In(High)Fidelity - End Of Year List-O-Rama

Here it is! A full year of laughter and forgetting; a year of good times and bad; a year full of living – distilled into a series of lists. You will find In(High)Fidelity’s top ten must-have albums of 2007, our ten favorite tracks for the year and a list of the ten best shows we saw over the last twelve months.


Top Ten Albums

1. Broken Social Scene Presents Kevin Drew’s - Spirit If…
2. Okkervil River – The Stage Names
3. The National – Boxer
4. Spoon – Ga Ga Ga Ga Ga
5. Band Of Horses - Cease To Exist
6. The Cave Singers - Invitation Songs
7. Explosions In The Sky - All Of A Sudden I Miss Everyone
8. Life Without Buildings - Live At The Annandale
9. Feist - The Reminder
10. Ryan Adams - Easy Tiger


Top Ten Tracks

1. LCD Soundsystem - All My Friends
2. Broken Social Scene Presents Kevin Drew - Gang Bang Suicide
3. The National - Fake Empire
4. Okkervil River - Unless It Kicks
5. Dappled Cities - Fire, Fire, Fire
6. M.I.A. - Paper Planes
7. Feist - The Park
8. Spoon - The Ghost Of You Lingers
9. Black Francis - Threshold Apprehension
10. Ryan Adams - Goodnight Rose


Best Shows of 2008

1. Broken Social Scene - Kevin Drew @ The Orpheum Theater
2. Okkervil River @ The Troubadour
3. Arcade Fire @ The Greek Theater
4. Wilco @ The Greek Theater
5. The Decemberists with the L.A. Philharmonic Orchestra / Andrew Bird / Band Of Horses @ The Hollywood Bowl
6. The National @ The Wiltern
7. Spoon @ The Henry Fonda Theater
8. Dinosaur Jr @ The Troubadour
9. Lucinda Williams @ El Rey Theater
10. Morrissey @ The Palladium


A special thanks to all the people who have taken the time to read In(High)Fidelity in 2007. Your words of encouragement keep me writing. You can always reach me at benedmonds@hotmail.com.

Merry Christmas! Happy New Year! I'm Out!

Dan Deacon - Spiderman Of The Rings (Carpark Records, 2007)

George Clinton once said: "Free your mind... and your ass will follow." Wise words, indeed, but of what relevance are they to Dan Deacon and his strange, brilliant, ridiculous album, Spiderman Of The Rings? Firstly, George Clinton is a weird guy - he'd have to be to write the sort of music he has with Parliament and Funkadelic - and, from what I've seen, Dan Deacon seems like a pretty weird guy, and I mean that in the best way possible. I remember a time when I wanted nothing but to be considered weird. I wanted to wear it as a badge of honor. However, I think I've always been too normal to be weird in any cool way.
Sometimes I use music to quiet the voices in my head. The voices in my head are friendly for the most part, however, at times, when everyone is trying to speak at once, it can be difficult to make any sense of anything. So, I'll put something in the stereo, we all turn our attention to the music, and life comes back into focus.
You should have seen it the first time I put Dan Deacon in the stereo. As a crazed Woody Woodpecker spilled from the speakers, and a slow building electronic pulse took hold, none of us knew quite what to expect. Sounds, sounds, everywhere! Just when it looked like the whole thing might be about to devolve into a horrible train wreck, it came to a sudden stop. Only to immediately jump into the spazz-eletro-rave-up that is The Crystal Cat (check out the video). All of a sudden, my mind was free... and my ass was following. This is the music to which the voices in my head dance. Well, sometimes they dance, sometimes they laugh; it is a 50/50 split that I imagine anyone who calls their album Spiderman Of The Rings, would be happy to elicit.
Don't be fooled, Dan Deacon may be a mad-genius, however, his music is not for everyone. In fact, I have had those near and dear to me politely ask me to turn him off, as they are unable to hear anything but shrill, piercing, electronic vibrations. Joy.

Check Out: www.myspace.com/dandeacon

Sounds Like: A crazy, good time, electro-spazz

On Tour: Dan Deacon is touring Europe in December 2007; he'll be in the U.S. in January (see you at the LA show) 2008; and Australia in February 2008.

Okkervil River - Golden Opportunities Mixtape (2007)

Regular readers will be more than familiar with the high esteem in which I hold Okkervil River. Following the release of their excellent 2007 album, The Stage Names, which has been making its way on to many "Best Of 2007" lists, the band have released the Golden Opportunities Mixtape as a free download from their website: www.okkervilriver.com.
The Golden Opportunities Mixtape is a collection of nine songs that the band recorded, mostly on the road, over the course of a couple of years. Eight of the songs see Okkervil River covering artists as diverse as Randy Newman, John Cale, Joni Mitchell, and Serge Gainsbourg. The one original Okkervil River track is a fantastic live recording of Listening To Ottis Redding At Home During Christmas, which originally appeared on the band's debut full-length album Don't Fall In Love With Everyone You See.

Check Out: www.okkervilriver.com

The Cave Singers - Invitation Songs (Matador Records, 2007)

The Cave Singers do not seem to be of this time, and yet they are just as much a part of the here and now as you or I. Their music - a melange of sounds rooted in the folk and blues of early 20th century America - flows forth from the speakers in waves of warm, acoustic guitar; a steady, brushed drum-beat keeping time; and a voice at once idiosyncratic, vaguely familiar, and completely original.
Seeds Of Night, the opening track on Invitation Songs, is also one of its finest. An understated gem featuring all of the elements that makes this band such a joy to listen to. One of the first things you notice is the vocals of singer Pete Quirk, who - given his vocal delivery - has a particularly apt surname. His is a voice that is sure to divide the opinion of listeners, in much the way a young Bob Dylan's voice still does to this day.
Invitation Songs is a wonderful album that moves seemlessly from the slow burning numbers such as Helen and Elephant Cloud, through to the chugging, bluesy stomp of Dancing On Our Graves, and the darker blues of New Monuments - in which Quirk sings of "a house of disrepute where I lost my mind." Far from doom and gloom, though, Oh Christine - perhaps the albums most upbeat moment, and certainly one of its finest - immediately follows New Monument, and brings with it a fresh dose of the warmth that Invitation Songs seems bathed in. This album is one of 2007's hidden gems, and one that you should definitely add to your collection.

Check Out: www.myspace.com/thecavesingers

Sounds A Bit Like: Excerpts from Alan Lomax's collection of recordings.

Band Of Horses - Cease To Exist (Sub Pop, 2007)

With just fourteen words and a stadium-ready guitar riff, Ben Bridwell (leadsinger of Band Of Horses) has written one of the year's stand-out tracks, with the opening number of Cease To Exist: Is There A Ghost. Having established themselves as one of the better bands on the planet with their first album - 2006's Everything All The Time - Band Of Horses have built a devout following trhough steady touring and excellent songs. One needn't look any further than tracks such as The Funeral or the beautiful St. Augustine from their debut album, to realize that Bridwell is a songwriter with immense talent.
With Cease To Exist, Band Of Horses - who had relocated from Seattle to back their home in South Carolina after touring for Everything All The Time - have delivered an album that pays homage to their southern roots, without sounding in any way dated. Along with the aforementioned opening track, Ode To LRC and Cigarettes, Wedding Bands keep the rock quotient high, while slower numbers such as Marry Song and the countrified-stomp of The General Specific, exemplify the band's ability to slow things down without losing any momentum.
In recent interviews, Bridwell has spoken of the happiness he has found in to his hometown, the joy that has come from the love of a good woman, and his affection for good melodies. All three of these elements are reflected keenly on Cease To Exist, and as Bridwell comes across as an extremely likeable southern gentleman, you can hope for nothing but success for his Band Of Horses.

Check Out: www.myspace.com/bandofhorses

Sounds A Bit Like: Neil Young; Dinosaur Jr strumming away outside on a warm summer evening, watching the light slowly fade.

Black Francis - Bluefinger (Cooking Vinyl, 2007)

When I drink coffee, I become jittery and anxious. It is not a very pleasant experience; so, unlike a large portion of the population, I do not have the benefit of coffee to wake me up in the morning. Luckily, I find that rock'n'roll can give me just the jolt I need, and I'll be damned if Black Francis (aka Frank Black of the Pixies) hasn't delivered a super-venti sized jolt of rock'n'roll in the form of Bluefinger.
I have never been a huge fan of the Pixies. Of course, I have always known that they're a seminal band and I have a high regard for their recorded output, however, there are so many seminal bands out there, that it is impossible to keep track of all of them. Plus, I was a bit freaked out by the artwork on the Doolittle album - my young, fragile mind found that monkey to be quite disturbing. The point I am trying to make, is that I am not coming at this album from the perspective of a hardcore Pixies fan.
Bluefinger is one of the rocking-est albums of 2007, and, as if he still has anything to prove, Black Francis has put together an album full of great, catchy songs with all sorts of wild hooks. The track, Threshold Apprehension, has quite literally had me in a spin for a number of weeks now. Francis attacks the song with all the vigour of a man half his age, and puts to shame the many young rock posers who seem to be flooding the airwaves with their ever-so-slick garage-rock knock-offs these days.
If Threshold Apprehension was the only song on the album, it would be a winner; the fact that tracks such as the intentionally-sloppy Test Pilot Blues, the wonderfully titled You Can't Break A Heart And Have It, and the mellow Discotheque 36 - amongst many others - shine so brightly, make this album nothing if not vital.

Check Out: www.blackfrancis.net/

Sounds A Bit Like: Driving really fast with the windows down, screaming your favorite song at the top of your lungs.

Stars - In Our Bedroom After The War (Arts & Crafts, 2007)

When it comes to overly-earnest pop of the best kind, Stars have the market cornered. With their excellent 2005 album - Set Yourself On Fire - the band wore their hearts clearly on their sleeves with tracks such as Your Ex-Lover Is Dead and the sublimely beautiful Calendar Girl. Now, with In Our Bedroom After The War, they have upped the emotional ante further still.
In Torquil Campbell and Amy Millan, Stars has two singers, neither of whom is afraid to bring an emotional intensity to songs that may otherwise pass as simple exercises in pop-by-numbers. Millan's voice spills from the stereo like a warm wind blowing on a cool autumn day; it is a voice that carries care and compassion, while hinting that we live in a world in which those two commodities are becoming all the more rare. Campbell's voice seems more assured than ever on this album, and tracks such as Barricade and the rousing In Our Bedroom After The War share a similar feel to some of the finer moments in Morrissey's oeuvre.
Stars are at their best when Campbell and Millan share singing duties on songs such as the slow-burning, The Night Starts Here and the clamorous Take Me To The Riot. While the quasi white-boy soul of The Ghost Of Genova Heights is something of a misfire, the album recovers immediately with the somewhat disconcerting Personal, a back-and-forth exchange between two lonely souls seeking companionship in the personal pages.
Passionate, fragile, exuberant, disarming: In Our Bedroom After The War is all these things and more; yet another superb release from the excellent Arts & Crafts label.

Check Out: http://www.myspace.com/stars

Sounds A Bit Like: Morrissey and Cat Power fronting a Canadian pop band.

Broken Social Scene Presents: Kevin Drew - Spirit If... (Arts & Crafts, 2007)

As founder - and one of the core-members - of Broken Social Scene, a collective of Canadian musicians that includes the likes of Feist, Metric's Emily Haines, Stars' Amy Millan, and many others, Kevin Drew has spent the better part of the new millenium creating life-affirming albums full of sonic-pop experiments, beguiling lyrics, and often sweet and tender melodies.
In comparison to the group's previous albums, Spirit If... - a Broken Social Scene album in all but name - is a far more refined affair, and is all the better for it. While I am a big fan of Broken Social Scene, I find that on occasion, the impact of their songs is lost beneath the multi-textured layers of sound that are one of the band’s trademarks, but which can be distracting at times.
The focus of Spirit If… is squarely on Drew and his fine songwriting ability. Songs such as TBTF, F..cked Up Kid and Gang Bang Suicide all share a tender fragility that belie their somewhat provocative titles, and which seems to be a template for most of the album. Drew knows his way around a pop song and this album is littered with gems that will stay with you long after the album has finished spinning. The joyful spirit of the album is perhaps best conveyed in the celebratory Backed Out On The…, which features lead guitar and backing vocals from Dinosaur Jr. front man, J Mascis, and is one of the best sing-a-long songs of 2007.

Check Out: www.myspace.com/kevindrewspiritif

Sounds A Bit Like: The best parts of Broken Social Scene; hearts mending; one of the best albums of 2007.

In(High)Fidelity In Urbancode

As some of you already know, I recently wrote a feature article about Okkervil River for Urbancode magazine's September issue. If you would like a pdf-copy of the magazine, let me know and I will send it via email.

In(The)Flesh - Lucinda Williams, El Rey Theatre, Los Angeles, 09/08/07

On the third night of a five night stand at L.A.'s intimate El Rey Theatre, Lucinda Williams was in fine form. With the novel concept of performing one of her five classic albums in its entirety each night, followed by a second set of songs spanning her entire career, each show promised to be special in its own right. On this night, much to the delight of the rapturous crowd, Ms. Williams performed 1998's brilliant Car Wheels On A Gravel Road.
Lucinda Williams is smart, sexy and sassy, and she knows how to entertain. Album cuts such as Right In Time and 2 Kool 2 Be 4-Gotten sounded fantastic. Williams went into detail about each song's meaning, interacting with the crowd in her thick southern-drawl, and eliciting laughter and declarations of love from both the men and women in the crowd. Drunken Angel -dedicated to two Texan musicians - Blaze Foley (of whom the song was written) and Townes Van Zandt - oozed country soul.
The night was made all the more special by the revolving door of special guests that joined Williams on stage. Steve Earle's presence on stage had some in the crowd weak at the knees, and his guitar, harmonica and road-worn vocals were a welcome addition to the smoking-hot band that Williams had behind her.
The second set was made up primarily of songs from West - the fantastic album Williams released earlier this year - the highlights of which included Come On & Unsuffer Me. Williams seemed truly happy to be on stage - and said as much on many occasions; her happiness was reflected back by the many smiles in the crowd. Lucinda Williams is a very, very cool person; living proof that when the world tries to knock you down, you have to just pick yourself and keep on going. Luckily - for us - she has the continuing ability to write amazing songs as this process repeats itself.

Life Without Buildings - Live At The Annandale Hotel (2007, Absolutely Kosher Records)

In the middle of the year 2001, the weather report inside my mind was correctly predicting extended periods of bleak, cold weather, with a 75% chance of rain. Various storm systems had come and gone, and I was feeling water-logged and tired, though I continued to hold out hope that I would once more be touched by the sun's warm rays.
It was during this time - a time spent looking for a place to hang my hat - that I discovered a strange gem of an album called Any Other City, by an obscure Scottish band named Life Without Buildings. In fact, I bought the album without hearing any of the music, solely based on the allure of band's name. What type of music would a band named Life Without Buildings make?
Much to my pleasure they made very good music. A blend of angular guitars, post-punk danceability and the beautiful, off-the-wall vocals of lead-singer, Sue Tompkins, who sings-shouts-speaks lyrics that seem to be being beamed in from a distant satellite.
I loved the album; some of my friend hated it, which made me love it all the more. Songs such as The Leanover and New Town filled my head with a beautiful rock'n'roll sound; Tompkins vocals were like a riddle, begging to be solved.
When Life Without Buildings played in Melbourne in December 2001, I was on a tight budget, and had already committed to Meredith Music Festival; so I passed on the opportunity to see them play live. If I had have known then that the band would break-up within the year, I would have certainly altered my decision.
Live At The Annandale Hotel was recorded in Sydney on that same tour and features live versions of most of the songs from Any Other City (the band's only studio album), plus tracks from the Is Is & The IRS EP. The sound of the recording is excellent and the band are at the height of their power. Tompkins is splendidly manic - her between-song banter sweetly naive - and the band are raw, punchy and precise. Standout tracks include 14 Days, Sorrow and the amazing, set-closing New Town.
Life Without Buildings are a criminally over-looked band from the early days of the new millenium; and this album is as good a document of their live presence as one could ask for - real memories of live shows aside. Some of you will love them, and some of you will hate them, which will cause those of you who love them, to love them all the more.

Check Out: www.myspace.com/lifewithoutbuildingsuk

Sounds A Bit Like: Karen O before Karen O; dancing to the voices in your head; the weird kids and the cool kids making music together.

In(The)Flesh: Wilco, Greek Theater, Los Angeles 08/29/07

Wilco are, without a doubt, one of the greatest American bands of our generation. Rising from the ashes of alt-country heroes, Uncle Tupelo, Wilco have spent the past twelve years releasing one excellent album after the other; constantly reinventing their sound: beginning with the country-rock flavor of A.M., Being There and Summer Teeth, before delving into noise experiments with 2002's Yankee Hotel Foxtrot and Kraut-rock voyages on 2004's A Ghost Is Born, right through to the sublimely brilliant Sky Blue Sky, which was released earlier this year.
The beauty of Sky Blue Sky comes from repeated listens. On the first few listens it sounds like a more stripped-back version of Wilco than we have been exposed to in recent years, however, upon further listens, the complexity of the musicianship, particularly that of guitarist, Nels Cline, comes to the fore.
In Jeff Tweedy, Wilco have a singer-songwriter who is capable of composing tunes that stay with you long after the final note has been played; and with guitarist Nels Cline and drummer Glenn Kotchke, long-time bassist John Stirratt and multi-instrumentalist Pat Sansome, Tweedy is backed a formidable group of musicians capable of sending songs off into the stratosphere, with sounds that other bands can only dream of creating.
The setting tonight was perfect, Tweedy was in an upbeat frame of mind and the band were in top form, as they tore through tracks from their entire back catalogue. Stand-out tracks - from the twenty-two song set - included I Am Trying To Break Your Heart, A Shot In The Arm, Impossible Germany, and the touching On And On And On, the closing track on Sky Blue Sky. The California crowd cheered loudly for Woody Guthrie-penned California Stars, while the closing encore set of Heavy Metal Drummer and Spiders(Kidsmoke) had everyone on their feet, clapping and shouting for more, as the houselights came on and Wilco left the stage triumphant.

Ryan Adams - Easy Tiger (Lost Highway, 2007)

Since the release his outstanding debut solo album - Heartbreaker - in 2000, the standard of Ryan Adams' recorded output has fluctuated wildly. The release of the highly flawed Rock'N'Roll album in 2003 had even his strongest supporters scratching their heads in shocked bewilderment, while the two Love Is Hell mini-albums failed to hit their mark in the same year, despite some fantastic songs. It seemed Adams had turned a corner in 2005, when he released three albums in the same year - one of which was a double album - that were rooted in the high standard of songwriting that had been the trademark of his earlier work.
With this recent history in mind, it was with a mixture of excitement and trepidation - fairly common emotions among Adams' fans - that I slipped Easy Tiger into my stereo.
To my great delight/relief, the excellent opening track - Goodnight Rose (one of Adams' finest tunes) - immediately dispelled any concerns I may have had. On this album, Adams is firing on all cylinders and has delivered one of the finest albums of his career. Songs such as Two - on which he croons, "I've got a really good heart, I just can't catch a break", The Sun Also Sets, and Oh My God, Whatever, Etc. find Adams at his most vulnerable and are some of the albums strongest songs. Other highlights include the countrified soul of Tears of Gold, These Girls, and the album's closing track I Taught Myself How To Grow Old.
For fans of Ryan Adams, this album is an absolute must, for those who have been wondering where to start, Easy Tiger provides an excellent point to work backwards from.

Check Out: www.myspace.com/ryanadams - Listen to Two and These Girls

Sounds A Bit Like: Gram Parsons; knocking back a case of suds at your favorite dive bar; the sun breaking through the clouds.

Feist -The Reminder (Cherry Tree / Interscope, 2007)

Much like Broken Social Scene, the Canadian collective with whom she came to prominence, Leslie Feist defies easy genre categorization; though her ability to write perfect pop songs is undeniable. As displayed on her excellent release - The Reminder - Feist is adept at mixing things up from one song to the next; this talent being on display from the very beginning of the album, as she seemlessly moves from the jazz-inflected, pensive opening track, So Sorry, straight into the upbeat pop-gem that is I Feel It All.
The first thing that grabs you about Feist, though, is her amazing voice: husky, spunky & self-assured. The type of voice that breaks your heart and wraps you in a warm blanket simultaneously. Look no further than the beautiful lament that is The Park - one of the album's many highlights - to hear Feist's quiet vocal soar as she asks the question "Why would you think your boy could become, the man who could make you sure he was the one?"
The Reminder strikes the perfect balance between quiet introspection and joie de vivre pop playfulness - Past In Present with its accompanying hand-claps, 1234 and My Moon My Man are perfect examples of the latter.

Check Out: www.myspace.com/feist - listen to My Man My Moon and watch the very cool video for 1234

Sounds A Bit Like: Cat Power; Broken Social Scene; Paris in Springtime

Okkervil River - The Stage Names (Jagjaguwar, 2007)

The Stage Names - Okkervil River's fourth full-length release - is, without a doubt, one of the best albums to be released in 2007. It would be erroneous of me not to point out that this is the latest album from my favorite band on the planet, and that if you have not yet exposed yourself to their genius, you have done yourself a great disservice; however, even if I did not feel this way, even if I was evaluating this album objectively, I would still say that it is one of the year's best.
Okkervil River bring a level of emotion to their music that is almost intoxicating, particularly when you take into consideration the emotional vacuum that is much of modern living. Will Sheff - the band's songwriter and singer - paints vivid scenes with his lyrics, as the characters inhabiting his songs navigate their way through the realities of day-to-day living, with all of their flaws intact.
The songs on The Stage Name flow from the opening one-two punchiness of Our Live Is Not A Movie Or Maybe and the incandescent swagger of Unless It's Kicks, to the hushed, devastating beauty of Savannah Smiles and the sea-faring balladry of A Girl In Port.
While sounding completely modern, Okkervil River carry on a grand musical tradition that harks back to bands such as The Band, The Faces and The Beach Boys; a tradition that recognizes songwriting earnest in its attempt to transcend the everyday-ness of life. If you discover only one new band this year, let it be Okkervil River.

Check Out: www.myspace.com/okkervilriver ...where you can hear the entire album.

Regina Spektor - Begin To Hope (Sire Records, 2006)

"I cut his hair one night, a pair of dull scissors in the yellow light, and he told me that I'd done all right and kissed me til the morning light." So it is, with lines such as this - taken from the song Samson - that Regina Spektor has the ability to paint vivid images in the mind of her listener; images that are oddly uplifting and sweetly melancholy simulataneously.
This album has been on my radar for some time now, however, it was not until recently that I was inspired to pick it up; and for that inspiration I am truly thankful.
The album has a number of great tracks, and while not all of them hit their mark exactly, there is more than enough here to justify repeated listens. The opening number, Fidelity, sees Spektor confessing that by "protecting my heart truly, I got lost in the sounds I hear in my mind," and immediately I can relate. The aforementioned Samson, is a stirring paen to a lost love; her sweetest downfall. Stripped down to the bare essentials - voice and piano - Samson is perfect, winsome in its simplicity.
On The Radio is Spektor at her best. The track carries with it an emotional weight that seems unlikely in a song that, on first listen, appears to revolve around hearing Gun'n'Roses' November Rain on the radio; however, Spektor's playfulness belies the true message in the song, and her summary of how it (life) works, is as touching and succinct as any I have heard.
Though these songs are the albums strongest, there are plenty of other highlights, such as Field Below and 20 Years Of Snow - on which Spektor's classical training on the piano is truly evident.
Begin To Hope is the type of album that can make you smile and feel sad at the same time; it will make you feel nostalgic for things that haven't even happened yet; hopeful for things that will happen in the future.

Check Out: www.myspace.com/reginaspektor

Spoon - Ga Ga Ga Ga Ga (Merge, 2007)

The word 'cool' is bandied around far too liberally in this day and age. A crime of which, on occasion, this very writer has been guilty. What does cool even mean, anymore? I guess everyone has their own definition of cool, however, if your definition of cool is not wide enough to encompass the latest Spoon album, then I can only deduce that your definition of cool is rather uncool.
Indie kids have been going ga-ga for Spoon en masse since the release of their 2002 album, Kill The Moonlight, though the band have been together since 1994. For reasons unbeknownst to myself this is the first Spoon album that I have listened to at length.
Ga Ga Ga Ga Ga opens with the assured swagger of Don't Make Me A Target, and follows with the ethereal, piano driven The Ghost Of You Lingers. The poptasticness of You Got Yr. Cherry Bomb - complete with horn accompaniement - leads into the bass-driven, hand-clap and click strewn gem that is Don't You Evah, at which point you begin to think that there isn't a bad song on this album. Well, you're right, there isn't a bad song on this album. In fact, they are all - to quote from another cool source - money!
If you are looking to boost your cool quotient or are simply looking for some damn fine music, don't make the same mistake that I did in delaying the inevitable, head out to your local music retailer and buy Spoon's Ga Ga Ga Ga Ga right now. Music this good will be heard.

Check Out: www.myspace.com/spoon

The Polyphonic Spree - The Fragile Army (TVT Records/Good Records, 2007)

An Open Letter To The Polyphonic Spree:

Dear Polyphonic Spree -

There are far too many of you to name individually, so let me begin by saying thank you to you all for being who you are and for choosing to be a part of something so special. There is much happiness to be had in life, though it is often difficult to find it amongst the sadness and tragedy that seems to be a part of everyday life on an ever-increasing basis. Perhaps the key to finding happiness is through accepting that sadness is an intrinsic part of our lives, embracing that sadness, and transforming it into an energy that we can send back into the world as something positive and uplifting. This is definitely the lesson I have learnt from your music.
Starting with The Beginning Stages Of..., followed by Together We're Heavy, and now, with The Fragile Army, you have created music that has the ability to pick up those who have been beaten and broken; a music that coalesces damaged individuals (and we have all been damaged in some way) into something more powerful - a Fragile Army, if you will.
I have seen you play in London, San Franciso, Los Angeles, and, most recently, New York, and each time I have been amazed by not only the music, energy and sheer joy that pours forth from the stage, but also the genuine feeling of rapture that surges through the audience. In the '60s, a Polyphonic Spree show would have certainly been referred to as a happening, and I can strongly attest that it is a happening that all should be a part of at least once in their life.
In a world in which it can often be difficult to see the sun for the dark clouds, thank you for fighting the good fight and doing your best to make the world a brighter place to exist.

Younger Yesterday,
Ben @ inhighfidelity.com

Check Out: www.myspace.com/polyphonicspree

The White Stripes - Icky Thump (Third Man/Warner Music, 2007)

In late 2000, a relatively unknown two-piece band from Detroit played a series of shows in a number of small venues across Melbourne. One such show was at 9th Ward in the city, and though I'd only heard a couple of the band's songs, I was determined to see them play. For those in the know, there was a buzz surrounding their shows that I hadn't felt before.
Following a boozy afternoon drinking with friends, I managed to convince a few unsuspecting punters to come along to the show with me. Soon after we arrived - the club still only half-full - Jack and Meg White, dressed in red, took to the stage and put on a show of unabashed, bluesy, rock'n'roll that sticks in my head to this day as one of the coolest shows I have ever seen. Jack's screeching guitar and bluesy riffs; Meg's simple, but ever-effective drumming; the looks they shared that kind of creeped you out when you still thought they were brother and sister - all the key aspects of The White Stripes were already in place. It was an awesome display of rock'n'roll showmanship that left the audience sweaty, satisfied, and wanting more.
Fast forward seven years, and The White Stripes have just released their sixth album - Icky Thump - and are playing shows to crowds in the tens of thousands, as opposed to just the tens. If you like The White Stripes, you will love Icky Thump. Stronger than their previous album and full of rocking tunes such as the title track, Icky Thump, 300 M.P.H. Torrential Outpour Blues, and the playful, Rag And Bone, this album is a rocking good time.
The White Stripes have never claimed to be high art, they are simply two people coming together to play music that will have you tapping your feet and shaking your hips. Later this year I will see them play in an arena that holds 17,000 people, far more than that Melbourne night long ago, however, I am no less excited. Saviors of rock'n'roll they may or may not be, however, the importance of their contribution to rock'n'roll in 2007 is undeniable.

Check Out: http://www.myspace.com/thewhitestripes

Handsome Furs - Plague Park (Sub Pop, 2007)

Wolf Parade are a super-cool band from Montreal, who released the excellent Apologies To The Queen Mary way back in 2005. For reasons unbeknownst even to myself, I have not written about them earlier, so I am glad I have the opportunity to sing their praises in this post. "Wolf Parade?" I hear you ask. "I thought you said this post was about the new Handsome Furs album." Indeed I did, and, indeed it is, but be sure to check out Wolf Parade.
You see, Handsome Furs and Wolf Parade have a couple of things in common. Firstly, Wolf Parade has two singers, one of whom is Dan Boeckner. Handsome Furs have only one singer, however, that singer happens to be Boeckner - the band is comprised of just he and his fiancee, Alexei Perry. The other similarity the two bands share, is that even after multiple listens, I have very little idea what the songs are about - for the most part, they are not of the rather easy to follow "Bought my first real six-string..." variety - and yet it matters not. On Plague Park, the music - mostly guitar and drum-machine - plays just as much a role in establishing the atmosphere of each song as do the lyrics. At times, it seems the vocals simply serve as another instrument, as opposed to being the sole focus of the listener's attention.
In describing Handsome Furs sound, words such as sparse and melancholy would be applicable, as on the track Handsome Furs Hate This City; however, there is also the pulsing electro-indie-pop of Dead & Rural, that belies the darker undertone of the lyrics.
Plague Park is a fully-formed album that stands up on its own two feet, and deserves to be recognized far beyond the status of a simply a side project from one of the guys from Wolf Parade.

Check Out: http://www.myspace.com/handsomefurs &
http://www.myspace.com/wolfparade

Girl Talk - Night Ripper (Illegal Art, 2006)

The first 2 Many Dj's album was awesome. However, the 'mash-up' genre that it spawned was/is not so awesome. Here's a great idea, let's combine a cheesy 80's track with a cheesy 90's track, and we'll have a great new song. Wrong! 9 times out of 10 you will simply have two crappy songs combining to make one more crappy song. Mash-ups can be cool, but it takes a lot more than simply taking the vocals from one song and playing them over the music or beat of another. Case in point: Girl Talk.
Girl Talk has been tearing up dancefloors across the U.S. for some time now, and and their album, Night Ripper, has provided the soundtrack to innumerable hipster loft parties from L.A. to Brooklyn (note: I have not yet been invited to one of these parties, so, if you can: hook me up).
To call Night Ripper an album of mash-ups would be to sell it short. It is a party starting, bootie-shaking exercise in mix-tape-mash-up-cut-and-pasting, and is basically a music snob's wet dream. At times, mixing/mashing samples from well over ten songs into an individual track - ranging from Sonic Youth, Nirvana and the Pixies; to Lady Sov, M.I.A., and Annie; to 2 Live Crew, Public Enemy, and Kanye West; to Phil Collins, Boston, and Aerosmith; and well over a hundred more - one could spend hours simply trying to identify the original source material.
Night Ripper is a genre exercise in trying to squeeze as many genres as possible into one song, in addition to making that song as funky and dance-friendly as possible. If you are looking for some music to ensure your next party is 'happening', or something simply to rock-out to in your car, or just a way to prove to your friends just how much you know about modern music, look no further than Night Ripper.

Check Out: http://www.myspace.com/girltalkmusic (Note: the Grizzly Bear remix on the site is one of the best tracks of the year, though it is not on Night Ripper, so be sure to give it a listen.)

Chris Wilson - Live At The Continental (Aurora Records 1994, re-issued 2007)

Chris Wilson is an Australian blues artist with an amazingly soulful and powerful voice. This is a live album that was recorded in 1994 at the much venerated, and sorely missed, Continental Cafe in Melbourne, and serves to showcase not only Wilson's amazing voice, but also his strength as a songwriter.
I remember hearing the album's opening track, You Will Surely Love Again, in early 1996, and being brought to tears by the raw emotion it conveyed. Wilson's voice rides seemlessly above the quietly strummed guitar of Shane O'Mara - who is something of an unsung legend in the Australian music scene, while the forlorn sound of Wilson's harmonica late in the the song could break even the hardest of hearts.
You Will Surely Love Again is immediately followed by Wolves, another tour-de-force which sees Wilson's voice soar as he impines "Won't you come on home?" Face In The Mirror follows, a soulful number in which the song's protagonist, broken-hearted, snorting a line off a mirror, tries to convince himself that "the face in the mirror tells me that I'm doing fine."
These are simply the first three songs on the album, with six more of equal standard that follow. Live At The Continental is a brilliant red wine album; an album perfect for long winter nights; an album that you will want to curl up on the bean bag with. Chris Wilson is a huge talent as a singer, songwriter and harmonica player - and this album is a testament to that talent. The re-issued version of the album contains the original nine song album, plus an extra disc of songs recorded on the same night. So soulful, so good.

Check Out: http://www.chriswilson.com.au/ and http://www.lastrecordstore.com/independentsW-Z.html to buy the album online.

In(The)Flesh: Arcade Fire, Greek Theater, Los Angeles 05/30/07

Ever since I got my hands on The Arcade Fire's first album, Funeral, in the early part of 2005, I have been patiently waiting for them to play live shows in the Los Angeles area. It is a fact, that they played at the Coachella Festival in both 2005 and again late last month, but having attended Coachella in 2004 and swearing never to return having endured my most miserable festival experience in living memory, I resigned myself to wait until the band played their own shows. Finally, my patience was rewarded, when the band announced two shows at the Greek Theater in L.A. - quite possibly the best venue for live music in Los Angeles: a beautiful, open-air theater, nestled into the hills of Griffith Park. Granted, I would have loved to have seen the band in a more intimate venue, however, such has their meteoric rise in popularity been over the past two years, the Arcade Fire are no longer of small venues, aside from the occasional special shows, such that took place in London and New York earlier this year.
To say I had high expectations for the show would be an understatement, so too would it be to state simply that those expectations were far exceeded. From the opening song, Keep The Car Running, the six-thousand strong crowd were on their feet, eager to drink thirstily from the cup of The Arcade Fire. There was an energy running through the crowd that was almost electric, and the band responded in kind, with a performance that was full of the energy and bombast that people have come to expect of them.
Amazing renditions of (Antichrist Television Blues), Intervention, and Windowsill from the band's second album, Neon Bible, were met with equal rapture as tracks from Funeral, including Neighborhood #1 (Tunnels), Neighborhood #2 (Laika), and Neighborhood #3 (Power Out), among others.
The show climaxed with a three-song encore that included the already classic, Rebellion (Lies), and the closing number/call-to-arms, Wake Up. During Rebellion (Lies), Win Butler - the bands frontman - was greeted with much enthusiasm, as he jumped off the stage and made his way through the crowd from the front of theater all the way to the back, as the band played on.
The Arcade Fire put on an amazing show that was well worth the wait.

The National - Boxer (Beggars Banquet, 2007)

On Boxer, The National's brilliant fourth album, the band have perfected their brand of brooding, emotive rock'n'roll, most recently displayed on their critically acclaimed 2005 album, Alligator. The band member's understanding of melody, mood, and tone, coupled with lyricist Matt Berninger's sublime skill with words, combine on each of Boxer's twelve tracks to create songs that are equal parts detail and drama.
From the opening piano chords on the album's first track, Fake Empire - also one of the album's finest - one thing is instantly clear: The National make music that is not only high listenable, but also music that immediately pulls you into its world of Green Gloves, golden slippers, and Squalor Victoria.
The drums sound sharp and dynamic; the guitars warm and angular; the additional orchestration, including piano, strings and horns, is always welcome and only serves to heighten the emotion of the band's sound. The true meaning of Berninger's lyrics is often concealed by his esoteric word play, though, strangely, this seems to draw the listener into each song deeper still. Perhaps the true essence of The National, is their ability to find the drama and beauty in the mundane nuances of every day life.
Easily one of the year's best albums, Boxer should finally earn The National the mass recognition they so clearly deserve. Buy this album.

Check Out: http://www.myspace.com/thenational

The Besnard Lakes - The Besnard Lakes Are The Dark Horse (Jagjaguwar, 2007)

Released earlier this year on the excellent Jagjaguwar label, The Besnard Lakes Are The Dark Horse is an excellent album of grand baroque pop, that immediately draws the listener into its spacey, atmospheric world - most likely found floating somewhere up in the ether. Having drawn comparisons to both the Beach Boys and Pink Floyd, and sharing a similar aesthetic to more recent bands such as Mercury Rev, The Besnard Lakes create music that will appeal to fans of not only diverse musical genres, but also of diverse ages. Your little sister is just as likely to dig the album's mellow-pop opener, Disaster, as your cool uncle Gary is to enjoy the psychedelia of And You Lied To Me, while your boyfriend/girlfriend/best-friend will love the bombastic rock of Devastation.
Combining sounds both new and old, and using a diverse array of instruments, including strings, horns, organ and glockenspiel, ...Are The Dark Horse is a dense, multi-layered album, that offers something new with each listen. On the aforementioned Devastation - one of the album's highlights - a five member choir is used to great effect, on a track that sounds similar to something the Polyphonic Spree might come up with, were they to swap their brightly colored robes for something slightly more doleful. Another stand out, is the strange and delicate Because Tonight, which is a perfect for those occasions when all you want to do is close your eyes and drift peacefully above the clouds.... and who doesn't want to drift peacefully above the clouds every now and then?

Check Out: http://myspace.com/thebesnardlakes

Dinosaur Jr. - Beyond (Fat Possum, 2007)

As far as my current appreciation of music is concerned, Dinosaur Jr. are 'the' band that started it all for me. That is not to say that I wasn't aware of great music prior to discovering Dinosaur, because I definitely was, however, there was something about their music, something about J Mascis' amazing guitar sound and his world-weary drawl, that opened my ears to a whole new world.
I remember listening to Where You Been (Dinosaur Jr.'s awesome 5 th album released in 1993) through a walkman while on a road-trip with my family in 1994. As J ripped into another epic guitar solo, I remember looking out the window at the great expanse that is the Australian countryside, feeling a sense of contentment and well-being that I had never felt before. What I felt was better than sex and drugs combined, though as I had had neither sex, nor drugs, at that tender young age, I could only guess.
Now, with the original line-up of Mascis, Lou Barlow, and Murph in place, Dinosaur Jr. have released their first new album since 1997, and the first that this seminal line-up has released since 1988's Bug - and it is awesome.
From the opening crunch of Almost Ready, through to the euphoric punchiness of Been There All The Time, and the more mellow moments of We're Not Alone, this is an album for fans of all of Dinosaur Jr.'s incarnations, and for anyone who loves great rock'n'roll and some damn fine guitar playing.
I have not been as excited by a new album as I have this one for a long time, and have listened to it at least twenty times in the past week or so. I will be heading out to the Troubaour in L.A. on Saturday night to see the band for only the second time ever. The first I saw them was in Melbourne when I was sixteen. I was so amped to see them on that first occasion that I was giddy with excitement, and I would be lying if I said that I wasn't feeling that same giddiness right now. It is nice to know that some things never change.

Check Out: www.myspace.com/dinosaurjr - where you can listen to the album in its entirety.

Shearwater - Palo Santo (Matador, 2007 Reissue)

A little background: Palo Santo was originally released in 2006 on Misra Records, then repackaged and reissued in 2007 when the band switched labels to Matador Records. A number of the songs on the reissue have been re-recorded, in order to sound more similar to what the band originally heard in their heads, plus an 8-song bonus disc consisting of demos, bonus tracks and covers has been added. I have not heard the original version of the album, so I can't make any comparison, however, I can say that Palo Santo (the reissued and, henceforth, definitive version) is an excellent album.
Palo Santo is Shearwater's fourth album. The band was formed in Austin, Texas, in 2001 when Will Sheff and Jonathan Meiburg - both of Okkervil River - required an outlet for their softer songs. Those looking for a sound similar to Okkervil River may be somewhat disappointed, as on this album Sheff has played a lesser role, leaving the songwriting duties - as well as lead vocal duties - in the safe hands of Meiburg. That being said, it is not difficult to spot the similar aesthetic shared by the two groups, be they with regard to the sound or just the general mood of the album.
A lazy person may classify Shearwater's music as Americana. I prefer the hyphenate friendly: Texan-Gothic-Folk-Rock. The NME would be proud of that sort of creative genre invention! Shearwater's sound is expansive; it is delicate and, in parts, haunting, though it also has moments of bar brawl swagger, evident on one of my favorite tracks, White Waves.
It took me at least two or three listens before Palo Santo began to fully reveal itself to me, though now that it has, I discover something new - a lyric, a melody, a sound - every time I press play.

Check Out: http://www.myspace.com/shearwater / www.shearwatermusic.com

Nick Drake - Pink Moon (Island, 1972)

For many years, I have heard people speak of Nick Drake in hushed, reverential tones. It is rare to find a Drake fan who isn't completely and utterly enamoured with him. I had heard his music sporadically up until a month or so ago - a song on the radio here, a song at a friend's house there - however, I had never explored his music deeply. I am a firm believer in the idea that the music we love most has a way of finding us when we need it most, and I must say that I am extremely grateful that Nick Drake has finally chosen to find me.
Pink Moon is a stark, beautiful album that Drake recorded in two days with only an acoustic guitar, and occasional piano accompaniement. His lyrics speak of sadness, loss, and despair. Drake, no stranger to depression, would eventually die from an accidental overdose of anti-depressants two years after recording Pink Moon, at the tender young age of twenty-six. While the subject matter of the album may seem gloomy, Drake's tremendous acoustic guitar playing and finger picking, along with his soft, plaintive vocal delivery, transcend the gloominess and transform the album into something simultaneously dark and enchanting.
Listening to the album's opening track, Pink Moon, the piano line that kicks in 61 seconds into the song never fails to send a shivers up my spine, and the shivers recur throughout the remainder of the album, be they caused by a certain guitar note, or a softly sung lyric that speaks directly to the heart.

Check Out: www.brytermusic.com

James Figurine - Mistake Mistake Mistake Mistake (Plug Research, 2006)

How do you like your electronica? I like mine any number of ways, although perhaps my favourite type is Warm Electronica. Never heard of Warm Electronica? Don't worry, I just invented the term. I often find that a lot of electronica is just far too, well, electronic. It is too cold and inhuman, which makes it difficult for me to establish any sort of connection with it. This album does not suffer from that problem. James Figurine is perhaps more widely known by his real name, Jimmy Tamborello, whose is perhaps more widely known as one half of The Postal Service. He, being, of course, the half responsible for the music - as opposed to the lyrics and singing - of said group.
Warm Electronica is a more human form of electronica; it can be like your favourite blanket: warm, cozy and inviting. Its squeeks, beeps and beats are electronic, though it somehow manages to sound as though it has the warmth of an analogue recording.
The opening track of Mistake Mistake Mistake Mistake, 55566688833, is a tongue-in-cheek lament of cell/mobile phone politics (55566688833 being the numbers necessary to spell 'love' when text messaging), while Pretend It's A Race And I'm On Your Side, is playful and oddly poignant at the same time, with a layered, sprightly melody built around the refrain "When I say, don't walk away, pretend its a lie." Another highlight is the track Apologies, which offers the sage advice that apologies are in fact gifts, that should be accepted with a smile on your face.
All-in-all Mistake Mistake Mistake Mistake is a very cool album that has been receiving repeated plays in my stereo. If you are a fan of the electronic side of The Postal Service, this is definitely an album worth checking out. It also features some fine guest vocalists, including Jenny Lewis and King's Of Convenience's Erlend Oye.

Check Out: www.myspace.com/jamesfigurine

Elvis Perkins - Ash Wednesday (XL Recordings, 2007)

When I first heard Ash Wednesday's opening track, While You Were Sleeping, on KEXP (www.kexp.org) early last year, I was instantly enamoured with its lilting melody and its infectious, rambling, sing-a-long quality. I henceforth spent the remainder of 2006, eagerly anticipating the release of the album (Ash Wednesday), as Perkins toured the U.S. with the likes of My Morning Jacket and my personal favorites, Okkervil River. Much to my delight, when the album was released in February, 2007, I found that While You Were Sleeping was by no means exceptional in its greatness, as there are a number of tracks on the album that are equal to, if not greater than, the album's opener.
Elvis Perkins has had his fair share of personal tragedy in his thirty-three years of living. His father - actor Anthony Perkins - died from complications related to AIDS in 1992, while his mother was aboard one of the planes that flew into the World Trade Centre on September 11, 2001. The title track of the album - Ash Wednesday - is a stirring meditation on that horrible day, performed by someone who has more right to speak of it than most, but does so in a way that is not overtly obvious, and all the more powerful for it.
As you may expect, the themes of love and loss are a constant throughout the songs on Ash Wednesday. However, Perkins does not allow himself to wallow in self-pity. His ruminations are transformed into wonderfully moving tracks such as All The Night Without Love, Moon Woman II and Sleep Sandwich, among others. This album is a fine example of an artist's ability to turn sadness into something beautiful.

Check Out: www.myspace.com/elvisperkins

Neil Young - Massey Hall 1971 (2007)

This live album is the third release in the Neil Young Archives Performance Series. Just recently, a good friend and I were discussing the quandary we finds ourselves in, when we wish to take our first tentative steps into the back catalogue of an artist whose career dates decades back, and particularly an artist who has a catalogue as extensive as Neil Young. To be sure, Neil Young is one of the greats, indeed a living legend, but where do you begin, when there is so much music and so much history involved?
In answer to my own question, I would strongly suggest this album. Whether you are a Neil Young fan or are simply looking for some great tunes, this Massey Hall recording is fantastic. It is simply Neil, alone with an acoustic guitar - which he trades for a piano on a couple of tracks - playing to a receptive, adoring audience. There are great versions of Ohio and The Needle And The Damage Done, and a rousing rendition of Dance, Dance, Dance, among many other greats.
Neil Young is the type of artist who is equally compelling at electrified, ear-shattering volumes, as he is quietly strumming his acoustic guitar, singing his often amazing songs. This album is certainly a testament to the latter.

Check Out: www.myspace.com/neilyoung

Explosions In The Sky - All Of A Sudden I Miss Everyone (2007)

Recently, I was having "one of those days". I was having both car trouble and girl trouble. In truth, I was having trouble with a girl who had hit my car, and was being less than forthcoming with the money for the repairs - however that is a story for another day. As it were, though, I was ready to pull my hair out and scream obscenities at the top of my voice.
As the sun began to set, I realized that I had to get out of my cramped, dark apartment. I strapped on my shoes and my headphones, and embarked on the type of walk that you know will take whatever length of time is necessary for your mind to switch back to happy again.
As far as musical accompaniment was concerned, my mood called for something that was out of the ordinary. I needed a sound that would fill my head with a beautiful, loud noise, yet one that would leave space for me to sort through the various emotions that were battling for attention therein. The choice was simple: Explosions In The Sky.
Explosions In The Sky craft instrumental sonic landscapes that are as epic as the band's name might suggest. Music, as a friend of mine recently commented, that is perfect for listening to while running, or driving down a desolate highway on a cross-country road trip, or, as I found, while wrestling the demons in your mind.
All Of A Sudden I Miss Eveyone is an album full of raw emotion and power. The very fact that there are no lyrics, allows you, the listener, to examine and draw your own conclusions from the songs, rather than being told through words that a particular song is a happy song, or a sad song, or any type of song for that matter.
By the time I made it home - my walk taking as long as it took to listen to the album all the way through - I was in a far better headspace. Explosions In The Sky had filled my ears with beautiful, loud music, and, I, with a little help from six string guitars, crashing drums, and some rather lovely flourishes of piano, had successfully calmed the maelstrom of emotion in my head for another day.
I still haven't seen any money from the girl, though.

Check Out: www.myspace.com/texasband
www.explosionsinthesky.com

Cloud Cult - The Meaning Of 8 (2007)

If I was to be completely honest, I would have to say, that for a lot of the time, the world is not a very nice place to be: Our political leaders seem intent on taking us to the brink of an all-out World War in the Middle East; from Iraq to Sudan, and beyond, thousands of innocent victims are being killed in conflicts into which they have been unwillingly drawn; environmental pollution and global warming continue to grow at an alarming rate; and we live in cities where it is considered strange behaviour for humans to acknowledge eachother with a smile.
However, as Cloud Cult's lead-singer, Craig Minnowa, sings on The Meaning of 8's, Purpose - "There must be purpose here / 'cause most of us keep waking up... / There must be healing here / 'cause everybody here's been damaged" - we cannot abandon all hope.
Indeed while acknowledging that there is much sadness in the world, Cloud Cult also acknowledge that there is also much to celebrate. Their sadness is often expressed as celebration, such as on the amazing track, Your 8th Birthday, which celebrates the life of Minnowa's son, Kaidin, who tragically died at the age of two, six years ago. Cloud Cult are adept at finding the lessons buried deep within our sadness, in transcending that sadness and using it as a tool to create music that is both up-lifting and life-affirming.
This album is not officially released until April 10th, however, if you go to http://www.cloudcult.com/ you can order the album immediately (anywere in the world). It is only early in 2007, however, I am quite sure that this album will feature close to the top in my year-end list of favourites.

Check out: http://www.myspace.com/cloudcult
http://www.cloudcult.com/

Macromantics - Moments In Movement (Kill Rock Stars, 2006)

Modern commercial hip-hop, for the most part, is formulaic, unintelligent and boring. Macromantics, on the other hand, is anything but formulaic (a female MC from Australia, anyone?), is highly intelligent, and employs esoteric beats and production to keep your head bouncing and your feet moving, while the rhymes snake their way through your mind.
Macromantics (aka Romy Hoffman) is an awesome addition to an already strong independent hip-hop scene that has been slowly, but surely, gathering momentum over the past few years. Her album would sit comfortably amongst the best releases of the Def Jux label, as well as those of fellow female MC Jean Grae - who memorably lent her skills to The Herbalizer's 2005 album, Take London.
Working outside the mainstream, has allowed Macromantics to create a sound as individual as it is impressive. Her rhyming skills are beyond question, and on tracks such as the awesome Miss Macro she has no fear in telling it how it is. Further highlights include the album's title track, the up-tempo Scorch, and the re-working of Australian band Ground Components' Dark Side Of Dallas.
I was lucky enough to catch Macromantics' awesome live show last week in LA. On the basis of that show I headed straight to a record store the following day and picked up the album. It has barely left my stereo since, and shows no sign of giving up its position any time soon.

Check Out: http://www.myspace.com/macromantics

Beirut - Gulag Orkestar (2006)

Beirut's strangely-exotic music has slowly crept its way into my consciousness over the past few months, and now has me firmly in its grasp. It is a sound as unique as it is compelling, featuring all manner of instruments, including mandolin, accordion and trumpet.
The opening track of the album - The Gulag Orkestar - introduces us to a sound that seems neither of this time nor this place, and immediately sets the tone for what is to follow: a whimsical, often boisterous melange of sounds that wouldn't seem out of place, should they be spilling from an old-time Eastern European tavern. No small feat, for a group hailing from Santa Fe, NM.
The trumpet and accordion, coupled with dense, rythmic percussion, feature heavily in a number of the album's songs, while calmer moments, such as the rather lovely Postcards From Italy benefit with the accompaniement of mandolin, ukele and clarinet. The drama of the songs is only bolstered by the baroque vocals of the groups lyricist, founder and mutli-instrumentalist, Zach Condon. Condon, who was only nineteen when this album was recorded, is more-or-less a one mand band on Gulag Orkestar, which, considering the quality of the album, is quite an achievemet.
One of the greatest things that music offers us, is the ability to transport us out of our everyday experience. Beirut's music takes the listener on a journey not only to distant lands, but also to distant times. Without doubt, spending one's days toiling in the gulag would be far from ideal (read Alexandr Solzhenitsyn's One Day In The Life Of Ivan Denisovich if you don't know why), yet if your days were soundtracked by music such as Beirut's, perhaps it may not be all bad.

Check Out: http://myspace.com/beruit

Of Montreal - Hissing Fauna, Are You The Destroyer? (2007)

Of Montreal specialize in highly-imaginative, highly-eccentric, pop music that is immediately catchy, yet begs repeated listens. With song titles such as Heimdalsgate Like A Promethean Curse (the song belonging to this title being one of the highlights of this album), you can rest assured that Of Montreal are not your average Top 40 pop band.
Lead by the enigmatic Kevin Barnes - the brainchild and mad-professor behind the group - Of Montreal construct songs that are weird, wonderful, and, at times, baffling - obscure lyrics often demanding repeated listens so that the listener may fully comprehend their true meaning.
A healthy portion of this album deals with a somewhat dark period in Barnes' psyche. A Sentence Of Sorts In Kongsvinger has Barnes relaying a tale of a Summer spent in Norway in the grips of severe depression, over what is an extremely upbeat, sunshine-y melody. The Past Is A Grotesque Animal is a one of the albums darker tracks, though its pulsing, rave-up, electro-beat and lyrics such as "How can I explain / I need you here / and not here too" and "Things could be different / but they're not" make it a compelling listen.
Of Montreal's music - playful guitars, upbeat electronics - often contradicts the songs' lyrical content, though this seems to be the ultimate goal on this album. People don't like to be battered around the head with tales of sadness and depression (not that it is all doom and gloom), but give it a funky beat and something I can tap my foot to, and it becomes really quite enjoyable.

Check Out: http://www.myspace.com/ofmontreal

DeVotchka - How It Ends (2004)

DeVotchka's music defies easy categorization. Think somewhere along the lines of a lovelorn troubadour fronting a "north of the border" mariachi band that grew up listening to eastern European folk music, and you may be getting close. Describing the feeling of the music on this album is equally difficult: soft and delicate; loud and boisterous; mournful; celebratory - DeVotchka wears many hats, and they wear them well!
How It Ends is the type of album that suits many moods and many situations. Perhaps this explains why it has barely left my CD player for the past three weeks and has shot to the top of my Ipod's "Most Played" list. With the soaring baritone of singer Nick Urata leading the proceedings, DeVotchka weave together tales of love, loss, sorrow, and celebration, in songs full of exotic instrumentation such as bouzouki, glockenspiel, theremin, violin, and accordian - in addition to staples such as guitar, drums, and piano.
There are a number of highlights on the album, the greatest of which is the title track, How It Ends. The opening lines - "Hold your grandmother's bible to your breast / Gonna put it to the test / You wanted to be blessed" - introduce a song that has the ability to make one's hair stand on end - even after multiple listens. It is the type of slow song that you and your friends will want to sing-a-long to at the end of a long, boozy night. It will make you happy and sad at the same time.
Other album highlights include the playful, mariachi-flavored, We're Leaving, the quiet lament of Dearly Departed, and the rollicking, Such A Lovely Thing, which contains the bitter refrain: "You only love me 'cause I'm leaving".

Check Out: http://www.myspace.com/devotchkamusic & www.devotchka.net. For more DeVotchka music, check out the film Little Miss Sunshine, for which they provided the score.

The Shins - Wincing The Night Away (2007)

The Shins' latest album was released a couple of weeks ago. If you haven't as yet purchased the album, or at the very least given it a listen, may I suggest that you do so promptly. There are many people who have loudly sung The Shins' praises since the release of their 2001 debut album - Oh, Inverted World - particularly following the appearance of the track New Slang in the Zach Braff indie flick, Garden State. I am not one of those people.
Don't get me wrong - I own the bands first two albums and am of the opinion that they are really quite cool, however, for some reason, I have always felt that the albums were missing... something. Maybe I am crazy, because I certainly couldn't tell you what that certain "someting" is - it is simply a feeling I get when I listen to them. I can tell you, though, that Wincing The Night Away is missing absolutely nothing at all. It is a fantastic album! The Shins have brought together the best elements of their first two albums and have thrown in something extra special into the mix (a little fairy dust, some extra herbs and spices - I couldn't really say) to fully realize their potential.
From the opening track - the excellent Sleeping Lessons - through to the album's first single - Phantom Limb - and onwards, each song is an aural delight that begs multiple listens. One of my particular favorites is the delicate, 60's-psych-pop-esque, Red Rabbits - one of the album's many high points.
If you are unfamiliar with The Shins, it is probably time you cozied up and introduced yourself. If you have already formed an opinion of the band - even a high opinion, Wincing The Night Away could very well alter that opinion for the better, as it has certainly done for myself. Go Shins!

Check Out: http://www.myspace.com/theshins

Sparklehorse - Dreamt For Light Years In The Belly Of The Mountain (2006)

With their latest album, Dreamt For Light Years In The Belly Of The Mountain, Sparklehorse have created - in my opinion - one of the finest albums of recent times. The group creates music that is laden with joy, sadness, angst, and acceptance, often within the one song.
Sparklehorse is not so much a band, as the musical creation of Mark Linkous - lead singer, song-writer, and the only constant member in the band’s ten-plus year existence. Linkous has had a somewhat difficult career trajectory, which has included recurring bouts of severe depression and debilitating drug addiction, along with the release of a number of excellent albums that have been critically praised, yet have failed commercially. The band’s 2001 album, It’s A Wonderful Life, is one of my all-time favorite albums, and the fact that it did not introduce Sparklehorse to the music listening public at large is baffling!
Dreamt For Light Years In The Belly Of The Mountain serves up the same sonic brilliance of its 2001 predecessor, using all manner of weird sounds to craft songs of sonically textured wonderment. For those unfamiliar with Sparklehorse’s sound, two of Linkous’ collaborators on this album - Stephen Drozd (Flaming Lips), Dave Fridmann (Mercury Rev / Flaming Lips producer) - may provide some indication of where Sparklehorse lie musicically.
The music, for the most part is ethereal, tranquil and uplifting. Songs such as Shade and Honey, Some Sweet Day and Morning Hollow are all fine examples of Sparklehorse's gentler side, while Ghost In The Sky and It's Not So Hard show that the band are not afraid of rocking a little harder.

Check Out: www.myspace.com/sparklehorse

Islands - Return To The Sea (2006)

Throughout the last forty or so years, islands have played an integral part in the development of modern music. First, in 1949, Chris Blackwell - an English man in Jamaica - founded Island Records, which would be home to such musical luminaries as Bob Marley, U2, and, for a short, yet productive time, Tom Waits. Then in 1983, came the Kenny Rogers & Dolly Parton country-crossover hit, Islands In The Stream - a rousing love song that paired two of country musics finest, and that is everything a love song should be. Finally, in 2006, Islands, a band from Montreal, Canada, released the excellent Return To The Sea, which, in some strange place in my mind, brought everything full circle.
On Return To The Sea, the two core members of Islands - Nick Diamonds (vocals, guitar) & J'aime Tambour (drums) - enlisted the help of a number musicians to play all manner of instruments (accordian, cello, violin, charrango, flute, organ, etc.) to aid in bringing their eccentric, poptastic tunes to life - and, in this, they most certainly succeeded.
I love when bands have a cracking track as the first song on their album. Islands have done this with the epic opener, Swans (Life After Death). Clocking in at over nine minutes, the song carries you along with its driving beat, and its playful, yet oddly poignant lyrics, before changing time and rocking out at the eight minute mark. Very cool - especially as it is a clear indicator of the quality of music to follow.
Islands mission seems fairly clear: To write clever, intelligent pop music, while never taking themselves too seriously - at least that is the feeling I get from songs such as Don't Call Me Whitney, Bobby - which is another favorite of mine.
Return To The Sea is a great collection of songs that, like any good pop music, makes you feel something real, while also engaging your mind. Obviously, for the most part, this type of pop music is no longer available in the world of commercial radio or television, and so, must be sought elsewhere. Islands is as good a place as any to begin your search.

Check Out: www.myspace.com/islandsareforever

The Sand Pebbles - Ghost Transmissions (2004)

The Sand Pebbles, a very cool band from Melbourne, Australia, have been making music together in various line-ups, since way back in 1999. Ghost Transmissions, is the album that brought them to the attention of various tastemakers in the Melbourne scene, though not before a cover of Julian Cope's Out Of My Mind On Dope And Speed saw them written up in various influential publications in the U.S. back in 2002.
Ghost Transmissions is a shining gem of psychedelic-pop-rock. Perhaps, like me, psychedelic conjures images of the band disappearing up their own collective-paisley-coloured Khyber at some point in the proceedings, venturing off on their own - never to come back down again - trip, man. I can assure you that this is not the case. From the slow burn of the opening track, The Day Summer Fell, Ghost Transmissions is, for the most part, a mellow, groove-ridden, journey, through which the band happily plays the part of the pied piper, leading the ever-willing listener.
There are some excellent instrumental tracks on the album, including the 'perfect for driving along the coastline' rock-out of Hanging Out, and the 'this song is making me all warm and fuzzy' groove of Sioux City Falls. The track, Black Sun Ensemble, clocks in at just under twelve minutes, and encompasses all of the best elements of The Sand Pepples sound (i.e. psychedelic-pop-rock). With awesome lead guitar, that is never over-indulgent, and the bass and drums rhythm section locking onto a solid groove throughout, this has to be the standout track of the album.
Finishing with the loose, rocking All My Life (I Love You), Ghost Transmissions is a an awesome listening experience from beginning to end. The Sand Pebbles - who released Atlantis Regrets Nothing - the follow up to Ghost Transmissions - in 2006, are definitely a band worthy of your attention.

Check Out: http://www.myspace.com/sandpebbles

The Devastations - The Devastations (2003)

My introduction to The Devastations came late last year, when I was lucky enough to see them play the support slot for The Drones' show in L.A.. As I arrived at the venue quite late in the evening, I missed the first few songs of their set, though I certainly heard enough to convince me that The Devastations had a great sound and were a band that demanded my further attention. After my initial listen to this album, I was convinced that my earlier conviction had been accurate.
The Devastations play music that can be tender and somber one moment, raucous and nettled the next. The album opens with the slow, plaintive instrumental track, He Wasn't Like That When I Knew Him, which features piano, a quietly plucked banjo, violin, and drums. The pace soon picks up on the rambling, break-up themed track, Loelene, which, among other things, features the sultry, French sung vocals of Emilie Martin.
While the album as a whole is excellent, there are two stand-out tracks that stay with me each time I listen to the album, long after the last song has played. The first, is the sublimely brilliant, Previous Crimes. With lines such as "I do not believe in forgiveness/Or setting suns/I cannot conceive your setting sun", this is perhaps the most tender moment of the album. It is a track that would not be out of place among Nick Cave or Leonard Cohen's song catalogues, two people with whom The Devastations share a similar musical aesthetic.
The second track that has chosen to imbed itself deep within my psyche, is the beautifully restrained, We Will Never Drink Again. Here, we find the songs' protagonist sorting through the broken pieces and unanswered questions of a failed relationship. Rarely has someone else's heartbreak sounded so delicate and, oddly, comforting.
The Devastations play the type of music that is perfect for dark, wintry days; perfect for days when your in the mood for a glass (bottle) of red wine and some healthy introspection; perfect for days when you are happy being sad.

Check Out: http://www.devastations.net/music