Naked Pictures of Brad and Angelina!

Oooh Boy.... Slightly less arousing, here are my favorite albums of 2008.

(Since this is my first posting I’ll leave you with this note: I write a lot, and am pretty bad at it. I use incomplete and run-on sentences, and lots and lots of commas. I have a tendency to make up my own words, and use real ones incorrectly… So get over it. I will, however, take any thoughts or criticisms on my musical opinions, because I also like to debate, everything - And I also realize there is always something new to learn.)

So here it is! My absolute favorite music of 2008…

1. BON IVER – For Emma, Forever Ago

I was having a difficult time deciding what my No. 1 album would be this year. So, like any reasonable person would do, I consulted with my “Most Played” tab on itunes. (Thank you Steve Jobs for making my life’s decisions just a tad easier.) And as it has it, For Emma, Forever Ago blew every other album out of the water. The number was a tad frightening. So yes, Bon Iver, kudos to you for taking up the most hours of my listening time in 2008. I enjoyed them all immensely.

Bon Iver, meaning “good winter” (I believe it really is spelled Hiver, but those who actually paid attention in French class could tell you otherwise) consists of one person, Justin Vernon. And as some of you know, he isolated himself in a cabin for 4 months, with nothing surrounding him but some instruments, his thoughts, and some pure Wisconsin snow. The end result: a beautifully crafted album that encompasses so much depth for such a straightforward sound. It’s brilliant and breathtaking from beginning to end, backwards and forth.

For the most part, For Emma, Forever Ago was recorded by Vernon himself - And let it be known tremendously so. The production is simple, eerie, yet irresistible. Vernon uses his soft natured voice as the main focus throughout. Many of his songs start out comfortably slow then build as the songs progress. Vernon adds layers upon layers of his lonesome vocals at times, creating an almost haunting sound - and the point all the more meaningful in the end. (Lump Sum) At the peak of The Wolves Act 1 & Act 2, Vernon alternates and the lines “What might have been lost” and “Don’t bother me.” Vernon then adds spasms of drumming, similar to the sound of crackling fireworks. The intensity then bursts to silence. Vernon’s soft vocal reappears and presents us with his first line and initial thought - “Someday my pain (Will mark you).”

To me For Emma, Forever Ago is a thinker’s album. I really enjoyed Vernon’s style of writing. His lyrics are largely based around imagery, instead of telling a story per say. His songs aren’t filled with beautifully written sentences, clever words or rhyming schemes. Sometimes his point isn’t even that clear. But Vernon’s words are natural and concise… like original thoughts are. He is more likely to state the “in the moment” observations of his feelings, thoughts, and the surroundings around him. “There’s a black crow sitting across from me; his wiry legs are crossed.” (re:Stacks) And for some reason, that makes me happy.

This album also carries a lot of weight. I hear Vernon’s personal growth. His tension and loss of love that is introduced slowly begins to disperse throughout the album. Vernon’s sorrow fades and clarity sets in. Self discovery and understanding take place. “This is not the sound of a new man, or a crispy realization” …It’s the sound of the unlocking and the lift away.” (re:Stacks) I’m sure Vernon didn’t expect his solo experimental debut to turn out as outstanding as it did. It’s magnificent, and full of secrets. It kind of makes you want to head out to the wilderness for a few months to see what personal enlightenment you would achieve …. Or perhaps just sit on a bench with you thoughts for a few hours - a little less drastic, but hopefully with similar results.

*Favorite Track: re:Stacks*

Side Note: If you’re an indie boy, wishing to mate with an indie gal, be sure to bring up your overwhelming interest in Bon Iver. (I’m speaking for many when I say us girls adore this album…) Yes, she still will likely judge you on your character and questionable moppy haircut, but having the knowledge of Bon Iver kept in your back pocket surely won’t hurt your chances.

2. RADIOHEAD – In Rainbows

I think Radiohead is just okay… No, actually I pretty much cream my pants whenever I hear them. (And yes, I just wrote that.) And wow-wow-wee what an album! Everything I hoped for and a tremendous amount more.

How many times do you find the album you first discover from a certain artist’s catalogue, is usually the album that you enjoy the most in the end? So, in reference to Radiohead, my first and favorite love would have to be The Bends… So it was a wonderful treat to realize that In Rainbows falls somewhere in between the Bends and their critically acclaimed OK Computer.

In a lyrical sense In Rainbows is very much like The Bends. It’s a very, very personal album for Thom Yorke, who for many years now, have left his mysterious lyrics out to dry. Not in this case at all. This album is wide open for all to see. (Of course there is always something left to be discovered in all of their work. Radiohead definitively isn’t easy to figure out by any means.) In Rainbows, with the help of its seamless song structures and lyrical honesty, might be the most universally accepted album by Radiohead so far.

To me this album lies in two parts. 15 Steps and Bodysnatchers open the album with a great muted instrumental theme filled with constricted beats, Greenwood’s sheltered guitar, and Yorke’s infamous rants. Of course this then develops into a chaotic overture by the end, and, the listener is left thinking, “What the hell just happened?” This is what Radiohead does well; they always leave their fans bewildered and wanting more.

Then Nude comes and completely changes the mood and pace of the album. To me, this is the second half of In Rainbows. This is when the content gets juicy, and damn delicious. And the more I explore into this album, the more interesting it gets. In Rainbows is full of passion, seduction, and is just dead sexy. It weighs heavily on the devil on one shoulder while the angel lies on the other scenario. The last seven tracks revolve around the themes of Trust verses Temptation, Love verses Lust, as well as unrequited love and the desired attention one feigns. The sound has a dark luster to it, but with the help of Yorke’s vocals, and the way they are presented, there’s also an overwhelming angelic feeling and softness to it. Nude has this dreamy texture, built around a slow base line that places the listener in almost a trance as Yorke pleads “Don’t get any big ideas…”

But here’s what I love about Radiohead. To each of their albums there is always a meaning boiling underneath. It’s subtle, and can be easily overlooked… You just have to be willing to dig a little deeper – and do a little research. So here it is. This is the mastermind idea behind In Rainbows. Faust Arp is a title track to one of the songs. Faust, meaning lucky, is a figure in Goethe’s Faust, a mythological legend. Faust is character with a headstrong desire for self-fulfillment, and feels that he has experienced everything that is meaningful in life. Unsatisfied, and yearning for more, he makes a deal with Mephistopheles, who represents Satan or the devil. The pact was that Faust was to get anything he desired, but if Faust ever acknowledged that day was the greatest day in his life, Mephistopheles would get his soul. Now flash forward in the album to the final track, Videotape. Continuing this same mythological theme, it is said that when you die you go through your life to find that moment when you were the happiest. That one moment will be placed on your ‘videotape’ to relive for all eternity. “When I’m at the pearly gates, this will be on my videotape, my videotape. Mephistopheles is just beneath and reaching up to grab me.” So at this point in the album the listener wonders about the deal Faust has made with the devil. It just so happens the final words of Videotape are “No matter what happens now, you shouldn’t be afraid, Because I know today has been the most perfect day I’ve ever seen.” …. I’ll let you figure out the gaps and spaces in between.

*Favorite Track: House of Cards*

Side Note: And whhhhhaaaat Radiohead is nominated for a Grammy?!?! Not just one, but four! A part of me hopes Yorke and the blokes turn down the nomination, or say something really rude if they win, or just get piss ass drunk and do something ridiculous to Mariah Carey and her son, I mean husband… But of course they won’t do that, because they have character. Instead if they win, they will accept the Grammy(s) gracefully and then write a cryptic song about how ridiculous the experience was later.

3. AMERICAN MUSIC CLUB – The Golden Age

This band was formed in 1982, the year I was born. So how come it took me 26 years to hear about them? The answer is American Music Club gets no recognition. No love. I saw TV on the Radio’s “Golden Age” on plenty of lists, but American Music Club, none. I did NOT see this album on ANYONE’s top albums of 2008. (And I don’t think my idea of good music is THAT delusional…) NO blog, no magazine, nodda, nothing. And that’s just shameful, because they are a wonderful, intelligent group and front man Mark Eitzel is one of the better lyricists out there without a doubt... And I’m a lucky gal to atleast know that now.

So with the scolding out of the way, The Golden Age was my favorite Sunday Morning album of the year. “What the hell is a Sunday Morning Album, Jill?” Exactly what it is called, an album you play on Sunday mornings. A good Sunday album has to be both an album that can be in the forefront of you attention, as well as in the background. And The Golden Age can certainly be both. It has the credibility to stand on its own. It’s a work of genius. But it also serves as a great soundtrack as you read the paper, walk from room to room doing laundry and, you know… whatever you do on Sunday mornings.

Because this band has been around for so long, their albums consist of various styles and temperaments. American Music Club is mostly known for its brilliant lyrics, and The Golden Age follows suit. It has a mellow quietness to it, but is also rich with texture. A steady soft snare is the setting to Eitzel’s dreamy and hazy vocals throughout. The music won’t blow your mind, but Eitzel sings with a brutally honest and weary heart, and you can’t help but to be drawn to it. “And how sad is that, your rebel cowboy hat, all it says is you’re tonight’s casualty. Oh, and the crowd is proud to look away, like they’ve never been desperate or lonely.” (Decibels and Little Pills)

But perhaps what’s different about this album, from AMC’s prior albums, is that there’s also a great side of contentment and optimism in his lyrics. He reminisces about his hometown of San Francisco, where it all began for them as a band. He looks upon his past with a smile and a sense of gratefulness. Singing about lost souls and his old naïve ideals, and realizing that those old days of sex, drugs, and rock and roll (AMC style!), as troubled as might have been, were indeed the meaningful moments that shaped him to be the man he is today.

It’s a beautifully written album, and accurately so. All The Lost Souls Welcome You To San Francisco is the title to track six, and it says it all. After having graduated college, like many, I was unsure of my future, where and what I should be… So, with a great friend, I fled to San Francisco, looking for some time, some answers, new perspectives, etc. “Just give me some hope, or atleast enough rope, can you make my heart feel complete?” (All The Lost Souls Welcome You To San Francisco) And as it would have it, San Francisco is the youngest, most confused, but content, city in America… And no, I didn’t find the answers to life’s most expediential questions there, but I did find plenty of strangers as friends, who in fact, where looking for the same things as me.

So, your new year’s resolution? – Listen to some American Music Club. (And lots of it!) You’ll be happy you did.

*Favorite Track: All My Love*

4. THE WHIGS – Mission Control

This album is ridiculously good!! Really it is. If I had to create an imaginary scenario for this band, (which I do a lot, weird I know) it would be this… ‘It’s your best friend’s older brother’s band. And they are simply a smash. They are amazing guys, a blast to hang out with, and they get rock & roll – and so do you. So even though you’re stuck in a dead end job, your cat just died, and your boyfriend supposedly slept with some tramp from his work, it all doesn’t matter…. It doesn’t matter because the Whigs are playing this Saturday night at your favorite dive bar. And with the help of some Pabst pounders, during those four hours of live entertainment you will realize that everything will be fine… and everything will be okay, because The Whigs fucking rock your world.’

Like A Vibration, has to be the one of the best introductions to an album this year. It’s a feisty song with pumping adrenaline and a catchy, snarly chorus. Production City and Right Hand On My Heart follow these same guidelines, continuing to kick it up a notch. These tracks, by far the best on the album, are driven with non-stop delicious drum beats, full throttle bass lines, and right-on rock lyrics. It’s such a refreshing sound. It’s something perhaps plucked from the early 90’s, AND NO not the grunge movement (though the group does only encompass three members.) I’m talking more like a sound similar to Guided By Voices, but more melodic, and cleaner, and tweaked with a little heartfelt country.

Sleep Sunshine comes in at track 5, to switch up the pace and show the Whigs’ versatility. At first I wasn’t digging this track at all. It brought down the momentum that the band did a great job building. However, I did learn to love, and it’s one of the more unique tracks on Mission Control. This track, unlike the others, is built around a classic rock tone. Every time I listen to the opening of that song, for some odd reason, it reminds me of Lucy in The Sky With Diamonds - But a twisted version with slower movements, no hallucinogenics, and a slide guitar. (Hmmm… I wonder if the Beatles ever used a slide guitar.) The listener is left with a very happy, drunken haze sort of feeling. And I swear the guitar solo is something taken out of the first chapter of David Gilmour’s best seller, “How to Play a Gorgeous Guitar Solo.” (This doesn’t really exist, but should.)

The album relights the fire with Hot Bed and Already Young and continues to coast you to the end with Mission Control, their album title track, which happens to be perfectly placed. If you’re looking for some great sounding modest rock, I would recommend listening to The Whigs. Mission Control is a great paced piece of the work, and revitalizes the sound of indie rock again.

A could have, should have moment of mine, would be NOT seeing them opening up for the Kings of Leon, because, of course, one must have pre-show beers. It’s bad luck otherwise. However, if KOL would have had some sense and switched the lineup, the sub-par We Are Scientists would have been the first act to open, leaving me able to see half of the Whigs set… But alas, I’ll just wait for the Whigs to be the headlining act at my local dive bar instead.

*Favorite Track: Right Hand On My Heart*

5. FLEET FOXES – S/T

Fleet Foxes gets my “most original/ unique sound” of 2008. I’m a sucker for harmonies, simple as that. (And not those post produced tweaked layers added to most modern day cra-p-op songs, but straightforward, natural sounding layering.) And Fleet Foxes is the poster group for this particular style this year. Fleet Foxes self titled offers a rich collection of songs that’s full of imagery.

This group can’t be classified as “modern sounding” at all. It’s more of a rustic, sacred sound from centuries past. Their folk style and lyrical journeys paint pictures of fairy tales and undiscovered lands. One can’t help but look at this album as a whole. No particular track stands out on its own, or feels as if it doesn’t belong. From start to finish it’s a listening adventure, where the fellows of Fleet Foxes fill your ears with pleasant, powerful vocals and classical guitars.

White Winter Hymnal, the opening track, reveals itself softly and flows seamlessly. It reminds me of a voyage through snowy peaks and frozen valleys. Your Protector almost sounds like a battle cry, with the drums gaining momentum forcing the song onward, no matter what struggles are taking place. Ragged Wood has the sound of a brand new day, filled with light and optimism.

No matter how these songs come across to the listener, there’s a common appreciation that something great and pure is taking place. Fleet Foxes utilizes their enchanting vocals to ground and ease its listeners. We understand once again how striking and transcending the sound of human vocal can be. Sun Giant makes us aware of this again.

Side Note: This also just happens to be Fleet Foxes’ debut. This is damn impressive, and just makes me gitty as a schoolgirl to see what lies ahead.

6. SIGUR ROS – Med Sud ieyrum Vid Spilum Endalaust

Sigur Ros. Yah! If you’re a fan of Sigur Ros, A/ I think you are an awesome person and B/ You, like myself, have no clue how to pronounce their album titles. (And whew, this one is a mouthful!) With the exception of Takk and Von, their albums are more commonly referred to as their album art. For instance, Agaetis Byrjun, is the Baby Alien Fetus album, then there’s the Parentheses album, which I don’t think actually has a name. And in this case, I declare the 2008 release, Med Sud ieyrum Vid Splium Endalaust, to be referred to as the “Let’s go streaking!” album. And the idea clearly worked out for the boys. Running around naked sure put some spring into their step, for this album is the sunniest side I have ever heard from Sigur Ros. (And they sound rather good happy!)

Med Sud ieyrum Vid Splium Endalaust actually translates into “With a buzz in our ears we play endlessly.” Takk, released in 2005, was a nice playful introduction to the sound that Sigur Ros is trying to bring with this album. Sigur Ros is commonly known for making nine minute pieces, starting small with pillowy vocals which then escalade to full blown out orchestral movements with epic results. They are quite good at stirring the human emotions. They are intense, but in the most remarkable way possible. The “Let’s go streaking,” album I feel is trying to steer away from that particular style, and gear itself into a more affective, pop-oriented sound, which requires a lot less patience. The mood is light and airy. The song structures are stripped down, with many of the songs being four minutes or less.

The listener becomes aware of this transformation with the first ten seconds of the album with Gobbledigook. Gobbledigook, not only is a great name for a song, but it is also the best thing that has happened to Sigur Ros in a long, long time. This song has brought them to the next level. I was sucked in with the first listen. The thumping percussions provide great momentum throughout. And the production on the background vocals, is something new, and is damn brilliant. The brightness flows onto the next track, which holds a very similar pace and presence. Its energy is tucked away in track three, but builds back again in Vid Splium Endalaust.

Overall, it’s a wonderful new direction for them, but at the same time they still remain centered. Med Sud ieyrum Vid Splium Endalaust hasn’t turned the page completely. Sigur Ros aren’t necessarily ready to let go from what has made them who they are. Festival, like many songs before, starts off at a leisurely pace, bringing the innocence of a boy’s choir. Then five minutes in, a shift happens, drums and strings grab hold and lift the song away to something astonishing. It’s not to say that the album looses its glee here, but its happiness is not forced fed like in the beginning tracks. The remainder of the “Let’s go streaking!” album resurfaces the familiar arrangements of Sigur Ros, leaving the listener with more of a serene feeling of contentment. Which, I guess, is still a form of happiness, but perhaps a more genuine and sincere one.

See the thing with Sigur Ros is you either get their music or you don’t. It’s definitely not for everyone, and I understand that, and it’s something that can’t be forced either. When I first meet someone who enjoys music, I will usually ask them their thoughts on Sigur Ros. (To this I am secretly trying to find the person who feels exactly the same way that I do about them… And I have not found that yet.) For me, Sigur Ros strikes a deep-chord that is untouched by any other group. It is, without a doubt, the most beautiful music I have ever heard. It’s profound and brings me to another level of understanding. And the fact that this feeling is all based around their melodies alone is ever the more powerful. To this day, I have not translated any of their songs to English. And I don’t intend to. They could be singing, “I like sweet potatoes and brown rice,” for all I know. I’m not sure why they would, but I don’t care either. It sounds perfect the way it is. Nothing can still my heart and create utter silence the way that their music can. It is pure and it’s extraordinary, and yes, it can bring me to tears.

*Favorite Track(s): Luni Mer Syugur Vitleysingur/ All Alright*

7. FRIGHTENED RABBIT – Midnight Organ Fight

Once upon a time there was a girl. And one day this girl found herself shopping for a pair of tights at Urban Outfitters. As she strolled past the girly flannels and oversized sweaters, she became fixed upon a beautiful melody - one that she had never heard before. She quickly went over to a boy who worked there, and said, “What is this sweet song that I am so drawn to?” To that he said, “Umm, I don’t know… But let me go check.” So he did. “The band is Frightened Rabbit, he came back to say.” And to that she said. “Oh.”

And that’s the true story of how I became familiar with Frightened Rabbit. Midnight Organ Fight, the second album of Frightened Rabbit, clocks in at 7. This was another must in my list. I spent a good amount of time with these songs – and it just so happened that this album coincided with a good time of year. The weather was gorgeous. I just found a park with endless trees and trails. My family was healthy, friends were happy, and I was gitty about a boy… And yes, I was also really digging Frightened Rabbit’s Midnight Organ Fight - especially Old Old Fashioned! This song is so cheerful it makes one want to fucking skip. I loved it, and still do.

As a whole this album is very good. It’s not a groundbreaking sound, for it does carry the same features as other bands from Scotland do – like the Frames for example. But it does have its own uniqueness. Scott Hutchinson’s vocals would not be summarized as brilliant. They peak and scratch at some points, but it sounds authentic. Because Hutchinson does not conceal this, it makes his songs more genuine and believable. Sometimes showing one’s flaws is a good thing. And this case it’s exactly that. A polished sound would not fit his style. Hutchinson sings mostly about relationships, and the different ways someone of interest can make you feel – the notably good and the gut-wrenching bad. It brings the feeling of adolescence. It’s flows freely and is full of nervous and urgent energy.

The Twist stands out mostly for its dynamic chords on keyboard and balanced beats on percussion. But I have to admit, I’m attracted mostly to Hutchinson’s direct and honest lyrics – which is apparent throughout Midnight Organ Fight. (Though Hutchinson admits that his words aren’t all directly correlated to his life, some are based off of mere situations.) In The Twist he talks of a one night stand. At first he dismisses his feelings stating, “You Twist and whisper the wrong name. I don’t care nor do my ears. Twist yourself around me, I need company, I need human heat.” As the song progresses he becomes more self-conscious, and in the last stanza he despondently pleads, “Twist and whisper the right name. I’m David, please. Twist as if you’re just like me. You need company, you need human heat.” Another personal favorite song of mine is Backwards Walk. It’s about being in a relationship, that clearly is no good, but for some reason you continue to come back to try to make it work. As the song builds an infectious beat kicks in – and so does his realization, “You’re the shit and I’m knee deep in it.”

Midnight Organ Fight is chocked full of wonderful heartfelt songs, and I’ve grown more attached to them with every listen. Poke could be the most sincere song I’ve heard in a long time. This album as a whole reminds me of fist loves and those infinite feelings that surround your world. They’re unshakable, and you think those feelings will never end… And then somehow then they do.

*Favorite Track(s): Old Old Fashioned/ Backwards Walk*

8. JENS LEKMAN – Night Falls Over Kortedala

I think Jens Lekman (pronounced Yens) put on many puppet shows as a child… Not that such an activity is a bad thing at all. I support the Arts! Matter of fact, I transformed my laundry room into a wonderful theater as a child and had many sell out performances myself. And by sell out I mean, my mother and father watching grudgingly on the couch. But Lekman, wow, this Swedish cat can put on a show!! – And still does, except his acts these days are very profitable and don’t require sock puppets.

Let me first say that this album was issued in late 2007, but having discovered this album in 2008, and because it’s a genius piece of work, I’m including it here at 8.

To get you started I would have to say that Jens Lekman is a cross between The Magnetic Fields and the overly flamboyant, not pompous, side of Rufus Wainwright. (I still love thee Rufus!) Now throw in an entire orchestrated musical that makes Mama Mia look mediocre … That is Night Falls Over Kortedala!!

This guy is a damn pop genius! There is so much thought and creativity involved in each of these tracks, which evolve through styles of doo-wop (A Postcard To Nina, Kanske Ar Jag Kar i Dig), hip-hop (I’m Leaving You Because I Don’t Love You), and something you might find during a matinee show on the Love Boat. (Sipping On the Sweet Nectar, Friday Night At The Drive-In-Bingo). This might sound intriguing or something more of a complete mess, but Night Falls Over Kortedala really is a refreshing and justifiably good album.

Now on to Lekman’s vocals. Very respectable. This boy had some training. Lekman’s lyrics? Clever, comical, strange, and flat out odd… so yeah, very appealing to say the least. In general, I take lyrics very seriously. But I’m fascinated with Lekman’s humorous style. His far-fetched stories are a perfect pairing with his musical backdrops. In Your Arms Around Me, Lekman talks of cutting an avocado, when he was startled by his lover and cuts off his finger. He’s so taken back by his lover’s beauty (and one would think the loss of the blood) he passes out. Next thing he knows he’s laying on a dirty hospital couch with a bloody hand wrapped in toilet paper. But these shocking discoveries come just secondary to the infatuation he has towards his lover. Time slows in the song and he sings dreamily “You put your arms around me.” Lekman definitely has a roundabout way of expressing his point, but he pulls it off exceptionally.

Overall, Night Falls Over Kortedala is fun and full of listening surprises. It’s tastefully structured and delightfully so. I can’t stress enough how much is compacted in this album. It damn near blows my mind every time I hear it! And yes, his style is not “one-size fits all” but anyone who appreciates music hopefully will understand how talented and gifted this guy is. So listen with an OPEN MIND, and enjoy!

*Favorite Track: The Opposite Of Hallelujah*

9. VAMPIRE WEEKEND – S/T

For some reason I wasn’t going to include this album on my list. And then I realized that thought was just damn silly. All the kids adored this album – and so did I. I will, however, keep this review at a reasonable length; because I’m sure you read a zillion of VW reviews already.

So now, wasn’t Vampire Weekend fun to bop to!? With its Afro-pop, new wave ska sound, their self-titled debut was a hit at first listen. Everything about it, from its meticulous tempo to their catchy guitar riffs, is easily understood and widely accepted. Vampire Weekend definitely took away a few lessons away from Paul Simon’s solo work, especially Graceland. Cape Cod Kwassa Kwassa shows no shame in that. But Vampire Weekend does offer a lot more than its influences demonstrate. Their sound can also be funky and unique. I’ve never heard the harpsichord sound so hip and cool than the way it does in M79.

Overall, I’m impressed with the down to earth sensation that comes with Vampire Weekend. Their laid back, collegiate rock keeps things grounded. This is a perfect example of the “less is more” scenario. Thanks to the great production work, their songs appear uncomplicated. But I’m sure a lot of work went in to conveying such a simple sound. And as it has it, their unpretentious style worked, because Vampire Weekend’s debut shot right to the top. No simmering for these gentlemen. And I guess they rightfully deserve it.

*Favorite Track(s): (This one was hard!) A-Punk/ Blake’s Got a New Face*

10. THE DODOS – Visiter

Me likie The Dodos. I need to do a little more research on them, but I’ll share with you what I do know. The Dodos consist of two members, and one of them used to play drums in a metal band. That’s the extent of my knowledge. If this was a test, I obviously would fail. Oh, and Visiter is spelled wrong on purpose, but I forget why… So, yeah, instead of trying to charm you with facts that I clearly don’t know, you’ll just have to settle for my thoughts.

In general, their sound could be compared to something of Panda Bear or the less eccentric side of Devendra Banhart. Now take out the majority of instruments and just leave an acoustic guitar and a drum set. That would be The Dodos. And this is their debut.

Most of the songs on Visiter involve a traditional style of acoustic guitar, composed yet compelling vocals, and a very different approach to playing the drums - which just so happens to be exceptionally good, and never overbearing. It’s polite, but effective. Perhaps what makes the drums sound so distinctive on Visiter is that he plays everything that is, and or around, the drum set, and does so at a moderately fast speed. (That’s where the metal experience comes in.) During Fools the percussion beat comes solely from the rim of the snare. A technique he is fond of, for it resurfaces a few times in the album. (Ashley, The Season)

On some tracks we get some yummy layering from other instruments, such as a toy piano (Red and Purple) and de-tuned trombone. (It’s That Time Again). The time change is switched constantly to shift the pace of the album, and keep you on your toes. Joe’s Waltz starts slow then progresses to a great deal of acoustic energy and cluster of chaotic screams and shouting. Now that I think of it, there are actually a few periods of disorderly yelling on this album, but I don’t mind. It adds character.

(Awkward Pause) Ummm, yeah, I’m just going to stop here. Sorry. Apparently I failed in this review too, because evidently I don’t have much to say about The Dodos. (Is that bad?) So if you take anything away from these last three paragraphs of crap, let it be this - know that I like them, and I think Visiter is worth listening to… The Dodos aren’t as bad as this shitty review, I promise.

*Favorite Track: Fools*

Side Note: Undeclared should have been the “that song” they used in Juno.

11. KINGS OF LEON – Only By The Night

Oh Kings of Leon… (Drawn out sigh) I, like many of you readers, am proud to be able to say “I remember when.” Yes, the Kings of Leon have officially made it. They have transformed themselves to a superstar group, and are no longer our little secret. Next stop arenas and outdoor pavilions, and $40 tickets. (Wait, that’s how much I paid to just see them... skunked again!) Usually this point of stardom is about the time when my love fades, so someone else can pick it up - But no, not in this case… because Sex on Fire is a fucking great song. Gosh damn it, it is! Yes, Sex On Fire is the winner of my favorite commercial-radio song of the year. Woo-Hoo!(Sorry MGMT... )

And it’s not just those three and a half minutes of sexual angst that gets me going, Only By the Night as a whole proves that indie bands CAN be successful and still be good. Only By the Night was the quickest album that KOL have made to date. And you can tell. The song structures aren’t as complex, however they still work, and continue to bring that “Kings of Leon Coooool”. They actually have this pop rock thing down, and do it quite well.

Unfortunately what comes with this newly claim to fame is us “want to be know-it-alls” have a tendency to keep pushing them back down. I have on a few occasions uttered such similar lines as “I miss the grit and rawness they used to bring. I want the Day Old Blues back. I want them to kick The Bucket again. And you might be Happy Alone, but man, Molly’s Chambers and Joe’s Head seems like the place to be…” But, alas, it is the year for embracing change, so I will do just that. For now the members of KOL have moved on from their dirty, filthy rock and transcended themselves to a new level with crisp sounds and smooth transitions. However, a few songs still carry the appeal of their earlier works. For instance something that could be on Because of the Times is Crawl. It has a great attitude about it, and just oozes masculinity. The muffled bass guitar evokes a soft type of industrial sound, and comes off very unique to the ear. Be Somebody still has those ‘I don’t give a fuck’ mannerisms about it – Definitely the gutsiness that stems from Youth & Young Manhood.

A great thing that does shine through on Only By The Night is Caleb Followill’s vocals. They finally get the spotlight they deserve. Sorry to the three other Followhills, but Caleb IS Kings of Leon. On Revelry and Use Somebody, the guitars and drums remain mere scenery. The stage is set for Caleb, and Caleb alone. Although this is a very safe album for him, his voice, with the help of backing vocals, still sounds powerful and complete. It definitely surpassed expectations.

In closing, regardless what direction Kings of Leon go from here, I have a feeling they still will remain the band we all want them to be. They have done this for many years now, and they still have the rock capabilities to grab you fellows by the balls, and put us ladies’ panties in a bunch… Though I like getting mistreated with a little KOL rock, I would not test them. They are, and will remain that good.

*Favorite Track: Sex On Fire*