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Grizzly Bear: Veckatimest (Warp Records) – Named for an uninhabited island off the coast of Cape Cod, this record is anything but sparse. Can you say orchestral arrangements and vocal harmonies galore? With its four-part harmonies and textured ambience, it somehow still retains the feel of a great guitar record. Unique and stellar. Superhero equivalent: Silver Surfer. | |
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The Decemberists: The Hazards of Love (Capitol) – It was only a matter of time before Colin Meloy wrote either a novel or a rock opera. Well, move over, “Tommy!” A sprawling tale of woodland creatures, fated love, a vengeful queen and infanticide, this record has it all. My Brightest Diamond’s Shara Worden delivers the powerhouse vocals on “The Queen’s Rebuke,” but it is Meloy’s turn on the “The Rake’s Song” that will get ye olde merry blood pumping. Superhero equivalent: The Avengers. | |
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Cursive: Mama, I’m Swollen (Saddle Creek) – Tim Kasher always leaned a little too close to emo for my tastes, so imagine my surprise when he and the boys released this excellent record. Still depressed and spiraling towards hell, but with a steady New Order beat to keep it rocking. The title track and “Mama, I’m Satan” tell you all you need to know. Superhero equivalent: Submariner. | |
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Neko Case: Middle Cyclone (Anti ) – Everyone’s favorite redhead retains her title as best rock storyteller. From the opening track which details the love between a tornado and a train (“This Tornado Loves You”) to the sublime “Magpie to the Morning”, Neko continues to amaze as a songwriter and vocalist. Yeah, maybe she over collaborates, didn’t have to record 2 cover songs and really didn’t need 30 minutes of tree frog sounds, but who is complaining? Superhero equivalent: Wolverine. | |
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The Clientele: Bonfires on the Heath (Merge) – The soundtrack to drinking hot tea by a fireplace while your tweed jacket dries and your book of poems with the pressed dried delphiniums rests on your lap. Alasdair Maclean has never sounded so achy, though, the addition of trumpet parts certainly gives the sound a new dimension. Send “Never Anyone But You” to the one who got away. Superhero equivalent: Robin. | |
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Phoenix: Wolfgang Amadeus Phoenix (Glass Note) – Well, lookie what the Frenchies did! Stuck it to the man with an awesome collection of electro-rock that has art directors all over the U.S. drooling. Thomas Mars sings in a fey croon in accent-free English and alternates between petulant and sad. And if you think they are obsessed with classical music and, possibly, Ken Russell movies, then download “Lisztomania” today. Superhero equivalent: The Flash. | |
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Camera Obscura: My Maudlin Career (4AD) – TracyAnne Campbell likes to sing about reading books, which, is a good thing. After 4 records, there is no doubt that this is her band and her vision of what a twee band from Glasgow should sound like. Which is generally something like Lulu, Chad & Jeremy and the Mindbenders. A complete and utter delight. Superhero equivalent: The Wasp. | |
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Wilco: Wilco (The Album) (Nonesuch) – Nobody puts baby or Jeff Tweedy in a corner. On their 7th record, Wilco the band produces Wilco (the Album) which features Wilco (the song), a tribute to their fans. While that may sound like an uncreative direction, Tweedy uses it as a subtle tease to lure you into the Hotel California. The experiments are over for now, unless you consider a duet with Feist to be experimental. Superhero equivalent: Spiderman. | |
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Jupiter One: Sunshower (Rykodisc) – This was our nice surprise record for 2009. Liked it so much we got their previous record as well. Think early Wings meets the Beta Band. It’s power pop with a psychedelic edge. Singer K Ishibashi and his Brooklynite mates spread their musical influences all over the place with lush harmonies and catchy pop riffs. “Flaming Arrow” wins Song of the Year. Superhero equivalent: Green Lantern. | |
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Minus 5: Killingsworth (Yep Roc) – Scott McCaughey has the blessing of being both prolific and talented. While each new Minus 5 record brings new collaborators into McCaughey’s talent pool, “Killingsworth” mainly features old stalwart Peter Buck and the Decemberists. Colin Meloy even handles vocals on “Scott Walker’s Fault.” “The Long Hall” might be the best song he’s ever written. Superhero equivalent: Dr. Strange. | |
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Animal Collective: Merriweather Post Pavilion (Domino) – I’d forgotten how much I loved synth pop until I couldn’t pry this record from the music machine. Panda Bear and company released the best Blue Man Group record ever. Most surprising element is the beautiful vocal harmonies that hold the structure of the songs together, particularly on “My Girls.” Superhero equivalent: Beast. | |
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The Pains of Being Pure at Heart: The Pains of Being Pure at Heart (Slumberland) – Picking up right where the Stone Roses and Teenage Fanclub left off, the Pains of Being Pure at Heart even sing their boy/girl laments in faux British accents. Fantastic amounts of fuzz and sugar, staples of any nutritious breakfast. With a song like “This Love is Fucking Right!” how can you go wrong? Superhero equivalent: Human Torch. | |
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A.C. Newman: Get Guilty (Matador) – Hard to believe that Carl Newman needs an outlet from the New Pornographers, but I suppose the guy just cranks out a ton of pop gems daily. Fans of beautifully written power pop treasures will not be disappointed. King Carl does it again. Superhero equivalent: Daredevil. | |
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The Avett Brothers: I and Love and You (Sony) – Hard to believe that producer Rick Rubin took this raucous twangy bluegrass band and turned them into balladeers. Scott and Seth deliver some of the best brotherly harmonies since the other Louvin brother died. Record has much less banjo than their stage shows, but the addition of piano is fair trade off. Best live performance on Letterman all year. Superhero equivalent: Iron Man. | |
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God Help The Girl: God Help The Girl (Matador) – Take that Duffy, Adele and Corrine Bailey Rae, Stuart Murdoch took time off from Belle and Sebastian to recreate the sweet sounds of 60s girl groups. Fashioned as a rock musical, it features different female and male vocalists singing new and older Murdoch numbers as well as a 45-piece orchestra. Think “Georgie Girl” meets Burt Bacharach. Superhero equivalent: Angel. | |
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The Low Anthem: Oh My God, Charlie Darwin (Nonesuch) – A re-release, but still new to us. Plus Planet Roz and I saw them for $8, which was about a buck per instrument each member played. Roots Americana mixed with some throaty blues which Ben Knox Miller ably shifts in styles. Bonus points for covering Tom Waits’ “Home I’ll Never Be,” which is based on a Kerouac poem. Superhero equivalent: Ghost Rider. | |
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Sea Wolf: White Water, White Bloom (Dangerbird) – So what if singer/songwriter Alex Church sounds like a Win Butler impersonator and has a Jack London obsession, he still put out a beautiful record. Sure he spends a lot of time in a perpetual state of sad, but that’s why he suggests that we “Turn the Dirt Over.” Superhero equivalent: Hawkeye. | |
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Monsters of Folk: Monsters of Folk (Shangri-La) – As far as quirky supergroups go, Monsters of Folk certainly give it the old CSN try. Not sure if Conor Oberst, M. Ward or Jim James ever actually do the whole “folk” thing, but more often than not this record works. The lone disappoint is that Oberst seems only to contribute outtakes from “Cassadega.” The best songs come from the golden throat of James, especially “His Master’s Voice.” Superhero equivalent: Deadpool. | |
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Rhett Miller: Rhett Miller (Shout Factory) – Our friend Rhett Miller suffers from comparisons to Rhett Miller. The only thing wrong with this record is that Miller can toss these hooks off in his sleep. While better than any other alt-country survivor, he still chases superstardom with catchy numbers like “Caroline.” Might have worked for Neil Diamond but Rhett has to settle for “Happy Birthday Don’t Die.” Superhero equivalent: Captain America. | |
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Jay Z: The Blueprint III (Roc Nation) – Beat out St. Vincent for space in the Top 20 mainly because Dennis Natale never got around to loaning me St. Vincent. This is a fun record with some heavy braggadocio, particularly when JZ claims to have been the person to popularize the Yankees logo. Take that, Rudy G, you bitch. Best line: “I’m not a businessman; I’m a Business, man.” Superhero equivalent: Batman. | |
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Beatles: Revolver (Capitol) – By 1966, the lads weren’t merely content to “Hold Your Hand” or “Drive Your Car,” they had more important things to worry about. Namely creating the first proper album that had a coherent, yet ground breaking production sound. Hard to top. | |
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The Byrds: Mr. Tambourine Man (Columbia) – Perhaps even more influential than the Beatles, Roger McGuinn and company created the perfect hybrid of folk, rock and roots Americana. Their jingle/jangle sound is still the most omnipresent force in modern music, which explains why most people who start a band either buy a 12-string Richenbacher or a mandolin. | |
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The Clash: London Calling (Epic) – Punk rock arrived and it brought dub with it. The Clash took the dangerous underpinnings of the punk rock movement and created a political salvo aimed at the Tories and Margaret Thatcher. Mick Jones also had the good sense to liberally apply some melody. | |
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X: See How We Are (Electra) – I had the pleasure to ask John Doe what his favorite X album was and he listed the one I also have chosen. While every X album had some signature moments, they didn’t really piece together a great record until their last (until they reformed 10 years later to put out the pedestrian “Hey, Zeus!”) | |
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David Bowie: Hunky Dory (EMI) – The beginning of the alien stage of Dave’s ever evolving persona, but also his most singer/songwriter work. Putting this record in context of the Apollo missions makes it even more compelling. | |
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Beach Boys: Pet Sounds (Capitol) – Spawned an entire host of imitators obsessed with studio wizardry. The difference being the dedication Brian Wilson put in to his symphonies for God. Makes every best of list because it is that good. | |
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Wilco: Summerteeth (Reprise) – If you wanted to rebel against being labeled Alt-Country, then this gorgeous artistic statement was the answer. This album renewed my faith in music and was the cornerstone to my 5 years as host of the Radio Philistine. | |
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The Cure: Kiss Me, Kiss Me, Kiss Me (Elektra) – Who knew this would become the most influential record of the past 20 years. This record has influenced everything from emo to electronic to industrial to post modern New Wave, and yet it holds up as still sounding new. | |
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REM: Reckoning (IRS Records) – Before declaring that “Everyone Hurts,” REM single handedly started the college rock scene and built a grassroots movement that still inspires music geeks. Too bad if you never saw them live when they played small venues. | |
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Bob Dylan: Blood on the Tracks (Columbia) – By 1974, Dylan had undergone several iterations of what was to become a legendary career and almost completely distanced himself from his folkie days. I almost went with “Blonde on Blonde,” but I just think “Blood” is his best work. | |
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Neutral Milk Hotel: In the Aeroplane Over the Sea (Merge) – While most of the Elephant 6 movement focused on recreating Sixties psychedelia, NMH took the road least traveled weirdly. This love letter/ sci fi treatise to the life and death of Anne Frank is one of the most enjoyable records of despair ever recorded. The band has a great time pulling out eclectic Americana instruments to really fill out the sound. | |
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Neko Case: Fox Confessor Brings the Flood (Anti) – While founding the sound that has come to be known as “country-noir,” Neko Case has crafted some of the best vocal recordings of the past decade. However, she really hit her peak as a storyteller with this record. | |
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Lloyd Cole: Don’t Get Weird on Me Babe (Capitol) – It took British crooner Lloyd Cole to discover the inspiration in short story master Raymond Carver. These songs inspired by the work of Carver carry those drunken losers through broken dreams, bad romances and, of course, lots of ice. | |
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Hooverphonic: Blue Wonder Powder Milk (Sony) – While Air gets most of the credit for bringing Euro trip-hop/ electronica to the world, it was Belgium’s Hooverphonic that created the best record of the genre. Creepy songs about strangers and cocktails, the music is ethereal and danceable. | |
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Husker Du: Candy Apple Grey (Warner) – Bob Mould may be the last, great guitar hero. While everyone else in the 80s went soft, the Huskers released their inner screams and committed it to vinyl. This is Plastic Ono Band with melodies. | |
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The Replacements: Tim (Sire) – Paul Westerberg created a sound that would later dominate alternative rock, inspiring legions of imitators from Soul Asylum to Buffalo Tom to the Goo Goo Dolls (get over it). | |
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Teenage Fanclub: Songs from Northern Britain (Columbia) – These loverly lads from Scotland blend pitch perfect harmonies and soulful melodies and create perfect pop bliss. They may also have single-handedly inspired the sort of “Lad Lit” responsible for books like “About a Boy.” And that’s fine by me. | |
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Wings: Band on the Run (Capitol) – For all of the doubters who thought Paul was fluff came this release that rejuvenated a love for all things Beatles. This record bridges the 70s to the British Invasions of the early 60s and the early 80s. For bonus points, Paul was almost killed (again!) in Africa while recording this record. | |
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Beulah: The Coast is Never Clear (Velocette) – Unfortunately released on September 11th, this record was the perfect antidote to the East Coast blues. Another band loosely tied to the Elephant Six collective, Beulah were more California cool then psychedelia. And yet they never appeared on the “O.C.” | |
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Radiohead: Kid A (Capitol) – This was the most difficult choice, and not just because it was the 20th CD, but because I had 3 great Radiohead discs to choose from. I settled on “Kid A” because I think it improved upon the framework of “OK Computer” and really showcased the genius of this band. | |
| Now you can ask: what were the ones that just missed the cut?
Lou Reed “New York” Matthew Sweet “Girlfriend” Belle and Sebastian “If You’re Feeling Sinister” Talking Heads “Speaking in Tongues” World Party “Goodbye Jumbo” Smiths “Louder Than Bombs” Guided by Voices “Do the Collapse” Old 97s “Fight Songs” Stone Roses “Untitled” Cornershop “When I Was Born for the 7th Time” U2 “War” Cheap Trick “Live at Budokan” ELO “A New World Record” Jayhawks “Smile” |
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Hold Steady: Stay Positive (Vagrant Records) – Look who grew up. Craig Finn, Beat Poet of the teen druggie crowd is now singing about dead women and interrogation techniques, fortified wine and John Cassavetes. While the subject matter has matured, it is the inspired playing of guitarist Tad Kubler and keyboardist Franz Nicolay that really stands out. Good news, kids, the best band in America just got better. If you haven’t seen them live, then you probably still have your hearing. Download the entire CD! | |
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Fleet Foxes: Fleet Foxes (Sub Pop) – The hairiest band from Seattle delivered the best 4 part harmonies since 2 of the Wilson brothers died. Every song is like a long lost gem from some mountain community that reveres animals and sing for their supper. The musicianship is not show-offy, but every song is a delight. And the singing will definitely stay with you long after you’ve taken off the needle. Start with these songs: “White Winter Hymnal,” “Blue Ridge Mountains” and “Meadowlarks.” | |
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Shearwater: Rook (Matador Records) – Jonathan Meiburg sings like the reincarnation of John the Baptist. He has a holy, unworldly voice that he uses to sing about, well, birds mostly. The one-time keyboard player for Okkervil River, now fronts an Austin combo that borders on the dramatic. Unfortunately, not as much banjo playing on this record as their previous release, but at least there is The VOICE. Check out “Rooks” and “The Snow Leopard” for instant fun. | |
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Matthew Sweet: (Shout Factory) – If Jeff Lynne is the 5th Beatle, then Matthew Sweet is the 5th Byrd. His 12-string Rickenbacher is back in action, and he has never sounded better. He even wrote what should have been his biggest hit with “Byrdgirl,” a pop gem if ever there was one. His 2-disc project of covers with Susanna Hoffs seems to have paid off with a new found appreciation of 60s melody. Still puts on a great live show! As Eric Cartman might say, “Sweeeeet.” Download these songs immediately: “Byrdgirl,” “Let’s Love” and “Feel Fear.” | |
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British Sea Power: Do You Like Rock (Rough Trade) – The answer is a resounding yes! The brothers Wilkinson share songwriting chores on this record, with brother Yan writing the more literate rockers and while Hamilton writes the catchy hooks. BSP went for a huge majestic sound on this one and didn’t disappoint. The guitar gods will be satisfied. Give your ears a treat with “Atom,” “A Trip Out” and “Lights Out for Darker Skies.” | |
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Vampire Weekend: Vampire Weekend(XL Recordings) – The most fun record of the 80s was released in 2008. Some wise acre kids from Columbia University made bouncing up and down fun again. Maybe it was the hint of the islands that made this sound like a long lost Haircut 100 record. Let’s hope they can produce a follow up equally as infectious while still singing about grammar like the sublime “Oxford Comma.” Try “Cape Cod Kwassa Kwassa” and “Campus” for good measure. | |
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Sun Kil Moon: April (Caldo Verde) – Mr. Personality returned in 2008 and actually released a fun record. Well, fun for him. He still sings about ghosts a lot, but now there seems to be some hope in his arsenal. When not stuck in some Twilight Zone episode set in Ohio with a dead girlfriend, Mark Kozelek actually seems to be taking in life with renewed interest. Even his guitar playing seems hopeful. Start with “Moorestown” and move on to “Lost Verses,” you’ll be glad you did. | |
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Elbow: The Seldom Seen Kid (Geffen) – Upon first listen I dismissed this as derivative “Trick of the Tail” era Genesis. But then I remembered how much I liked that record. I love the British bar band blues that incorporates lush orchestration on occasion. Singer Guy Gravey has a whiskey-treated voice that drips with feeling, and the band rocks when they need to like on “Grounds for Divorce.” Order up some “Weather to Fly” and “Starlings” while your at it. | |
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TV on the Radio: Dear Science (DGC/ Interscope) – This would have been higher on the list if lead singer Tunde Adebimpe hadn’t appeared in the film “Rachel Getting Married.” Still, what an awesome Prince record this turned out to be. Other singer and beard model, Kyp Malone loves to break out the falsetto. Gold stars also to producer/ guitarist David Sitek for keeping it interesting. Haven’t you bought this yet? Start with “Dancing Choose” and “Crying,” and get your ass moving. | |
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Beck: Modern Guilt (DGC Records) – The best record Danger Mouse produced in 2008. Largely an electronic record with tasty beats, it contains overtones of the minor chord “Sea Change” era Beck. Known for mashing up the Beatles’ “White Album,” Danger Mouse borrows heavily from that masterwork in creating a powerful soundscape. Sadly, Jason Falkner’s bass only appears on 2 songs. Personal favorites include “Chemtrails,” “Modern Guilt” and “Profanity Prayers.” | |
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Sloan: Parallel Play (Yep Roc Records) – Canada’s quirkiest 4-piece returns with yet more power pop brilliance. Maybe not as ambitious as last year’s 30 song masterpiece, but what could be? The only band to employ 4 equally adept songwriters, this record has plenty of melody to you bouncing. It actually sounds like a lost jewel you might find in your crazy uncle’s collection from the early 70s. For starters, try the “Believe in Me,” “All I Am is All You’re Not” and “I’m Not a Kid Anymore.” | |
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Old 97s: Blame It On Gravity (New West Records) – Welcome back, old friends. Rhett Miller took time out from his busy schedule to make a great new Olds record. If his solo records have lacked anything it is the country twang of his roots. This might be the last hurrah of Alt-Country, but what a way to go. Their best since “Fight Songs.” In this era of hope, let’s go with “The One,” “My Two Feet” and “No Baby I.” You’re welcome. | |
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Airborne Toxic Event: Airborne Toxic Event (Major Domo Records) – Since they took their name from a passage in Don DeLillo’s masterwork “White Noise,” I expected this to be more literary. Not so, but not necessarily a bad thing. A rocking good time from an L.A. band that owes more to Pulp and Blur than Papa Hemingway. Supposedly a great live show as well. Stay tuned for “Wishing Well,” “Does This Mean You’re Moving On?” and “Sometime Around Midnight.” | |
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Gnarls Barkley: The Odd Couple (Atlantic) – The second best record Danger Mouse produced in 2008. Cee-Lo Green proves he’s no Oscar Madison as his vocal performance seems to improve with each song. The album moves from soul to rock to pop with just enough hip-hop grooviness to keep it interesting throughout. This proves to me that Danger Mouse must work on the next Wes Anderson film. Load up on “Run (I’m a Natural Disaster),” “Surprise” and “Blind Mary.” | |
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MGMT: Oracular Spectacular (Sony) – Lots of bands tried to reinvent dance last year, but only one really nailed it. Produced by David Fridmann, it suffers the obligatory comparisons to the Flaming Lips. While there are elements of psyche to it, the whole record seems like a re-working of everything good about 80s music with “Some Girls” era Mick Jagger on vocals. Love “Kids,” “Electric Feel” and “Of Moons, Birds & Monsters.” | |
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L’il Wayne: Tha Carter III (Cash Money Records) – If I had a milli for every crazy thing this guy blurted out of his scatological mouth I’d be a milli heir. This could have been a better record had he left off some of the goofy novelty/ pornographic songs. Wayne proves himself to be a thoughtful, intelligent lyricist with something to say, especially on his New Orleans opera “Tie My Hands” featuring Robin Thicke (yeah, I know.) Shout out to my man T-Caul for defending the public and buying me this CD. You no doubt already own “Lollipop” and “A Milli,” now try “Mr. Carter” and “Phone Home.” | |
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Death Cab for Cutie.: Narrow Stairs (Atlantic) – Ben Gibbard is still sad, and that’s a good thing. Probably in rebellion to their major label contract, Gibbard wrote the song of the year with “I Will Possess Your Heart” and extended it for over 8 minutes to dissuade air play. Nice move. One might say the band is getting a little Brian Wilson-y in the studio, but we might say that’s a good thing. “I need an army of didgeridoo!” Also big fans of “You Can Do Better Than Me” and “Long Division.” | |
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Okkervil River: The Stand Ins (Jagjaguar) – More of a compendium than a follow up to last year’s “The Stage Names,” this record picks right up with more insights into the trials and tribulations of performing artists with Will Sheff’s tongue planted firmly in his cheeky mouth. Sheff is going to have to bite the bullet one of these days and write a book, but until then he can just keep making great records. Stand outs (see what I did there?) include “Singer/Songwriter,” “Pop Lies” and “Lost Coastlines.” | |
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Earlimart: Hymn and Her (Shout Factory) – A slap in the face to M. and Zooey? Perhaps, but Aaron Espinoza is too busy worshipping the late Elliot Smith to worry about the competition. He and singer, Ariana Murray, have moved so far away from their earlier Grandaddy-influenced stuff that you can almost hear George Martin arranging the strings. Strong Twins Peaks influence as well, which, of course, gives them a gold star. Song of the year candidate “For the Birds” is a good place to start, then move on to “Face Down in the Right Down” and “Hymn and Her.” | |
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American Music Club: The Golden Age (Merge) – Friend of LePhil, Mark Eitzel has reassembled Vudi and the boys for one more brush with greatness. Gone but not forgotten is the slo-core sound of their early 90s releases, and replaced with a fuller, more orchestral sound, especially on the elegiac “All The Lost Souls Welcome You to San Francisco.” Eitzel’s voice has never sounded so beautiful, either. Check out “The Sleeping Beauty” and “One Step Ahead.” | |
| Honorable Mention:
Coldplay Alejandro Escovedo Frightened Rabbit Los Campesinos Kayne West R.E.M. |
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