Best of 2007

Sondre Lerche- Phantom Punch

Sondre Lerche’s album Phantom Punch is a flawless release. It is the perfect pop album that exemplifies what pop rock artists have been doing for the last sixty years. However this album has a slight sophistication that not only challenges the typical pop model tune, but reworks it into a beautiful masterpiece. Lerche is only twenty five and this is his fourth release to date. What distinguishes Phantom Punch form his other albums is the depth and quality that the songs on it have. The opening track titled “Airport Taxi Reception” is one of the more intense songs off of the album. It immediately launches into an upbeat song, opening with the words: “I called you because I love you so”, a ridiculously cute lyric. He does this again part way through the album with the song “Well, Well, Well”, where he sings in the chorus: “When I see you baby it’s well, well, well/When I see you baby it’s a OK”. These lyrics are incredibly simple very similar to that of the Beatles, especially what they put out in the early sixties, or material off the album ‘Please Please Me’. In direct contrast this album has a sophistication that shows his maturity through his music. The most sophisticated song is the last track called “Happy Birthday Girl”, the name hints that it’s a love song, however the length and instrumentation lets the listener completely forget that it is anything of that nature, I would struggle to call it that. My favourite lyrics are from this track, where they convey really solid imagery in indirect ways. “And while the satellite’s asleep, somewhere it’s midnight out there/ And while I’m barking at the moon you sing your heart out to a tune hoping you’ll never grow old”. It’s Lerche’s simplicity that wins him the most credibility. Lerche’s huge musical talent is genre breaking for him, spreading into both the crooner and soundtrack genres. Songs to youtube: Happy Birthday Girl

The Shins- Wincing the Night Away

This album is by far the most poppy Shins album to be released as of yet. However they have successfully maintained their clever lyrics along with their poppy charm. Initially I really didn’t like this album, or more so I didn’t want to like it, probably because of the success that they gained along with the release of the Zach Braff film Garden State. The first half of the album is most obviously the strong portion of this release. Opening up with the tune “Sleeping Lessons”, which directly corresponds to the motif of sleep and sombre. At the 2:20 point I completely loose my shit every time I hear it because of the guitar line that picks up the synth. The first track is easily my favourite tune off of the album, it’s strength lies within the blend of synthesizer and the sixties rock sound. I always thought that the Shins reflect the sound of the Zombies, most popular by their killed tune “Time of the Season”, but I like to relate them to the Zombies less radio-friendly tunes “This Will Be Our Year” or “Care of Cell 44”. Both cute love ballads that contain their cheesy qualities through brilliant hooks and super vocals. I think that’s what the Shins do too, very well at that. Their lyrics are not the least bit sophisticated however they are more quirky and cute, usually disguised by James Mercer’s incredibly voice, that really doesn’t parallel to any vocalist these days. This album has been mastered extremely well, with little flaws. I really dig that they can have such a polished sound while maintaining their indie credibility, it’s also nice that they’re still on Sub Pop. Songs to youtube: Sleeping Lessons

Wintersleep- Welcome to the Night Sky

This album’s artwork was what truly sold me on this album, the only problem is the insert has no lyrics. That kills me when bands omit lyrics… That aside, the album is their best release yet it really has a distinct flow to it, it seems they really found their sound. I think this albums strongest aspect is its consistency, throughout it maintains good flow and progression. The first two tracks are solid, they both have a good upbeat flow to them and they also translate so well in the live show too! The second track’s first lyric is “Do you still believe in God? Said the preacher to astronaut”. What I love about the delivery is that he starts the song with his vocals, not some ridiculously long intro. My favourite song is titled “Drunk on Aluminium”, which for the longest time I referred to as “Tambourine” because that’s what the leaked copy of the album referred to it as. “Drunk on Aluminium” has a crazy long intro however it really accentuates the highs and lows of this song, which is truly Wintersleep’s strength. I love that they can create the slowest tune and craft such intense parts. This song particularly at 1:10 freezes and you hear the lead singer’s vocals, incredibly powerful in the live show. The one thing that kills me about Wintersleep is that uniform “ahh” the lead singer always takes on, in every song. It’s a little repetitive and gets old very quickly. Another flaw is the use of synthesizer, which is not very noticeable on the recorded version but in their live show pierces through their music (specifically the tune “Weighty Ghost”, live synth was way too much!). The sound is too overbearing. Wintersleep’s vocals is what pieces the band together, I think the lead singer’s vocals distinguishes them from other groups. Songs to youtube: Drunk on Aluminum (Tamborine)

Stars- In Our Bedroom After the War

What hasn’t Stars done? This album is definitely overreaching at that. They so perfectly found themselves through the album ‘Set Yourself on Fire’ and just as quickly lost that through their latest release. There are definitely standout tracks off of this album, “The Night Starts Here”, “My Favourite Book” and most obviously “Take Me To The Riot”. They kept their charm through the girl-guy vocal toss up between Amy Millan and Torquil Campbell. However on this album the contrast through love-hate relationships has been seriously lost and is tied together by strong choruses. Most notably off the older album’s songs: “One More Night (Your Ex-Lover Remains Dead)” and “Your Ex-Lover is Dead”. These two songs interact, something that they barely did on this album, with the exception of the eerie tune “Personal”. “Personal” was the song I took a liking to first because it captured the hostility and essence the album before. As mentioned before I think this album challenges too many genres and styles. It is extremely prevalent throughout the album that they did most of their writing separately, super dominated by Torquil, especially in the latter half of the album where he wrote a few lingering ballads. The worst song on this album is called “The Ghost of Genova Heights” which upon live performances I cringe instantly, during the choruses Campbell has an extremely forced falsetto, a little too much. Despite this I know I really could not hate anything stars put out. This release was especially nice because they included a DVD with it that featured the series of Lee’s Palace performances, easily one of the best concerts of my life. The packaging is also pretty fabulous itself. I think as a follow-up to ‘Set Yourself on Fire’ it is extremely weak, but because they released an even weaker album of covers and re-mixes it provides them with a bit of a relief. Songs to youtube: Take Me To the Riot, My Favourite Book and Windowbird

The Hottest State Soundtrack

The Hottest State is the next Garden State, it's the perfect fix for a sad heart. The movie is OK in comparison to the brilliant soundtrack. Ethan Hawke wrote the book in addition to starring in the movie, directing it and penning it, TRUE Renaissance man. Ethan Hawke used the brilliant writer Jesse Harris to create the soundtrack. Slightly different from most soundtracks he put all the power in Harris’ hands, making him the sole writer of the tracks used in the soundtrack. You might know Harris from the liner notes of jazz superstar Norah Jones, although it’s co-written I’m sure he is the brain power behind her super pretty tunes. This is extremely bold because the movie is riding on the power of big shot artists on someone else’s tunes. The most beautiful tune is sung by Canadian pride, Leslie Feist, titled “Somewhere Down The Road”. When I first heard this tune I would go to the movie’s Myspace and listen to Feist’s vocals over and over again, just the first thirty seconds because they are so powerful. I think what this goes to show is the individual uniqueness that each artist brings to performing Harris’ songs. Hawke managed to grab hotshot artists, Willie Nelson, Bright Eyes, Emmylou Harris, M. Ward and Cat Power (oh and also Norah Jones). This is a perfect indie compilation that definitely outshine the tracks that are supposedly done by the artist in the movie, character named Sarah, the real artist being Rocha. The Cat Power song is brilliant, Marshall manages to capture the eerie vibe that it gives, but does it with her typical stripped sound. The M. Ward tune “Crooked Lines” is prettier than most of his other tunes, the layered guitars is what gets me, despite being very polished it is easily one of the better songs off this album. Terrific release.Songs to youtube: Feist- Somewhere Down The Road, M. Ward- Crooked Lines, Tony Scherr-You, The Queen (WHO I SAW OPEN FOR JASON COLLETT EARLIER THIS YEAR, total hidden gem), Cat Power- It's Alright to Fail

The Once Soundtrack- Glen Hansard and Marketa Irglova

Technically this is a re-release of the Frames album ‘the Cost’. Beautiful tunes, however apart from the Frames the songs off this soundtrack have a delicacy that is best represented after seeing the movie Once. My favourite song off this album is called “Say It To Me Now”, which is performed by Glen Hansard alone. This could be because of the powerful intro scene in the movie that I usually affiliate it with or perhaps because it is a ridiculous love related song (yes, the typical girl song), either way Hansard delivers it perfectly. I think what shocked me most about this movie was Marketa Irglova, who portrays a young mother, however the character is much older than her age in real life. She’s only nineteen, which floors me because she’s so incredibly talented and paired up with music veteran Hansard, it can only help her. I’m not crazy about her tunes like the lone-themed song “If You Want Me”, it has an eerie vibe that has a completely different feel from all the other songs off of this album. The most powerful track off of this album is “When Your Mind’s Made Up”, this was all decided based on Hansard’s live presence at the bridge point of this song. In the live show he plays this with an acoustic, however it’s so incredibly powerful at 2:30, when both Irglova and Hansard scream beautifully. I think this can only be displayed through a crappy quality you tube video, the recorded version does not do justice. This movie was done so well, it prevented the cheesy quality that most musical movies have (see: Rent and Across the Universe). This was a love story without the physicality of love, making it so much more. Songs to youtube: Falling Slowly, Say It To Me Now and When Your Mind's Made Up- The Frames version!

Do Make Say Think- You, You’re A History in Rust

Where do I start. The latest album from Do Make is most certainly not their best, however it proves how talented and together this band really is. Lead by Charles Spearin (KC Accidental and Broken Social Scene) it exhibits much of what the other albums did and some more, through vocals (this is huge!). Comparing Do Make Say Think to other instrumental groups, I would say they have a bit more control over their sound, not too much but a comfortable medium. This is best achieved through a permanent horn section, and a great music knowledge. The second tune “A With Living” is the album breaker, vocals. They are able to pull it off because they sandwiched it between two long instrumental parts. The vocals linger paralleling greatly to something out of a Grizzly Bear tune, they also do a ton of layering to blend in the vocals with the instrumentation. The song “The Universe!” is the most straight out rock song I’ve heard of Do Make Say Think, it’s faults are in its simplicity and lack of creativity. The best track on this album is “A Tender History in Rust”, a great tune that has a massive build up from simple clutter-feedback noises into the xylophone and a tiny giggle--all to exhibit a simple guitar sound. This is picks up at the 1:20 point of the song, it’s really beautiful and should be heard. “Herstory of Glory” is not only a cute play on words but has a childlike innocence to it through laughter and a clustered sound that mirrors that of a playground. My main criticism of this album is lingering pauses in songs, which for newer listeners would easily throw them off. I really dig it, they’re definitely straying away from their string centred tunes off of ‘Winter Hymn Country Hymn Secret Hymn’. But I hope they don’t lose the mood music they successful conveyed on ‘& Yet & Yet’.Songs to youtube: A Tender History in Rust and Chinatown (of & Yet & Yet because it's so! good!)

Basia Bulat- Oh, My Darling

An eloquently crafted release that was actually out in Europe on Rough Trade well before it was released in Canada on Hardwood (Hayden). Bulat is a total gem, she’s cute and ridiculously talented. Her sound thrives on simplicity, through small instrumentations that sound very similar in each track. The first time I properly heard her it was live, where I came in only knowing one song and it was a cover of the Strokes tune “Someday”, which I actually happen to like her version much more. She opened for Saddle Creek’s Maria Taylor, also of Azure Ray, at the Horseshoe. At that time Bulat didn’t even have a CD to sell! This album is as pretty as it is properly crafted. She has a string section that fits her music style ridiculously well. I think her vocals separate her from most solo artists, they can sound frail and weak or extremely strong. Live they were extremely shaking, I almost thought she was nervous. The best tunes are the shortest, “Before I Knew” and “Oh, My Darling”, I’m such a sucker I definitely like they because they’re ridiculously cute. She has an old quality to her music that many artists try so hard to get, but Bulat attains with such ease. I hope she doesn’t get sucked into mainstream hype like Feist did.Songs to youtube: In the Night, Oh, My Darling, Before I Knew

Iron and Wine- The Shepard’s Dog

I purchased Iron and Wine’s ‘Our Endless Numbered Days’ maybe two and a half years ago. Upon the first couple listens it did absolutely nothing for me. I found the songs far too slow and simple for my upbeat indie-rock tastes at the time. I picked it up again after seeing the film In Good Company (Topher Grace and bombshell Scarlett Johansson). This film was primarily comprised on Iron and Wine tunes and features the tune “The Trapeze Swinger” exclusively on it. It’s a fabulous soundtrack. I only recently in the last few months started to truly listen to ‘Our Endless Numbered Days’, and for those very reasons I didn’t like Iron and Wine for a few years back, I absolutely love for currently.Iron and Wine is Sam Beams an extremely soft-spoken artist. His new release is louder and livelier, as loud and as live that his music could be. ‘The Shepard’s Dog’ is a brilliant change for it showcases the simplicity that his previous releases prized on but has aspects that showcase other genres and styles. Most noticeably a world feel. This album has a warm sound that was integrated so well through colourful guitar patterns. This is very prevalent in the tune “Song of the Shepard’s Dog”, I really don’t like this song, but the guitar riff that carries this tune sounds like something out of a Police tune, maybe not so severe, but you might get the picture. Beams has taken a direction similar to that of Paul Simon (of Simon and Garfunkel). Simon had with his album which I believe is titled ‘No Surprises’, something cheesy like that, released in 2006. It has awful world inspired world music with equally awful artwork of a baby’s face on the cover. Tasteless work that makes you crave for Garfunkel’s input. The world inspiration is also very noticeable on “White Tooth Man” a song that throughout uses the sitar. This is very George Harrison (of the Beatles) and his late Beatles works. More directly perhaps Ravi Shankar’s work, who influenced Harrison greatly in the latter portion of his career. I personally don’t like the sitar’s sound, it doesn’t do much for me. But I think as a softer instrument it layers Beams’ music really well, without sounding too aggressive.My favourite tunes on the album are the two that are most similar to his previous efforts. The songs are called “Flightless Bird, American Mouth” and “Resurrection Fern”. Pretty songs that are easy on the ears. Songs to youtube: Obviously “Flightless Bird, American Mouth” and “Resurrection Fern”. I’m a total suck.

December 30, 2007