Next Album from The Low Anthem in February

On February 22, The Low Anthem will release Smart Flesh, the self-produced follow up to their critically lauded 2009 release Oh My God, Charlie Darwin on Nonesuch. The majority of Smart Flesh‘s eleven tracks were recorded in a cavernous, vacant pasta sauce factory in Central Falls, RI. Additional tracking was done in a Providence garage, dubbed the “gator pit.” Mike Mogis (Bright Eyes, Monsters of Folk) mixed the record in Omaha with additional mixing by engineer Jesse Lauter (Elvis Perkins) in New York. The Low Anthem is four multi-instrumentalists – Ben Knox Miller, Jeff Prystowsky, Jocie Adams, and newest member Mat Davidson.

The Low Anthem is fascinated with tone and timbre. The eclectic array of instruments used on Smart Flesh include jaw harp, musical saw, stylophone, three antique pump organs (restored by the band), and oversized drum kits. An elaborate scheme was employed to re-amp noise through various chambers of the factory.

Since the release of Oh My God, Charlie Darwin, The Low Anthem has played shows with Iron and Wine, Emmylou Harris, The National, and The Avett Brothers, among others. They have played Lollapalooza, Bonnaroo, Glastonbury, and returned to the Newport Folk Festival for the second consecutive year this summer. The Low Anthem made their national television debut on The Late Show with David Letterman earlier this year and won MOJO Magazine’s Breakthrough Award in June.

The Low Anthem has already announced several fall/winter tour dates with more to be added soon. Go here for a complete itinerary - http://www.lowanthem.com/tour.php

The Best Albums of 2010: 20-11

20. Faun Fables – Light of a Vaster Dark (Drag City)

With the release of their fifth album Faun Fables continues to wow and astound with a sound that, while familiar, retains a wholly unique quality. Dealing with thematic elements that include the cycles of light and dark in nature, how those cycles affect our lives and our sense of place in the broader scope of things, and how we, in turn, affect the world around us. Instrumentally and lyrically this album takes me through pastoral landscapes, past small family farms with tiny stone houses, down wooded paths and into small hamlets and villages that have remained untouched by time; all the while a troubadour musing over top instrumentation that complements McCarthy and friends’ “songtelling” beautifully. The music on Light of a Vaster Dark is inviting, rich and compelling, reflecting the lyrical elements as it shifts in emotive quality from dark, brooding atmospheres to lighter, more uplifting territory; all the while holding the listener rapt and attentive, never wanting to stray too far from the fire, the light in a vast darkness. ~ Kyle O’Donnell

http://www.youtube.com/watch?v=Jw2ALskENl4

19. Flying Lotus – Cosmogramma (Warp)

From the opening crashes – the instant blasts of noise that come at you in a direct, unyielding, incendiary fashion – Steven Ellison ensures that his signature wave of sounds could never be mistaken. His music is customarily used in Cartoon Network segues, the crowing acknowledgement of being a household name, FlyLo’s beats continue to dominate with Cosmogramma’s orchestral instruments. “Nose Art” blossoms with a massively deep bass that resonates throughout the song’s space-y, heady, melody; it’s dubstep at its utter grimiest. Later, “Satelllliiiiiiiteee” stampedes with clamoring cymbals, comforting vocals and a shimmering keyboard line. The aforementioned are just two stunningly dissimilar ideas in a spectrum of diversified sounds. Like a symphony, Cosmogramma sways into different moods and themes with one steady commander always at the helm. Getting lost in it all still seems like such an unattainable ordeal to endure but Ellison makes everything skillfully promising. His kind of symphony is exceptional, absolutely masterful and at this point, it couldn’t possibly be mistaken. ~ Bryan Sanchez

http://www.youtube.com/watch?v=HyDMrxZLfPM

18. Charlotte Gainsbourg – IRM (Because Music/Elektra)

International icon Charlotte Gainsbourg (French actress, fashion trend-setter, cultural muse, daughter of the late Serge Gainsbourg and Jane Birkin) returns with what is technically her third studio album, collaborating with Beck Hansen on songs that are heavily influenced by Beck’s emotionally detached, sonically oblique take on matters of love, life, and death. Even with Beck’s influence and even though Charlotte sings mostly in English, she makes the album her own. Her hallmark sang froid remains intact as she seques from melancholy wistful airiness, to dispassionate distance, to nonchalant contemplation.

Highlights include the clinical theme and mechanical rhythms of “IRM” (based on Charlotte’s experiences of suffering a brain hemorrhage and subsequently undergoing successful surgery and recovery), the gently murmured but lyrically bleak “In The End”, the hushed and introspective “Vanities”, the dreamy, but rueful “Time of the Assassins”, the sultry groove and glam of “Trick Pony”, and album closer “La Collectioneuse” that has Charlotte reciting a French poem about the fragility of life and the fleeting nature of time. ~ Jen Stratosphere Fanzine

http://www.youtube.com/watch?v=N7KxvSwmzkY

17. Broken Bells – Broken Bells (Sony)

Whispered rumors of a record by Danger Mouse and that Shins singer guy intrigued the underground in late 2009. Broken Bells’ website and the confirmation of a completed album changed intrigue into mainstream anticipation. This album dropped and the wildfire of whispers became an indie inferno. It took years for The Shins to break into the mainstream with their 2008 Best Alternative Music Album Grammy nomination for Wincing the Night Away. With respect to the same nomination category in 2011, it only took Broken Bells one album and a hell of a lot of billboards on the highway asking me “Who is the best new electronic band Broken Bells or Crystal Castles?” It is without a doubt Broken Bells. This band and album literally exploded and pieces flew everywhere from NPR to all the late night talk shows. Warm, melodic, satisfying pieces… Broken Bells may seem a bit cosmetic and planned as neither Danger Mouse or the singer for The Shins saw their collaboration as a permanent gig, but the success of this album has at least lead them to announce another record. I couldn’t be happier about that. ~ Adam Matthews

16. Surfer Blood – Astro Coast (Kanine Records)

Surfer Blood’s debut album, Astro Coast could be the album that sums up 2010 in indie music. It amounts to pop perfection with just the right measurements of Weezer, The Smiths, reverb plug-ins and Floridian sunshine. Maybe it’s the sand in their guitars or the brutal stretches of touring in their first year as a band that makes these nerdy punks rock so hard. The record is full of grungy power chords and bright, spacey riffs reminiscent of an adequately stoned Roy Orbison. Though nothing is overdone with this band, whether it’s the 50’s surf rock or the 90’s pavement-esque alternative influence, Surfer Blood keeps it all classy and tight. Songwriter John Paul Pitts is not your average, flashy front man though he holds his own and is never short on lending some thick, poppy vocals to complete the sound. This band is contrived of some young guys in the earliest stage of an already thriving career and if we are to stay optimistic as we enter a new decade of music, I think the best has yet to come from Surfer Blood. ~ Ryan Egan

http://www.youtube.com/watch?v=Jh7WN7vrJ8s

15. Das Racist – Sit Down, Man (Self-released)

My first impression of Das Racist was a joke. When I was sent the Youtube video of “Combination Pizza Hut and Taco Bell” I figured this was the result of a few friends getting high and making a laugh for the Internet. However, to my surprise they released not one but, two full-length albums this year. Sit Down, Man being the superior and Shut Up, Dude being the other. As it turns out, they can rap, it’s remarkably good and it’s exactly what rap music needs, creative insight. Although most of their lyrics are somewhat of a joke, the delivery is superior to what I have heard lately and the flow is undeniably solid. Sit Down, Man also has a lot of variety on it, which makes this album less than predictable since that is what most would assume from their consistent jabs at pretentious pop culture. There isn’t much out there like this that is drawing on pop cultural references so obscure, you must be impressed that anyone can draw together two things so irrelevant to one another that it sounds like its supposed to be together. This album shows great progression in the year of Das Racist releases. Sit Down, Man is a wonderful success and I’m excited to see what is next. ~ Ashley Saupp

http://www.youtube.com/watch?v=IREnpHco9mw

14. Spoon – Transference (Merge)

Only a band of such genuine style and vision could release their seventh record and have it be one of their best.  With the release of Transference this year, Spoon proved to the music world that after sixteen years they are still relevant. The album’s first single, “Written in Reverse” could be Spoon’s catchiest yet, with smashing piano, drums and Britt Daniels’ gritty pop melodies. Transference is also a perfect example of the experimentation that goes into producing a Spoon record. The opening song, “Before Destruction,” features two separate recordings mixed into one – an 8-track demo of Daniel playing and singing acoustic on top of the fully produced song. It is moments of their career like these that have kept the band on the front lines of many music scenes.  Considered to be one of the founders of their genre, Spoon could be considered the Roots of the indie rock world. ~ Ryan Egan

http://www.youtube.com/watch?v=KQQtQB91WKc

13. Jónsi – Go (XL Recordings)

Iceland’s Sigur Rós is best known for its lush soundscapes, with soaring guitars and keyboards that accompany the achingly sweet voice of singer Jón Thor Birgisson. But after the band’s more stripped-down and acoustic album Með Suð Í Eyrum Við Spilum Endalaust, Birgisson wanted to do a similarly acoustic solo release. Somehow, that turned into Go, an album that can fit with the best of Sigur Rós’ catalog and function as a brilliant and beautiful album on its own. Birgisson’s presence is more clearly felt on Go, his vocals more a focus (and even in English on the single “Boy Lilikoi”). But layers and layers of guitars and keyboards make rich arrangements around his own soaring vocals. Without straying too far from Sigur Rós’ lush nature, Jónsi has stepped to the forefront with a brilliant release. A world tour and amazing live album complete the total package. ~ Jeff Marsh

http://www.youtube.com/watch?v=c1WomtTi0wY

12. Curren$y – Pilot Talk (DD172/Def Jam)

Hailing from New Orleans, long-time mixtape MC Curren$y has become Indie Hip-Hop’s newest hero with his third album Pilot Talk. In many ways the album represents skills too often lost in underground Hip-Hop: principally the ability to forge an album rather then a collection of songs. The guests are cleverly chosen – Devin The Dude (rapping over a good beat for the first time in a decade) sounds as entertaining and likeable as ever over the bass-heavy ‘Chilled Coughee’, while the Clipse-esque rhyming of Trademark and Young Roddy on ‘Roasted’ also stands out. Pilot Talk features two entertaining and talented individuals combining to great effect to create an album strong in every facet – the beats, the rhymes, the hooks, the guests.

Pilot Talk is all about Curren$y and Ski Beats. The former possesses this laidback and effortless flow that is perfectly suited to Ski’s soulful production, while his confidence is supplemented by his everyman lyrics and a consistent ability to churn out entertaining hooks. Perfectly judged throughout, every track has a particular feel and vibe beyond the classic soul and funk template. It stands out more then anything else because it is back-to-basics music with personality and variety and an example to all 21st century Hip-Hop artists. ~ Fearghal Barry

http://www.youtube.com/watch?v=WpQpbB6yO-8

11. Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty (Def Jam)

Big Boi’s greatest strength is fun. The world of rap in 2010 was defined by bad breakups, cocaine dealing, and self-aware hipsterness, and even though Big Boi had more of a reason to be pissed off than anyone (see: the buckets of label drama) he still delivered one of the most straight-up entertaining albums of the year. The record is filled with would-be chart-smashers in a parallel universe: “Follow Us,” “Shutterbugg,” “You Ain’t No DJ.” The album is full of perfectly off-beat gems of pop-protraction – and Big Boi’s jokey snarl has never been more welcome. Mr. West may have delivered the most ‘important’ hip-hop record of the year. But in terms of pure listenability, Sir Luscious Left Foot towers above 2010. ~ Luke Winkie

http://www.youtube.com/watch?v=XmKp2EGsQB8

Continue reading #10-1>

The Best Albums of 2010: 30-21

30. Wolf Parade – Expo 86 (Sub Pop)

Canada’s premiere indie supergroup boasts an impressive lineup: Spencer Krug of Sunset Rubdown, Moonface, Swan Lake, and Frog Eyes; Dan Boeckner of Atlas Strategic and Handsome Furs; Dante DeCaro of Hot Hot Heat and Johnny and the Moon; and Arlen Thompson, who’s worked with Arcade Fire. The critic’s praise for and the swelling fan-base of their solo projects seemed for a while to eclipse Wolf Parade, both in popularity and sound. Expo 86 marks a change in this, proving that the tension between Krug’s and Boeckner’s creative directions hasn’t caused the band’s sound to stagnate, that they can evolve. From the very Talking Heads-y, rambling monologue on the opening “Cloud Shadow on the Mountain” to the frantic bursts and singability of closer “Cave-O-Sapien,” Expo 86 is an explosive and energetic album that proves cohesive, creating a focused and artsy fifty-six minute ride. ~ Emily Graham

http://www.youtube.com/watch?v=IC6s6axj3m0

29. Superchunk – Majesty Shredding (Merge)

After nine years without a full length album, the rabid fan base of Superchunk would probably have been quite pleased with any old thing the band slapped together. It would have been praised and hailed as a return to form, though everyone would have secretly agreed it wasn’t really that great and we were wishing for something better. Lucky for us that’s just not how Superchunk works. Nothing the band does is half hearted and Majesty Shredding is another jewel in their crown. With complete honesty we can all agree it stands next to their best work, featuring the hyper speed pop hooks we recognize from On the Mouth and No Pocky for Kitty, to the finely polished songwriting and melodies of Come Pick Me Up. Nearly half the songs already feel like classics, such as the opening 1-2 punch of “Digging for Something” and “My Gap Feels Weird,” and it’s on “Crossed Wires” you realize how much we’ve missed Jon Wurster’s drumming, with those subtle accents on the ride cymbal and the rolling maelstrom leading into the final chorus. Sure his work with the Mountain Goats and AC Newman is great but it’s really with Mac, Laura, and Jim that he belongs. It goes without saying we hope we won’t have to wait another 9 years but if the results are this outstanding, this will surely tide us over. ~ Matthew Smith

http://www.youtube.com/watch?v=bHcxZz5P130

28. Menomena – Mines (Barsuk)

After two full-length albums full of surprises, it’s hard to imagine what Menomena would do with Mines. Do they stick to the same formula and try to surprise once again even after we think we know all their tricks? That’s exactly what they did. As it turns out, everyone realized that their tricks weren’t actually tricks at all, but only a small part of what makes a consistent good band release a great album. The time since Friend & Foe wasn’t short, but it was well used. The intense care put into every piece of music in Mines is the varnish over the paint on songs that could only exist through Menomena. Maybe the paint is a little less bright this time around, but the scheme works better than ever. You have to grow up sometime, and Mines will make you realize that in a good hour. ~ Nick Bush

http://www.youtube.com/watch?v=dDbZxBrR9zQ

27. Minus the Bear – OMNI (Dangerbird)

Anticipation for this album started building last fall with the early release of “Into the Mirror” and b-side “Broken China”, and in March the world wide web of blogs could barely contain its excitement when the band released “My Time”. OMNI exploded in May with a double rainbow of color and creativity that expands the band’s range to a new level. “My Time” specifically is an experiment of sound with synthesizers, guitarist Dave Knudson’s characteristic guitar tapping and looping, and the appealing sounds of an omnichord. There are fewer lulls and less jamming than 2007′s Planet of Ice, and there’s way more melody instead. A higher degree of pop influence is evident on the album, especially on “Summer Angel”, which may or may not remind of you of teenagers falling in love in the warmth of summer. This mainstream agreeability may not have gotten them on the corresponding airwaves, but it sent Minus the Bear to festivals across the world this summer. Anyone who listens to the album can tell Minus the Bear enjoyed creating this album, but more importantly OMNI is hugely fun to listen to. ~ Adam Matthews

http://www.youtube.com/watch?v=36XnnyWMI5w

26. Ben Folds – Lonely Avenue (Nonesuch)

Ben Folds’ newest opus marks the first time he’s shared the creative spotlight – even the official title bills it as Ben Folds Adds Music and Melody to Nick Hornby’s Words. Just like Elton John and Bernie Taupin in the 70s, this partnership has lead to some wonderful songs. Lonely Avenue maintains his brilliance of effortlessly juxtaposing tones, melodies and [im]maturity. The opener, “A Working Day,” announces how awesome Folds is while also saying that he sucks. “Levi Johnston’s Blues” satirizes the Palin family with his trademark mix of catchy hooks and funny lyrics. It’s another classic.

Combining poignant lyrics with beautiful melodies is what Folds does best, and he crafts another gem with “Claire’s Ninth.” Folds once again pulls at our heartstrings and invades our memory with the same level of affectivity as masterpieces like “Prison Food” and “Fred Jones, pt. 2.” Nearly every song on Lonely Avenue is great, and the fact that it’s one of his weakest efforts only goes to show just how great the other ones are. Full of lush arrangements and biting humor, this album continues to prove that Folds is possibly the greatest American songwriter around today. ~ Jordan Blum

http://www.youtube.com/watch?v=X5peqCDJi0A&feature=fvw

25. She & Him – Volume Two (Merge)

It does not take much else to get people interested in a musical project than mentioning M. Ward & Zooey Deschanel in the same sentence. She & Him is the indie-pop super duo consisting of these two notable songwriters that have been winning over crowds, young and old, over the past four years and counting. Their second record titled simply, Volume Two is the 2010 follow up to Volume One released two years earlier. Deschanel is a brilliant pop songwriter, taking influence from classic artists like Brian Wilson and Buddy Holly and keeping alive that 50s/60s sound in her own way. With the help of Ward, who lends supportive instrumentation and production, the group is an unstoppable collaboration of spirit and grace. Songs like “Thieves” and their first single, “In the Sun,” wonderfully represent the growth in writing and arrangement and only gives insight to what is to come. The duo seems to have no intentions of slowing down and any time there is a break from acting or working on solo projects, they’ll be found demoing new material in the studio. We can only wait in anticipation for the tentative Volume Three. ~ Ryan Egan

http://www.youtube.com/watch?v=pZ3cTwI9bIw

24. Sleigh Bells – Treats (Mom & Pop Music)

Among the loudest records for the year, Sleigh Bells pulls off a really great and disgusting sound. Although song distortion is nothing new, few can do it well.  Treats came along this year and added a tally mark for the few. With only a handful of demos to draw on before the unveiling of Treats, I expected good things. However, what I received were amazing songs for a record I didn’t think would sound consistent. Oddly enough, the loud, “Crown on the Ground” and the sweet, “Rill Rill” make for a wonderfully spiteful pair. The two sounds move parallel through the record working out most times and keeping the record functional and predictable. You’ll know what’s coming and you wont be mad about it. This album is a good indication of creativity through instrumentation manipulation and loud feedback that wouldn’t normally work together with such cohesive cleverness and yet it flourishes. Treats is a record to try on a few times and more than likely it will eventually fit. ~ Ashley Saupp

http://www.youtube.com/watch?v=pgbN9mWCLcs

23. Julie Christmas – The Bad Wife (Rising Pulse)

After the incredible work Julie Christmas has done with previous projects she has been involved with (Made Out of Babies, Battle of Mice, et al.), we have finally been graced with her debut solo album, The Bad Wife. First of all, Julie Christmas has an incredible range and an unbelievably emotive voice. She could sing you the phone book and it would hold your interest from start to finish. Now, apply the aforementioned vocal prowess to something that this songstress actually gives a rat’s ass about, and you’ll start to get the picture of how incredible this album is. In addition to Ms. Christmas’ deftly weaving a lyrical spell about you, throw in the instrumental contributions of artists such as John LaMacchia (Candiria, Spylacopa), members of Made Out Of Babies, Mel Lederman (Victory at Sea) and others including Joe Tomino (Dub Trio), Oddity, Tony Maimone (Pere Ubu, Tom Waits) and more. All of these elements come together in an intriguing, complex, and often times surprising way, while retaining a level of expressiveness and intimacy that will be tough to top. ~ Kyle O’Donnell

http://www.youtube.com/watch?v=fG0vr0fXjlc

22. Deftones – Diamond Eyes (Reprise)

Rock doesn’t have to be a dirty word in 2010. Deftones have created an album that is accessible without losing its anticipation. Their trademark heavy and crushing cuts (opener “Diamond Eyes,” “This Place Is Death,” etc.) found the record, but the spacial interludes (“Beauty School” and “Sextape”) are beautiful and haunting additions. Guitars may hold the weight of an army in their Meshuggah-made chugs, but all is drenched in a melodic spell. Diamond Eyes is transcendent of single genre allowances. The riff-blasting screaming single “Rocket Skates” best recalls their aggressive beginnings.  They’re not re-gifting them though, they’re reimagining them altogether. Speaking of forward, digest Chino Moreno’s sexual assault on “You’ve Seen The Butcher”: “Don’t wanna take it slow / I wanna take you home / and watch the world explode / from underneath your clothes.” And that’s probably a fair explanation on why both the band and their oldest fans have celebrated new material (instead of making it another dirty word). ~ Brian Kraus

http://www.youtube.com/watch?v=qksTlo_1Tpw

21. Vampire Weekend – Contra (XL Recordings)

With alternating waves of adulation and abhorrence, the most literate group of post-collegiates in popular music had lofty expectations to live up to as they prepped their sophomore album for a January 2010 release. Lead single “Horchata” – in which singer Ezra Koenig rhymes the titular word with both balaclava and Aranciata – had hit the Web months early and was already drawing comparisons to past VW hits like “Oxford Comma.” Yet when stacked against the group’s 2008 self-titled debut, Contra finds these Columbia University friends expounding on a sound that was already remarkably cultured. The frenetic “Cousins” brought some punky exuberance to the proceedings, and the sanguine sugar rush of “Holiday” demonstrated that the band was still happy to oblige diehards who were there back when “Mansard Roof” was just an Internet phenomenon.  Still, it’s the tracks infused with dancehall electronics and club beats that pack the biggest punch here; drums, bass, and synth textures dominate tunes like “Run” and “Giving Up the Gun,” ensuring that fans would be able to dance with wild abandon while also trying to determine exactly what Koenig means when he sings, “Your Tokugawa smile / and your garbage style / used to save the night.” ~ Adam Costa

http://www.youtube.com/watch?v=bccKotFwzoY

Continue reading #20-11>

Product Review – MiCorder

Olens Technology out of California has the great new product called the MiCorder. It’s a palm-sized personal recorder that converts any stereo output to mp3. Although so much music is available digitally these days, the MiCorder is an inexpensive way to solve the problem of converting vinyl or tape to digital format without the need for a high-priced device to handle the conversion.

The MiCorder records to a standard SD card, which makes transferring your files to a computer extremely easy. The built-in microphone allows you to record your voice (or anything, really) without plugging in. The unit also comes with a mini USB cable (for connecting to a computer), 3.5 mm male-male stereo audio cable (for plugging in to an earphone jack to record), and earbuds.

I tried out my MiCorder in a number of different situations to see what the recording quality would be like; because let’s face it, the quality of the output is what really matters. While the MiCorder is incredibly easy to use and is affordable ($80 or less, depending on retailer), all of this means nothing if you can’t get a good quality mp3 from whatever you wish to record.

Fortunately, the MiCorder delivers exactly what you might want from a personal recorder. The sound quality is superb. I tried recording from a variety of sources and found them all to work well. Recording directly from a small guitar amp didn’t work perfectly – I imagine the source volume was too high and couldn’t get it perfectly adjusted – but using the built-in microphone to record the sound in the room worked with near perfection. There are also equalizer setting available to get the best sound, but right out of the box this little beauty is ready to go to work.

The MiCorder is a worthy investment for folks like me looking to digitally capture record albums for playback on an iPod. There are certainly tons of other uses and I can particularly see this as a musician’s friend when writing new songs or capturing a particular lick. Truly, whatever you wish to record can be accomplished with the MiCorder. It couldn’t be easier to use and the mp3′s produced are high quality – an overall great device!

Visit olenstechnology.com for more information or to buy a MiCorder.

New single from Conquering Animal Sound

CONQUERING ANIMAL SOUND hail from Glasgow, Scotland (having recently departed their home in Edinburgh) and comprise of Anneke Kampman and James Scott.

Conquering Animal Sound release their new single Bear on December 13th. Bear is taken from the duo’s debut album Kammerspiel (out February 7th) and is a download only release, backed by an exclusive non-album track entitled Plinth.

The single will be available to purchase from the Gizeh Records online shop alongside the usual download outlets worldwide. Bear is now streaming on the Gizeh website and the band’s myspace page and is accompanied by a video created by Alec Cheer.

www.gizehrecords.com
www.myspace.com/conqueringanimalsound
Video: http://vimeo.com/16947592

The duo formed in 2009 and were soon making waves in the fine city of Edinburgh. A host of labels came knocking and subsequently a split 7” single (featuring the song Giant) with Debutant was released via Gerry Loves Records in May 2010 and agreements were put in place with Gizeh and mini50 Records to release debut album ‘Kammerspiel’ in 2011.

Live; the duo perform the majority of what you hear on record, it is something of awe-inspiring greatness, creating loops, beats and samples out of anything and everything with Anneke’s sumptuous vocal’s carrying the sounds to what seems like a new world. In 2010 Conquering Animal Sound took to the road for their first UK tour, performed at Wickerman Festival (Scotland), De Affaire (Netherlands) and played shows with the likes of Tunng and Zola Jesus.

The first single from the new album will be ‘Bear’ – due on December 13th and will feature an exclusive B-side ‘Plinth’.

KAMMERSPIEL is essentially pop music but in the way the likes of Fever Ray or Bjork portray pop music. Where Conquering Animal Sound differ is in their love for tape hiss and childrens toys. There is no doubt, with this record they are in a world of their own.

LINKS:
www.conqueringanimalsound.co.uk
www.myspace.com/conqueringanimalsound
www.gizehrecords.com

Q & A with Warren North of Sunsets North

Warren North, a musician since high school when no one believed he would stick with it (or come this far), has done what most in his position wouldn’t. He played out as a solo artist and then built a band around himself to create a long term avenue for artistic expression, for himself and the three guys who take the stage with him.

The 2010 release of So Far So Good is Sunsets North’s second album, Warren North’s third if you include his solo album from 2006.

This month two new videos hit the street for the songs “Anne Marie” and “Goodbye Syndrome”. In both edgy recordings one girl carries out the singular role, extending both songs to bridge toward the other. In these videos you can see the Philadelphia that North does, and accept the bounty and limitations of the environment.

North, frontman for the Philadelphia rock group answers some questions about the band’s past, present and future.

Interview by Jeneava Middleton with Kate Davenport.

What prompted you to go from being a solo artist to being in a band?

To be honest it was mostly because I got lonely on stage and really wanted to jump around and rock.

Your first album as a band, Return to Sender, had a different lineup and a somewhat different sound. How would you compare Return to Sender to So Far So Good?

Return to Sender was a learning process for us in the studio. So Far So Good was like ok, let’s write a killer album and have a great time doing it.

The band’s lineup has changed several times, do you think that you now have a group that will last? What’s different this time?

This time is a little different from the past. We are all good friends; we know how to communicate with each other… The past lineup changes were mostly because the people that were in the band at the time just wanted to be in a band and didn’t enjoy what they were doing, so they moved on to things that better suited them… Now everyone’s on the same page.  Believe me we still have our quarrels, but they are few and far between.

What, in your words, is the best song on the new album and why?

Sorry, I can not answer that question… It’s like asking a mother to pick her best child. I can tell you though that “Louder Than Words” is one of the most touching songs to me personally, because of what I went through while writing the song.

Do you write all of the music, or is it written collaboratively as a group?

I write the foundation of all of our songs-or the skeleton if you will. When I bring something to the table I usually have a chorus and somewhat of a chord structure, and some lyical ideas. Then the guys and I tackle the rest together.

It seems as if since high school nobody thought that you were as serious about becoming a musician as you obviously were, however the determination has payed off. What was your inspiration at that time? What gave you the unquestioned determination to succeed?

My passion for music and the way it makes me feel. It was also a new and exciting adventure in my life at that time, and I wanted to prove everyone wrong.

Which bands would you say have inspired you the most?

A. Led Zeppelin, Green Day, Something Corporate, and Pink Floyd.

Have you considered doing a live, possibly acoustic album?

There will be an acoustic album…Can’t say when, but it will happen.

What was it like to be named Entertainer of the Month at the Old Brewery Tavern?

At the time it was the best thing to happen to me… The regulars really loved me and made me feel like a million bucks!

Why did you choose St. Judes Childeren’s Hospital as a charity to play for?

Because I love kids, I’ve done over thirty-something shows for cancer, most of them supporting children’s cancer awareness. Many adult cancers are because of lifestyle choices, and kids on the other hand can’t help that.

So Far So Good is the latest album released… When can we expect to hear more?

We are always writing…as for a release date for a new album, I have no idea!

What direction do you see the band going in the next few years?

Hopefully up the charts! HaHa!

For more on Sunsets North, and to see the recently released videos visit:
http://www.ilike.com/artist/Sunsets+North/videos/684615893

For free MP3 Downloads see them on FaceBook:

http://www.facebook.com/pages/Sunsets-North/19723670804

New EP from Sonny & the Sandwitches

Sonny & the Sandwitches Announce New EP from the “100 Records” Project
“Throw My Ashes From This Pier When I Die”:

http://bantermm.com/tracks/ThrowMyashesfromthispierwhenIdie.mp3

Not long ago, Sonny Smith (Sonny & The Sunsets) survived a near-drowning off the coast of Northern California. The experience affected him profoundly and led to a wealth of output including a play, a novel, and a stack of songs. Sonny’s critically acclaimed “100 Records” project is itself a direct product of Sonny’s fight with the sea. A novel he began, Adelard the Drowned, broke into 100 pieces. Four of those pieces come as songs on this 7″ e.p., each bound to the next by a twisted braid of water and death. Through the fog and the haze, however, there lies in these songs a shared sense of redemption, transformation, or reawakening. Featuring appearances by Heidi and Grace of the The Sandwitches and a long-lost band called The Transients, this record features Sonny’s songwriting at its strongest, staring death in the face. Perhaps, this is in part why the ocean gave him back. Recorded in San Francisco and mastered by Paul Oldham, each record includes a comic book, four full-color album covers, and a high-quality digital drownload.

The Best Albums of 2010: 40-31

40. The Walkmen – Lisbon (Fat Possum Records)

The Walkmen’s sixth album is not a pick-me-up. It won’t accompany your morning jog or a make-out session with your favorite girl. The starkness of this band’s production and the desperate plea of singer Hamilton Leithauser’s voice is best suited for late-night listening with a glass of whiskey and a rethinking of your path in life. Elements of classic folk and even rockabilly accompany the songs here, with bits of frenetic guitar (“Angela Surf City”) and horns (“Stranded”). But mostly, Lisbon is an album of stark contrasts – rich and soulful beauty (“Blue as Your Blood”), emphatic heights (“Victory”), and quiet moments of lush design (“Torch Song”). It’s a lovely piece of songwriting; just don’t expect it to lighten your mid-winter moods. ~ Jeff Marsh

http://www.youtube.com/watch?v=Naz-q2ZLEeo

39. Ariel Pink’s Haunted Graffiti – Before Today (4AD)

A half a year out from the release of Before Today, and Ariel Pink’s transformation from lo-fi pop weirdo to full-fledged band leader doesn’t seem so strange anymore. It’s easier now to see how much his lo-fi recording techniques and questionable distribution process were partially a method of self-handicapping (both by him and his followers) against his weirdness and eclectic, out-of-time tastes. These new recordings show, at his core, a bizarre pop savant and imaginative songwriter who production by Glen Ballard or Quincy Jones (or in this case Quincy Jones’ grandson Sunny Levine) couldn’t fix. Pink sounds less lonely, more driven, and still willing to go anywhere, and his vocal talents are pretty much second to none if you value versatility over virtuosity. The band plays with muscle and flair in equal measures, and this full-band rebirth has allowed the Haunted Graffiti to become one the greatest live rock bands currently running the circuit. Mixing previously recorded songs, brand new tracks, and an old-school cover, Before Today is the sound of a musician taking advantage of his new situation, peeling away the metalayers and getting down to business. ~ Greg Argo

http://www.youtube.com/watch?v=VcS0oJwlz_Q

38. Four Tet – There Is Love in You (Domino Recordings)

As the kaleidoscopic album art might lead you to believe, Kieran Hebden’s sixth studio release under the Four Tet guise is an entrancing amalgamation of demure electronica and nocturnal atmosphere. Though he’s infused his music with everything from hip-hop to folk over the years, There Is Love in You is a work of calculated minimalism – an LP of deceptive complexity that only emerges once you’ve begun to peel back the layers.  Hebden goes into DJ mode on the suave yet propulsive “Love Cry,” but elsewhere his approach is far more sedate. “Circling” is a stunningly hypnotic collection of dulcet textures and orbiting rhythms, while “Plastic People” aligns an understated four-on-the-floor groove with haunting keyboard melodies and fidgety egg shaker timbres. The incipient title track takes a melancholic vocal sample and develops it with layers of twinkling mallet percussion tones that are as mollifying as a lullaby. Taking nods from titans of minimalism like Steve Reich and electronic pioneers such as Aphex Twin, Four Tet assembled a record that, while mostly danceable, feels better suited to the doe-eyed wonder of someone taking in the enchanting allure of a stroll on a starry night. ~ Adam Costa

http://www.youtube.com/watch?v=No98yKnjDaw

37. Das Racist – Shut Up, Dude (Self-released)

In the age where self-awareness is the new thing, Das Racist took two mixtapes to make sure that going forward anything that is even close to as obnoxiously conscious will be cliché. Luckily, we don’t end up with novelty, but something that might actually be worth the bar it sets. In Shut Up, Dude, the first and undoubtedly more memorable release of the year, the group takes off by spraying lines all over the place across a yard sale of beats that come together way better than they should. On more than one occasion it is expected that you bury your forehead in your palm upon hearing the same word rhymed two or three times in a row, but secretly you know that they know that you are reacting that way, and they’re the ones having all the fun. This is what happens when smart people aren’t afraid of acting stupid. ~ Nick Bush

Download Here (Free & legal)

http://www.youtube.com/watch?v=hdWxo3e3Kzk

36. Katzenjammer – Le Pop (Propeller/Nettwerk)

Katzenjammer is a Norwegian, all-female quartet that I discovered out-of-the-blue. I had just missed their swing through Philadelphia and after hearing Le Pop I couldn’t believe my poor judgment. Le Pop is an exciting entry into the everything-but-the-kitchen-sink (well, maybe that too) approach to rock music. I’ve heard Katzenjammer referenced as the female version of Gogol Bordello, but the application of folk-styles to more modern music doesn’t make them automatic contemporaries. This powerhouse definitely experiments with genres, but don’t mistake them as just a gypsy-punk hybrid. The four members of Katzenjammer all sing and all seem to play multiple instruments. While the main sounds heard here come from the usual instrumentation, the ladies mix it up with a number of unexpected things such as: melodica, organs, and even a balalaika with a cat’s face painted on it. The members create some really memorable harmonies and whether hammering through a polka, Balkan folk ditty, or sea shanty, there’s much to absorb from this raucous quartet. ~ Jenn O’Donnell

http://www.youtube.com/watch?v=aswXKmV0wDo

35. Future Islands – In Evening Air (Thrill Jockey)

Sometimes a band’s music feels very calculated, either the sum of tasteful decisions made by technically gifted musicians or simply a play at sounding “of the times”. On In Evening Air, the self-styled “post-wave” trio Future Islands sound about as uncalculated as a group of musicians can. Their distinct musical voices seem inherent and essential – smooth Peter Hook -inspired melodic bass lines, gargantuan walls of nimble synth chords, sensitive and slightly deranged singing – and the music feels more powerful as a result of the unlikelihood of their successful and seamless unity. Frontman Samuel Herring takes the primary colors of defeat (vulnerability, rage, and anguish), and attenuates them with emotional shadings both grotesque and sublime, alternately sounding like a sphinx triumphantly risen from the ashes, a chain-smoking dowager passing down wisdom in oblique adages, and a demon-possessed victim mortifying itself to exorcise the scorn and shame. These guys take their music by the horns and direct it where they want it to go, and in the process the fact of music being played is forgotten and In Evening Air transforms from a listening experience into a pure and visceral drama. ~ Greg Argo

http://www.youtube.com/watch?v=9GhtZt2HYkM

34. Tame Impala – Innerspeaker (101 Distribution/Modular)

The first song I heard from Innerspeaker was “Bold Arrow of Time,” with its throwback guitar lead interrupted by old-school cymbal and bass stabs. What year is this? The muted, slow-phased guitar and distorted bass that occupy the first 45 seconds of the song, however, give onto a shimmering, otherwordly, and melodic soundscape that’s akin to watching a firework’s trail in a dark sky before its technicolor flash. The song continues to alternate between these modes, and mixes them simultaneously, and that’s the magic of Innerspeaker‘s appeal. The warm, analog tones of the recording, the psychedelic tropes, and the relaxed playing take you back to a time when Pink Floyd and the Beatles were pushing boundaries and introducing a new form. But Innerspeaker weaves in the fragile shoegaze of early Verve, the intangible charm of the first Shins record, and the energy of post-punk without succumbing to any of these exclusively. The singing is pure John Lennon (drenched in “Tomorrow Never Knows” reverb and echo) the first couple of times you hear it. After that, though, it’s just Tame Impala and it’s not a rip off. What Tame Impala shares with the Beatles is just an innate talent for melody. You can’t force the kind of hooks that Tame Impala comes up with. Yet every track on this record has a hook that works. Every song could be a single, including the instrumental “Jeremy’s Storm.” You know you’ve got a keeper album when every one of its tracks spends some time as your favorite track — the one you want your friends to hear immediately. That was Innerspeaker for me this year. ~ David Smith

http://www.youtube.com/watch?v=bBSropdYqtY

33. Warpaint – The Fool (Rough Trade)

Through every subtle modification and slight change, the fool is the ghostly soul in all of us. The music on The Fool is a fountain of thriving atmospherics that are blended with ethereal vocals and the influences of everyone from Sonic Youth to PJ Harvey. In a year where women rockers were killer, these ladies delivered a fascinating fusion of shoegaze and psychedelia.
The wistful lull of “Warpaint,” with its smooth, churning guitar reveals a charming proficiency. And on “Baby,” Emily Kokal reckons with her lover with only the back-drop of a flickering acoustic guitar in support. The magic around the album cycles through the bands undeniable chemistry: on “Shadows” beaming sounds, Theresa Wayman sings “I’m drunk and I’m tired. And the city I walk in feels like it swallows.” The guitars meld and merge within the walls of the female singers and together, it was a stunning new look into the psychedelic rock of ambience gleam. Everything just seems to fit so easy together – so meant for each other – on The Fool; Warpaint’s dense darkness left a mesmerizing impression for many to remember. ~ Bryan Sanchez

http://www.youtube.com/watch?v=BMkqbY0oGKQ

32. Stars – The Five Ghosts (Vagrant Records)

Once a torchbearer of the evolution of shoegaze in modern music, Stars have evolved with each release. With The Five Ghosts, the band staked a place at the forefront of cinematic pop music. Not quite as lush and melodic as some of their earlier releases, The Five Ghosts is more of a synth-driven pop album, with tracks like “This Wasted Daylight” and “We Don’t Want Your Body” almost surprisingly poppy. There’s still moments of layered beauty, from synths and strings to the interplay of male/female vocals. “I Died So I Could Haunt You” gives me chills beyond just its intended theme, and the synths are arranged into a perfect arrangement on my favorite track, “Fixed.” This is a beautiful album, but also a more upbeat offering from a wonderful band. ~ Jeff Marsh

“Fixed”

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31. Tweak Bird – Tweak Bird (Volcom)

Tweak Bird’s first full-length album was definitely one of my most anticipated releases of 2010, especially after their debut EP Reservations, and definitely after watching this brotherly duo blow away a headliner at a show last year. There’s really only two things you absolutely need to know about this guitar and drums duo’s music: it’s bone-crushingly heavy and it has an uncanny sense of melody. Their vocals are unusual (often quite high pitched) and this collection of songs is coated with joie de vivre generally reserved for music of a much lighter nature. It’s hard not to feel happy and get tingly goose bumps while experiencing Tweak Bird. Caleb and Ashton show great expansion over their last release and explore some smoky jazz saxophone touches and more electronic flourishes. Experience the songs from Tweak Bird and you’ll be floored by the wall of sound and style nuances – experience Tweak Bird live and you’ll get your faith in rock n’ roll back. ~ Jenn O’Donnell

“Lights in Lines”

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The Best Albums of 2010: 50-41

50. Joanna Newsom – Have One On Me (Drag City)

How do you summarize something in a few hundred words when it takes Joanna Newsom over a thousand? How can a few minutes read fulfill over two hours of precisely composed songs? Well, it can’t, and this is the tragedy of Joanna Newsom in today’s musical headspace. Ys kind of surprised everyone and earned their attention with amazing pseudo-prog-folk harpwork that rounded out everyone’s iTunes genre lists quite well, but when Joanna Newsom takes four years to craft an album with parts at least as good as their predecessor, it’s been done. A crying shame. We will, however, give everyone time to redeem themselves. They will need some time, at least, given Have One On Me‘s length. Maybe we can redeem another thing we’ve lost in the last few years while we’re at it: this is a truly epic work. ~ Nick Bush

http://www.youtube.com/watch?v=STwVx6ynYjk

49. Janelle Monáe – The ArchAndroid (Suites II and III) (Bad Boy/Wondaland)

At the center of The ArchAndroid (Suites II and III) is Janelle Monáe’s voice, excitingly commanding attention; whether she’s tip-toeing on the “Tightrope” with Left Foot or pedaling on the heels of an off-handed guitar/R&B swoon on “Oh, Maker” – where she earnestly proclaims “But you loved me and I really dared to love you too” – her voice is dynamically forceful and lush. She’s at her most subtle, her most endearingly absorbing and at her most directly gorgeous on moments like the stripped down chambers of “Say You’ll Go.” And she’s allowed to showcase her stunning voice through a sultry funnel of pensive chimes and beats as Monáe asks, “Let’s find forever and write our name in fire on each other’s hearts.”

The album’s eighteen songs demonstrate an uncanny ability to switch from genre to genre and style to style without the slightest uneasiness. There is spectacular fashion all over: a concept album about the robotic altered state, there is an inspiration and influence for every single sound. Monáe’s magnificent musicianship is an utter joy to behold because of it; listen to the belts of advice on “Cold War,” she knows exactly what she’s up against and still, is ready to conquer. ~ Bryan Sanchez

http://www.youtube.com/watch?v=lqmORiHNtN4

48. Marnie Stern – Marnie Stern (Kill Rock Stars)

Marnie Stern’s self-titled third album was my introduction to this thrilling guitarist. While Stern’s frenetic finger-tapping style will grab your attention, it’s her complex arrangements, sometimes hard to swallow shifts, and caterwauling vocals that will tug at your soul. Even for the uninitiated, you can tell that Marnie Stern is delivering the musical equivalent of slicing her own flesh open to give her listeners a look inside. On “Nothing Left” she sings, “I’m using a color they call night blue, I’m tracking a predator that’s near you. This does matter! You might think I’m crazy” against a sonic backdrop that lands somewhere in the math rock to progressive spectrum. Her style is superbly technical, but with so many shifts and time changes the music is often cacophonous, but quite cathartic. Maybe Marnie Stern is a whirling dervish of modern guitar – her instrument the meditative spinning between earth and sky. ~ Jenn O’Donnell

“For Ash”

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47. Gold Panda – Lucky Shiner (Ghostly International)

Starting your album with its best song? Bad idea. Starting your album with one of the year’s best songs? Not so bad. Gold Panda’s debut, with its first song, “You,” heralding a sample-filled almost-dance record, is in a rough spot. Its niche has been flooded in our post books world, and the cobbled-together aesthetic doesn’t have as much appeal as its name would suggest. Thankfully, Lucky Shiner should only use ‘cobbled-together aesthetic’ as a descriptor if it wants to sell some vinyl in a hip store, as it is a wonderfully structured set of tracks. It does exactly what you want, when you want it to, without you even knowing. No beat too off-kilter, no sample too drawn out, and they actually sound like songs. Songs that make you feel like you’re wandering lost through a busy market, and almost make you wish you were. Now that’s aesthetic. ~ Nick Bush

http://www.youtube.com/watch?v=bnMcvacNhk0

46. Munly and the Lupercalians – Petr and the Wulf (Alternative Tentacles)

From the opening drone and first notes you can tell this isn’t going to be like any rendering of Peter and the Wolf that you’ve heard before. Munly and the Lupercalians bring a darkness to Prokofiev’s tale that has been absent from other versions to date, and to great effect. Choosing to present the individual characters’ parts as songs (instead of leitmotifs where the characters have been represented each by a different instrument) gives a bit more depth to the story, and enables Munly and Co. to take the tale in a different direction; thereby allowing the telling of the “true story” of Petr and the Wulf. I, myself, have a number of different ideas as to what that “true story” really is, but I’ll leave it up to you listeners out there to digest this album and decide for yourselves. This is the first release by Munly and the Lupercalians, and is supposed to be the start of the telling of the lore of the Kinnery of Lupercalia. It should be an interesting tale. ~ Kyle O’Donnell

http://www.youtube.com/watch?v=lW6CIoyT3UU

45. Wovenhand – The Threshingfloor (Sounds Familyre)

David Eugene Edwards, frontman of Wovenhand (previously of 16 Horsepower), is nothing if not a spiritual man. Although I don’t find myself generally drawn to religious music, Edwards’ Christ-driven approach to his work is not about proselytizing or praise, it’s about exploring his faith – especially the doubt, moments of weakness, anxiety, and confusion that most human beings experience on a regular basis. The music itself is often dark, drawing from folk, country, and murder ballads that David Eugene Edwards shrouds in an intense fervor with his voice and lyrics. The Threshingfloor’s title track, just second in on the album, sweeps into such a frenzy of rock and subtle Middle Eastern sounds, that you may hear Edwards’ chorus “bara devlam, davlam bara, devlam bara, istenem” as a channeling of the spirit(s) or speaking in tongues. Instead, Eugene is referencing his ‘mighty god’ and asks, ‘bless me!’. The tribal chanting on “Raise Her Hands” brings yet another dimension to the album and there lies the crux of Wovenhand. While the songs all build on a solid foundation of style and substance, David Eugene Edwards continues to explore his religion through his art and the result is many faceted and deeply moving. You may not share Edwards’ faith – or that of any religion for that matter – but you’d have to be completely unfeeling to not be profoundly affected. ~ Jenn O’Donnell

http://www.youtube.com/watch?v=Ml2azfGQ7ac

44. Wild Nothing – Gemini (Captured Tracks)

I’ve been spinning Gemini regularly since its release, so I figured it’d been hanging in the air long enough for my usually indifferent girlfriend to have formed an opinion about it. When I recently asked if she liked it, she said “yeah” which made sense, but then followed with “it’s upbeat,” which initially struck me as odd. I’d been focusing mostly on the maudlin and gauzy elements, the comforting balm of it all, but she was right. This is a mopey you can live in and even celebrate, one that sustains a playful romanticism instead of augmenting a pity party. Not one big glob of blur, Gemini finds Wild Nothing mastermind Jack Tatum laying out, track-by-track, a debut as impressive as most greatest hits compilations. It would be tough to miss the melancholy in his approach, but still, what was I thinking? You can’t cop the best parts of The Cure, The Go-Betweens, The Stone Roses, The Clean, and The Smiths and end up with something that isn’t a toe-tapping, head-bobbing, fatalistic good time. And with a list of influences like that, it looks like Tatum’s only mistake was omitting “The” from the beginning of his band name. ~ Greg Argo

http://www.youtube.com/watch?v=kbAISMzd7vA

43. ceo – White Magic (Sincerely Yours/Modular)

Through The Tough Alliance, Eric Berglund has already established himself as one Sweden’s leading musicians. In the past years, the country has presented a great collection of its finest artists and with his new side-project, ceo, Berglund simply adds to the esteemed list. On “Come with Me” Berglund sings, “Come with me, we can sacrifice this life to make it real,” before a striving set of strings and synth-heavy beats. As ceo, Berglund infuses his music with stark melodies, sweeping 80s influences and orchestral compositions for White Magic’s illustrious back-drop. With music that is impeccably crafted – pop sensibilities, creative and illuminating counter-harmonies and soaring songcraft – ceo’s music comes and goes in just under thirty minutes. As you’d expect, the songs individually stand out for various reasons (“Love and Do What You Will” features driving drums with a thick bass and Berglund’s pleading vocals) but it’s ceo’s overall scope that shines the most. White Magic ends up as one of the easiest and quickest albums to get lost in; the kind of lilting pull that leaves a lasting impact long after it ends. ~ Bryan Sanchez

http://www.youtube.com/watch?v=AtUlvTfo8Sk&feature=related

42. Wavves – King of the Beach (Fat Possum)

The ever derisive, irreverent, polarizing Nathan Williams makes it hard to be a fan. When everyone thinks you’re a prick, it’s easier for them to pick apart and even mock your music. But ultimately, it’s hard to find many bands that are making more fun music than Wavves is right now. Wavvves was true noise-punk, buried beneath layers and layers of fuzz, yet Williams’ tunefulness still shown through. King of the Beach found Williams relying less of fuzzy production and more on his songwriting ability. Each track is catchy as hell, yet his diversity getting further revealed is just as interesting. His wordless harmonies and sunshine keyboards are among the things he wisely uses to supplement his punk rock roots. No matter how many negative headlines Williams may end up making, or whatever his music will become, you’d be foolish not to appreciate the energetic punk joy bursting from him on King of the Beach. ~ Bradley Hartsell

http://www.youtube.com/watch?v=pdbrQYER1fI

41. The Tallest Man On Earth – The Wild Hunt (Dead Oceans)

Swedish singer-songwriter Kristian Matsson (as opposed Robert Wadlow. . . okay, bad joke) does not have a pretty voice. He sings with gritty howls and hoarse croons, his voice cracking in the throes of his oft-indistinguishable lyrics. Within his skillful musicianship that, admittedly, often sounds straight out of ‘60s folk revival, he crafts landscapes rich in the guise of quiet ruminations, his voice the aridity breathing such life as to make Matsson’s sophomore debut, The Wild Hunt, a visceral experience. Armed with his guitar and, occasionally, a sparse piano or banjo to color the backdrop, his American South stylings on guitar are just as strong on their own an addition to the music as his voice. If extracted from the music, Matsson’s lyrics prove an assorted jumble of half-thoughts (“and I will sleep out in the glade just by the giant tree / Just to be closer when my spirit’s pulled away / I left a nervous little boy out on the trail today / He’s just a mortal to the shoutin’ cavalcade”) that successfully stir your emotions when returned to the song’s musical subtext. ~ Emily Graham

“Like the Wheel”

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The 10 Best Songs of 2010

As another year comes to a close, we start our year-end festivities by featuring our top 10 songs of the year. With so many fantastic choices to choose from, our first official consensus song list brings the finest cuts of the year forward. We’ll reveal our top albums of the year throughout the next few days but for now, the best songs of 2010:

10. Future Islands – “Long Flight” (Thrill Jockey)

A seesaw synth, giddy textures, and a gliding baseline approximate the anticipation of a returning traveler, someone who proudly “went off and saw things [he]‘d never seen,” but the scene soon turns tragic as his lover is an airport no-show, later found at home with another man. As the truth sinks in, the bass gets heavy and the melody maniacal. Vocals cycle through stages of grief, at turns exhausted, sassy, confrontational, aloof, and inconsolable, repeating but barely believing the lusty reason: “just cuz you needed a hand.” A fiery reminder that whether it’s celebrated or mourned, love is all-consuming. ~ Greg Argo

9. Cee-Lo Green – “Fuck You!” (Elektra Records)

“Fuck You!” was the most unlikely summer jam in history. A profanity laden, brokenhearted …dance party? Very rarely does a line like “If I was richer, I’d still be with ya, now ain’t that some shit?” become a universal basher – but that’s the genius of Cee-Lo Green. With his unfuckwithable swagger and ridiculously sunny production, he can turn even the most dejected scene into a hit. “Fuck You!” is the antidote to infatuation. ~ Luke Winkie

8. Caribou – “Odessa” (Merge)

The kick-start, the pounding drums, that insatiable singular melody and those swooning vocals, Caribou’s “Odessa” was a chiming symbol of new arrivals. Words about an ex girl and an ode to disco synths and electronics, it kick starts Swim with an undeniable sheer of mesmerizing ebb and flow. Through all the colors of sounds, it further established Daniel Snaith’s outfit as one of the brightest. ~ Bryan Sanchez

7. Arcade Fire – “The Suburbs” (Merge)

Upon first listen, “The Suburbs,” the album opener off Arcade Fire’s 2010 release, I was immediately absorbed by the bright, piano driven direction the album was taking. As a huge fan of the group’s previous body of work, this record was highly anticipated and this song surely encompasses their musical progression to date. ~ Ryan Egan

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6. Kanye West – “Devil in a New Dress” (Roc-A-Fella/Def Jam)

Kanye and his signature bravado are on full display, seemingly effortless but painstakingly crafted. “Will You Still Love Me Tomorrow” by Smokey Robinson is sampled, and based on the subject matter it is an appropriate choice. The beat is laid back, restrained and dreamy. There is an appropriate sense of subtlety, sexuality, and temptation, when combined with Kanye’s tongue-in-cheek wordplay and you begin to see why this track really shines. The track switches gears and Rick Ross adds that final touch of braggadocio to seal the deal. ~ Jay Russell

5. Arcade Fire – “Suburban War” (Merge)

Leave it to Montreal’s most enterprising collective to breathe some life into a hackneyed topic like suburban malaise. On this nascent epic about getting the hell out of dodge, Win Butler and Co. examine the ambivalent relationships we all have with our childhood stomping grounds. Yet as affecting as it is, the real emotional pay dirt comes in the track’s final minute and a half when the midtempo groove shifts into double time; drums pound, guitars chime, and voices soar with the sort of matchless urgency that has long been this band’s trademark. ~ Adam Costa

4. LCD Soundsystem – “Dance Yrself Clean” (DFA/Virgin)

In pin-pointing a year where music was bursting at every seam with new explorations, “Dance Yrself Clean” showcases the captivating, expansive role music can play in all of our lives. James Murphy and Co. make through the first few minutes with a playful keyboard line and calculative percussion before the explosion hits and everything smashes away. As with life, the title depicts exactly what the music is intended for: dancing your entire body clean. ~ Bryan Sanchez

3. Deerhunter – “Helicopter” (4AD)

The sprightly “Revival” may have been the first single to emerge from Deerhunter’s 4^th LP, but it was the gauzy shimmer of “Helicopter” that made for one of autumn’s most delightful soundtracks.  Belying the track’s pastoral ambience and candied melodies are Bradford Cox’s crestfallen lyrics, which seem to be loitering near that transcendental junction where religion and pharmaceuticals often frequent one another in art.  The failure of either to quell the resulting feelings of alienation (“No one cares for me / I keep no company”) is a bummer, but they don’t stand a chance of extinguishing the song’s resplendent beauty. ~ Adam Costa

2. Kanye West – “Runaway” (Roc-A-Fella/Def Jam)

“Runaway,” the shattering centerpiece of My Beautiful Dark Twisted Fantasy, represents everything the mythical pop-god Kanye West has come to be. It’s a little funny, “let’s have a toast for the jerk-offs!” profoundly revealing “And I just blame everything on you, at least you know that’s what I’m good at,” but mostly, crushingly sad. West is one of the few pop stars who’s able to let his deepest, most guileless emotions lead his creative direction. And “Runaway” is the best example of that. ~ Luke Winkie

1. Sufjan Stevens – “Djohariah” (Asthmatic Kitty Records)

Seventeen minutes of tightly composed sadness surrounding a hyper high school talent show guitar solo. One girl’s name that none of us knew existed beforehand. Sufjan Stevens’ indie legacy forcing us to sit through it over and over again. It’s worth it every single time. ~ Nick Bush

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