Favorite Albums of 2009 (Part 3)

(10) Converge – Axe to Fall

(9) Conor Oberst and the Mystic Valley Band – Outer South

(8) Bill Callahan – Sometimes I Wish We Were an Eagle

(7) Grand Archives – Keep in Mind Frankenstein

(6) The Pains of Being Pure at Heart – The Pains of Being Pure at Heart

Converge are giants in the metal scene, although their music can better be described as a specific brand of noisy hardcore punk that borrows from heavy metal styles. Axe to Fall is their seventh album and it seems to borrow more blatantly from heavy metal, especially in the guitar playing. They are defined by their heaviness, which is more than simply the requisite distortion, down-tuned guitars, and screamed vocals. They seem to take each element of heavy music to a higher level, with vocals could shatter glass, intricate guitar playing, and a rhythm section that makes its presence known. Tuneful passages can be heard, but its under the mire of the band’s extreme style which makes this album a spectacle. They consider this album a departure from their last three albums, which were, in turn, a departure from their early material. They worked with some guest musicians on this album and experimented more with progressive rock, although they’ve dabbled a bit in that direction on their last three albums. There are a bunch of raw, aggressive tracks, but the slower ones, like “Worms Will Feed,” “Cruel Bloom,” and “Wretched World” are absolutely epic. Outer South is Conor Oberst’s second post-Bright Eyes full length album, with the Mystic Valley Band. Seven of these 16 songs are sung by Conor’s bandmates, but the highlights are Oberst’s own songs. He has grown into a wonderful songwriter, nowhere near as indulgent as he was in his amateur days. “Nikorette,” “Roosevelt Room,” “Spoiled,” and “I Got a Reason #2” are the best tracks, but Conor’s bandmates steal attention from him, giving the album a different feel when compared to his last one. Nik Freitas, who toured with Bright Eyes two years ago, contributes “Big Black Nothing” and “Bloodlines,” two relatively bland midtempo songs. Taylor Hollingsworth’s two songs, “Air Mattress” and “Snake Hill” are an acquired taste due to his unusual voice, although the former song is fun and lighthearted. Jason Boesel, the drummer, contributes “Eagle on a Pole” and “Difference is Time.” His singing voice has the most in common with Oberst’s and his songs are the least offensive of the non-Oberst tracks (actually, they are quite good). Finally, bassist Macey Taylor sings “Worldwide,” an unmemorable song. The shared songwriting gives the album a somewhat disjointed feel, especially since the five singers do not have all that much in common, but the high points on this album are very high, and the low points are not really that bad. Bill Callahan, known as “Smog” for his first 11 albums, released his second record under his birth name this year. As usual, his poetry, delivered in a deadpan style through his baritone voice, is very intriguing. His lyrics, in many songs, could be interpreted to be about a wide variety of things. I found that many of his lyrics had a certain relevance to my own life, although I was often convinced my interpretation was not necessarily the one Callahan had in mind. I like this; the album feels like it is very much the property of the listener. Aesthetically, his voice is backed by subtle musical nuances that, on close listen, are revealed to suit the songs very well. For example, the light drumming on “Eid Ma Clack Shaw,” the understated acoustic guitar strummed on “Too Many Birds,” the gripping melody of “My Friend,” or “Faith/Void” which is my favorite song of the year, expressing a sentiment I don’t hear often enough. This album just feels very right in so many ways. Grand Archives released their second album in as many years in 2009, and it’s comprised if incredibly beautiful melodies, both in the vocals and the guitars, it’s the kind of album that makes me forget I live in the middle of a city. It really commands my attention. Every word Matt Brooke sings seems to have far more impact than it should on paper. The guitars on The Pains of Being Pure at Heart’s album chime and buzz in a very fun way, turning what would be decent pop songs into something very fun to hear. The haziness covers the vocals just enough so that you don’t really focus on the words but the melodies, which are strong. See, “Young Adult Friction.” It’s very rare that this type of music is done this well.

Links in the comments. Except for Converge, whose label doesn't want me to share the album with you.