially when the barrage of chimey synths come in on the last chorus. This might be the best Wolf Parade-related song since anything from 2005's Apologies to the Queen Mary.