Top 30 Albums of the Decade- Part 5

10. Death From Above 1979- You're a Woman, I'm a Machine- 2004

This album basically amounts to one very long pick up line, With Sebastian Grainger trying every angle he can think of; He's really deep and poetic (“Black History Month”), he wants a long meaningful relationship (“Romantic Rights”), he wants to hook up for the night (“Go Home Get Down”), he wants to go steady (“Going Steady”), he wants to get back together (“Blood on our Hands”), he's a traditional family man (“Little Girl”), he just needs like 5 minutes (“Pull Out”). Whatever approach he takes, its set to really loud aggressive rock, no matter how appropriate or inappropriate the pairing is. And that's kind of the fun of this album; there is a total disregard to an overall sense of greater meaning or even continuity, instead being devoted to something trashy and salacious, this is an album that you can enjoy on a completely carefree level, which is a bit odd considering how intimidatingly loud and fast the tracks are. Its greatest achievement might actually be poking fun at, and showing how silly the whole love ballad genre of music is. You don't try and pick up a girl with some bloated Guns and Roses-esque crap rock poetry- you do it the DFA way! Loud, rude, abrupt, and fun. Musically, its about as simple as it gets but the guitar hooks are incredibly catchy and Grainger has the kind of voice that's perfect for ironically shallow and melodramatic wailing. He can scream really loud, but not to the point where it gets grating and inaudible like something like Alexis on Fire. It's a shame these guys only made one album together, more so considering the result of their demise was MSTRKRFT. Reunion tour!

Best Tracks- Romantic Rights, Blood on our Hands, Little Girl

9. Arcade Fire- Funeral- 2004

This is one of those painfully obvious choices that winds up on most people's lists, but it really is that good. Funeral is one of those rare albums that takes a decidedly classical approach to music, in terms of instruments, arrangement, vocals, and manages to modernize it and infuse it with pop beats. This does not make it shallow, rather very catchy and more palatable to listeners. Its about as far away from shallow as you can get actually as the album, just as the name implies, revolves mostly around death, remorse, and separation. But it's more reflective than whiny; Win Butler isn't complaining through music, rather he is using the medium to work out weighty stuff that would other wise be difficult to articulate in a more literal sense. Thematicly engaging as it is, Funeral also sounds really good thankfully; these are very talented people. Piano, guitar, violin are perfectly matched together creating an almost staggering variety of sounds, rhythm and pacing. Even though its a big band with a lot of instruments, they rarely use them all together at once, actually taking a more minimal approach, only rarely unleashing it all so as to heighten impact of more important moments (Maybe Broken Social Scene should try that). I love the very out of left field, startlingly fast beat endings to tracks like “Une annee sans Lumierere” and “Crown of Love”. “Haiti” is a wonderfully bright and cheerful song midway through; as if the group was very aware that you'd need a break from all the unpleasant emotion throughout the majority of their work here. Win Butler and Regine Chassagne have terrific and very obviously trained voices. He sounds frail and quivering, but very steadfast and determined throughout, while she can go from a whisper to wailing at the top of her lungs but still maintain a very soft understated presence, especially in the final moments of “In the Backseat”. Even with its voluminous amount of content, Funeral still seems to be more than the sum of its parts.

Best Tracks- Wake Up, Tunnels, Une annee sans Lumiere, In the Back Seat

8. M.I.A.- Kala- 2007

This album is the soundtrack to globalization if there ever was one. The excessive, superficial capitalism of the north is mixed together with the perceived primitive tribalism of the south and the third world. It's bizarre but strangely compelling. This isn't entirely dissimilar to the approach and views Metric had in Old World Underground, but rather than being lost and overwhelmed by despair of such notions, M.I.A. manages to rise above it, like she's toying with the concept; as if she is in complete control or at the very least, not phased by the trends she observes and documents. This is also similar to her first album Arular, but the production is much more sophisticated here with a large amount of the music drawing from traditional African, Asian, and South American sounds. Its a lot of fun listening to tribal African beats while she goes on about being a model and watching Lost on cable in “Bird Flu”, ghostly jungle chants while she raps about her phone going off in “Hustle”, or genocide in Darfur while modern production values speed up her voice to that of a chipmunk in “Jimmy”. Its the north/south relationship playing off of each other; its completely contradictory in a traditional sense but the dichotomous relationship she creates between the two is incredible. By far the best part of the Album is “20$”. She sings about the poor, destitute, tortured, and exploited people of the world- but it's played to a super slowed down version of “Blue Monday” by New Order and she samples The Pixies. Genius. It's something a jaded ironic victim of pop culture couldn't do, nor could anyone from the less develop world who only hear horror stories about the industrialized nations. But M.I.A. Occupies that liminal space in between; the daughter of a Sri Lankin rebel, yet educated in London. She, and this album has a unique quality that can't be touched by anyone else.

Best Tracks- Bamboo Banger, Jimmy, 20$, Paper Planes

7. Radiohead- Kid A- 2001

There isn't really much more that needs to be said about this album. Everyone with a passing interest of the group is aware of its genesis. After creating what many considered one of the best albums ever, Thom Yorke was overwhelmed by depression and anxiety over the possibility that there was nowhere to go but down. So instead of trying to beat the odds, the group made an album completely different from anything ever done before. In doing so, Kid A became the forerunner of the shape of music for the entire decade, as the medium slowly shifted away from studios and into computers. It would represent how music would change, becoming seemingly cold sterile and artificially created. As a result it alienated a lot of people, if only for not just being more OK Computer. But among all the alien and disorientingly inorganic qualities of Kid A there is evidence and artifacts of all the human effort behind these songs. Rather than using all the power of the digital age to brush away and delete imperfections and distortions, Radiohead uses that power to embellish them and incorporate them into the music, giving the songs something of an embryonic quality; they may have been born from computers and synthesizers as opposed to guitars and drums, but they were born, as opposed to being callously computed and sanitized. This was a sound that was being created for the first time and we can hear all the passion and excitement and aching in Yorke's voice that comes with the growing pains of it. From the discontent of the status quo in “Idioteque”, a mere thought in his head in “Everything in its Right Place”, to how ever else you choose to interpret the rest; This isn't a cold and sterile album.

Best Tracks- Everything in its Right Place, Idioteque, Optimistic

6. Sleater-Kinney- The Woods- 2006

The Woods is pure rock and roll. Not punk rock or pop rock, or metal or any other variation or perversion of the genre. Its extremely loud. As in gratingly loud, scathing and cacophonous. If your ears make it past “The Fox”, you've passed a test of sorts, and you get to keep listening. Its also extremely dense; as in complicated, layered, rich in content. That fact that so much music is made from just three people- two guitars and one drum set- not even a bass- is astonishing. This is a group that forces absolutely everything they could out of their instruments to create the richest, fullest sounds one could hope for. By instruments I also mean their voices, as Corin Tucker and Carrie Brownstein spend much of the album pushing their vocal chords to their limits. They have this oscillating sound quality to their voice that allows them to sustain loud bombastic wails for incredibly long times. Its exhausting listening to it so I can't even imagine what it's like to perform it. The album for the most part is relatively fun loving and doesn't really beg to be interpreted or analyzed on a lyrical level. One notable exception is the track “Jumpers”, which is a startlingly literal and eloquent take on suicide. Some of the imagery is pretty unpleasant- “my falling shape will draw a line between the plow of sea and sky/ I'm not a bird I'm not a plane... four seconds was the longest wait”. The song sort of comes out of nowhere; but it sounds amazing, with one of my favorite, albeit brief, solos. The fact that all of this is done by three approaching middle aged women who most would probably mistake for soccer moms is all the more impressive. Plus, it's got an 11 minute song about fucking.

Best Tracks- Jumpers, Entertain, Rollercoster, Let's Call it Love

Song of the Week: "Keneda" by Geinoh Yamashirogumi

I recently found an original English dub of the classic film, Akira. Its meticulously detailed, looks absolutely stunning, and is violent as hell. Much of its soundtrack is very dense and obtuse, but the opening track, titled "Keneda" by composer Geinoh Yamashirogumi is brilliant. Give it a listen.

Top 30 Albums of the Decade- Part 4

15. The Organ- Grab That Gun-2004

The Organ and their only album, Grab That Gun, can aptly be described as a female version of the Smiths. They are dark, moody, brooding, depressed, and really good at it. But for such a macabre album, its refreshingly faced paced. The group uses every instrument they can, guitar, base, organ, even the lead singer's- who's name I can't recall- own voice to propel the songs at speeds many of their contemporaries wouldn't attempt. In the case of this album, its many strengths are obvious and apparent The lead vocal's stoic, almost monotone voice, gives the songs a cold tone and makes it all the more engrossing on the few occasions when she comes out of her shell and forces out just a few wailing words. The groups titular instrument is used to full effect here giving every song a great sense of atmosphere and ambiance. What's particularly interesting about the album is how much of its anxiety and existential malaise is oriented around the concept of living in the city and the effects of an urbanized life. Wondering around malls, looking at street lights, memorizing the city. As a result the theme matches the tone perfectly, which is not only rare but extremely compelling. Special attention should be payed to the opening track, “Brother”; an excellent blend of the groups instrumental and vocal talent, with a strikingly ominous beat.

Best Tracks- Brother, Steven Smith, Basement Band Song

14. The Raconteurs- Consolers of the Lonely- 2008

Finally Jack White had a big band to go with his big ideas. Yes, there was Broken Boy Soldiers, but I thought that was a little hit and miss. But with Consolers, Jack was able to make the densely layered music that you can't do to much extent with just a drum set and guitar. It's not just Jack's influence at work here as Brendon Benson also lends great vocals and his own unique musical talents. Here we hear roaring fun interplay between multiple guitars, some excessively complicated and impressive solos, mesmerizing piano tracks, all sorts of great additions like banjos, fiddles, I don't know what else. There's playful tunes like “Hold Up”, tracks to really bang your head to like “Salute Your Solution”, and real old time classics like “You Don't Understand Me” and “The Switch and the Spur”. The high point, as most people will no doubt agree is the last track, “Carolina Drama”. Rarely do you hear such an expertly crafted story in song, with an epic climax to close of the album.

Best Tracks- Consolers of the Lonely, You Don't Understand Me, Carolina Drama

13. TV on the Radio- Dear Science- 2008

TV on the Radio is a group that always seems to capture the best of whatever genre it is they're approaching, and in Dear Science, they approach a lot of genres. Rock, funk, hip hop, blues, pop and more are well represented here. Everything they do here, they do so well. The sweeping encompassing horn section that's blended in with the high pitch keyboards at the end of “Crying” come to mind, as do the pulsating low humming guitars at the end of “Halfway Home” (which was just about my favorite track of 2008) What I think is great in particular about this album is every song seems to be crafted with as much content as possible, there is no minimalist approach here. There's so much to hear in each track that you'll never pick it all up in the first few listenings. But its so carefully and meticulously produced that none of it seems cluttered, all the sounds are put together perfectly and complement each other. As always Tunde Adebimpe is a terrific front man. He can transition from a deep brooding voice to full on falsetto in a single beat and seem completely natural and not at all forced at all times. He has an excellent ear for his own pacing as well, always moving forward at the exact right tempo, weather it be at a somewhat leisurely pace in “Lover's Day”, spitting out words as fast as he can in “Dancing Choose”, or becoming subtly but perpetually faster in “DLZ”. I also appreciated that there is obviously a lot of social and political rhetoric at work here, but they don't beat you over the head with it; they're smart enough to make sure whatever message they might have be secondary to just making really good music.

Best Tracks- Halfway Home, Crying, Dancing Choose

12. Animal Collective- Merriweather Post Pavilion- 2009

If there was ever an album that had to grow on me, this was it. I was not a fan of Merriweather at first. It seemed too abstract, I couldn't identify and discernible melodies or musical points of reference. So many of the songs seemed obstructed by a wall of white noise and background noise. But all you have to do is keep at it, and once you get a sense for Animal Collective's distinct approach to music you see how incredibly layered and creative the songs of this album are. Merriweather strikes a balance of mystery and wonder- with the through the rabbit hole like opening of “In the Flowers” and zany african vibe of “Lion in a Coma”, with comfort and nostalgia- like the soothing twinkling close of “Daily Routine”, and the simple pleasures of a sunny day in “Summertime Clothes”. Then there is “My Girls”, my favorite song of 2009. The sound crafted here is so encompassing and grandiose that it would be almost overwhelming were it not for the fact that Panda Bear's and Avey Tare's voices are so hypnoticly relaxing. It's a song that came out at the exact right time; in a moment when everyone was freaking out about their life of luxury dieing out along with the economy, Panda Bear only needs a roof over his family to be content. If you listened to this album and didn't like it, you should really try it again. Rather than working within the boundaries of the medium, Merriweather broadens the definition of what music can be.

Best Tracks- My Girls, Summertime Clothes, Lion in a Coma, Brother Sport

11. Radiohead- In Rainbows- 2007

My own responses to In Rainbows make it the hardest of Radiohead' LPs to classify or even describe. It's not as thematicly consistent as Hail to the Thief, it's not as game changing as Kid A was, nor was it as grandiose and ambitious as OK Computer was. Does that make it a more down to earth and ordinary album like The Bends. I don't think so. For all the merits The Bends had, it was made at a time when Radiohead approached rock music in fairly conventional ways. In Rainbows might be a way point in between The Bends and Kid A, but that doesn't really do it justice. Here we have a band that has attempted so many different things in music and with this album they appear to be searching for balance as opposed to the next big thing; and they come off as very successful in it. Thom Yorke and crew carry on with a sense of confidence and resolve that has been somewhat overshadowed by reclusiveness and anger in the past. Best of all In Rainbows is an album that you can tell the whole group really contributed to. This is not to say that Yorke has hijacked the creative process in the past, but this is more of an ensemble oriented album. Obviously so much of this is done in the process of post production but the aspect of band playing together (even if it was recorded one instrument at a time) really shines through; drums piano and guitar out shining the more computerized parts of the Radiohead aesthetic more often than recent albums have allowed. Still, the more unconventional music they are known for is very much present and terrific, the bluesy mashup of keyboard and drums in “15 Step”, the Boards of Canada influenced “All I Need”, the simple and haunting “Videotape”. I don't think I did a very good job of describing what this album is like, but I still absolutely recommend it

Best Tracks- 15 Step, Bodysnatchers, Videotape

Review: Broken Social Scene- Forgivness Rock Record

Being an upper hierarchical supergroup such as Broken Social Scene has meant that the group has always had certain unique advantages. Solid solo efforts from Kevin Drew, Brendan Kenning, Emily Haines, and Leslie Fiest show that the crew has a vast array of talented and creative sources to draw from. Their is a great deal of variety peppered through out Forgiveness Rock Record. This is undoubtedly the album's biggest strength. With so many different vocal sources and perspectives, this is an album that maintains a fresh appeal even after repeated adventures through its content. “Art House Director” has a playful big folk band vibe, blended with low key funk. The first single, “World Sick” is typical of the bombastic grandstanding that BSS only occasionally showcases. “Meet Me in the Basement” is a spiritual successor of sorts to “KC Accidental” from You Forgot in People. This time however it is free from the conflicting depressed nature of KC and is instead carries an anxious optimistic quality.

While the album is refreshingly diverse in terms of sound and pacing, it carries a thematicly consistent message throughout. Their first studio LP focused primarily on conflict and anguish- the things we do to hurt people. Their 2005 LP (unofficially called Windsurfing Nation) was more about distancing oneself from such issues. With Forgiveness Rock Record, the group returns to the problems of the past, not to rehash them but instead to find closure and as the name implies, forgiveness. In retrospect, this may seem like a logical progression, but it seems unexpected coming from what was initially such a cynical experience. There is evidence of this throughout the record. Emily Haines sings “Off and on is what we want”, admiring that it was at least not entirely the other persons fault.

In past efforts, Broken Social Scene has suffered from the malignant “too many cooks in the kitchen issue”. With so many unique sources of creative input trying to coalesce into a single coherent stream, individual ideas and concepts end up clashing with others and regrettably create a somewhat washed out sound. This time around that problem has been, while not entirely, greatly alleviated. Instruments and voices are more balanced with considerably less obtuse white noise obscuring the beat- especially compared to their second LP. The whole album benefits from a more direct focus in terms of melody; songs sound tighter, albeit it slightly less expansive than previous work. Regardless, its good to see the group tinkering with the Broken Social Scene formula. Adding some fresh blood to the group seems to have paid off, giving them something of a new edge.

Much to the chagrin of myself and no doubt others as well, Forgiveness Rock Record, like its predecessors suffers from an almost conceited and pretentious devotion to boring bland and long fade outs. “World Sick” is a terrific opening track, with a grand sense of scale and scope setting the tone for a more opportune oriented album- for the first 5 minutes at least. The listener is then subjected to nearly 2 aimless minutes of nothing more than the last remaining instrumental notes lethargicly wasting away into nothingness. This is a particularly sore point of contention for me when it comes to music; one that I will give no group a pass on. “Great Release” by LCD Soundsystem is absolutely brilliant- but I always skip the last 60 seconds of epilogue. BSS are even worse offenders here. Why are they wasting their and our time with this. They prove in the very next track, “Crash Scene” that they are just as conformable closing a track with a brief, intense climax that is vastly more satisfying. “ungrateful little father” is just as frustrating, as the song devolves into the occasional chiming of a twinkling bell for, again, almost two minutes. It seems like they were trying to create the ephemeral twilight of recent Animal Collective songs- instead it sounds boring. This worst part of this is it makes an otherwise interesting and adventurous album seem long in the tooth and makes listening to the whole thing a laborious chore; it really shouldn't be.

Nevertheless the parts of substance are engaging- effectively bridging the gap between hi tempo optimism and relaxed contemplation. Nothing about this album is depressing; regret and remorse are eschewed by contentment. It seems that their experiment was a success. As long as its summer, Broken Social Scene might as well have mad some summer music.

We Might Just Get That New Strokes Album Afterall

Speaking to the recently brought back from the brink BBC-6 music (yesssss!!), Strokes front man Julian Casablancas claims the perpetually delayed new album is finally nearing completion- sorta. Actually over a year ago, the general feeling among the band was that the album was almost done and would be out in mid to late 2010. According to Casablancas some in the group thought the album was ready for release yet others were convinced it needed a touch more fine tuning. As the post First Impressions of Earth funk continued to linger around the group the album got pushed back repeatedly. First to the end of the year, then to Jan 2011, and now it would appear the album is coming out march next year. Here's hoping we don't have to endure another Albert Hammond Jr in the mean time. Excerpts of the interview below.