| 10. |
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| The 60s haven’t died, they’re alive and well in this modern artist’s new album. When one thinks of 60s pop songs, it’s hard to ignore the obvious nature of the theme and melody. Hunter’s songs like “Don’t Come Back” and “People Gonna Talk” are just as obvious and simple, so it’s hard to imagine they haven’t been created before. It’s for our benefit that Hunter finally did. |
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| 9. |
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| The supposed heir apparent to D.J. Shadow is making some original jams and with the help of some talent on the vocal end (like Hymnal), Cut Chemist’s new disc is about the best of its genre we’ve seen in years. |
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| 8. |
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| The most positive album all year is Belle and Sebastian’s The Life Pursuit, but St. Elsewhere is close behind. With Danger Mouse’s clean and traditional production and Cee-Lo’s unique vocals, their album makes for an instant classic. This rock/soul blend is crossover to perfection and was/is a must for every social gathering. |
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| 7. |
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| The Australian songstress Sally Seltmann has a unique sound that combines 1980s Casio-esque keyboard with a fragile, feminine vocals. The result is a beautiful and innovative album that will be imitated for the next 15 years. The energy behind the unique and pleasant sound is Seltmann’s great melodies and personal lyrics. New Buffalo is a nice band and that is not a knock. It’s a breath of fresh air in the world of mean music. |
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| 6. |
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| Fyfe Dangerfield, the lead singer/songwriter of the Guillemots says that one of the most difficult things to do is write a three minute pop song that moves people but doesn’t sound too crass or corny.”I don’t think there’s a greater art than writing a three-minute pop song that people can sing when they’re drunk.” Dangerfield (originally Hutchins) says.
It just so happens that the Guillemots (named curiously after a type of pigeon) have been able to create a portfolio of songs that fit that description.
The band, which is composed of a Canadian, Brazilian, and a couple Brits make the case for “Most Singable Songs While Inebriated,” and also have produced some outstanding music aside. Thoughtful lyrics and powerful instrumentation have formed a brilliant sound capable of anthems and love songs.
Unreleased as of yet in the States, the Guillemots will not have to fight too hard to find airplay here with the edgy pop feel. As the lead singer alludes, they are following in the footsteps of some great music names, The Beatles and Burt Bacharach. “They never had any doubt about the fact they were pop musicians but they didn’t let that stand in the way of them being creative as well. You can do the two. I just think things have got a bit lazy in pop music.” |
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| 5. |
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| “Hot Chip will break your legs, snap off your head.” Probably not, but the lyric in the title song for The Warning would be pretty accurate if it was describing blowing their listeners away. The unique sound and hot beats makes Hot Chip’s album brilliant. It’s fun-loving and upbeat. Some of the jams, like “Boy From School” are perfect for the club or a the passengers in a Jetta commercial, but the clean sound and sophisticated melodies throughout make for a memorable, catchy product. |
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| 4. |
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| Zero 7 keeps upping the ante and making their genre (loungy jazz rock) more of a factor on everyone’s iPod. The sweet sounds of Sia and new vocalist José Gonzáles minimizes the significance of the departure of Mozez and adds a new dimension. Gonzáles’s songs are more Earthy, as would fit his style, and Sia’s songs maintain their soulful 70s pop feel. These songs are their best to date and the new album shows a likelihood that Zero 7 is here to stay. |
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| 3. |
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| Speaking of José Gonzáles, he happened to produce a pretty good album of his own.
Some people don’t need to jump around like a bunny on stage to be noticed. Some people don’t need to yell and scream to be as loud as an explosion. José Gonzáles is one of those people. His quiet demeanor and soft-spoken voice belie the emotional power that his songs produce. Gonzáles has an original sound, which is understandable for the Swedish-born gentleman with a hispanic name.
We at the State don’t pretend to have discovered Gonzáles– he’s been lighting up the European music scene and he’s been on the O.C. soundtrack already, but his music needs to be proliferated. “Heart on Your Hand,” which is found on the Stay In the Shade EP is the quintessential Gonzáles track: recorded on his home recording instruments in a stripped down production that accentuates his voice and flawless melodies. |
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| 2. |
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| M. Ward is a machine. There’s no other way to explain how he can keep producing such a high quality portfolio of work. After a substantial album in its own right, Transistor Radio, was released in 2005, M. Ward decided to put out perhaps his best work to date. The songs on Post-War are epic, far-reaching, and timeless. They are stripped down, yet they are symphonic, and can reach right out of its Pacific Northwest birthplace and straight to your heart.
M. Ward is not of this time- his music is rural, blues-oriented, folk, but his messages are relevant any time. He could be the modern-day equivalent of a lyrical Shakespeare and that’s before he adds his soaring melodies and unique vocals.
There is very little pop in these songs, but they work and the album is an album in the sense the Sergeant Pepper‘s is. All the songs, though they are unique to each other, work seamlessly together. |
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| 1. |
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| Taking a new path in their musical journey, France’s Phoenix has created the year’s best album. Relying heavily on keyboards and production in albums past, the band broke out in a re-punk, stripped-down rock style for their latest, and it’s a treat. The sound (and album art) reflects the ex-communist “no-man’s land” of a recording studio where they created the album in Berlin. The inspiration was great for the band, moving them in a unique direction. Besides great pop songs like “Rally” and “One Time Too Many”, the album is packed with original modern gems like “Long Distance Call”, which balances simple drum beats and no vocal accompaniment with an all-out rocking chorus, and “Sometimes in the Fall”. Both songs use repetition to emphasize different aspects. Thomas Mars’s vocals are almost percussive at points, while guitarist Laurent Brancowitz’s licks are expert and poignant. Deck D’arcy and Christian Mazzalai round out the group and help produce a non-offensive energetic sound heretofore unheard.
While the meanings behind the lyrics are often obscure, the emotion is evident and irresistible. Getting emersed in the music may lead one to yell out with the lead singer, “Right hand in a trench coat!” or “Bring back your long johns too.” There are great lyrics, though. “Consolation Prizes” asks: “Did you get older doing nothing today? Don’t you wanna stop complaining?”
It’s remarkable that Phoenix isn’t everywhere by now, but if that was the case, it’s possible that they’d stop making such great music. |
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