My Favorite Albums of 2009 5-1

I know we’re a few days in already, but I have a couple New Year’s resolutions I’d like to share with you, both of which pertain to language you find in abundance on the internet. The words “douche” (or “douchebag” or “douchetard” or “douchefuck” or et cetera) and “hipster” are used far too much on the internet. This year, I will not use the D-word (or any of its various permutations) on this blog. At all. Ever. It’s done. Don’t worry about me coming up with alternatives, either. If there’s one thing I’m good at, it’s finding new ways to hurl invective. As for the word “hipster,” when it comes to music, everyone thinks they know what a hipster is and everyone thinks it’s not them. It’s become a completely meaningless – and therefore useless – word. I don’t use that word a lot myself, but it is hereby banished from Bollocks! in the hopes that I can inspire other people on the internet to stop using it.

So let’s get on with the continuation of my meaningless – and therefore useless (but entertaining, one hopes) – list of my 13 favorite albums of 2009. Here’s the score so far:

13. Lord Cut-Glass, Lord Cut-Glass

12. Mike Doughty, Sad Man, Happy Man.

11. Yeah Yeah Yeahs, It’s Blitz!

10. Brother Ali, Us

9. Camera Obscura, My Maudlin Career

8. The Minus 5, Killingsworth

7. The Future of the Left, Travels with Myself and Another

6. Andrew Bird, Noble Beast

And now here’s the top 5:

5. Sparklehorse and Danger Mouse, Dark Night of the Soul. I know, this album wasn’t technically released this year, but it damn well should have been. It’s still streaming on NPR’s website and the Wikipedia suggests that you can fire up your favorite torrent software and obtain a copy of the album for yourself at an exceedingly reasonable price. Sad thing is, Dark Night of the Soul is well worth the price of admission that EMI is so unwilling to charge. Featuring guest appearances by the likes of Wayne Coyne, Frank Black, and Iggy Pop (to name but a few), the album is pure beauty from start to finish. Danger Mouse has asserted himself as the preeminent collaborator of the last few years (perhaps of the decade, if you’re into that sort of declaration) and he and Mark Linkous (who collaborated on some of Sparklehorse’s underrated Dreamt for Light Years in the Belly of a Mountain) create gorgeous sonic landscapes upon which their friends (including David Lynch!) freely frolic. The highlights are numerous, but “The Man Who Played God” (featuring Suzanne Vega), “Insane Lullaby” (featuring the Shins’ James Mercer, who is partnering with Danger Mouse to release an album as Broken Bells later this year – I’m sure EMI will find some way to fuck it up, if at all possible), and “Star Eyes (I Can Catch It)” are my top 3. If you like music at all, find a way to hear this album, legality be damned!

4. Metric, Fantasies. I think 2009 was a pretty good year for the kind of pop music that I like to listen to. My favorite pop record of the year – no contest – is Fantasies by Metric. Emily Haines has an amazing, versatile voice and Fantasies is infused with loud guitars and pounding drums. This is the album you put on at top volume while flying down a freeway in the summer. And this is one band that understands brevity – the album is but ten tracks, but every single one is a killer. A different one gets stuck in my head on just about a daily basis, although “Sick Muse” and “Front Row” are the most frequent visitors. “Sick Muse” deserves special credit because, as the song builds to the chorus (where Haines sings “I’ll write you/ harmony in C”), it gives  me the feeling of going down a particularly awesome water slide or cannonballing into cool water from some dizzying height. That feeling is exactly the feeling you should get from pop music and it’s why Metric currently tops the list of bands I really need to see live.

3. TIE: Modest Mouse, No One’s First and You’re Next and Lucero, 1372 Overton Park. I know this is supposed to be some sort of exercise in perfectly ranking the albums I loved from last year, but there’s no escaping the fact that Modest Mouse and Lucero both made albums that I think are precisely the third best things I heard all year. No One’s First and You’re Next is technically an EP of songs recorded during sessions for Good News for People Who Like Bad News and We Were Dead Before the Ship Even Sank, and the songs make it clear that they weren’t omitted for a lack of quality. “Satellite Skin” and “History Sticks to Your Feet” are instant classic Modest Mouse tunes, to say nothing of “Autumn Beds” and “King Rat.” Rather than being a miniature pile of odds ‘n’ sods, No One’s First is a potent reminder of the fact (indisputable!) that Isaac Brock is a brilliant lyricist and that Modest Mouse has become a formidable musical force for awesome.

I know I haven’t reviewed Lucero’s 1372 Overton Park, but that’s because I just got it in the last month and haven’t stopped listening to it long enough to write about it. Yeah, Ben Nichols’s voice is shredded (it has been said of Tom Waits that he sounds like he gargled whiskey and broken glass. In that spirit, you could say Ben Nichols was gargling whiskey and broken glass when he accidentally swallowed), but he still tells a great story, (mostly) carries a tune, and manages to wax anthemic as fuck on album opener “Smoke.” There’s a badass horn section on nearly every song, but rather than coming off as gimmicky, the horns perfectly augment Lucero’s busted-ass country rock and aid the band in making their best album since 2005’s Nobody’s Darlings, if it’s not their best album ever. You can have your Airborne Toxic Events and your Gaslight Anthems, but neither of those bands are fit to clear the (numerous) empty bottles from Ben Nichols’s table.

2. The Flaming Lips, Embryonic. If you watch the Grammys, it might be easy to forget that the word “artist” used to apply to a select group of people. On the Grammys, everyone’s an artist (for instance, Maroon 5 were named the best new artists of 2005. I’ll give you a minute if you need to go throw up), but in the really real world, the true musical artist is a dying breed. Or maybe not. Wayne Coyne, the Flamingest Lip, is a true musical artist, a guy who lives his art because it’s who he is. And in 2009, the Flaming Lips returned triumphantly with Embryonic, a spaced-out, bass-heavy, fuzzy hippie nightmare. Not nearly as experimental as Pitchfork would have you believe, Embryonic is nonetheless a powerful rock record featuring the Lips’ usual meditations on life, love, good, evil, ego, and death. And it all ends with the cosmic dance party “Watching the Planets,” the video for which features naked adults being born out of a giant vagina ball. No, really.

MY FAVORITE ALBUM OF THE YEAR:

1. Neko Case, Middle Cyclone. If we learned anything last year, I think we learned that Neko Case is a goddess. Three years after releasing the excellent Fox Confessor Brings the Flood, Ms. Case topped herself with Middle Cyclone. Such beauty! Such violence: “Their broken necks will line the ditch until you stop it/ stop this madness” (from “This Tornado Loves You”); “The next time you say ‘forever’/ I will punch you in your face” (“The Next Time You Say Forever”); people are “filleted” on the stairs (“Polar Nettles”), and, of course, surprised when they’re eaten by man-eaters (“People Got A Lotta Nerve”). I could discuss at length, as other have, the obvious metaphors for romance as a force of nature (sometimes beautiful, sometimes deadly), but beyond all that academic shit, what the music of Middle Cyclone is – above all else – is almost profoundly gorgeous. Of the fourteen songs here, there are probably eight that give me chills every time I hear them. Listening to the album again (for the billionth time – if I ever get sick of this record, you can stick bamboo splinters soaked in lemon juice under my fingernails), the dreamlike “Prison Girls” is the one that really has a hold on me. For a while it was “Magpie to the Morning.” And so on. Neko Case is among the best singers in music right now, bar none, and Middle Cyclone is a stunning achievement. If you haven’t heard this album, there is a hole in your life that can, I suspect, be easily filled. Also, it bears repeating that Middle Cyclone‘s cover is among the most badass things I’ve ever seen.

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