God’s Dream is quite a bold title for a record,
yet somehow it all makes sense.Ringo Deathstarr, from Texas, has a way of
encapsulating all kinds of various things and cramming them all into compact
little moments of organized chaos.Over
their first two albums and multiple EPs, they have mined familiar musical
territory (but really, honestly, who doesn’t?) and have been accused of copying
their musical idols (My Bloody Valentine,
Jesus and Mary Chain, etc.).What sets this trio apart is that they are
clearly having fun.They infuse their
noisy songs with a lot of energy and a touch of randomness that always keeps
fresh and a little bit surprising.
This EP, or
mini-LP (it’s seven songs, but is nearly as long as each of their first two
albums), was originally released in Japan at the end of 2013 with more
songs, but I missed that one, so luckily, a shorter version on fancy coke
bottle vinyl was finally released this spring domestically.Why is it that Japanese releases often
provided with bonus tracks?I’ve never
understood this.
Anyway,
“Bong Load” opens side one with a sudden burst and a lot of lyrics where lead
guitarist Elliott Frazier seems to
be describing some sort of psychedelic meltdown.In many ways this is the perfect Ringo
Deathstarr song, because it is somehow both loud and full of disorientation,
but there is calm inside the storm.The
rock steady, be it off-kilter, beat, along with a constant drone that runs
throughout the song provides the song its guiding light, as the rest of the
instruments meander their way down the path – eventually finding the other
side.It’s an intriguing balance that I
first remember Sonic Youth achieving
with their landmark late 80s work, but very nicely done here.
The
highlight of the collection is the title track, “God’s Dream.”Bassist Alex
Gehring steps in with lead vocals, as she has done a couple of songs a
collection, and spellbinds us with a stunner.Actually, there are a lot of Alex’s singing this song and her angelic
voices culminate in a beautiful chorus over the top of a descending guitar
line.Again, this song is not quiet, but
like “Bong Load,” it has a majestic beauty that this band seems to have found
on this newest material.
“Flower
Power” begins as a harsh march, turns into a speedy buzzing force, and then
about halfway through changes into a drifting ambient dreamscape, before slowly
building up the noise and momentum and finishing with the rock.It was about this point, the second of third
listen through the record, that I began to realize that Ringo Deathstarr is
starting to record more fully realized songs.Their fantastic short and varied collections have hinted at this, but
here they seem to be stretching out and giving more ideas to each song.
The first
side closes with the dreamy David Lynch-ian
“Shut Your Eyes,” which, in all honesty, has often made me do.There have been long gaps between my listens
of side one and two as “Shut Your Eyes” has allowed me to drift off into my own
little dream world.
The three
song second side begins with the pretty straightforward rock song “Chainsaw
Morning.”There is a back to basics to
feel to this loud song, right down to the verse/oft-repeated chorus/verse and
the big drum fill - sort of solo - that is the climax of the song.
Up next is
“See You,” another big sounding track.This song musically alternates between a jaunty bounce with Gehring’s
dreamy vocals and a dragging darkness with Frazier’s deep voice.It’s an interesting juxtaposition, but lacks
a certain hook.
The
collection ends with the epic and upbeat “Nowhere,” which brings back their
earliest mildly industrial influence aside the all out noise assault that makes
up this beast.This song evokes more
modern contemporaries of similar sounds like Ceremony and A Place to Bury
Strangers.
Overall,
this is an excellent collection, though side one far outshines the second.It is great to hear the band continue to
spread their wings.It’s a fun ride
worth taking.Stay tuned and come along.
2012 has been a strange, but really enjoyable year for music. The year was crammed with amazing and plentiful live performances by both young and hungry bands and some of the greatest performances I’ve seen yet from some of my old favorite, grizzled vets, which had me seeing more live music this year than I have since I was still young and energetic – like a real long time ago. I also found myself at a crisis point with music about halfway through 2012 – in danger of oversaturation and burnout (as confusingly described in the post found here). My collector and obsessive personality gets me into this predicament every once in a while, when I find myself in a panic over my inability to be aware of and own all of the world’s music that I know that I would love. It’s crazy, I know, but I do get over these brief breakdowns. So, here is my usual unrequested list of my supposedly most listened to releases of 2012. Meanwhile, as I write this introduction and attempt to format these posts, I listen to new to me albums by UK band Spotlight Kid, NW band Seapony, the Fresh and Onlys, DIIV, and have just learned that I missed out and need to track down the solo debut from ex-Gene vocalist Martin Rossiter and a very surprising and welcome reissue of material by Arizona’s masterful and completely overlooked Half String. It all makes me wonder where these albums might have placed in this list if only I had encountered them sooner. Oh well. I’ll be happy to discover them as I did these. That’s the power of music – it just keeps finding new ways to keep me engaged. Now, if only I can manage to dig up some of the energy and drive I had to begin last year.
Happy New Year to you all!
40.
Nushu Joystick EP
(NushuMusic)
In 2010, Nushu, a two-piece made up of southern California power pop veterans Lisa Mychols and Hillary Burton, released a catchier than can be album titled Hula. These two play nearly every note on the album by switching off on drums, lead guitars, etc., and if you enjoy fun, endlessly addictive, sunshine pop that harks back to the beginnings of the Go-Gos and the Bangles, you’ll dig it. This year they’ve released an EP of five cover songs, which shows off some of their influences, while still making these songs their own. A couple of these songs I was not particularly well acquainted with, like the Knack’s “Good Girls Don’t” (I only know the Knack like most people do – from “My Sharona”), which makes for a great gender bending song when fronted by a couple of women. The other song is by Phil Seymour titled “Precious to Me,” which reminds of an early 60s girl group hit. The other covers include the wonderful “Happy Hour” originally by the Housemartins, a straightforward version of the Cars’ oldie “My Best Friend’s Girl,” and finally a drastically different “They Don’t Know,” by Kirsty MacColl, but made famous by Tracy Ullman – a song which for some reason was on my mental playlist for a few months before I picked up this release. The piano intro/outro is a nice touch on this song. This makes me smile!
(nushumusic.com)
Nushu-Precious to Me
39.
The Primitives Echoes and Rhymes
(Elefant)
Well, the Primitives surprised and shocked by returning out of the blue with a 7” EP with four brand new exciting songs (my #30 pick of 2011 seen here)! However, their first album back is one made up of all cover versions of female fronted obscure 60s songs. This was not what I was expecting or hoping for, but it is a pleasant treat none-the-less. Firstly, because these songs have now opened up a whole new world of music to investigate with the originals, but secondly, the Primitives still sound refreshed and inspired. I still miss the adrenaline buzz rush of their earliest material, but that’s a lot to expect by this point. It’s clear where this band originally built their foundation, because all of these songs (except for the spooky organ fueled “The Witch” – a teaser from Halloween 2011) clock in at under 3 minutes and have the melodic classic pop style that got us all excited about the Primitives in the first place. Tracy Tracy sounds just as unaffected as she always has, while Paul Court’s guitars show a much fuller range of styles than ever before. This is definitely a welcome return. Maybe next time we’ll get some originals?
(the-primitives.co.uk)
The Primitives-Turn Off the Moon
38.
Whipping Boy
“No One Takes Prisoners Anymore”
(Rocket Girl-download only)
I say this lot it seems, but wow, I never saw this coming. Whipping Boy released three albums in the 90s: the decent and promising debut Submarine (1992), the epic masterpiece (1995’s Heartworm – my ’96 #1 pick), and the posthumous unfinished, empty finale (2000, self-titled). So, it’s been 12 years since new material has been heard and now we’re presented with two download songs and no idea if they are back or if this is something of a one off. At any rate, if they can achieve anything near the heights of Heartworm, they will have me eternally singing their praises. “No One Takes Prisoners Anymore” is certainly a promising sign, as singer Fearghal McKee poetically confronts his strongest topic, which is brutal honesty regarding rocky relationships atop of huge sounding guitars and tasteful strings. Check. It’s all here, though a little rough around the edges – like their posthumous self-titled last album. The wordy verses blend nicely into the chorus (“It’s just another crazy love affair / she gets on your nerves / you get in her hair / one more emotional bomb scare”) and somehow it’s catchy. This is a great comeback, although this would be a good b-side for their Heartworm singles, but not worthy of that album. The strange acoustic b-side of this single is another story. It is really one of McKee’s mildly discomforting stories inside a building dramatic musical framework that intrigues but does not beg for repeated listens. It will be interesting to see if they are indeed back and if they will inspire like they once did.
(rocketgirl.co.uk)
Whipping Boy-No One Takes Prisoners
37.
Best Coast
The Only Place
“The Only Place” 7”
(Mexican Summer)
I was a late comer to the world of Best Coast. Their 2010 debut didn’t land into my world until it had been out for a full year. Luckily, it hit me during the summer months, which is where it belongs. Crazy for You, is a lo-fi gem that is crammed with catchy 2 to 3 minute bursts of fun that invoke a timeless feel of early 60s surf and California sun numbers that we all have grown up with – all tinged with a sense of loneliness and longing that only being young and having nothing to do on a summer afternoon can bring. Each and every time I’ve listened to that debut, I’ve wondered what Beth Cosentino’s songs and her voice would sound like with more modern sounding production. Well, on her and multi-instrumentalist Bobb Bruno’s second long-player we get the answer. The famous producer Jon Brion (Aimee Mann, Keane, Spoon, Kanye West) jumps aboard and turns Cosentino’s reverb drenched songs into crystal clear shiny nuggets. Unfortunately, I’m not so sure this is the best sound for her songs. The charm has worn off a little bit with the new sheen, leaving these tracks a little dry. Luckily, the songs, though not a lot a different from their debut, win out. There are enough memorable moments to warrant repeated listens with songs like the California postcard “The Only Place,” “How They Want me to Be,” the classic sounding “Do You Love Me Like You Used To,” the redone closer “Up All Night,” and the most upbeat number that invokes the first LP “Let’s Go Home.” There’s not much progression here, despite the drastic shift in recording style, so it will be interesting where they decide to go next.
The pre-LP single and title track was released in the 45 rpm format and is especially worthy of attention. The A-side, of course, is a catchy little summery ditty that deserves repeated plays, but the B-side, is the real draw here. Beth Cosentino covers Fleetwood Mac’s “Storms,” turning Stevie Nicks’ day dreamy ballad into a much more urgent plea with a firmly strummed guitar and her plain every woman vocals up front. This is a huge highlight and hopefully a sign of bigger things to come.
(bestcoast.us)
Best Coast-Do You Love Me Like You Used To?
36.
The School
Reading Too Much into Things Like Everything
“Never Thought I’d See the Day” 7” EP
(Elefant)
The School has unveiled their sophomore LP, after 2010’s lovingly retro Loveless Unbeliever. Not much has changed here, as they mine the simple pop styles of the early 60s girl groups. This octet, believe it or not, actually make a very sparse straight forward collection of catchy nuggets. The orchestral accoutrements throughout are so subtle that one feels that they may be a little shy about all they could be doing, but there is no doubt that their ability to bust out a trumpet solo atop of strings and various percussives is their secret weapon. Lyrically, bandleader Liz Hunt, keeps things just as simple by writing exclusively about crushes and break-ups in the most naïve way one could ever imagine (too much so as in the case of a repetitive song like “That Boy is Mine”). It all somehow works though. The songs are catchy and sometimes quite twee, but the songs rarely hang around for more than 2 to 3 minutes and leave a nice glow of innocence and wonder in their wake. My favorite moments are from the string heavy Camera Obscura-esque “It’s Not the Same,” and the “rocker” of the bunch in the two minute handclapping beauty “Why Did You have to Break My Heart Again.” The School does a great job of making one feel good and that’s worth the price of admission if you ask me.
The pre-LP 7” contains two highlights from the album in the organ laden “Never Thought I’d See the Day,” and the Shangri-La’s styled flute infused “Where Does Your Heart Belong?” The single also includes two cover versions. There’s Jonathan Richman’s “When He Kisses Me” (the gender is changed here) and the song actually sounds like it was written for the School with its wistful excitement of fresh love. The other track is a cover of the Swedish song “I Wouldn’t Know What to Do” originally by the Honeydrips. This one is an acoustic strummer and again, it’s an incredible fit for what the School is all about. Very nice EP and a great introduction to the band.
(theschoolband.blogspot.com)
I’ve been following Austin, TX band Ringo Deathstarr for a couple of years now and am excited by their early prolific nature. Mauve is their second full length (Colour Trip was my #19 pick of 2011 here), and much like their debut, they present these 13 songs in a ramshackle manner. One never knows what will come next: a fast tempo nearly punk rock burner (“Burn” and “Drain”), a dreamy epic reminiscent of Slowdive (“Brightest Star,” especially), or a mid-tempo flippant Jesus and Mary Chain fuck off type song (“Do You Wanna?”). It makes things off-kilter and fun, as does the sea-sick off-balance feel of their sound, an aspect of the incredibly influential My Bloody Valentine that is rarely drawn from. They are still quite derivative of their influences, but they capture enough of their own input, mix a variety of things together unexpectedly, and infuse it with fresh energy enough that it feels new. This second album, though pretty solid from start to finish, does not have any songs that reach the heights of first LP songs like “Kaleidoscope” or “So High.”
The four track 10” EP they released earlier in the year deserves some attention as these are all non-LP songs. The opening “Shadow” has a more spacious sound than they normally present, with Alex Gehring providing her dreamy floating voice as a compliment to the spiraling guitar layers, while Elliott Frazier shouts along over a dancey shuffle beat. The middle two songs are different types of experiments with noise – one a short burst, the other an extended dream sequence. The set closes with an appropriately creepy early 60s style (and then covered in feedback) slow dance of Angelo Badalamenti’s “Just You” from David Lynch’s “Twin Peaks.” This is a definite highlight and one to seek this out for.
(facebook.com/ringodeathstarr)
Ringo Deathstarr-Rip
34.
Mark Eitzel Don’t Be a Stranger
(Merge)
I’m certain it is obvious that I am not a professional music writer. I do not have ready access to the bio sheets of bands and the latest promo material. In fact, for the most part, that stuff is only of a vague passing interest to me. I am a fan of music and write about how I feel about my favorite records here and there. That’s it. I have heard that Mark Eitzel, of whom I’ve been a fan since his remarkable and breathtaking live solo acoustic album Songs of Love Live from 1991, had a heart attack within the last year or two. I am not sure how this impacts this album – his first wide release since the last mach II American Music Club album (The Golden Age 2008), but I am certain that this is the first time I’ve felt re-engaged with his stuff since his lo-fi Caught in a Trap and I Can’t Back Out ‘Cause I Love You Too Much Baby solo album from 1998. This new album is quiet and mildly jazz inflected like his first post AMC solo outing 60 Watt Silver Lining. And much like that one, I enjoyed it, but missed his open wound voice soaring above each sad sack song. Having said that though, what is not gone is his fantastic lyrics and self-deprecating humor, which is found in spades on my favorite songs here. “Oh Mercy” is somehow both lonely and sad and funny and uplifting as he describes his excitement at the possibility to being invited to a party and he talks of his penchant for stories and dirty jokes and how he will bring imported beer and “clean up the mess.” “Why Are You With Me” is a song that simply lists a huge bunch of things that he does or how he is (“I’m the sad clown that sings”) most of which are followed by a chorus of people asking “Why are you with me?” The waltz that is “Break the Champagne” finds him saying his “boo-hoo voice just annoys.” It is all desperate and sad but it is all so relatable. Eitzel can capture those deepest feelings of inadequacy and self-doubt so accurately and powerfully that it’s difficult to ignore. His lyrics also offer up amazing vignettes into life and all of its underdog characters, especially in the opening empty destitute nightclub scenes of “I Love You But You’re Dead.” There is a resolve in Eitzel’s lyrics here that is comforting, especially with the sparse accompaniment, and maybe that is where the recent health scare has changed his approach. At any rate, it is nice to feel re-connected with his music again.
(markeitzel.blogspot.com)
Mark Eitzel-I Love You But You're Dead
33.
Desario
Mixer
(Test Pattern)
This second album from Sacramento’s Desario continues their run of consistency, whether it’s as this band or the member’s previous work with Rocketship, Holiday Flyer, or California Oranges. John Conley’s friendly voice is always welcome with whomever he finds himself working with. Their debut Zero Point Zero in 2009 was my #17 pick for the year (check out that album’s amazing closer “Sequoia Gee”) and it was a bit of a surprise in that these guys went for a more straight ahead indie rock sound with extended forays into some seriously detailed arrangements and lattice work guitar layers. The trend continues here on their second and it is even stronger and more consistent with an elevated level of intensity. The first three songs delight as they may be the strongest tracks here. “Cement Sneakers” cruises along and seems somewhat nondescript, until you realize that it has built itself into a nice frenzied climax. The tempo increases nicely with “Call Out Your Rivals” whose guitar jangle is detailed and energizing. The album continues to impress as they always manage to find a nice groove throughout, which is my only complaint with this album is that some of the tracks feel a little too long – as if they lose themselves in the groove too much with extended intros and finales. I think some of these songs would stick a little easier if they were a little more concise. However, this is a nice record and I hope they continue the quality work.
(desario.net)
Desario-Victoria Island
32.
A Place to Bury Strangers
Worship Onwards to the Wall EP
(Deep Oceans)
There will always be a soft spot in my heart for the type of music that A Place to Bury Strangers creates. Their influences are so completely obvious, but not only are they similar influences to what I cut my teeth on as my mind expanded and grew towards music outside of the top 40; they are also pretty damn good at it. The most obvious influence is that of the Jesus and Mary Chain – the one of Barbed Wire Kisses style feedback drenched noise and monotone buried vocals. Over their first two albums they have perfected the cold cold metallic drone base of their songs, which are then lit afire with screaming squalls of burning feedback. Of course, they are at their best when they employ this technique and still manage to find a sharp melody to carry the blasting noise through to the end. Worship isn’t really any different. They are still the masters of this sound, but it’s on the songs where they employ their feedback driven walls of sound to use on something hummable and memorable (aside from remembering how loud they can be). “Worship” is a fine example of this, as they slow their jackhammers beats down and warm us with a stellar feedback melody to carry the song. Likewise, “Dissolved” opens like a haunting floating in the ether song that Slowdive won us all over with on their debut, but with Oliver Ackermann sounding a lot like Peter Hook with his flat monochromatic voice, before it transitions into a clean noted bouncy, almost surf tune on the second half. This is a huge step forward and hopefully a sign of things to come.
The Onwards to the Wall EP that preceded the release of the album is also more of their excellent brand of noise clash. This is definitely worth tracking down, if they’ve already won you over, and even a short version introduction to who and what these guys are all about. The opening “I Lost You” makes for a great single for the band, because it is catchy and loud and dissonant. While the title track again shows signs of progress, as this song is propelled by a fantastic New Order bass line and turns out to be a duet with Alanna Nualla which is a welcome change.
(aplacetoburystrangers.com)
A Place To Bury Strangers-You Are the One
31.
Metric
Synthetica
(Mom+Pop/MMI)
I honestly do not know how to articulate my thoughts about this record. So far Synthetica has been the one Metric album that has not captured me fully yet, but I’m not sure why. When I first ran across Old World Underground, Where Are You Now? in 2003, I was captivated and motivated to listen to it over and over, even though it took me a long time to warm up to its rigid 80s influenced music and Emily Haines’ vocals. However, once I did figure out what I felt about it, it was magical. Similarly, 2005’s Live It Out took me months to warm up to (it made 2006’s best of list at #6 - seen here, because it took so long for me to get), but is probably my favorite of all of their albums now. Meanwhile, their fourth album, 2009’s Fantasies, was an immediate favorite (#4 pick for that year seen here), but has not had the same shelf life for me. So, now, we have their fifth album, one which has a huge sound and commercial expectations, much like Fantasies did, and it sounds really good. For some reason, however, it has not yet been accessible to me. I like the epic atmospheric opener “Artificial Nocturne,” and “Youth Without Youth” makes for a catchy radio single, and “Speed the Collapse” is this album’s “Sick Muse” (though not nearly as addictive). Then I lose it for a while. None of the songs in the middle of the album have wormed their way into my consciousness yet. This does end strong though with the oddly warm sounding “Clone” (could be a Stars outtake), a solid closer with “Nothing but Time,” and the highlight and surprise duet with Lou Reed on “The Wanderlust.” What makes this so difficult is that with my history with this band could find me naming this my favorite album of 2013 or 14, because I never know when they will win me over. Overall, this is a pretty good record, but as of now, it is not their best work, in my opinion.
(ilovemetric.com)
Metric-Youth Without Youth
You can find the remainder of the list at the following links:
Here are the listings from #'s 20-11of my favorites of 2011:
20. Buffalo Tom Skins (Scrawny)
Getting older sucks. More and more, I’m finding I’m writing about bands in their 30-somethingth year of existence and in some cases wondering what happened to their initial fire and power. Buffalo Tom is a prime example. Their first three albums were Dinosaur Jr.-tinged, true American, college rock feasts of blasting guitars, tumultuous drums and achingly powerful songs that peaked with the stellar rollercoaster ride that is 1992’s Let Me Come Over. In 2007, they reunited after their initial 10 year run, with a so-so album (Three Easy Pieces) that made the purchase of Skins a bit of a risk, and much like the direction of their post 1992 career arc, the songs have mostly lost their edge and spunk. It’s not bad though. In 1995 I might’ve shelved this CD after one listen and written it off as old man rock – much like I did with 1993’s horribly produced Big Red Letter Day. Now that I am an old man, I see some value here. The opening “Arise, Watch” is a stunning piece of vocal interplay that traces new ground without losing attention. ‘Down” recalls some of their older work, as does the spunky “Guilty Girls.” Other standouts include the momentous “Here I Come,” “Lost Weekend,” and the closing “Out of the Dark.” Yet, when I hear the mandolin and acoustic plucks of the glossy duet with Tanya Donelly (ex-Throwing Muses, Breeders & Belly), I get sleepy and bored. There’s a bit too much of that here, but they are on an improving arc, and that is a good thing!
(buffalotom.com)
19. Ringo Deathstarr Colour Trip Sparkler (Sonic Unyon) Colour Trip is this Austin, Texas trio’s first official album and it is a welcome one. For those out there who love shoegaze with some bite, there is something of quality to be found here. Their sound goes back to the Jesus and Mary Chain – like many of the original shoegaze bands of the late-80s/early 90s – taking cues from the deep breathy vocals and machine-like pop precision of JAMC’s Honey’s Dead. Then, they infuse their sound with massive doses of My Bloody Valentine waves of guitar disorientation. In other words, this is pretty cool. I also appreciate the focus, as most of these songs clock in at fewer than 3 minutes. There isn’t a lot of groundbreaking here, but they have found a sound and they have breathed some life and passion into it and it shines through. Feel their force on the MBV ode “Imagine Hearts,” the Lush-like explosion of “So High,” and “Tambourine Girl.” The ultimate song – one of the best of the year – is the two minute “Kaleidoscope,” whose brevity and humming feedback atmosphere makes me want to hear it over and over again and yet again.
Sparkler, a compilation of their early EP and singles, was originally released in 2009, but I had not yet discovered these guys. Luckily, Sonic Unyon has made these songs readily available again. Here Ringo’s influences are even more clearly stated, but one can see their talent and ability in such songs as “Some Kind of Sad,” “Down on You,” and “Sweet Girl in Love.” Colour Trip is their better and more original work, but both are worth the price of admission.
(facebook.com/ringodeathstarr)
18. For Against Black Soap EP (Words-on-Music)
Nebraska’s rock legends For Against have been creating amazing music for over 25 years and this EP collects three songs from their earliest recordings together in 1984 and allows them to see the light of day for the first time. It proves that they had a lot of talent to burn from the get go. “Black Soap,” their first ever recording, is a short and speedy post-punk landmark chock full of early Cure reverbed bass lines (think “Play for Today”), scratchy guitars and busy drumming and, of course, monotone dark lyrics (“your black soap won’t get me clean”). An amazing start! “Dark Good Friday” sounds a bit more like the direction For Against headed with their first two 80s albums with Harry Dingman’s stratospheric guitars chiming atop Jeffrey Runnings’ mid-range bass fills. Lastly, we find a different mix of their now famous (in my dream world that is) club epic “Amen Yves (White Circles),” which originally appeared on their unbelievably creative In the Marshes 10”, as part of Independent Project Records’ “Archive Series” in 1990 (my favorite of all their records). Crucial for fans.
(myspace.com/foragainst)
17. Should Like a Fire Without Sound (Words-on-Music)
It’s been since 1998 since Should released Feed Like Fishes and to be honest I had kind of forgotten about them. In some ways, this doesn’t sound like the same band, since the fuzz and noise of their early records has been completely stripped away. What we’re left with without this added coating is a much more memorable bunch of songs. The nine songs here are very downbeat and precise and perfect for a nice lazy afternoon of daydreaming. Each little nuance and subtle addition to these fairly sparse songs conjure up very pleasing hummable moments. The delicate melodies that Marc Ostermeier and Tanya Maus create here on such standouts as “Turned Tables,” “Slumberland,” and “Just Not Today” all feel so familiar and comfortable that I cannot shake them from my consciousness. Plus, I cannot overlook the cool factor of their cover of Disco Inferno’s “Broken” (from their 1991 In Debt compilation LP!). Please check this out!
(myspace.com/shouldmusic)
16. The Pains of Being Pure at Heart Belong (Collective Sounds/ Slumberland)
This is a very nice second album. The Pains’ first had a decidedly small indie pop sound, which mirrored the early Slumberland artists from 89-92 in sound and vibe, has been transformed into a much bigger one with the addition of mega producer Flood (U2, Depeche Mode, etc) and a superb mix job by the remarkable Alan Moulder (Swervedriver, Ride, Lush, Curve, etc). These kids are clearly making a step forward and searching for a wider audience. Hot on the heels of last year’s two shining 7” singles, this album starts off with the heavy buzz and danceable jangle of the title track followed by the super poptastic classic “Heaven’s Gonna Happen Now” and “Heart in Your Heartbreak (second of the 2010 singles – last year’s # 23 pick). These three songs show the promise that the Pains have! The remainder of the album is full of solid little songs, though it levels off a bit. Some other good high points include the teen anthem of “Even in Dreams,” the very Jesus and Mary Chain-ish “Girl of 1,000 Dreams” and the trance inducing closer “Strange.” I look forward to their next progression.
(thepainsofbeingpureatheart.com)
15. The Lonely Forest Arrows (Trans/Atlantic)
Every once in a while, an album comes along where nothing really astounds me, yet I find myself listening to it all the time. This year’s candidate is from the, apparently third album by Anacortes, WA natives, The Lonely Forest. I say apparently, because I had never heard of them and am a bit saddened that I have let them slip through my fingers this long. Luckily, Death Cab’s Chris Walla snapped them out of obscurity and signed them to his own fledgling label imprint with Atlantic and produced them as well. In addition, they played some dates with the Joy Formidable around the time Arrows was released and I was able to see them play last spring. They are a straightforward good old fashioned college rock band that has a knack for writing some pretty catchy anthems. Most of these songs feel like they should be played at outdoor festivals. Their lyrics are very relatable and down to earth. In fact, they really should be much better known than they are! Maybe vocalist John Van Deusen’s mildly nasally voice may turn some people off, but it doesn’t bother me. Maybe I simply relate to their clear love of the Pacific Northwest’s access to oceans, harbors, rivers, lakes, lush forests and mountains that shines through their music (check out their love song to the NW: “I Don’t Want to Live There”) that I relate to. At any rate, the highlight here is “Turn Off This Song and Go Outside,” and very catchy pop tune that is telling us to do exactly what it says. The album is bookended by a couple of quiet ballads, but for the most part this collection rocks and finds some good hooks in songs like “Two Notes and a Beat,” “Coyote,” and the twin songs that examine the inside and outside of love “(I Am) The Love Skeptic” (“and the bullshit never ends”) and “(I Am) The Love Addict.” This is very entertaining.
(thelonelyforest.com)
14. Nature Set Enough is Enough 7” EP (Elefant)
Oh boy! This is fantastic! “Enough is Enough” comes on fast and is as addictive as crack! I love it! This UK four-piece had me dancing around like the moron I am in seconds with "Enough is Enough," and the best part is that the other three songs herein are just as strong. I make it no secret, I am a sucker for catchy, energetic pop songs and it’s a bonus when they come packaged with female vocals with lots of background harmonies! “You or Nobody” slows things down a bit and at times sounds a bit like label-mates The School. Then they get their early Go-Go’s on with the B-side opener, “At Least Not Today,” while finally catching a psychedelic tinge with their darker closing track “The Engineer,” which reminds me of a song I know so well, but I cannot place it. Whatever the case, this is excellent and I am an instant convert. I cannot wait to hear more. They have just released a split cassette with the newly formed Former Lover, who is led by ex Long Blonde (a favorite in this house), Dorian Cox. I am filled with anticipation.
(natureset.info)
13. Standard Fare “Suitcase” 7” “Darth Vader” mp3 Standard Fare/One Happy Island Split 7” EP (Melodic/Thee Sheffield Phonographic Co)
Last year’s debut album from Standard Fare, The Noyelle Beat (#3 pick), was a refreshing and surprising blast of fun and lively songs that have continued to linger in my head for nearly two years now. I’m so glad that they’ve released a bit of new music this year while waiting with great anticipation for the January 2012 release of their sophomore effort, Out of Sight, Out of Town. The split single with Boston’s One Happy Island finds both bands covering each other’s songs, along with one original each. Standard Fare takes a crack at what turns out to be an incredible OHI song: “Kudzu Girlfriend.” The title alone tells us where this one is going, but Standard Fare turn this into their own with their brand of C86 jangly buzz and duel vocals. Their original contribution is another tight 2 minutes. One Happy Island takes on Standard Fare’s “Night with a Friend,” and similarly, they make this their own. One Happy Island reminds of a modern version of the low-fi Beat Happening sound, but with much better playing. Their music is charming with unusual instrumentation and it works perfectly with this great duet. Their original “China Fair” is another revelation and a good reason to seek this music out.
“Suitcase” is an incredible song that shows us that Standard Fare is ready to grow and expand, though they are also ready to abandon all of us for a bunker prepared for nuclear fallout. The B-side here, “Nine Days,” also shows another side of the band with a much more reserved feel.
This quieter sound continues on Standard Fare’s newest mp3 single “Darth Vader,” which finds them switching perspective from the exuberance and frailty of young love to a level of maturity mixed with resignation. The non-LP track that comes with the single download, “Argument,” is another short two minute worth the .99 cents, but clearly a B-side.
(standardfare.co.uk)
12. Wire Red Barked Tree (Pink Flag)
It’s hard to believe that the third version of Wire (second reformation – now as a trio) has lasted longer than either of the previous two. The most amazing part is that Red Barked Tree is their most live-sounding, and spontaneous album since maybe 1977’s Pink Flag! The best part for me is that this album seems to accumulate the sounds and styles that they have experimented with off and on for the last 35 years and smash them all together in a surprisingly cohesive 40 or so minute whole. Speaking of smashing, “Smash” here is one of their best true rock songs ever! But who cannot love the straight ahead punk burst of “Two Minutes” or the oddball (a word I used twice in a description for their 2008 # 7 pick Object 47) Graham Lewis sung “Bad Worn Thing”? And who would’ve ever thought we’d hear layers of acoustic guitars strumming along on the closing statement “Red Barked Trees”? This band continues to progress in unexpected, and more importantly, refreshing ways. Amazing.
(pinkflag.com)
11. DrugstoreAnatomy “Sweet Chili Girl” CDsingle “Standing Still” CDsingle (Rocket Girl)
Yet another band that we had lost in time has returned. This was once surprising, but nowadays, it has become commonplace and welcome. I don’t care what anyone says about selling out and all that. These artists deserve a second chance at attention. I hope they make it! At any rate, during the mid-to-late 90s Drugstore was a perennial favorite of mine. Their brand of catchy acoustic based tunes crooned by the Brazilian born bandleader Isabel Monteiro really found a home in my heart. This trio had an energetic spark, despite some fairly quiet numbers, which revealed itself on their fiery second album White Magic for Lovers (1998). However, ten years after their so-so third offering found them splintering and disappearing, Monteiro has come back with a new lineup and with renewed enthusiasm. These ten songs are subdued and quiet and really quite depressing (sample lyric: “I want salt in the wound/I want blood in the rain/everytime that I move/I want nothing but pain”), but also full of life and verve. Instead of coming off as woe is me, these songs of heartbreak feel more like an understanding old friend who has come to help us nurse our wounds. There are many references to things coming to an end: lights going out, falling rocks, etc, but it feels natural, like the end of a chapter and the start of something new. The tracks here are sparser than ever, with mostly a solo acoustic album feel, but are warmed by light touches of subtle instrumentation throughout. Most welcome is the heart-tugging strings of the closer “Clouds,” and the Spanish inflected duet “Aquamarine,” which reminds me of some of those beautiful cinematic songs by Lee Hazlewood and Nancy Sinatra from the late 60s. This album seems to improve with each listen!
The singles are not essential here, especially, the “Sweet Chili Girl” 2 tracker, both songs bookend the album. The standout album track “Standing Still” offers two new songs, which are okay (“Don’t Throw Me In” and “Bring Me His Head”) in the same vein as the album, but not as revealing and exciting as some of the band’s past b-side material.
(rocketgirl.co.uk)
We're almost there! Stayed tuned for the Top 10 next time.
