David Bazan - Curse Your Branches (2009)

David Bazan, as vocalist for Pedro the Lion always created a mood of intense desolation. It was just something in his voice that did this, lending an even deeper emotional content to already heavy lyrical themes. His voice is deep and earnest, but doesn’t have all that much energy in it. Not that it sounds effortless, just completely devoid of any inherent positivity, which suits him well to melancholic singer/songwriter fare. This is his first solo album, and it is a bit of a downer. That said, it isn’t miserable to listen to. The first track “Hard to Be” uses a backdrop of acoustic guitar and a persistent snare beat supplemented by ringing organ and piano notes. It’s the sonic equivalent of melancholy, but not overt depression. I would liken it to being in a terrible mood during a beautiful day. That’s really how I would sum up much of this album, with a few exceptions. “When We Fell” is actually upbeat, with a chugging bass line and guitars that ring cheerfully. Backing vocals are used on this track to its benefit, breathing much more life into this song than on some of its counterparts. “In Stitches” closes the album on a sorrowful note, stripping the accompanying instruments to slow drumming and organs that churn in a rather dreary way. The album ends with a half-minute of somber piano notes giving the feeling that his disposition hasn’t changed much over the course of the album. “Bless This Mess” is one of the albums best songs, with a refrain far catchier than one might expect Bazan to be capable of. I find it difficult to explain what it is I like about this album. I do like it quite a bit, it’s just one of those cases of the whole being greater than the sum of the parts. I liked Pedro the Lion, but I don’t think any of their albums were quite as cohesive as this. It seems like this has a bit more personality to it. It’s a clearer showcase of his work, as expected, and he’s so believable it’s hard not to at least respect that. LISTEN

1. Hard to Be – 6:23
2. Bless This Mess – 3:57
3. Please Baby, Please – 3:49
4. Curse Your Branches – 3:34
5. Harmless Sparks – 2:30
6. When We Fell – 3:40
7. Lost My Shape – 3:44
8. Bearing Witness – 3:13
9. Heavy Breath – 3:19
10. In Stitches – 4:33

The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (2009)

The Pains of Being Pure at Heart’s self-titled debut came out this February. When I first heard it a few months ago I was impressed with how well it knew the basics of this style and how to use them to their fullest, as well as with their restraint. They turn in some dreamy, poppy songs, rich with hooks, and lacking the sort of endless indulgent textured sound manipulation I’ve come to expect from dream-pop groups these days. This is an album full of very catchy pop songs, that wont leave your head anytime soon. “Young Adult Friction” is one of my favorites, with its wonderful vocals and very catchy refrain of “Don’t check me out, don’t check me ou-ou-ou-out.” “Stay Alive” is another highlight with acoustic guitar under the typical chiming guitar sounds, and a very pretty chorus. Also “Contender” and “A Teenager in Love” are highlights, although the album is without a track that is significantly weaker than these. It’s a lot of pleasant, pretty guitars supplementing some very fun, well sung, songs. LISTEN

1. Contender – 2:40
2. Come Saturday – 3:17
3. Young Adult Friction – 4:07
4. This Love Is Fucking Right! – 3:15
5. The Tenure Itch – 3:45
6. Stay Alive – 4:56
7. Everything with You – 2:59
8. A Teenager in Love – 3:24
9. Hey Paul – 2:03
10. Gentle Sons – 4:32

The Pains of Being Pure at Heart - Higher Than the Stars [EP] (2009)

There have seemingly been millions of these dream-pop charmers releasing music over the past decade of so, seeking and capturing the hearts of legions of indie-lovers without really distinguishing themselves. The Pains of Being Pure at Heart are a different story—they’re just really good. The diversity is a strong suit because it lends a bit more identity to their work and gives incentive to revisit their work. “Higher Than the Stars” features a shimmering guitar melody that, along with the uptempo drum beat, propels the song. It would be a fine introduction to the band’s work for anyone who hasn’t heard them. “103” is a quick, poppy, tune, that keeps the alive the fun spirit of the first track. “Falling Over” features a bouncy, slightly funky, bass line and guitar part. “Twins” uses a fuzzier guitar melody and more breathy vocals than the other tracks. Then there’s a remix of “Higher Than the Stars” which is a lot of fun itself, slowing the tempo of the song and letting the beautiful female vocals and airy male vocals interact, while a subdued electronic beat draws in over the course of the song. Their debut album, released earlier this year, is also fantastic, and this EP shows that the band is good enough to be around for a while. LISTEN

1. Higher Than the Stars (3:49)

2. 103 (2:03)

3. Falling Over (3:11)

4. Twins (3:18)

5. Higher Than the Stars (Saint Ettiene Visits Lord Spank Mix) (6:47)

Muse - The Resistance (2009)

Muse is a band I find myself on the cusp of fandom of. They have a talent for playing a catchy riff and giving it a sense of tension and monumentality. Unfortunately, they also often take it a bit too far into grandiose territory, at which time is becomes quite obvious what they are aiming for. They’ve released four albums, all of which have a few songs I return to semi-regularly, and a handful of throwaways. “The Resistance” is a bit of a let down, even by my standards. Lead single “Uprising” is a very catchy number, with a hell of a riff propelling it but the problems begin after that song. “Resistance” and “Undisclosed Desires” tread into generic pop territory where both vocals and instrumentation are concerned. Despite some promising moments, such as the latter track’s vocal harmonies towards the end of the chorus, these songs are ruined a bit by that. “The United States of Eurasia” is too Queenesque, and blatantly so. At one point during the song they actually sing the lyrics “they go on and on and on,” (heard that before?) without a shred of irony. This is only the first four tracks, but the album continues in this vein as it goes on. The songs all suffer from one of two problems, being too simple-minded (Unnatural Selection, MK Ultra) or else imitating Queen (Guiding Light, I Belong to You), sometimes both within the same song. Then the last three tracks form the “Exogenesis Symphony,” which is just too much in too many ways. I don’t think it’s fair to fault Muse for what they’re trying to do. It just isn’t what I like to hear from them. I can’t say I’m disappointed, since my expectations were not all that high to start with, but I can say this is their worst album yet. I just can’t get past the flaws in order to enjoy this album. I really like a lot of the band’s singles, and some of their earlier album tracks as well, but “The Resistance” doesn’t play to their strengths. LISTEN

1. Uprising – 5:04
2. Resistance – 5:46
3. Undisclosed Desires – 3:55
4. United States of Eurasia (+ Collateral Damage) – 5:47
5. Guiding Light – 4:13
6. Unnatural Selection – 6:54
7. MK Ultra – 4:06
8. I Belong to You (+ Mon coeur s'ouvre a ta voix) – 5:38
9. Exogenesis: Symphony Part 1 (Overture) – 4:18
10. Exogenesis: Symphony Part 2 (Cross-Pollination) – 3:56
11. Exogenesis: Symphony Part 3 (Redemption) – 4:36

The Mae Shi - HLLLYH (2008)

I passed over this album when it came out, not being impressed until watching a clip of them performing their single "Run to Your Grave." The song, which is one of the more tuneful ones here, has a catchy melody sung by what sounds like the entire band. The whole song has an anthemic feel. The electronics that dot the album add color to it and sound like they were lifted from an old video game. The vocals and the use of electronics rescue the album from falling into a sort, it's a very exciting listen. You get the sense they're comfortable trying anything and that they can have a lot of fun with whatever they do, even when singing about holy wars. Much of the album is in the same style of "Run to Your Grave," with the exception of "Kingdom Come" an 11-minute techno remix of all the other songs on the album. Now it takes very close listening to actually hear that this song is borrowing melodies and rhythms from other songs. On first listen it might appear to be an 11-minute electronic medley, and it's a good one that somehow manages not to disrupt the flow of the album. Overall, this is quite a good album. Some songs are a bit stronger than others, but they have a really good sound and the band sounds like they play well together. My favorites are: "Lamb and the Lion," "7xx7," "Run to Your Grave," "I Get (Almost) Everything I Want," and "Divine Harvest." Unfortunately the future of the band is in question as two members left to form "Signals" and the other two plan to continue as The Mae Shi. LISTEN

1. Lamb and the Lion (2:24)
2. Pwnd (2:49)
3. Boys in the Attic (1:25)
4. 7xx7 (2:03)
5. The Melody (2:18)
6. Leech and Locust (2:45)
7. Run to Your Grave (3:53)
8. Kingdom Come (11:37)
9. I Get (Almost) Everything I Want (3:44)
10. Party Politics (2:14)
11. Young Marks (2:06)
12. Book of Numbers (1:56)
13. HLLLYH (4:56)
14. Divine Harvest (2:13)

Have a Nice Life - Deathconsciousness (2008)

Have a Nice Life’s debut album Deathconsciousness was released in 2008 and is a very intense listen. Stylistically, it borrows from a number of touchstones without losing its general feel, and its inaccessibility adds to its mystique. With vocals buried deep in the mix, attention drawing guitars and atmospherics churn about during each song creating a fascinating mood, but not completely dulling pop sensibilities that are there (see “Bloodhail”). Some tracks lean towards this noisy pop sort of territory, while others are completely offbeat, like “Hunter” which sounds like some cult chanting in a town square at noon on an overcast day. So maybe that didn’t help you in any way imagine what the song sounds like, but the sounds conjure very distinct, yet varied, images as the album progresses. There’s something captivating about the drums on “Waiting for Black Metal…”, perhaps the fact that they seem, in theory, so out of place but work so well. Sometimes it’s haunting, other times chaotic, sometimes even intimate. The album has a lot of character and is very diverse, all the while maintaining a sort of melancholy which may be the only thing that justifies naming your album Deathconsciousness. It is difficult to classify, other than with the word “dark” and often it is unclear exactly what is going on, but that adds to the fun, I think. The negative: it’s so long. At 85 minutes, the album continues well past its welcome, and while there are some artists I can listen to for an hour and a half straight, this duo is not one of them. It’s an incredible album, best taken in halves. LISTEN

1. A Quick One Before the Eternal Worm Devours Connecticut (7:53)

2. Bloodhail (5:40)

3. The Big Gloom (8:06)

4. Hunter (9:45)

5. Telephony (4:38)

6. Who Would Leave Their Son Out in the Sun (5:19)

7. There is No Food (4:00)

8. Waiting for Black Metal Records to Come in the Mail (6:17)

9. Holy Fucking Shit: 40,000 (6:29)

10. Deep, Deep (3:50)

11. The Future (5:26)

12. I Don't Love (6:13)

13. Earthmover (11:28)

Bowerbirds - Upper Air (2009)

This folk trio was cited as one of John Darnielle’s (Mountain Goats) favorite bands. Most dominant on their recordings, of which this is their second full length, is the acoustic guitar, which is so high in the mix that every strum commands a lot of attention. Aside from that, wonderful vocal harmonies can be heard throughout, notably on songs like “Teeth,” “Ghost Life,” and “Chimes.” All three members play percussion. This gives them the illusion of intimacy as apparent interconnectedness of musicians is more often an asset than not. I imagine it makes the live show interesting as well. Aside from their drummer, the band consists of a male vocalist who also plays the acoustic guitar and hi-hat cymbal, and a female vocalist ho plays the accordion and a bass drum. Obviously the album is very percussive; see the end of “Silver Clouds” for an example. You can almost tell there’s more than one drummer playing. This could potentially make for some very interesting recordings; with three separate minds playing the same instrument there’s more opportunity for diversity. I don’t know how this could play out, but it’s something to think about. The decision to divide the drums amongst three people must have been made for a reason; I wonder what it is. The accordion is a nice touch as well, lending texture to their already very intricate and dense music. The vocals, especially the male ones, are quite soulful, and the gorgeous acoustic guitar and accordion (sometimes I think I hear keys too) add to this. “Northern Lights” is an especially beautiful song.

1. House Of Diamonds (2:58)
2. Teeth (4:10)
3. Silver Clouds (4:30)
4. Beneath Your Tree (3:40)
5. Ghost Life (5:24)
6. Northern Lights (2:54)
7. Chimes (4:18)
8. Bright Future (4:01)
9. Crooked Lust (4:04)
10. This Day (3:08)

Low - I Could Live in Hope (1994)

Slowcore is a ridiculous term but is a fairly accurate way to characterize Low. They are defined by the slow tempo of their music and it's what makes their music so great, I think. The songs have a lot of room to breathe and reveal themselves as incredibly beautiful and powerfully emotive. For those unfamiliar, the music is sparse, minimalistic, and echoes throughout; everything about it is very slow and the vocals are pretty but a bit haunting. "I Could Live in Hope" is the band's first album. Their most recend album, their eighth, came out in 2007. Throughout their career, they've released consistently engaging material, some of which has proven a bit experimental--their most recent releases, especially. I don't think this is their best album, and it certainly is not my favorite, but it might be the one that best encompasses their sound and the reasons they're talked about the way they are. mediafire

1. Words (5:45)
2. Fear (2:12)
3. Cut (5:43)
4. Slide (3:46)
5. Lazy (5:35)
6. Lullaby (9:46)
7. Sea (1:45)
8. Down (7:24)
9. Drag (5:11)
10. Rope (6:11)
11. Sunshine (2:59)

The XX - The XX (2009)

Seems to reside somewhere in between The Cure and The Killers. Not a very descriptive classification, but they have that cold, airy sort of dissonance both those bands share. Some parts of the album are brooding, but it never reaches the same sort of post-punk melancholy of The Cure. “Heart Skipped a Beat” features a guitar tone borrowed straight from The Cure’s Disintegration. Other parts lean towards a danceable new wave feel but don’t necessarily get there. The album hints at moods without actually being all that clear about what it’s trying to be. It’s a poppy, accessible collection of songs, but it revels in its mid-tempo haze, which accounts for the mood. The vocals, both male and female, express desolation and insecurity, which fit well with the somber music. Faint electronics and percussion provide a backbone that lends texture to the songs but don’t really contribute much energy. Some of the songs drag on a bit and don’t have much going on (“Shelter” and “Infinity”). Overall, this is a confusing album. I am unsure how exactly to feel about it. There are a number of different things it does well, but it feels somewhat restrained. Something holds me back from loving this band, but this is quite a solid debut album from a group of kids younger than myself and significantly more talented. I have over 14,000 songs and this is the first artists whose name begins with X on my itunes. mediafire

1. Intro (2:08)
2. VCR (2:57)
3. Crystalised (3:22)
4. Islands (2:41)
5. Heart Skipped a Beat (4:02)
6. Fantasy (2:38)
7. Shelter (4:30)
8. Basic Space (3:08)
9. Infinity (5:13)
10. Night Time (3:37)
11. Stars (4:23)

Future of the Left - Travels With Myself and Another (2009)

First thing that comes to mind is they really love to be loud. The first track “Arming Eritrea” is a good example; a few seconds in the guitars and bass just go crazy while vocalist Andy Falkous howls about his frustrations towards some guy named “Rick.” It’s really very characteristic of this band. They create a catharsis that’s intense but more fun than threatening. “Chin Music” is a great example of how they often like to use their bass, louder than much else and carrying the melody, another defining characteristic, especially noticeable live. This band is very intense, but besides that, they know how to write some great melodies, which works with the aggression to create something both welcoming and powerful. “The Hope That House Built” is one of the catchiest songs of the year. I couldn’t get it out of my head for months. These guys don’t let aggression dull their creativity, which makes the music that much more meaningful. Also check out their debut album, “Curses.” mediafire

1. Arming Eritrea (2:57)
2. Chin Music (1:56)
3. The Hope That House Built (3:41)
4. Throwing Bricks at Trains (2:36)
5. I Am Civil Service (2:17)
6. Land of My Formers (2:47)
7. You Need Satan More Than He Needs You (2:46)
8. That Damned Fly (2:07)
9. Stand by Your Manatee (2:08)
10. Yin/Post-Yin (2:54)
11. Drink Nike (2:33)
12. Lapsed Catholics (4:15)