album #24

damaged (black flag)

This is a pretty cool record, but it went through kindof boring stretches. Most of the middle blends together in a generically aggressive, punk way. There are a few greats that stitch the whole thing together: "Rise Above" is a fantastic opener- I love the raspy tingle of the drum, the low, buzzing guitar, fighting its way down and across the song, the attitude in the lyrics, the shouted background vocals, the whole thing. "Six Pack"- love the lowness to it all, the steady, forceful, ominous start, the throbbing bass, the low drums, and the sudden strike of guitar.

This music makes me think of being a freshman in high school, making friends with Dave and Eddie, the smell of cold and cigarettes, riding in the back of a van in Austin. "TV Party" is pretty catchy, the catch and call lyrics, the melodic rhythm. I thought the references were interesting, for coming from such a specific frame of time. Dallas, the Jeffersons. Also there's a point in the record where Henry says, "What do they know about partying? Or anything else?"- a phrase, and spoken in a cadence, that never fails to remind me of Michaelangelo. Anyway, then most of the album after that point gets boring, until "Life of Pain"- the stomping, wounded sneer of the guitar in that track makes for a phenomenal, gruesome hook. And the closer, "Damaged 1," makes for a searing conclusion- melodic and cacophonous, a light of shrill, synthetic guitar noise piercing through an ugly dark clutter of drums and vocals.

album #23

you're living all over me (dinosaur jr.)

This record, from 1987, sounds like the early wave of that '90s grunge, alt-rock, lo-fi sound… It's interesting, the more I try to learn about music, the different eras that the celebrated bands cluster around. 1979 continually stands out as a classic year- the birthyear of post-punk and new wave- and the various inspired, strange, creative music that centered around those trends, in the early '80s. And then in the late '80s and gearing up into the '90s there's Guided by Voices, Pavement, Sonic Youth, Dinosaur Jr, the Pixies, culminating in the mainstream breakthrough led by Nirvana. This album hints and reminds me of those other artists. The hard, washy, melodic haze of the guitars, the cadence of the vocals- half sung, have conversational, in certain rhythms rather Malkmusesque (though to be fair, they got here first).

This is not my favorite stuff, but it grew on me, and it's genuinely good, if not my favorite. Lots of really good tracks- "In a Jar" might be my favorite (a real Pavement sound to this one, a lovely low rhythm in the vocals), my other favorite "The Lung" (really nice melody in the vocals, high and clear, matched well with the guitar), "Show Me The Way" (sounds like Pavement, and a hint of Nirvana/Foo Fighters), "Sludgefeast" (one of the most metal numbers, sounds like it could play in a gym in 2002, even down to the touch of whininess in the vocals- though it gets the benefit of the doubt for belonging to this album), and "Little Fury Things" (a nice, low melodic sound, though I think I've maybe heard it too many times- it's starting to wear off.)

Altogether, pretty good stuff. And also I'd love to learn more about how those two signature music trends lead from one to the other- the late '80s alt rock, is that a reaction to radio rock or a reaction to new wave? Was it about fusing punk and other grittier rock and roll with a more melodic sound? Do they owe anything at all to Joy Division and the other really dark bands of the early '80s, or is it all a coincidence? One of my favorite stories in american art is tracing how Johns/Rauschenberg makes the bridge between the Abstract Expressionists and Pop Art, playfully teasing the machismo of the former, in manners which ushered in the clean quaintness of the latter. I'd love to learn if such a causal link exists in the main music trends I'm exploring.

album #22

you in reverse (built to spill)

I gotta keep looking for my album for these guys. I Love the song "Carry the Zero," that driven, melodic, searing sound- and I wonder if that's their only song that reaches those heights, because nothing on this album really got there. This album was a little rambly- it's got a good sound to it, but nothing quite inspired me. "Going Against Your Mind" is all right, "Conventional Wisdom" unspirals in a good way, it might be my favorite- the start of it is my favorite part of the album- and I like the tone of "Liar." Otherwise this album just doesn't penetrate for me. Maybe I haven't given it enough listens, but I'm a little bored with it. I need more energy, more hook. Maybe it'll get better with revisiting. Again, it's fine, just not my thing.

album #21

the archandroid (janelle monae)

A dazzling album. Really great. Janelle Monae strikes me as possibly being the David Bowie of this generation- at least in the sense of, unabashedly strange, super catchy, and a mesmerizing personality. She's like the Truth in a fog of Gagas and Keshas. The first time I listened to this album I listened all the way through, and I was just knocked out by what a spectacular accomplishment the whole record adds up to. A versatile concept album, fantastic dance and R&B and soul numbers- strange, super poppy, entirely aglow. My favorites: the driven, thrilling melodic spiral staircase of "Dance or Die," the passionate wail of "Cold War," the terrifically danceable single "Tightrope," the magnificent soul of "Neon Streets"- probably my favorite song on the record; and even the strings swelling and unfurling in the opening moments, my favorite moment of the album- and the wet, infectious bauble of "Wondaland." A few of the songs are a little less magic for me, just because I've seriously listened to this album a lot, and some of them have worn off, but seriously- many of these tracks are masterpieces and securely in my rotation. As a full album, a truly fantastic accomplishment. Fucking phenomenal.

album #20

is this it (the strokes)

This is a really good record. Lo-fi rock with a nice pop influence. I like the nasal clarity of the vocals. So many good tracks- the roll of "Soma," the delightfully poppy "Someday" (which kindof sounds like "Last Night" in reverse), the synth swell of "Hard to Explain," the drive of "Take It or Leave It." It's pretty interesting to remember this record in context- it's strange to define whether it ever really mattered, if it was just a critical darling, or what. As a teenager listening to music, it didn't seem like a particularly big deal when these guys came out. But then I remember being a freshman in college, the wave of guitar-rock, low-fi bands that were suddenly all over the place, commercially successful and relevant. And this record really did pave the way in that respect- the strokes and the white stripes, I remember them coming out pretty simultaneously. And it lives up to the hype (although the songs that sound the best, seem to sound the best all in a very similar way.)

album #19

bright bright bright (dark dark dark)

Lovely, low, melancholy, thoughtful. An old world beauty- a gypsy bounce, theatrical. Lovely, clear vocals. I like most of it, especially "Bright Bright Bright" and the dark, lovely ramble of "Wild Goose Chase." Almost hard to listen to, because of the elegantly subtle sadness to it- the sound is a little lonely, the lyrics as well. Busier music feels less painful. Very nice though.

album #18

ego tripping at the gates of hell (the flaming lips)

I like sweet, I like soft, I like strange, but this is just outside my lovability zone. Almost every time I listen to this band, they're just a little too precious, a little too treacly- those delicate vocals, the adorable synth instrumentation. I just find it a little bit boring- not enough power behind the melodies to get me excited. "Assassination of the Sun" is a good one, "Do You Realize?" is a song I've never liked, but this particular mix- more of a rhythmic, automated tone; the syrupy overproduction of the original, dismissed- is good and listenable. And I can get behind the cool club sound of "Ego Tripping (Jason Bentley Remix)" Altogether, a boring EP, I'll have to keep looking for the right album of theirs for me- I Loved "Race for the Prize," so I'll probably track down the album that spawned that gem.

album #17

slanted & enchanted (pavement)

I've had this album for years, figured I'd review it. I don't know- I don't understand the cult of personality. This review says more about the carefully constructed pose of the critic, rather than the music itself. They're all right, but loved rather disproportionately. I'll say this- their sound is unlike anything else I affiliate with the '90s. There's something kindof timeless about their garage rock sound, and I like Malkmus' vocals. "Summer Babe," the aggressive "Conduit for Sale!", the mellow, contemplative "Zurich is Stained," the searing drone of "Jackals, False Grails," and perhaps my overall favorite- the terrific "Loretta's Scars." Those are the songs I really can get behind. The rest of the tracks are truly boring.

I heard "Gold Soundz" recently and it truly grew on me as a beautiful, interesting song, and I'm not going to give up on this band- perhaps Crooked Rain, Crooked Rain is the right album of theirs for me.

album #16

perch patchwork (maps & atlases)

Math-rock, as my friend described it; also something folksy and even a touch of the medieval in it. That strong, nasally twang of the voice. Rambling balladry with thick, strange science- complicated guitars and drums interacting rhythmically. Altogether I liked it- my favorites especially were, most of all, "Living Decorations"- a special melodic drive and energy to that one, especially in the beginning-"Solid Ground" has a rhythm and drooping pull to it that evokes TV on the Radio- "Israeli Caves" has a light, melodic drive to it, high and tightly strummed- "Pigeon" has a loveliness that intrigues me, a melody and a pace, even a choice of instruments, that makes me think of Graceland- "Perch Patchwork" is a waltz through Scarborough Faire (yeah yeah, mixed metaphor.) I'll keep them on the radar for future stuff. Interesting sound, I warmed to it- especially after seeing them live.

album #15

b-52's (b-52's)

Sparse, dark rhythms. A certain tinge of savagery. Hints of Joy Division. The B-52s were a different band in the early years (as the AVClub phrases well, attributing to late guitarist Ricky Wilson.) This is a cool record- a mix of the dark, snaky, post-punk sound of '79-80, with a cool, campy, surf flavor. I especially love "52 Girls" (the jaunty low surf rhythm, the harmonic vocals) "Dance This Mess Around" (a dazzlingly strange track, the rhythmic sparseness, the steady builds and discoveries, the unleashed passions, the semimelodic quality), "Rock Lobster" (the spacy, underseas tremble of the backup vocals, the measured dark strike of the guitars), "6060-842" (the upbeat melodic energy, the harmonic clarity in the chorus.)

I'd like to listen to this record more and also explore more of their early years. 1979-1980 really seems like a golden age of music, so much of what I'm interested in comes from that incredibly specific window of time. And I'm also interested in bands like the B-52s and the Police, groups that are perhaps more known for a blander, broader sound, but began in really dark, strange, exciting places.

album #14

parsley, sage, rosemary and thyme (simon & garfunkel)

This is a thoroughly good album. I like Bookends more, but I like both records a good deal. There's a mix of leisurely, playful folk charm and more emotional, political numbers. This is simply a classic Simon & Garfunkel record, it's hard to imagine an album that more entirely captures their sound. "Scarborough Fair/Canticle" is lovely, a classic; "A Simple Desultory Phillipic" is interesting for being a great tune, a great homage to Dylan- and yet the lyrics indicate that it's meant as a parody. "For Emily, Whenever I May Find Her" emerged as a favorite of mine… simply a beautiful, tender love song.

The first couple times I listened to this album, I tended to zone out and get bored halfway through- there's a certain mildness to their sound. And then those two songs near the end really brought me into it entirely, I enjoy those two a lot. Also I like the bonus version of "A Poem On The Underground" more than the official release. Simon doing it on his own, the guitar picking, there's a muted urgency to it that I find lovely and engaging.

album #13

bookends (simon & garfunkel)

This album is perfect for me. I love the melodies and the sweet, wistful nostalgia… it's an album that's come to my life at the right time, and it's already entered heavy rotation. And so many good individual tracks- "Save the Life of My Child," those burning, buzzing guitars, a dramatic, vivid rock song; "America," one of the best songs ever. "Old Friends" has taken on a real significance for me- the sweet, wistful lope of the vocals, the pull and release of the strings- really a beautiful song, therapeutic even. and on a record that fills me, from track to track, with feelings of reflection, the feeling of hope's lights glowing beneath sorrow, the feeling of loss and finding consolation in memory, discovery… on a record that does all this, "Punky's Dilemma" is the best medicine, a charming, melodic, easy little track, one of my favorites- and virtually a must-listen after taking in the rest of the record's best tracks. Even the tracks I loved less, I still liked- this is a very nice, lovely album, and I'm glad I found it.

album #12

odd blood (yeasayer)

Big fan of this album. A wonderful fusion of pop and strangeness and forcefulness. Several great songs- the dramatic, imposing synth crush of "The Children," the peppy, sticky, exultant "Ambling Alp," the ghostly desert lament of "Madder Red," the shimmering, metallic retro-club masterpiece "ONE." The second half of the album doesn't captivate me quite as completely, but it all comes from a terrific sound. The adjective that keeps coming to mind is, gay. So many of these songs sound like gay club anthems- that synthetic, poppy sound, the femininely plaintive, expressive vocals, the forceful, pulsing percussion. Altogether, I like it a lot. I'm excited to hear what these guys make next.

album #11

odelay (beck)

There must be a better Beck album out there for my tastes. Or, maybe he's just not my thing. I have vague recollections of liking parts of Midnite Vultures, and Guero was pretty good. Odelay just feels like a bag of tricks. Perhaps the problem is a matter of context- when this first comes out, perhaps it's revolutionary, different, marvelously strange. Listening to it now, fully aware of the Beck sound, the shock of the new completely a non-factor in my interpretation, it just feels… like I said, like it's all tricks.

"Devil's Haircut" is cool- that guitar is such a magnificent way to kick off an album- a fantastic declaration. But so much of the album is, fuzzy guitar, twang, faux hip hop, the vocals that barely shift from note to note, the jangly percussion. Whoops, maybe I'm not describing tricks, but his sound itself. Maybe I just don't like his music that much. "Jack-Ass" has a cool sound to it- I think he's sampling a Rolling Stones song here, I'm not sure. "Where It's At" is a perfectly good standout. "Minus" is good, I like the rock and roll intensity. And "Diskobox" has a cool sound, I like that leisurely piano sound he builds from. I don't love this album, or even any of the songs in particular. But… I can't think of anything redeeming to say. It's a generally cool sound and he seems like a generally cool guy. I'll keep looking for the right album (even though I feel like they might all be this uneven.)

album #10

red headed stranger (willie nelson)

A relistenable classic. Really liked this record. Not too many songs stand out, but I like the entire piece- the narrative flows nicely, I feel like I understand what's going on better than most albums I listen to. I give credit to Willie's clean, iconic voice. I like the returning motifs of certain melodies. A melancholy record, patient but well paced. "Blue Rock Montana" and "Red Headed Stranger" might be my favorite songs. Extraordinary lyrics, chilling story, and I love the melody. But I mean, they're all good. "Blue Eyes Crying In the Rain" is the best example of a couple dreamlike songs- the heartbroken recollections, the private thoughts- or the intimate side- of the red headed stranger. It's like the album shifts between the story of the man in the third person, and the intimate heartache of the first person. The second half of the album feels a little rambly, as if the man has completed his revenge and doesn't really know where to go next, doesn't know what he's looking for anymore. He's just a lost soul riding along the countryside. And then there's a sense of uplift in the last tracks- "Remember Me" and "Hands on the Wheel," in the rhythm, in the melody, hint at something better. And the wistful, instrumental epilogue of "Bandera" closes the album nicely. Really a terrific record, a fine accomplishment. Enigmatic, lovely, teeming with restrained passions, a country classic.

album #9

forgiveness rock record (broken social scene)

Most of the following album reviews are from records I've listened to this year, from months ago, but neglected to write up.

There are some real gems on Forgiveness Rock Record- "World Sick" is a soaring masterpiece, one of my favorite songs I've heard this year. "Texico Bitches" is great, I love the sweetly driven, contemplative melody of "All to All." There's a lull in the middle when none of the tracks really engage me- one buzzes too much- too brassy, a couple have that overly predictable, interlacing plucky BSS guitar sound, one tries a little too hard to sound anthemic in the arrangement- ambitious but a little boring. I like the low, steady sound of "Sentimental X's," with Emily Haines on vocals. "Romance to the Grave" is nice- Feist in the background vocals, a cameo by Sam Prekop (overall this sounds like a BSS/S&C fusion, with the instrumentation of the former and the particular rhythm and tone of the latter.) And "Water in Hell" is a whole lot of fun- it snuck up on me in the months since I first listened to this record. A personal sleeper hit- it's the song from this album I return to the most consistently, that lunging guitar, the upbeat anthemic grunge of it. Pavementesque, one reviewer suggested, which is the best description I can think of- only because I can't think of a good one myself.

A few really really good songs. I wouldn't listen through the entire album again, but lots of nice tracks, and a nice, distinct sound.

album #8

this is alphabeat (alphabeat)

This is a fun album- scandinavian pop music to the core. Peppy, melodic, infectiously sugary and upbeat, synth-driven. I can trace influences and cousins in many songs- for instance, "Fantastic 6" reminds me of the New Pornographers. Some of the male-female duets give me a Human League vibe. My three favorite songs are the most feminine- "Fascination," a classic male-female back and forth duet, very driven, poppy, and affectionate; "Boyfriend" might be my #1 favorite, at least after the first few listens. It's got that throwback early '90s sound, like Ace of Base, or like one of those '80s mall stars. I love the attitude and I'm a huge sucker for this genre. Definitely an example of a guilty pleasure. "Go-Go" has a Madonna sound to it, very similar to "Boyfriend"- strong melody, great dance beat, forceful but not acidic feminine tone. "Touch Me Touching You" has a nice '80s throwback sound, an emphatic, quick, synth-powered anthem, like The Outfield or somesuch. The last few tracks aren't quite as great as the rest of it, but that's a piddling criticism- they set the bar pretty high. They fall into the pop trap of sometimes getting a little over repetitive- but this might be the nature of pop music, that one man's over repetitive is another man's "hell yeah! I love hearing that chorus again!"

Very fun, very sugary pop, sure to enter my regular rotation.

album #7

freedom of choice (devo)

I like it better than Q: Are We Not Men?… They've got this minimalist techno punk thing going on, it's not my favorite sound but it's all right. "Girl U Want" is a good opener, "Whip It" is a good one; my two favorites are "Freedom of Choice" and "Gates of Steel"- they both combine these sounds of emptiness, ominous bass, metallic voids, subtle movements- and a controlled passion in the vocals that really takes these songs to the next level. They sound like undangerous versions of Joy Division songs; cleaner, more programmed. They're catchy, cool, futurist. The second half of the album is all right but it kinda blends together.

album #6

streethawk: a seduction (destroyer)

It feels strange to review a Destroyer album for this yearly project because it's one of the bands I know better, one of the key musical presences of my college years. And I listened to this particular album at least a few times in summer '07, but I've never owned it until recently and haven't heard it a Whole lot, so it felt reviewable. "Virgin With a Memory" and "Beggars Might Ride" are melodic, acoustic, contemplative classics. "The Sublimation Hour" is a great, Bowiesque number with a fierce electric guitar lick- I still remember hearing it for the first time, when Destroyer opened for the New Pornographers, sophomore year. (Damn would I love to see those guys live again…)

Other good tracks: "Streethawk I," "Streethawk II" (awesome, low burning synthesizer makes this song), the piano-driven "The Very Modern Dance," and the catchy lament "Helena."

I don't love it as much as Rubies, and I think I got a little too used to it- not sure if I would listen to the whole thing several times in a row- but that Beggars-Sublimation-Virgin trifecta is so, so spectacular.

album #5

a night at the opera (queen)

This is a pretty fun record. A nice balance between metal, a vintage English daintiness, and Zeppelinesque druidry. There's a versatility in the band's personality that really accentuates their appeal. "Death on Two Legs" is a great track, ominous, angry, defiant. I love the kinda-silly but passionate bravado of "I'm in Love With My Car"- the elements of that song work together really well. "You're My Best Friend" is my favorite track on the album and possibly my favorite Queen song… the synthesizers, the rolling, sweet chorus. My favorite of the jaunty English tunes (in general I didn't love these ones)- "Seaside Rendezvous." One of the prettiest songs on the album is "Love of My Life"- a very lovely, sad, and deeply sincere song; it sounds so much like a Broadway ballad.

"Bohemian Rhapsody" has entered a certain cliche realm, but hearing it in the context of the album makes it easier to appreciate- as I said, the album is a blend between metal, daintiness, and druidry… but mostly the songs are clearly one or the other. But this track truly fuses elements of all three. It's the most complete and most astonishing song on the album- clearly more sophisticated and strange than the ditties or the rockers; one of the slowest builds of the songs on the album. This really is the sort of song that needs to come at the end of an album- it's very much a culmination- it would just be embarrassing and overwhelming to the rest of the album to have a song with this intensity and versatility up front.