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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My 13 Favorite Albums of 2009 13-6

Well, here we are in 2010, the year we make contact. For those of you who don’t know, a new federal law went into effect at midnight on New Year’s Day: if you hear any of your fellow citizens call this year “oh-ten”, it is legal to punch them in the face exactly one time.

Having safely seen 2009 out the door, I think it’s time to start talking shit about it. Everyone loves a list, especially one that doesn’t include Animal Collective or Phoenix, so I compiled a list of my 13 favorite albums of 2009. I don’t know if they’re the best albums of the year or not and I don’t care. They’re the ones I like the best and, honestly, I think that’s all anyone can say. Also, my list contains 14 albums (well, technically, 13 albums and an EP) because there was a tie. Anyway, feast yer eyes on this here list (helpfully rendered in a distinctly non-slide-show format):

13. Lord Cut-Glass, Lord Cut-Glass. I’ll just assume everyone knows that Lord Cut-Glass is really former Delgado Alun Woodward. And I know that my review of this record spent a good deal of time bitching about how the Delgados ought to just reunite, come to the U.S. and play shows in the courtyard of my apartment complex. But the fact remains that Lord Cut-Glass is a really beautiful record; Woodward lilts over plucked acoustic guitars and low brass, quietly issuing some of the best melodies of his career. Highlights include “Picasso,” “Even Jesus Couldn’t Love You,” “Holy Fuck,” “A Pulse” and “Big Time Teddy.”

12. Mike Doughty, Sad Man Happy Man. Last year, Doughty put out an album called Golden Delicious that I liked well enough at first. And then it kinda grew off of me with a stunning quickness. Just wasn’t feeling it, I guess. However, because I love Mike Doughty, I’m always willing to listen to his stuff. This year, he put out the superb Sad Man Happy Man, which I nabbed from Amazon’s digital store for five freaking bucks (gargle my balls, I-Tunes). SMHM is driven by Doughty’s chunky guitar strumming and absurd humor, and it’s my favorite album of his since Skittish (which has to be one of the most underrated albums I’ve ever heard). It opens with one of its best moments, “Nectarine (Part Two)” and also includes the coolest prayer ever (“Lord Lord Help Me Just to Rock Rock On”) and “Year of the Dog,” which might be Doughty’s best tune since “Sweet Lord in Heaven.”

11. Yeah Yeah Yeahs, It’s Blitz. 2009 was a great year for some of my favorite female vocalists, not least of whom is Karen O. of the Yeah Yeah Yeahs. Not only did I get to delight in an affordable deluxe edition of It’s Blitz! (Amazon’s mp3 store has not yet let me down in the cheap goodies department), but I got to see the Yeah Yeah Yeahs play a kickass set at Coachella (one of the best sets I saw at that festival). The album is filled with awesome turbo-pop (starting with a pair of aces in “Zero” and “Heads Will Roll”) and a few pretty ballads (“Hysteric” splits the difference between the two types of song and is, in two words, fucking awesome). It’s Blitz! firmly established the Yeah Yeah Yeahs as one of the best bands in America and their live shows will back that claim up for the doubters.

10. Brother Ali, Us. I could make a joke about how Brother Ali is the king of white rap (ha ha, because he’s an albino, ha ha), but, taking Us as exhibit A for the prosecution, it’s more accurate to place Ali near the top of the hip-hop heap, regardless of skin pigment. Jay-Z has never, in my estimation, done anything to rival  “Tightrope” or “The Travelers.” To my knowledge, he’s never even tried. With Us, Ali threw down a gauntlet of new rules for the hip-hop community, chief among them: no skits and fewer songs about how badass you are (Us has ’em, but they’re matched pound for pound by songs of real substance and at least one tune wherein Ali shows gratitude for his good fortune, saying, “I’m the luckiest sonofabitch that ever lived”). Us is a truly refreshing album, and it stays fresh with every listen.

9. Camera Obscura, My Maudlin Career. Speaking of refreshing, Camera Obscura released one hell of an orchestral pop album last year. My Maudlin Career, despite its potentially emo-sounding name, starts and ends with a bang (“French Navy” and “Honey in the Sun”, respectively) – in between, Tracyanne Campbell drops lines like “when you’re lucid, you’re the sweetest thing” and “drinking has never been the same again”, the latter from the stellar, mournful ballad “Other Towns and Cities”. My Maudlin Career is so good that I think almost anyone who likes music will like it. But some people who like music like Wavves, so I could be wrong.

8. The Minus 5, Killingsworth. Killingsworth is the album that elevated Scott McCaughey from Person of Interest to Folk Hero in my estimation. It’s basically a dark country rock album, but it’s so fully realized and wittily rendered (“your wedding day was so well-planned/ like a German occupation”) that it cannot be denied. Backed by an excellent chorus of women, McCaughey sings of lurking barristers, broken love, and crowded urban apartment life (“Big Beat Up Moon”) with a drunken weariness that is deeply appealing to young curmudgeons like myself. He also takes the time to satirize fundamentalist Christianity on “I Would Rather Sacrifice You”, a song that never fails to but a big smile on my face.

7. The Future of the Left, Travels with Myself and Another. I have said many times that, all appearances to the contrary, I like more music than I dislike. A small subsection of music that I like is nasty, noisy stuff that almost no one else I know likes. Titus Andronicus comes to mind here, as does the Future of the Left, whose Travels with Myself and Another beat its way into my skull and won my heart last year with its pounding drums and Andy Falkous’s snarling vocals. Subjects range from girls who get off on hitting people (“Chin Music” will only be appropriate at a very small number of weddings:  “I only hit him ’cause he made me crazy/ I only hit him ’cause he made me mad/ she only hit him ’cause it gets her wet/ yeah, she’s one of a kind/ she’s got chin music”) to the practical concerns of Satanism (“You Need Satan More than He Needs You”). Travels with Myself and Another pretty much kicks ass, though it’s not for the faint of heart or the humorless.

6. Andrew Bird, Noble Beast. I guess #7 and #6 on my list are a study in contrast. Andrew Bird’s Noble Beast is an understated, mellow, and completely lovely work – his finest to date, if I may be so bold. It blends Bird’s myriad musical talents (no one on earth – no one – can whistle like this motherfucker) into quirky pop (“Fitz and the Dizzyspells”), old school folk (“Effigy,” which is nothing short of stunning), and whatever you’d classify “Not a Robot, But a Ghost” as. Some of the songs have unique movements, but they never seem to wander, even on the seven minute “Souverian.” Bird is a musician’s musician, a guy you can study as well as enjoy, and Noble Beast is the textbook for aspiring musical ninjas.

I know. It’s taken me four days into the new year to even start counting down my favorite albums of the old year and now I’m doing it in two parts. Pitchfork took a week to do their list and they still fucked it up, so maybe it’s better that I’m taking my time. I, for one, wholeheartedly endorse every choice I’ve made so far. Tune in tomorrow or Wednesday for albums 5 through 1, which are bound to include demure rodents, plenty of references to whiskey, a rant about shitty record labels, the best pop album of the year, the word vagina, and plenty of weather.

No One’s First and You’re Next

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I’ve had a curious relationship with Modest Mouse. The first time I heard them was in Eugene, Oregon, when I was in college at the good ol’ University of Oregon. I was browsing the racks at Face the Music (which no longer exists) and they were blasting The Moon and Antarctica. While I recognized and approved of the Tom Waits influence, I can’t say I was enamored of the music. In fact, I found it to be pretty fucking obnoxious, honestly. The first time I liked a Modest Mouse song was, oddly enough, when I heard “Float On” on the radio (those of you who tire of my constant bitching about how shitty the radio is might be tempted to cry “hypocrite” but I never said that the radio never plays good music. It mostly never plays good music). I was working overnight at Target, also in Eugene, and I swear “Float On” was the only good song we heard on the radio and we heard it almost every night. I was stunned to find out that it was  a Modest Mouse song and even more stunned when I ended up not just liking but loving Good News for People Who Like Bad News. In fact, I love that album more all the time.

And now I find myself in the odd position of being something of a Modest Mouse fan. I own all of their albums and most of their EPs and the stuff I used to find obnoxious is now really interesting to me (remember: I like Captain Beefheart) and my appreciation for Isaac Brock’s writing and ability to completely lose his shit vocally without going emo has only grown. I saw them live last year and, though the internet warned of vast inconsistency in the quality of Modest Mouse live shows, I found them to be an extremely tight and wildly entertaining band in concert. Lucky me.

Modest Mouse’s last two albums, Good News and We Were Dead Before the Ship Even Sank, have been their poppiest yet. Some would be inclined to say their best yet, but that would only be half right. Good News is their best, followed closely by The Moon and Antarctica. I’m one of those guys who like 99% of Modest Mouse’s output and while that may earn me the scorn of some, it really just means there’s more for me to enjoy than there is for them. To paraphrase The National, all the wine (where “wine” = “good Modest Mouse music”) is all for me.

So now Brock and his revolving cast of characters have released a new EP, No One’s First and You’re Next, made up of stuff recorded during sessions for their last two albums, though it might be misleading to dismiss these songs as mere cast-offs. They’re all high quality tunes, many of them are even excellent, including “Satellite Skin,” “History Sticks to Your Feet,” and “Autumn Beds,” which sounds like it could’ve made the cut for an album by Brock’s apparently one-off side project Ugly Casanova (whose album I also own and, yes, it is awesome).

People who love Isaac Brock’s voice are probably (definitely) a minority (of which I am a card-carrying member) so it’s more likely that people come to Modest Mouse songs for the music and Brock’s lyrics as much as anything else. Musically, No One’s First is great, pretty heavy on the electric guitar (this is, I think, the Johnny Marr influence. So if Johnny Marr wasn’t the boring part of The Smiths, who can we blame? Oh yeah – Morrissey was also in the Smiths) and banjo. There are a lot of great lyrical turns to be had, too – on “Satellite Skin,” Brock asks, “well how the heck’d ya think you could beat them/ at the same time that you’re trying to be them”;  offers “I drew a blank/ we put it in a frame” on “Guilty Cocker Spaniels”; and, in typical Isaac Brock fasion, he rips your rose colored glasses off and crushes them on the sidewalk on “History Sticks to Your Feet”: “optimism doesn’t change the facts/ just what you’re gonna see.”

It’s easy to see how a lot of this stuff didn’t fit the overall vibe of Good News and/or We Were Dead, but it would be laughably inaccurate to say it’s because they’re not good enough (earlier, I said it might be misleading, but I’ve listened to the album several times since I wrote that sentence and I’m now convinced that “laughably inaccurate” is more appropriate than “misleading”. Why did it take me so long between the composition of these two sentences? It’s been a long week, don’t ask. Also, I’ve been listening to this EP almost non-stop since I got it). Some of these songs are far superior, quality-wise, to stuff that made the cut on We Were Dead Before the Ship Even Sank, but they don’t fit the mood of the record. And No One’s First features, back to back, two pretty compelling stylistic departures: “The Whale Song” (which centers around the haunting line, “I know I was the scout/ I should’ve found a way out/ so that everyone could find a way out”) and “Perpetual Motion Machine,” which is straight out of some bizarre musical starring Isaac Brock as… well, I dunno.  I’m not sure what role Brock would play in a musical, but I do know that if more musicals had people like him in them and music like his band makes on No One’s First and You’re Next, I would probably hate musicals slightly less than I do now.