Delusions and hipsterisms aside, The Suburbs is the consolidation of Arcade Fire as one of the most relevant bands in the world now. The band’s core sound remains unique and unchanged, the trademark songs still evoking a sort of mini-orchestra with art rock affectations. Upon initial listens it can feel a tad too long at 16 tracks, but in due time it makes sense that a record so thematically centered on “suburbs” and “sprawl” would wind up that way. Once again, the band put out an ALBUM, and the songs become so intrinsically dependent on each other that listening to just one or two “singles” instead of the whole thing feels awkward. That said, many of the tracks here are at least as good the group’s best material: “Ready To Start”, “We Used To Wait”, and the epic “The Sprawl II” will surely become setlist staples. Oddball tracks like “Modern Man”, “Rococo”, shoegaze “Empty Room”, and the art punk of “Month of May” are welcome change-ups that still sound unfailingly like Arcade Fire, while Neil Young-ish ruminations like “Deep Blue”, “Wasted Hours” and the title track may seem trivial at first but eventually stand out.

The rushed verdict? This is not a flawless album, but it is difficult to point out exactly what would have made it better. Maybe it could be a song or three shorter, but it’s unlikely that people will agree on which ones should be taken out to make your iTunes playlist smoother. In the end, it might be best to just enjoy the full package as the band wants you to and, if you haven’t, see them live. If Metacritic is to be believed, this will go down as one of 2010′s best albums. We’ll see how Arcade Fire’s third effort ages – The Suburbs might just be the North American OK Computer.

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.

Vampire Weekend – Contra (01/12)

If you don’t already hate this band on principle, do give this a spin. Better yet if you liked their debut: Contra is at least as good, managing to maintain the fun vibe they became famous for and add (slightly) more variety to their music. The result, it appears, is another catchy record by these spoiled brats. No Lil Wayne appearances yet, though they do use auto-tune in one song and sample M.I.A. on another one.

Highlights: “Giving Up The Gun”, “White Sky”, “Cousins”

Spoon – Transference (01/19)

Is it their best album? Probably not. Is it awesome like their last several albums? Definitely. Transference is a beautifully sequenced record, equal parts studio and songwriting experimentation and superb pop sensibility – often within the same song. Transference is perhaps their least accessible album since A Series of Sneaks (though it sounds nothing like it), and another step forward for, err, minimalistic rock n’ roll.

Highlights: “Mystery Zone”, “I Saw The Light”, “Got Nuffin”

Beach House – Teen Dream (01/26)

Some message-boarder described this as “a supernova of an album”. Indeed, 2010 will have to be a really good music year for this to not make my end-of-the-year Top 10 list. Mellow-paced but intense, Teen Dream sticks to one mood and absolutely nails it. The arrangements are mostly quite simple, and the female vocals are deep and powerful. I really don’t know what else to say about this album other than that it deserves repeated listens.

I’ll go ahead and refuse to pick any highlights; if curious, inquire within Myspace.

Yeasayer – Odd Blood (02/09)

This is an awesome record, albeit a bit top-heavy. Some of the latter songs can be a little too much, but its best tracks more than make up for it. Yeasayer conjured a number of solid influences, from Radiohead to Oingo Boingo to Animal Collective (I know Jack would like to add Of Montreal to this list, though he’s not too happy about it) and put together one of first buzz-albums of the new decade.

Highlights: “Ambling Alp”, “Madder Red”, ONE”

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”).

Propagandhi – Supporting Caste

My love for Propagandhi is unabashed and unapologetic. While some fans whine about/yearn for the days of How to Clean Everything and Less Talk More Rock (which are definitely both albums on my list of “Best of anything ever”) I have been excited to follow the progression, politically and musically, of these 4 humble Canadians. From interviews I’ve read with the band, Supporting Caste is the kind of album they’ve been striving to make since they were 15 years old. The album kicks off with the song “Night Letters,” one of the most passionate, aggressive, passionately aggresive songs I have ever heard. The subject is one rarely heard in popular music – about the struggles and heartache of immigrants fleeing their oppressive/unlivable homelands and landing in the middle of a culture that is unaccepting, a climate that is unforgiving and feeling the pain of leaving loved ones behind. Propagandhi is definitely a band that practices what they preach (the song comes from the feelings stirred from actually working with recent Canadian immigrants) and the song is written from the perspective of someone who realizes their own luck at not having to have had their life play out that way. Other songs on the album tackle the subjects of “humane” meat, asshole commentators injecting their silly nationalism into a beloved sport, going to see childhood idols, and Francis the Pig’s brave attempt at freedom.

The lyrics on this album, as always, are PhD dissertation-worthy. I am constantly amazed at Chris Hannah’s ability to meter these words to music. There’s a theme of recognizing the futitlity of trying to make a change in the world around you, yet not having any other choice but to try. Propagandhi’s combination of pessimism and hope is one that I feel I really connect with, trying to find the balance between ideals and reality, and existing in the space that that creates for you.

Musically this album shreds like no other Propandhi record has (although there were definitely some shred-heavy moments on Potemkin City Limits). The aforementioned opening track is both lyrically and aurally heavy hitting. I don’t know enough about music terminology to accurately describe some of the other headbanging moments on this record, but it is a beautiful testament to guitar-driven punk rock. Most of the songs are still heavy on the melody and old/whiny fans of Propagandhi should still find plenty to love on this album. Rumor has it that they are already hard at work on another album, and I can’t wait to hear it.

Heartless Bastards – The Mountain

Erika Wennerstrom is the voice, guitar and principal song-writer behind Heartless Bastards. With a smoky, deep voice somewhat reminiscent of Chrissie Hynde from The Pretenders, Wennerstrom weaves bluesy influences with mandolins, banjos and rock ‘n roll. Produced by Mike McCarthy (Spoon, Trail of Dead), The Mountain really sounds fantastic as well. This album is generally an easy sell for me in the store, if I put it on it seems people are compelled to ask what it is and just as compelled to purchase it. IN FACT, ODDLY ENOUGH, as I finished typing that last sentence a couple that had been in here a few weeks ago came in specifically to purchase the beautiful, 180 gram vinyl edition. That actually kind of freaked me out how coincidental that was.

Future of the Left – Travels With Myself and Another

Here is a story of one of the best things that happened to me this past summer:

After watching two of my absolute favorite bands (Fucked Up and Mission of Burma) play on the Williamsburg waterfront in Brooklyn, NY the plan was to eat some tasty vegan food and then head back to crash out for the night because we were worn out from standing in the sun all day. As we’re heading back to the Subway, we pass a smallish bar that is eminating rowdiness. As we’re approaching it the music begans to sound strangely familiar. It makes mere moments to realize that Future of the Left is playing in that bar, right now. Kyle and I had been jamming Travels With Myself and Another a whole lot in the weeks previous to our trip, so this was a really, really awesome surprise show. Earlier in the day we had seen a flyer advertising a FotL show in NYC a few days after we were leaving and we were bummed that we would be missing it. But, surprise! Here’s this free show!

Travels With Myself and Another is well described as “melodically brutal.” The rhythms are really tight with bursts of aggression and bizarre lyrics. Bitter leadman Andy Falkous strikes me as someone I would probably not get along with IRL, but his snotty attitude makes me laugh when I read interviews and articles about the band. This album is full or energy, tension, and grit and pissed off Welshmen.

Paint it Black – Amnesia & Surrender 7″s

After determining that the 7″ is the ideal format for hardcore releases, Paint it Black gave us two of them this year – Amnesia and Surrender. Dan Yemin’s ferocity mixes well with his philosophical ruminations and his songs are quickly making him one of my favorite lyricists. The Mission of Burma reference in Amnesia‘s last song “Bliss” is a cherry on top of a coconut ice cream sundae of an EP. Surrender‘s song “Worms” contains an awesome encapsulation of an outlook I share with Yemin: “We discern at day’s end we’re just food for the worms, so we work at what we love, and live on our own terms.” Paint it Black’s style, sound and words stand head and shoulders above most hardcore bands of past and present. I hope we’ll get 2 more 7″s next year. Waiting for each one feels kind of like being a kid anticipating Christmas morning. I can’t help sometimes but feel like these songs were written special for me, to speak to or reinforce something that I’ve currently been thinking about.

Kylesa – Static Tensions

Kylesa makes my favorite kind of heavy music, sludgy metal with pounding drums, radass melodies, and a bit of psychedelia. Kylesa has 2 drummers and 3 vocalists but it’s never overkill. The drums on this album sound absolutely amazing compared to their previous albums and the dual drumming really stands out as a percussive masterpiece. In fact, the drums are the very first thing you hear on the album, on their own for about 15 seconds before the rest of the band kicks in with what is immediately recognizable as Kylesa. And the riffage, have I mentioned the riffage yet? The call-and-response guitars in “Running Red” will get stuck in my head for days. This is my favorite heavy album of the year. You know what is so disapointing, though? Kylesa played here, in Traverse City, a couple years ago and almost no one was there. Their live show is blistering and I’m really excited about the next time I can see them so I can see songs off of Static Tensions live.

Baroness – Blue Record

Even with his geographic innaccuracy, Jack’s Baroness review already said all that needed to be said about this album. This Baroness album is a MUST for fans of guitar-worship. Also, check out how much badass album artwork is contained within this list.

Converge – Axe to Fall

As Converge enters their 20th year of existence they’ve released another metal touchstone album with Axe to Fall. The first four songs are relentlessly, face-meltingly brutal. It seems as though Converge has gotten bored with defining a genre all on their own and so almost every song featuress a guest musician from bands like Disfear, Genghis Tron, Neurosis and Cave In, but they are not overwhelmingly obvious, sometimes not obvious at all. I don’t even know why people bother with most other metal while Converge exists.

Dinosaur Jr. – Farm

An awesome follow up to 2007′s Beyond, Farm is more of the awesome guitar-driven rock we’ve come to expect from J Mascis and Lou Barlow, with plenty of the obligatory 45 second guitar solos. This album seems really thoughtful, and although kind of sad, it puts me in a really pleasant, mellow mood. This record is another example of “awesome album art released this year.”

Mission of Burma – The Sound The Speed The Light

“1, 2, 3, Partyyy” is a classic Mission of Burma jam that kicks off an album totally reminiscent of MoB in their original heyday. That familiarity isn’t a bad thing, it also lends to this shit sounding almost flawless it’s so well put together. I’m so glad these guys got back together this decade and not only because it gave me the opportunity to see them live.

Pink Mountaintops – Outside Love & Lightning Dust – Infinite Light

These two albums, both released by the awesome Jagjaguwar label, are side projects of members of my favorite-album-of-2008-band Black Mountain. Lightning Dust is Amber Webber and Joshua Wells while Pink Mountaintops is the effort of Stephen McBean. These two albums are pretty different, but still feel like natural extensions of the awesomeness of Black Mountain. Pink Mountaintops is kind of a stoner country album with a dose of Pink Floyd. Lightning Dust is more of a classical pop influenced style, sometimes reminiscent of the best aspects of theater music. A borrowed Steinway grand piano motivated/inspired most of this album. Amber Webber’s voice is obviously a standout in anything she does and Infinite Light is no exception. Both albums are hazy and joyous, with a complexity that isn’t immediately apparent on first listen. I’m happy that 2009 added these two albums to the Vancouver space rock canon.

[Resized the images and fixed the line break problems. -Tony]

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.

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 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.