Well, we’re about halfway through 2009 and there has been a lot of music streaming down the pipeline already. Some of it has been utter crap (no real surprises) and some of it has been notably awesome. So I decided to share with you my five favorite albums of the first half of 2009. There is no real rhyme or reason to the order they are listed in below because it’s nearly impossible for me to pick one single favorite. Also, I’m not saying these are unequivocally the best albums thus far, but they are the ones I’ve been spinning most. If you haven’t heard any of them yet, do yourself a favor and get down with some of this year’s most awesome tunes.
Manchester Orchestra: “Mean Everything to Nothing” – The few tidbits of Manchester Orchestra I had heard before this most recent album were thoroughly unimpressive, hence my initial trepidation about downloading their 2009 effort “Mean Everything to Nothing.” But that’s the beauty of free music: There’s pretty much zero risk involved. Well, not only did I download this album for free, I actually ended up purchasing a physical copy of it. Crazy… I know. Largely classifiable as indie rock, this album does seem to lean more towards the rock direction. It isn’t overtly weird or experimental, but it does manage to come off as wholly original. I’ve definitely heard a few people talk about Andy Hull’s lead vocals in a less than positive way, but I truly think it’s a perfect fit for the music—emotional, flexible and somewhat unhinged. And the music itself isn’t overly complex or technical, but the arrangement and song composition, combined with unique and thoughtful lyrics that can offer a versatile array of interpretations, come together to offer tracks that are pensive yet hooky. From the energetic and catchy opening track “The Only One” to the soulful and sad “I Can Feel a Hot One” to the strikingly poignant yet rocky closing tracks “Everything to Nothing” and “The River,” this album is a pleasure to listen to all the way through. It’s dynamic as hell, invoking everything from smiles to head nods to heartache to nostalgia. So open your ears to these rockers from Atlanta… at least this album anyway. You won’t be disappointed. And if you are… well… that sounds like a personal problem.
Gomez: “A New Tide” – I’d never heard of Gomez before this year, but apparently they’ve been around for quite some time. Their first album was recorded in 1998 and they’ve put out five more studio albums since then, along with a live record. They’re a British five-piece and apparently have quite a following over there, but I’m pretty sure their popularity on this side of the pond pales in comparison. Anyway, this was another gamble of a download that paid dividends. It’s also an extremely dynamic record with tunes ranging from electronic-infused acoustic to rockier indie with effects-leaden electric guitar. Gomez has three “lead” vocalists, each one offering a totally different (but completely impressive) style of singing. It’s pretty easy to make some comparisons to Rusted Root, old Coldplay or Dave Matthews Band (Gomez was actually signed to Dave Matthews’ label in 2005), but frankly, Gomez covers more genre-bending ground over the course of an album. I’ll be honest, since acquiring “A New Tide,” I’ve picked up some other Gomez albums and don’t find them nearly as impressive. Their good songs are really, really good, but they’re bad songs are pretty damn bad. Fortunately, “A New Tide” does not have a single bad track. Poppier tracks like “Little Pieces” and “Airstream Driver” really make you wonder why Gomez isn’t more of a household name in the mainstream market, while “Lost Track” and “Bone Tired” offer a deeper and more wistful sound. The subtly technical aspect of their music is also pretty striking. It’s not so easy to work odd time signatures into songs and still have them be plainly catchy, but Gomez incorporates consummate musicianship masterfully. Listeners who require more aggression may not find this album as awe-inspiring as me, but I still recommend giving it a try. Especially in terms of quality summer listening, this one’s definitely a winner.
Phoenix: “Wolfgang Amadeus Phoenix” – So those of you who really know me may be surprised that I dig this album, but I really do. It’s poppy, dancey and frankly just mood elevating. I LOVE throwing on this record when I’m leaving the office on Friday or before I go out on the weekends. It really just puts a smile on my face. The band’s from France and I had never heard of them before “Wolfgang” and was actually under the impression that it was their debut full-length for some time. Well, it’s actually their fourth studio album. Although something about the band sounds familiar and inspired, it doesn’t take away from their overall originality. And the musicianship isn’t really flooring, but it takes some real talent to write good pop like this. It does offer some of that retro-80s-turned-new-wave dance/pop feel that has become popular again with bands like We Are Scientists and The Killers, but this album doesn’t really beat you over the head with it. It manages to incorporate some of the same sensibilities, but still establish itself as something totally different and unique. As a side note, I saw these cats on David Letterman performing their single “1901” and it was the best I’ve heard a band I like sound on television. Their popularity has exploded in America since performing on SNL. They’ve sold out three NYC shows in the course of two months, one of which was a Central Park show (which I will be attending). They even added a second show in Central Park. Anyway, this album is great fun. Check it out! I expect you’ll be hearing a lot more from these frogs in the near future.
Closure in Moscow: “First Temple” – “First Temple” is the debut full-length from progressive rock Aussies Closure in Moscow. This is probably the most impressive debut full-length I’ve heard from a previously unknown band in recent memory. I’d say The Mars Volta’s “Comatorium” was equally impressive, but members of Volta had certainly established themselves on the music scene with At The Drive-In. Ironically (or not so ironically), “First Temple” reminds me A LOT of The Mars Volta’s first release. In fact, if you had just played this album for me without telling me who it was, I would have said, “Wow, so The Mars Volta have returned to actually writing awesome songs as opposed to just doing drugs and recording a veritable cluster-fuck of semi-musical but mostly sonic attacks.” But don’t let the striking similarities to their prog-rock predecessors dissuade you. Closure in Moscow is still exceedingly original. Their musicianship is beyond exceptional, seamlessly fusing technical mastery and song composition. For those seeking a remarkable combination of energy, technical prowess and general listenability, don’t miss this record.
Passenger Action: “Self-Titled” – It’s a shame that most of you have probably never heard of Canadian punk rockers Choke. They were a pretty big fucking deal up north, but that popularity never really reached the states. Their studio releases became increasingly progressive, experimental and generally awesome, reaching an apex with their masterpiece “Slow Fade Or: How I learned to Disappear.” I was pretty upset when I heard Choke broke up… until I found out ex-members had formed Passenger Action. In truth, this album pretty much picks up right where Choke left off: a brand of experimental post-punk that’s technical and really like nothing else out there. However, Passenger Action takes it to the next level with more effects-driven guitar work and more atmospheric context. The older melodic punk sensibilities are still hidden somewhere in the music, but just enough to add a completely unique flavor. It’s also not as fast or aggressive as anything Choke had put out over the course of their career, but it definitely is more mature. And haven’t we all matured a little since those speedy, hard-hitting punk days? I mean… maybe not. But in this case I really think the Passenger Action record is one of the most flatteringly original albums I’ve heard in a while. It’s enough to call to mind all the genres Choke had explored along the way, all while asserting a more cohesive and polished sound. This album may be tough to find, so if you’re looking for it and having difficulty acquiring it, let me know and I’ll take care of you.
Much love,
J.
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