Sound It Out Records

In today’s music culture, a leave of absence can be a dangerous move. Minus the Bear spent the course of 53 weeks in the studio in addition to extended lengths of time on the road. Their previous effort, Planet of Ice, came out at the tail end of summer in 2007, when guitar driven indie pop seemed to reaching it’s zenith and while the musical landscape began coasting into largely synth based music. It is with little surprise that upon hearing OMNI, the game had obviously changed.

Filtered drums swell in the intro of “My Time”, the most synth heavy affair on the album. Maybe synth heavy doesn’t encompass the sonics of the song: it IS a synth pop song. Here MTB proclaims “we can do that.” The next tracks “Summer Angel” and “Secret Country” are largely business as usual for the band, with the word “largely” excluding the amount of space the band creates and allows on these tracks.

“Secret Country” however gives the first real taste of openness, with the breakdown surprising most of all, if for nothing more than its use of roto toms! It feels like the band attempted to sneak their love for Pink Floyd in here, with the effected guitar and droning synthesizers.

The mid section of the album is most noticeable for its varied use of vocals. Here they have been refined to their purest form. Most love them or hate them. It would be nice to hear a different array of effects on the vocals.

Most bands are masters of a certain dynamic. MTB have mastered tense and nervy two guitar rock. OMNI shows less of the overtly mathematical and precise guitar, and more of the dynamics that a full band can create. The bass and keys have historically been underplayed (the bass more so), the keys often mimicking and rephrasing guitar lines. Here both are allowed to proudly wave their flags and showcase their relevance in the quintet.

That’s not to say that the abundance of atmosphere comes at the expense of the guitars and drums. Often the guitars provide rhythmic interplay that help create the tight, complex rhythms the band is known for.

Make no mistake, heavily effected guitar is still prevalent. The stuttering samples, often played backwards and/or at double speed are still in abundance. As a whole the album displays a remarkable amount of wah guitar with its funk leanings, a first for the band.

Their love for electronic music is most prominent on “Animal Backwards”. I want to say that it’s a club hit in disguise, but that would be a disservice to the band. It’s a club hit. I can imagine it at a nearly painful 120db, drunk and hazy, needing to unbutton just one more button to breathe easier.

They return from the club with “Dayglow Vista Rd.”, a track that would sound at home near the end of Menos El Oso. But what comes next is as surprising as what came before it.

“Fooled By The Night” glides in with reverberated organ sounds giving the vocals all the room they need to lead. The song’s crescendo is mild, but it’s every bit suited to the song. Arguably the most honest and vulnerable lyrics on the album, though the vocals show their limitations.

But they’re ok with it. They’re not a top 40 artist, despite producer Joe Chiccarelli’s noticeable assistance. Minus The Bear is a band that has climbed the ladder to be where they are, doing what they want, and what they love.

Yeah, the production is slicker than any thing we’ve seen from them yet. And yes, I was hoping for an album full of sounds as wild as “Broken China”, the b-side from their winter 2009 single. But it’s another step. This being the most logical.

If you wanted more of the same, you’ll get some. But just enough to remind you who you’re listening to. If nothing else, OMNI is a great summer album to spend some time between the sheets with.

With The Leftovers, one of Detroit’s finest MCs drops a compilation of some rarities, tracks he’s been featured on, and promo joints that never saw a proper release. eLZhi has been at it for years holding it down for Detroit on his own and since 2001 with Slum Village. On this tape we get to hear him go in on beats from Black Milk and Jake One and others. eLZhi showcases his ear for beats choosing soulful sample based beats in the vein of J Dilla that solidify the Detroit sound I love. The record “Like This”, serves as a great example of his lyrical skills and flow with lines like “You ain’t rap/ you just yap since my absence/ so hi haters/ I’m back off hiatus” eL reminds listeners that he’s a truly great voice in a game full of rappers who are more talk than talent. so, to me this is one of the better tapes that came out last year. It’s pretty sad that eLZhi gets overlooked so often when he’s dropping a free tape that was better than most dudes albums. have a taste of the leftovers! Official video for “Deep” download link http://elzhi.com/ If you like this make sure to buy the Slum Village albums!

This was a relatively uninspiring year for music that I like. Maybe it’s because I keep hoping every year will be as good as 2007, or perhaps I simply didn’t listen to enough new records. Maybe my favored brand of pop/rock/alternative music is dying along with the record industry, or maybe I’m just jealous that Aaron’s list is full of solid albums. Still, my best educated guess is that Spoon did not release a full length album this year. That must be it.

Seriously though: very few new ’09 releases gave me as much satisfaction as a couple of Lady Gaga songs (I did consider giving my Lady Gaga mix the #1 spot on this list – seriously). Also, I should mention that I don’t like including live albums of compilations on “Top 10″ lists. Nirvana – Live at Reading was easily one of the best things I heard all year, and the Dark Was The Night compilation wasn’t too shabby either. Disclaimers aside, here’s the list:

10. Phoenix – Wolfgang Amadeus Phoenix

Sleek, infectious and car-commercial-ready, this is the definitive indie-pop album of the year (I know that’s a lame pseudo-genre, but luckily that doesn’t detract from the quality of this release). If Side B was as good as Side A, this would have been a more serious contender. [Apparently, I need to keep writing to make sure the editing of this post doesn't fail, so I will add that this album almost missed its Top Ten slot to Neko Case - Middle Cyclone]

9. The Decemberists - The Hazards of Love

Crazy up-its-own-ass concept album with guest vocalists and heavy metal undertones by a particularly wordy band. At this point I can admit The Crane Wife should have a better shelf-life, but few albums this year have provided a listening experience as fascinating as this one. [I was rather bummed that the cold Chicago rain ruined my experience of seeing this record played live in its entirety, but still think it was worth it for me to stick around until "Repaid/The Wanting Comes in Waves"]

8. Yeah Yeah Yeahs – It’s Blitz

I wasn’t sold on this album until I heard many of these songs live. Then again, another Fever to Tell would have been redundant (and another Show Your Bones, for all of the original’s goodness, would’ve been no less than cringe-worthy). The YYY’s third full-length is yet another inevitable progression for this proudly artsy band, an album split half and half between bangers and ballads.

7. The Raveonettes – In and Out of Control

Just a (60s)pop-(80s)rock album with a Scandinavian twist; sometimes that’s all you need. Sadly, the cover is rather stupid, reinforcing my jealousy toward Aaron’s list. [Since I have already written a review's worth of ruminations on this album, I'll go ahead and sneak in another memorable mention: Yo La Tengo - Popular Songs, a great album that probably would have made this list if it wasn't for its eccentric track list]

6. Wilco – Wilco (The Album)

In the year of ambitious albums (I suppose 2009 was also a big lo-fi year, which doesn’t quite float my boat), this is as down-to-earth as Wilco has been in a long time; they may just be punching-in, but few major label bands do their job as well as Jeff Tweedy & cia. [At this point I'd like to include my third and final honorable mention, Stuart Murdoch's odd God Help The Girl project. In this case, the reason forthe exclusion from the Top Ten is probably bitterness: while this LP was definitely a treat, I could really use another actual Belle & Sebastian album]

5. jj – jj #2

This album is concise, dreamy, and (despite the weed leaf on the cover and a song called “Ecstasy”) can be enjoyed in any state of mind. When it’s over, play it again. I have been listening to this for the past couple of months trying to find flaw in its design, but other than a random shouting voice that taints a couple of seconds of its penultimate track, this is a very sharp record.

4. Animal Collective – Merriweather Post Pavillion

Tempting as it may be to forget an album that came out in early January, MPP is a timely masterpiece within its own terms. “My Girls” and “Summertime Clothes” realy are that good. Even quirkier tunes (“Brothersport” and “Lion in a Coma”) featuring classic Animal Collective elements I’ve disliked in the past now simply shine. Part of me doesn’t want to rank it so high, but this is a crucial listen – the Kid A of 2009.

3. The xx – xx

2009′s best 3 a.m. album, whether you’re by yourself or have company, at a party or at home. With a delicate balance of originality and novelty, this is one tough band to pin down, making it harder to diss this them as “this year’s Vampire Weekend” (or Clap Your Hands And Say Yeah, or whatever other up-and-coming 2000s indie band-of-the-moment that generates intense online love and hate). Worthy of the hype, though I do hope we are through with these letter-letter band names.

2. Sunset Rubdown – Drangonslayer

The definitive art-rock album of the year. Each of the eight tracks is its own self-contained epic, humbly produced, reliant only on creative songwriting and emotional musicianship. Listening to this while reading Harry Potter and the Half-Blood Prince was one of the highlights of my year. This is arguably a flawless record. Should have been an easy #1 if it wasn’t for…

1. Bat For Lashes – Two Suns

This record has triggered more emotional reactions than any other album I’ve heard through all of 2009. Although it’s not flawless, many of its songs get better, cozier, more welcoming each time around. “Daniel” is probably tied with another man-named song as my favorite tune of the year (the other one would be Lady Gaga’s “Alejandro”).

Some people make lists because it’s their job. Some people make lists because they feel like they should. Lots of people make really generic lists because they want people to like their list. I make lists because I like it, and I don’t really care whether you like my list or not. In fact, you probably won’t like it, but I will stand by my choices so BRING IT, SUCKA! Okay here we go number ten:

10. Grandaddy – The Sophtware Slump (2000)

This album starts off in outer space and pretty much stays there the whole time. If you’re looking for gritty realism, then I would suggest Eminem or maybe even the JoBros. But if you want some pretty, spacey pop music, this one’s the ticket. Just light up a joint, find yourself a comfy chair, and let the sounds wash over you. Drifting away has never sounded so good. Just be careful not to drown in the synths, ‘cause they’re deep as shit.

9. The Wrens – The Meadowlands (2003)

How could a band sound so bored, and yet still sound so good? This mostly sounds like a band who is tired of life, but that doesn’t mean they lack emotion. Rather, their fatigue is their emotion, and it’s pretty powerful. Oh, and every single song is arranged masterfully, which helps make the whole thing be compelling rather than boring. Not an uplifting album, but not so depressing that regular listening will put you on suicide watch. Just the way I like it.

8. Animal Collective – Feels (2005)

Normally when I’m making a list like this, any album that I don’t feel is solid the whole way through is dismissed up front. There’s a good third of this album I really don’t care for, but the other songs are SO GOOD that they can carry this thing all the way to number eight. This album just feels warm and cozy, like being in the womb. But not a normal womb, a kind of weird and fucked up womb where things aren’t really what you expect and you can’t really ever get your head straight. And yes, it is every bit as good as I just made it sound.

7. The Strokes – Is This It (2001)

Okay, so here’s the one everyone can agree with me on. I think this has been on every decade list so far, and I’m not one to rock the boat. I don’t have a lot to say about this one that hasn’t been said a million times. The Strokes started off the decade right, nailing the new old sound of Rock ‘N Roll, and everyone else spent the next eight years trying to catch up. No one caught up. Note: That is the cover of the US version of the album because that’s the one I like.

6. The Fiery Furnaces – Blueberry Boat (2004)

Alright, here we go, my first 70+ minute album of the list. To those who say the Fiery Furnaces are just toooo pretentious for them, to you I say….. well, I can actually see where you’re coming from with that. But come on, you need to lighten up a little bit. The reason the Fiery Furnaces are so pretentious is because pretense exists for a reason, and when used properly it can lead to some pretty fine art. This is Art Rock with a capital “A”, but also with a capital “R”, and if you can get past the pretense, you might remember that “art rock” is not synonymous with “shitty music”.

5. The Flaming Lips – Yoshimi Battles the Pink Robots (2002)

I feel like I’m letting my emotions get the better of me and that this album shouldn’t really be this high, but you know what? Fuck. That. When my musical landscape was dominated by Nine Inch Nails and Marilyn Manson, the Flaming Lips taught me that life is actually pretty great, if only we could realize it. Well, I realized it, and this album has been making my life more enjoyable ever sense. And if that’s not good enough to make it into the top 5, then I don’t know what is.

4. of Montreal – Hissing Fauna, Are You the Destroyer? (2007)

You know how eating a lot of candy is really fun and easy but it rots your teeth out? Well this album is like candy for your brain: fun, easy, and brain-rotting. The first part of the record is almost too much sugary sweet goodness to handle, but once you hit the 12 minute centerpiece of the album, things take a dark turn for the better, and the album just rides the wave of weird through to the end. This is probably the best sequenced album on this list, but because it’s so easy to listen to, you have to be careful. This shit will rot your brain right out of your skull. I’m on too much of a sugar high to care.

3. Belle & Sebastian – Dear Catastrophe Waitress (2003)

Some albums were just meant for sunny days. This is one of them, but it goes beyond that to make any day into a sunny day when you listen to it. This is the definition of pop music. It will make you feel good, no matter what, and that is the bottom line. It may lack the charm of their first couple records, and the lyrics may not be as good, and the production may be too much for some people. But each song is so immaculately arranged, so painstakingly put together, that it’s hard to say this is not Belle & Sebastian at the top of their game. They may not be quite as charming as they once were, but they have become a tight pop music machine, and I’m not gonna argue with that.

2. Against Me! – Against Me! is Reinventing Axl Rose (2002)

I’m taking off the gloves here, and I will go to the mat for this record. By now Against Me! have lost almost all of their fans, who feel betrayed by their acceptance of success. I have never felt betrayed by Against Me!, but these feelings of betrayal just go to show what the band managed to accomplish on their first record. No one felt betrayed when Nickelback’s second album was ridiculous, because their first album was ridiculous. You can only be betrayed by something that means a lot to you, and this album meant everything to a lot of people, myself included. But I cannot feel betrayed by the band evolving. If there was another Reinventing Axl Rose, this one wouldn’t be as special, and to me that would not be worth it, because this record got everything just right. Equal parts folk, punk, and jangly guitar pop, all coming at you with just about as much sincerity as you can handle. When your songs are this tight, you don’t even need a snare drum. And when your first record is this good, you don’t need to prove anything to anyone.

Now we’ve reached the part of the show where everyone says “Jeezus Christ!”, throws their arms in the air, and goes home. If anyone stayed with me through Against Me! being number two, I’m afraid I’m gonna lose you with this one. But for me, this is as good as it gets, and if you can’t hang, then get the fuck off the monkey bars.

1. Islands – Arm’s Way (2008)

Sometimes a record is just too good for anyone to like it. Maybe the arrangements are too dense. Maybe the song structures are too complex. Maybe the thing is just too damn epic. Unless you are one of the few people who can handle all of those things, you’re not going to like this record. But if you think you can get down with all that stuff, hold onto your fucking socks, because they are about to get blown clean off. I don’t know how long it took to write each of these songs, but I’m gonna go with a conservative estimate of four years. They build, they release, they meander, they change time, they split up, they converge, they climb, they fall, and they skyrocket to new heights you never even knew were possible. It’s 70 minutes long, but it never drags, which is quite an amazing feat in and of itself, since plenty of 40 minute albums are a chore just to stay awake through. The lyrics may not be that good, but who cares? Lyrics are something that people who don’t care about music care about. I don’t actually believe that, so save your hate mail for something really worthy, but I do almost always think that the actual music is the most important part of a record. And the music here is like the tower of Isengard: huge, dark, foreboding, but standing as a testament to its creators. Islands have created a masterpiece, taking cues from throughout the decade, and I can’t think of an album more deserving of the spot on the top of this list.

Soooo, in the immortal words of Little Sis: “That’s it and that’s all.” There are no honorable mentions, because I don’t believe in that shit. If it didn’t make the list, fuck it, I don’t wanna hear it. So until 2019….. oh wait, I forgot about 2012. NM.

As far as I’m concerned, we should all start calling Mastodon “that other metal band from Savannah”, because Baroness has taken up the helm as THE metal band from Savannah. While Mastodon spent this year beating metal to death, basically becoming Lamb of God in the process, Baroness have apparently been working on bringing metal back to life. Blue Record is the result of their work, and it is hands down the best metal album I have heard in a long time.

What is metal, anyway? This question is very important to be able to evaluate this record. Can metal be beautiful? Can metal be danceable? I think the common view of metal is something that is crushing, with an overwhelming low end. This is certainly what that other metal band from Savannah has been working on, but let’s face it: Crushing. Is. Over. Converge did it, and Converge did it better, so just give the fuck up or take metal somewhere new. Baroness has opted for the latter, and metal thanks them.

The album starts off in a pretty traditional way, with a “Master of Puppets” sounding intro track leading into something reminiscent of that other metal band from Savannah. But after about a minute or so, they start to move away from that typical “metal” sound. Really melodic vocals. A drummer who doesn’t have to show off (!). Basically it’s the sound of band that knows they can kick your ass, but they’ve moved beyond trying to prove it. Metallica is still trying to prove they can kick my ass, and I still don’t believe them.

The whole album is filled with unusual (for metal anyway) song structures, warm production that makes everything sound so much better than your typical metal album, and wicked-ass guitar. I don’t know what pedals these guys are using, but they’ve got some good ones. They’re really bringing a southern rock element into metal, and it works really well.

In addition to an original take on metal, there are some songs that put a metal edge on some stuff that is definitely not metal. I’m pretty sure the drummer from Muse is on “O’er Hell and Hide”, making perhaps the first ever “dance-metal” song. And I’m pretty sure “Steel that Sleeps the Eye” is what the Fleet Foxes were going for, only far more interesting. That song leads into the six-and-a-half minute “Swollen and Halo”, which I can’t even begin to describe, so I’ll just say that this is the song that cements these guys as the saviors of metal. No one has done anything this original with metal for almost 20 years.

Bringing the record to its climax, “The Gnashing” starts off sounding like an Allman Brothers* song. Then the drums kick in, and it REALLY sounds like an Allman Brothers song. Then it picks up, builds, and turns into what is probably the most beautiful metal song I’ve ever heard, if I’m allowed to say that word. It’s really inspiring stuff, and an amazing way to finish an amazing album.

So while some idiots may not see this as “true metal”, it’s really about as true as you’re gonna get. It’s metal with some fucking soul, which is what the shit needs right now. So the naysayers can take their fucking Dethklok or whatever bullshit is popular now and go to hell, because I’m going to Savannah, GA, where metal is being reborn, and Baroness is making it better than ever before.

*Kyle gets credit for the Allman Brothers comparison.

I remember when the song “Beverly Hills” came out and I was like “What the fuck are these guys doing, have they just become a bunch of bro-dues?” The response was that no, they had not, in fact, become a bunch of bro-dudes, but were being very tongue-in-cheek. Well, here comes Raditude to fuck up their story.

I must admit that I was anticipating this album (something I have never done with a Weezer album because I didn’t start listening to them until long after they had made anything decent) because of the single “(If You’re Wondering If I Want You To) I Want You To”. I will stand by that song as one of the best power-pop songs of the decade this side of “Stacy’s Mom”. But after those three-and-a-half minutes of bliss (Track 1), you have to listen to the rest of the album, and that’s where the fun ends.

The three songs following “…I Want You To” effectively kill any hope that song may have given you for Weezer. They are firmly rooted in the “Beverly Hills” notions of “We like to get drunk and fuck hos, but we’re goofy!” Alright guys, let me break this down; One song about that shit: MAYBE tongue-in-cheek; Four songs: You’re fucking bro-dudes. You’re not actually being goofy. You’re the nerdy version of Nickelback, albeit with better influences. And that might even be worse than actually BEING Nickelback, because at least their not trying to hide anything. Everyone already knows that they’re gross as shit.

After that, things pretty much go from disgusting to sad, with the band approximating a second-rate Fountains of Wayne at best. At worst, you get the track “Love Is the Answer”. Sitar? Bollywood vocals? Are they trying to get on the Slumdog Millionaire 2 soundtrack, because that’s the only possible explanation I can think of. It’s definitely the weirdest thing on the album, and this is a Weezer album with Lil Wayne on it, so chew on that for a bit.

I’d like to end this thing on a positive note, so here’s the letter I am going to send Weezer about the last track on the album, “I Don’t Want To Let You Go”:

Dear Weezer,

I really like the cover of Hoobastank’s “The Reason” you did on your new record. I think I like it even better than the original, which is saying a lot. I appreciate that you changed the title and lyrics so that even though it’s a song I’ve heard before, it almost seems like I’m actually listening to something new that you wrote. Please do that one Snow Patrol song on your next CD.

Love,
Jack

Bubbles anyone?

When it comes to this band, I used to be that one guy from the Tool song: “man, why can’t they just rock like they did on their first EP?”

No longer. This is the Raveonettes’ 4th full length; as was the case in the three albums that preceded it, the Danish duo’s sound on this record owes a great deal to early rock n’ roll and Jesus & Mary Chain (though I still swear that their first EP is actually a punk rock record), only this time they made the extra effort to infuse pop into the equation. Depending on how you feel about these influences, you may really like this album or perceive it as utterly unremarkable.

I think it fucking rocks. While the opener “Bang” is a bit shyer than the title may imply, it already shows that this is more of a feelgood album than 2007′s dark Lust Lust Lust… or at least as feelgood as a record featuring songs called “Boys Who Rape Should Be Destroyed”, “Suicide”, “D.R.U.G.S.” can be. It’s not a new gimmick: sugary music and gloomy subjects have been working great together even before The Cure did “Inbetween Days”. Yet it is precisely that trick that makes this album suitable to a wide range of the listener’s moods.

There is an abundance of great tracks here: the opener is followed by “Gone Forever”, a rocker that is arguably the best thing this band ever recorded. “Last Dance” is perhaps the album’s most shamelessly pop moment, so much it could have soundtracked an 80s teen movie (that’s a compliment). “Boys Who…”  is a much more pleasant listen than the title indicates; like most of the album, it features relatively simplistic lyrics that, while not to deep, can be quite witty at times.

Most impressively, the Raveonettes manage to keep the enjoyment level high all the way through, something they failed to accomplish throughout their first few LPs. They succeed here because of tracks like the riff-driven “Heart of Stone,” the awesomely bouncy “Breaking Into Cars”, and the one track that actually features feedback frenzy, “Break Up Girls!”.  Sure, there are a couple of quite good slower songs here and there, but this is mostly a classy, bubblegummy rock n’ roll affair.

FOR FANS OF: The Jesus & Mary Chain, The Strokes, Yeah Yeah Yeahs, John Hughes’ movies, 50s/60s rock n’ roll.