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We finished this list with but a single day left in the year.  We did not forget about you, dear readers, for we know that you would be lost in a musical netherworld without us to guide you out like Orpheus leading Eurydice by the hand (shout out to Arcade Fire!).  We’ve scoured the globe (quite literally) for the finest tunes in 2013.  There were some outstanding albums this year, about which you shall soon read, but the year was not without its disappointments (for us, this would be albums from Atoms for Peace, John Vanderslice, Josh Ritter, and to some extent, Sigur Rós).  And you won’t soon find Kanye West’s Yeezus anywhere near our list (have we poisoned the well for some readers?).  Still, it was a solid year, a year that the annals of music will look back on with a double thumbs up, if not quite a leaping in the air high-five.  So without further ado, we give you Lost in the Cloud’s Best Albums of 2013.
Elijah’s Top 10 Albums of 2013
10. guessing the others  swimming in speakers — I was first made aware of swimming in speakers by our resident Band Evangelist, Greg, back in April.  Duo Christopher Clarke and Meadow Elizabeth Erskine present a fine collection of both timeless and timely tunes, hearkening back to yesteryear’s American and Western European folk traditions whilst also venturing into the freak-folk electronica wave (and doing it oh, so well!).  Erskine is also behind the design of the very delicate album art.  They’ve not received an awful lot of press, but hear you me, keep an eye and an ear out for swimming in speakers.
9. Muchacho  Phosphorescent — 2013 was a great year for the advancement of the freak-folk movement.  Combining Eno-esque production with Brian Wilson-esque harmonies and the country charm of Willie Nelson, singer-songwriter Matthew Houck has struck gold.  With Muchacho, Houck produces aural sweetness on every level, highlighted by his wavering voice.  Every second of the expertly produced 46:28 minutes wash over the listener like a warm Southern breeze.  And it’s not short of hoots and hollers neither!
8. Love’s Crushing Diamond  Mutual Benefit — I must be on a desperate singer-songwriter bent this year.  Although Jordan Lee has been producing through his project Mutual Benefit for more than four years, this is his first LP, and although it’s running time is hardly over a half hour, it is well worth the four year wait.  This album caught me out of nowhere.  As with my number nine and ten albums, there’s a sweetness and maturity to the production of Love’s Crushing Diamond that keeps the listener eager for more.
7. Trouble Will Find Me  The National — As Greg pointed out, singer Matt Berninger’s voice might not be for everyone.  But like Greg, it’s for me.  And it might be for you.  Now, when I first heard 2007’s Boxer, I was unconvinced.  I found the music rather, dare I say, boring.  I’ll admit that Boxer has not yet become for me what it is for so many of my esteemed colleagues (one of Greg’s Top 50 Albums, for instance), but The National’s previous record, 2010’s High Violet, changed my opinion.  Trouble Will Find Me has only encouraged this continued trend of admiration, with more of the same of what The National always does, but somehow through those obscure lyrics and linear songwriting, they bring you through the mire and give you hope.
6. Monomania  Deerhunter — I wasn’t ashamed to admit that I wasn’t taken with Bradford Cox’s previous release (as Atlas Sound).  2011’s Parallax was my biggest disappointment that year.  It has a few gems, but by and large I found it boring.  It lacked the magic that flowed forth from all of Deerhunter and Atlas Sound’s previous releases.  So I approached Monomania with caution.  I almost let it slip past me this year, but I must thank my lucky stars that it didn’t.  It’s a departure from Deerhunter’s previous release, 2010’s Halcyon Digest (my third favourite record that year), but definitely a departure in a brilliant direction.  The album starts with a growl and persists with some heavy garage rock. Cox’s vocals oscillate between their typical dulcet tones to heavy distortion, reminiscent of The Stooges.  The guitars seldom let up.  All in all, I think I can sum up this album in one word: exquisite!
5. Secret Soundz, Vol. 2  The Pictish Trail — 2013 has been an eventful year for Johnny Lynch (aka The Pictish Trail), most notably when he announced (seemingly prematurely) that the King Creosote (Kenny Anderson)-founded, Johnny Lynch-run label, Fence Records, was to cease operations (the link to this announcement is now dead).  Since then, Kenny has announced that Fence is still alive and kicking and Johnny has launched Lost Map, taking with him several Fence regulars.  In the midst of this reshuffle, The Pictish Trail has released his first record since 2010’s In Rooms (which isn’t exactly your typical LP, consisting of 50 30-second songs).  For those of us eager to get our hands on The Pictish Trail’s newest tunes, which have speckled Johnny’s live sets for the last few years, Secret Soundz, Vol. 2 comes as a great relief, and if The Pictish Trail hasn’t exactly on your radar over the last decade, you should change that right now.  With his typical fine balance of earnestness and levity, something reminiscent of David Bazan (and not just because of the beard), The Pictish Trail acts as something of a spiritual intercession for us, a prophet who guides us through the banality and pain of life, but with a bold sense of hope on the horizon.
4. Partygoing  Future Bible Heroes — I’ve been a fan of Stephin Meritt and Claudia Gonson’s band The Magnetic Fields for some time now, but I wasn’t completely sold on last year’s Love at the Bottom of the Sea.  Upon hearing that their electronica-based project Future Bible Heroes was to release their first record in over a decade, I had mixed expectations, but decided to give it a go anyway.  (*I wish to emphasize that the presence of Futura typeface and a kilt on the album cover had nothing to do with my willingness to listen to this record.)  Partygoing proved to be one of my biggest surprises of the year – and to think that it nearly passed me by!  Ever present are Meritt’s reflections on love, death and darkness, sprinkled with irony and humour, simple songs that prove incredibly touching without resorting to sentimental kitsch.  Chris Ewen’s accompaniment provides the perfect backdrop for Meritt and Gonson’s vocals and as a whole, the record shines.
3. Wondrous Bughouse  Youth Lagoon — Youth Lagoon’s first record, The Year of Hibernation, came as a great surprise to me back in 2011, especially considering it was the produce of then 22-year-old Trevor Powers in some shack in Idaho.  It came in fourth that year, just behind PJ Harvey’s Mercury-prize winning Let England Shake.  The Year of Hibernation was an inspired record and what it lacked in orchestration (which was very little) it made up for in innocence and artistic purity.  Any orchestral and production gap has been closed on Wondrous Bughouse.  The maturity of Powers’ songwriting and production is staggering, offering echoes of the later output of The Beatles and Elliott Smith.  Still present is Trevor Powers’ unique voice (both literally and figuratively), but with more confidence and tact than his debut release.
2. Pedestrian Verse  Frightened Rabbit — It should come as no surprise that Frightened Rabbit’s Pedestrian Verse is featured near the top of this list.  Their last full length, 2010’s The Winter of Mixed Drinks, ranked very high on both my (number 3) and Greg’s (number 2) Top 10 Lists that year and their 2008 record The Midnight Organ Fight is one of the shared entries from both my and Greg’s Top 50 Albums of all time.  Needless to say, we love us some Frightened Rabbit.  With the release of two EPs since The Winter of Mixed Drinks, 2011’s A Frightened Rabbit EP and last year’s State Hospital, our inflated sense anticipation could only amount to disappointment with Pedestrian Verse, right?  WRONG.  With instant classics such as ‘Acts Of Man’, ‘Backyard Skulls’, ‘Holy’, ‘The Woodpile’, ‘Late March, Death March’, ‘December’s Traditions’, ‘Housing (in)’, ‘Dead Now’, ‘State Hospital’, ‘Nitrous Gas’, ‘Housing (out)’, ‘The Oil Slick’ (yes, that’s the whole album…), Pedestrian Verse somehow proves even more accessible (and perhaps even more complete) than any of their previous releases.  There’s a great sense of honesty in all of Frightened Rabbit’s music, and here with Pedestrian Verse, singer Scott Hutchison further exposes his own tendency toward immature sentimentality and gives us something more upon which we might latch in order to keep our heads above the waves.
1. Reflektor  Arcade Fire — When I first heard this record I knew it was going to be on this list, but I didn’t expect it to be number one.  But as with most of the music I find worth listening to, Reflektor is a grower.  Being the silly man that I am, I wasn’t a fan of Arcade Fire’s first record.  When Greg and I decided to share duties when reviewing our shared Top 10 Albums entries in 2010 I dodged this confession by having Greg do The Suburbs writeup.  These days I find Funeral far more listenable, but you still won’t find it anywhere near the top of my favourite albums list.  The same goes for their second release, Neon Bible.  I found certain songs on both records very strong, but it wasn’t until The Suburbs that I found myself completely enamoured with an entire Arcade Fire record.  This might put a foul taste in the mouths of some of our LITC readers and maybe for ‘Arcade Fire purists’ the placement of Reflektor here at the number one spot—in light of my mixed feelings regarding Funeral, in particular—is seen as sad and weak.  But for these things, I am unapologetic.  Early Arcade Fire’s unsteady musical footing and maudlin lyrical content was wasted on me.  But with Reflektor the band has reached musical nirvana.  Conceptually, intellectually, musically, lyrically – it’s all there, stripping back contemporary pop sensibilities and gifting us with an organic piece of pop genius.  And as I said before, Reflektor is a grower.  The tracks I once considered weaker, the last five, are now the ones I to which I cannot stop listening.  They hammer home some of the conceptual genius of Reflektor, this play between Eurydice and Orpheus (see the Rodin sculpture which features prominently the cover of the album) and the paradoxical insanity of the ‘Present Age’ (see Kierkegaard’s Two Ages).  In the midst of the convergence of these themes, Reflector also proves highly listenable, echoing the bodily and rhythmic sensibilities of a Haitian carnival.  So if you’ve not already, find yourself a comfy seat this New Year’s Day and Reflekt.
Once I Was an Eagle  Laura Marling
Tomorrow’s Harvest  Boards of Canada
Everyday I Get Closer to the Light from Which I Came  Jesu
Greg’s Top 10 Albums of 2013
9. We’re Not Lost  The Show Ponies — I chipped in a bit for this local LA band’s fundraising campaign to make this album, so hopefully it’s not a conflict of interest to place it on the list. First of all, they are a kick in the pants to see live (they’ve played twice at my church this year–pretty amazing to have such a talented band come to your door). But though their energy is infectious and exhilarating, I think they’re actually at their finest when they let the soulful, Appalachian-tinged violin of Phil Glenn (really the finest calibre of musician imaginable, though all of the musicians in this band are profoundly talented) wander among the rich harmonies of the two lead vocals in their slower numbers. Check out “Gone,” “We’re Not Lost,” “Pieces of the Past,” and “The River”–keep an eye and an ear open for these kids, cause they’re going places (I just read Elijah’s review of swimming in speakers’ album and saw that he had written something exactly like what I just wrote–only he wrote his review last week. Me and this guy are twinsies, for realz).
8. Us Alone  Hayden — His last two albums have also been on my top 10 lists in 2007 & 2009…there’s just something about Hayden’s idiosyncratic songwriting style; his moody, introspective lyrics; and his naturally gifted musicianship (he’s playing all the instruments on this album) that resonates with me at a pretty deep level—but I always give the caveat that Hayden is not for everyone.  What some find morose, I find beautifully melancholy.  I’m in line with one of the fans he sings about, for whom music was once “Almost Everything,” a song which is a profound & bittersweet capsule of his career. I love the lyrical fast one he pulls on “Motel”—parents of young children will appreciate his escapist fantasy. “Blurry Nights” is a lovely duet with his sister-in-law, Lou Canon, whose self-titled album from 2011 Hayden produced. And “Instructions” is a haunting, yet sweet song about what to do with his remains once he’s died. Only Hayden…
5. Once I Was an Eagle  Laura Marling — This is one of those records that has to be listened to (and appreciated) as a whole album.  It’s hard to pull a track out of this organic work, which feels like a poetic self-declaration of independence (I don’t know from whom or what) whilst simultaneously a homage to musical dependence upon a host of singer-songwriters, so I can only recommend that you take an hour, put this on, and lose yourself in this roaming, searching acoustic masterpiece that exists somewhere between Joni Mitchell and PJ Harvey.
4. Alone Aboard the Ark  The Leisure Society — The work of British musical gadabout Nick Hemming, the songs on this album borrow from a wide variety of genres, yet Hemming’s wry and knowing voice, along with his timelessly assured songsmithery, literary wordplay, and the band’s orchestral accompaniment bear the indelible stamp of a band in the tradition of late 1960’s Kinks, yet one which also adds multiple other layers of complexity.  There’s not a bad track on the album, but from “The Sober Scent of Paper” on, it just gets unbelievably good (especially “Everyone Understands” and “We Go Together”). Shout out to my mate Wade for hooking me up with this band, whom I’ve never heard from outside of his recommendation.
3. Trouble Will Find Me  The National  — This is one of the best bands around today; heaps and heaps of talent and style; truly distinctive: musically, vocally, & lyrically. That all being said, about half of this album—the more upbeat half—somehow feels a bit like they are on autopilot, which is to say, just cruising at a high altitude, but not really soaring. As to the other half? Genius unparalleled. “Demons” was simply one of my favorite songs of the year and there are three songs at the end of the album that stand among the cleverest and loveliest songs I’ve EVER heard: “Slipped,” “Pink Rabbits,” and “Hard to Find.” I could listen to them on infinite desert islands.
2. Pedestrian Verse  Frightened Rabbit — For those of you who know how much Elijah and I profoundly admire these Scots, it might seem inevitable that their new album would rank so highly. To which, I say, “Nae!” These guys have earned this place (though I’m sad to see this album has not ranked as high on many end of year lists), producing their third masterpiece in a row—albeit one that has fewer of the anthemic odes to the suicidal, desperate, or simply screwed up (though they have achieved a near apotheosis of this genre in “State Hospital”).  Even though they’re digging the knife in at religious folk like myself in a number of tracks, their masterful songcraft, propulsive and perfectly complimentary musicianship, and esprit de sadcore leads me to absolve them of this pettiness (though I have to say, the criticisms of religious hypocritical condemners feels pretty tired–we get it, there are mean, small-minded people in the church…and everywhere else too).  They are one of the few groups that consistently make important music nowadays (or “Music Now” as they might say).  Tracks to check out: EVERY ONE, except “December’s Traditions,” but especially the first five tracks, climaxing with the epic anti-social love song “The Woodpile.” And make sure to get the Bonus Tracks too. (Got to see them play live this year—they are unbelievably amazing. Don’t ever miss an opportunity to see them play. Just, don’t, ok?)
1. The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You  Neko Case — The first time I played this album, I knew it would get under my skin and did it ever. It’s funny that the first single, “Man,” is the one song I actually can’t stand. But every other song on here has Case’s Queen Midas songwriting touch all over them. She is tender, intimidating, self-deprecating, illuminating, sometimes shining like the only star in the night sky, other times whispering through the crack of a closet door. At one point, she sings, “I wanted so badly not to be me”—but how could anyone listen to this album and not feel exquisitely grateful that she is exactly who she is? Her “Nearly Midnight, Honolulu” is poignant to a breaking poi(g)nt. There is some powerful musical experimentation happening here too; the music walks a tight rope, careening & almost losing balance, but ultimately it only makes you unable to take your eyes (and ears) off of what is happening. All of the fighting in the title was worth it. You rule, Ms. Case.
Reflektor  Arcade Fire — I’ll just be honest and say that I haven’t actually listened to this album enough times to really justify NOT including it on the top ten. My first few listens were not that gratifying, sensing a bit of unredeemed pretension (which AF always have, but which they most often transcend) and visible effort, so I put the album on hold. But there were enough tracks on the double album that really did have some of the old magic and made me think when I really settle down and sink my teeth into this, it will be rewarding. Favorite tracks thus far include: “Here Comes the Night Time,” “Joan of Arc,” and “Afterlife.”
Regions Of Light And Sound Of God  Jim James — There was something strangely magnetic about this album to me. I found James to be some kind of hillbilly mystic wunderkind. I don’t know why it’s compelling to listen to a man chant vowels & nursery rhymes (as he does on “State of the Art (A.E.I.O.U)” but the more I listened to this, the more fascinated I became. Also listen to “Dear One” and “All Is Forgiven.” (Don’t hate me, Wade!)
Defend Yourself  Sebadoh — In some sense, this is a return to old-school Sebadoh of 1994’s Bakesale, but all that really means to me is that there are some amazing Lou Barlow tracks (though nothing quite up to his best material) like “I Will,” “Calves of Champions,” and “Let It Out,” mixed in with some interesting, noisy, but lesser tracks from the other two band members.
Bigfoot  Cayucas — I really liked the first four tracks off this album; the main shortcoming is that it feels like Vampire Weekend’s first album a few too many years late (and a bit of a Pet Sounds rip-off at times too–Brian Wilson could sue over “A Summer Thing.”)  The lyrics often get to be a bit too much. But worth a good listen…
Albums I Never Got to REALLY Listen to Which I Wish I Would Have
Big Wheel and Others  Cass McCombs; We Are the 21st Century Ambassadors of Peace & Magic  Foxyygen; Hummingbird  Local Natives; White Lighter  Typhoon; and nearly everything on Elijah’s list.
Author Elijah & GregPosted on 30 December 201331 December 2013Categories Best of, Culture, MusicTags A Frightened Rabbit EP, Akron/Family, Alone Aboard the Ark, Arcade Fire, Bigfoot, Boards of Canada, Bradford Cox, Camera Obscura, Cayucas, Christopher Clarke, Claudia Gonson, Country Sleep, Deerhunter, Defend Yourself, Desire Lines, Everyday I Get Closer to the Light from Which I Came, Fence, Fence Collective, Fence Records, Frightened Rabbit, Future Bible Heroes, guessing the others, Halcyon Digest, Hayden, High Violet, Jesu, Jim James, Johnny Lynch, Jordan Lee, Kierkegaard, Laura Marling, Lily & Madeline, Love's Crushing Diamond, Magnetic Fields, Matt Berninger, Matt Pond, Matt Pond PA, Matthew Houck, Meadow Elizabeth Erskine, Modern Vampires of the City, Monomania, Muchacho, Mutual Benefit, National, Neko Case, Night Beds, Once I Was an Eagle, Parallax, Partygoing, Pedestrian Verse, Phosphorescent, Reflektor, Regions Of Light And Sound Of God, Søren Kierkegaard, Sebadoh, Secret Soundz, Secret Soundz Vol.2, State Hospital, Stephin Merritt, Sub Verses, swimming in speakers, The Harder I Fight, The Leisure Society, The Lives Inside the Lines in Your Hand, The Magnetic Fields, The More I Love You, The National, The Pictish Trail, The Show Ponies, The Stooges, The Weight of the Globe, The Worse Things Get, The Year of Hibernation, Threep, Tomorrow's Harvest, Trevor Powers, Trouble Will Find Me, Us Alone, Vampire Weekend, We're Not Lost, Wondrous Bughouse, Youth Lagoon1 Comment on Best Albums of 2013
Top 20 Bands: Honourable Mentions
Before I move into the Top 10 of my Top 20 Bands, I feel the need to mention ten significant bands that might have been part of my ‘cut’ at various points in recent history, but just didn’t make it into my Top 20 this time around.  (Perhaps this could be seen as my ’21-30′.)
Frightened Rabbit – Let’s see how the whole longevity thing plays out – the first two records have been a steady improvement from ‘incredible’ to ‘phenomenal’.
Pedro the Lion/David Bazan – Excellent songwriting, but albums are often incoherent with themselves.
Cass McCombs – There’s a quality to Cass McCombs that convinces me he’s one of the greatest living songwriters.
Starflyer 59 – Something’s absent on most of their recent material…
Grizzly Bear – Also needing a bit of longevity – It feels strange to consider Grizzly Bear one of my favourite bands, but they most certainly are.
Deerhunter – Let’s hope they keep up this steam…
Brian Eno – Mostly hit, but sometimes miss.
Camera Obscura – There’s something to this group that keeps me listening, but I am hoping for something to make them stand out.
Cursive – Maybe it’s because they still haven’t grown up?
Curl Up & Die – I wish they had made more material before disbanding.
Perhaps you are thinking, ‘Who can beat the bands above along with Spiritualized, The Kinks, The Velvet Underground, Tom Waits, The Beach Boys, The Beatles and Neil Young?’  I hope not to disappoint, but prepare to find out just how bad my taste actually is in the coming week…
Author EPosted on 7 September 20101 June 2011Categories Best of, Culture, MusicTags Brian Eno, Camera Obscura, Cass McCombs, Curl Up & Die, Cursive, David Bazan, Deerhunter, Frightened Rabbit, Grizzly Bear, Nirvana, Pedro the Lion, Starflyer 59Leave a comment on Top 20 Bands: Honourable Mentions
Best Albums of 2009 Revisited
Since Greg shared his more finalised version of the ‘Best Albums of 2009’ I figured it was as good a time as any to revisit my list.  I would have simply updated the original post, but there have been some significant changes to my ‘Best Albums of 2009 (thus far)‘ list due to the release of several amazing records since I left America.  I have therefore removed the following from my previous list:
The Pains of Being Pure at Heart—The Pains of Being Pure at Heart
I must say that the four records above are worth buying, but in narrowing my list down to ten with the inclusion of a larger canon of new albums in 2009 (my previous list was posted nearly three months ago) I needed to revise my list.  Therefore I give you my more official and updated ‘Best Albums of 2009‘.
10.  We Were Promised Jetpacks—These Four Walls
I still stand by the excellence of this record, but it has slipped three slots (from seven to ten).  Enjoy the incredible Scottish sincerity and steady flow of energy.
Bradford Cox (of Deerhunter) really did an excellent job on this record (released 19 October in the UK) with a little help from Noah Lennox (aka ‘Panda Bear’) and Lætitia Sadier (of Stereolab).   Cox demonstrates his exceptional and deeply personal writing abilities and leaves room for many more excellent Atlas Sound records to come.
8.  Times New Viking—Born Again Revisited
I first heard Times New Viking last year when they released Rip it Off.  That album proved to be a great surprise (which was enhanced by the energy and precision of their live shows).  This next record (released 21 September in the UK) proves to employ the same techniques – simple pop songs performed by a three piece band (drums, guitar, keys) and production that is intentionally downgraded for an extremely primitive and lo-fi sound.  But the songwriting on this album represents a broader stylistic spectrum than their previous work which makes this record more accessible and even more listenable (for someone who usually enjoys what others have sometimes deemed ‘unlistenable’).
As I mentioned previously, this album was very surprising, and it has proven more surprising as I’ve listened on, securing it a rank of number seven (previously eight).  At this point one might ask, “Wait, with this subjective switch aren’t your reviews worth the computer screens they are illuminated on?”  Correct, the albums I deem worthy of listen are based upon my dynamic personal preferences.  But in the end, we must wait for NME’s ‘Top Albums of the Decade’ instead of taking their top album from each year of the decade because of developing musical trends and tastes, so I don’t feel so guilty.  This album deserves this spot and maybe even a higher one.  This album possesses a near-perfect amount of creativity, innovation, skills and utter fun!  A great improvement from Chris Cohen’s previous work on Asthmatic Kitty (Curtains).
I first heard the track “Hellhole Ratrace” back in August.  It was raved about by Pitchfork and Stereogum and I found the track very enjoyable, but not as incredible as the reviews were claiming.  I bought the record soon after its release on 22 September and gave it a listen.  By the second listen I was hooked.  Think of a more nihilistic and energetic Elvis Costello circa 1977, with a hint of Buddy Holly.
5.  Camera Obscura—My Maudlin Career
This record (along with Cursive’s new record) slipped a slot entirely due to the release of my new number three record of the year.  As I’ve mentioned previously, this is probably my favorite release from Camera Obscura.  The more I’ve listened the more I appreciate the record and also the more sure I am that I didn’t simply “love it so much because Belle & Sebastian hasn’t released an LP since 2006.”  Well orchestrated and executed indie-pop, with plenty of Scottish wit.  Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity.
4.  Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number [four] slot, but I will always have a soft spot for Cursive.  This is not to say that this album is undeserving of praise.  Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors).  They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow.  It reminds me of Domestica even.  Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred.  Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature.  I don’t buy it (but not because it’s not packaged well).  I say we drop the Enlightenment and read more Kierkegaard and Barth.
3.  Converge—Axe to Fall
After all these years Converge is still bringing ‘it.’  What is ‘it?’  ‘It’ is unrelenting energy.  Of all of the bands on this top ten album list, Converge is by far my favorite.  This album (released 20 October) is both extremely heavy and true to Converge’s metal roots while remaining very accessible (like 2001’s Jane Doe).  Axe to Fall has also made its way into my top three all-time Converge records.
2. Animal Collective—Merriweather Post Pavilion
Retaining its number two slot, Merriweather Post Pavilion – though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense) – is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album.  The songs don’t leave you asking, “When is this going to end/how does that even fit?”
I raved about their performance in Glasgow earlier this month and I stand by this pick as the ‘Best Album of 2009.’  My first listen of this record was a positive, but not profound experience.  Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.”  I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year).  I sat with the album for another month and at that point it hit me.  This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record.  By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree.  This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something.
Author EPosted on 24 November 200921 December 2011Categories Best of, Culture, Music, ReviewTags Andrew Bird, Animal Collective, Atlas Sound, Best of 2009, Buddy Holly, Camera Obscura, Cass McCombs, Chris Cohen, Converge, Cryptacise, Cursive, Curtains, Elvis Costello, Girls, Grizzly Bear, NME, Pitchfork, Rip it Off, Stereogum, Sunset Rubdown, The Pains of Being Pure at Heart, Times New Viking, We Were Promised Jetpacks8 Comments on Best Albums of 2009 Revisited
Best Albums of 2009 (thus far)
It’s late August and I’ve already got a top ten list for the best albums of the year.  As I pointed out in an entry last year, it isn’t really my thing to jump on ‘new’ music per se.  I am typically balancing myself between ‘new’ music and ‘old’ music that’s ‘new’ to me.  This year I wanted to challenge myself to listen to more “new” music (i.e. music that has been/will be released in 2009).
With the trusty aid of music blogs, Lala, random databases, and Greg I’ve been able to become exposed to a larger body of ‘new’ music this year and I decided that before I leave to Scotland and my postgraduate occupation with a large number of books, I would compile a list of my top ten albums of the year.  Who knows, maybe this will be my final top ten list for the year (though it has been altered a bit even in the last 24 hours).
Cass McCombs reminds me of T Bone Burnett and Neil Young more than ever.  He remains very unpretentious and sincere, perhaps on this album more than his previous records.  Two tracks to reel you in: “You Saved My Life,” & “Lionkiller Got Married.”
9.  Andrew Bird—Noble Beast
I really thought I would hate this album.  I’m not much of a fan of Andrew Bird’s music.  I’ve never enjoyed his voice.  Perhaps Noble Beast’s inclusion on this list is a response to how much I tolerated it as opposed to how much I loved it.  But I am leaning more toward its inclusion because I thoroughly enjoy listening to this album.  Two tracks to reel you in: “Masterswarm,” & “Not a Robot, But a Ghost.”
This album was very surprising.  I hadn’t been very impressed with Chris Cohen’s work with Curtains on Asthmatic Kitty, so I didn’t expect a lot.  I saw Cryptasize for the first time with Danielson last November and they didn’t leave a very strong impression, but this album really brings out their strengths.  It has a great mood—unpredictable but not irritating (like the Dirty Projectors’ new album…).  Two tracks to reel you in: “Blue Tears,” & “Gotta Get Into That Feeling.”
7.  We Were Promised Jetpacks—These Four Walls
Thanks to Sgt. Grumbles for this suggestion a couple months back.  It reminds me of high school, in the best way possible.  Enjoy the lovely accent, the token glockenspiel, and the incredible sincerity—one of the most important qualities I look for in an artist.  Two tracks to reel you in: “It’s Thunder And It’s Lightning,” & “An Almighty Thud.”
6.  The Pains of Being Pure at Heart—The Pains of Being Pure at Heart
American faux-Brit pop never felt so great!  It’s delightfully reminiscent of The Smiths, Jesus & Mary Chain, and My Bloody Valentine.  Two tracks to reel you in: “Young Adult Friction,” & “A Teenager In Love.”  Note: the album cover bears a ridiculously close resemblance to Belle & Sebastian’s 2006 album, The Life Pursuit:
This album is a great step forward for Sunset Rubdown.  It’s not obnoxiously poppy like Shut Up I Am Dreaming tended to be.  There’s a lot going on musically, yet no component is overpowered by another within a song.  Two tracks to reel you in: “Silver Moons,” & “Idiot Heart.”
4.  Camera Obscura—My Maudlin Career
Let’s face it, I’m a sucker for Scotch indie-pop.  This is probably my favorite release from Camera Obscura.  Maybe I love it so much because Belle & Sebastian hasn’t released an LP since 2006.  Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity.  Thank you Tracyanne Campbell for your exceptional wit.  Two tracks to reel you in: “French Navy,” & “My Maudlin Career.”
3.  Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number three slot, but I will always have a soft spot for Cursive.  This is not to say that this album is undeserving of praise.  Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors).  They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow.  It reminds me of Domestica even.  Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred.  Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature.  I don’t buy it but not because it’s not packaged well.  Two tracks to reel you in: “From the Hips,” & “Let Me Up.”
2. Animal Collective—Merriweather Post Pavilion
Though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense), this album is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album.  The songs don’t leave you asking, “When is this going to end/how does that even fit?”  Two tracks to reel you in: “My Girls,” & “Summertime Clothes.”
My first listen of this record was a positive, but not profound experience.  Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.”  I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year).  I sat with the album for another month and at that point it hit me.  This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record.  By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree.  This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something.  Two tracks to reel you in: “Two Weeks,” & “I Live With You.”
Let It Roll: Songs by George Harrison – a compilation of George Harrison’s solo music spanning his entire post-Beatle career.
Dark Was the Night – a compilation release benefiting the Red Hot Organization.
Royal City – a Royal City B-side compilation released by Asthmatic Kitty.
God Help the Girl – a music/film project written Stuart Murdoch, the singer of Belle & Sebastian.  Members of Belle & Sebastian with guest vocalists.  CD Booklet features a short story that goes with the music.
David Bazan—Curse Your Branches
Castanets—Texas Rose, the Beasts, and the Thaw
The Decemberists (primarily because of Shara Worden’s contribution)—The Hazards of Love
Converge—Axe to Fall (20 October)
Atlas Sound—Logos (20 October)
Why does anyone like
Dirty Projectors—Bitte Orca – It could’ve been so great, but it’s incredibly obnoxious.
Author EPosted on 26 August 200921 December 2011Categories Best of, Culture, Music, ReviewTags Andrew Bird, Animal Collective, Atlas Sound, Best of 2009, Camera Obscura, Cass McCombs, Castanets, Converge, Cryptacize, Cursive, Dan Deacon, Dark Was the Night, David Bazan, Dirty Projectors, George Harrison, Girls, God Help the Girl, Grizzly Bear, Lou Barlow, Passion Pit, Royal City, Shara Worden, St. Vincent, Sunset Rubdown, The Decemberists, The Pains of Being Pure at Heart, We Were Promised Jetpacks, Wye Oak12 Comments on Best Albums of 2009 (thus far)
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