Fleet Foxes- Fleet FoxesI jumped on this band wagon far too late. It was late summer that i first started listening to this album despite the serious hype even when their first EP was released earlier this year. They however easily live up to everything that they are credited for. From the beginning of the album with the “red squirrel” bit they really made a beautiful album. They aren't doing anything particularly revolutionary but their sound is different enough to create a new sub-genre, called baroque-rock. I'm not sure if i agree with the new born genre, but the album has a certain charm to it, through nice melodies and different lyrics that feel older than they are. This album reminds me a bunch of the older rockers Blitzen Trapper for their foot stomping music and their harmonized vocals. Front man—jdksjfsld is only twenty-three! It blows my mind that he's so young, it makes me feel really limited as a musical individual. It however on the other side of things makes me really happy and excited to see what this band will put out in the future. What really attracted me to this band was their offbeat lyrics. They're completely different and i don't think that any other band could duplicate the vivid imagery that this band writes about. I can't believe i missed them at the El Mocambo earlier this year!!!!!!!!!!!!!!!!!Listen to the first three tracks of the album.
Jenny Lewis- Acid Tongue Lewis' album before this titled 'Rabbit Fur Coat' is one of the most well-put-together albums of the last five years easily. Unfortunately i can't say the same of her latest. The biggest difference between 'Acid Tongue' and 'Rabbit' is that 'Rabbit' has a concise direction. Each track has a distinct sound, yet the album as a whole has a motif that links each song together. 'Acid Tongue' lacks that organisation, it has its moments, especially with the song “Trying My Best To Love You,” which is easily my favourite song on the album. It has that sweet innocent sound that 'Rabbit' attained effortlessly but Lewis' voice in that particular tune could light a room up with her warmth. This album had the usual Johnathan Rice touch but in addition it had the Elvis Costello on it. From what i know Costello first singled out Rilo Kiley's tune “Does He Love You” as one of his favourite tunes on the Starbucks exclusive albums of artist's favourite songs. I hate these series but i'm always curious what the artist will put on it. From there i noticed that both Jenny Lewis and Johnathan Rice appeared on Costello's new album. Costello aside i really sense the influence of Johnathan Rice on her work. His latest album 'Further North' has that hurdy gurdy alt-country rock sound that Lewis has progressed more towards. My roommate really likes this album. This album is cheeky with its clever artwork and title, but unfortunately the songs don't live up to that name. Check out: “Trying My Best To Love You” to remember why you fell in love with Jenny Lewis in the first place.
Plants and Animals- Parc Avenue This album has everything an album should have—energy and drive. Plants hail from Montreal, Quebec, they're going to become the pride of Canada pretty soon the way they're going. My favourite tune off of this album is called “New Kind of Love”. This particular song ebbs and flows ever so slightly, to the point where the listener doesn't realise how effortlessly they pull it off. I look at that song as though it's three in one, much like the Guess Who treat “No Sugar Tonight/New Mother Nature”. This album hypes me up without being a ridiculously electronic album or a popular hip-hop artist. These guys are what i wish Canadian music was to other countries and not hick rockers Nickleback, not to ever compare them to that awful band. They make my list because they have incredibly different lyrics that aren't simply just about love and heartbreak. I never get tired of listening to them because they bring something completely innovative to the table. I'm thrilled that this band is doing well. I first saw them open for Andrew Bird in 2007 and seeing them sell out the Horseshoe Tavern is brilliant.Please listen to: “New Kind of Love”
Snowblink- Long Live I just bought this album this month! I first stumbled upon them by accident at a teeny, tiny show in the front room of the Tranzac. I was going to see Great Aunt Ida on Canada Day after i saw Plants and Animals. I however had no idea what they looked like, or barely what they sound like because i only had one album that i barely listened to. Snowblink opened the show, and in that time i thought that that band was Great Aunt Ida. My hesitation however led me to a bit of research which revealed that this two piece outfit was actually in fact Snowblink. Partially from the USA and Toronto. They have the raw Forest City Lovers sound yet their music comes off much more explosive than Kat Burn's. They are also more dynamic in that their lyrics are significantly more flighty than the straight forward love song. It's really refreshing, and in that they showcase many different sounds and instrumentation. It's a really sweet album, the lead singers voice is warm enough to melt snow on a cold winter's day.Listen to: “Rut & Nuzzle” and “The Tired Bees”
Forest City Lovers- Haunting Moon SinkingThis is Kat Burn's second album. She thrives on simplicity and precision, two characteristics that define her from other groups in the Bellwoods scene. It's ridiculous that there's a Bellwoods scene. There are moments where i think that this band is the tiniest thing ever. And then i just think of the time i saw them play in the Tranzac backroom with the D'Ubervilles and it amazes me how well they packed that place up. Burn's is lovely, her charm and charisma keep the band tightly wound together, she is the band. The first track on the album is easily the nicest, simply titled “Don't Go”. This album by no means is my favourite release of the year but Kat Burns has a particular charm to her that sets me on her music. It's a modesty she pushes forth with her pretty vocals and ridiculously simple music that you wish you wrote yourself. I hope that she becomes bigger because her music is lovely and more ears should be exposed to this local gem.Song to listen to: “Don't Go”
Walkmen- You & Me Pitchfork calls “In the New Year” one of their top tracks of the year. It's simple and catchy, two traits that this album does not lack. From the lead singer's harsh vocals to the dominant piano lines this album encompasses all of the tools to become a smash hit. The Walkmen never made it huge, i'd say of all of their releases this album received the largest hype, with reason. I can single out why this album is so significant to 2008. First, it's fluidity, the album itself is brilliant in that each song kind of has the same sound as the other. The album does not leap into something too adventurous and bold. Second, it has just enough teen angst, not to the point where it becomes ridiculously annoying, but enough for even someone beyond that age to enjoy. Third, it translates so well live, The Walkmen put on a spectacular show. I saw them when this album just came out in September, they played the Horseshoe. Every sound on the album was reproduced perfectly, playing their tunes that were big and their tunes that didn't do as well. This band has been able to avoid the title of another OC band even though they appeared on the fourth soundtrack! Maybe that's not a good thing, but i think they're doing just fine.Songs to listen to: “In the New Year” and “Canadian Girl”
M83- Saturdays=YouthThis album screams teen angst even down to the title of the album. The title sort of saves them by reuniting an older person to their youth. The one thing i hate about this band (just to get this out of the way) is the super voice overs in which they do. They've done it before and this album is no exception. One thing this album has that their others don't is serious direction. Much unlike 'Before the Dawn Heals Us' and 'Dead Cities', 'Saturdays' has a motif. That very obviously is the 1980s, through and through. Coming from a person that absolutely hates that decade this album is not completely awful. There's as per usual a ton of synthesizers used, but it's tasteful. On this album writer and frontman Anthony Gonzales recruited American Morgan Kibby to join the band. Her voice is ridiculously flexible, at times she has a dominant Kate Bush vibe (which i'm not crazy about) and very alternatively she layers as a perfect background voice to Gonzales. Upon first listen i didn't really love the album, but after a few listens i really took a liking to a few tracks in particular. I loved “Kim and Jessie” upon first listen, for very obvious reasons. After seeing them live at the Mod Club earlier this summer I immediately took a liking to the song “We Own the Sky”. Which is easily the most epic song on the album. I find each of their albums has a couple of epic songs on it. This song easily wins that tile. When i saw them at the Opera House I really dug “Graveyard Girl”. M83 craft beautiful airy songs that perfectly capture being a teenager. Songs to check out: “We Own the Sky” and “Kim and Jessie”
Death Cab for Cutie- Narrow StairsThis album is immaculate. The reason why people are not giving it the recognition it deserves is because this little hidden gem is listened to by soccer moms all over the world. That's a really scary thought. With the small exception of a few songs, this album is perfect. It's light, diverse and heartfelt, three qualities that make a brilliant album. This album has a strong beginning and a strong ending. To start, the second track on this album is over eight minutes long, that's bold. Not to mention the lyrics don't seep in until the half way point. They include an instrumental bit at the beginning to get your blood flowing. This is something new, that Death Cab hasn't touched. This album does not lack lyrically, primary writer Ben Gibbard's beautiful words are so eloquently tied together. If there's a lousy song on this album it's really supported by fantastic lyrics and that's pretty safe to say. Death Cab For Cutie never lose heart in their music, even if Chum FM gets a piece of it. It may not be 'Transatlanticism' but maybe if it was released at that time and in those exact circumstances it may have been.Songs you must hear: “Grapevine Fires” and “Your New Twin-Sized Bed”
Bon Iver- For Emma, Forever AgoThis album is the finest release of the year. Rivaled only by She and Him. I first got my hands on this music in January. Shortly after i luckily saw him in March opening for labelmates Canadian gems Black Mountain. The crowd seemed to be there for Black Mountain, which was fair seeing as his album had just officially been released at that time. 'For Emma' is actually pretty old, i think its been out for two years come 2009. As an unsigned artist he pushed this album on his own by serious touring, where he really picked up momentum from that. Much to my chagrin, in late November of 2007 he played the Horseshoe to what was probably an empty venue. This album is consistent, it lingers and flourishes very eloquently. It's delicate and fragile but frontman Justin Vernon can pick up with as much vigour as a band twice the size. The best song is probably “Skinny Love,” it has that accessibility as a pseudo love song, but doesn't in the slightest bit come out cheesy. My favourite song is a toss up between “The Wolves (Act I & II)” and “Creature Fear”. But “Creature Fear” was the song that i took to quickest, for the swell it has just before the chorus when he sings: “So many foreign worlds...”. This album is timeless, it has the simplicity and diverse orchestration to fit a musical act from forty years ago. Songs to listen to: “Creature Fear”, “Skinny Love” and “Flume”
She & Him- Volume OneAs many people have stated before titling an album 'Volume One' is both hopeful and optimistic. She & Him is one part actress Zooey Deschanel and the other M. Ward an unbeatable duo. Deschanel has the looks and sweet voice and M. Ward has the musical talent. Deschanel has haunted the televisions of people while M. Ward has provided the music, big fans would be excited to know that M. Ward and Zooey Deschanel both appear in the movie the Go-Getter done in 2007. This album is beautiful. It sounds like something straight out of the sixties, it's sweet and innocent, yet deliberate. M. Ward's music has always had a classic feel to them (please check out “One Life Away” of of his album 'Transistor Radio': http://www.youtube.com/watch?v=fsZqFB6qafQ). This album is no exception, however Deschanel adds the happy glow that Wards music seriously lacked. Take the first song, appropriately titled “Sentimental Heart”. The first lyrics are: “Cried all night till there was nothing more, what use am i as a heap on the floor”. Cute, yet well put together. Very fitting for Deschanel's dead pan cute style. It is my understanding that Deschanel penned the lyrics and Ward wrote the music. I love her style it's cute and airy without sounding too cheesy. I love the covers on this album, one of them is a Beatles tune “I Should've Known Better” and Smokey Robinson's “You Really Got a Hold On Me”. The latter is the prettiest (which the Beatles have also dabbled at). I remember downloading the album before it came out and getting the chills from hearing the words “Hold me...” repeated ever so slightly by both musicians. Very similarly they cover “Bring It On Home” http://hypem.com/track/493995/she+and+him-bring+it+on+home+to+me. It's a must hear, so if you're reading this bit before listening to it, your life is a little lesser than mine. She & Him has a particular vulnerability that few bands after 1969 achieved. I had the pleasure of seeing this group live and it was one of the loveliest moments of the year.Songs to listen to: “You Really Got A Hold On Me” and “Black Hole”
Okkervil River- The Stand InsI'm pretty new to Okkervil River, but i feel as though they're a band that picked up in a flash. The album that hooked me was 'Black Sheep Boy', released probably three years ago. This album is the follow up to last year's 'Stage Names'. A continuation through music and artwork. Lead singer Will Sheff has penned yet another masterpiece. It is very different from his efforts on “Black Sheep” in that this album has a different tone most notably given through the three “Stand In” interludes sprinkled throughout the album. I love the song “Lost Coastlines”, it's as per usual sung by Sheff but come the chorus another guy sings the vocals. They are very different from Sheff's dynamic vocals in that they sound a bunch like Morrissey. This album has energetic moments and low moments like every album they've ever released. There are plenty of clap alongs and moments in songs that were made for audience participation, cheesy—yes but effective. “Blue Tulip” stands out to me as the powerful ballad on this album like (as “A Stone” is to 'Black Sheep'). The main problem of this album is it's far too short. It seems reasonable in that it's comprised of eleven songs. But cutting the junk out, there are three interludes which are all tracks on the CD, thus making only eight tracks. I suppose this is reasonable as they just released 'The Stage Names' just a year before, with extensive touring. Listen to: “Lost Coastlines” and “Blue Tulip”
Deerhunter- 'Microcastles/Weird Era Cont'This album is perfect. Earlier this year frontman Bradford Cox sent out a disclaimer addressing the leak of his band's latest album. Upon the release late this year he added an entire bonus disc to the package. That's a positive reaction and it was handled very well. To be honest their album first full-length album 'Cryptograms' did nothing for me. I took a few tracks, many people told me it was a mood album. Even Cox regards it as a very particular album that you have to be in a certain mood to listen to. I was so excited for this Deerhunter album because of Cox's solo project Atlas Sound, which i saw early this year at a ridiculously empty Horseshoe Tavern. 'Microcastles' has consistency without repetition. That's something that 'Crytograms' seriously lacked. I read an interview where Cox said he was trying to establish a motown feel to his album. I get that vibe in some of his songs although the album is the furthest thing from that particular genre. It's evident in the way his guitar lines swing and the sway of his music. I adore the beginning of the album, the first track “Cover Me (Slowly)” is just an instrumental intro. It's incredibly powerful in that it moves and pushes with incredible ease. They opened up the show with that song in particular. It was the most powerful intro to a show i've seen all year, definitely one of those songs written to be the opener. I think this band has easily lost their sub-genre of “ambient-rock” or “noise-rock” as they've found their sound, through more focused music. Cox's vocals aren't very good, but they suit the music he makes. With a little bit of looping this band it spot on. Their sound is great both live and recorded.Tracks to Hear: “Cover Me (Slowly)” and “Twilight at Carbon Lake”
Beck- Modern GuiltI'm a total late bloomer Beck fan. The first Beck album i gave a good listen was 'Guero' which is super scary to believe was three albums ago (depending on whether you count 'Guerolito'). Regardless i feel like i have a decent grasp on the artist. I have huge expectations for Beck, as he's come relatively far as an artist. He however hasn't strayed from his older albums, this is probably because they are so incredibly diverse and inconsistent. This album is a bit of everything as his last two have been. It has some relatively hip-hop-esq elements yet it never really reaches beyond the rock genre. The song “Walls” sort of pushes that genre but never quite reaches it musically. The first track titled “Orphans” near the end sounds like a Caribou song. I think “Gamma Ray” was the single, it's definitely one of my least favourite tracks off the album. This is for the lame guitar hook that trails throughout the entire song, it drives me nuts much like “Nausea” on his previous album. I dig the title track “Modern Guilt” has a steady, solid beat to it. This album is lacking the signature Beck slower song... he tries at the end with “Volcano” but it just doesn't do anything for me. I really like this album but i suppose my expectations were so high that i didn't really get what i wanted out of it. It's a great release and was produced to perfection, yet another effort from Danger Mouse. Listen to the first track “Orphans” and realise how much he sounds like Dan Snaith at the end!
Little Joy- Little JoyThis album is lovely, up there with She & Him. It has the charm and timeless feel very similar to Deschanel and Ward's work. The only difference is it is much less consistent, in that their sound is a little widespread. I'm making bold but it seems as though the mash-up of musical acts has lead to a very diverse sound. Listening to this album I hear the Strokes all over it, compliments of Fabrezio Moretti, go figure right. But there's an innocent element different from the Strokes that even Moretti penciled alone. Innocence and honesty are the winning characteristics of this year. I'm a sucker for cute lyrics and this album is not short of that. This album is that person that safe walks you home at night, gives you a big hug and warms your heart. A little sappy but it has that appeal to it. I think the innocence of this album in sound comes from the female vocalist Binki Sharpio. Sharpio has Kimya Dawson-like weak vocals that still manage to captivate and invite. That partnered with light and easy music is the result of this super band. It's almost wrong they released this album in the winter because it will be the track to your summer time love. Additionally, there are guest appearances by very fittingly Adam Green (of the Moldy Peaches) and indie hero Devandra Banhart. I predict the Little Joy gig in 2009 will be the unknown hit of the year, hopefully it'll be at the Mod Club. Thank you Sean Mackay. Listen to: “Unattainable”, “The Next Time Around” and “Brand New Start” to make your love life just a tad more optimistic. You won't need your best friend anymore because this album is here for you!
Jason Collett- Here's to Being HereJason Collett's release is nothing absolutely incredible but it's good as per usual. This year his back up band shifted a bit from being alt-country rock make-up Paso Mino taking away a few members adding established artist Peter Elkas as lead vocals and poof there gets you Zeus. Who i think are much superior to Paso Mino because they are more entertaining musically than Paso Mino. That's probably why Paso Mino worked so well as Collett's backing band. I can't stop thinking of the Dylan comparisons when people ask me what his sound is like. He has that aura to him as well that Dylan had at one point. Looks aside his music is much livelier than Dylan's, i may or may not get flack for that bold statement. Upon being released i really had no doubt that this album would be anything short from good as he'd played all of these tunes for the last three or four concerts. I saw him last year play them at the Dakota Tavern to a virtually empty audience. At that show Collett himself was struggling to remember the lyrics. That show was great i think i wrote a review of it. The low point of this album is that it sounds a great deal like his older material, which isn't necessarily a flaw, consistency can be argued both ways. I'm really thrilled to see his final Dakota Tavern show, he always puts on a good show. I like that Collett has strayed away from the Broken Social Scene collective.Listen to “Not Over You” to get over your ex-lovers.
The Black Keys-Attack and Release
Radiohead-In Rainbows
Kathleen Edwards-Asking For Flowers
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