The Clientele/Field Music/Zoos of Berlin @ The Blind Pig, 3/18/10

Yet another Thursday night in March where I had the opportunity to see a touring band that I was really excited about. This one in particular was a doozy, featuring the UK's Field Music. They are a band who combines Paul McCartney's more complex tunes with XTC at their poppiest, and one that I have been obsessively loving on since early 2007 thanks to their seriously perfect sophomore masterpiece, Tones of Town. Megabonus that, like Vivian Girls, Field Music's Brewis brothers were incredibly nice and approachable people.

My favorite band in Detroit, who also are hands down the BEST band in the D, Zoos of Berlin kicked off the night with a bang. Their set predominantly consisted of tracks from their fantastic debut full length, Taxis (which just so happens to have been my third favorite album of 2009). While this wasn't the tightest set I've seen of theirs, per usual they completely nailed live standards like "Century Rail" and the always fun "Electrical Way." It was a surprise to hear the deep cut "Countess Lessons." I'm not sure I've seen them play that one. Thankfully they didn't leave out this new song that I've seen them play a couple of times. It's one of their best yet, and takes their moody mix of jazzy, jangly post-punk and Bowie-esque kraut rock in a brighter and poppier direction. Great things are ahead, methinks.

Having nothing to do with talent, but everything to do with energy level, Field Music should have headlined this bill and The Clientele should have played second. Alas, this was not the case, and Field Music played a too short set because of it. Said set still featured plenty of highlights, along with a few slight disappointments. First of all, they played two songs from David Brewis' School of Language album, Sea From Shore. Sure, I really enjoy that record, but there are many Field Music songs I would have rather heard. Secondly, Tones of Town was CRIMINALLY overlooked. I was banking on them playing maybe three songs from it, and would have been satisfied with that, but they played only one. And, the worst possible one at that, in "Gap Has Appeared" (which is still a great song, but every other song on Tones of Town would have translated better live).

Enough complaining. Their set was still insanely impressive. The two dudes they brought along as extra musicians on the tour played their parts perfectly. It was a blast watching the Brewises interact with each other in all their charm and brotherhood. The crowd was treated to a display of some of the most mind blowing talent I could imagine, as the brothers frequently traded places between drums and guitar. Both are absolute pros at each instrument that they play (Peter also played electric piano), and I was especially impressed watching them sing insane melodies while playing intricate and quirky as hell drum beats.

The band's latest full length, Field Music (Measure), was the point of this tour, so obviously that's what most of their set was made up of. "Them That Do Nothing," "Effortlessly," "Clear Water" and "Let's Write a Book" all rocked even harder than on record, and it felt good to be able to see how these complex parts are played by wonderful humans. On "Measure," the gorgeous string parts were played on guitar, and Peter's flowing lead part truly showed off his technical prowess on his "secondary" instrument (drums being his "primary"). This was one of the three top moments of the entire set, the other two being when they opened and closed with rousing renditions of "If Only the Moon Were Up" and "Tell Me Keep Me" (both from their debut self-titled record), respectively.

In spite of putting me in the mood to sleep, The Clientele still put on a good performance. I am not familiar with as many of their records as I would like, but their latest, Bonfires on the Heath, was my 37th favorite album of 2009. They were tight and really quiet. I was glad to hear the masterful slow pace of the title track, but even more so the upbeat, almost funky feel of "I Wonder Who We Are," which was one of my favorite songs from last year (#58, to be precise). I look forward to going backwards and checking out their older material. At times, The Clientele make me think of a darker, modern update on The Byrds, and I am way into that idea right now.

2010 Twitter Review Session #2

(16) It Was Easy - Title Tracks (Ernest Jenning)
Ex-Q and Not U drummer John Davis shows off his love for power pop, namely Elvis Costello, and succeeds. (7/10)

(17) Contra - Vampire Weekend (XL)
I'm surprised by how well these boys followed up their fantastic debut. Different enough, but Vamp Week enough. (8/10)

(18) Dear God, I Hate Myself - Xiu Xiu (Kill Rock Stars)
The poppiest and most accessible look into the disturbed mind of Jamie Stewart yet. Less noise, more catchy synths. (6.5/10)

(19) Odd Blood - Yeasayer (Secretly Canadian)
Trading in their bizarre, communal folk for MPP synths and rhythms. Not bad, not great. "Ambling Alp" is awesome. (6.5/10)

(20) A Chorus of Storytellers - The Album Leaf (Sub Pop)
The newest very pretty but very boring, mellow post-rock album from this pal of Sigur Ros. (4.5/10)

(21) The Besnard Lakes Are the Roaring Night - The Besnard Lakes (Jagjaguwar)
Impressive third album from this shoegazey, psychedelic and huge sounding Montreal atmospheric pop/rock band. (7/10)

(22) Dream Get Together - Citay (Dead Oceans)
Decent psychedelic rock 'n' roll with touches of folk, sort of like Led Zeppelin, only not memorable. (5.5/10)

(23) There is Love in You - Four Tet (Domino)
Smart, subtle and pretty interesting electronic jams, but few songs actually keep my attention. (6/10)

(24) One Life Stand - Hot Chip (Astralwerks)
Yet another mediocre electronic pop album from the critically acclaimed Hot Chip. "Alley Cats" is totes awes, tho. (5.5/10)

(25) Rain on the City - Freedy Johnston (Bar/None)
Dude who wrote "Bad Reputation," one of the best songs of the 90s. New album is lush, gorgeous, sappy pop/rock. (7/10)

(26) Realism - The Magnetic Fields (Nonesuch)
Stephin Merritt's latest, a completely unmemorable folk/pop record, is better than 2008's Distortion. (5/10)

(27) Work - Shout Out Louds (Merge)
Nice, unoffensive indie pop that doesn't really offer up anything interesting aside from a few solid jams. (6/10)

(28) Hidden - These New Puritans (Domino)
Dark, interesting and like nothing I've ever heard before, but I still couldn't really get into it. (5.5/10)

(29) The Monitor - Titus Andronicus (XL)
These guys are not nearly as good as all the music hype machines say they are, and this album proves it to me. (4.5/10)

Emotional Listening #5

Finally, back to geeky music blogging business...


Sugarless - Puller (Tooth and Nail, 1996)
Puller was another one of those underground Christian bands that I loved in early high school, and featured Michael Lewis, who had also played guitar and sang in For Love Not Lisa in the early 90s. On Sugarless, their debut for Tooth and Nail Records (now the leader in releasing the shittiest of Christian mall punk and emo), they sound somewhere between a more primitive version of Shiner and a more technical version of Hum with less catchy melodies. They also lacked the spacey and futuristic soundscapes of either of those bands. While their songs showcased complex structures, weird time signatures, insane stops and starts and those jagged guitar rhythms that I love, they tended to limit their guitar chord usage predominantly to drop D power chords and octaves (like another old Tooth and Nail band called Stavesacre, except Puller did it WAY better). Lewis' lyrics are very simple and vague, which is totally my jam, but I'm struggling trying to decide if these days I think they are corny or brilliant. Regardless, there is still plenty for me to enjoy here, and after all these years, I continue to be impressed by Geoff Riley's drumming. Also, I thought "Super Size It" and "Almost Always" were especially awesome when I was a freshman in high school, and I'm glad I still feel that way today.
Top jams: "Shut Off," "Back & Forth," "Prodigal," "Super Size It," "Almost Always"


Closer Than You Think - Puller (Tooth and Nail, 1998)
I actually got way into Closer Than You Think before I had ever heard Sugarless. I saw Puller play at a church in Livonia back in May of 1997 and was completely floored by them at that young age. For some reason I never got around to purchasing anything of theirs until right around the time that Closer Than You Think was released. I was relieved to find that this record sounded even better than I remember the band sounding live. I could tell they had mellowed out a bit, but truth by told, I think that had a positive effect on their sound, because this is the superior record. It's not as raw or tough sounding as Sugarless, and the songs aren't quite as complicated, but those elements still show their faces from time to time throughout the songs. "Out of My Head" and "Bring Me In" are solid examples of that. The majority of the songs have a poppier feel, especially the opener, "Wishing," and usually that bodes well for them. There are still weird time signatures, though, and Lewis' melodies are actually quite strong most of the time. I feel like time has been more of a cruel mistress to Closer Than You Think than Sugarless, but I thoroughly enjoyed revisiting them both, as they are two of the best albums the underground Christian music scene has ever offered, in my opinion.
Top jams: "Wishing," "Bring Me In," "She," "Light in Eve's Time," "Silent Film," "Am I Samaritan"


Ideal Lives - Rahim (Frenchkiss, 2006)
Talk about an overlooked band. If I remember correctly, there was a tiny circle of hype around Rahim when they released the Jungles EP on Frenchkiss in 2005, garnering comparisons to Q and Not U. In 2006 they released their debut full-length, Ideal Lives, and then everyone seemed to forget about them. They didn't put out another record until late 2008's Laughter, which was a split release between Pretty Activity Records and Flameshovel Records. This is a shame. I looked into Ideal Lives right when it first came out, and I thought it was okay. It's goodness didn't really hit me until I finally got around to giving it another chance more recently. J. Robbins did a fantastic job catching their live energy on this recording. The band sort of has a Q and Not U feel going on here, but their songs are less dissonant and more melodic, if you can believe it. "Klang Klang Klang" features some fascinating interplay between the guitar, bass and drums, and "10,000 Horses" and "Forever Love" are simply bad ass. It almost feels like the bass is the driving instrument, while the drumming is smart and innovative and the guitar is sparse and jagged. I like Ideal Lives more now than I ever have before.
Top jams: "Klang Klang Klang," "Something From an Amputee," "10,000 Horses," "Forever Love," "Enduring Love"


Echoes - The Rapture (Universal/Strummer, 2003)
Now this brings me back. Remember when dance-punk was a thriving, kind of popular thing? Ah, how trends come and go. I'm a little embarrassed for any band that tried to cash in on this style after 2004. However, the album at hand did things just right. Sure, The Rapture's Echoes was the best album of 2003, according to Pitchfork, and I still find that utterly ridiculous, but I can't argue that it's not a great record, because it totally is. In fact, it sounds better to me now than it ever has. This time around, I was completely caught off guard by the tracks at the end, "Love is All" and "Infatuation." These were just bizarre and annoying songs tacked on at the end for some nonsensical reason that I couldn't figure out. Now, I hear them as fantastic album tracks that give Echoes a more dense and versatile atmosphere. Plus, there are the obvious jams: "Olio" and it's blips and bloops and hypnotizing, pulsing beat and the chaotic (with blood-curdling yelps and all) yet somehow joyful party grooves of "Heaven," "House of Jealous Lovers" and the title track (it's bass line that descends the scale during the verses kills me). It turns out that Echoes has revealed itself as a much better album than I ever expected of it.
Top jams: "Olio," "Heaven," "I Need Your Love," "House of Jealous Lovers," "Echoes," "Love is All," "Infatuation"

Vivian Girls/Male Bonding/Fawn @ The Magic Stick, 3/11/10

A couple Thursdays ago I was blessed with the opportunity to see Brooklyn's Vivian Girls live in concert for my second time. Their brand of noisy, lo-fi garage-punk was something that I didn't quite understand, let alone enjoy, until after seeing them at the 2009 Pitchfork Music Festival. As awesome as their set was at the fest, it was even better seeing them in a smaller, more intimate setting (even if crowd attendance was lower than I expected).

The night started with a solid set from Detroit's very own and very new Fawn. Made up of Christian Doble (Copper Thieves, ex-Child Bite, ex-Kiddo), Alicia Gbur (ex-The Nice Device) and Matt Rickle (Javelins, Thunderbirds Are Now!), Fawn is a Detroit supergroup of sorts still in the process of writing songs and feeling each other out. This being their third show, those details were pretty evident. However, they played a good set (unfortunately with one downer that I could have done without), bringing to mind a cleaner Pixies. Doble's melodies were straightforward but strong, and Rickle's drumming was the highlight of the set, trading your typical pop and rock 'n' roll beats for more complex and interesting ones and throwing in subtle intricacies here and there.

Male Bonding followed, and while in all honesty I had little interest in watching them and was distracted by friends in attendance, I was somewhat pleasantly surprised by what I heard. I didn't pay enough attention to further explain, really, but I'll take a stab at it. It seemed like they were playing a chaotic yet anthemic and melodic version of punk rock. I guess I heard a little Wipers and Nirvana in their sound, but their song structures were a bit more muddled than that. Also, I think I heard a few emo chords in there, which is totally cool by me.

Vivian Girls headlined with an anxious and feel good set packed with most of the hits from both of their records. They started things off just right (and quite surprisingly, to me) by opening with "I Have No Fun," from 2009's excellent (and also my 11th favorite album from that year) Everything Goes Wrong. From then on they mixed and matched, showcasing their bizarre merging of wonderfully flawed, Beach Boys-style harmonies with jangly and droning guitar chords on jams like "Wild Eyes" and "When I'm Gone" (probably their best song, and at the very least my 10th favorite song of 2009). Somewhere in there they found the time to play a fantastic rendition of Everything Goes Wrong closer "Before I Start to Cry." It was hard for me to imagine their set being any better, and then they came out for one of the best and shortest encores I've witnessed, basically sprinting through two of my three favorite songs from their 2008 self-titled effort: "All the Time" and the blazing fast "No."

That particular Thursday evening turned out to be a great night filled with pop-infused punk rock (or the other way around in Fawn's case) and good buds. The night was made even better when I ran into Viv Girls at a gas station in Ypsilanti on their way to Chicago and they were incredibly nice and approachable. What a group of talented, bad ass cuties!

2010 Twitter Review Session #1

(1) Teen Dream - Beach House (Sub Pop)
Dark, simple, surprisingly big organ dominated pop songs. Slightly boring, but absolutely gorgeous. (8/10)

(2) Broken Bells - Broken Bells (Columbia)
The Shins' James Mercer and Danger Mouse collab. Nice production, but the songs aren't typical Mercer quality. (6/10)

(3) Measure - Field Music (Memphis Industries)
Brewises make triumphant return to complexly structured and orchestrated 60s pop, adding 70s swagger and riffage. (8.5/10)

(4) IRM - Charlotte Gainsbourg (Because)
Actress collaborates with Beck on a folksy, groove oriented pop album with moderate success. (6.5/10)

(5) Ascending Melody 7" - Dirty Projectors (Domino)
Two Bitte Orca b-sides that are better than at the very least the last two songs on the album. (8/10)

(6) Sisterworld - Liars (Mute)
Best Liars album I've heard yet, but that's not saying much. I can't stand this band. Bad experimental punk, I guess. (5/10)

(7) Gorilla Manor - Local Natives (Frenchkiss)
A completely obvious and direct rip off of Fleet Foxes and The Dodos, but at least they do a good job at it. (5.5/10)

(8) Romance is Boring - Los Campesinos! (Arts & Crafts)
Surprisingly good third LP from these angry Welsh cuties. Sounds like The Anniversary, not twee or Pavement. (7.5/10)

(9) The Courage of Others - Midlake (Bella Union)
Decent, psychedelic and epic Lord of the Rings folk. Disappointing compared to what I've heard from their previous LP. (6/10)

(10) Dreamland EP - Moonface (Jagjaguwar)
Wolf Parade/Sunset Rubdown dude Spencer Krug's solo EP that is sparse, weird as hell and actually not half bad. (6/10)

(11) Heartland - Owen Pallett (Domino)
Follow-up from fka Final Fantasy dude. Grandiose, orchestrated, string heavy. V. pretty, not the most exciting. (6.5/10)

(12) 2 - Retribution Gospel Choir (Sub Pop)
Dude from Low's huge sounding, straight up rock band. Not nearly as interesting as I expected. (5/10)

(13) The Soft Pack - The Soft Pack (Kemado)
Totes fun, catchy and well produced garage punk. Seems pretty rare these days when that genre is done so right. (7/10)

(14) Transference - Spoon (Merge)
They do it again. Another groove oriented, smart, subtle, space-filled, weird and simply fantastic pop album. (8.5/10)

(15) Astro Coast - Surfer Blood (Kanine)
People who think this was a false alarm are crazy. Best guitar heavy, slightly emo-y indie pop album in a while. (8.5/10)

Know Your Onion #16

I haven't done one of these in a long time. This one was way too good to pass up.

Spud Webb Getting Smaller And Smaller Every Time People Recount 1986 Dunk Contest.

Super Bowl XLIV

I know my football blogging has been non-existent this year, aside from my preseason predictions (New England vs. Atlanta in the Super Bowl... pfft). But, today is a special day, so felt called to post and state my prediction for this year's big game. This year features two #1 seeds in the game for the first time since the 1993 season. The New Orleans Saints have never been here before, and with how awful of a program they've been historically, this is especially exciting. Peyton Manning already is arguably one of the greatest quarterbacks of all time, and if the Indianapolis Colts win tonight, I feel that by the time he retires, he WILL go down as the best. If he wins two more, there is no question. This game should be high scoring, tightly played, maybe with a little slop from the Colts at the start. Here are a few predictions:

- For the first time since I had begun watching Super Bowls (which was when the Dallas Cowboys annihilated the Buffalo Bills for the first time after the 1992 season), I love both teams, and will be happy no matter who wins. I'm rooting for the Saints a little more due to exactly how special this season was for them, and since they've never gone this far. However, I think the Colts will win 38 to 35.

- Peyton Manning will throw for at least 350 yards, maybe even 400. He will throw four touchdown passes, one to each of his top four receivers: Dallas Clark, Austin Collie, Pierre Garcon and Reggie Wayne. This will obviously lead him to the Super Bowl MVP award. Joseph Addai will run a touchdown in, but also will cough up the ball to the New Orleans defense, leading to a defensive score.

- Drew Brees will throw for 300 and three touchdowns, one to Marques Colston, one to Robert Meachem and one to Jeremy Shockey, if he's playing. If he's not, then it will be to Reggie Bush. Pierre Thomas will also run a touchdown in.

- The game will be tied at 35 with two minutes or less left, with the Saints driving well into Indianapolis territory, when Brees will throw a crucial interception. Manning will heroically and easily drive the Colts down the field into easy field goal range, where the game will be decided by a field goal. This will be the perfect way to end this decade full of some of the best Super Bowls of all time.

Obviously, none of this matters whatsoever, all of these specifics will probably be way off. It's fun to picture all of this happening in my head, though.

Enjoy this wonderful, bittersweet day of football. Eat, drink and socialize well. I'm already looking forward to next year, when the Pittsburgh Steelers make a triumphant return, defeating the Green Bay Packers in a violent, incredibly well played Super Bowl to kick off the new decade in the greatest game on earth.

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"