Top Ten Albums of '09.

So it's been a while since I've written (how many posts have I written this year starting off with this sentence?). Education has me constantly working and I think my lack of writing is a good sign. Right now, howeverm I'm practically the only person in Madison since most people will be coming back from Thanksgiving break tomorrow. Things will be busy for me again soon, so I figured I'd get a post in while I have time. So here's my Top 10 albums of 2009, a few honorable mentions, and some albums that were intentionally left off the list. Hit it.

1. Veckatimest - Grizzly Bear
This is probably going to be the number one on a lot of lists, and deep inside I don't want to make it #1 just for that reason, but it's too good to not (I can feel better because #2 probably won't be on many people's lists). "While You Wait for the Others" is probably the song of the year as well (the original version, not the one where Michael McDonald sings). It's hard to believe they could top Yellow House, but they certainly did. Daniel Rossen's voice is amazing, the harmonies are great, and even though Ed Droste's "Two Weeks" received considerable airplay, it never gets old. And come on, people, if Jay-z thinks they're cool...

"While You Wait for the Others" at YouTube


2. Intuit - Ramona Falls
Who? I'll tell you, calm down. Seriously, take a step back. I can smell your breath, and it's not charming. Ramona Falls is the side/solo project debut from Brent Knopf of Menomena. Yes, another Menomena band, but until they make a bad album you have no reason to complain. This is Knopf's first, and it's amazing. His angelic voice can get wicked at times. He can serenade you or rip your face off with words. He's always right, but willing to admit he's wrong sometimes (don't worry about the logistics of that sentence). There's not a single weak track on the album. It has not only held me over until the upcoming release of a new Menomena album (date still tentative...), it has furthered my confidence in each member's genius. PS the music video below is probably the coolest of the year in my book.

"I Say Fever" at YouTube.



3. Two Suns - Bat for Lashes
Natasha Khan knows she's good. She knew it before anyone else did. Pitchfork thought her first album was good, but nothing special. She likes glitter and sings about having split personalities. She's weird. It's amazing. Both everything that's good about a female vocalist and a bit of every good female vocalist is in Natasha Khan. You can hear Bjork, Tori Amos, Fiona Apple, and PJ Harvey in her music. She's by no means a ripoff, she's a unique bird/flower/butterfly/anything that's beautiful (and maybe a little bit scary and unstable).

"Daniel" at Yahoo!


4. Eskimo Snow - Why?
Despite having horrible pains from pneumonia at their show and having to go to the ER before they played, the amazing-ness-ocity of Why? is undeniable. Eskimo Snow is the calmest child in the Why's discography, but it's also the most introspective. Where Alopecia talks about jerking off in an art museum bathroom, E.S. asks its mother if its failing. If you love the mallet percussion, you'll love this album.


"These Hands/ January Twentysomething" at Pitchfork


5. Never Better - P.O.S.
The rap I had in my collection before P.O.S. was limited essentially to Why? and K-Os. Why? is a Jewish guy who sounds like a cross between that dude from the Decemberists and that dude from Interpol, and K-Os raps about going to church. P.O.S. is still far from "gangster", but it was my first delving into an artist that was primarily a rapper and a little bit angry. I admit, I got this album initially just because The Velvet Teen's Judah Nagler guests on its title track. I had seen P.O.S. on tour with TVT and Minus the Bear, so I knew his stuff incorporated live band. P.O.S. is the epitome of indie rap. The music to his songs is amazing, and his rhymes are enormously clever. If you've never seen his cover of Pearl Jam's "Why Go", I feel sorry for you, and this injustice must be corrected quickly by clicking on this link.

"Never Better" at YouTube


6. No One's First and You're Next EP - Modest Mouse

I thank God everyday that He gave Isaac Brock a lisp. The band has had mainstream success, yet Brock's maintained his lunacy. They'll still put out 8 minutes songs even though the radio stations will search their music for a hit to play. This is a B side album, but it plays like a coherent thought (which might be the first time anyone's used the word "coherent" to describe anything Modest Mouse has done).

"King Rat" at Yahoo!


7. Upper Air - Bowerbirds
Like Andrew Bird? Like Bon Iver? I have a friend that described Bowerbirds as the illegitimate child of those two artists. If that doesn't sound like a beautiful kid, I don't know what is.

"Northern Lights" from Pitchfork's Cemetery Gates


8. Wolfgang Amadeus Phoenix - Phoenix
I've claimed to know a lot of bands before they made it success in the mainstream. You'll never hear me say this about Phoenix. Well, I shouldn't say that. I bought the album about two weeks before it started getting played on the radio and in commercials. But I can't say I was far ahead of the curve on this one. They're so infectious. And while their earlier albums are better, 1901 is probably the best song they've produced, and this is definitely their most mature album.

"1901" at Yahoo!


9. Wildlife - Headlights
Depressing Headlights songs? Where are the four horsemen, cuz this has to be the Apocalypse. Maturity looks good on Headlights. I've heard comparisons of this album to Broken Social Scene's work, and there are definitely a lot more moving guitar parts. If you want them to be their usually poppy selves, then you might be a bit disappointed, but I now look at Headlights less as a "cute" band and more as a creative band.

"Love Song for Buddy" at YouTube


10. Aim and Ignite - Fun.
When the Format broke up I needed a hug. It was just such happy and creative music. Luckily, Fun. is essentially a continuation of the Format, led by ex-frontman Nate Ruess. I'm going to see them in February in Minneapolis and I couldn't be more excited. Ruess has an amazingly pure and flexible voice. Freddie Mercury would approve, as some of their stuff shows shades of Queen.

"All the Pretty Girls" at YouTube


HONORABLE MENTIONS

Now We Can See - The Thermals
This album didn't make it just because no album can ever measure up to The Body, The Blood, The Machine. That album was the right way to do political, societal, and religious commentary in a rock opera (I'm looking at you Green Day...). Now We Can See is a great album, it just doesn't have the venom and message that TBTBTM had.

"Now We Can See" at Youtube


Mean Everything to Nothing - Manchester Orchestra
I think it's definitely a progression after I'm Like a Virgin Losing a Child. It's not so one-dimensional. ILVLC was just so depressing. It was a good soundtrack to my sophomore year. But MEN had a great flow and explored a wide range of feeling. You could hear the influence the bands M.O. toured with had, as shades of My Morning Jacket, Colour Revolt and Brand New come out in many of their songs.

"Shake It Out" at Yahoo!


Ordinary Riches - Company of Thieves
Gen has wicked pipes. The guitarist showed his skills on Live from Daryl's House, but he could use them in their music a lot more. I could not get enough of "Oscar Wilde".

"Oscar Wilde" at YouTube


NOTABLE OMISSIONS
Time to Die - The Dodos
Just to show you I don't always agree with Pitchfork (although that should be obvious from previous posts), I thought the new Dodos album was horrendous. Meric Long's interesting riffs died somewhere between albums.

"Fables" at YouTube


Daisy - Brand New
Literally, just nothing special. They were going in a great direction with The Devil and God are Raging Inside of Me, but it just seems Jesse Lacey's gotten lazy and gotten mental help, which makes for much less interesting music. TDGRIM was just so genuine. Daisy just seems like an attempt to quiet the people who said TDGRIM was too depressing and not hard enough. I do wish I could see them with Glassjaw, though.

"Vices" at YouTube



There it is.

The Downloading Culture

So I'm lazy and I'm just going to re-post exactly what I wrote in a Facebook note. Please forgive me.



It's funny. I feel like Ed Droste of the band Grizzly Bear stole these words from me in an interview with Pitchfork. People ask me why I buy all my music legally. I tell them that when you don't buy an album chances are that you are going into it with a detached attitude. If you don't enjoy it from the get-go you dismiss it and dispose of it because you have nothing ride of it. But because of that, the music isn't given a chance. Some of my favorite albums and bands I despised at the start. But because I bought the albums I didn't want to give up on them. After multiple listens, I'd notice new things, pick the music apart a bit, hear genius in the lyrics and/or their delivery, etc. I've listened to certain albums and songs hundreds of times and no two experiences have been alike.

I'm not saying it's wrong to download or obtain music from friends. I get music from friends all the time. If you have never gotten music from friends you either don't like music that much or you are a much, much better and stronger person than me. Getting music from friends, however, one tends to also give the music a chance because they want to be able to relate to the person they obtained it from.

This is also not to say, however, that I force myself to like music just because I've purchased it and want to make my money worthwhile, or because someone's given it to me. I have obtained my fair share of stinkers. I'm just saying we tend to give music a closer look when we aren't able to dispose of it without anything lost. It's kind of like anything in life. If we've invested a lot in something, we'll take a closer look at it. That doesn't necessarily mean we'll like it, but we'll learn from it.

Honestly, if I wasn't so unlucky and convinced that I would get caught, I would probably download albums. But in a way I'm glad I don't have every album at my fingertips because it makes my music experiences that much more enjoyable. The first listen to an album that I've bought is exciting because it's almost like being a general manager of a sports team: You obtain the music based on your general knowledge of the band, but you never know if you're going to get a result that you think is worth your money. There are going to be disappointments and there are going to be albums you wouldn't give up for almost anything. There's a huge satisfaction in finding a gem of an album in a used CD store that I cannot even explain (Although, to the many of you that I've taken to CD Max, especially Jenny, I'm sure some of you can relate). New music just makes my day amazing, and I think it's something I'd begin to take for granted if I could just click and get any album any time I wanted.

I guess I don't know what the point of writing this note was. I tagged mostly people that I know are really into music, and I guess I wondered how you felt on the subject. I think for most people the need for money outweighs their desire to have a truly satisfying music experience, so I'm probably in the minority here, but maybe you still treasure the music you buy more or give it more of a chance. I read this article and was like, "Yeah! Everyone should read this!" This is only like, 10% of the article, but the other 90% is only really relevant to Grizzly Bear fans. If you want to read the rest, here's a link: http://pitchfork.com/features/interviews/7670-grizzly-bear/



ED: Remember that feeling of buying an album? And you didn't have a lot of money so you bought one album and you had that album for like, two months or something until you bought another album? This really cool thing that would happen where you would be forced to only have that album because you couldn't just download a million more, and you may not have liked every song on it, but then as you started listening to it more and more you'd be like, "Oh wait, I do like track nine." You lived with an album, and that doesn't happen as much anymore. I'm sure some people do have that experience still, but it's a little bit harder to get to that place because you can easily just switch gears and go off to something else if it's not tickling your fancy at that moment.

I haven't had that kind of experience with an album for awhile, either. And I sort of miss it-- that feeling of not necessarily settling for an album but just of having an album and having your initial favorites, then listening to it and listening to it and discovering new things and being like, "Whoa, I really like this part now." Just the feeling of "This is what I have for the next six weeks or so until I can buy another album."

Pitchfork: There was time to develop that relationship. Now I feel like it's so hard to develop a relationship with anything because music moves so fast.

ED: There are so many more releases that people have access to. I don't know, maybe there were this many releases when I was growing up and I just didn't know where to look for them. That's probably very much the case. But it just feels like there are a billion [new records] every year. A lot of people are curious and excited about stuff, and one of the great things about the Internet is that people are excited about music and wanna hear a random album from a band somewhere in Romania or something, and to listen to all sorts of stuff from around the world. They have access to new stuff that they would have never had access to [before]. But sometimes I feel like it's a total overload. Where you're like, "I can't even focus anymore." You know?

Pitchfork: Sure. Everything feels disposable.

ED: It is definitely much easier to feel that an album is disposable-- to dismiss an album or delete the tracks you don't like or to just throw it into shuffle or whatever. But that being said, it's a case-by-case situation and that's the way it is and there's nothing we can do about it. People digest and process music differently, and I'm sure that was the case even when I was a kid. I'm not critiquing the general public, I'm speaking from my own experience of being guilty of deleting a track that I didn't like. Then I'm like, "Wait a second, that's not fair. Why am I doing that?"



I initially read this article because I've been obsessing over a Grizzly Bear song, which I'll make the song of the day. It's called "Two Weeks" and the video is insanely creepy but amazing as well. I don't even want to describe it, you just need to watch it.



You know what? Screw it. Two songs of the day. Yeah, I'm doing it. I haven't written in over a month anyway. It's somewhat related to Grizzly Bear anyway. Not even somewhat, it is. Daniel Rossen is one of the four members of Grizzly Bear, and he has another band, Department of Eagles. It's not even fair to call it his side project because it existed before Grizzly Bear. He's having success with both bands at the moment. I can't stop singing this song either. All four members of Grizzly Bear have amazing voices, and their music just gives off an air of superiority that I can only compare to (tourmates) Radiohead. Anyway, the song is No One Does it Like You, and it also has an eerie, amazing video.



Man, I want to do one more song, but I don't want to make your mind explode with amazing music. So I'll save it. Until next time.