Emotional Listening #38

Outgoing Behavior - Crystal Skulls (Suicide Squeeze, 2006)
I believe it was my bud Julian who tipped me off to Crystal Skulls not along after their sophomore effort, Outgoing Behavior, was released. Aside from the title track and "The Cosmic Door," which are still far and away the best tracks here, I don't think I entirely got it until now. This is some nice soft rock (think Fleetwood Mac, Steely Dan, Hall & Oates) with a mid-aughts guitar pop lean, showcasing some intelligent, moderately complex arrangements and extremely impressive musicianship. Fun fact: members of Crystal Skulls went on to join Sufjan Steven's touring band and Fleet Foxes. At this stage in my life, I prefer Crystal Skulls.
Top jams: "Outgoing Behavior," "Baby Boy," "The Cosmic Door," "Treat It Well," "Brigantine Castles," "Sedate & Satisfied"



Hashin' It Out - Euphone (Jade Tree, 2000)
Euphone were a very bizarre act to be on Jade Tree Records. Not so much in personnel (the band was made up of Ryan Rapsys and Nick Macri, both former members of Gauge and Heroic Doses, and Rapsys had done time in Joan of Arc and Owls, while Macri also had been in C-Clamp), but, in sound. Hashin' It Out was the group's third LP, and it is all over the place. Opener, "Gyrations," sounds like the unfortunately dubbed "chillwave" subgenre that was big in 2009 (and, this record came out in 2000!). "Nick is Ryan" and "My Ladies Can't Remember the Eighties" are cool, modern takes on jazz music. "Honey, I'll be Home by Suppertime" is a moody Chicago-style post-rock ballad. The two best moments, though, are "Press On" and "Bad Ascending," which feature outright tropical vibes and sound like The Sea and Cake on speed. The instrumental, forward thinking music of Euphone might not be for everyone, but, I hope everyone can at least appreciate the awesome album cover.
Top jams: "Gyrations," "Press On," "Where's the B?," "Bad Ascending," "Shut It," "Nick is Ryan," "Honey, I'll be Home by Suppertime," "My Ladies Can't Remember the Eighties"





Quiet is the New Loud - Kings of Convenience (Astralwerks, 2001)
I'm not going to argue if anyone thinks that some Kings of Convenience songs sound a little too much like Jack Johnson or something. Just know that those happen to be their worst songs, and they're few and far between, the rest of their material is SO MUCH better. Quiet is the New Loud was their debut LP, and the music within is essentially acoustic guitar and vocal duets (the harmonizing on this record is amazing), with sparse, but, slightly more extravagant arrangements thrown in periodically. Thus, the best and most obvious comparison is Simon & Garfunkel. The best songs are the first two: "Winning a Battle, Losing the War" and "Toxic Girl." The record loses it's way a little bit after that, but, it is still some downright gorgeous folk music.
Top jams: "Winning a Battle, Losing the War," "Toxic Girl," "Singing Softly to Me," "Failure," "The Weight of My Words," "Leaning Against the Wall," "Little Kids"





Moondance - Van Morrison (Warner Bros., 1970)
Obviously, I've known about Van Morrison since I was a little kid mainly due to "Brown Eyed Girl." Moondance has really only been on my radar, though, since 2002, and I have the final scene and ending credits of The Royal Tenenbaums to thank for that. When the harpsichord of "Everyone" starts the transition from  film ending to credits rolling, it never fails to make me smile at one of my favorite films of all time. Anyway, I remember my friend (and roommate at the time) Abbott being really into Moondance during my freshman year of college, and that's where my interest in it was first planted. Then, during my sophomore year, Bravender put "Caravan" on a classic rock mix he made for me, and it has since become one of my favorite songs ever. I should have known that the rest of the record was just about as good. I won't deny that the title track is cheesy, but it's still a decent song! The non-"Caravan" or "Everone" best has to be "Into the Mystic," which is totally my type of autumn folk jam. Overall, Moondance is just about a perfect, wonderfully orchestrated classic pop record.
Top jams: "And It Stoned Me," "Crazy Love," "Caravan," "Into the Mystic," "Come Running," "These Dreams of You," "Everyone"





Rock Collection - Pond (Work, 1997)
I don't know a lot about the 90s Portland, Oregon band Pond, aside from the fact that everything I've heard thus far has been awesome. Unfortunately, I started with their final album, Rock Collection, but, it happens to be really great. Like, so great that if the rest of their stuff is this good, they could come to be considered a "favorite band." They formed in 1991, and I'm not sure if they were thrown in much with the Seattle grunge movement, but, I guess you could say there is a slight grunge feel to their sound. That's only a tiny part of it, though. The rhythm section here is huge and drives the songs forward, while the guitars sometimes chug along and sometimes meander. The vocal melodies are extremely catchy, which is the main draw in places, but, it's a nice contrast with the unique guitar playing. "Spokes" is a great introduction to the band (probably the best, at least on this record), but "Greyhound" is my favorite song. On Rock Collection, I'd describe Pond as a mix of Weezer, Built to Spill and the more melodic of the Albini-rock bands. Check 'em out.
Top jams: "Spokes," "You're Not an Astronaut," "Scoliosis," "Flawed," "My Dog is an Astronaut, Though," "Forget," "Golden," "Greyhound," "Rebury Me," "Filterless"

Favorite Albums of 2013: #20-1

(20) Big Wheel and Others - Cass McCombs (Domino)
I find that if I have something to complain about regarding Cass McCombs, it is his tendency to craft songs that are way too long considering how repetitive they are (Catacombs and Wit's End, I'm looking at you). I was able to look past that on his second 2011 LP, Humor Risk, because the songs were THAT good. Now, on Big Wheel and Others he seems to have finally gotten back to what he did best on 2007's Dropping the Writ (which, I love): dark folk and sometimes bizarre guitar pop songs of reasonable length and with more of a typical structure. There's just one problem here. It is made up of 22 songs and is almost an hour-and-a-half long. 22 SONGS. AROUND 85 MINUTES. I have sworn off albums from bands that choose to be this indulgent. But, I can't shake this record. It is sad, and utterly gorgeous, and keeps me captivated the entire time. Maybe this will become my new thing instead of nine song full lengths that are under 30 minutes (nah!).
Top jam: "Morning Star"


(19) MBV - My Bloody Valentine (self-released)
MBV fans of all denominations have been waiting 20+ years for the oft rumored follow-up to Loveless. Was the wait worth it? I mean, sure, I guess. It is another My Bloody Valentine album, and it picks up where Loveless left off, and even progresses to some weird tribal dronings to close out the album. I'm sure this is a controversial stance, but, while there are jams (ESPECIALLY "New You") I don't view MBV as a necessary addition to the canon. But, like I said, it is a My Bloody Valentine album, and those guitars sound as strange and gorgeous as ever. So, it makes the list!
Top jam: "New You"


(18) Kitchen Table - Frank Schweikhardt - (Crossroads of America)
My Indiana friend Frank Schweikhardt used to play guitar and sing in an awesome emo/punk band called Away With Vega that an old band of mine used to play with. They were awesome, and so much fun to watch, and sounded like a cross between Braid and Small Brown Bike. Now, he's had this solo project (with assistance from some other Bloomington buds) going since 2006, and Kitchen Table is his third LP. The sound here could be considered slowcore in the vein of Sun Kil Moon, Idaho and Owen. The lush production works extremely well with the slow and mid tempos of the songs, smart instrumental arrangements and beautiful layers of guitars. And, Frank's subtle, hushed melodies top it all off. So proud of these boys.
Top jam: "Motel"


(17) AMOK - Atoms for Peace (XL)
Ah, yes, the first full-length record under the Atoms for Peace moniker. I assume you know that this group is made up of Thom Yorke, Nigel Godrich and... FLEA! This record rules. It sounds more like an extension of Yorke's 2006 solo record, The Eraser (but better), than Radiohead's The King of Limbs. The vocals and melodies are typically Yorkeian, and Flea's bass parts are surprisingly understated and fantastic. Throw that all in with a mix of sparse guitar, relatively difficult electro-pop and IDM beats, and you have AMOK. "Dropped," "Unless," and "Reverse Running" are all excellent.
Top jam: "Unless"


(16) Long Enough to Leave - The Mantles (Slumberland)
Thanks be to my girlfriend Sara for introducing me to this band. The Mantles sound like a beautiful mix of The Feelies and The Byrds, equal parts 80s jangle pop and 60s sunshine psych pop. Long Enough to Leave gets better with each listen. "Marbled Birds" and the title track are the best songs, but, "Rasberry Thighs" hits that fall jam sweet spot, sounding like a lost Real Estate song.
Top jam: "Long Enough to Leave"


(15) The Distance is So Big - Lemuria (Bridge Nine)
I am an idiot, because I STILL haven't listened to what is supposedly Lemuria's best album, 2008's Get Better. Pebble was good enough to land in my top 40 of 2011, but my passion for that record wained as time went on. Now, this year's The Distance is So Big gets better every time I hear it. Sheena Ozzella's vocals and guitar chops are strong as ever, and the band seems more at home here than they did on Pebble (though, both being recorded by J. Robbins, I do like the production on the latter a bit more). Lemuria have reached that stage where they are much more than just emo or pop punk. This is technical guitar pop with smart hooks and plenty of hidden treasures. Listen to 'em, ya dummies!
Top jam: "Public Opinion Bath"


(14) The Flower Lane - Ducktails (Domino)
Matt Mondanile's Ducktails project started off as aimless, trippy, psychedelic bedroom music and had expanded to become the jangly guitar pop that was 2011's Ducktails III: Arcade Dynamics. Mondanile took another big step on his fourth LP, The Flower Lane, by roping in a backing band made up of members of Big Troubles and adding a ton of keyboards. The result (aside from opener, "Ivy Covered House," which sounds like an awesome Real Estate song) sounds more in line with classic pop, soul and adult contemporary music. There's still an "indie" element to The Flower Lane (whatever that means anymore), but it seems like Mondanile was trying to channel way more MJ and Steely Dan than The Feelies, which makes for a more unique and surprisingly rewarding listen.
Top jam: "The Flower Lane"


(13) 10x - Celestial Shore (Hometapes)
This record is INSANE. Imagine a less groove-oriented, even more technical Deerhoof. The songs are impeccably structured, yet, so intricate that their parts seem random. The complex musicianship and weird time signatures are mindblowingly impressive. There is a certain amount of pop sensibility here, as the melodies are gorgeous and some of the moments on 10x call back to the psychedelic sunshiney pop of the 60s. However, if you like straightforward pop song structure, Celestial Shore certainly are not for you.
Top jam: "Stairs Under Stars"


(12) Random Access Memories - Daft Punk (Columbia)
Return to form! Kind of, at least in that, unlike 2005's Human After All, Random Access Memories is not disappointing. I'm sure we've all come to terms with the fact that Daft Punk will never match nor exceed the glorious level they reached with 2001's Discovery, my second favorite record of that decade. RAM is not perfect; there are a few laughably poor decisions, and the record is WAY too long. But, there are a lot of charming aspects that I appreciate deeply, such as the way a variety of vocalists were used, as well as the live instrumentation. I also appreciate that it is not a collection of hits, but an actual album, even if its structured awkwardly in a few places. RAM is very much a Daft Punk album in the way that they knew exactly what they were doing, and they found ways to still catch their listeners off guard. I may not like to dance anymore. I may not listen to modern electronic music anymore that isn't Radiohead-related. But, I will always follow Daft Punk.
Top jam: "Fragments of Time"


(11) We Are the 21st Century Ambassadors of Peace & Magic - Foxygen (Jagjaguwar)
Foxygen may be made up of two young dudes that seem to hate each other, but, at least they provided some excellent music in 2013. Here are some swampy, sneakily complex guitar pop jams that call back to The Kinks and T. Rex. Great, very appropriate production, smart, quality songwriting, and the type of surprising changes that I have always loved. "No Destruction," "On Blue Mountain," "Shuggie" and "Oh Yeah" all rule big time.
Top jam: "Oh Yeah"


(10) No Passion All Technique - Protomartyr (Urinal Cake)
It's been a little while since I've felt this excited about a newer Detroit band. I haven't had the honor to see them live yet, but on record, Protomartyr KILL.No Passion All Technique is a fantastic mix of jittery, post-punk and raw garage rock. Imagine Joy Division meets The Stooges? This record came out late in 2012, but, didn't come across my radar until half way through 2013. Regardless, I am stoked for their Hardly Art debut coming in 2014!
Top jam: "Hot Wheel City"


(9) The Chronicles of Marnia - Marnie Stern (Kill Rock Stars)
Marnie Stern's albums continue to get more poppy (which isn't a bad thing), but, that never takes away from her finger-tapping guitar heroics, nor the octopus drumming (formerly courtesy of Zach Hill, now Oneida's Kid Millions). Even moreso than 2010's self-titled offering, the musicianship here is extremely impressive. The songs may be driven even more by melody and not quite as zany, but, The Chronicles of Marnia is still very much Marnie Stern: ridiculous guitar riffage, mathy rhythms, etc. "Year of the Glad" and "Nothing is Easy" are typically awesome Marnie Stern affair, while the focus on groove in "East Side Glory" make it the top jam of the album.
Top jam: "East Side Glory"


(8) Siberia - Polvo (Merge)
I have a few dude friends in their early-30s who have been encouraging me to spend time with Polvo for a while now. I had done so with 2009's In Prism (which I thought was pretty decent), and tried 1997's Shapes (I did not like it, but I do not remember why). It seems like last year's Siberia is generally considered a return to form record for the band. I don't know, I just think it's really great, technical, muscular guitar rock, with all the fixins of a real "Quillen" album (big, awesome guitars, complicated song structures, impressive, mathy drumming). I enjoy every song here, "Some Songs" taking top honor. I can't imagine how much better this record would be if the songs were shorter.
Top jam: "Some Songs"


(7) Wakin on a Pretty Daze - Kurt Vile (Matador)
I'm not going to pigeonhole Wakin on a Pretty Daze as a purely folk album; there is a lot more going on than just that. But, Kurt Vile is definitely the best thing going in folk music since early and mid-2000s Sufjan, and, at this stage of my life, I largely prefer Vile. Like on 2011's Smoke Ring for My Halo, Vile still has some Dylan/Young/Springsteen/Petty elements to his sound, but, the songs on Wakin on a Pretty Daze are more grandiose and epic in scope and length. This could be a bad thing, however, as is Vile's tradition, I easily get hypnotized and lost in the beauty of these songs. Once again, I could complain that they are too long, but, when they are this good, it is hard to do so. Simply put: Kurt Vile does it again, and I cannot wait for what is next.
Top jam: "Goldtone"


(6) Fade - Yo La Tengo (Matador)
Yo La Tengo have been releasing music since the dawn of time (or, 1986), and I am familiar/in love with their material from Painful (1993) onward. Based on my experience with them, they release an album every three-or-so years, and that album is always at least really good, if not absolutely great. Fade does not deviate from this pattern. It is their softest, slowest album since 2000's And Then Nothing Turned Itself Inside-Out, but then again, it is incredibly dynamic like all of their records (that I've heard). There is a bit of variety from song to song in the first half, from epic folk rock to orchestral 60s pop to noisy YLT-style indie rock, etc. The second half seems to have more of a focus on the acoustic guitar, so I will dub it the "folk half" of Fade. I will not complain, as the songs are gorgeous (especially the huge, climactic closer, "Before We Run"), but, I would have loved a little more rockin' here. Otherwise, Fade is another YLT album that is pretty much on par with most of the rest (still up for debate).
Top jam: "Well You Better"


(5) Light Up Gold - Parquet Courts (What's Your Rupture?)
This record was originally released in 2012, and then What's Your Rupture? reissued it at the very beginning of 2013. Now that I have that out of the way, Light Up Gold RULES. Big time. I'll admit I didn't entirely get it at first; it just sounded like a pretty cool garage rock record. Then, I noticed all the subtle guitar nods to Pavement, which makes for a pretty interesting sound when combined with the simple, driving rhythms that make up these songs. The whole slacker feel here also calls back to Pavement, along with The Modern Lovers. Parquet Courts churn out 15 jams in under 35 minutes (love that) that sound like the two bands mentioned above rolled into one with some Television thrown in. I didn't like the 2013 EP Tally All the Things That You Broke nearly as much, but I am pumped for the next full-length.
Top jam: "Yr No Stoner"


(4) Extended Plays - Cheatahs (Wichita)
Cheatahs are a newer London-based rock band that dabbles with elements of Britpop, shoegaze, dream pop, post-punk, and straight-up American indie rock, sounding not unlike an even poppier version Swervedriver's poppiest moments (with less technical drumming). As I'm sure you could have guessed, Extended Plays is not actually a proper LP, but a collection of two EPs originally released in 2012. Their proper full-length debut is to be released this month, and I cannot wait. Every moment of all eight of these songs are great, particularly "Coared," and I am expecting this 2014 LP to compete for album of the year status.
Top jam: "Coared"


(3) Ideal Cities - Roomrunner (Fan Death)
At this point, I feel like it's a disservice to Baltimore's Roomrunner to say they sound like a heavier Nirvana and other bands from the early 90s who ride the thin line between indie rock and grunge, but, they really do. Ideal Cities is loaded with atonal vocal melodies, big, roomy drums, beefy power chords and perhaps the most important sound on the whole record: TONS of feedback. It's hard to explain, but, Ideal Cities is much more than just a Nirvana knock off, even if I can't think of a more original way to describe it at this point. I am really into this record and love the way it sounds. Really looking forward to their follow-up EP (recorded by J. Robbins!), as well as seeing them at New Way Bar in Ferndale later this month.
Top jam: "Weird"


(2) Am - Ovlov (Exploding in Sound)
Connecticut's Ovlov came out of nowhere for me. Well, they were recommended to me by a couple of trusted friends, so, not exactly nowhere, I guess. But, I had never heard of them prior. Anyway, their 2013 LP Am is fantastic in that lo-fi, Dinosaur Jr.-meets-My Bloody Valentine way. The vocals are understated and the guitars are huge and gnarly, combining early-90s indie rock fuzz with shoegaze's bending and warped tones. Every song is pretty much lights out, with "The Well," "Where's My Dini?," "Moth Rock" and "The Great Alligator" being the absolute best. Production-wise, this record is sort of a mess, sounding like it was recorded quickly in a basement or garage. This is probably perfect for these songs in particular. I'd be interested to hear them record in the future with Albini or something, though. It doesn't matter. Everything Ovlov did here makes Am my second favorite album of 2013. Now, on to #1.
Top jam: "Where's My Dini?"


(1) Major Arcana - Speedy Ortiz (Carpark)
I had a pretty good idea after my first or second listen that Speedy Ortiz's Major Arcana, would be my favorite record of the year. It's a very "Quillen" album: complex song structures, dual guitars intricately tangled together in jagged rhythms, smart, enjoyable melodies, etc. Major Arcana is too complex to be considered a hook-heavy album, but, after wading through all the dense trickery presented here, there are indeed hooks to be found after all. Speedy Ortiz have repeatedly been compared to a holy trinity of sorts in 1990s indie rock: Pavement, Archers of Loaf and Helium (I'd even throw in Liz Phair's Exile in Guyville, which I need to spend way more time with, and soon). Apparently, this is the best combination of sounds possible at this point in time, and Speedy O put an awesome, fresh twist on everything, keeping it from sounding dated, unoriginal or overwrought. Without question, this is the greatest of 2013.
Top jam: "Fun"

Favorite Albums of 2013: #40-21

(40) Knots - Crash of Rhinos (Topshelf)
I was very skeptical of Crash of Rhinos, though, I'm not exactly sure why. Surprise, surprise, turns out, Knots is a good emo record, especially in a year that's pretty weak with the stuff (at least compared to 2012). It helps that there's a lot of variety in dynamics and vocal styles (between nice and yell-y) here. It gets a little too post-rock in some places for my taste, but that gets cancelled out by the noodly guitars and wanky drumming that pop up from time to time. Track two, cleverly titled "Opener," might be the emo jam of the year.
Top jam: "Opener"


(39) The Constant One - Iron Chic (Bridge Nine)
Iron Chic got the Pitchfork hype treatment at the very end of this year, and of all the like-minded bands that somehow Ian Cohen was allowed to write about on that site, they might be the most deserving. A couple complaints: all the gang vocals get a little tiring, and I'm not a huge fan of singer-guy's voice. BUT, these are some really great, huge sounding pop punk songs, and the element of unity is strong in this one, in a similar way to Japandroids' Celebration Rock. "Spooky Action at a Distance" is one of my favorite songs of the year, though I prefer the 7" version.
Top jam: "(Castle) Numbskull"


(38) I Won't Hold This Against You - Light Years (Paper + Plastick)
Obviously, I know that music is a subjective, personal thing, and I don't have to be embarrassed of anything I like or listen to. It is hard for me to admit to the internet public (the three or four of you who read this) that I am into this record. Light Years sound like New Found Glory, Blink-182 and MxPx. There are some really great moments on I Won't Hold This Against You (mainly when they shift from double-time to half-time in a variety of choruses), and the melodies are sooooooooo catchy. I have been suckered into this. Stop laughing at me.
Top jam: "Parking Lots"


(37) The World is Real - Lake (K)
Here's my selfish, pretentious hipster side (which I try to keep hidden most of the time) talking: I kind of love that none of my friends know about the K Records band Lake. Among the large number of people that I commune with over music, Lake are mine and no one else's! Seriously, though, it really is unfortunate that this band is by and large ignored. They are not just another twee band that has ties to K Records. There is an element of that to their sound, but I would say they're influenced more by adult contemporary legends like Fleetwood Mac and Steely Dan. Their latest, The World is Real, even nods to some early-90s R&B (not sure if that's a turnoff or a bonus to anyone who reads this). Nothing else that they've done has come close to their wonderful 2009 record, Let's Build a Roof, but, this certainly will suffice.
Top jam: "Perfect Fit"


(36) Anything in Return - Toro y Moi (Carpark)
With the release of his third Toro y Moi LP, Anything in Return, Chaz Bundick pretty much came right out and said, "This is a big, straight-up pop record." And, it is. Had this been the follow-up to 2010's Causers of This, I think I would have appreciated it more. But, instead, he threw a curveball in 2011 with the psychedelic R&B masterpiece that is Underneath the Pine, and then backpedaled to craft some straightforward, grandiose, expertly-produced pop jams. Don't get me wrong, Anything in Return is good, it's just a little bit of a come-down.
Top jam: "Never Matter"


(35) Lucky Leaves - Krill (self-released)
Krill are part of the whole Massachusetts indie rock/Exploding in Sound scene, which really seems to have taken off this year. Lucky Leaves is pretty awesome (especially the first half), and the closest comparison I can make for it would be Built to Spill and Pavement, though these songs don't really sound like either of those bands. That probably doesn't make any sense, but it feels right. Intricate guitars, driving bass, shitty production, which is sort of charming, though I'd like to hear this record with a real producer behind it. The vocals sometimes sound a tad bit too Born Ruffians, but there's enough interesting stuff going on to make up for that.
Top jam: "Sick Dogs (For Ian)"


(34) I Hate Music - Superchunk (Merge)
It's crazy to think that Superchunk have been churning out quality punk-infused rock music for almost 25 years now (give or take). I Hate Music is their 10th LP, and while I prefer 2010's Majesty Shredding, it proves that these seasoned indie rock veterans still have it in 'em (even if some of the songs can be a little boring). The highlights: "Void" is a badass rock song with the type of tricky structure that I love, "Low F" and its subtle emo undertones, the chord progressions and melodies in "Breaking Down."
Top jam: "Breaking Down"


(33) Bankrupt! - Phoenix (Glassnote)
Not quite the follow-up to Wolfgang Amadeus Phoenix that I was hoping for, especially after a four-year wait, but I'm over that now. The production on Bankrupt! is equally as appealing, even if the songs aren't (though "The Real Thing," "SOS in Bel Air," "Trying to be Cool," and "Drakkar Noir" are all great). There's just no "Too Young," "If I Ever Feel Better," "Lisztomania" or "1901." Which, is fine. If you already like Phoenix, there's plenty to enjoy here.
Top jam: "Drakkar Noir"


(32) Always Whatever - Sundials (Asian Man)
Richmond, VA's Sundials are so good at this classic alternative rock/pop punk thing that this collection of b-sides, rarities and forgotten songs made my year-end list. Yes, there is most definitely some inconsistency in recording fidelity and quality of songwriting, but, that is to be expected. Plus, the great moments rival the best ones on When I Couldn't Breathe (which, in retrospect, should have ranked higher than #16 on my 2012 list). "Assailant" and "Shelter Girl" are true JAMS.
Top jam: "Assailant"


(31) The Things We Think We're Missing - Balance and Composure (No Sleep)
I will forever associate this record with the Daylight record that also came out this year (SPOILER ALERT: that one is #23 on this list). I wrote the blurb for Jar first, and I guess I'll be elaborating more now, which might make things a bit disjointed. Continuing on, music that sounds like these two records has become quite the trend in popular punk rock in 2013. What do you call this? Post-nu-emo? Nu-post-alternative? Anyway, there were times this year where I thought I liked this Balance and Composure record more than the Daylight one. The Things We Think We're Missing is a bit more diverse, especially rhythmically, structurally and in vocal style. So, that should mean I should like it more, right? However, there are surely some outright duds here, which is not the case with Jar. Also, my favorite moments on Jar are probably more memorable than the ones on The Ts We Think We're M-ing. So, there's that. Oh, and in case I convinced you otherwise, this is still a good record!
Top jam: "Back of Your Head"


(30) Jar - Daylight (Run for Cover)
Sometimes I listen to this record and wonder: "Do I really like this? If so, why? Doesn't it sort of sound like the terrible radio rock you hated in the late-90s/early-2000s? This is almost nu-metal, isn't it?" Other times I listen to it and think: "Yes, this rules! It sounds like Deftones' Around the Fur and STP's Purple and Soundgarden's Down on the Upside and Title Fight's "In-Between" all rolled into one! This record is bad ass and huge!" So, as you see, I have a conflicted relationship with Daylight's Jar, and I'll just leave it at that.
Top jam: "In On It"


(29) You're Nothing - Iceage (Matador)
I liked the idea of Iceage's 2011 debut, New Brigade, more than I actually liked the album (although it had two total bad ass jams). Their sophomore LP, You're Nothing, is more in line with what I was hoping for. The vocals still snarl in the most atonal way, and the drums are still primal as shit, but, thankfully, some melodicism comes out more in the guitars (which are still pretty discordant at times, of course), and that helps flesh these songs out in a way that I really dig. These melodic moments are few and far between, but they make the waiting for them well worth it. Especially when the album ends so strongly (the last three songs kill). In case this blurb has been confusing and uninformative so far, overall, I'd describe the sound of You're Nothing as heavy post-punk mixed with exotic hardcore. Something like that.
Top jam: "You're Nothing"

(28) Shade Perennial - Bottomless Pit (Comedy Minus One)
Admittedly, my knowledge of the classic 90s Chicago indie rock band Silkworm is at an extreme minimum. I've listened to some songs, and I know that they seem like a band I could get way into because of their guitars. I know that they were on Matador and Touch and Go at different points. I know that their drummer died in a terrible car accident. I know that three of my bandmates love them. I know that Stephen Malkmus loves them. I know that I love the song "Couldn't You Wait?," and that a documentary about the band with the same title was produced. And, I know that two of the guys went on to form Bottomless Pit, of whom I know even less about. However, knowing that I need to at least start somewhere, I have spent ample enough time with their latest, Shade Perennial, to know that an intense, longstanding love affair with both of these bands is bound to happen in 2014. Shade Perennial is a mellower form of Albini-rock, or at least it sounds like it was recorded by Steve Albini. My favorite moment is the stupid-long fade out and then sudden stop in closer, "Felt a Little Left."
Top jam: "Felt a Little Left"


(27) Stop Breathing - Donovan Wolfington (Community/Broken World)
Here's a band that came out of nowhere for me. Donovan Wolfington is a loud, noodly, super fuzzy, emo-y pop punk band from New Orleans, and Stop Breathing is their debut full length. 90s-referencing all around, they remind me of a sloppier Luther with more yelling, or a less technical Glocca Morra... somewhere along those lines. "Spencer Green," "Ryan Rowley," and "Hell" are JAMS.
Top jam: "Hell"


(26) Uncanney Valley - The Dismemberment Plan (Partisan)
I will openly admit that my expectations for The Dismemberment Plan's reunion were completely unrealistic. I was really hoping for Uncanney Valley to rival Emergency & I and Change, but, I should have known that was not going to happen. I think Dinosaur Jr. spoiled us all by how awesome their reunion records Beyond and Farm were. Now, I will say that, as maligned as they were, I enjoyed Travis Morrison's two solo albums, and Uncanney Valley feels more in line with those than any previous D-Plan recording. Maybe if the band had chosen a different name for this endeavor, that would have helped things? Anyway, all of this complaining only to say that with each listen, Uncanney Valley grew on me, and I have come to appreciate it. It's still a smart, unique take on danceable guitar pop, and I'm very glad that it happened, even the regrettable moments.
Top jam: "Waiting"


(25) X'ed Out - Tera Melos (Sargent House)
Tera Melos' most recent full-length, X'ed Out, was another one of those surprise albums for me in 2013. I had never really spent any time with the band, though based off things that I'd read, I assumed I'd like them. I didn't realize how much, though. They do noodly guitars and mathy drums well, and without overwhelming, as there is a strong sense of melody, especially in "Weird Circles" and "Sunburn" (best song). 2002-2006 Quillen would have lost it over this.
Top jam: "Sunburn"


(24) Days Are Gone - Haim (Columbia/Polydor)
It seems like almost everyone loved the Haim sisters' debut Days Are Gone, and I totally get it. While it didn't blow my brain out of my head, the talent these gals display is undeniable, as is their penchant for quality pop songwriting. My bud and bandmate Bravender tried to hook me by describing this record as 80s Fleetwood Mac mixed with Phoenix. I definitely hear that in the melodies, musicianship and especially the production, and, bonus that there is even more to it that drew me in further.
Top jam: "Honey & I"


(23) Modern Vampires of the City - Vampire Weekend (XL)
On first listen, I was hugely let down by Modern Vampires of the City. Vampire Weekend's self-titled debut LP was my favorite album of 2008, and Contra was my fifth-favorite of 2010, so, maybe my expectations were a little unfair. I finally came around thanks to jams like "Unbelievers," "Diane Young," "Everlasting Arms" and "Finger Back" (and in spite of the annoying "Step"), and realized that M Vs of the C is just another VW record, perhaps more mature, and with a little more focus on production and changing moods. It's good, but not album-of-the-year good.
Top jam: "Everlasting Arms"


(22) An Object - No Age (Sub Pop)
No Age continue to do two things that I love on their latest, An Object: (1) Not sound like anything else going on in music, but, still somehow sounding punk, and, (2) show such restraint from song to song to the point that I feel like, to quote Arrested Development, they get off being withholding. Example: Album opener, "No Ground," is one of the louder songs on the album, and certainly is the one that calls for the most bad ass of drumming, and, yet, there are no drums. I hate that, but, I also love that. This is An Object. The first seven tracks are pretty much untouchable, the main highlights being the jangly guitars and chord progression in "I Won't be Your Generator," the general weirdness of "Defector/Ed," and how completely gorgeous (strings and all) "An Impression" is.
Top jam: "I Won't be Your Generator"


(21) Clash the Truth - Beach Fossils (Captured Tracks)
Captured Tracks' representation on this year's list is much thinner than the last two years, and that's kind of a bummer. I guess we have officially moved on from the 80s revival to the 90s revival. Beach Fossils' second LP, Clash the Truth was largely ignored, which, I kind of understand. It is a great collection of 80s-style melodic, poppy post-punk like earlier New Order, The Cure and The Wake, with a smidge more shoegaze thrown in. Lots of layered, chimey guitar leads, bored, reverb-y vocals and driving drums and bass. This is probably the exact same stuff I was saying about their 2011 EP, What a Pleasure. "Birthday" and "In Vertigo" = best guitar chord usage!
Top jam: "Birthday"

Favorite EPs and 7"s of 2013

Though I listened to more new releases in 2013 than any given year prior, and was still able to come up with a list of 40 favorite albums, and even an additional list of 15 favorite EPs and 7"s, I would consider the year a downer overall in music. I LIKED a lot of stuff, but LOVED very little. Oh well, it happens.


(15) Sore Subjects EP - Best Practices (self-released)
On the Sore Subjects EP, Best Practices play loud, messy, melodic, emo-y punk rock with nice, full chords and  some barking vocals that remind me of Bear Vs. Shark. It's only four songs, but these are some real jammers. Am I crazy, or does the bass guitar on the EP closer cleverly wink at Limp Bizkit's "Re-Arranged?" Am I crazy for noticing this and Googling the LB song to make sure?
Top jam: "Home for Halloween"


(14) Totale Night EP - Merchandise (Night People)
Merchandise's latest, the Totale Night EP, is nowhere near as good as last year's Children of Desire, but, it didn't really need to be. For such a young band, it still shows plenty of promise, and I respect the more difficult aspects of some of these songs. There are no outright 80s goth-pop bangers like "Time" (which was probably my favorite song from last year), but there's still plenty of that goth drama to go around, as are there the continued inevitable comparisons to Morrissey's vocal stylings. I'm intrigued to hear what a proper full-length from these guys would sound like now.
Top jam: "Winter's Dream"


(13) Jaws 7" - Multicult (Reptilian)
Multicult are a band that one of my bands had the pleasure of playing with back in the summer. They are a three-piece muscular rock group in the vein of Dischord/Touch and Go/Matador/Sub Pop records from the 90s, ie ALBINI-ROCK. At the show, when asked (by me) what kind of music they were inspired by, the drummer said, "Well, singer/guitarist is really into 80s Detroit techno, bassist is really into industrial music, like Ministry and Skinny Puppy, and I am SUPER into Prince and Michael Jackson. But, in reviews, we always just get compared to Big Black." Regardless, these two songs are really bad ass.
Top jam: "Luxury"


(12) The Worst Part EP - Martin (Square of Opposition/De Nada)
Here is some most excellent pop punk from one of the guys from recent technical pop punk legends, Spraynard. Martin is much more straightforward: simpler song structures, not nearly as much guitar noodling. There is some real bad assery going on, especially in "Sandy" and EP closer "Tiny Scratch." The Worst Part is a truly great debut and shows a ton of promise. Hoping for a full-length in 2014?
Top jam: "Sandy"


(11) Deer Widow EP - Deer Widow (Save Your Generation)
My friend Tony started a record label this year, Save Your Generation, and things took off very quickly for him. Deer Widow is made up of four guys who play or have played in The Most Dangerous Animal, Kid Brother Collective and Dead by Sunday. This is my favorite release that Tony has put out thus far, and it is 90s-style emo of very high quality. The catchy melodies, intermingling, clean guitars, bouncing bass and upbeat drums are things I would have loved in high school, and that I actually still love today.
Top jam: "The Path Forsaken"


(10) Analog Weekend EP - Their/They're/There (Polyvinyl/Topshelf)
Their/They're/There is a supergroup consisting of Evan Weiss (Into It. Over It., Pet Symmetry, numerous other projects), Matthew Frank (Loose Lips Sink Ships) and Mike Kinsella (Owen, ex-Owls, ex-American Football, ex-Cap'n Jazz). If that doesn't give you an emo boner, I don't know what does. And get this: Analog Weekend is their SECOND EP released in 2013. I know, right? They pretty much sound like exactly what you'd expect, considering their collective discography, ie mathy, intricate, extremely catchy emo. No ifs, ands or buts about it. It rules.
Top jam: "Travelers Insurance"


(9) Split 7" - Glocca Morra/Summer Vacation (Lauren)
Probably my favorite newer band, Glocca Morra, had a very quiet year, but, at least I got two songs out of 'em. "Burning Love, Burning Desire" and "Number 2" are groovy, melodic indie rock jams in the vein of Archers of Loaf, which is quite a bit different than the bright, noodly, uber catchy emo of Just Married (my favorite album of 2012), and I am totally okay with that. The Summer Vacation tracks don't even really matter, but they're fine exercises in poppy emo punk.
Top jam: "Number 2" (Glocca Morra)


(8) Empty Estate EP - Wild Nothing (Captured Tracks)
A new EP from Wild Nothing was quite a surprise in 2013, and though it didn't quite reach the heights of 2012's brilliant Nocturne, it did not disappoint, either. Some of these songs are bigger, more straightforward, and even poppier than anything Jack Tatum's done yet (see: fantastic opener and second-best moment of the EP, "The Body in Rainfall"). And, then there's more indulgence and experimentation than usual ("Ocean Repeating (Big-Eyed Girl)," "Data World"). The best moment, of course, is the jangly, funky synth-pop we've all come to expect in "A Dancing Shell."
Top jam: "A Dancing Shell"


(7) Split 7" - Pet Symmetry/Dikembe (Storm Chasers)
Pet Symmetry is another new project from Evan Weiss (see: three blurbs ago), this time in collaboration with two dudes from Chicago emo pop group Dowsing. Dikembe are a very good, technical poppy emo band from Gainesville. Both of these songs are fantastic, especially the Dikembe one, which is their best yet.
Top jam: "Keys to the Jeep" (Dikembe)


(6) Wish Hotel EP - Ducktails (Domino)
2013 was quite a year for Real Estate-er Matthew Mondanile. The Wish Hotel EP, which elaborates on the dreamier, funkier sounds of the fourth Ducktails LP, The Flower Lane (released earlier in the year), is a sort of victory lap. As much as I love The Flower Lane, I'm intrigued by how much progress was made even from those songs to these ones. There's a little bit more of a psychedelic element here, and throw in the even beefier production, this EP is sort of reminiscent of Tame Impala, which isn't a bad thing at all. A full length of songs like these could be dangerous.
Top jam: "Wish Hotel"


(5) Double Weirdo 7" - Double Weirdo (self-released)
This debut release from Ypsilanti boys Double Weirdo is shockingly stellar. It's been a while since I've been truly excited about an Ypsilanti band, and it feels nice. There's quite an interesting mix of sounds going on here, from folk (finger-picked guitar), garage and post-punk (driving bass and drums), bringing to mind The National and even The Sea and Cake in some instances, but still sounding entirely their own.
Top jam: "Tame Tame"


(4) Their/They're/There EP - Their/They're/There (Polyvinyl)
Here's the first EP released by Their/They're/There this year. It's definitely better than Analog Weekend, but not really by much, and possibly only because it has more songs. The only thing I'll add is that, man, it's so nice to hear Mike Kinsella playing drums in a rock band again.
Top jam: "Their/They're/Therapy"


(3) I'll Wait 7" - Husband & Wife (Crossroads of America)
My friends from Bloomington, Husband & Wife, went out with a small bang in 2013. Before the release of their career-spanning b-sides and rarities collection (which I still need to pick up), they put out this little ditty, which features, probably, their two greatest songs. "I'll Wait" is an outright pop/rock jam with Mike Adams' typically catchy melodies and some nice fuzzy guitar leads. "Don't Rush" is a slower, groovier tune reminiscent of Built to Spill at the top of their game, with Tim Felton's best vocal melodies to date and a fantastic, cathartic ending (with some excellent, surprising chord changes to boot). I will miss these guys.
Top jam: "I'll Wait"


(2) Admiral Airwave 7" - Javelins (Suburban Sprawl)
I could spend this entire blurb complaining about how it took Javelins five years to release their first new material (two songs!) since 2008. But, I'll end it there, since "Admiral Airwave" and "Secret Safe" prove that even though they take forever to do anything at all, this band continues to get better. These songs may be a tiny bit darker, but they're still bouncy, and tend to focus more on a repetitive groove rather than intricate structures (nothing wrong with that). There's still the whole MBV-meets-The Sea and Cake thing going on here, but compared to 2008's Heavy Meadows, the vocals are catchier, the bass soars even higher, and the guitars sound more like outerspace and aliens than ever. No one else around sounds like this, and that is quite a feat. The only real issue I have here is the lack of artwork/packaging for the $6.00 I payed for this. The pink vinyl is really nice, but, c'mon, guys!
Top jam: "Secret Safe"


(1) Spring Songs EP - Title Fight (Revelation)
Are Title Fight the best band going right now? Quite possibly. Sure, the Spring Songs EP could be considered a continuation of 2012's instant classic (and my second favorite album of that year) Floral Green, but, it is more than just that. The band is scaling back their punk rock and hardcore tendencies even more to showcase a sound that harkens back to the beardy emo-punk of Dead Reckoning-era Small Brown Bike just as much as heavier classic alternative rock. An interesting thing about the track order here is that each song is better than the previous one, thus the EP ends just about perfectly. Title Fight's next full-length could end it all.
Top jam: "Hypnotize"