Album Reviews: Web in Front’s Best Albums of 2009

Rounding out the mid-point of our Best Music of 2009 week is our Best Albums of the Year list (our Best Local EPs can be found here, and Best Local Albums of 2009 are here).  Again, like the other lists, we’re delving into entirely subjective material here, so if your favorite disc of ‘09 is missing, try to remain calm–it will be ok.  Try and comfort yourself by checking out some of these records–the next time you find yourself at a loss in Amoeba, make sure and nab a few of these choice picks.  Your ears will thank you.  It’s been a good year.

The Pains of Being Pure at Heart – The Pains of Being Pure at Heart

Sure, that’s an abysmal band name, and yes, they currently reside deep within the shadow of the Jesus and Mary Chain and the original C86 cassette; despite those knotty, problematic issues, The Pains of Being Pure at Heart is an album of lovely, fuzz-gauzed charm jacketed with youthful energy, surveying the best of ’80s dream-pop/ shoegaze with an excitement and vigor of someone just discovering the genre for the very first time–cynics may balk, but theirs is the sound of a band in love with music; with some luck, that passion will be enough to push their next record from a craftsman-like effort to a work of true innovation. For the time being, though, album opener “Contender” is lush and propulsive enough to keep your ears busy with its fizzy bustle for months to come.

Stream “Contender”

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Wilco – Wilco (The Album)

If the short history of rock music is any indication, shapeshifting pop prisms like Wilco nearly always hit an impasse mid-way through their varied careers—they either keep evolving with each stylistic about-face of an LP, a la PJ Harvey (for the purposes of this hypothesis we’ll do as everyone else did and just ignore Uh Huh Her), or they can lock themselves within the gleaming, freeze-framed amber that offers hazy reflections of their in-rainbowed past, as post-Hail to the Thief Radiohead has done, or spin of an endless series of waterlogged copies of their breakthrough record, as Beck continues to do.

And while this record is, like Beck’s Guero or Radiohead’s Hail to the Thief, a summation of all that has come before it, it also manages to be a far better record than either of those— holding Wilco (The Album) together is not only a honed, passionate and experienced sense of songcraft balanced with a love of experimentalism, but a self-conscious attempt on Wilco’s part to define themselves, to find their identity as a band.  After fifteen years of shapeshifting, Jeff  Tweedy and company have set off to discover themselves, and what they find—a rugged Americana-rock sound tinged with a love of pop and risky noise—serves only to confirm and solidify the promise of their previous records.  At a time in their career when most bands release comprehensive albums as a sign of artistic fatigue, Wilco’s definitive new album sounds like a vital statement of purpose and identity.  Ladies and gentlemen, meet Wilco (The Band).

Stream “Wilco (The Song)”

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Julian Casablancas – Phrazes for the Young

An alternately shambolic and strange series of songs that blend electro-pop, indie rock and brassy squalls into a sci-fi mishmash of carnival-esque pop noise, Julian Casablancas’ Phrazes for the Young is a surprising, unpredictable outing marbled with left-field oddities and energetic hooks, and is nearly as un-Strokes-like as one can imagine.  A little messy, to be sure, but no more than any record whose title is a nod towards Oscar Wilde and whose sound is a bracing declaration of independence should be.

Stream “11th Dimension”

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Jarvis Cocker – Further Complications

Coming off of the studied and distant—albeit quite good—pop of 2006’s Jarvis, former (or is it still?) Pulp frontman Jarvis Cocker has returned with a record of bracingly immediate sex and sleaze—not since Pulp’s His ‘n Hers have Cocker’s words and music been as thrillingly consumed by physicality and gleeful perversion as they are on tracks like the bashingly hook-laden “Angela” or the gnarled “Fuckingsong,” with the whole affair marrow-punched by the razored engineering of Steve Albini. While it may not carry with it the dramatic heft of, say, This is Hardcore’s dark, nerve-sheathed kinks, Further Complications is a pleasure to hear, a vicarious sprawl of lust-for-life raucousness and droll, dead-panned Brit-pop.

Stream “Angela“

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Bear in Heaven – Beast Rest Forth Mouth

A blurry crisscross of shoegazed guitar slush and lockstepped krautrock, Bear in Heaven’s Beast Rest Forth Mouth runs just south of describable–while the adjectives above may echo the sounds of this odd record, they don’t truly capture it; you simply has to let the record’s fractured, schizophrenic majesty wash over you.  By Beast’s last ringing moments, you may still be at a loss for words, but you’ll be nodding and smiling nonetheless.

Stream “Lovesick Teenagers”

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Dinosaur Jr. – Farm

Coming on the heels of Beyond, their 2007 reunion record, Dinosaur Jr.’s Farm does exactly that—move beyond—as this album surpasses its most immediate predecessor (as well as most everything else the band has done since Green Mind in 1991) by fusing the band’s traditional and blistering molten crunch to a series of laidback and lived-in grooves.  Creating a ruckus that’s both familiar and new, J Mascis and company zigzag from basic and pleasing Dinosaur Jr. fare like the opening “Pieces” to an almost country-rock swagger on tracks like the Crazy Horse gallop of “I Want You to Know,” the stinging roll of “Friends” and the rowdy, barnburning “Over It.”  It’s the sound of a band hitting their stride once again, comfortably stretching out into new territory while continuing to dominate the old.  Beyond may have been when Dinosaur Jr. reunited, but Farm will be remembered as the album in which they came back.

Stream “I Want You to Know”

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Bonnie “Prince” Billy – Beware
A warm, whisky’d rush of eccentric, eclectic instrumentation—background choirs are just as likely to be tinged with oddball marimba lines as they are the sweet southern comfort of fiddles and steel guitars—and Will Oldham’s shakey, tremulous vocals, Beware could almost pass for a pleasant bit of minor-entry country-rock were it not for the ominous tendrils of unrest that swirl at the record’s periphery. Song titles like “You Don’t Love Me” and “You Can’t Hurt Me Now” only hint at Oldham’s mindset, but the bloodied ache of his voice and restless longing of his lyrics serve to confirm what Beware’s album cover suggests—that its enigmatic creator is, if only for this moment, surrounded by encroaching dark and, further, that it’s nothing less than art.

Stream”Beware Your Only Friend”

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Jay Reatard – Watch Me Fall

Or, Psychopaths Are for Lovers—Watch Me Fall, Jay Reatard’s follow-up to the freewheeling garage rager, Blood Visions, is a marriage made in dementia, as it weds Reatard’s misanthropy to a cast of sweet sunshine power-pop and foot-stomping rock, resulting in a disc that shines with an irresistible sing-along luster despite the snarling, punkish attitudes that roil in its shadows.  Whatever—Reatard’s development can stay as arrested as he wants; as long as he continues to make music as ludicrously addictive and joyous as the ear-bashing opener “It Ain’t Gonna Save Me” and the swooning closer “There is No Sun,” there will always be those of us willing to watch (and listen to) his glorious fall.

Listen to “It Ain’t Gonna Save Me”

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Bob Dylan – Together Through Life

While Together may find itself as the newest pearl on Dylan’s increasing strand of hot-streak new releases, if there is a “best Dylan album since…” comparison to be made, it’s to the atonal gypsy folk of 1976’s Desire, wherein violins formed parabolic arcs from churning keyboard rhythms and unhinged percussion would incurvate beneath adrenalized guitars while Dylan sang of lost and lowly characters, including his soon-to-be-divorced self. And though Together’s sound is far more earthy than that—here, Dylan sounds as if he’s leading an accordion-laced bar-band in 1950’s Havana—like Desire, it’s an album of inchoate experimentation and ever-reaching ambition, and, also like Desire, finds Dylan working with a songwriting partner (Robert Hunter, who cowrote Dylan’s 1988 winner “Silvio”).

Together, the two men strike out for the wilder territories of Dylan’s sonic terrain—while Bob’s still obsessed, as with his previous three albums, with the sounds of pre-rock ‘n roll music, he’s shifted his focus from occasionally maudlin ballads into fiercely rollicking jump-blues like the irresistibly swaggering and winking “Shake Shake Mama,” his best blues track since 1975’s “Meet Me in the Morning,” the guttural, carnivalesque “My Wife’s Hometown” and propulsive, woozy album closer “It’s All Good,” with Dylan gleefully growling through each track like a sneering, howling reincarnation of Willie Dixon. And, if nothing else, this crackling album stands to remind that the man can still rock like all hell.

Stream “Shake Shake Mama”

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The Thermals – Now We Can See

Lively, loving three-chord anthems about dying—despite the band’s protestations to the contrary, if this isn’t a concept record from the POV of a corpse, it’s at least a song cycle that swirls around the subject of death, and does so with a near anarchic glee as the band roils and rocks within a framework of irresistible melodies, witty pop-punk and one singalong chorus after another.

Stream “Now We Can See”

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Sonic Youth – The Eternal

Despite opening with the one-two punch of the bracingly immediate and atonal (naturally) implosion of “Sacred Trickster” and the chuggy, druggy six-minute noise-sprawl of “Anti-Orgasm,” Sonic Youth’s quickly-rehearsed-and-recorded 15th disc, The Eternal, finds the band more successful when moving beyond most of the brattier, noisier excursions of youth and diving headfirst into a subtle exploration of sonics, with squalling guitars in tow. Tracks like the both lovely and storming “Antenna,” the spiraling, screaming “Calming the Snake,” and the ten-minute closer “Massage the History” reveal a band that manages to maintain accessibility and rigorous experimentalism, minimalist subtlety and ballsy, abrasive rock, without sacrificing one for the other. More concise than the band’s most recent, more ruminative and relaxed work, there’s a revitalized sense of energy on their first disc for indie staple Matador Records, one that serves not only reconnect with Sonic Youth’s earlier work–they haven’t rocked this hard or consistantly since Sister–but continues to move towards a future where maturity does not preclude intensity, and where intensity does not obliterate subtlety or beauty. Eternal? We should be so lucky.

Stream “Anti-Orgasm”

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Neko Case – Middle Cyclone
This is a looser, more mercurial Case than we’ve heard before—Cyclone is exactly that, a whirlwind that twists from one musical thread to another, from the whipping charge of “This Tornado Loves You” and the nimble skip of “People Got a Lotta Nerve” to the lonely strum of the title track and the lush country sway of “Prison Girls.” And as one song after another hums and meditates on the themes of primal instincts, one realizes that the record isn’t as fragmented as it seems upon a superficial first listen—Neko Case is no longer coloring within genre lines, whether they outline country rock or indie pop; rather, she’s allowing herself to be guided by raw intuition and musical instinct, which may prevent Middle Cyclone from featuring the harrowing, controlled depth of previous releases, but lends it a swaggering and shapeshifting power that renders it just as indelible.

Stream “People Got a Lotta Nerve”

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The Flaming Lips – Embryonic

Embryonic is a fitting title for the newest Flaming Lips monolith of lysergic psych-pop and noise (as well as their first double-album), in that the band seems to have regressed to their earliest moments as a musical core.  Gone is the streamlined pop restraint (for them) that marked such albums as the wonderful The Soft Bulletin and Yoshimi Battles the Pink Robots, and the good-but-not-great At War with the Mystics; in its place is the frenzied and free-form cell division of a band fearlessly leaping in a thousand different sonic directions at once, stretching their sound until it glides like multicolored mercury from squalling free-jazz to gorgeous pop to punk-bloodied noise to synthy krautrock.  It’s as if the band is coalescing every aspect of their lengthy and chaos-riddled career, incorporating the left-field rock of Transmissions from a Satellite Heart, the schizoid lurches of their early discs, the cacophonic experimentalism of Zaireeka, and the heart and hooks of their ’00s work into a unique and continually growing embryo, one that not only makes a winning case for all that has come before it, but also renders its future just as compelling, if not more so.

Stream “Silver Trembling Hands”

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Phoenix – Wolfgang Amadeus Phoenix

Pristinely recorded and mannered pop-rock, Phoenix’s Wolfgang Amadeus Phoenix is a bright and shiny burst of giddy earphoria, riddled with easy hits and surprising hooks.  It may only be Phoenix’s fourth record, but it sounds like their crowning achievement.

Stream “Lisztomania”

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Camera Obscura – My Maudlin Career

A lovely twisting of Phil Spector gigantism with sprightly, orchestral indie pop gauzed over with traces of surf guitar, glockenspiel and blue-eyed soul, Camera Obscura’s My Maudlin Career isn’t quite as melodramatic as its title would suggest, but it is, like the predecessor it’s modeled after (2006’s beguiling Let’s Get Out of This Country) a career highlight—a mix of beauty both somber and joyous, as evidenced by the enchanting rings and echoes of the hook-barbed title track or the pounding sway of “French Navy.”

Stream “French Navy”

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The Happy Hollows - Spells

For their stellar debut, the Happy Hollows gathered their best material over the past two years and released one potential ‘best song’ after another, from familiar fan favorites (the finger-tapped kinetics of “Lieutenant,” the near-perfect singalong anthem “DeLorean,” the raw-nerve bloodlust and witty band narrative of “Tambourine”) to newer tracks (the yo-yo’d, swinging dynamics of “Father Time,” the synth-driven hooks and menace of “High Wire,” and the album’s most beautiful moment, the moody and string-laced “Turtle and Hare”).  And while one can deride about the album’s lengthy running time, an hour’s worth of the Happy Hollows’ best here seems entirely appropriate–spells, indeed.

Stream “High Wire”

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Girls – Album

Armed with a lead singer/songwriter who was born into an extremist religious cult until his escape at the age of 16, Girls’ Album sounds like someone discovering pop music for the first time—and then messily, lovingly reveling in it.  Songs skip from Elvis Costello snark to Buddy Holly rock to lo-fi powerpop, all filtered through a distinct, and distinctly odd, San Francisco-based mood of golden sunshine and breezy melodies, with every track seemingly investigating one new sonic alleyway after another with an air of exciting, carefree abandon.

Listen “Lust for Life”

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St. Vincent – Actor

Thankfully abandoning some of the more precious twee elements of her debut, Marry Me, Annie Clark’s Actor is an exploration of reality and fantasia (fitting, as Clark reportedly listened to nothing but Disney soundtracks while writing the album), shaded with darkness—sex and violence and nightmares haunt Actor’s lyrical concerns, while the propulsive kitchen-sink production is punctuated by jagged, dissonant guitar and smears of raw noise. While that doesn’t quite make Actor Clark’s The Downward Spiral, it is a more nuanced, mature and balanced record than her precocious debut, and one that’s impossible to ignore in its beautiful strangeness.

Stream “Actor Out of Work”

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Yeah Yeah Yeahs – It’s Blitz!
If the sound of Debbie Harry covering “Maps” for 45 minutes is your thing—and, God knows, it should be—the Yeah Yeah Yeahs’ third disc is your album for 2009, even if it’s incorrectly labeled as their reinvention record—you know how people talk—due to the punkish band’s newfound electronic embrace. Though they may be synth-chunked instead of guitar-strangled, Nick Zinner’s riffs are as sinuous and right-angled as ever; Brian Chase’s drumming is just as adept and artful with four-on-the-floor grooves as it is with revisionist punk; and frontwoman Karen O’s voice is still as capable of embodying (and instilling) as much libidinous rage and wounded yearning above a crystalline bedrock of beepblipped buzzing as it can over gutted NYC grime-rock. So don’t be afraid—this is still the Yeah Yeah Yeahs you’ve always loved; to prove it, they even included “Hysteric,” quite possibly the most affecting and touching indie-rock ballad since “Maps” was released by, well, the Yeah Yeah Yeahs.

Stream “Hysteric”

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Atlas Sound – Logos

Messy, scattershot and bristling with a seemingly boundless energy, Bradford Cox’s Logos is the sound of spinning a radio dial to the musical frequencies that float only between his ears–the songs pinball from genre to genre with a break-neck unpredictability, from a rightfully lauded duet with Noah Lennox (the endlessly catchy sunshine pop of “Walkabout”) to the gauze-lined ambient noise of “The Light That Failed” to the dizzying, electronic Krautrock stylings of “Quick Canal,” which features Stereolab’s Laetitia Sadier on vocals.  It’s inconsistent, yes–but only in terms of sonic cohesion; despite the Jackson Pollack’d splatters of multi-genre sounds that weave throughout the seemingly endless subterranean tunnels and backalleys of music that Cox has constructed here, the songs themselves are individually marked by their excellence and dazzling hooks (minus the occasional too-long ambient passage), as well as the confidence of Cox’s increasingly powerful songwriting.  That doesn’t quite make this his Exile on Main St., but the schizoid sprawl of Logos does stand as one of 2009’s, and Cox’s,  most satisfying accomplishments.

Listen to “Walkabout” (featuring Noah Lennox)

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Japandroids – Post-Nothing

One of the best collection of songs designed to soundtrack glue-sniffing since the Ramones’ Rocket to Russia took off in 1977 with “Cretin Hop,” tracks like “The Boys Are Leaving Town” and “Young Hearts Spark Fire” completely capture and exemplify the guitar-gnarled, gargantuan silliness and lo-fi sprawl of Japandroids’ debut LP, Post-Nothing. All cackling, crackling energy and high-end shouts in the face of youthful awkwardness, it’s like a teenage lobotomy but without the pesky scarring.

Stream “The Boys Are Leaving Town”

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The XX – XX

Sex-obsessed and driven by a passion for modern R&B and postpunk, London’s the XX could easily be shrugged off as the latest in a long, skinny-jean’d line of relentlessly hyped UK bands, were it not for the alluring lunar pull of their coolly passionate sound—an odd crossroads staked somewhere between Bobby Wommack and Interpol (seriously) that generates such tracks as the sensuous boy-girl call and response of “Heart Skipped a Beat,” the breathy wonderlust and gallop of “Crystalized” and the  restless bassline throbs of “Stars.”  Almost criminally good—which, considering the band’s aesthetic, is entirely appropriate.

Listen to “Heart Skipped a Beat”

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Manic Street Preachers – Journal for Plague Lovers

A dark, noisy wake for former Manic Street Preachers guitarist/ lyricist Richley Edwards (who vanished in 1995 and is presumed dead), Journal for Plague Lovers is comprised entirely of Edwards’ lyrics and–all apologies to Low’s Things We Lost in the Fire–is the finest Steve Albini-recorded elegy since Nirvana’s In Utero was released in ‘93.  Barbed with grief, sadness, rage, punk and beauty, it’s a cathartic and raucuous wolf-whistle, tribute and farewell to a lost loved one and beloved friend–nothing short of courageous and beautiful.

Stream “Journal for Plague Lovers”

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Grizzly Bear – Veckatimest

A fragile, intimate popscape paradoxically packed with orchestras, choirs and dozens of swooning melodies, Veckatimest has essentially assured its placement on most of 2009’s year-end best-of lists, garnering so much praise that it would be easy to forget how lovely this album truly is, were it not so sonically galvanizing. From the lush hush of “All We Ask” to the orchestral eargasm of “Two Weeks” to the poignant, spectral “Dory,” Veckatimest is southern gothic Americana by way of Williamsburg, a fitting pastiche for an album that acts as a symphonic blend of the past forty years of American music.

Stream “Two Weeks”

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The Antlers – Hospice

One of the more profoundly depressing concept records released since Lou Reed’s Berlin, the Antlers’ Hospice would be too morose to sit through (let alone return to over and over) were it not for the band’s staggering blend of My Bloody Valentine-styled guitarfuzz overdrive, Arcade Fire earnestness and the simmering, slo-mo postrock etherea of Sigur Rós.  The story of a woman dying of cancer as the man who loves her sits beside her, helplessly, in a cancer ward, Hospice is a simultaneously crushing meditation on memory, hope, loss and regret, as well as a dazzling display of rainbow’d sonic details, from the bristling and explosive guitars sears of “Thirteen” to the weary, whispered resignation of the closer, “Wake.”  Few other records released this year were quite nearly as brutal, or beautiful.

Listen to “Two”

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December 2, 2009 | Filed Under Album Reviews, Exclusive Features, Music News, Site News 

Comments

9 Responses to “Album Reviews: Web in Front’s Best Albums of 2009”

  1. Scott on December 2nd, 2009 4:03 pm

    Nice job including Camera Obscura. I’m agreeing all over the place with many of these choices.

  2. rp on December 2nd, 2009 5:15 pm

    thats a damn good list bro, damn good!

  3. Brian on December 22nd, 2009 12:48 pm

    yay for camera obscura. i’m really glad they’re on your list. they deserve the recognition.

    i’m a little surprised, tho, that bitte orca by the dirty projectors wasn’t on your list. i know that not every album can be on a best of list (kinda the definition of one), but considering how much praise and popular attention bitte orca has gotten, it almost seems like there should be at least a mention of its omission.

    also, you might be interested to see how your selections hold up against a recent poll of 800 music bloggers. http://mog.com/features/blog/1650410

  4. AFEX on December 24th, 2009 3:26 pm

    I think that the 25th place 4 the pains of being pure at heart. Its realy unfair!!!!!! The pains of being pure at heart its a greater album than u think !!!!!!!

  5. chuck on February 1st, 2010 11:12 am

    Did you even listen to Merriweather Post Pavilion?

  6. travis on February 1st, 2010 11:15 am

    Yes, a number of times. Cared less and less with each successive listen.

  7. chuck on February 1st, 2010 2:00 pm

    alright then, i was exactly opposite. it took me over 8 months tio go back and LOVE it, i suggest u do the same esp if u liked logos

  8. travis on February 1st, 2010 2:23 pm

    I did. Numerous times. Cared less and less each time.

  9. Anonymous on March 16th, 2010 8:21 pm

    No love for Animal Collective? Otherwise Hospice belongs in the top 3, so good job.




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