The Kallikak Family May 23rd 2007
(Tell-All Records, 2005)
It’s fitting and probably more than a little telling that the first review I posted for Forest Gospel was for May 23rd 2007 by The Kallikak Family. To this day I am still more enchanted by this series of recordings than any other that I have listened to. That’s a pretty hefty claim to place on the shoulders of such an obscure album, but it’s the truth. Andrew Peterson’s (aka The Kallikak Family) way of weaving together disparate instrumentation that is alternately industrial and pastoral just hits me in all the right ways. Additionally, the sequencing of the album is Perfection with a capital P. While May 23rd 2007 contains many pockets of vocal crooning, there are no lyrics to speak of. Yet, even with that being the case, the album’s musical quality does more to develop a narrative than anything I’ve ever heard from “literate” bands like The Decemberists. What The Kallikak Family has created here is simultaneously epic and cuttingly personal. For me, it is the most magnificent document of sound put to tape in this decade and I do not make that claim lightly.
By this time last year, I more-or-less knew that 2009 was going to be a gift. For me, personally, like, To: Braying Mantis, From: Music, XOXO. The sheer number of my alltime favorite artists who would be releasing new music guaranteed it. What's remarkable in hindsight, then, is how un-disappointed I have been - what a year, what a gift! And with suprises as strong and amazing as the expecteds! All I'd like to say is, Thanks. Thanks to Music, for the wondrous, challenging, joyful, and important year. Now, without further ado, my list of 2009's best records:
50. The Antlers - Hospice
49. Jon Hopkins - Insides
48. Mos Def - The Ecstatic
47. Dedaoorian - Mind Raft
46. The Field - Yesterday and Today
45. Swan Lake - Enemy Mine
44. Grooms - Rejoicer
43. Preslay LiterarySchool - Beautiful Was The Time
42. Cymbals Eat Guitars - Why There Are Mountains
41. Grizzly Bear - Veckatimest
40. No Age - Losing Feeling
39. Madlib - Beat Konducta Vol. 5-6: A Tribute To...
38. Thee Oh Sees - Help
37. Allen Toussaint - The Bright Mississippi
36. Tim Hecker - An Imaginary Country
35. Alec Ounsworth - Mo Beauty
34. Candy Claws - In The Dream of the Sea Life
33. Bibio - Ambivalence Avenue
32. Kurt Vile - Childish Prodigy
31. Lotus Plaza - The Floodlight Collective
30. Sufjan Stevens - The BQE
29. Deerhunter - Rainwater Casssette Exchange
28. William Basinski - 92982
27. Raekwon - Only Built 4 Cuban Linx... Pt. II
26. Antony and The Johnsons - The Crying Light
25. Tom Waits - Glitter and Doom Live
24. Black Dice - Repo
23. Here We Go Magic - Here We Go Magic
22. Clark - Totem Flare
21. Ras G - Brotha From Anotha Planet
20. Flying Lotus - L.A. EP 3 X 3
19. St. Vincent - Actor
18. Mount Eerie - Wind's Poem
17. Fever Ray - Fever Ray
16. HEALTH - Get Color
15. Burial & Four Tet - Moth/Wolf Cub
14. Prefuse 73 - Meditation Upon Meditations (The Japanese Diaries)
13. The See Through Boy - I Am Constellation
12. Andrew Douglas Rothbard - Exodusarabesque
11. A Sunny Day in Glasgow - Ashes Grammar
10. Atlas Sound -Logos
9. Fuck Buttons - Tarot Sport
8. Bill Callahan - Sometimes I Wish We Were an Eagle
7. Dragging An Ox Through Water - The Tropics of Phenoenon
6. Dan Deacon - Bromst
5. Navigator - Bad Children(and a special mention for Braden J. McKenna - Gigantic Monster Cave)
4. DOOM - BORN LIKE THIS
3. Sunset Rubdown - Dragonslayer
2. The Dirty Projectors - Bitte Orca
1. Animal Collective - Merriweather Post Pavillion (and a special mention for Fall Be Kind)
Don't get my title wrong. I am not implying that music really died. I am sure it is just as alive as ever; but to me, it took a little vacation. It is the end of the year and I keep telling Thistle that I am going to write a year end list, but 2009 is also the year lists died to me. With internet culture rampantly breathing down our necks everyone and their dog finds that they are compelled to pen year end lists: top ten movies, top ten books, best songs, favorite cat youtubes, top ten failed Obama promises, whatever. And since it is 2009, those list are doubling to include decade lists. These lists are consuming our interwebs, made by people who are not necessarily qualified to make these lists, and that's about where I see myself this year: not qualified. (Thistle is qualified. I see those weekly stats. I know you all love him). I have listened to probably a fourth the music I usually listen to in a year, and one billionth of what Thistle has listened to. If any of you are new readers, you probably don't even know that Thistle is not the only writer on Forest Gospel. I have been dormant for some time now. Here's reason number one-
I birthed this gorgeous monstrosity early this year. He has consumed my life and quite possibly my soul. He sleeps all day and never through the night. I don't listen to anything even remotely hard edged or laced with creepy or experimental or loud or basically anything around him unless it is soft and gorgeous and mellow (particularly for the first few months of his life) because he is sensitive as all get out, which brings me to my first Sassy Award that I want to give out this year-
ALBUM THAT SAVED MY LIFE- Andrew Bird's Noble Beast
I basically had this album on repeat for the first few month's of my son's life. He LOVES this album. It could calm him down from crying in about 1.25 songs. If I was driving in the car and he got fussy, BAM! Andrew Bird saves the day. We took naps to this album, played to this album and were comforted by Bird's gorgeous croon. I started listening to this a few weeks before my son was born and I swear it was familiar to him when he made his debut in the world. We listened to it in the hospital and he knew it. He would listen intently, it was amazing.
Another thing that kept me from music this year was work. I work with a small crew painting murals and faux paint on the interiors of people's mansions. My boss doesn't think it's appropriate to listen to music while in said people's mansions, and I can't wear headphones. When I get home from work I need to play with the above mentioned child, do dishes, laundry, cook dinner, work on art, and watch So You Think You Can Dance. I absolutely hate listening to new music as background music, in fact I don't really like background noise of any sort, especially when I am exhausted (which has been this entire year). If I am going to listen to something, I want to be able to sit down and give it a good old fashioned intent listening to. So, basically the only time I am sitting down and intently listening is while in my car. Half this year my ipod has been broken, and quite frankly I have been more interested in politics this year than music and have been listening mostly to NPR while driving, and the rest of the time while my ipod has been being a baby I have been surfing the radio for the first time in years and years, and I made a huge discovery. I like crappy radio singles! I had sworn off radio years ago, and made fun of stupid hip hop songs the get replayed every five seconds, but 2009 changed my mind. Radio singles rocked this year with hip hop collabs shining brightly. My next award is...
SINGLES THAT MADE ME REALIZE THAT SINGLES ARE SWEEEEEET
First off let's listen to a little Kid Cudi, Common and Kanye in "Make Her Say"
2009 really belongs to Jay-Z, so how about a little "Run This Town" with Rihanna and Kanye
This next one could most likely be dubbed my favorite single of the year. Although, not a radio single in these neck of the woods, it's a single and a collab nonetheless. Here is Kid Cudi, with Ratatat and MGMT.
Wow, that was fun. I just felt like radio DJ there for a moment. But, this post isn't about fun, it's about excuses and complaining, so let's get back to that. I could go off about feeling inadequate next to Thistle, or my friend's frustrating allusions of grandeur, or how last year's annoying lo-fi craze turned me waaaaaay off to new music, or how feeling like you have to review everything you listen to makes me feel abnormal levels of anxiety and this detracts from my enjoyment and thus is the reason for my absence. I could, but instead let me just remind everyone that 2009 will forever be remembered by people in their right minds, and haters alike, as the year that one of the closet things to music directly sent to the inhabitants on Earth from heavenly messengers was created.
THE ALBUM THAT ALMOST REACHED PERFECTION- Grizzly Bear's Veckatimest
Just admit it, you like it too.
I am a very sensitive soul, and when I see or hear something that I love, I cry. It doesn't matter if it's a commercial, a poem, a comic book, a dance or a song, just about anything can make me emotional if I truly think it's incredible, and with that said-
THE ONLY ALBUM TO MAKE ME SHED A GENUINE TEAR- Animal Collective's Merryweather Post Pavillion
Yes, I know it is strange to cry to an Animal Collective album. I was already pent up with pregnancy emotions, I was tired and even though it leaked early, we waited until we had bought the vinyl, brought it home and gave it a spin on the ol' turntable to hear it, and when the beat drops a couple minutes into track one it was like a release. My jaw literally dropped and I honestly shed a tear for the beauty that was swelling in our spare bedroom. I love music. I need music, but all these other factors have been impeding my enjoyment of music, and MPP for some reason temporarily broke that shell and reminded me the I LOVE MUSIC. I desperately needed that moment 'cause me and music have been fighting. It was like a aural hug and I wept (let the mocking commence).
My last award is something of a similar release. A place where my pent up musical frustration was temporarily washed aside as I fell in love with music again for a moment.
MY FAVORITE LIVE SHOW- Mt. Eerie and No Kids at Kilby Court
Now that we have a child, 21+ venues are a no-go. We aren't going to send our kid to a babysitter from 10pm until 2am. We aren't that crappy of parents. And for any locals reading this you know that the current status of good shows in Utah are primarily 21+. Thistle and I used to attend 1-3 shows a week, and this year I think we attended 1-3 shows total (well, maybe 10 or something). I don't really miss shows all that bad. I hate standing for long periods of time and Thistle and I agree, we have seen nearly every band that we really want to see live, but I hadn't seen No Kids yet, and I really adore them. They played an incredible set which I wrote about earlier this year, should you be so inclined to read. Mt. Eerie also brought the house down and obliterated my ear drums, as well as the eardrums of our offspring, so we left slightly early, but even with leaving prematurely I felt completely fulfilled. I reached that level of gratification that only the best of live bands can give you.
And that's about all the awards I want to give out. I told you I wasn't qualified. I listened to about the same music that everyone else listened to. Sure, I loved the new Beirut, and Bon Iver was astounding live. I listened to other albums that were good and worthy of being mentioned, but they've already been mentioned this year in one million other lists. I can't offer you anything new or exciting to look up, but I still wanted to write this, mostly for Thistle. So here it is, my homage to the music in my life in 2009.
‘Sup my twine suckas? In light of some hefty essays and finals that I will be (and am) engulfed in for the next couple weeks, I think it is safe to say that I won’t be seeking out any new music in 2009 before it comes to a close. Fortunately, I have already listened to pretty much everything that has been released this year (except for most of it) so I think I am pretty well ready to get this over with. Also, no blurbs. Everything on here (with the exception of one album) has been reviewed on Forest Gospel this year, so if you’re curious just look them up. Plus, I’ve already done enough blurbing for my end-of-decade list (which is also on the horizon). So here they are, my best favourite albums of 2009:
50) Clark - Totems Flare
49) Cymbals Eat Guitars - Why There Are Mountains
48) Andrew Bird - Noble Beast
47) Why? - Eskimo Snow
46) James Blackshaw - The Glass Bead Game
45) Black Dice - Repo
44) Anduin - Abandoned in Sleep
43) Mark Templeton + aA. Munson - Acre Loss
42) Bill Callahan - Sometimes I Wish We Were An Eagle
41) Mountains - Choral
40) Here We Go Magic - Here We Go Magic
39) Giuseppe Ielasi - Aix / (Another) Stunt Ep
38) Bear In Heaven - Beast Rest Forth Mouth
37) Blackout Beach - Skin of Evil
36) The Antlers - Hospice
35) Zs - Music For the Modern White
34) Smith Westerns - Smith Westerns
33) Julianna Barwick - Florine
32) Sparklehorse + Fennesz - In the Fishtank 15
31) Millipede - Death Mountain / Sand & Surf 7"
30) Braden J. McKenna - Gigantic Monster Cave
29) Mount Eerie - Wind's Poem
28) Califone - All My Friends Are Funeral Singers
27) Ekkehard Ehlers + Paul Wirkus - Ballads
26) Bad Hangin' Out - Bad Hangin' Out
25) Atlas Sound - Logos
24) Animal Hospital - Memory
23) Grizzly Bear - Veckematist
22) Burial + Four Tet - Moth/Wolf Cub 12"
21) Swan Lake - Enemy Mine
20) A Sunny Day in Glasgow - Ashes Grammar
19) Leyland Kirby - Sadly, the Future is No Longer What It Was
18) The Hunches - Exit Dreams
17) John Wiese - Circle Snare
16) Fever Ray - Fever Ray
15) Axolotl - Of Bonds In General
14) Prefuse 73 - Meditation Upon Meditations
13) Caboladies - Crowded Out Memory / Constellation Deformity cs
12) Ben Frost - By The Throat
11) Lightning Bolt - Earthly Delights
10) Sam Hamilton - Sooty Symposium
9) DM Stith - Heavy Ghost
8) OOIOO - Armonico Hewa
7) Sunset Rubdown - Dragonslayer
6) Animal Collective - Merriweather PostPavilion
5) A Faulty Chromosome - Craving To Be Coddled So We Can Feel Fake-Safe
4) Evangelista - Prince of Truth
3) Andrew Douglas Rothbard - Exodusarabesque
2) Dragging An Ox Through Water - The Tropics of Phenomenon
Anduin Abandoned in Sleep (2009, SMTG Limited)
RIYL = Jasper Tx, Ben Frost, Tim Hecker
Following up his debut outing last year along with a collaborative release with Jasper Tx earlier this year, Anduin (AKA Jonathan Lee) sounds like he’s has finally achieved something really incredible with Abandoned in Sleep. That’s not to say that his previous output wasn’t good. Anduin seems to be defined at this point by impressive textures and colossal drones. Yet, it has only been with this newest release that I have really been taken aback by and become truly engaged with his work. In terms of 2009 releases, Abandoned in Sleep is most similar to Ben Frost’s By The Throat. On his sophomore release, Anduin has achieved a similar minimalist danger and psychological tension to that of Frost. What is possibly more importantly of note here is, despite the album’s similarities, Abandoned in Sleep's ability to stand so closely and competitively with Frost’s work without losing any of its individual edge or primal energy. The message here is this: if you enjoyed By The Throat in any measure, you’re going to love Abandoned in Sleep. There is a magnificent claustrophobia present on the album that feels muted and heavy, encroaching steadily on the space left in your mind. Heady stuff for headphones and speakers alike, though I would most encouragingly recommend an isolated listen with the nicest set of headphones that you can get your hands on; the textures Anduin has created reward sophisticated headgear. I think that the generous improvement Anduin has made in terms of this record and his last is the diversity and mobility of his compositions. His debut set a standard for textures, but remained relatively stagnant after achieving said textures. On Abandoned in Sleep you can tell that Anduin has taken efforts to make his sounds live and breathe. There is a heart pumping within this record, slowly and assuredly, masking the intents of the beast it supports and its intent on devouring its listener whole. To the extent that being devoured by music can be enjoyable, Abandoned in Sleep is exceptionally gratifying.
Gareth Dickson Collected Recordings
(2009, Drifting Fall Recordings)
RIYL = Nick Drake, David Thomas Broughton, Scott Tuma
The title to Gareth Dickson’s most recent album, Collected Recordings, sounds as if the songs were gathered together from old scraps or off of out of print titles. Unfortunately, I don’t really know much about Mr. Dickson's prior releases, so whether or not this stuff is completely new is unknown by me. However, what I do know is that Dickson has the ability to heal souls with his soothing brand of acoustic guitar work and vocal work. When you first hear his voice, it is impossible not to think of Nick Drake, yet his slow, atmospheric guitar work is more reminiscent of modern folk soundscapist, Scott Tuma. The combination of the two titanic musical figures in Dickson’s work is awe inspiring. Eleven lengthy tracks sliced straight from heaven. Plus, isn’t any album really just a bunch of collected recordings?
Loma Prieta Dark Mountain 12” (2009, self released?)
RIYL = American Football, Converge, Pg. 99
Following up their debut from last year, Dark Mountain maintains the exact same aesthetic Last City, which isn’t a bad thing, especially since Last City and Dark Mountain make up about half a album each. Filled with short melodic bursts of post hardcore madness, Loma Prieta are attempting to fill the giant gap in my life where post hardcore, hardcore and punk music should be. Maybe I’m blind, or perhaps not a good enough student of the scene, but Loma Prieta is pretty much the only band in the vein of ‘heavy’ that I have really enjoyed recently. Solid solid stuff from the San Francisco bludgeoners.
Adam Drucker, AKA Doseone and ½ of Themselves, is a vocal magician of around a million vocal personas, and on CrownsDown he seems bent on using everyone. Whether it be his gritty battle rap mode or his more song oriented, multi-layered pop vocals, or everything inbetween - he even uses autotune! In addition vocal styles, Doseone is probably the fastest rapper out there when he wants to be. some of the lightning speed verbosity on CrownsDown is absolutely insane. You have to give Jel credit for keeping up with Dose on every syllable. Together the duo seems bent on making as straightforward a hip hop album the two are capable of. Fortunately for us, Themselves aren’t very good at making straightforward hip hop. In fact, the best moments on the album are when the two veer into experimental pop territory. Take “Daxstrong” for example, the track is probably my very favourite track of 2009 with its down tempo drum beat and vocals that eventually transform into a kind of Tv on the Radio croon. CrownsDown is a fresh change of pace for Doseone and Jel, regardless of whether you like them more in Subtle. Sorry for the sloppy review. I promised myself I'd post regardless of the writing quality.
Grooms Rejoicer
(2009, Death By Audio)
RIYL = Pavement, Sonic Youth, Blood On the Wall
With list making season right around the corner for both the year and the decade (for those with the patience to actually wait until the decade ends), Rejoicer is the catalyst for displacement. To say that with this, the Grooms debut, that I’ve saved the best for last would be understatement. But wait, is this a debut? For the ‘Grooms’ moniker, yes; however, with a different drummer the band was formerly called the Muggabears. The decision to change the name was an obvious one. In fact, it is kind of unfortunate that it didn’t happen earlier because now I am going to have to backtrack in order to listen to the three albums that proceeded Rejoicer, but that is neither here nor there. No, what we are here to discuss is Rejoicer and Rejoicer, my friends, is set to unhinge jaws and leave them hanging like some many clouds. The album is simple. Seriously, how many bands could I review with stylistic comparisons to Pavement or Sonic Youth? A million. The beauty of the comparison in this particular situation is that Rejoicer not only contains the straight forward, albeit roughly hued indie rock touchstones of the godfathers of the genre, but also maintains the quality of the same. This is no lie. We all love Slanted and Enchanted and Daydream Nation, right? Well, if you love those albums then you’ll also love Rejoicer. It’s that simple. Ten songs, melodically skiwampus, with both gorgeous and corrosive qualities, that drive chords of joy and fervor straight into your heart. What we have here with the Grooms’ "debut" is an earnest mess of perfectly imperfect guitar tones that often dive off the map, excellent drumming that is focused on rhythmic utility rather than flashy fills, emotive bass undercurrents and everyman vocals that veer and cut endearingly. Rejoicer is it folks, that’s all.
Marina Rosenfeld Plastic Materials
(2009, Room 40)
RIYL = Kallikak Family, Alan Licht & Aki Onda, Mark Templeton
I received Marina Rosenfeld’s Plastic Materials without any real knowledge about Rosenfeld’s four previous albums and at least ten years experience as a musician/composer. The truth is, even now I still don’t have much of an clue about her previous work, except I know that it exists. After listening to Plastic Materials I am wondering how this is possible. Rosenfeld’s work is mind bogglingly good. Like, really really great and good and incredibly really super and awesome. The kind of stuff that sends you into fits of gibberish praise just like when you received that new blue bike for Christmas when you were ten. However, other than some of the metallic and ‘plastic materials’ (couldn’t resist), comparing the two is kind of a stretch. Rosenfeld’s work on Plastic Materials is pretty insular and will be undoubtedly alienating for more than a few listeners unaccustomed to experimental works. But for those with an ear for adventure, Plastic Materials is like new snow for making tracks. It's pretty easy praising Rosenfeld’s work, describing it though is another matter. In my imagination, Plastic Materials sounds like an strange autopsy where the deceased is part robot, part creature from another planet and each progressive incision opens new caverns of spiraling innards that are both structurally amazing and kind of freaky. There is even an ever present sterility of steel tables and clean instruments to the whole thing. The album is bizarre in the most fascinating way. Rosenfeld’s doesn’t actually use any knifes in the creation of her work, but still manages her fair share of cutting by the heavy use of turntables and sampled voices (both talking and singing out of tune) cut up with medical precision. In addition to the re-emerging vocals, Rosenfeld has crafted a moody sub-noise aesthetic that incorporates turntable tics and spasms along with other electronic mumbling which flow in and out of piano tinkering and other unidentifiable transmissions. It’s a mystical little album, this Plastic Materials; something inhabiting beauty and austerity in equal measure and definitely a must have for experimental listeners.
Prefuse 73 Meditation Upon Meditations (The Japanese Diaries) (2009, Beat Records)
RIYL = Bibio, Flying Lotus, Ras G
Guillermo Scott Herren, the mastermind behind Prefuse 73 (among others), has already dropped two albums under the pseudonym this year; the sprawling hyperactive Everything She Touched Turned Ampexian and the mini LP addendum, The Forest Of Oversensitivity. So, I think it is fair to say that Meditation Upon Meditations is an unexpected release. Even more unexpected is its current distribution in Japan only. Now, some might see this information and discard the album as an insignificant dumping of accumulated b-sides; you know, one of those non-essential releases that only completist Prefuse-heads need worry about. Those who make that assumption would be wrong. In fact, it appears that Mr. Herren’s love for Japan exceeds that of the States because Meditation Upon Meditations is the best Prefuse 73 release since One Word Extinguisher. No joke. For this release, Herren avoids the quick snippet, mixtape form of Ampexian in favor of fuller compositions ranging from the three to four minute range and that additional time is Herren’s best weapon. Crouching down in the uber-crowded assemblages, something that has become synonymous with Prefuse 73, Herren's work comes off more complete and the beats and plundered electronics become more grounded. Herren has a way of multilayering beats to oblivion, but still making it sound coherent, and this is explicitly apparent on Mediation Upon Meditations. In the past, Herren used the relief of an occasional MC spot to allow for some breathing room amongst the rubbery bombast, and that is my only wish here. However, even without any guest MCs, Herren performs blissfully, compiling a minced vocal pie amidst the bouncy ball blips and beats. If you have ever had a leaning towards Prefuse 73’s work, it will behoove you to search this album out. I promise you won’t be disappointed.
OOIOO Armonico Hewa
(2009, Thrill Jockey)
RIYL = Gang Gang Dance, Boredoms, Ponytail
I understand that the Boredoms are pretty much experimental psych rock deity, but I have to admit that I have always preferred OOIOO (the band which Boredoms drummer, Yoshimi P-We (yes, that Yoshimi), created after the Boredoms kind of evaporated). And OOIOO absolutely, positively kill it on Armonico Hewa. It appears that as we sneak closer to the year’s end things are only picking up speed. The last couple of months have just been stellar. And now we have Armonico Hewa, the pinnacle achievement in a long line of increasingly awesome albums from OOIOO. For those who are unfamiliar with the band, here are some instructions when listening to Armonico Hewa: (1) Blast this thing loudly! The record is the spiritual successor to Gang Gang Dance’s inscrutable Saint Dyphmna and as such benefits from block party volumes. (2) Make sure you do some face exercises because there is a good chance that you will be smiling all the way through this manic, Japanese glee/funk/psych/rock/+ anything-and-everything-else fest. OOIOO’s musical constructions feel borderline Frankensteinian as lumbering monstrosities ever falling into electrified chaos. Proper descriptions are going to fail me here because OOIOO’s polyrhythmic kaleidoscope is too all encompassing. However, some semi-constants amongst the bliss-inducing rock chaos are beautifully wiry guitars that flex your bones, hollow/hallowed krauty pummeling and thick muscle-upon-muscle bass grooves. Oh, and we can’t leave out the vocals (these too being used solely for instrumental effect). I mean, the vocals! They sound like the opposite of a group exorcism, their vowel heavy chanting made for the purpose of opening up bodies for claiming by ghosts (though, only freakin’ sweet ghosts need apply, like Slimer or something). I’m listening to “Konjo” as I write this and the chirps in the background it sounds as if the band is startling puppies by stepping on their unsuspecting tails. It’s absolute confetti hilarity of Katamari proportions on Armonico Hewa. You can see that the album affects me in a somewhat nonsensical way, so it is probably most appropriate to just leave you with a hearty recommendation, as if you didn’t know.
Brilliant Colors Introducing (11.2009 Slumberland)
RIYL: The Flatmates, The Shop Assistants, jumping on your bed in your room alone.
If Brilliant Colors aren’t immediately hailed as the undisputed champs of girl fronted indie pop I’m going to roll over and die this very second. Sure, Vivian Girls are good, but Brilliant Colors are giving 1986-1993 a run for its money. This is pure unadulterated straight out of the UK (California) twee as can be rock n’ roll. While most twee stars are getting their hearts broken, Colors front woman Jess Scott is out there smashing em. She’s got enough sass to put her in the ranks of Alex Taylor and Debbie Haynes. Seriously, this record is flawless; it’s like a greatest hits collection. Admittedly some earlier versions of a few songs appeared on 7 inches, but when music is this good who cares. If the Pains of Being Pure at Heart didn’t come out earlier this year, this would be the best indie pop record of the year. That said, head over to Slumberland asap and order the vinyl. Its only 8 bucks.
Evangelista Prince of Truth
(2009, Constellation)
RIYL = Gowns, Castanets, Valet
I never figured I would find another album this year to contend with Ben Frost’s By The Throat in terms of apocalyptic tension and aural austerity, but Princeof Truth definitely makes a run for it. Album opener, “The Slayer”, embodies just what its title implies, a gnarled, jarringly gritty opus that cuts like a dull axe. Carla Bozulich, the searingly brutal songstress of Evangelista, takes no prisoners again on Prince of Truth (her first no-prisoners conquest taking form in last year’s Hello, Voyager) with her vocal crow. However, Bozulich’s vocals, which waver from brutality to empathy and back again, are matched note for not by the (anti)musicality of the Evangelista band. Of course, this is because Bozulich knows that if your are paving the way for the apocalypse, its best to have the folks at Constellation trumpeting you along. The beautifully instrumental berserker delves in and out of bluesy jazz-inflected bass lines, think chamber strings, acoustic Americana and blistering rock and roll, all rolled variously in tar, nails and feathers. The most beautiful thing about Evangelista as a band is their ability to burn small villages with tracks like “The Slayer” and “You Are A Jaguar” and then turn right around and make you believe they are genuinely sorry on ballads like “Tremble Dragonfly”. Evangelista have not only joined the likes of Jackie-O Samuel L. Jackson, Gowns and Valet in creating a barbed hybrids of Americana, noise and rock, Bozulich and the crew are now the royal family with which all their predecessors should look to for inspiration. I am having a hard time reasoning out why Prince of Truth shouldn’t be my favourite album of the year. And beyond that, why it shouldn’t outrank half of my list for best of the decade, this “wicked flying thing.”
The Kallikak Family
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