Recommended Listen: In Colour by Jamie xx

I was excited for this album to be released in June, if only to tide me over to the next release from The xx-- the group Jamie xx is a member-- but I've come to love it on it's own merit. While this CD isn't nearly as stark or moody as The xx albums, this should still please existing fans and perhaps gain some new ones due to his expanding repertoire. Three tracks feature vocalist Romy Madley Croft and Oliver Sim, both members of the xx. So, even though this is a solo album, he's still got one foot planted in the group. The track that diverts the most is the hip-hop and dance-hall inspired I Know There's Gonna Be (Good Times), featuring Popcaan and Young Thug.

What makes this album different from previous efforts is that it's not as cohesive from track to track. It's more diverse: this disc oscillates between house and more-laid back compositions and the aforementioned hip hop/dancehall track. You can dance, or just plain relax to this disc, which isn't true of all electronic albums. My standouts include Sleep Sound, Obvs, Hold Tight, The Rest is Noise, and Girls, which is my favorite of the pack. This is a definite step forward for Jamie.

In Colour by Jamie xx
Find it in the catalog

Recently Released Album Obsessions

Here are some newly released albums at the library that are definitely worth listening to:

Vestiges and Claws by Jose Gonzalez
Find it in the catalog!
Regular fans of the Swedish/ Argentinian guitarist Jose Gonzalez will not be disappointed by his latest effort which has been eight years in the making.  The album features his signature distinctive brand of spare, gloomy folk music (a favorite of mine) that he showcased on his two previous albums, Veneer and In Our Nature.  However, this time out he has more complicated musical arrangements (featuring flute and cello) and a slightly more upbeat worldview.
Repeat tracks:  "Forest," "Let It Carry You," and "Open Book."

Kintsugi by Death Cab for Cutie
Find it in the catalog!
This latest release from indie rock band Death Cab is a duel break up album.  Not only is it the first album since lead singer Ben Gibbard's divorce from Zooey Deschanel, it also marks guitarist Chris Walla's departure from the band.  Loss haunts this album, and it's got some pretty great heartbreak tracks on it including "You've Haunted Me All My Life" and "Binary Sea." The music, however, remains relativity upbeat and poppy.  Chris Walla's distinctive guitar style is always a big draw on Death Cab albums, and Kintsugi is no exception.  His presence will be missed in the band (at least by me).
Repeat Tracks:  "Little Wanderer," "Everything's a Ceiling," and "Good Help (Is So Hard to Find)."

Magnolia Electric Co. by Songs: Ohia
Find it in the catalog!

Didn't It Rain by Songs: Ohia.
Find it in the catalog!
These two deluxe edition album reissues represent the finest work of the late musician Jason Molina.  For those unfamiliar with Molina, check out fellow Media blogger Jason's tribute to the singer. Songs: Ohia has sort of an alt-country sound that can achingly haunting at times (especially the back half of Didn't It Rain) or hard rocking (like the first half of Magnolia Electric Co.).  Molina's singing voice is deep and rich, and one of my favorite things elements of these albums is his vocals. If you haven't listened to Molina before, definitely check out both these LPs!  For hardcore fans, there are additional discs with demos and outtakes for each record.
Repeat Tracks:  I love all three of the last songs on Didn't It Rain: "Blue Factory Flame," "Two Blue Lights, and "Blue Chicago Moon."  Off Magnolia Electric Co., my favorites are: "Farewell Transmission," "Almost Good Enough," and "Just Be Simple."

Audio Obsession: The xx

British band, the xx, have two beautiful albums to their name. At the Library we have their debut album, titled the xx. They exemplify indie-rock with an atmospheric, dance beat bent - there are no extraneous notes to be found on the albums. The beauty of the xx is that you can listen to them repeatedly and find different songs to like each time, and you can play them as background music or listen attentively. Basically, they're all-purpose listening.

One quality that sets the xx apart are the vocals. The vocal duties alternate between two members, Romy Madley Croft and Oliver Sim. Sometimes the two alternate on the same track with clever calls and answers. Neither is a perfect singer, but both have a haunting quality to their voice.

The xx are also masters of the electronic crescendo (listen to Reunion, from Coexist). I can't think of another band of the top of my head that is this skillful at creating tension in songs that are so stark (if you can think of another band, let me know in the comments).

I would encourage you to listen to either disc, and eagerly await their next.

Audio Obsession: Lost in the Dream by the War on Drugs

Lost in the Dream by the War on Drugs (2014).
Find it in the catalog!

This album has been on permanent repeat in my car since it came out in March.  I’ve been a fan of the War on Drugs since their 2011 album, Slave Ambient.  The band has a dreamy, sprawling sound that makes for excellent road music.  Additionally, I’m a huge sucker for break-up albums, which Lost in the Dream sort of is.  However, singer Adam Granduciel’s lyrical angst and anxiety span far beyond just the fate of one relationship.

A mixture of shoegaze and classic rock (think: Springsteen and Dylan), the War on Drugs has a sound that is familiar, but more expansive and distinctive.  Sort of like comfort food listening for the perpetually anxious.  Philadelphia guitarist Kurt Vile used to be a member of the band, and he’s probably the best touchstone for their sound.  However, Vile’s solo albums tend to be less complex and more upbeat.  Lost in the Dream incorporates a variety of sounds (synth riffs, horn blasts, discordant noise) into its guitar and drum driven propulsion forward.  Adam Granduciel’s voice is noticeably less Dylanesque here than on the band’s two previous album; which as much as I adore Dylan, is a nice change.  It makes his voice less distracting and blends-in better with the sound of the band’s music.

Overall, this is definitely my favorite album by the War on Drugs to date, and my favorite album of the year so far.  Stand out tracks for me include: “An Ocean Between the Waves,” “Suffering,”  the titular track “Lost in the Dream” and closer “In Reverse.”  Though all of the tracks on the album are enjoyable.  If you are planning on going on a road trip this summer, this album (or really anything by the War on Drugs) would make an excellent soundtrack!

My Favorite Things 2013

This year, more so than any other in recent memory, I found myself playing catch-up with last year's "best-of" that I didn't take in much from this calendar year. Basically, I haven't read, listened to or watched enough of anything to make separate lists for each ... so, here's my Top Ten Favorite Things from 2013.

1 & 2. While everyone is talking about AMC, HBO and Showtime and their popular programming, I'm interested in BBC America, which produced two of my favorite television shows this year: Orphan Black and the third season of Luther. One could not find better acting, nor more complicated and well-drawn characters. Bonus: the female characters are strong. Tatiana Maslany (playing 7 characters on Orphan Black) should have been nominated and won an Emmy, and Ruth Wilson (from Luther) is so on point as psychopath Alice Morgan, it actually makes me giddy when she shows up on screen.

3 & 4. The Death of Bees by Lisa O'Donnell and Wave by Sonali Deraniyagala. I wrote reviews of both a while back, so I won't get into it again. Simply, both are books that stay with you.

5 & 6. I have slacked the most this year in the movie department. I have seen only one movie in the theater and about a handful on DVD. My two favorite films of the year are The Way Way Back and the German film Lore. It was theatrically released in 2012, but out on DVD in 2013, so I'm counting it. Lore takes place at the end of World War II and focuses on siblings who've been abandoned by their Nazi-sympathizing parents and now must confront the harsh reality of losing a war and the propaganda they've been fed. Superb performances from a very young cast and a WWII perspective not often told. The Way Way Back also features a younger actor with potential: Liam James (in the role of Duncan). His interactions with Sam Rockwell made this movie.

7. The album that sticks out to me this year is Tomorrow's Harvest by Boards of Canada. I enjoyed many others (from artists Daft Punk, Phoenix, Local Natives, The National, Quadron, Thundercat, and Cut Copy), but this one I enjoyed the whole way through. And I got sucked in. It's ambient, but not boring.

8-11. Even though I enjoyed the above album as a whole, my favorite songs of the year were Trying to Be Cool by Phoenix, Holy by Frightened Rabbit, Diane Young by Vampire Weekend (love, love, love the ending), and Heartbreaks + Setbacks by Thundercat.

Lou Reed: 1942-2013

It would be difficult to overstate Lou Reed's contributions to modern music. As founder and lead singer of the most influential rock band of all time, The Velvet Underground, he did more to broaden the lyrical range of popular music than just about anyone since Lennon/McCartney or Bob Dylan. His formative influence on punk music is undeniable; as essential to punk's progression as Patti Smith, Iggy Pop, and The Ramones. Even his voice, which has nothing in the way of technical proficiency, has been endlessly imitated. (Listen to any Sonic Youth record from the '80s or '90s and you'll hear Thurston Moore and Kim Gordon doing their best Lou Reed impression.)

Post-Velvet Underground, Reed collaborated with kindred spirit David Bowie, became a glam-rocker, became whatever is the opposite of a glam-rocker, released an entire album of noise (Metal Machine Music) that is still divisive, and experimented with everything from rap to cabaret. He also cultivated a curmudgeonly public persona that grew more myopic with each passing year. Reed had a special loathing for music critics; many of his interviews seem weirdly tense, even on the page, and he was notorious for blowing cigar smoke in his interlocutors' faces. Given his long-standing antipathy for music journalism, it was downright shocking when earlier this year he published a lengthy review of Kanye West's  album Yeezus. In typical Reed fashion the review was effusive, profanity-laden, and entirely heartfelt.

Lou Reed lived one of those wild American lives that, however improbably, just kept on going. He underwent electroshock therapy as a teenager, experimented with everything that the '60s/'70s New York art-scene had to offer, hung out at Andy Warhol's Factory, struggled with narcotics addiction, remade himself artistically, time and time again, and left a musical legacy that continues to inspire and challenge.

CDs:
The Velvet Underground and Nico (with the Velvet Underground)
The Velvet Underground Live at Max's Kansas City (with the Velvet Underground)
The Definitive Collection
The Best of Lou Reed
Coney Island Baby
Animal Serenade
Ecstasy
Metal Machine Music

DVDs:
Lou Reed: Rock and Roll Heart

Books:
Please Kill Me: The Uncensored Oral History of Punk

Josh Ritter: The Beast in Its Tracks

Josh Ritter's new album, The Beast in Its Tracks, opens with a minute-long fragment of a song addressed to a former lover: "Last night I saw/Someone with your eyes/Someone with your smile/Someone with your smile/We danced/And I regret that she asked me to/'Cause she didn't have your arms." This image of attempting to move on whilst preoccupied with a former love is the overarching theme of this album. The Beast in Its Tracks feels an awful lot like the songwriter without his mask on; an attempt at confessional - if not autobiographical - work. Musically, The Beast in Its Tracks is in keeping with Ritter's established sound; acoustic guitar, crystal-clear vocals, and strings that enhance the songs without being intrusive. "Bonfire" sounds remarkably like a classic Paul Simon song, and wouldn't sound out of place on any of Simon's early solo records. But this time out there are no third-person narratives about mummies doomed to live and love eternally, or tragic first-person reminiscences of Arctic explorers. What we have instead is a beautiful collection of songs about starting again in the wake of a love affair, and the singer's feelings of exhilaration and ambivalence. There is a tension to the lyrics about starting anew. It's as if Ritter is trying to convince himself that he's okay ("I'm happy for the first time in a long time"), but his misgivings are on display on every song ("I can't pretend that all is well, it's like I'm haunted by a ghost"). I think the key to this recurring theme lies in track nine, "The Apple Blossom Rag". Seemingly recorded live - the song begins with unintelligible whispering near the microphone, and what sounds like plates being cleared in the background - "The Apple Blossom Rag" is bitter, funny, and wistful, all at once, concluding with the heartbreaking self-realization: "Lord, I'm such a fool/For things that sing so sweet and sad/But are so [expletive] cruel." Whether this move toward more personal songwriting proves to be a permanent one for Ritter or a mere detour into "breakup album" territory, The Beast in Its Tracks is well worth your time.

Jason Molina: 1973-2013

News outlets report that singer-songwriter Jason Molina passed away March 16, 2013, at the age of 39. He had been in poor health in recent years and a campaign was underway to help raise funds for his mounting medical bills. Molina is best known for the music he recorded under the names Songs: Ohia and Magnolia Electric Co. His music was noticeably influenced by American folk and country, and his unique voice was instantly recognizable. Molina's highly poetic lyrics often centered on the lives and concerns of working people, particularly in his home state of Ohio and the city of Chicago, which had become something of an adopted home for the musician. His protagonists were tired, anxious, uncertain about what their lives meant and where they might end up. But Molina expressed these pervasive anxieties with such tenderness that many of his songs have the comforting qualities of lullabies. I am reminded of a lyric from his song "Blue Factory Flame":

when i die put my bones in an empty street
to remind me of how it used to be
don’t write my name on a stone
bring a Coleman lantern and a radio
a Cleveland game and two fishing poles
and watch with me from the shore
ghostly steel and iron ore ships coming home
where i am paralyzed by the emptiness

The Tallest Man On Earth: Love Is All

The Tallest Man On Earth is the enigmatic stage name of Swedish singer-songwriter Kristian Matsson. He has been recording original music and performing live for several years, but recently received a significant profile boost when he toured with critically-acclaimed artist Bon Iver. All of Matsson's work is guitar-based and heavily folk influenced, and his distinctively raspy voice is a wonderful instrument for his evocative song lyrics. While I would recommend the entirety of his 2010 album The Wild Hunt, it's the song "Love Is All" that has really stolen my heart. The video director Johan Stolpe has collected and edited vintage home movies - seemingly shot on Super 8 - into an unexpectedly moving complement to the song itself.

Music Roundup: My Top 10 Albums of 2012

Top Ten

The Seer - Swans
The music on The Seer is far more sophisticated than the Swans recordings of the early-'80s, when the band was about brutal noise and confrontation at the expense of all else. Michael Gira has refined his songwriting and expanded his thematic concerns throughout his long career, most notably with his Angels of Light project. But the dark drama and punishing intensity are still integral to the band's vision. The Seer is a sinister, droning masterpiece.

'Allelujah! Don't Bend! Ascend! - Godspeed You! Black Emperor
Certain artists inspire devotion, and GY!BE have had a devout following since their 1997 debut. 'Allelujah! is their first new record since 2002 (Yanqui U.X.O.);  a record comprised of two relatively long compositions and two shorter works that have been part of the collective's live repertoire. (The Guardian published a statement from the group coincident with the release of 'Allelujah!, providing some genuinely moving sentiments about the group's ambitions.) If you're unfamiliar with GY!BE, the ideal introduction is "The Dead Flag Blues," the legendary first track from the group's debut record. There's simply no better encapsulation of the what Godspeed You! Black Emperor is about. Follow that with the 'Allelujah! track "Their Helicopters' Sing" for further evidence of the visceral beauty of this group's music.

The Sun - Cat Power
Chan Marshall's career has had distinct musical phases that aren't always appreciated by the same audience; her stark, guitar-based recordings from the '90s often go unappreciated by those who favor her Southern soul influenced work. As a fan of her entire catalog, I'd like to think that The Sun represents yet another break/innovation. The soulful horn section has been replaced with warm synthesizers and electronic beats. There isn't much precedent for this type of production in Marshall's work, though it may have some superficial similarities with her guest spot on Handsome Boy Modelling School's 2004 record. The appeal of any Cat Power album is Marshall's voice, and it's invigorating to hear her sing with such directness on The Sun.

Four - Bloc Party
Bloc Party have always excelled at combining the best elements of  late-90s Blur and Radiohead with intense post-punk angularity. Those expected strengths are very much on display on the band's fourth record, but, really, nothing could have prepared me for the monster riffs of "Coliseum."

Cancer4Cure - El-P
The music of El-P is so idiosyncratic and distinctly his own that it's almost instantly identifiable. Forever at the margins of whatever can be considered "mainstream" hip-hop, El-P has consistently crafted innovative and intriguing music that reveals a profound appreciation for classic sampling. C4C is unquestionably one of El-P's finest records; a wild melange of samples and sounds that is, strangely, the most focused he has ever sounded.

Key to the Kuffs - JJ DOOM
You can pair MF DOOM with just about anyone and the results will, at the very least, be interesting. But his recent collaboration with MC/producer Jneiro Jarel is considerably more than a curio. Key to the Kuffs isn't a perfect record; and it suffers by comparison to Madvillainy, DOOM's beloved 2004 collaboration with Madlib. (To be fair, every recording suffers by comparison with Madvillainy.) Taken on a track-by-track basis, this is some of the best work DOOM has done in years. "Guv'nor" is almost certainly the standout, with its woozy production and lyrics that range far wider than DOOM's typical concerns.

awE naturalE - THEESatisfaction
I first heard TheeSatisfaction as guest artists on one my favorite records of 2011, Black Up by Shabazz Palaces. awE naturalE is the Seattle duo's debut full-length, and it easily exceeds all expectations in its seductive beauty and the seemingly effortless interplay between the singer (Cat) and the emcee (Stas).

Don't Be a Stranger - Mark Eitzel
My appreciation for this record may, to some extent, be tinged with nostalgia for the magisterial dolorousness of classic American Music Club. (Along with Red House Painters, A.M.C. were the demigods of slow-core.) But, taken on its own terms, Don't Be a Stranger is a beautifully crafted record that makes the most of Eitzel's unique voice and songcraft.

Between the Times and the Tides - Lee Ranaldo
As guitarist and co-founder of the band Sonic Youth, Lee Ranaldo's legacy as a rock innovator is secure. But, like his band-mates Kim Gordon and Thurston Moore, he has pursued various solo projects throughout has career. While the numerous side projects by Gordon and Moore are still pretty recognizable as Sonic Youth recordings (to the extent that Sonic Youth can be said to have a recognizable template), Ranaldo is pursuing musical ideas far afield of his full-time gig. From the darkly pulsing opening track, "Waiting on a Dream," to the gentle lyricism of "Stranded,"Between the Times and the Tides is a beautiful record that displays Ranaldo's maturation as a songwriter.

Mature Themes - Ariel Pink's Haunted Graffiti
Mature Themes is as strange as Ariel Pink himself. You just need to accept that Pink is working on another level, and the more time you spend with his songs, the more resonant they become. (Though I'm not sure there's any way to make sense of the almost unbelievably odd "Schnitzel Boogie.") Mature Themes isn't all experimentation and obfuscation; "Only in My Dreams" is as direct and charming a pop song as you could ask for, and the album's closer, "Baby," is a surprisingly soulful cover that just may be my favorite track of the year.

Other Highlights

2012 featured new music from some of my longtime favorites: Deerhoof (Breakup Song), Sun Kil Moon (Among the Leaves), Spiritualized (Sweet Heart, Sweet Light), Nas (Life Is Good), Mount Eerie (Clear Moon), and a late-entry from Big Boi (Vicious Lies and Dangerous Rumors). There were also a handful of newcomers who made an indelible impression: Frank Ocean (Channel Orange), Death Grips (The Money Store), and the surprisingly divisive pop singer Lana Del Rey (Born to Die). Say what you will about Del Rey's debut album, her single "Video Games" is an evocative song that feels emblematic of its moment in time, an impression that is only enhanced by its accompanying video.

My Music Year: 1988

After considerable deliberation, one stopgap exercise, and an awesome assist from Heather, I'm ready to endorse a music year. How did I settle on 1988? Was it my fond recollection of the molded plastic California Raisins that were so bountiful that year? It was not. My actual music-related memories of 1988 are fairly limited: I remember Fine Young Cannibals on the radio in my dad’s car (“She Drives Me Crazy” and  “Good Thing”), and Bobby Brown's "My Prerogative" was getting some serious play from my older sister. Oh, and the treacly "Living Years" by Mike + The Mechanics was an inescapable pop song. Apparently the New Kids on the Block were Hangin' Tough that year, but I don't really recall. (This Billboard compilation offers a fairly concise glimpse of what else people were listening to in '88.)

I was ten years old in 1988, and I was functionally illiterate as far as pop-culture goes. I didn't even have a tape deck. I think my only exposure to rap music had been a surreptitious viewing of the Beastie Boys' video "(You Gotta) Fight for Your Right (To Party)". It would be some time before I had the opportunity to understand the Beasties' oeuvre beyond that one song, but I did appreciate their sense of humor. (Yes, even I knew they were lampooning themselves.) I was so remarkably ignorant of popular music that I thought Simon & Garfunkel were a current group. (I'm not sure how to account for that misnomer, but I would guess it had something to do with PBS re-airing the duo's 1980 reunion concert.) What can I say? I lived in my own head-space, as many young people do, and I was content with my paperback copies of Sir Arthur Conan Doyle and Jules Verne.

It wasn't until I was thirteen or fourteen that I began developing musical tastes of my own, and once that happened, 1988 proved to be the wellspring of my musical interests. In an odd way, the music of 1988 would influence me considerably from my middle-school years to the present day. And let me tell you, there are few constants in my life that span those years. (I'm not strictly using "constant" in the Desmond Hume sense of the word, but you are encouraged to interpret it that way.)

Time Capsule Album Obsessions: College

Somehow when I had dreamed of going way to college, I didn't imagine that I'd be escaping to Appleton, WI-a city almost more culturally devoid than the tiny, far-north Chicago suburb that I grew up in. I had more exotic locales like Chicago or New York City in mind. But a scholarship, parental pressure, and a campus that reminded me of Rushmore Academy won out in the end and I went to Lawrence University in Appleton.  Lawrence University is one of the premier colleges for music in the United States, which is great if you like classical music or the opera. However, for rock music you pretty much have to drive to Milwaukee (a little over an hour away) or Madison (about an hour and a half away) to see anyone decent live.  Unsurprisingly, I didn't go to a lot of shows during this period.  However, I did discover a bunch of new bands thanks to being surrounded by a bunch of music geeks.  Below are my five most listened to albums from college (check out the whole list here):

Transatlanticism by Death Cab for Cutie (2003).
Find it in the catalog!
This is one of the few early Death Cab albums that I can still listen to without cringing too much at my former, college-aged self.  I related to these songs immensely then, so listening to them is sort of like looking at pictures of yourself with a bad haircut that you thought was awesome at the time.  That's no diss to Death Cab.  I actually like their recent stuff quite a bit (especially Codes and Keys).  And Chris Walla's guitar work has always been superb. But Ben Gibbard's lyrics seem a little too angst ridden and confessional in hindsight.  Maybe I've just grown to hate earnestness.  In spite of this, Transatlanticism still holds up pretty well for me, possibly because Gibbard's lyrics aren't as intensely personally as on some of Death Cab's other albums from the early aughts.  I'm not a huge fan of "Tiny Vessels" or "Death of an Interior Decorator."  But the rest of the album is pretty solid. 

Favorite Songs: Sound of Settling, Transatlanticism, Passenger Seat

Alligator by the National. 
Find it in the catalog!
The National were a band I had been hearing good things about for a while, but could never track down one of their records.  When  I saw Alligator on the shelves at Borders (in McHenry, of all places), I picked it up and fell in love with it instantly.  The National were different from a lot of the bands I had been listening to at the time.  The music was dark and well-crafted, and singer Matt Berninger had a deep, world-weary voice.  The National is still one of my favorite bands and I've loved both of their subsequent albums, but Alligator still probably has the most songs on it that I love (Boxer is my favorite overall).  Out of the albums that I loved in college, this is definitely the one that I revisit the most often. 

Favorite Songs: All the Wine, Geese of Beverly Road, Daughters of the Soho Riots, Mr. November

Yankee Hotel Foxtrot- Wilco (2002)
Find it in the catalog!
When I was in high school, "country" even of the alt variety, sounded like something that I just couldn't get into.  So it took me a really long time to listen to Wilco.  So long, in fact, that I did not check out Yankee Hotel Foxtrot until a year after it was released, in spite of its universal acclaim.  However, once I finally did get around to checking it out, I pretty much listened to it on repeat for about two years (it is part of my subconscious now). This is still one of my favorite albums of all time.

Favorite Songs:  I'm Trying to Break Your Heart, Ashes of American Flags, Jesus, Etc., Poor Places

Something Else- Kinks
Find it in the catalog!

The Kinks were probably my favorite band in college. Yet I don't remember how I started listening to them, I just remember suddenly being into the Kinks.  But it's pretty safe to blame the movie Blow-up, which made me want to check out anything that British and from the 60s.  The Kinks definitely had a gritter sound than other music from the 60s that I was used to (i.e. The Beatles and Simon and Garfunkel), which made their music sound more modern to me.  Also, Ray Davies is probably one of my favorite songwriters ever.  His lyrics are funny, biting and have great social commentary.  Something Else was my introduction to the Kinks.  While I'd eventually love The Kinks are the Village Green Preservation Society and Lola Versus Powerman and the Money-go-round more, Something Else remained in heavy rotation until grad school, largely thanks to "Waterloo Sunset."

Favorite Songs:  Waterloo Sunset, Afternoon Tea, and Tin Solider Man

69 Love Songs- Magnetic Fields
Find it in the catalog!

I first got into the Magnetic Fields with the album The Charm of the Highway.  I liked how poppy and yet bleak Stephin Merritt's songs were, as well as how clever some of the lyrics were.  Pretty much all of the Magnetic Fields albums were played in heavy rotation in my dorm room, but 69 Love Songs is probably Merritt's masterpiece.  Also, the three disc set was the perfect length to drive home for breaks.

Favorite songs: I Don't Want to Get Over You, I Don't Believe in the Sun, No One Will Ever Love You,  The Sun Goes Down and The World Goes Dancing, Busby Berkeley Dream, I Can't Touch You Anymore

Time Capsule Album Obsessions: High School

My high school years aren’t really a period I’m nostalgic about.  Like a lot of people from a small town, I spent much of  high school looking forward to leaving home and going to college.  I was more of an honor students than a rebel, but I did experiment with punk rock and light subversion.  After spending my freshman and sophomore years listening to emo (Bright Eyes, mostly) and glam rock (thanks to Ewan McGregor) I discovered the Cure and 80s post punk (which would dominate my playlists until grad school).  Below are five albums that I listened to way too much during high school:  

 

The Smiths- The Queen Is Dead.
Find it in the catalog!  
The Smiths are basically required listening for every angst-ridden high school student.  At the time, I could certainly relate to Morrissey’s sizable amount of self-pity on songs like “I Know It’s Over” and “Never Had No One Ever.”  But it was more than just adolescent woefulness that drew me to the Smiths.  Morrissey has one of best voices in rock, and he can be pretty funny at times.  Also, Johnny Marr’s excellent guitar work makes the music still sound fresh today.  
 

Favorite tracks: The Boy with the Thorn In His Side, There is a Light (That Never Goes Out), Some Girls are Bigger Than Others

Joy Division- Closer

Find Closer in the catalog! 

I think I definitely enjoy this album more now than I did in high school. Back then, I thought liking Joy Division made me dark and edgy, so I pretended to enjoy it more than I did.  And I liked the cryptic but bleak lyrics.  It wasn’t until college, when a lot of bands started to emulate Joy Division’s sound that I began to appreciate how spare and yet awesomely rocking they were.  Still, I listened to this album a lot in high school for only sort of liking it.  Perhaps, I just wanted to scare my parents.

 

Favorite tracks:  Isolation, Heart and Soul, The Eternal.  

  Joni Mitchell-Blue

Find it in the catalog! 

My sophomore year of high school, I bought a turntable.  I had a cheap box record player before this, but the turntable was a definite step up.  To build up my record collection, I'd buy pretty much anything from the 60s and 70s that was reasonably cool or had a spiffy cover. This was one of those records.  I bought it for it's pretty blue cover, but played it over and over again for its mellow vibe and romantic angst.  At 15, I hadn't really lived enough to understand the complex emotions on the album.  But I was naive enough to think that I did.

Favorite Tracks: California, River, A Case of You.

Simon and Garfunkel- Bridge Over Troubled Water

Find it in the catalog!

I went to high school about 30 years after it was cool to like this album.  Thankfully, none of my classmates knew who S and G were and therefore were clueless as to how much of a geek I was.  I started listening to S and G after hearing that Paul Simon was a big influence on my then rock-God, Connor Oberst of Bright Eyes.  My dad didn’t have Graceland, but I permanently borrowed his copies of Bookends and BOTW.  Paul Simon’s witty, literate, and offbeat lyrics really appealed to me.  I also liked the band’s quirky folk rock sound.  BOTW is an ambitious but fun album.  S and G played around with a bunch of sounds, including gospel (“Bridge Over Troubled Water,”) straight rock ‘n’ roll (“Baby Driver”) and even Bossa Nova (“So Long, Frank Lloyd Wright”- not my favorite).  There are lots of classic songs on the this album, including the title track, “The Boxer” and “Cecilia,” but my all-time favorite song is the haunting “Only Living Boy in New York.”

 

Favorite Tracks:  Cecilia, Keep the Customer Satisfied, Baby Driver, Only Living Boy in New York, and Song for the Asking. 

Belle and Sebastian- If You're Feeling Sinister

Find it in the catalog! 

I discovered this band from one of my friends who was much hipper than me.  From their cool, retro red cover to their jangly, 60s inspired folk pop, Belle and Sebastian were pretty much perfect in my book.  Stuart Murdoch's lyrics were smart and funny, but a little wistful.  Belle and Sebastian were more or less the sonic equivalent of watching a Wes Anderson movie.   What more could a pretentious, old soul 17 year old want in a band?  Even with their post-Juno popularity and accusations of tweeness, If You're Feeling Sinister and Tigermilk are still favorites of mine. 

Favorite Tracks: The Fox in the Snow; Get Me Away From Here, I'm Dying; If You're Feeling Sinister

Check out my whole list of high school album obsessions. 

What We're Listening to: Tramp by Sharon Van Etten

Tramp by Sharon Van Etten
Find it in the catalog!


Tramp is the third album by New York City-based singer-songwriter Sharon Van Etten.  I really enjoyed her last album, Epic (especially the closing track, "Love More").  However, Tramp sounded even more promising because it was produced by Aaron Dessner of The National (one of my favorite bands) and had a stellar guest list including Zach Condon of Beirut, Jenn Wasner of Wye Oak, and Matt Barrick of the Walkmen among others.

Van Etten could rival Adele for writing songs about love gone wrong.  On her last two albums, many songs revolved around a break up with a particularly nasty boyfriend.  While I'm a break-up song connoisseur, I was happy to see that she had mostly moved on from that on Tramp. There is still some romantic angst (including the awesome break-up anthem "Serpents"), but Van Etten seems more focused on personal growth and her own failings this time out.

Van Etten's lyrics really add a lot to the album.  She's good a conveying a lot simply.  For instance, one of my favorite lines on the album is from "Give Out:" "You're the reason why I'll move to the city/ Or why I'll need to leave."  Tramp has a somber and emotional vibe; it's a great album to listen to on a gloomy day.

Stand out tracks:  I love "Serpents", which rocks surprisingly hard for an otherwise mellow album.  "Give Out" is a beautiful but bittersweet track about starting a new relationship after being hurt.  "I'm Wrong" is a builder and is oddly inspirational for a song pleading for self-delusion.  The closer "Joke or a Lie" is a lovely blend of vulnerability and melancholy.

Song Obsessions

 Below are six tracks I can't stop listening to.  This time around I seem to have a lot of messed up love songs in the roster (big surprise!):

"Thirteen" by Big Star from Keep an Eye on the Sky  (Find it in the catalog!).
The lyrics to this song are so simple and innocent, "Won't you let me take you home from school/ Won't you let me meet you at the pool/ Maybe Friday, I'll get tickets to the dance/ And I'll take you, ooh."  However, Alex Chilton's vulnerable and world-weary vocals suggest that he knows that this young love won't last very long. 

"All Dolled Up in Straps" by National from the Cherry Tree EP (Find it in the catalog!)
Since seeing them live, I've been revisiting the National's earlier, pre-Alligator albums which I really haven't listened to all that much.  And, man, have I been missing out!  They have some really great early albums.  "All Dolled Up in Straps" from their Cherry Tree EP really stood out for me.  The lyrics are pretty dark.  It seems to be about a guy accusing his girlfriend of cheating on him, or a guy worried that the girl he's stalking might be seeing someone else.  Somehow, the song still manages to be catchy.  I also adore Matt Berninger's voice on the song.  It sound rawer than his later work, like he's singing with a sore throat.   

"Under Your Spell" by Desire from the Drive soundtrack (Find it in the catalog!).  
I listened to a lot of 80s-inspired disco pop like Sally Shapiro, The Chromatics and College in grad school.  The late night vibe and bitter-sweetness really appealed to me. So naturally I fell in love with the Drive soundtrack as soon as I saw the film.  This song is my favorite though; it's a nice obsessive love song.

"One Sunday Morning (Song for Jane Smiley's Boyfriend)" and "Whole Love" by Wilco from Whole Love (Find it in the catalog!). 
I really enjoyed the last Wilco album.  If I had listened to it earlier in the year, it probably would have been in my top ten of the year.  These are my two favorite songs from the album.  "Whole Love" is a short, sweet love song that sets the stage for the epic and beautiful closer, "One Sunday Morning (Song for Jane Smiley's Boyfriend)". 

"Civilian" by Wye Oak from Civilian (Find it in the catalog!). 
I hadn't really listened this band too much before seeing them in concert, but I was blown away by their performance.  This song is full of anxiousness and builds slowly up until the crazy guitar work at the end.

Christopher Reimer, 1986-2012.

Christopher Reimer, guitarist of the Canadian noise-rock band Women, passed away at the young age of 26. Women have released two critically acclaimed albums including their self-titled debut and Public Strain.  After Women went on indefinite hiatus, Reimer joined the Dodos as a touring guitarist.

I became a fan of Women after hearing their excellent track, "Black Rice" from their debut album.  Their follow up album Public Strain was one best albums of 2010, due in large part to the stellar guitar work.  If you haven't checked out one of their records, I highly recommend both albums.

Christopher Reimer's sister, Nikki, created a memorial website for him. The National Post in Toronto also had an article in tribute of him.

Music Roundup: My Top 10 Albums of 2011

My (Always Subjective) Top 10 List:


Apocalypse - Bill Callahan
I've said it before, and I'll say it again: If Bill Callahan puts out a new record, it will be my favorite record of the year. That's not mere dedication to a songwriter I've favored for two decades, but rather an acknowledgment that he gets better with each passing year. I would argue that Apocalypse, the latest from Callahan, is as evocative and frankly spellbinding as any work in the artist's catalog.
Standout tracks: "Baby's Breath" and "Riding for the Feeling"

Undun - The Roots
A percussive, soulful concept album that somehow, impossibly, improves upon the band's prior successes. By my count, this is the tenth Roots record that is an unequivocal classic. Tenth. Can you name another contemporary group with those credentials? I can't.
Standout tracks: This is such a cohesive work, there's little point in highlighting specific tracks.

Bad as Me - Tom Waits
Arguably less ambitious than your average Tom Waits album (there's no song-cycle or high-concept narrative on this one), Bad as Me still offers just about everything you could possibly want from the artist at this stage of his career: guttural crooning, dusty blues, early R&B, rockabilly, and, yes, Keith Richards and Marc Ribot on guitar.
Standout tracks: "Raised Right Men", "Get Lost", and "Hell Broke Luce"

House of Balloons/Thursday - The Weeknd
House of Balloons is The Weeknd's proper full-length debut, and it justifiably received most of the accolades. But the mix-tape that followed it, Thursday, was a compelling listen in its own right. I'm including both in my top ten list, because I can. The lyrics on these recordings range from amusing to clumsy, but the sound is guaranteed to make you woozy. In a good way. (These two albums are only available as digital downloads from artist's Tumblr page.)
Standout tracks: "What You Need", "The Party and the After Party" and "Lonely Star"

Bon Iver - Bon Iver
This self-titled album is the proper follow-up to Justin Vernon's critically acclaimed debut, For Emma, Forever Ago. Vernon's gentle voice and impressionistic lyrics are still the focal point, but this record features a much fuller sound. I think I favor the intimacy of the earlier album, but Bon Iver has some excellent songs that benefit from the enhanced instrumentation.
Standout tracks: "Calgary" and "Minnesota, WI"

Black Up - Shabazz Palaces
Remember the '90s rap group Digable Planets? Doesn't matter. Even if you were familiar with that group, you'd probably never have guessed that Shabazz Palaces is the current project for former Digable Planets rapper Ishmael Butler. This is an astoundingly relevant and forward-looking album, particularly as it comes from an artist who has been in the business since the Clinton Administration.
Standout tracks: "A Treatease Dedicated to the Avian Airless from North East Nubis"

Demolished Thoughts - Thurston Moore
A solo outing from Sonic Youth singer/guitarist Thurston Moore, Demolished Thoughts is essentially a singer-songwriter album that sounds a lot like Sonic Youth. I find that to be a pretty irresistible combination. The songs are uniformly strong on this record, but they reach greatness thanks to the gorgeous production, courtesy of Beck.
Standout tracks: "Circulation" and "Orchard Street"

W.A.R. (We Are Renegades) - Pharoahe Monch
This may be the most focused, concise Monch album yet. His lyrical delivery is always a thing to behold, and his work on W.A.R. just might be up there with his revered solo debut.
Standout tracks: "W.A.R." and "Black Hand Side"

Hot Sauce Committee, Part 2 - Beastie Boys
I never thought I'd be including a Beastie Boys album in my top ten, but here we are. I've enjoyed Hot Sauce Committee more than any Beasties record since...the '90s? This is a record by a group of guys who know their strengths and actually sound like they're having a good time. Bonus points for collaborating with Nas on "Too Many Rappers". I would endorse an entire of album of Nas rhyming over Beastie Boys beats.
Standout tracks: "Make Some Noise" and "Too Many Rappers"

Father, Son, Holy Ghost - Girls
I'll be honest, the big over-the-top climaxes on Father, Son, Holy Ghost don't always pay off. But when they do... If you can appreciate the idea of a decidedly idiosyncratic songwriter going all out, you owe it to yourself to give this a listen.
Standout tracks: "Honey Bunny" and "Love Like a River"

Runners Up/Honorable Mentions:

The Family Sign - Atmosphere

El Camino - Black Keys

Deerhoof vs. Evil - Deerhoof

The Book of David - DJ Quik

No Kings - Doomtree

I'll Never Get Out of This World Alive - Steve Earle

Ceremonials - Florence + the Machine

Tell Me - Jessica Lea Mayfield

The Only She Chapters - Prefuse 73

Fear of God II: Let Us Pray - Pusha T

Shaolin vs. Wu-Tang - Raekwon

The Whole Love - Wilco

Wild Flag - Wild Flag

Concert Review: The National, Wye Oak and Local Natives at the Aragon Ballroom, 12/6/2011

Last Tuesday night, Brooklyn based indie rockers, the National, played a sold out show at Uptown's Aragon Ballroom.

Even though the National has been one of my favorite bands for about six year now, I never quite got around to seeing them live.  At first, it was just pure laziness on my part, but for the last couple of years there have been some serious obstacles in my way: like only playing Chicago for Lollapalooza (port-a-potties and poor sound quality, I think not) or playing the exact same night AND time as my other favorite Ohio rock band- the Black Keys.  Excuses excuses, I know, but I was getting seriously worried I'd never see them live. So when the Aragon gig was announced, I was super excited that not only were the National playing Chicago again (and indoors!), but they had two bands I liked a lot opening for them! 

Baltimore duo Wye Oak started off the evening a little bit before seven.  Their album, Civilian, was one of my favorite albums of this year, but I was even more impressed with their live show. Jenn Wasner's vocals really popped in a live setting and her guitar playing was phenomenal. The band had incredible sound for a two person outfit, especially considering the Aragon's barn like acoustics and that poor Wasner spent most of the set being half- electrocuted by her mike.

Next up were L.A. based indie poppers Local Natives. Out of the bands, they were probably the one I was least excited to see. I enjoyed their album, Gorilla Manor. But they are a little too upbeat and accessible for me to listen to on a regular basis.  But in concert, they were adorable and the audience really enjoyed their set.   Local Natives singer Taylor Rice had an easy going and affable stage presence (and looked vaguely like James Franco with a mustache).  It was probably smart to have them sandwiched in between two more lugubrious acts.  They were the only band that you could dance to and not look weird (though many tried and failed to prove otherwise). 

Before the National set, they had a live video of the band hanging out backstage.  It had a strange effect on the audience.  At first we calmly watched the video, then slowly started cheering louder and louder to cajole the band out of their dressing room- like a pre-concert encore. The band took the stage around nine and played for a solid hour and a half.  Singer Matt Berninger looked sharp in a suit coat, vest, tie, jeans and oxfords.  Casually holding a wine glass in his hand through the evening, he looked like the dapperest man in indie rock (Hamilton Leithauser better up his game).  The band opened with "Runaway" from their most recent album, High Violet.  But their set drew from throughout their career, including tracks from their more obscure early records like "Murder Me Rachael" from Sad Songs for Dirty Lovers and "Son" from their self-titled debut. 

Current Album Obsessions

Five albums that have spent an unhealthy amount of time in my car stereo of late:

Have One on Me- Joanna Newsom
Call No.: CD ROCK RAP NEWSOM HAVE
Find it in the catalog!

I avoided listening to this album for almost a year after it was released.  While I like Ys. initially, it wasn't a record that I wanted to listen to over and over again.  And this album is three discs and over two hours long.   It seemed exhausting.  However, I find Have One on Me a lot more enjoyable that Ys.  The songs are still super long and complicated, but they have an easygoing, seventies Joanie Mitchell vibe to them.  Also, while the album works together well as a whole, it's not necessary to listen to all three discs in a row.

Track Obsessions:  "In California", "Have One on Me", "Good Intentions Paving Company", "Does Not Suffice"

The Rip Tide- Beirut
Find it in the catalog!

It's been four long years since Zach Condon's last album, 2007's Flying Club Cup.  Being a fan of both previous Beirut albums, this was one of my most anticipated albums of the year.  Upon first listen, The Riptide seemed a little bit underwhelming.  It lacks the big, orchestral punch of the previous two albums and is, instead, more an understated synth pop album (but not of the Cut Copy variety).  However, after repeated listens, my appreciation for the album has grown considerably. Though Beirut's sound has evolved, The Rip Tide still has the moodiness and old-timey quality that I enjoyed on his previous albums. 

Track Obsessions:  I almost always hit repeat (at least once) on "East Harlem" and "the Peacock."  "Payne's Bay" (especially the first two minutes) and "Santa Fe" are favorites as well.

Meadowlands- The Wrens
Call No.: CD ROCK RAP WRENS MEADOWLANDS
Find it in the catalog!

I had never really listened to the Wrens before, having had them mildly confused with late 90s Canadian folk punk (that's a real thing, apparently) outfit the Weakerthans.  I listened to the Weakerthans during my short-lived emo period, which is not a musical phase I like to revisit often.  Anyway, I'm glad I finally checked out the Wrens.  Meadowlands is a breakup album, which always wins bonus points from me, but it also rocks pretty hard on occasion. 

Track Obsessions:  "Hopeless" has become a recent favorite of mine, but "Everyone Chooses Side" is still my absolute obsession here.  It gets repeated at least twice per album listen. 

Apocalypse- Bill Callahan
Call No: CD ROCK RAP CALLAHAN APOCALYPSE
Find it in the catalog!

I hadn't heard of Bill Callahan or Smog until his record, Sometimes I Wish I Was an Eagle, was listed on fellow blogger Jason's best of 2009 list.  Because I refuse admit that there are musicians that I haven't heard of, I immediately checked him out and I have been a fan ever since.  Callahan has a lo-fi sound, mixed with witty lyrics and a gloomy baritone.  Apocalypse is his latest seven song EP and it ranks among his finest work.

Track Obsessions:  "Drover," "Baby's Breath," and "Riding for the Feeling."
 
Yuck- Yuck
Call No.: CD ROCK RAP YUCK YUCK
Find it in the catalog!

The cover of this album (Google it, if you must) is one my least favorites of the year. In general, this would cause me to avoid listening to all together like Cocorosie's Grey Oceans (click on link at your own risk- you cannot un-see it!).  However, I was desperate for something new to listen to and had heard good things. Yuck's sound reminded me a lot of the 90's guitar driven alternative rock like the Smashing Pumpkins that I listened to early in my high school career.  In fact, with hints of the Cure and guy/ girl vocals, Yuck would have totally been my favorite band ever, if I discovered them in high school.  I'm glad I checked out the album in spite of the aesthetic unpleasantness of the cover, though Grey Oceans is still gonna be a no-go.

Track Obsessions: "Get Away," "Suck," "Sunday," and closer "Rubber."

My Music Year: Trapped in 2007

Following in the footsteps of fellow Media Corner Blogger Jason and the AV Club before him, I highlight one of my favorite years in music.

There is a certain type of people who seem trapped in a period of their life—for instance, people who relieve their high school glory days well into adulthood.  Similarly, I think some people have a musical peak; they get fixated on a particular period in music and never quite move on.  Their musical taste slowly atrophies into unhipness.  I had a neighbor in college who seemingly only listened to music which was popular circa 1996.  This would have been less annoying, if say he was really into Weezer’s Pinkerton or Belle and Sebastian’s If Your Feeling Sinister.  Instead, I had to wake up every morning to sounds of the Cranberries’ “Salvation” and Harvey Danger’s “Flagpole Sitta” blaring from his dorm room.  The kid must have musically peaked at the age of 12.  How sad, I thought, be in your very early 20s and already nostalgic.

However, when I was attempting to compile my best of the 00's album list (a task I still haven't finished), I realized a disconcerting trend.  Save for Wilco’s Yankee Hotel Foxtrot (2001) and Neko Case’s Fox Confessor Brings the Flood (2006), all of my favorite albums were from 2007.  I wondered if this was my own musical heyday…soon I’d be the annoying neighbor blaring LCD Soundsystem’s “All My Friends” and saying stuff like, “2007, that was when music was music!  Not like the rubbish kids listen to these days.”

Thankfully, my music geekery is insatiable, so it's hard for me to get stuck in one year for too long.  Even if I’m still really obsessed with Person Pitch and Jens Lekman. 

My Top Five of 2007:

5).  Cryptograms- Deerhunter
Find it in the catalog!
It took me a while to discover this album.  Deerhunter had kind of a notorious reputation at the time, thanks in part to front man Bradford Cox's sometimes erratic behavior and provocative blog posting.  The first time I heard most of the songs off of Cryptograms was when I saw the band live in 2008.  The eerie moodiness of the album, as well as the spare psychedelia make Cryptograms a classic.

Stand-Out Tracks: Spring Hall Convert, Strange Lights, Heatherwood

4).  Night Falls Over Kortedala- Jens Lekman
Find it in the catalog!
Though he had garnered some fame for his singles "You are the Light" and "Maple Leaves," I somehow missed Lekman until 2007. I saw him described on a music blog as being a combination of Jonathan Richman and Frank Sinatra.  As a big Jonathan Richman, I immediately checked out his single "Postcard to Nina" and I was hooked.  Night Falls Over Kortedala is a funny, quirky, but sincere effort.

Stand-Out Tracks: Opposite of Hallelujah, A Postcard to Nina, Into Eternity, Kanske Ar Jag Kar i Dig

3).  Sound of Silver- LCD Soundsystem
Find it in the catalog!
Having spent much of 2006 listening to the Talking Heads, New Order, and Gang of Four (thanks Marie Antoinette), meaning I was in the perfect frame of mind to love this album. While all of James Murphy and Co.'s albums are great, Sound of Silver is probably the most consistently awesome.  Best three song stretch of the Aughts?: "North American Scum," "Someone Great" and "All My Friends."

Stand-Out Tracks: The aforementioned three, "Get Innocuous!"  and "New York, I Love You But You're Bringing Me Down." 

2).  Boxer- The National
Find it in the catalog!
Alligator, the 2005 release by the National, had been in heavy rotation in my stereo for about two years when Boxer came out.  It was one of my most hotly anticipated albums of the year and it exceeded my expectations.  Most National albums have to grow on you, but my love for Boxer was immediate.  They just do melancholy so well.  This is an album full of slowly building tension and brooding.  Lyrically, the album focuses on the theme of reluctantly growing up.  Being 23 at the time, I could definitely relate to the early adulthood ambivalence.

Stand-Out Tracks:  Fake Empire, Mistaken for Strangers, Slow Show, Apartment Story, Start a War

1).  Person Pitch- Panda Bear
Find it in the catalog!
If there was one album that was the zeitgeist of 2007, it was probably the solo album of Animal Collective member Noah Lennox aka. Panda Bear.  Person Pitch was named the best album of the year by Tiny Mix Tapes, Gorilla Vs. Bear, and Pitchfork. It has an upbeat sound and is unabashedly Beach Boys-esque. It definitely is a pick-me up record.  When I listen to it, my mood usually improves and I feel more relaxed.  Person Pitch is like a trip to Portugal for your ears!  This album is definitely recommended for fans of the Animal Collective album Merriweather Post Pavilion (2009). 

Stand-Out Tracks: Comfy in Nautica, Bros, Good Girl/ Carrots, Ponytail.