Top 40 of 2013 - #40 to #36

2013 has been a strange year.  The first half of the year had passed before I truly felt much of a spark from the music that I draw so much from.  There were January disappointing announcements of two promising young bands calling it quits (Nature Set and Standard Fare).  There were exciting returns from legendary bands, such as My Bloody Valentine – something that seemed like it would never happen – but in the end, their newest self-released album left me feeling empty and unmoved.  It sounded like so-so B-sides that wouldn’t have made the cut on their amazing late 80s Creation EPs.  It’s nice to have them back and maybe baby steps are what they needed to make, since following up their groundbreaking 1991 loveless is next to impossible.   

Similarly, we saw another surprising reappearance from the Pixies after 22 years.  Sure, they've been touring relentlessly for the better part of a decade, but it's been all the old stuff.  So, the odd news that Kim Deal had left the band coincided with news of new material.  Whatever the case, the initial free download offering of "Bagboy" was promising.  It contained many of the elements that made them groundbreaking and now legendary, but had a new twist.  However, their proper re-debut with EP-1 is simply a collection of four disappointing generic songs.


Then there was the re-appearance of my more recent favorites Editors, releasing their fourth LP, but this time without founding guitarist Chris Urbanowicz.  His input and creative style of playing was clearly a huge part of what made Editors so good, because the resultant The Weight of Love is an okay collection of Kings of Leon sounding love ballads and big U2 style anthems.  It does not contain the magic that originally drew me to the band in the first place.  Too bad.

 

Yet, as the year reached the end of summer, music started to click into full force again – into an embarrassment of riches, making me wish I had riches to afford it all.  Every year is an excellent one for music; it’s just a matter of tracking it down.  Sometimes it takes more time and energy than others, but it is out there and 2013 turned out to be pretty special.  

40.

Summer of Blood

Summer of Blood EP

(self-released)

Well, this is quite interesting.  A menacingly titled debut EP limited to only 50 copies.  This five songer is lovingly pieced together with lots of little inserts in the sleeve and an old school photocopied cut and paste style information page.  I don’t know much about this fledgling Sheffield band, except that it formed out of the ashes of the tragically short-lived Nature Set – a band who weren’t around long enough to release an album, but whose two EPs managed their way into my heart with their pleasing pop immediacy (2011 #14 here & 2012 #19 here).  The EP opens with a mellow walk through the park with “Mainstream Rituals,” but then things get going with the dirtier sounding “Blood Curl,” a bitter ode to a broken relationship.  “Mi Sagrado Corazon” brings back the heavy organ layers from the first track and kind of goes nowhere.  But the proceedings are saved by another gritty song in “Straw Dogs.”  This buzzing pop number reminds the most of the former Nature Set, but with heavy guitar work burgeoning underneath the organ lead.  Its simple mid-tempo beat and repeated refrain “you never felt this way before” is instantly a winner.  The proceedings close with an unlisted short instrumental ‘Summer Rituals II,” which is pretty and makes me curious what direction this band will go with their next release and if they’ll stick it out long enough to grow.  If they do, I’ll be listening!

(facebook.com/pages/Summer-of-Blood/552276668136890)

39.

Standard Fare

“Rumours” 7”

(Kingfisher Bluez)

My love affair with Standard Fare was abruptly cut short in January of this year, when they announced that they were splitting after only two albums and a handful of singles (see here for 2010 #3 pick, here for 2011 #13, and here for 2012 #8).  It’s so sad, because I fell so hard for their fun, energetic sound and especially Emma Kupa’s unique vocal style.  Luckily, they left us with great music to listen to going forward and to remind us to wonder ‘what could have been.’  This limited edition 7” (only 300 copies!!) is their farewell to us fans.  They give us what are clearly songs that didn’t make the second LP cut (Out of Sight, Out of Town), but they are still quality songs.  The A-side, “Rumours” is a breezy, light on its feet strummer, with excellent guitar flourishes by the underrated Danny How.  This should’ve made the last album or at least should be more widely heard.  The lyrics, as always, have a natural feel, as if ripped from a diary and they tell a story that seems to allude to either a failed or unrequited past affair and the rumors and fallout that have kept these people apart for so long.  Meanwhile, the quick two minutes that make up the B-Side, “Out of Sight” is clearly B material, but still a catchy little song of escape - a fitting closure for a great young band.

(standardfare.co.uk  /  kingfisherbluez.com)

38.

The Joy Formidable

Wolf’s Law

(Canvasback Music/Atlantic)

Over the last three plus years my fire and love for The Joy Formidable has been substantial.  Their 2009/2010 mini LP A Balloon Called Moaning and the debt full length, 2011’s The Big Roar, both became my #1 picks for those respective years (seen here & here), and the few times I’ve been lucky enough to see them perform live have been exhilarating and thrilling to say the least.  This is a band that brings it and brings it consistently; maybe more than any band I’ve ever seen.  Their emergence made me feel like a teenager again, when I was discovering music on my own and seeing live music for the first time.  This second full length appears just after they have toured the western world multiple times gathering a substantial fan base the old fashioned way – one audience at a time – with an album full of hope.  They have added diversity with a beautiful batch of slower songs (the acoustic ballad “Silent Treatment” and the timeless sounding “The Turnaround”), several orchestral touches (“This Ladder is Ours,” “Forest Serenade”) and of course a bunch of massive sounding showstoppers (“Little Blimp,” “The Leopard and the Lung”).  Lyrically, they seem to be finding an amazing amount of hope, wonder and redemption with humanity, even after we continue to burn, rape and pillage the Earth and each other and their enthusiasm feels authentic and believable.  Yet, for some reason, this one has not quite settled with me.  I love it and have listened to it over and over, but it hasn’t captured me in the same manner.  It could be that it needs a simple tweak in production or mix (maybe Andy Wallace’s metallic sheen has sucked some of the life out of their performances?), because when sprinkled into the live setting these songs fit in spectacularly with the older favorites – especially the astounding unlisted title track that closes this album now that it has been paired with the set closing blitzkrieg that is “Whirring.”  Or maybe it is that the epic centerpiece “Maw Maw Song” is the first song of theirs that I don’t particularly like.  Whatever the case, this is all nitpicking, because this Welsh trio is still about the most exciting band out there today.

(thejoyformidable.com)

37. 

The Black Watch

The End of When 2xCD

(Pop Culture Press)

I first encountered the black watch way back in 1993 when I happened across their 7” single “Whatever You Need” b/w “Come Inside.”  I purchased it solely because it was $3 and the cover featured a nice picture of my first ever crush: Natalie Wood.  Such a frivolous music fan I am, but wow – what a record!  Both of those songs are among this veteran band’s best.  Anyway, this started me on the current journey following them and enjoying their unbelievable consistency.  This new release made me especially curious, since their 2010/11 11^th album Led Zeppelin V was their best in several years (my 2011 #33 pick seen here).  Bandleader John Andrew Fredrick seems revitalized ever since ex-Chills guitarist Steven Schayer has joined the group a few years back.  The songs are more vibrant and memorable again, like in the 90s, when they strung together a ton of great singles and some really solid albums.  The first few songs here have their skittering layered guitars bleeding with extra urgency and fire.  The opening “I Don’t Feel the Same” sounds like one of their classic songs and would sound perfect on any of their albums.  Meanwhile, “Meg” is their best single in eons.  The cascading drums and that scratchy repetitive guitar riff build up a compelling case that Meg is pretty special (I especially like the line: “You know I go all ice cream inside”).  The album loses a bit of that energetic momentum as it progresses, but the softer songs start to reveal their intricacies with repeated listens.  The jaunty sounding “The Spare Side” adds a new element with a horn section, but the sound, as is often the case, belies the downer message of the words.  But who cares?  The bridge and song tempo shift about halfway through and it’s absolutely stunning.  The Steven Schayer led closer shows, once again, that he is a really good songwriter in his own right, as “Unlistening” evokes a very powerful load of emotions atop a simple guitar line and some backwards effects.  Another good album from this band and there seems to be a little more notice of their efforts this time around.  Here’s hoping for 25 more years!!

This album is also packaged with essentially a free best of CD.  There is a sixteen song collection that compiles songs from their 1991 sophomore LP Flowering up to the aforementioned Led Zep V.  There is a lot to take in, but it proves the point: they’ve been really good for a really long time.  And which songs show up?  Those two from the Natalie Wood single?  Why yes, they sure do.  Also, while you’re busy taking in their history, pick up and read Fredrick’s recently reissued or finally issued novel The King of Good Intentions!

(facebook.com/theblackwatchmusic)

  

36.

Swervedriver

“Deep Wound” (download single)

(Tym)

New material from Swervedriver?!  Huh?  They’ve been touring consistently for several years now and astounding audiences by somehow being even better than they were as an active recording band in the 90s.  Meanwhile, leader Adam Franklin has been consistently releasing his own really good albums (with Bolts of Melody) over the last several years.  It didn’t seem like the actual Swervedriver would be new again.  Yet, December has come and this previously tour only and obscure Australian import 7” (I tried to order, but it was ungodly expensive) has finally been made available via download with news of an upcoming new album.  Perhaps all of the recent signs of their massive influence on so many of today’s bands have them wanting to reclaim their turf.  “Deep Wound” shows no sign of rust either and seems like an ode to one of their influences by naming the song after the pre-Dinosaur Jr. hardcore band Deep Wound.  Obviously, the constant touring has kept them sharp, because this song has the same white hot edge that they always had, along with Franklin’s great voice and amazing ability to write intricate guitar hooks that can be simultaneously dreamy and shredding.  The b-side is a reworked version of the a-side, labeled as “Dub Wound.”  It really isn’t very dubby, but definitely has a more spacious sound.  It’s pretty fantastic in its own right.   Cheers to a new album in 2014!

(swervedriver.com)

  

see more here:

#35 to #31 
#30 to #26 
#25 to #21
#20 to #16
#15 to #11  
#10 to #6
 #5 to #1

Top 40 of 2011 Part IV

Here is the final installment of the Top 40 releases of 2011: The Top 10

 
I hope everyone takes a chance to share some of your favorites from this past year in the comments below!

10. We Were Promised Jetpacks
In the Pit of the Stomach
(Fatcat)
A couple of years back Ox and I went to see the Scottish lineup of The Twilight Sad and Frightened Rabbit perform at Dante’s as part of Portland’s Music Fest NW. At that time, the second Twilight Sad CD was due to be released and they were to play some new material, so we were pretty stoked. As we walked into the crowded and appropriately burning hot club, we first headed to the bar for beer, the merch table to secure the new CDs and then to the stage. The soundtrack during this entire adventure was another band from Scotland, who despite how many times I’ve asked and had answered who they were, their name never stuck with me. All I knew is that they sounded incredible, were really intense, and their singer reminded me of golfer Lee Westwood gone insane. It wasn’t until recently that I put together their silly and apparently too difficult to remember name with a moment when I could actually seek out this four-piece’s music. They have two albums, and much like their live set, both are full of incredible intensity. This second offering, much like The Twilight Sad’s second Forget the Night Ahead, is maybe a bit too much, as there’s nary a chance to take one’s breath, aside from the closing “Pear Tree,” and the opening segment of the fantastic “Act on Impulse.” True be told though, I kind of admire the all-in fire of this music. The complex and always forward pressing drumming pushes the string shredding passes of the guitars, which act as fuel to ignite a fire into singer Adam Thompson who lays his heart on the line with commitment and searing passion. If you need feel this kind of fire burning inside, then throw on the singles “Medicine” and “Human Error,” and the surprisingly hummable “Picture of Health,” or “Sore Thumb,” and the undeniable force that is the album opener “Circles and Squares.”
(wewerepromisedjetpacks.com)

9. Veronica Falls
Veronica Falls
(Bella Union/ Slumberland)
Veronica Falls have been releasing singles now for a few years, but this is their proper debut album and it’s a welcome beginning, though a pretty dark one. We start out with “Found Love in a Graveyard” a song that seems to be about having a love affair with a ghost, while we definitely don’t want to go to “The Fountain,” or delve into “Misery” or “Bad Feeling” (another ghostly entry). That’s just side one! Some of these songs sound fairly upbeat with their nice male/ female vocal harmonies, pounding barely in control drums, and tight strumming guitars, but things are definitely not all good here in Veronica Falls. The bleakness of their words isn’t overwhelming and only adds an added depth to their brand of indie pop, which is often described in terms of the C86 explosion and a touch of the Sarah brand sound, but I hear more of Australia’s late great Cannanes here, though a bit less ramshackle and a lot more focused. “Stephen” comes off as a lost Pixies track, if maybe they had decided to strip things down a bit, instead of adding the keyboard flourishes of later albums. Veronica Falls’ sound fits the black and white pastoral cover of the album. It has a wintery feel; one that is tinged with sadness, but has a familiar comfort. Don’t miss their title song “Veronica Falls,” the fairly uplifting “Come on Over,” “Right Side of my Brain,” along with the previously mentioned tunes for a sense of their sound and let’s hope they continue to make such touching music.
(veronicafalls.com)

8. The Rifles
Freedom Run
(The Rifles/Nettwerk)
This third LP from Chingford UK’s mod-pop band The Rifles is a bit of a shock to the system. Having absolutely gone apeshit over their spiky early singles and debut No Love Lost, and enjoyed their progression to a bigger sounding act with their second album Great Escape (my 2009 # 2 pick), this new one threw me. After the first few listens, and even after hearing and loving the pre-LP single “Tangled Up in Love,” pretty much nothing sat well with me. Besides that single, at best, I felt indifference, while at worst, I was annoyed. However, this is the Rifles - this is the band that gave us “Peace and Quiet,” “Local Boy,” “Science in Violence,” and my two ultimate favorites: “When I’m Alone” and “Out in the Past.” I had to give the new material more of a chance. And, believe it or not, most of these songs started to grow on me. Their earlier work had a very punk/mod flavor (think The Clash and The Jam) and they’re blessed with huge pop sensibilities. This new work focuses more on their pop sensibilities. Really, much of this album wouldn’t sound out of place amongst work by UK pop acts from the late 60s when there was a fair amount of concept album and orchestration happening. For whatever reason, it didn’t click with me at first, even though my tastes with age have leaned more towards classic pop sounds.  Maybe it’s because of songs like “Love is a Key” and “Little Boy Blue (Human Needs)” tread in a direction that I don’t want to go. The rest of the album though, has won me over in a big way. The opening four tracks form a dazzling spectacle of chiming guitars and catchy harmonies. “Dreamer” is a builder that acts as a bridge between older Rifles and this new one (literally, as they now have a new rhythm section), while “Sweetest Thing” and its falsetto vocals climbs to sparkling heights. The other unendingly catchy number is the sing-along simplicity of  “I Get Low.” Overall, though a bit too much, but a brave step in a new direction and once one’s mind (meaning mine) is open, this proves to be a winning album that sounds classic and modern at the same time, much like Oasis did during the mid-90s with Definietly Maybe. Sit back and enjoy the ride.
(therifles.com)

7. Trembling Blue Stars
Correspondence 10” EP
(Elefant)
Okay, so I thought last year’s double CD release, Fast Trains and Telegraph Wires (last year’s # 4 pick), was to be the final statement from longtime favorites Trembling Blue Stars. However, this 10” orange vinyl EP sprang up earlier this year to treat us to one last taste from this Robert Wratten led collective. With releases like this, the farewell can go on forever as far as I’m concerned. The opener is a mix of two songs from the last album, “Outside” and one of the highlights “Half-Light,” strung together into an ambient masterpiece re-titled “The Light outside.” Up next is another short instrumental that reflects the theme of the last album, with its quiet airwave static. “Sunrise on Mars” jumps in and acts as this set’s true single. It’s a spot on example of this band’s ability to craft perfect three minute bits of stellar heartfelt pop. Side two opens with an old 80s Wire favorite: “Kidney Bingos” with help from Caesar McInulty (The Wake) on vocals with late term member Beth Arzy (ex-Aberdeen). This straightforward rendition, though welcome, offers nothing revelatory. The final two songs are the very strong though. “A Field at Dusk” is an acoustic strummer that carries the listener into a melancholic state of total reflection, while “A Spell of Songs” is a classic finger picked number with a slowly unfolding story that has marked all phases of Wratten’s storied career stretching from the Field Mice, Northern Picture Library to this band. Will he start again? I sure hope so.
(elefant.com)

6. exlovers
“Blowing Kisses” 7”
“Starlight, Starlight” mp3
(Young and Lost Club)
Enough already! exlovers need to release an album now! This is getting ridiculous. This UK five-piece has released 3 7” singles and a 10” EP since 2008 with nary a fumble throughout, but still no full length. This year started off with promise with the 7” release of “Blowing Kisses,” another short driving song on par with their excellent Stephen Street produced “You Forget So Easily” (last year’s #15 pick) from late 2009. The B-side, “Motheaten Memories” is even better with its single guitar intro that builds into an upbeat number that crashes through some soaring peaks and valleys musically. Both of these songs show an aggressiveness that much of their prior work hasn’t shown, but the ever consistent twin vocals of Peter and Laurel guide us through these songs of fractured relationships. I thought this single for sure would mean a new album in 2011, but nothing all year…until just recently on their website they’ve announced that an album is immanent and have provided a chance to download a free track: “Starlight, Starlight.” I suggest everyone take advantage of this free preview; it’s quite a treat.
(exlovers.co.uk)

5. Secret Shine
The Beginning and the End
(Shine)
Secret Shine were a Sarah band in the early to mid 90s, but they were one that mined the shoegaze world more than the fey shyness of most of their label mates. Vocally, they fit right in, but musically they were bit a more noisy. Even though I treaded those Sarah grounds quite a lot back then, I somehow overlooked them. It wasn’t until after they reformed after their original drummer Tim Morris died, that I found my way to their two EPs of very nice new material released in 2006. They followed those with a new album that harkened back to their prior 90s album in 2008 (All of the Stars), which sounds great, but sometimes lacks memorable moments – like so much of the newer shoegaze material out there. This second album in their new version is a big leap forward from that one. Along with their own signature sound, this has a feel of “Pearl”-era Chapterhouse with it’s combination of electronic atmospherics mushed together with the waves of guitars and the cooing of Slowdive’s Rachel Goswell. This set opens with a fiery “In Between” to get the adrenaline going, while “Perfect Life” eases into a nice universal groove. Other standouts include the burning back to back side two songs: “Hole in Your Heart” and “It’s Killing Me.” “Touching Nothing,” and the big beat of “Trying to Catch the End” finish the album off in dreamy Slowdive-ish fashion. My only complaint here is that the vocals don’t quite fit right in the mix productive-wise. They sound like they’re piped in from somewhere else. Maybe it’s the odd seeming use of auto-tune, but something’s amiss in the sound at times. This is a minor complaint, because the songs are strong and most-likely the most consistent and best of their recording career.
(secretshine.co.uk)

4. Dum Dum Girls
Only in Dreams
He Gets Me High EP
(Sub Pop) 
I liked the Dum Dum Girls’ first album (2010’s home recorded, mostly solo I Will Be), but it felt more like sketches of songs. There are catchy short bursts with some great melodies, but the drum machine grows a bit old throughout and there’s far too much reverb shadowing Dee Dee Penny’s vocal gifts. I wondered what their second album would sound like with a full band and more fully realized songs. The result? I absolutely have fallen head over heels for Only in Dreams! Firstly, Dee Dee’s vocals are way more upfront and forceful here, which is a plus, because she gets to showcase her cool early - Chrissie Hynde (The Pretenders) inflected voice. Oh, and her oohs and aahs throughout can be spine tingling, such as in the sad plea of “Heartbeat (Take It Away),” which makes me melt. The full live band proves to be a huge benefit as well, after a year of solid touring; they have formed a tight knit base and Jules adds some tasteful 60s-ish surf guitar leads that fits beautifully inside these girl group inspired songs. Everything here is recommended, but start with the endlessly refreshing “Bedroom Eyes,” the Cramps-like “Just a Creep,” “Caught in One,” and “Tears on My Pillow.” Then, turn to the epic and haunting “Coming Down” and the emotional “Hold Your Hands.” Come to think of it, this album is actually stuffed with heartbreak and sadness and loneliness and it is a beautiful and comforting way to deal with it.

The pre-LP four song EP He Gets Me High is also highly recommended. The three originals are all worthy of making the album, especially the single standout title track. Lastly, is a cover of the Smiths’ oft-covered “There is a Light that Never Goes Out,” which is a song that doesn’t need to be covered, but this is easily the best I’ve heard. The loud buzzing guitars drive this song with an urgency that most covers seem to lack and it has reinvigorated life into a song that had kind of faded from my old lexicon of favorites. Thank you!
(wearedumdumgirls.com)

3. Lanterns on the Lake
Gracious Tide, Take Me Home (2 CD)
(Bella Union)
After three stellar self-released CD EP’s, Northeastern England’s Lanterns on the Lake finally come through with a full length album. Last year’s EP feature “Lungs Quicken” (#14 pick for me for 2010) opens this 11 song set with its life affirming urgent plea. There are a few other holdovers from the original limited EP’s dating back to 2008’s Starlight EP. From that debut we find two songs that have undergone major overhauls: the heart wrenching “If I Have Been Unkind” and the now sweeping epic plea of “I Love You, Sleepyhead.” Also, appearing from their 2009 second EP Misfortunes and Minor Victories, another transformed treat finds “A Kingdom” becoming the upbeat centerpiece in this cinematic collection. If you thought those early EPs were impressive displays of subtle beauty and introspection, this album will fulfill and surpass all expectations! I’m pretty sure that the weather has changed to dark and menacing outside while I’ve listened to this beauty, as it evokes the myriad greys, dark blues, and greens of a misty coastline. The gentle guitar plucks and foggy atmosphere of the layers of strings envelop these songs with shimmering depth. Check out the autumn colors of “Blanket of Leaves,” “Not Going Back to the Harbour,” and the perfect “Tricks.”

Also, if you have the chance, find the version of this album with the “Rough Trade Bonus Disc.” Two of the songs are reprised remixes from the album, but are really the full superior versions of what made the LP. While the two new tracks are both stunners!
(lanternsonthelake.com)

2. The Wild Swans
The Coldest Winter For A Hundred Years
Tracks in Snow EP
(Occultation)
Could this really be true: a third album from the Wild Swans? I hear their trademark icy keyboard atmospherics, some twinkling piano fills, pristine guitar leads and Paul Simpson’s distinctive and personable voice; it is true! Let’s see, they formed in like 1980, released their first official LP in 1988 and find their way to this: The Coldest Winter in a Hundred Years by 2011. Maybe most surprising is that these 13 tracks collect the sound, the passion and the romanticism first heard from these northern Brits back in 1982 with their legendary “Revolutionary Spirit” single and their early BBC recordings. I cannot tell you how welcome this release is! You see, as a young kid, I discovered this band through the vinyl only release of their three song Peel Session, which is stunning (a record I purchased twice due to wearing it out). That very release spawned a rebirth and led them to finally record their first album: Bringing Home the Ashes, an album that has not fared well critically over time, but one which I proudly claimed in 1988 as my favorite of that year and am not ashamed that it still holds a warm place in my heart. Yes, it has dated a bit, due to a heavy 80s production sound (drums that sound like machines, etc), but the songs are stellar. An odd second album followed two years later and was way too influenced by producer Ian Broudie, whose Lightning Seeds were splashing rainbows and candy all over the world at that time. Space Flower was mildly interesting, but turned out to be fleeting ear candy that has not been a favorite to return to. I’m not sure why I’m going through the history lesson here, though it is an interesting one – considering that the band is more of a legend or myth than an actual entity. In 2009, they shocked me by releasing a magical 10” two song single with the catchy UK referencing “English Electric Lightning,” (included here) and the wonderful short story/song “The Coldest Winter for a Hundred Years” which details the early years of the Liverpool music scene through the eyes of main Swan Paul Simpson. “Liquid Mercury” was the next peak at new material (also included here) and it shines as a prime example of their new material – a pristine classic catchy tune. Most of these songs are simple 3 minute pop nuggets, yet they jammed full of feeling and depth. The clear theme throughout is a sense of loss – and that loss being England’s fall from grace – at least in Simpson’s mind. It is probably a bit overdone, but there’s a little bit in all of us that looks back into parts of the past longingly and the supposed good times. This one will feed that desire and provides the perfect reflective soundtrack to do so. “Falling to Bits,” the opener, with its declaration “This town is falling to bits and I don’t like it/ We need a bonfire lit and I’ll ignite it” serves as a proper thesis that leads to the aforementioned songs, the heavily referenced “My Town” and the lamenting closer “The Bluebell Wood;” all of which provide examples of better times. The best songs though lie in the other tracks. I love the bursting chorus of “Chloroform,” and the tragedy of its both World War referencing lyrics, and the mournful yet comforting conversation with loved ones now passed in “Lost At Sea.” This is what I signed up for and why this CD has stayed in constant rotation throughout much of the year. I don’t know if the Wild Swans will stick around this time or disappear for another 10 years, but I recommend everyone seek this out while they’re still here. I would start with their early years 2 CD retrospective from 2003, Incandescent, but I hear that’s now out of print and selling at outrageous prices, so get this while the opportunity still exists!!

Through direct mail order from Occultation, one can also pick up the 3 song suite Tracks in Snow, which should be released as a single. All three songs are easily album worthy, if not radio single ready. “Dark Times” works as the perfect Wild Swans anthem in less than 3 minutes! Wait! No! “Disintegrating” is the perfect Wild Swans single that encapsulates their ability to capture broken hearted moments with a comforting touch. Meanwhile, the closing “Poison” is a nice little love song - also highly recommended.
(thewildswans.co.uk)

1. The Joy Formidable
The Big Roar (Box set)
(Canvasback/Atlantic)
I am in love with this band. I have to come clean. There’s no way around it. When I first ran across their impressive mix of soaring shoegaze atmospherics mixed with the grinding propulsive drive of the best post-punk, and the crazy frenetic drumming, I was hooked. Listening to this, their official debut album (though 2009’s A Balloon Called Moaning was basically an album – my #1 pick from last year!!), has made me feel like a high school kid again! They have rekindled that early spark I had when I first became a music obsessive fanatic. When I wanted to follow bands on tour, wear their t-shirts every day and litter my walls with posters and album art. The Big Roar fits that bill too! Its mix of epic barnstormers and short fast pounders, along with an unusual bent on lyrics; reminded me of the sprawling mess that I fell in love with when I first came home with The Cure’s Kiss Me Kiss Me Kiss Me in 1987, as a 16 year old. Not that they sound anything like each other, but the creative drive and willingness to go for it at all costs is what is appealing. The only downside of their debut is that four of these twelve numbers were already on last years’ EP/LP, though these are bigger sounding and “Whirring” now is a closer approximation of the unbelievable show-stopper that this gale force band is live (a must see!!!). Also, last autumn’s stunning single “I Don’t Want to See You like This” appears here as well. We’ll let this go though, since these songs needed more exposure, because they are simply that damn good. The remaining seven songs are glimpses into the shear raw power that this Welsh by way of London trio possess. The opening track “The Everchanging Spectrum of a Lie” is a slow building lengthy glider that spirals itself into a frenzied show stopping force! Though it’s not the easiest way to be exposed to the band, it certainly shows off where they’re about to take us. The highlights for me, besides the appearance of the double-kick drum on a handful of tracks (feeding my secret metal head needs), come with the bursting short-ish songs, such as the punky “The Magnifying Glass,” the explosive “Chapter 2,”and the cryptic “A Heavy Abacus.” I hope they don’t burn themselves out too quickly! This is amazing stuff.

The box set, if you can get your hands on one, comes with a second disc with 6 tracks from their earlier days. The highlights are the Catherine Wheel-like shredder “Greyhounds in the Slips” and the underrated 2010 single “Popinjay,” which is downright creepy. Also included are two DVDs. One disc follows the band a journey from their home base to the beach where they filmed the video for “I Don’t Want to See You like This,” (video included) as well as compiling all of their early videos for “Whirring,” “Austere,” and “Cradle.” The other disc is an up close, audience perspective view of the band in an early NYC gig. It gives one a taste of how impressive they are in person.
(thejoyformiable.com)



Here's to a new year and much much more great music and don't forget to share your choices for the best of 2011!



Links: Top 40 #'s 40-31
                      #'s 30-21
                      #'s 20-11

Top 25 of 2010

Happy New Year everyone! 2010 was a really solid year for music and I hope you all take the time to expose yourselves to some new sounds. These artists are all worthy of attention.

1.The Joy Formidable
A Balloon Called Moaning
“Popinjay” 7”
“I Don’t Want to See You like This” 7”
(Black Bell)

This debut mini LP from Welsh trio The Joy Formidable has sent a rush of adrenaline through me this year that has not ceased! This is truly a breath of fresh air and why I will always be one who seeks out new music. These highs are too hard to stay away from! Somehow TJF have captured in this crudely recorded – yet still majestic and full sounding set – a combustible mix of early Catherine Wheel, Compulsion and the dreaminess of such purveyors as the Cocteau Twins! But mostly, these kids rock and they bring it. The tiny front woman cranks out guitar lines that rival the best of the post-punk greats and coos over her own din. She is a revelation. Yet she is counter balanced by the swift and busy pounding of drummer Matt Thomas and Ritzy’s significant other Rhydian Dafydd on shredding bass. There are no moments on this rollercoaster ride that aren’t fucking amazing - “The Last Drop” and “Whirring” being the highlights of highlights.
The “Popinjay” single from this summer continues their winning streak of a nice start/stop chorus, but a non- essential B-side. While the new pre-LP (their The Big Roar is due out in about 3 weeks! Holy shit yes!!) “I Don’t Want to See You like This” single (still a non-essential B-side) could be the song of the year! This song benefits with a full, no HUGE, sound by coming from a proper studio and apparently major label backing (Atlantic), meaning they may be a bit easier to track down. Please do that!



2.Thrushes
Night Falls
(Birdnote)

2007’s Thrushes debut LP Some Come Undone is a favorite of mine because it is comfortable. Its warm electricity has been like a soft blanket to wrap myself in when I’ve needed it over the last couple of years. This Baltimore foursome portrayed a gentle blend of sounds that harkens back to the shoegaze days of the late 80s and early 90s along the lines of Slowdive crossed with Pyschocandy era Jesus and Mary Chain, or Black Tambourine. For their second offering, Night Falls, they have continued with this basis, but exploded with some added energy and urgency! Opening with the stellar “Trees,” vocalist Anna Conner proclaims that she’ll “make you cry” atop a wash of splashing cymbals and barely contained drive. This is one of the songs of the year! While their debut lingered in a misty and vague beautiful haze, Night Falls lands with a direct message full of broken hearts and bitterness and buzzing catchy tunes.



3.Standard Fare
The Noyelle Beat
(Bar None)

A ramshackle affair! This spirited collection surprises by evoking the best bands of the so-called C86 Brit indie-pop scene and yet sounding unbelievably current. This three-piece are masterful at capturing the thrill and drama of crushes and fresh love. Emma Kupa’s vocals are the highlight here. She sings with an exuberance that finds her stretching for heights that she may not be able to achieve, but is all the more brilliant for it. Guitarist Danny How, whose playing is lithe, clean and joyously loose, takes the lead voice on a couple of tracks here and is not outdone – as his “Edges & Corners” is a two plus minute burner. Would like to see these guys do more duet numbers such as the back and forth high point of “Nuit Avec Une Amie,” but this is a minor grump, because what is here is fresh and fun as hell! Phenomenal debut! More please!



4.Trembling Blue Stars
Fast Trains and Telegraph Wires/Cicely Tonight Volume One
(Elefant)

This is reportedly the final TBS album and that is a shame, because this collection (an album and a seven track EP) may be their best. Robert Wratten has left the legendary winsome Field Mice in the dust, the experimental Northern Picture Library (a personal favorite) after only one album, and now his longstanding Trembling Blue Stars are finished only to be revered as influential years from now due to their heart on sleeve quiet reflection and delicate perfection. Some of these tracks would make their greatest singles (“My Face for the World to See,” the Cath Carroll sung “The Imperfection of Memory,” the downbeat “Half-Light” and the stellar “Cold Colours”), but the 11 tracks on CD1 are cohesive and flow together like the soundtrack to a really cool movie. On the second disc we see a bit of house cleaning possibly, as it includes some instrumental ambient pieces, a cover of the Dream Academy’s “Not for Second Prize,” the return of Anne Mari (of Field Mice/NPL) to lead vocals on “The Lowest Arc.” However, CD2 fittingly closes with a hidden track titled “No More Sad Songs,” a perfect epitaph for one of the great bands of the last 15 or so years.



5.The Corin Tucker Band
1,000 Years
(Kill Rock Stars)

It’s about time! After lamenting Sleater-Kinney’s disbandment in 2006, I have been waiting anxiously for some Corin Tucker material - hoping she would grace us all again with her insightful and emotional music. Yes, she is best known for her in your face banshee wail from those S-K albums, but we’ve always known that she’s a powerful lyricist with a penchant for tackling big subjects with a one on one individual slant. She does so here winningly! Her solo debut (with major help from multi-instrumentalist Golden Bears’ Seth Lorinczi & Unwound’s Sara Lund on the drums) is as personal as can be with ranging subjects of missing her husband (“Half a World Away”), battling depression (“Dragon”), the unnamed crisis of an old friend (“Riley”) and the damage of losing ones means of a living in the touching “Thrift Store Coats.” Her vulnerability is expressed so poignantly throughout and we’re all the better for it. And with a less forceful set of songs than those of her old trio, we are given a chance to hear Tucker’s full range as a singer. Let’s hope that we don’t have to wait another 4-5 years to hear more material.



6.Bad Religion
The Dissent of Man
(Epitaph)

30 years man! 30 years! Bad Religion celebrates 30 years as a recording entity this year with their 15th album. It’s hard to believe. And to be honest, though I always like their albums, they have had a serious case of diminishing returns over the last 15 years. This new one felt the same at first too. However, after repeated listens, it became clear that these 15 tracks really feel like the proper follow-up to 1993’s Recipe For Hate. Stylistically more diverse (check out the return of the pedal steel on “Cyanide”), they prove that they are still hard at work trying to improve and progress. Besides, who can resist a band whose words are so incisive and educational on top of some of the best double time punk rock riffs ever put to tape? Happy Anniversary guys.



7. The Secret History
The World That Never Was
(Le Grand Magistery)

After their fantastic debut EP from 2008, The Secret History finally unleashes their debut LP and it was definitely worth the wait. Much has been made of their story. Darren Amadio and Michael Grace Jr. (principal songwriter) are holdovers from the much talked about NYC band My Favorite. In this setting, however, they rely less on an 80s synthesized sound, and more on expansive and well thought out full band arrangements (augmented with piano, strings and horns) to give this a more classic and timeless sound. Helping with this move are the cool lead vocals from Lisa Ronson, the striking daughter of the famous Mick Ronson (guitarist with David Bowie as a “Spider from Mars”). Lyrically, Grace’s songs haven’t strayed far from his past, as they are filled with Catholic image laden scenes of runaways, outcasts, the broken hearted and rock-n-roll hoodlums. These songs are absolutely hook-laden gems that strike a need to sing along upon the first listen.



8.Leatherface
The Stormy Petrel
(No Idea)

A year full of surprises - not only is Leatherface back, but original guitarist Dickie Hammond is back in the fold where he belongs, alongside Frankie Stubbs. This album is not their best (look to ‘91s Mush, ‘93s Minx and ‘94s The Last), but it's so welcoming to hear these two intertwine their guitars with such deft touches. Hammond’s staccato fills are so warm and lush against Stubbs’ rhythm work. This is their eight LP overall and first since the 2004’s middling Dog Disco, so it’s additionally welcoming to hear Stubbs’ roaring and heart wrenching voice howl its way through 12 new tracks. And new is the key here, because they are not revisiting their past here. They belt out a downright hit with the soaring “Never Say Goodbye,” and surprise with the fleet-footed shuffle of “Another Dance.” Other standouts include the early Police sounding “God is Dead,” the odd “Belly Dancing Stoat” and the amazing “Diego Garcia,” which puts a personal feel on the island’s shameful history. This is like receiving a long letter from a long time friend you haven’t heard from in a long time.



9.Northern Portrait
Criminal Art Lovers
“Life Returns to Normal” 7”
(Matinee)

Much has been made of Northern Portrait’s similarity to the Smiths, and yes, this five-piece from Denmark do have a striking resemblance to those Mancunian legends. There’s the energetic, intricate, and tasteful guitar work driving these catchy tunes and vocalist’s Stefan Larsen’s pleading Morrissey crooning (with a touch of Roy Orbison when he goes falsetto). The comparison doesn’t simply stop with the sounds either. These songs are filled with self-deprecating underdog lines that can bring a smile to one’s face or help one wallow in their misery. This debut album (on the heels of 2008’s great twin 4 track EP’s) is truly worthy of a listen. They do need to find more of their own voice, but this is a solid foundation to start with and, hell, I cannot stop listening to it! What could be higher praise for a record recommednation?
As for the 7”, “Life Returns to Normal” is a nice example of their sound pulled from the middle of the LP that captures their melancholy essence in about four flowing minutes. The non-LP B-side is a cover of “Some People” from the UK’s massive pop superstar Cliff Richard.



10.Defiance, Ohio
Midwestern Minutes
(No Idea)

Defiance, Ohio has won me over again! This is their fourth LP (third for me) and it continues to showcase their thinking man’s punk rock with serious folk leanings (the band play violin, cello, piano, banjo, upright bass, and mandolins, along with the basics). Sonically, they remind me most of early Camper Van Beethoven, but with a lyrical bent that is heavy on how our society is unfolding before us and how that can affect us individually. It can get a bit political at times, but never preachy. They come off as earnest and curious as to how we’ve gotten to where we are at this point and it is contagious. “The White Shore,” “Hairpool” and “Dissimilarity Index” all touch on cultural segregation and our self-imposed limitations and numbness from media overload. It’s a lot to tackle in short catchy tunes, but they do it and they make it lively and fun! This is heartfelt stuff that makes you think and fires you up.



11.Midway Still
Note to Self
(Boss Tuneage)

Wow! I would’ve never imagined that I’d be hearing new Midway Still material again. After loving their first two LPs from ’92 and ’93, it seemed that they were gone forever like so many of their brethren from the UK punk revival of that period (Leatherface, China Drum, Mega City Four, and Drive). Midway Still were maybe the closest to fitting in with the Nirvana craze during that time they were never able to capitalize on those comparisons. I always thought those were lazy though. Midway still’s shredding and LOUD guitar work felt more in common with the heaviness of My Bloody Valentine (who they’ve covered) and the propulsion of Bob Mould’s work in Husker Du. Yet, here we have 12 new Paul Thomson songs to enjoy and they sound as fresh and ass-kicking as they did 17 years prior. Welcome back!



12.Young Galaxy
Invisible Republic
(Paper Bag)

Young Galaxy has gone through quite a transformation since their very good 2007 debut for venerable Canadian label Arts & Crafts. Since then, they have split with that label and the duo of Stephen Ramsay (ex –Stars) and Catherine McCandless have expanded the band to a four-piece. Gone are the slow-building shoegazing epics from the first LP (reminding and Slowdive, Chapterhouse and Engineers). Enter in some bolder upfront downright danceable songs. The swirling layers of sound remain, but they are more for background atmosphere, while beats and basses guide this hip-shaking collection to the dance floor. There’s a bit of an 80s quality to these rhythms, and I have to admit that though I miss where they were going on their dream-like debut, I really like the sound of this. Hell, the track “Dreams” is worth the price alone.



13.Killing Joke
Absolute Dissent
(Spinefarm)

Another 30 year anniversary is celebrated this year. This one is a major shock too, because this new Killing Joke album finds the original lineup from their hallowed first two LPs reuniting for the first time since 1982! Twenty eight years is a long time, however, these guys are as fierce and potent as ever. It’s so welcoming to hear Paul Ferguson’s tough but absolutely swinging drumming style back in the fold. It all fits so neatly with Geordie’s signature guitar scrapings, Youth’s relentless basses and of course Jaz Coleman’s unmistakable growl. This is a band that was at the forefront of post punk, industrial, goth and even punk music. They have done it all and it’s so good to find them releasing another classic this late in the game.



14.Lanterns on the Lake
“Lungs Quicken” EP
(self released)

This is the third self released CD EP from the UK’s pastoral Lanterns on the Lake. I discovered them after hearing a few amazing songs from their previous hard to track down Greenspace configuration and learning that they were now recording under this name. Luckily, I am now on their mailing list, so I send them my dough when they let me know something new is out and about. This is my favorite EP yet. “Lungs Quicken” is a gentle builder and begins with what could be the fluttering of a butterfly’s wings and ends with the band slowly adding touches of atmosphere as the beautiful vocals plea for her lungs to work as she seems filled by a subtle urgency for survival in difficult times. This reminds me of the non-country moments of Rubber Rodeo. This would be a great 12” single, as the warmth of vinyl would really give this an added depth. “Sapsorrow,” and the short ambient “Cello Song” round out this short collection in fine style. This is definitely worth tracking down.
( http://www.lanternsonthelake.blogspot.com/)



15.Exlovers
You Forget So Easily 10”
(Chess Club 2009)

I was a bit late to the game on this one, as I only managed to get this hard to find 10” vinyl EP about a year ago. These five songs are worth the effort. The title track is as likely to get stuck in one’s head on the first listen as any song out there, and that’s a really good thing! Same with the equally spirited jangle of “Just a Silhouette,” or the straight ahead rocker “You’re so Quiet.” The remaining two songs are acoustic ballads that evoke the greatness of Elliott Smith. They remind me of fellow UK popsters Fields (with their simultaneous male/female vocals!), if they decided to drop the inclination of reaching towards the epic and simply went for 3 minute catchy nuggets. This is fantastic stuff and finally they are due to release an album in 2011!



16.Beautiful Things
Dream World
(Summerside 2009)

This band is clearly driven by the L.A. singer/songwriter Dina D’Alessandro, whose previous two solo albums captured a crisp and clean pop rock with a 90s Brit-Pop slant. Her last offering, 2005’s Is it Safe?, was a personal favorite, as it dealt with a kind of hurt and disappointment that living with health issues can cause. This Beautiful Things debut does not change her stellar sound a bit! We’re still blessed with songs that bridge the gap between sounding best on a sunny summer day, or on a cold lazy reflective day. This album sonically reminds me of Richard Butler’s (Psychedelic Furs) late 90s Love Spit Love’s second album Trysome Eatone. D’Alessandro’s lyrics here have a definite slant towards dreams – both sleeping and waking – that gives this collection a sweet cohesiveness. This is a truly underrated artist who writes and records very solid and tremendously addictive songs. Also, check out her overdriven cover of A Flock of Seagulls’ “Space Age Love Song.”



17.Emma Pollock
The Law of Large Numbers
(Chemikal Underground)

Former Delgados front woman graces us with her second solo LP since that great band’s sad farewell. Where 2007’s Watch the Fireworks felt a bit like Delgados-lite (still high praise), this one named after a mathematical theorem is like its title - much more angular and difficult. Things can at times feel clinical, but over time, the precise playing and production reveals a warm hearted center that finds our heroine reaching new heights of creativity and a clear separation from her old band. Warm yourself in the glow of the twin piano bookends “Hug the Piano,” the pounding “Hug the Harbour,” and the touching “House on the Hill.”



18.Lloyd Cole
Broken Record
(Tapete)

It seems that roughly every 10 years or so Lloyd Cole emerges with his best work. In 1990, it was the appearance of his flawless self-titled debut solo album (after years with the Commotions). In 1999, he ended that decade with The Negatives, which didn’t leave my stereo for months. Now, he hits in 2010 after several years of basically completely solo (and a bit forgettable) releases and silence, with this Nashville tinged beauty Broken Record. Here we find him working with much of the crew that made his solo debut 20 years ago. Back is the muscular drumming of Fred Maher and the keyboards of former Commotion Blair Cowen. Back is the full band and lush production with the deepest bass tones and a richness and clarity that suits these catchy as hell tracks. He’s back and cooler than ever.



19.Eux Autres
Broken Bow
(Bon Mots)

Brother and sister duo Heather and Nicholas Larimer return with their third LP (that I know of) and are now augmented with a third member (drummer Yoshi Nakamoto). This addition allows them to expand their neat little pop songs and give them added adornments. Remaining are the nasally passé vocals of the siblings that somehow work in favor of adding depth to their sneaky lyrics. Broken Bow feels inspired by the classic folksy moments from old Bruce Springsteen (covered here “My Love Will Not Let You Down”) crossed with the early 90s Slumberland noise pop bands like Velocity Girl, Black Tambourine and Henry’s Dress. This is a fantastic sound, but unfortunately, either the recording and/or the mix are fairly poor here – dimming the shining songs’ impact. This is a minor flaw that cannot keep this one from repeated listening.



20.Sambassadeur
European
(Labrodor)

Anyone that knows me knows that I love the Swedes. Musically, they seem to take the best pop moments from the US & UK scenes and boil out the frivolous bits and condense everything to the tastiest morsels. My love affair started in the early 90s with the powerhouse loud dreamy guitar bands Popsicle and Easy, but has expanded over the years to include the lush full arrangements of bands like Sambassadeur. This is their third offering and subtly their best yet. The opening “Stranded” goes from a slow classical sounding piano to a propulsive pop number adorned with a magical string arrangement and Anna Persson’s rich voice. And so it goes from there. It’s a comfortable stretch of simple sounding songs filled with layers and layers of tiny details and finishes with a Tobin Sprout cover (“Small Parade”). I think anyone who likes Camera Obscura would really dig this. Check out my beloved Swedes.



21.Versus
On the Ones and Threes
(Merge)

Another unexpected return in 2010: Versus reappear after 10 years away. They were one of my consistent stalwarts of the 90s – from the moment I received their demo tape in 1992 all the way through to their swansong Hurrah in 2000. Many are hailing this new collection (their 5th official LP) as maybe their best one yet. I am not ready to go there, because I have a soft spot for the glossy Two Cents Plus Tax. However, On the Ones is a grower. With each listen more nuances and subtleties uncover themselves and I am finding that what was once a lukewarm welcome back has become a rebirth of why I loved them all along. Listening to it again at the moment has it sounding even better than the last time. Let’s hope all of these successful comebacks stick around.



22.Tracy Shedd
EP88
(Eskimo Kiss)

I have always had a quiet respect for Tracy Shedd’s straightforward and clean songs. I have always sought out her records when she releases one, but then kind of forget about her until the next one comes along. This year saw the release of a 10” vinyl 5 track EP by her and cohorts. This one finds her returning to her piano roots. Apparently, she grew up with some serious skills on the piano but abandoned it for writing songs on guitar all these years. The change back to piano is noticeable and these tracks seem built on a more solid foundation. They feel lasting and timeless. It’s a moody grouping here that is stunningly pretty and reflective and melancholy.



23.The Pains of Being Pure at Heart
“Say No to Love” 7”
“Heart in Your Heartbreak” 7”
(Slumberland)

These NYC pop upstarts graced us with two vinyl singles of new material while we anxiously await their sophomore LP effort. Their progression is apparent from the get go. These recordings are fuller, smoother and cleaner productions, yet they are still based in these guys’ ability to write the most effortless youthful sounding melodies heard in years. Both singles are excellent and make the anticipation for the new LP all the higher.



24.Swans
My Father Will Guide Me Up a Rope to the Sky
(Young God)

Swans are back! This may be the most shocking return of the year. Michael Gira had proclaimed the Swans as dead on their final live release in 1998. Yet, here he is again, with some of the old cohorts and it is devastatingly and convincingly a Swans album. The Swans’ darkness and bleaker than bleak words are accompanied by an ever evolving sound, but one that is, as always, unmistakably their own making this a strong claim this is not some cash in reunion. There is a beauty in what Gira has always put together in the many incarnations of this band, but what I think has often been overlooked is that there is a certain sardonic quality to his words. Yes, they are serious as all get out, but you can almost see him grinning as he sings of setting all the world's lairs ablaze in the most straightforward track on the LP “Reeling the Liars in.” We also hear, who I’m guessing is Gira’s young child singing a duet with Devendra Banhart in “You Fucking People Make Me Sick,” which is as disgustful as it sounds. Oh boy, this is brutal and scary stuff – just like we hope for. I shouldn’t love this stuff, but I can’t help it.



25.Various Artists
Auteur Labels: Independent Project Records
(LTM)

This is what I wrote elsewhere about this compilation earlier this year: “This release features the fantastic US label Independent Project Records founded in Los Angeles in 1980 by Savage Republic co-founder Bruce Licher. This 23 track compilation spans the history entirely (notice the clear gap from ’96-’08) showcasing its varied assortment of artists and their amazing groundbreaking sounds. I first ran across this label in the mid-to-late 80s when I picked up Camper Van Beethoven’s landmark debut Telephone Free Landslide Victory (1985), featuring, of course, their quirky single “Take the Skinheads Bowling” (included here). The next time I ran into the label was when I found the debut LP from Nebraska’s For Against’s Echelons (1987). It wasn’t until late 1990, while away at college that I encountered a For Against release on the label which absolutely changed my life. The first in IPR’s series of 10” colored vinyl only releases featured some unreleased and experimental tracks from this amazing band. This “Archive Series” debuted with the promise of a new installment every other month which could be had via subscription. These records were interesting, thought provoking, and most importantly, entertaining, but the bonus was the fantastic artwork that made up these special records. The records were numbered and pressed in an old fashioned letterpress printer and looked otherworldly. They provoked the imagination and upon arrival would send me off to stereo to absorb every nuance of these incredible products. These records expanded my horizons and exposed me to what felt like a special secret world.”