2009 - The Year in Review

As 2009 came to a close, I looked back and found myself in a state of flux this year, battling the continuing trend of digital releases, early leaks, and the subsequent push to a singles market as opposed to full album releases. This made it harder to find quality new releases for a die-hard CD collector like myself. This trend forced me to look backward and rediscover bands I may have missed along the way, and I think this was the first year I purchased more older music than newer music. In many cases these discoveries were equally if not more satisfying than the new releases, as they came on my own terms and not by any media hype. As you can see, the 20 albums I did choose for the most part steered away from the typical hipster "best" lists you'll find all over the web (with a few exceptions), and at the end of the day, these were the most satisfying to me... which is really all that matters. With that said, I present my Top 20 of 2009:

20) Alice in Chains - Black Gives Way to Blue
A respectable comeback after 14 years. The new singer William DuVall does AIC's legacy justice. The rest of the band nods to the past while looking toward the future. This album fits right into their catalog next to all the others, and does not feel out of place in the slightest. A solid introduction to a new chapter in the band's career.

19) The Slackers - Lost and Found
A collection of alternate takes and unreleased tracks showcasing many of the band's staples in a new light. Different lead singers, different arrangements, and some brand new joints. The album closes with a haunting rendition of their song Mommy, performed during a blackout, and sends chills up my spine every time I hear it. Another year, another consistent release from the most prolific ska band around today.

18) Street Sweeper Social Club - S/T
Tom Morello, once again doing what he does best. Backing rapper Boots Riley with funky, innovative guitar lines, and as impressive as always. By far his best work since Rage Against the Machine. SSSC still has a political bite, but slightly less serious and a little more fun.

17) Norah Jones - The Fall
A subtle departure from her typical jazzy, lounge style. The experimentation with guitars and synths creates a fuller, slightly darker sound for her exceptional voice to carry, and is a welcome change of pace.

16) KMFDM - Blitz
After 25 years, Kaptain K and co. still know how to push the envelope of electronic music, while staying true to their signature sound. The structure and format of their albums remain predictable, but the tried and true approach works for them. They manage to throw a few curve balls into the mix this time, experimenting with different languages and sounds. A fine entry in their discography, and one of their better releases in the past decade.

15) Spinnerette - S/T
Brody Dalle's new band featuring members of her former band The Distillers, as well as members of Red Hot Chili Peppers and Queens of the Stone Age. Danceable punk rock with a feminine edge in Brody's sexy, angsty vocals. A solid album and a breath of fresh air.

14) Weezer - Raditude
Sorry folks, the Weezer you once loved are gone. In its place is a pop-rock juggernaut fronted by a lead singer embracing every aspect of pop music. Rivers Cuomo is not ashamed to write a simple, catchy tune, or collaborate with artists the likes of Lil Wayne or Jermaine Dupree. Just accept it and go along for the ride. There are plenty of strong tunes to be found here. More bands should stop taking music so seriously and learn how to have fun like Weezer.

13) Major Lazer - Guns Don't Kill People, Lazers Do
Major Lazer is the collaboration of DJ/Producers Diplo and Switch, the forces behind MIA's Paper Planes, as well as Santigold's debut album and a number of excellent mixtapes in the past few years. On this concept album, they join with Jamaican DJs for a unique and innovative twist on Dancehall Reggae. This album also has my favorite use of the dreaded Auto-Tune, in the form of a hilarious crying baby skit.

12) Jay-Z - The Blueprint 3
Another chapter in the excellent Blueprint series, Jay-Z strikes again. You can't deny the power of tracks like Run This Town and Empire State of Mind. The Blueprint albums have always been about showcasing other artists, and here he makes no exceptions. This time he brings in some big guns like Kanye, Rihanna, and Alicia Keys, but the real appeal is his nonchalant, boastful delivery, proving he's at the top of his game and can't be touched.

11) Lily Allen - It's Not Me, It's You
A more mature and diverse offering than her debut. Her lyrics are as satirical and sarcastic as ever, yet the music retains an airy vibe throughout; a testament to great production and song arrangement. Her Cockney accent accentuates the tone of the album, and at times I find myself chuckling at her subject matter. Lily also put on one of the better, more surprising live shows I saw this year.

10) MuteMath - Armistice
I was just turned on to this band this year, right in time for their new album. Futuristic rock with hints of Radiohead, Muse, etc, but much more energetic and diverse. Mesmerizing bass and drum rhythms, accentuated by textured guitars and keys. The vocalist has a great range to boot. I hear they also put on an amazing live show.

09) Muse - The Resistance
Probably their most accessible release, thanks in no small part to their inclusion on the Twilight Soundtracks. While I was fearful for what they could have become, I was happy with the outcome. Muse takes their grandiose stadium rock sound, adds more operatic and electronic elements, and continues to amaze me that they're only a three-piece band. The album closes out with a three part symphony, which is a step in a new direction for the band.

08) Dead Weather - Horehound
Further proof that anything Jack White touches turns to gold. He takes a back seat on this album by playing drums, and letting the other members (Allison Mosshart of The Kills, Dean Fertita of QOTSA, and Jack Lawrence of The Raconteurs) have the spotlight. Swampy blues rock with strong, murky female vocals. The musicianship is top notch, progressive and experimental, yet hard-rocking throughout.

07) The Pains of Being Pure at Heart - S/T
Debut album from a young and talented Brooklyn indie band. Simple, fuzzy shoegaze with soft understated vocals. This came out early in 2009 but has maintained consistent play in my stereo throughout the year.

06) XX - S/T
Another young, understated band, this time from The UK. Groovy, ambient, and fuzzy with simplistic songwriting. The appeal is the way the music sounds so bare and mellow, yet driven by strong bass grooves and haunting male/female dual vocals. This album is getting a lot of buzz, and well-deserved for a group of 20-year olds.

05) The Mars Volta - Octahedron
The Mars Volta have long been my favorite prog rock band, however recent albums have been more of a chore than a pleasure to listen to. The musicianship is always amazing, but they sometimes fall victim to overindulgence and a frantic approach to song structure. On Octahedron they've scaled back to a more accessible, mellow sound. They're calling this their version of an "acoustic" record, which is by no means acoustic, but moves at a slower more structured pace, making for a more enjoyable listen.

04) Silversun Pickups - Swoon
Often compared to The Smashing Pumpkins, and ironically sharing the same initials. Atmospheric, dark, alternative rock. The lyricism and musicianship is passionate and mature for another young band. The album ebbs and flows from soft interludes to loud rock, and maintains a consistent vibe throughout. Another album I keep going back to for repeated listens this year.

03) AFI - Crash Love
With this album, AFI's metamorphosis is complete. A mature sound fully realized in dark, catchy melodicism. They wear their Cure and Smiths influences on their sleeves, and aren't looking back. All of these songs translate well into a live show as well, and I think this album will be remembered as their finest work in the long run.

02) Them Crooked Vultures - S/T
I was blown away in excitement and anticipation when this rock supergroup was announced shortly before this year's Lollapalooza. Unfortunately I couldn't score tickets to their debut show, but just the thought of Dave Grohl, Josh Homme, and John Paul Jones collaborating was a treat in itself. Fast-forward a mere three months later and their album was released, exceeding all expectations, which is rare for supergroups who don't usually live up to the sum of their parts. Of any of their respective bands, this record sounds most like a Queens of the Stone Age album, due in large part to Josh Homme on vocals and guitar. But make no mistake Dave Grohl's influence on drums and JPJ's signature bass also contribute to the groovy, heavy rock and roll that just gels perfectly throughout this album. It also only gets better with repeated listens. Hopefully there will be more music to come from them in the future.

01) Manchester Orchestra - Mean Everything to Nothing
I can't say enough good things about this band. I caught them at Lollapalooza in 2008 and fell in love immediately. I had been waiting in anticipation for this new album from that time, and while their style changed slightly from their debut to their sophomore release, it changed for the better. Openly and obviously influenced by the grunge era, with several songs sounding like blatant Nirvana outtakes, Manchester Orchestra is a tight, talented band fronted by a passionate and emotional vocalist Andy Hull, who has a humble poeticism to his lyrics way beyond his years. From the first track to the last, Mean Everything to Nothing hits you over the head with raw emotion and aggressive rock. As a complete album it flows brilliantly from one song to the next, letting down only once mid-way for a softer number before building again to the amazing finale. If they can keep up this momentum, by their next release they're going to be huge.

That concludes my list of favorite new releases for 2009. As I mentioned, I also got into a bunch of older bands this year by looking backwards, and either discovered or re-discovered some new favorites. Here are a few:

Afghan Whigs
Something about Greg Dulli's soulful, tortured vocals struck a chord with me this year, specifically on the albums Gentlemen and Black Love. I'm not sure why this band wasn't bigger in the 90's. Dulli also has albums under the Twilight Singers and Gutter Twins monikers, which are both equally as good.

Architects
One of my favorite bands from the ska era: The Gadjits, reincarnated into a straight-ahead rock and roll band. The Phillips brothers' songwriting carries over well into rock territory. The Architects already have 3 albums under their belt, and I only wish I had kept up with them sooner.

The Pixies (and related bands)
How I slept on this band for so many years is beyond me. Five amazing albums that have influenced countless alternative bands. I enjoyed hearing the influences backwards, saying to myself "this sounds like Nirvana, that sounds like Weezer", etc, and then gaining a better understanding into where those bands got their start. Equally captivating for me this year were The Breeders, Belly, Frank Black's solo work, The Pacers, The Amps, Throwing Muses, Tanya Donnelly, Kim and Kelley Deal, and Kristin Hersh, who all share connections back to the Pixies in one way or another.

Poison The Well
Two new releases from PTW this year in the form of a new full-length and exclusive Record Store Day release reminded me why I liked this band so much, and rekindled my passion for hardcore music in general. I picked up some of their back catalog I was missing, and saw them play the 10 for $10 tour with several other great hardcore bands. This was the most exciting show I witnessed this year, getting to see a scene still thriving, with one of the original innovators in the metalcore genre still leading the charge.

REM
Thanks to their new-found fire in 2008's stellar album Accelerate, followed up by re-issues of some of their early albums this year, I gained a new respect for these pioneers of alternative rock. Their catalog is large, and while inconsistent at times still offers plenty of diversity in their respective eras of college rock to mainstream rock, to softer middle-age rock territory. It seems however, that they're back to their younger, more energetic roots these days, and I'm excited to hear what they have in store next.

Some other releases that deserve honorable mention:
Remasters and reissues were huge this year, with the biggest being The Beatles' entire discography remastered and reissued on CD for the first time in 20 years. Vinyl-replica packaging with expanded liner notes and mini-documentary movies on each disc, the box set was massive and well worth the investment for any true music collector. Radiohead also reissued and remastered their first 6 albums with bonus discs including all their B-sides for the first time in a complete package. I've always felt some of their B-sides were better than the album tracks, and am glad to have them in a convenient format.

I already mentioned REM, and there was also a reissue of Nirvana's first album Bleach, as well as their legendary Live at Reading performance for the first time on DVD, giving fans an official glimpse into the band at the height of their game.

Probably my favorite music-related release this year was Coheed and Cambria’s Neverender box set, consisting of 5 DVD's and 4 CD's. The Neverender tour brought the band to NYC, Chicago, LA, and London, playing 4 nights in each city, with one night each focused on one of their 4 albums played in full and in order. A DVD and CD captured each night in full, and the 5th DVD documented the making of the entire tour. All of this was wrapped up in a coffee-table style hardcover picture book. This is an amazing collector's item, and the next best thing to witnessing the live event.

Lastly, I can't recap 2009 without mentioning my favorite performer of the year, Lady Gaga. Her album didn't make the cut of my list because it was technically released in 2008, and the 2009 reissue only contained an EP's worth of new songs. However, she blew me away with her live performances on many awards shows, most specifically the one at the MTV awards where she ended up covered in blood and hanging from the rafters. A true performer, she knows how to push boundaries of fashion, art, and music. She's an independent spirit in the mainstream, and straddles both worlds effortlessly. I see a parallel in my current musical tastes, embracing both mainstream and indie music, and just choosing what appeals to me most, despite what anyone else thinks.

That was my 2009. Hopefully I've inspired you to find something new (or old) that grabs you, and more importantly to think and judge for yourself without always buying into the media hype. Go out to a record store and shop the used bins. Research who influenced your favorite band or musician, then see who influenced them, who they collaborated with, and expand your horizons organically. Stop downloading music and streaming early releases. There was a time when a Tuesday new release was a major event, and being the first IN-line with the album in hand was as much of a status indicator as being the first ON-line with the new leak. With that said I'll continue to listen to music my way. If I can't have it in my hand, I probably won't listen to it. I may be missing out on things, and I may be in the minority as we move into a new decade of immediacy, but there's plenty of music out there yet to be heard, and there has to be someone to keep it alive. I'm looking forward to where the next year and decade takes me musically. Until then, thanks for reading.

Review: Channel One - Pose & Posture

Channel One is a new addition to the Megalith Records roster, and have recently released thier debut album for the label, Pose & Posture. The album starts off with an introduction to "Channel One Radio" by Bucket from the Toasters, giving his stamp of autheticity to this exciting and unique band.

First out of the gate is Please, which is a great tune to start off the album. The vocals on this track remind me a little of Brandon Phillips from The Gadjits and Architects, which is definitely a compliment in my book. In fact, this first tune definitely has a Gadjits feel in the organ playing, "woahs" and vocal harmonies, as if it could have been taken from the At Ease album. The next track, I Let My Guard Down, takes a more jazzy turn in the songwriting, and establishes the true Channel One sound a bit more. A strong rhythm section accented by the sax and trumpet in just the right places, and driven by organ, Channel One is an overall tight knit unit. Did I mention the vocal hamonies yet?? I'm loving them in just about every track.

Let Her Run is up next and could easily be a radio single. It's catchy, well produced, has a strong rock/ska feel ala something you would have heard from the Bosstones in their commercial prime, only with much smoother vocals. Brother, Brother continues in this same vein, and it's not until Til It's Too Late that we see a change in style with with the acoustic guitar and stripped down percussion. This might be my favorite track on the album!

As each song plays I'm trying to move past a track-by-track review, but each offers something fresh and different that I have to mention. While the basic song structures are similar in some of these tracks, I'm picking up on fresh influences that surprise me at each turn. For example the "western" feel of Debt To Pay with the twangy guitars, and the group vocals in both Hum and Right Behind One Another, which would make great singalongs in a live show.

Since I'm this far into it I may as well finish... Jah is the most upbeat number and is probably the best showcase of each of the band members' talents. Excellent solos from each band member leaving room for lots of interpretation, which I can only imagine would make for another great live tune. The last track Who Are We? is a mellow closer, and rounds out the album nicely.

Channel One is a breath of fresh air in a scene sometimes plagued with familiarity, and leave it to Megalith to find the talent and bring something new to the table. These guys have the chops to hang with the heavy hitters in US ska scene but also have a fresh and accessible enough sound to cross over to new listeners. Hopefully this album will bring them success, and I'll definitely be keeping my eyes out for any chance of a tour near me, and whatever else they have in store for the future.

For more info and song samples, check out www.myspace.com/channe1

Review: Manchester Orchestra - Mean Everything to Nothing

I am the only one that thinks I'm going crazy and I don't know what to do. I am the only son of a pastor I know who does the things I do. I am the only son of a bastard I know, who knows the bastard too.

A primer for what's in store, these are lyrics from the first track off Manchester Orchestra's sophomore album Mean Everything to Nothing. Andy Hull and co. are back again with another solid release of captivating indie rock, inspired wordplay and songwriting beyond their years. This time out there's a stronger grunge influence in a handful of the tracks, better production, and much more confidence in their delivery. It's easy to tell they've become seasoned veterans of their craft in a short amount of time with constant touring and substantial buzz surrounding their amazing live shows. I first stumbled upon Manchester Orchestra last summer at Lollapalooza, where they had a midday slot on a small stage. In a sea of sounds crossing from various stages and casual listeners passing by while trying to make their way through to the larger stages, Manchester Orchestra stood out as a band with something to prove, and drew me (and many others) into their world instantly. Out of all the new bands I saw that weekend, I walked away with them being my #1 discovery. They've been invited back this year, hopefully anchoring a bigger stage, as Mean Everything to Nothing is a much more powerful album that deserves to be heard by the masses.

At its most basic comparison, Mean Everything to Nothing is emo meets Nirvana. Hull's vocals are emotional, engaging and raspy with a southern twang, while the band's style falls somewhere between soft acoustic rock and hard fuzzy grunge. There are moments of well placed strings, piano, and female backing vocals that wouldn't sound too far out of place on a Foo Fighters record, either. Manchester Orchestra knows how to strike a chord and capture their audience with simple song structures and dynamic changes. Pride for example, builds from a slow anguished crawl to a loud blast, while the next track In My Teeth borrows from the Nirvana songbook with that signature bass/vocal/drum verse combination followed by the loud distorted and shouted chorus they perfected so well. Gears shift about midway through to the slower number and early single I Can Feel a Hot One, released by the band as a teaser sometime last year and also on their Let My Pride Be What's Left Behind EP. It's been upgraded and enhanced since I last heard it with strings and stunning vocal harmonies. The album's theme starts to kick in here with songs My Friend Marcus and Everything to Nothing describing being lost and lonesome, and finding meaning in yourself and the world, in essence, "meaning everything to nothing", or no one. The album ends with The River, where Andy asks God to take him to the river, let him sing again, let him see again, and make him clean again. And hold on for that hidden track, a compliment to The River that gives good closure to the album. If you actually buy the CD you'll also find hidden lyrics to this last track somewhere in the packaging, something all you downloaders out there will miss out on.

I hope you'll listen to this album and also their previous full length I'm Like A Virgin Losing A Child, and go out to see them in a club near you. You won't be disappointed.

Duende - Maria Woodford and Alex Radus

Sometimes you end up in the right place at the right time and witness something magical. As I sat and sipped coffee in a local coffee house in New Jersey some 7 or 8 years ago, a young man and woman I'd later know as Alex Radus and Maria Woodford took the stage with acoustic guitars in hand. They began playing some of the most original, inspired folk music I've ever heard. I don't quite know how it happened, but at some point that night they went from background coffee house music to one of my favorite local bands and most memorbale live musical moment. Something about the connection these two had on stage locked me in. They played good old Americana music, feeding off each other in the guitar work and vocal harmonies. Maria grounded the duo in the rhythm and melody while Alex provided more of the harmonies and lead guitar work, often singing in a higher range than his female counterpart. Several of their songs would extend for upwards of 10 minutes while they jammed and dueled, pushing and challenging each other as the songs progressed without ever becoming tedious or dragging on. I got to see them play several times in NJ and PA before they disbanded in persuit of their solo careers. In that time they released a self-titled studio album together, a solo album each, and a live album called Peppers and Jelly. I find myself pulling the Duende self titled album and Maria's solo album A Brighter Path out most often. Stark, bleak, and somber lyrics contrasting over moments of upbeat country, bluegrass, and blues. The lyrics were always powerful, and only complimented and enhanced by the amzing vocal harmonies and technical guitar play. Songs like West Virginia, Always, When I Sober Up, Let The House Fall, and Women in Concrete are in my top five.

I can't do Duende any justice describing their music, other than to recommend listening to them and seeing for yourself. Hopefully you'll hear a little bit of that magic that drew me into them in the first place. Honestly, neither of their solo work has managed to move me the same way they did together, but they're still definitely worth supporting and giving a listen.

Check them out at the following links:

Duende Myspace
www.myspace.com/duendelovesyou
(Django, and Behind Closed Doors)

Maria Woodford Myspace
http://www.myspace.com/mariawoodford
(Good Morning, Indian Summer)

Alex Radus Myspace
http://www.myspace.com/alexradus
(Earthquake, Call Them Blue)

And if you really like what you hear, you can purchase their albums at www.cdbaby.com/duende

Review: TheNewNo2 - You Are Here

Let's just get this out of the way. Thenewno2 features Dhani Harrison, son of a Beatle of the same surname, as a primary songwriter. The comparisons stop there though. London based TheNewNo2 is a fine mix of downtempo, psychedelic, electronic rock. Dhani is the guitarist, bassist, and singer, while Oliver Hecks handles the drum and synth duties. They describe their sound as blues-surf-rock-drum-and-bass and cite their influences as Massive Attack, Led Zeppelin, Jimi Hendrix, and Dick Dale, but I hear more of a Radiohead and Beck vibe and less of a surf vibe. The beats are slow and bassy, and the vocals are high pitched and melancholy. Some good piano work and guitar solos throughout the album, and excellent programming by Hecks. They even throw in the requisite female vocalists in two of their standout tracks Wind Up Dead and People.

You Are Here was technically released in 2008 in digital format, but finally saw a physical release last week. They've played sporadic dates in the states, but I imagine they're gearing up for some festivals this summer, and have been confirmed for Coachella and Lollapalooza.

I think this band would be better seen in a small club setting as opposed to an outdoor festival, but for all I know they have a completely different live sound. This is definitely a promising debut from a guy with obvious talent in his DNA. Check them out at www.myspace.com/thenewno2

Review: New Singles - 4/7/09

Rancid - Last One to Die
First single from their long awaited new album Let the Dominoes Fall. It's been six years since Indestructible, which wasn't that great, and by the sound of this new track, more mediocrity will be coming our way in June from these once relevant punx. Over-produced backing vocals overshadow Tim's underproduced and lazy vocals and lyrics. Maybe Tim should stick to ghost writing for pop singers and signing good bands to Hellcat. The ray of hope here is that this album will have 19 tracks; a few of them have to be good. Probably the one featuring Booker-T. Check it out for yourself at www.myspace.com/rancid

Sean Kingston - Fire Burning
Sean Kingston's new album Tomorrow has been "coming soon" for several months. Now it's obvious that he's been waiting for the seasons to change and ring in the summer jams with another hot tune. Fans of Beautiful Girls, Take You There, etc will find more of the same catchy dancehall-light in Fire Burning. This one's ready to hit radio and blast from every highschooler's car stereos all summer long. I'll be the old guy shamelessly bobbing my head along from the sidewalk. There's plenty of time for serious music all year long. We only get 2 months of nice weather in Chicago, and I'll be looking forward to enjoying this one. Check it out at www.myspace.com/seankingston

NIN|JA 2009 Tour Sampler

After announcing a 2009 summer tour recently, Nine inch Nails and Jane's Addiction (NIN|JA) went into the studio to record a few tracks together. A revival of the minds who ushered in the "Alternative Nation" at the first Lollapalooza in 1991, it's great to see these two powerhouses back together after 18 years.

Tracklist:
Jane's Addiction - Chip Away
Nine Inch Nails - Not So Pretty Now
Street Sweeper - Clap for the Killers
Jane's Addiction - Whores
Nine Inch Nails - Non-Entity
Street Sweeper - The Oath

Jane's Addiction re-recorded two of their early songs with Trent Reznor for this sampler. Chip Away sounds more like a solo Perry Farrell track, with a tribal drum beat and Trent's whispering background vocals putting his signature stamp on it. You can barely tell the rest of the band is even there. Whores is the better of the two; a classic Jane's track with the full original lineup.

Nine Inch Nails' two contributions to this sampler are leftovers from With Teeth. I don't have much to say about the first one Not So Pretty Now. It's lackluster and bland and sounds just like most of the songs on what in my opinion was Trent's weakest album. This is like watching a deleted scene from a bad movie. The second track, Non-Entity is much better and actually sounds like it could have came from The Fragile sessions, and reminds me of Even Deeper.

I never thougt I'd say it, but Street Sweeper is the most exciting band on the sampler. Rapper Boots Riley of The Coup with Tom Morello on guitar. I guess Tom needed a new rap-rock outlet since Rage doesn't look to be recording any time soon. I'm convinced Tom can play guitar on just about anything and make it sound good. Personally I think his unique guitar styles fit best in this type of context. He was great in Audioslave, and made a convincing left turn with his acoustic guitar and deep vocals in Nightwatchman, but he stands out best when backing a rapper. These two tracks are promising. I don't think the album will be outstanding, nor will they break major ground, but similar to Zach De La Rocha's last project One Day as a Lion, Street Sweeper is a good return to roots.

You can download this sampler for free by providing your email address at www.ninja2009.com