Halfway Home Update!

So as it stands, this blog will end December 31st, 2009. No worries, a brand new year-long blog will promptly start up in the new year. Being that this blog was created in April is kind of a hinderance in it's own regard. I'd like to create a legitimate year long site, that lasts the duration of one calendar year, starting in January and ending in December, which will start up in about 4 months. The idea to keep this 'journal' of albums I buy has been great. A special thanks to those of you who actually keep up and heed my opinions. That being said, this isn't for anyone. This if for me. I enjoy the time I spend doing this, it is relaxing and makes me think...and coincidentally it makes me learn, which is the goal of anything anyone does. This is my way of expanding and refining my musical taste, with the doors open to those that wish to read and comment.

I've officially reached the halfway mark and want to provide an updated 'to the minute' list of the albums I've bought. Everything is based on a 1-10 scale, with 10 being the highest. I've also included some records that I've bought on the side that have truly been influential to me, and deserve mentioning.

2 0 0 9  r e l e a s e s 

Artist (Album) - Rating

1.) Grizzly Bear (Veckatimest) - 10

2.) Mos Def (The Ecstatic) - 10

3.) Sa-Ra Creative Partners (Nuclear Evolution: The Age of Love) - 10

4.) Dirty Projectors (Bitte Orca) - 9.5

5.) Eliot Lipp (Peace Love Weed 3D) - 9.5

6.) Passion Pit (Manners) - 9.5

7.) Black Joe Lewis & The Honey Bears (Tell Em What Your Name Is!) - 9.5

8.) Phoenix (Wolfgang Amadeus Phoenix) - 9

9.) Cage the Elephant (Cage the Elephant) - 9

10.) STS9 (NYE.ATL.08) - 9

11.) Medeski, Martin & Wood (Radiolarians III) - 8

12.) Fruit Bats (The Ruminant Band) - 7.5

13.) Black Eyed Peas (The E.N.D.) - 7.5

14.) Chester French (Love the Future) - 7

15.) Papercuts (You Can Have What You Want) - 6.5

16.) Dave Matthews Band (Big Whiskey and the GrooGrux King) - 6.5

17.) Eminem (Relapse) - 6

18.) Iglu & Hartly (& Then Boom) - 5.5

19.) Dead Weather (Horehound) - 4.5

As you can see, these 19 records really traverse the spectrum of music. There is everything from folk to jazz to hip hop to electronic to rock to blues. As per my iPod, I would probably have offered Eminem and Dead Weather lower ratings...I really have only had the patience to listen to them each a handful of times and am constantly disappointed. I would also raise Chester French a bit higher than they were ranked. Despite their wackiness and lack of an identity, I'm constantly listening to their album.

Here are a few records that I've bought either before this blog or which were released before 2009:

Animal Collective (Merriweather Post Pavilion, 2009) - this is my hands down best album of the year. This was released in January of 2009 (pre-blog) and I have listened to it every day. I feel like it is an offshoot of my body and of my mind. Animal Collective is the Beach Boys if they were done by kids from Brooklyn on their computers. Loops and effects are filled throughout this record, in a way that actually sounds like a band. When I first found out that they were actually three guys using keyboards, synths and computers I was shocked. The lyrics and harmonies are second to none. I've been able to see them this year and their live show is even better than their recordings. Truly amazing. If you don't have this album, you really need to buy it. I live my life by the song, 'My Girls.'

Panda Bear (Person Pitch, 2007) - no surprise here, Panda Bear is a founding member of Animal Collective and showcases his importance to the band. Person Pitch is much more downtempo and the lyrics are even better than Animal Collective. The recording, once again, is all computer generated, yet filled with harmonies and great, yet subtle vocals. This record was released in 2007 and I'm disappointed I hadn't really heard of him until about 4 months ago. Person Pitch is definitely another 'must buy.' If you have the chance, take a night and listen to this record in it's entirety, read along with the lyrics, have a glass of wine and think about life. You'll be reborn.

Brett Dennen (Hope for the Hopeless, 2008) - I saw Brett Dennen at Mountain Jam this summer and he was the only act that I enjoyed. He is this doofy looking huge red-headed beast (see also Matt Kurz) that just exudes love and revolution through his guitar. His songs are all entirely about either life, love or rebellion against the government. Your typical romantic hippie. He has a strangely unique voice that can really grow on you and his songwriting skills are second to none.

Flying Lotus (Los Angeles, 2008) - he is what many describe as the best DJ of our time. And no, it's not DJ Khaled or DJ Felli Fel or even DJ Skribble from MTV (anyone?). He is a true, legitimate DJ. Los Angeles is a collection of sounds, samples, original compositions, effects, beats and synth all jumbled up into a beautiful masterpiece. There is a way in which his songs and beats are other-worldly and extremely playful, yet also thought-provoking at the same time. It's like each track is a brain puzzle for both him and the listener to solve. His textures and knowing what to play and when to play it is dead-on. The New Yorker thinks so as well.

http://www.newyorker.com/arts/critics/musical/2008/12/01/081201crmu_music_frerejones

Lotus (Nomad, 2005) - no, this isn't another DJ. Lotus is a four piece electronic jam band that I've become infatuated with this year. Seeing them live only made the obsession worse. I love minimalist music. Beats, jams and grooves that are all to the point without becoming redundant or crowded. Nomad is just this. Complete with smooth guitar solos, electronic sampling and some amazing bass riffs, this album is non-stop electronica bliss. At points this record will make you want to dance, while at other points you'll want to simply sit down with a drink and chill out. The perfect mix of energy and relaxation.

Delta Spirit (Ode to Sunshine, 2008) - a terrific blend of southern rock, mixed with some folk, all done with an indie feel. Delta Spirit came to be a part of the Cherry Lane family this year and I quickly wrote them off, assuming they were some C-level talent. I'm sorry. This record is simply put, amazing. Ode to Sunshine runs the gamut of emotions and moods with fiery lyrics and a very raw sound. Imagine Conor Oberst of Bright Eyes, but not so sad and a bit more polished. I witnessed Delta Spirit open for, and out-perform The Shins about a year ago. This is a testament to their future success and potential. Definitely give them a listen and look out for them in 2010.

WK 19 - Mos Def - The Ecstatic - (10)

Released - 6/9/09

Label - Downtown Music, LLC

BLURB - Wow! This really blew me away. 'The Ecstatic' is pure hip hop with a purpose and a message...those two usually don't go hand in hand. I actually read a great deal about Mos Def in the book, 'It's Bigger Than Hip Hop: The Rise of the Post Hip Hop Generation' by M.K. Asante, and was a casual listener to Mos before this record. Yet, I never really threw myself into his visions and ideals; I would simply throw on Ms. Fat Booty when I wanted to hear a good groove. 'The Ecstatic' an is open-ended story of Mos' life in Brooklyn through varying perspectives, that unintentionally lays the blue print for what hip hop should and could be.

Rating - 10 out of 10

FULL STORY - So right out of the chute I noticed two main elements that popularize today's hip hop tracks, that were nowhere to be found on this record. Profanity and the use of the chorus. Every top hit in today's rap world is pumped with vulgarities and slurs, and is almost used as a way to market the artist and draw in an audience. It's so commonplace that these words end up losing their meaning, diminishing their importance, and distracting the listener from the music. The average listener can also be distracted by the choruses of songs. I understand their importance in today's music, but when you are conditioned to hearing that chorus or hook every 45 seconds, a song can become tired and predictable. By avoiding profanities and for the most part, choruses, Mos Def puts you in the room with him. It's just his words, thoughts and moods - and you are allowed to experience all of this with no obstacles on 'The Ecstatic.'

'Peace before everything / God before anything / Love before anything / Real before anything / Home before any place / Truth before anything...'

This is something you live your life by...and it's in a rap song? It's simple, it's to the point and it's repeated throughout, 'Priority.' The song clocks in at 1:23, and with the above phrase circling the speakers, that's all it needs. Mos generates power through simplicity here, as is the theme with this record. Sometimes it's just a really smart phrase while other times it's nearly a whole song.

'The way I feel, sometimes it's too hard to sit still. Things are so passionate, times are so real. Sometimes I try to chill, mellow down, blow a smoke. Smile on my face, but it's really no joke. You feel it in the street - that the people breath without hope. They're going through the motions, they're dimming down their focus. The focus gets clear and the light turns sharp. The eyes go teary, the mind grows weary. I speak it so clearly sometimes you don't hear me. I push it past the bass, no nations got to feel me. I feel it in my bones.'

Mos speaks his mind here on, 'Auditorium.' His lyrics are sincere and his delivery is very personable. This makes it very easy to simply listen to what he has to say. Another thing to note here is that at no time does Mos Def become preachy. 'The Ecstatic' is his, made for and by himself. His act is not forced upon the listener in any way, which results in added credibility - there is no agenda.

What also makes this record so easy to enjoy is the fact the music and beats are just as well done as the lyrics. The majority of the tracks have a very old school feel and minimalistic groove, but it always works. It never gets boring or redundant. And if you don't want to hear those classic drum beats, Mos recruits Chad Hugo of the Neptunes to lay down a very heavy, 'Twilite Speedball.' Even 'Life in Marvelous Times' (my favorite track), there is a very modern, almost a club feel to it. From the snare claps to the synth, the music sounds similar to something T-Pain would have been featured on...but actually good.

Mos Def also switches up the style on, 'Quiet Dog' with just a mere clap track. If anyone else would try to rhyme over such an under produced beat it would sound like some terrible demo that Joey in Queens made in his basement. Mos brings an incredible energy and creativity through his rhyming structures and lyrics to the song, punching it up to a new level.

'Roses' showcases the emcee's diversity and willingness to step out of the traditional hip hop mold. This song is like a blend of Lauryn Hill and Sa-Ra Creative Partners. Wandering, yet steady piano chords help to form a soulful vibe. Blackstar partner Talib Kweli predictably and perfectly, teams up with Mos for, 'History' on yet another soulful groove. A couple subtle guitar riffs and a looping sample provide all that is needed for this smooth track. 'Casa Bey,' the record's closing track has production value bursting at the seems. A full horn section, keyboard, synth and some African percussion create a powerful and meaningful ending to a powerful and meaningful album.

Diversity, intelligence and creativity are around every turn of, 'The Ecstatic.' This will go down as one of the best hip hop records of the best ten years, at least in my eyes. Real hip hop is back.

Tracks

1.) Supermagic

2.) Twilite Speedball

3.) Auditorium

4.) Wahid

5.) Priority

6.) Quiet Dog

7.) Life in Marvelous Times

8.) The Embassy

9.) No Hay Nada Mas

10.) Pistola

11.) Pretty Dancer

12.) Workers Camp

13.) Revelations

14.) Roses

15.) History

16.) Casa Bey

WK18 - Fruit Bats - The Ruminant Band (7.5)

Released: 8/4/09

Label: Sub Pop Records

BLURB - Not quite there, yet. The Fruit Bat's sound will strike a chord for any fan of The Shins as the two sound eerily similar. This should come as no surprise, however, as Fruit Bats frontman Eric Johnson recently joined The Shins. How perfect. This genre of intellectual alternative pop music, though, is a tricky hill to climb. It's very easy to fall into a rut, forcing words to music. I'd have to be heavily persuaded that this record was not written with a guitar in one hand and a thesaurus in the other. That being said, what the Fruit Bats do great is tell stories. Each track is like a three minute novel filled with adjectives and guitars, filled with bright melodies and major chords. There is also a very understated country twang to this record. It's not overwhelming, think of it more in the vein of the subtle country nuances that Josh Rouse or Brendan Benson use. I love The Shins but hate country music, so maybe that's why I'm not completely sold on, 'The Ruminant Band' just yet.

Rating - 7.5 out of 10

FULL STORY - The trouble with this record is almost every song sounds alike. Granted the Fruit Bats are a fairly decent band, but it'd be nice to hear more than a few songs on this album that aren't acoustic, mid-tempo tales about someone Eric Johnson saw on the side of a road somewhere. While the writing is creative, yet redundant, it does yield some gems.

The first gem would have to be 'Feather Bed.' With a 60's soft rock vibe and some great vocals, this track is the definitive hit of, 'The Ruminant Band.' The song begs the question - what if Ben Folds, Billy Joel and Boston co-wrote a song? Everything is perfect here. 'Feather Bed' breaks away from the singer/songwriter feel of the record, and it's (pretty much only) here where the band really comes together as one unit. The keyboard, organs and pianos provide a lot of retro flavor, while a couple fuzzy guitar solos and a vintage drum beat solidify the fact that this is indeed a rock song.

'Being On Our Own' is the other gem of this record with Beatle-esque tones and a charming string of acoustic piano chords. As is the general theme of this record, light hearted lyrics tell the stories of Eric Johnson's personal encounters, reminding them it's not so bad being on your own. The melody of the chorus and the background vocals are a perfect match and make 'Being On Our Own' the catchiest song on the record.

'Singing Joy to the World' is a very clever story about a young couple settling for love after going to a Three Dog Night concert and singing 'Joy to the World' together. The track is very folksy and for the most part is solely acoustic guitar. The lack of instrumentation does create quite the intimate atmosphere, reeling the listener in. Each verse is a different event in the relationship, but halfway through the song the well seems to dry up and without much else going on in the song, it's not very tough to become disinterested.

After these three tracks, this album is fairly blurry. 'Feather Bed' is the rock song, 'Being On Our Own' is the catchy song, and 'Singing Joy to the World' is the ballad. The rest of the record is right on par with what it should or is supposed to be - a bright, enchanting collection of clever songs and stories...just don't ask me to differentiate between them. Whereas the three songs I mentioned are distinctly unique and creative, those remaining on the disc are less memorable, despite being creative in their own sense of the word. It's as if these tracks were all taken out of the same 'idea box' and crafted slightly different than one another, attempting to create the perception that they were unique. However, it is more than clear that they are all from the same vein, both wholly and individually.

Point taken, as I write this, 'The Ruminant Band' is already beginning to grow on me. The compositions and instrumentations are very well done, with slight monotony being the only, albeit, blatant, defect in the album. This is a decent record with a nice upside to it, worth a listen.

Tracks

1.) Primitive Man

2.) The Ruminant Band

3.) Tegucigalpa

4.) Beautiful Morning Light

5.) The Hobo Girl

6.) Being On Our Own

7.) My Unusual Friend

8.) Singing Joy to the World

9.) The Blessed Breeze

10.) Feather Bed

11.) Flamingo

WK17 - Dirty Projectors - Bitte Orca (9.5)

Released: 6/9/09

Label: Domino Recording Co. LTD

BLURB - Of course they're from Brooklyn! Since moving to New York two years ago, I've been able to get access to a diverse selection of new, different and exciting music, as opposed to say, I don't know...Oneonta. I've found that with every new band I see, or new record I buy, the best ones are always from Brooklyn. While I am not hipster (I actually kind of despise hipsters) I have to give Brooklyn credit. It is a breeding ground for new and refreshing music. The Dirty Projectors are my most recent obsession. Their sound is such a clever take on what pop music is supposed to be - resulting in this quirky, indie, hipster Brooklyn-pop. Time signatures are all over the place, there are both male and female vocals, the writing and song structures are terribly, if not amazingly, unique - it's like Dirty Projectors put up all these walls for your average music fan to get through. However, once you get past these barriers...you're hooked.

Rating - 9.5 out of 10

FULL STORY - So unbeknownst to me, Dirty Projectors have been around for the better part of a decade. My loss. Right away the song that drew me in was, 'Stillness is the Move.' The track is very minimalist - just drums with one guitar riff and a catchy vocal hook. That's it. This paves the way for the lyrical content to be the center of attention. The song is extremely uplifting, almost hopeful in a way, earnestly questioning how things came to be and how to move forward. Love is the core element to this song, but it can be interpreted in many different ways. Below is the chorus with it's subsequent verse:

'After all that we've been through; I know we'll make it after the wait. The question is a truth. There is nothing we can't do. I'll see you along the way baby. The stillness is the move. / On top of every mountain there was a great longing for an even higher mountain. In each city, longing for a bigger city. After all that we've been through, I know I will always love you from now until forever. I can't imagine anything better.'

Yes - I am a sucker for a good indie-pop love song, and this is one of the best I've ever heard. It's incredibly addictive.

The best non-love song to endear your heart is easily, 'Useful Chamber.' Going back and forth from a catchy and lightly electronic verse to a very garage-esque, yet folksy chorus creates quite the pairing. The bridge throws another monkey wrench into the scene as a brief 80's style hip hop drum beat and dialogue gives way to a fusion of thunderous cymbals, background effects and guitars chaotically playing nothing in particular. Emerging from this volcanic eruption of craziness is a chorus of vocal harmonies, laying a serene foundation for the song to revert to it's peaceful and light mood. After another verse the chaos is back again, with screaming guitars, effects and no real organization......but in a good way.

Jumping into some pure folk stylings, Dirty Projectors appear dialed in to the song, 'Two Doves.' The gentile voicing of the strings and acoustic guitars against the heavenly vocals of Amber Coffman is bliss. During the chorus you almost feel like you are listening to a vocal performed by the lead female of a broadway play. This song could definitely be used for other performance arts (film, musicals, dance) and has the lyrical weight to bring added substance to it's usage. The track is filled with clever word plays and metaphors such as, 'Kiss me with your mouth open for your love is better than wine.' Awww.

This isn't a lovey-dovey record, despite having a couple really good lovey-dovey songs on it. 'Temecula Sunrise' and 'The Bride' throw some rock and southern guitar stylings into the mix, with lyrics that take an in-depth look at life's everyday quandaries. 'No Intention' even reminds me a little bit of an airy MGMT. This album, though, really does have everything. The lyrics to the instrumentation, to the sound and feel...it's just a great record. Surprisingly, great.

Tracks

1.) Cannibal Resource

2.) Temecula Sunrise

3.) The Bride

4.) Stillness is the Move

5.) Two Doves

6.) Useful Chamber

7.) No Intention

8.) Remade Horizon

9.) Fluorescent Half Dome

WK16 - Medeski, Martin and Wood - Radiolarians III (8)

Released - 8/4/09

Label - Indirecto Records

BLURB - Nobody does organized chaos better than MMW. With their third installment in the 'Radiolarians' series, 'III' does not disappoint. Everything is here from straight ahead jazz, to rock, to blues, to electronica, to some psychedelic tones. MMW tends to be all over the map with their rhythms and grooves, sometimes drifting into the world and avant guarde arena. What makes the trip into experimental jamming worth it, is when the trio comes together and clicks...it's usually amazing and validates whatever ride they just took you on. On 'Radiolarians III' there is, surprisingly, more results than I've come to expect from a MMW record. Don't get me wrong, this album is pretty crazy and goes to a lot of different places, but the listener definitely gets their moneys worth.

Rating - 8 out of 10

FULL STORY - The record starts out in traditional Medeski, Martin and Wood fashion. 'Chantes des Femmes' starts off slow with organs peppering what sounds to be like some kind of Middle Eastern beat. Then at about the 2:30 mark a great jazz piano comes in over drum groove and yields something that one might hear in the background of Charlie Brown episode. It's very in-the-key of Linus. Toward the end of the track the song gets very open and has a lot of air. This turns into a transition into the second song, 'Satan Your Kingdom Must Come Down,' which delves into some darker, unorganized piano play - not the best song that you would want to introduce a non-MMW listener to.

'Kota' is very light and again journeys outside of the states to get it's feel. The beginning of the track sounds like it is from India. I don't know how else to describe it. Pianos eventually come in and do battle with what sounds like a harpsichord and create a dissonant push and pull tone. 'Kota' much like 'Satan...' is another wildly outside the box song, filled with chaos and unrest.

The classic MMW jamming comes in with 'Wonton.' The organs sound amazing and the grooves seem endless. John Medeski always amazes me. His piano work is truly unique. In the same way you know a Trey Anastasio guitar solo, or a Jerry Garcia solo, as soon as you hear his keyboard and piano functionality, you know it's John Medeski. 'Walk Back' is also another great jam. There is almost a childish tone to this music, and it just sounds fun. I'm not convinced that a fisher price keyboard wasn't used for the opening of this track. 'Walk Back' goes back and forth between a large assortment of keys, organs and pianos, even some electronic music.

There's even more Charlie Brown-esque music on, 'Jean's Scene.' Paul Carter is somewhere enjoying this. 'Jean's Scene' is a little more experimental than 'Chantes des Femmes' but it works. The chord selection and intellect that goes into the some of the band's runs (bass and piano) is astonishing. It's very precise and rigid, yet creative and free-flowing simultaneously.

'Gwyra Mi' closes the record with some heavy bass and psychedelic organs. There's a reggae feel on this, if you listen close enough, which is countered with a fairly pop riff that permeates the tune. Throw in some wah pedals, a little digital delay and bunch of other effects and you're good to go.

This was everything I expected it to be. Medeski, Martin and Wood always bring the creative juices and regardless of where all of their chaos takes you, you always wind up enjoying the ride and the end result. No real surprises - just MMW doing what they do.

Tracks

1.) Chantes des Femmes

2.) Satan Your Kingdom Must Come Down

3.) Kota

4.) Undone

5.) Wonton

6.) Walk back

7.) Jean's Scene

8.) Broken Mirror

9.) Gwyra Mi