Thursday, January 22, 2009

Top 5 (Under the Radar) Albums of The Year

Seeing how we've been doing a music blog for a little over a half-year now and I feel it is suitable to call myself "a blogger" (whatever that means), I feel it is my right, nay, my duty to put out an indulgent, tired cliche of a Top 5 List. I feel I have this right firstly because of my undying love for "High Fidelity" as well as my passionate desire to spread the word about some of the fantastic albums that have flew under the radar this past year. You will not see Coldplay, Kings of Leon, or even TV on the Radio on my list, seeing how both of those acts received so much year end attention. Also, you will not see The Hold Steady on my list, because I feel I have devoted enough mental adoration to them and their previous albums, I already expected greatness from this album, and me putting them on my list would be somewhat masturbatory. Rather, you will see some really fantastic indie gems that snuck up on me this year and managed to hold my attention and buzz around in my head long enough for me to write them down right here.

5. Noah and the Whale - "Peaceful the World Lays Me Down"

I have embarrassingly little to say about this album since I got my hands on it just a few days ago, but any music based on Wes Anderson films, and imbued with their quirk and playful charm are good by me. The very first time I heard Noah and The Whale, I listened to the entire album in one sitting, which has maybe happened to me three times in my life. That is not to say I have never listened to an entire album, just not the first time I play it. If I had heard this album earlier, it would probably be higher on my list, but this is the way the world works.




4. Amylie "Jusqu'aux oreilles"

First of all, I don't speak any french. None. I barely passed intro French in grade 10, and it's been a while. I can now tell you that I have no idea what Amylie is singing about. It could be anything. She could be singing about elephant sex and I would be humming along merrily. This is a testament to Amylie's talent. I've heard some comparisons to Feist, but I'm not sure I hear it. What I can tell you is that Amylie can sing beautifully. She is probably the most talented singer I've heard in a while, and manages to keep me captivated by just her voice and the playful melodies of her songs. Even if you're not into French music, like I certainly am not, check her out, you will most likely be pleasantly surprised.




p.s. the translation video is somewhat terrible, but it's all i could find. I do not think one needs a translation to appreciate the music, in fact, it may hinder one's enjoyment.

3. Bon Iver - "For Emma, Forever Ago"

I can't really say much about this album that hasn't already been said. Perhaps the most critically acclaimed of the albums on my list (at least in the blogs and magazines that I frequent), so I will not devote too much time to this album other than to say that it is beautifully heart-wrenching and honest. Please do yourself a favor and check out Bon Iver, and grow a beard in celebration of this fantastic album.




2. Los Campesinos! - "Hold on Now, Youngster..."/ "We Are Beautiful, We Are Doomed"

Ok, technically I suppose this is cheating, but you know what? A self proclaimed blogger has that prerogative, and both albums were released this year. Overflowing with joyful teenage neuroses and ideosyncratic playfulness, (see why i'm a blogger now? thought of that one in psych class) Los Campesinos! provides the soundtrack to your teenage years, complete with glockenspiel, and really damn catchy pop tunes. Also they're from Cardiff, home of my favorite anti-alien task force (if you get that, you get a gold star, but you will never touch a breast again, sorry dude). Admittedly, they are not for everyone due to the fact that the lead singer might rub some people the wrong way (particularily those with a low tolerance for goofy emo haircuts and naisally pseudo-singing), but if you are the least bit interested, please check em out.



1. Frightened Rabbit "The Midnight Organ Fight"

I absolutely love this album. No other album this year has stuck with me as much as this. I can listen to this album at any time, any place. I even listen to this while running, and it keeps me going, which is a big deal for me since running is perhaps the most boring thing for me to do. I've describes Frightened Rabbit as a Scottish version of Glen Hansard's (of Once fame) The Frames, but I don't think that really does them justice. It's hard to put my finger on it, but for some reason, no other album this year really resonated with me like Frightened Rabbit. I'm not sure if its the writing, or the delivery, but this album has since been put into my pantheon of albums with such peers as Interpol's "Turn on the Bright Lights" and The Thermals "The Body, The Blood, The Machine". I have listened to this album in its entirety more times this year than I can count on all of the digits on my body, and in my opinion, it is better in its entirety than in its individual parts. Of course, as usual, Grey's Anatomy beat me to the punch and featured "Good Arms vs. Bad Arms" in an episode, and apparently Chuck also had a couple songs, which is news to me since I watch it, but I just looked it up, so there you go. Also, ladies, a hint: nothing will make me drop my pants faster than a thick scottish accent, just for future reference.





Honorable Mentions: The Streets, Arkells, Fleet Foxes, Girl Talk, Elliot Brood

Saturday, January 17, 2009

exercises in self-evisceration -- january 18, 2009



One of my favorite parts of High Fidelity is the idea that our attachment to music is largely autobiographical. I am never quite sure if my attachment to a song at a particular emotional crux in my life is because I had said emotion and then the song fulfilled it, or if I heard the song and felt said emotion in a devastatingly complete way. Put differently, is music my autobiography or am I music's autobiography? If Prufrock measured out his life in coffee spoons, what does it mean that I measure mine out in chords and verses? And if I make decisions based on the intersection of one particular song into my life at one particular moment, do I still have agency?

In other words, enjoy the self-evisceration. Real emotion makes for good production value.

original track list:

01. "Cath..." - Death Cab for Cutie (Narrow Stairs);
02. "Neither of Us, Uncertainly" - Deerhunter (Microcastle); *
03. "Skinny Love" - Bon Iver (For Emma, Forever Ago);
04. "New Romantic" - Laura Marling (My Manic & I);
05. "It's Not" - Aimee Mann (Lost in Space); *
06. "Stop Me If You Think You've Heard This One Before" - Coldplay (cover);
07. "I Will Not Sing a Hateful Song" - The Constantines (Kensington Heights);
08. "Crowd Surf Off a Cliff" - Emily Haines & The Soft Skeleton (Knives Don't Have Your Back);
09. "Teeth" - Kristin Hersh (Hips and Makers); *
10. "Lost in the Zoo" - Goddamn Electric Bill (Swallowed by the Machines);
11. "Remember Me As a Time of Day" - Explosions in the Sky (How Strange, Innocence);
12. "90-Mile Water Wall" - The National (Sad Songs for Dirty Lovers);
13. "Never Is a Promise" - Fiona Apple (Tidal);
14. "Have to Explode" - The Mountain Goats (Tallahassee);
15. "About Today (Live)" - The National (The Virginia EP);
16. "Little Person" - Jon Brion (Synecdoche, New York OST). *

NOTE: I forget to check that the tracks were all correct. "Cath..." is now actually "Cath...".