The Magnetic Fields - Realism (2010)

Even though their music isn’t overtly challenging, The Magnetic Fields are fairly adventurous. They tend to throw odd combinations of instrumentation into their songs, are unconcerned with catchiness or melody, and Stephen Merritt is extremely sarcastic and bitter. “Realism” is predominantly acoustic, mellow, and this gives it the illusion of being lifeless when it stands next to albums like Distortion (2008) or Get Lost (1995). They aren’t at their best here, although fans will probably like this simply by virtue of it being Stephen Merritt and containing songs that are his, for what that’s worth. I don’t expect this to become anyone’s favorite album of theirs, but at least it shows they still do what they do well, and are creative as ever, even if that creativity doesn’t translate into songs as striking as their best ones. “I Don’t Know What to Say,” “Everything is One Big Christmas Tree” and “Seduced and Abandoned” are my favorites.

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Alkaline Trio - Agony & Irony (2008)

Their sixth album is their furthest removed from their original sound. It's far more accessible, and ready for mainstream rock radio than their best work, but it has some songs worth hearing. "Help Me" is a catchy single. "Into the Night" is probably the best song here, and bassist Dan Andriano's four tracks are all solid, especially "In Vein," and "Do You Want to Know." Corey Apar from AMG.com writes: "it's a little hard not to wish for more of that edgy bitterness to creep back into the songs, roughing things up a bit and adding some excitement to the mix. The album is still enjoyable and damn catchy in spots — but knowing as much as we do about this talented trio, it seems like it could have been so much better." That sums it up.

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Out Hud - Let Us Never Speak of it Again (2005)

The second and last album from this electropop group is a perfectly decent album, despite being done pretty much by the book. It's most noteworthy feature is a track called "Dear Mr. Bush, There are Over 1000 Words for Shit and Only 1 for Music. Fuck You, Out Hud." Worth a listen if you're into this sort of thing.

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These New Puritans - Hidden (2010)

These New Puritans fall somewhere between 1980s post-punk and the sort of dance pop you’ll hear if you live anywhere near a nightclub. The former can be heard in the guitars which are often amelodic and noisy, appearing at various points in the song to lend a gritty feel to the music. The dance aspect is helped by the synths and vocals; it doesn’t really help the music, as the vocals tend to be rather obnoxious and the synthesizers don’t really add much color or texture. The drums often play rather monotonous beats as well, so this comes across as more dance than post-punk. This is a decent album, and if you like the hybrid style they’re going for you may find this interesting.

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Alkaline Trio - This Addiction (2010)

I have mixed feelings about this album. Alkaline Trio are a band I have loved since I first heard them 7 years ago. Their first four albums are absolutely perfect in my mind, as are their two b-sides compilations. They combined catchy pop-punk with a macabre sense of humor with a very fun effect. From their fifth album, Crimson (2005), energy was sacrificed when they decided to begin experimenting with keyboards and the punk energy that characterized their early music was all but gone on their sixth album, Agony & Irony (2008), so I was thrilled when I read they wanted to go back to their punk roots on the new album. They didn’t really do that, in fact about half of these songs sound as though they would fit on their underwhelming 2008 album.

First the positive. This is better than Agony & Irony. This is more like their earlier stuff, without actually being like it, if that makes sense. Some of these songs are very catchy, such as “Lead Poison,” “This Addiction,” “Piss and Vinegar,” and “Dead on the Floor” which is a great slower song. Matt Skiba’s voice sounds great. He’s a highly emotive vocalist and I love hearing him sing. The band still sounds good, technically. That means that I won’t regret spending $58 on two tickets to see them live in March. If they play a bunch of old songs, which they usually do, then they will sound pretty much like Alk3 circa 2003. There are no obvious signs of age, wear and tear, or lost enthusiasm. The brass section on “Lead Poison” is a nice touch, and shows that they aren’t complacent with their sound.

There are a few issues I have with this album. First, the lyrics. The band has a great sense of humor, but some of these lyrics are a bit cliché. Second, it sounds more like they were trying to recreate their old sound than an actual revisitation of that sound. They’re playing similar melodies at similar tempos but with a different attitude, so it comes across differently. It just lacks something their early material had. Their melodies had a certain momentum back then they don’t have now. I think they rushed this album, but over a half dozen listens it has started to grow on me. At the end of the day this is a decent album from a band I love. It’s hard to hear musicians who are important to you change, but the change could have been much, much worse. They are still Alkaline Trio, and are still great, and This Addiction is a fine album that doesn’t measure up to their awesome earlier albums.

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Sp0on - Transference (2010)

I grew a bit bored of Spoon’s back catalog, so this new album gives them a fresh slate and I like this. Their style is distinctive, refreshingly simple, and generally pretty catchy. They really revel in this simplicity, and are a better band when they keep it simple, as they do on this album. They play melodies that everyone’s heard a thousand times before, but inject their own flavor into the music. I think it helps that most vocalists don’t sounds quite like Britt Daniel, and his singing style really does define the band. He can sing falsetto without making me want to turn the volume down (“Who Makes Your Money”), but I like when his voice best when it has a wailing sort of quality on the verses of “Written in Reverse” and “Trouble Comes Running.” “The Mystery Zone” is my favorite here, with a catchy beat and nice little flourishes of guitar appearing here and there. I don’t think there is a monumental difference in quality between their best albums and their worst, and the trend continues here.

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Beach House - Teen Dream (2010)

Beach House have released two great albums before this one, a self-titled (2006) and Devotion (2008), both of which were absolutely gorgeous. The same could be said about this one, although it sounds like their sound is diversifying. They don’t seem to be constrained in that somber dream pop sound that so many of their peers are, but they try some different things on this album. They don’t hide behind the melancholy, which only thinly veils these intricate songs. Victoria Legrand’s vocals are crisp and clear and will capture your attention, so you’ll have to listen close to really take note of the arrangements, like the organ on “Walk in the Park” that really add depth to these songs but may not jump out at you. Lyrically, this deals with common themes such as loss, which contributes to the sadness that characterizes their music, but it would do them no justice to not listen past such first impressions to the strong songwriting. Overall, this is pleasant album from back to front and compares favorably with their first two albums. Favorites: “Zebra,” “Norway,” “Used to Be.”

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Favorite Albums of 2009 (Part 4)

(5) Built to Spill - There is No Enemy

(4) David Bazan - Curse Your Branches

(3) The Duke & The King - Nothing Gold Can Stay

(2) Chuck Ragan - Gold Country

(1) Metric - Fantasies

Took long enough. One sentence each should suffice. Built to Spill's album is one of their more consistent ones and a vast improvement over their last. David Bazan wrote a very clever batch of songs that are interesting thematically. The Duke & The King released a mellow folk album with excellent vocal harmonies. Chuck Ragan, former singer of Hot Water Music, sings protest songs that borrow from folk and country, a style he is well-suited for. Metric's latest is one of the catchiest albums in recent memory, and is both fun and intelligent.

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Ringo Starr - Y Not (2010)

On Y Not, Ringo tries to present a lot of things we’ve heard before as if they’re actually still meaningful. That’s harsh, but also part of the reason he has the reputation he does. This is not to say I hate this album, because I don’t. I wouldn’t even call it bad. I think he’s still stuck in a time when pop music really sold. These days, I’d say it’s more accurate to say it’s borrowed. People latch on and then forget about it. In five years, who’s going to remember Lady Gaga, or Miley Cirus, or any American Idol (other than Kelly Clarkson)? This is not really what people want to hear, and unless it has any special meaning or importance to its author, it serves little purpose. Ringo needs to write a bunch of songs that actually speak to people and that feel relevant. This might have been received well 30 years ago, but not today. One instance: He actually refers to a “Peace Dream” as if it’s a real thing. The song is a giant cliché, and it isn’t one that has anything pleasurable about it. “Time” begins with the lyrics “Time waits for nobody, and nobody waits for time,” which shows the problem that plagues Ringo’s work. The last track, “Who’s Your Daddy” features Joss Stone (a young R&B singer) and is just a big pile of crap. Some songs are fine though. “The Other Side of Liverpool” isn’t bad. “Walk With You” features Paul McCartney singing in the chorus, which is nice, and “Everyone Wins” would be pretty good with a better singer. I think Ringo was less of an artist than the other three Beatles, and so his work doesn’t seem to have a real strong personality. It just sort of borrows from those he surrounded himself with during his career. I think Ringo genuinely likes making music, and is genuinely having a good time, and so the greatest pleasure I got from Y Not was the idea that he probably had a good time making the album.

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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.

Adam Green - Minor Love (2010)

Green is a former member of the well-received pop group Moldy Peaches. His solo work is pretty standard singer/songwriter fare. His songs are all very short, none reaching three minutes, and he doesn’t really do anything especially interesting on any of them. His vocals are rather high in the mix, so it takes a very close listen to even identify what instruments are being played. Keyboards and percussion are the most dominant ones, but none of the backing music really contributes all that much to the songs. They add some color, but at no point is there anything really distracting you from his vocals. He sounds a bit like Julian Casablancas of The Strokes, with maybe a bit less of that drawling moan style of singing. Most of his songs take on a storytelling form, with him telling of some experience he’s had. My main issue with this album is that nothing he says is very compelling or especially fun. An album that is neither interesting or somehow fun to listen to, is hard to love. Despite the simplicity of his songwriting, Minor Love is performed fairly well with no major flaw, just a lack of anything great. Overall, this is a decent pop album and nothing more.

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Shearwater - The Golden Archipelago (2010)

The Golden Archipelago is the 6^th album by Shearwater, whose folk rock leans a bit closer to rock much of the time. This album is a logical follower to 2008’s Rook, in that the band sounds as though they are continuing to leave their more rustic side further in the past. “Black Eyes,” one of the highlights, could fill an arena, with a loud, pounding drum beat and an anthemic vocal performance from Jon Meiburg whose voice, with an impressive range, steals the show. Other highlights include “Corridors,” which feels a bit frantic although it gains intensity reaching a somewhat epic conclusion, and “An Insular Life” which is a slower track that seems to pack a bit of a punch. Then there’s “Castaways,” which is nearly perfect. There are a few sleepy parts in some of the ballads, but much of the album has a majestic feel to it, helped by strings and Meiburg’s powerful voice. I like this a lot, and though I don’t expect to listen to this as much as Winged Life (2004), it is as good an album as I’ve heard from them.

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Favorite Albums of 2009 (Part 2)

Links to preview these wonderful albums are in the comments section.

(15) Mirah - (a)spera

(14) Future of the Left - Travels With Myself and Another(13) Fanfarlo - Reservoir

(12) The Appleseed Cast - Sagarmatha

(11) The Cribs - Ignore the Ignorant

Mirah’s album seems to have been received negatively by many fans, but I don’t think it is much of a departure from her best previous work. It’s poetic, folky, singer/songwriter music, which is very intelligent and features pleasant vocals and some gorgeous acoustic guitar playing and background sounds. (a)spera is an album for times of relaxation, when you can sit back and fully take the words and sounds in. Future of the Left’s second album, Travels With Myself and Another, picks up where their debut left off. The album is dominated by loud, distorted guitars and bass. The vocals are howled, but not in an obnoxious way. The result is an intense sounding record, with very good songwriting, and a sense of humor. The single, “The Hope That House Built” is one of my favorite songs to come out this year. Their live show is fantastic. Fanfarlo’s debut album is one of the most intelligent pop albums I’ve heard this year. They seem to have a very good sense of what works for them and what doesn’t. Note a single note sounds out of place on the album. It sounds very well developed, with strings in all the right places and every element works together to create something that sounds very professional and well crafted. Additionally, the vocals have a great deal of emotional depth to them. The Appleseed Cast’s album, Sagarmatha, is primarily instrumental. It features some beautiful guitar melodies, and is a welcome change from their previous rock-oriented sound. The songs that actually do have vocals have the same feel as their instrumental counterparts because the vocals are nondescript and very breathy, so they easily fade into the background. Ultimately, you’ll hear the guitars and that’s what will keep your attention, which is good, because they’re the highlight of the album. The Cribs’s fourth album, Ignore the Ignorant, is their first since Johnny Marr (The Smiths) joined the band. Their brand of indie rock is high energy, intelligently written, and catchy as hell. This album has a different feel to it than their past ones, due to Marr, who brings a shiny guitar tone to the trio’s energetic pop/rock.

Vampire Weekend - Contra (2010)

On Contra, Vampire Weekend’s sound remains mostly unchanged. The only difference is that they do seem to have gotten a bit more adventurous on this album and the songs sound somewhat less constrained, as if they were not as concerned with creating the same crisp, clean, shiny pop album they did in 2008. However, this more adventurous spirit does not really translate into a vastly different album. Their aesthetic is identical. The vocals are exactly the same, singing the same midtempo pop tunes, sounding completely unthreatening. The band may try some new things instrumentally, with melodies that are slightly more interesting than those on their debut, but the main problem I had with Vampire Weekend is still evident on Contra. They sound too safe, almost boring. The best thing I can say about Contra is that there are some nice melodies, and it is slightly more compelling than their debut. If you liked their debut, I see no reason you wont like this album. My complaints are with the band itself, not this album specifically. They sound like they look—entirely safe—with their polo shirts tucked in and clean-cut appearance. I don’t really care how they look, but they just sound too processed. I don’t like the vocals which don’t really sound all that human, they are so sunny that they lack any immediately detectable emotion. These songs work in the sense that they are works of art that took some talent and creativity to create. They are somewhat catchy and the band is trying some new things, but Contra lacks a real distinct personality. This is odd, since I cant think of anyone noteworthy that sounds like them post 1980s, but creativity does not necessarily make something compelling. I wish they would play with a bit more of an edge, make their sound a bit less clean, and more overtly emotional. The many people who loved their debut will probably love this. It isn’t a bad album, but I get minimal gratification from listening to it.

Vampire Weekend doesn't want me to share their music with you. You can't buy polo shirts and slacks if your albums ain't selling like hotcakes at your local Friendly's.

Midlake - The Courage of Others (2010)

This is, I think, the first really great album to “come out” this year. Midlake is a folk-rock band from Texas that has gotten some acclaim due to their previous two albums, but until now, has not really caught my ear. Influences include British folk-singers (the likes of Nick Drake) which yields a more austere sound than typical Americana stuff. This album sounds as though it’s from another time, not necessarily a specific era of music, but it has a definite un-modern feel to it. It could be a soundtrack to a 12th century European city, for some reason that’s the sort of image it conjures. The vocal harmonies are a treat to hear, though they may take some time to grow on listeners. Also, they are clearly a rock band, as the drums and guitar melodies do not take backseat to the vocals. The guitars are lively, with an acoustic backdrop that is accompanied by flourishes of electric guitars. These songs all tend to have a strong rhythmic flow to them, and are somewhat upbeat musically, even though the vocals take a somber tone. It isn’t uptempo, but not dull and dreary either. Strings and woodwinds (flute on “Bring Down”) appear here and there as well. This album makes me want to give their back catalog another chance.

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Favorite Albums of 2009 (Part 1)

Links in comments as usual. I’m posting these in bunches because I don’t have the patience to sit here for as long as it would take to do this in one sitting. Needless to say, I have much to post because I was very pleased with the music of 2009, and a bunch of albums have leaked already for the new year. Anywho, here goes…

(20) Passion Pit - Manners

(19) Mono - Hymn to the Immortal Wind

(18) Iron and Wine - Around the Well

(17) M. Ward - Hold Time

(16) An Horse - Rearrange Beds

Passion Pit’s debut album, Manners, is a very fun, light-hearted pop album. It’s so fun to listen to that the vocal style, which is reminiscent of Jackson 5, is forgivable. Mono released one of the only good post-rock albums of the year, called Hymn to the Immortal Wind, and are one of the few bands who can make this kind of music and keep my attention throughout an entire album. It’s more than a collection of pretty sounds; they seem to flow logically from point A to point B, giving you the sense that point C is worth sticking around for. Iron & Wine’s Around the Well is a two-disc compilation of unreleased tracks. Even though it is so long, it’s still his best album in my opinion since it has higher highs than his three studio albums and lacks filler. Previously, I considered him a small-dose artist, but “The Trapeze Swinger” is my new favorite song and is 9 minutes long. Hold Time is M. Ward’s sixth album and is of similar style and quality to his others but he sounds a bit more energized and confident throughout the album. An Horse’s debut album, Rearrange Beds, was posted recently. I liked it for the same reason I liked Passion Pit, it’s simple and fun. Although I should add that I love their singer’s (Kate Cooper) voice. Sometimes an album can just be good pop music, without being a grand artistic statement. I like good music, even if it doesn’t make me think too deeply about anything in particular.

Yeasayer - Odd Blood (2010)

Their debut was widely acclaimed for combining world music influences with standard indie rock tricks. It was an artistically interesting blend, but not one I found especially fun to listen to. The songs seemed to lack a certain kind of spark; there was melody, interesting instrumentation, pleasant ambiance, but I think what harmed that album was a lack of energy. That may not have been a very fair assessment since they aren’t really trying to be an energetic band, but I was turned off of them. Odd Blood is the first noteworthy album to leak this year, and I was fairly excited to hear it. Right off the bat, one vast difference is that they have more fully embraced electronics for this album. Synthesizers dominate the album, while they merely colored their debut, robbing it of most of that wordly feel. They aren’t a completely different band, the vocal style is actually mostly unchanged, but the backing music makes it come off completely different. Songs like “Ambling Alp” (the first single) and “Madder Red” are very radio-friendly, more so than anything on their debut. This can be attributed to the vocal style. For every lively song, there is an obnoxious one, however. “O.N.E.” features one of the lamer choruses I’ve heard in a while, during which the singer sounds a bit arrogant. Yeasayer’s new approach is a mixed bag. A plus is that they’ve replaced much of the more boring parts of their debut with something more lively, and overall, they sound a bit more enthusiastic about music. A negative is that they haven’t necessarily become a more compelling band. Close listens reveal that they’ve simply taken the formula from their debut and added layers of synths and are singing with a bit more zeal. That’s unfair because their debut was anything but formulaic, but it is hard to hear Odd Blood as a cohesive work, just sort of a reimagining of the things that didn’t impress me on All Hour Cymbals. My assessment is biased since I was not floored by their debut. I think fans of All Hour Cymbals will probably like Odd Blood as long as they aren’t put off by the wailing synthesizers. The band has not really changed much, other than this one surface quality, and your opinions of that will likely influence how you receive this album. As for me, this is a step in the right direction, but I don’t love it.