WK4 - Surfer Blood - Astro Coast (9)

Released - 1/19/09

Label - Kanine Records

BLURB - Surfer Blood burst on to the scene in 2009, touring heavily and turning heads in the process. Hailed as one of the most anticipated albums of the year, 'Astro Coast' is finally here, and it's loud. Despite being drowned in fuzzy reverb and power chords, melodies and hooks are plentiful, swerving their way in and out of the background. The band itself is full of personality, life and energy. See for yourself. With a sound that draws influences from early Weezer and The Shins, Surfer Blood looks to be reinventing the indie-rock wheel for 2010.

Rating - 9 out of 10

FULL STORY - Much of Surfer Blood's buzz was generated with their breakout single 'Swim (To Reach the End).' Pitchfork went so far as to label the track as the 37th best song of 2009. 'Swim' comes out of the gates swinging, fully trying to burst your ear drums. And don't be fooled...they succeed. But it's not all yelling and amplification - underneath the layers of distortion are simplistic chord progressions and a chorus that is impossible to get out of your head. Halfway through, the heaviness of the power chords is balanced by a bridge of slower, danceable guitar riffs set to some Vampire Weekend-esque percussion. It's back to business after this, as the distortion resurfaces and the resulting chorus hits you like a ton of bricks.

Another sure fire hit is 'Twin Peaks,' filled with varied riffs and progressions. The introduction and verse has an indefinably 'big' quality to it. By this I mean, it just feels like one of those songs that's meant to be played in an arena. It's bright, it's catchy and it's heavy - it really reminds me of a younger, more rock-influenced version of The Shins. The song boasts three clear lines of demarcation. First there is this arena-style, huge pop chord progression, which is immediately followed by an uptempo riff that breaks out into an impromptu dance-off. Then...immediately following that, is a chaotic bridge of screaming and chromatic changes between the chords which just shouts 1980's punk. Essentially on 'Twin Peaks,' Surfer Blood somehow finds a way to fuse arena rock with afro-pop and punk.

The funkiest song on the album is without a doubt, 'Take It Easy.' This is Vampire Weekend if they were a garage band. Catchy riffs, creative percussion variations and even some string sections propel this song in one direction...forward. This is one of a few songs on 'Astro Coast' that has that 'laid-back-grungey-surfer-vibe' going on. Another song that falls into this sub-genre is 'Neighbour Riffs.' It's an instrumental that really reminds me of a modern day 'Wipeout.' Bright guitar hooks, waves of ambient noise and a solid bass line provide the soundtrack that is needed for a day of surfing in So Cal.

With all of these great songs on the record it's fairly easy to gaze past the album's opener 'Floating Vibes.' Likely the most Weezerish track on the album, 'Floating Vibes' is filled with understated melodies and dizzying reverb. Amidst it's grunginess, is a pop/rock diamond that shines with hit potential. The lyrics are congruent with the youngsters that they are, focusing in on relationships, confusion and apathy:

"Forget the second coming, I need you in the here and now. Instead of dreaming up a way to spread your name across the world somehow. When you told me you were leaving I wasn't thirsty for revenge. No, I wasn't disappointed much at all because you'll be back again."

What is lacking on this record is the maturity to develop segways and transitions within their songs. It seems Surfer Blood invariably approaches every song on the record with the same mentality. First we're going to play this riff, then we're going to play that riff, then we're going to play a different riff, then we're going to go back to that first riff. And while it's fun, and energetic and loud - it begs the question...is that all they have?

That being said, somehow Surfer Blood manages to disguise their weaknesses through their energy and youthfulness. That statement in itself is fairly incredible. This band has so much enthusiasm and excitement in their music that they ultimately mask what little weaknesses they do have. This kind of raw energy is not common...but then again neither is Surfer Blood.

Tracks

1.) Floating Vibes

2.) Swim

3.) Take It Easy

4.) Harmonix

5.) Neighbour Riffs

6.) Twin Peaks

7.) Fast Jabroni

8.) Slow Jabroni

9.) Anchorage

10.) Catholic Pagans

WK3 - Freelance Whales - Weathervanes (7.5)

Released - 12/29/09 (Digital) - 3/16/10 (Physical Re-Release)

Label - French Kiss / Mom and Pop

BLURB - What a clever take on emo. It's so clever I don't even know if I can call it emo...in fact I can't. Freelance Whales is what would happen if Ben Gibbard had a banjo, a lot of friends and lived in Williamsburg. This group of friends flavors up their brand of indie rock with a combination of bubble gum folk, layered waves of ambience and a certain indefinable hipster charm. Hopefully, this will make the Owl City nation realize their own futility and that there are actually real musicians and real friends out there, making real music. While I can't get this album out of my iPod rotation, I can't help but think I'll eventually grow out of it. Weathervanes is an all too likable album...that may be the problem.

Rating - 7.5 out of 10

FULL STORY - I'm pretty sure I saw Freelance Whales playing in a subway station last year. I was on my way to a race in Brooklyn, transferring trains in Greenpoint, when I saw what looked like a high school posse of hipsters playing xylophones and banjos. Here's the proof, but this time they were in Williamsburg.

The first track off the album, 'Generator (First Floor) has been sweeping subway platforms for the last year. Branded with a banjo riff, a slow building rhythm section and 5-way background vocals, the song offers up a campfire feel. The kind of song everyone can sing along to, and does. 'Generator (First Floor)' does a great job prefacing Weathervanes and informally introduces us to the group. After hearing this song I kind of feel like I know them from somewhere...like maybe the guitar player and I were friends in another life.

'Hannah' is the second track and makes great use of the obligatory synthesizer. Stylistically, the song bounces back and forth from that of The Get Up Kids and The Postal Service. Lyrically, the tone is playful, yet full of hope and anticipation. The lyrics themselves are creative and have a naive, youthful buoyancy to them.

"Do me this solid if you would pretty lady, please grab your martini and meet me on the balcony. I've prepared a lights show, you could fake a melody, we could argue when and where the cymbal hits should be."

Despite the overall bounciness of this track, Freelance Whales does a great job altering pace and tempo. The chorus is credible, calm and relaxed...a favorable contrast to the verse. A bright display of layered bridges add some maturity and a sense of musical awareness to the song, assuring the listener that they know what they're doing.

The fifth track on the album, 'Starring' begins with a droning, industrial synth chord progression, only to be briefly slapped around with it's antithesis, a cheerful, poppy synth riff a la HelloGoodbye. Man, I hate HelloGoodbye. Somehow this works though, as the entire song performs a balancing act between dark and light. Even the chorus follows along with the line, 'This is me starring in the strangest nightmare." 'Starring' in itself is a bittersweet oxymoron and leaves it's audience hopefully in despair.

If 'Generator (First Floor)' was the song everybody sings along to, then 'Kilojoules' is the song that everybody claps along to. It really sounds like a kids song from Nick Jr., with xylophone and keyboard riffs in all the right places. 'Kilojoules' has a very lighthearted tone, which allows you to enjoy yourself as it effortlessly clears your mind. For some reason, I imagine a college freshmen girl listening to this song on repeat in her dorm, as she gets ready to go see her boyfriend's crappy band. I don't know why.

Much of the rest of the album is very airy and filled with soothing acoustic guitars and duet style vocals. Chimes, pianos and xylophones accent the indie, pseudo-folk melodies comfortably and without force. Despite the fact that these are mostly slower songs, they are all fused with a sense of hope and togetherness and help to push the songs forward.

I still don't know why I like this album as much as I do. Part of the reason I only gave Weathervanes a 7.5 was because I really feel I'm lacking some objectivity. I've listened to it constantly since I bought it, but in the back of my head I genuinely feel that it lacks staying power. It's such a blatant departure from the music that I've been listening to lately. Freelance Whales reminds me of sleepovers, dances and camp outs. Hearing this album is just like looking at your yearbook. I feel too old for it...not that it's beneath me, but you can really tell it is meant to appeal to that 15-20 year old demographic...and yet somehow this 24 year old can't put it down. I don't know if that's good or bad.

Tracks

1.) Generator (Second Floor)

2.) Hannah

3.) Generator (First Floor)

4.) Broken Horse

5.) Starring

6.) Kilojoules

7.) Location

8.) Ghosting

9.) The Great Estates

10.) We Could Be Friends

WK2 - Vampire Weekend - Contra (7)

Released - 1/12/09

Label - XL Recordings

BLURB - Contra is dangerous footing for a music review. It's entirely too cliche to denounce the preppy New Yorkers and write off this album as a failed attempt to elaborate on their charming self-titled 2008 release. Likewise, it's entirely too predictable to say the album is amazing and once again somersault on to the Vampire Weekend bandwagon. What's even more unoriginal is to remain neutral, and tepidly suggest that while Contra is a great record in it's own right, there are certainly some detracting factors to it's inherited greatness. At gun point I'm not a huge fan of Contra. That is not to say that I don't think it's a solid sophomore effort, it is. But there are a ton of risks and experiments on this album, both musically and lyrically, that clearly push the quartet through some growing pains in a manner that is fairly easy to see and hear. That being said, Vampire Weekend's talent is too visible to not recognize and appreciate.

Rating - 7 out of 10

FULL STORY - What ultimately hurts Ezra Koenig and company is the combination of creativity and free time. There was exactly two full years between Vampire Weekend's releases...this was probably about six to eight months too long of a period. That's too much time to tinker in the studio. Too much time to try and refine their sound. Too much time to experiment. What really made Vampire Weekend's self-titled 2008 release amazing was the fact that it was four privileged, yet intelligent musicians and a room full of instruments. Nothing more, nothing less. It really sounded raw and creative, while being to the point. There weren't any expectations, guidelines or provisions and that's what allowed Vampire Weekend to be great...nobody was looking. Now that everyone is watching, I feel that Vampire Weekend really felt the pressure to put out out the best record of the new decade. Although it's impossible to succeed with that kind of pressure and so many eyes watching, in the end Vampire Weekend does an admirable job and still puts out one of the better albums of the year...but let's be honest...it's not what it could be.

So let's start with the single, no? "Horchata" grabs the listener with it's island influences and bright melodies. Throw in a xylophone and that trademarked Vampire Weekend wit and you have a very respectable introduction to Contra. The whole feel of this track is very bubbly and has an array of laid back reggae undertones...it really makes me want to drink a mojito while reading the Wall Street Journal. It's a bit too poppy for my taste, but the tempo is switched up enough with some nice percussive wrinkles and stringed arrangements to distract me.

The best song on the album is the second single, "Cousins." Here we have a feverish pace combined with a wackiness that I can't help but compare to Vampire Weekend's breakthrough "A-Punk." The drums are filled with momentum, constantly speeding up and slowing down with the tempo of the song. A mixture of wood blocks and snare rolls flavor up the percussion and help to accent Koenig's lyrical musings. The main riff is short, chunky and to the point and is juxtaposed to a series of intricate, descending motifs that are strummed like a gambling addict impatiently scratching off a lottery ticket. Combine all of this with an ending that is filled with Christmas bells and crash cymbals and you have the best of what Contra offers.

"White Sky" is one of the newer-sounding tracks which, for me, the jury is still out on. Here Rostam Batmanglij's creativity shines through. He is the brains for the majority of the string arrangements and production for the band, but for this track he conjures up a very explorative synthy-keyboard motif that echos throughout the song with a faint clap track in the background. Is this is the new Vampire Weekend? All I heard last year was synthesizers and clap tracks, and I'm not sure if this is a suit best fit by Vampire Weekend. Perhaps it will grow on me?

The third track on Contra is "Holiday" and almost has an early 2000's ska feel to it. Almost. The creative energy is very evident, and while sounding like a throwback of sorts, "Holiday" somehow sounds new. The bridge to this track brings the vocals down to that of a whisper while chopped up guitar and piano notes cleverly repeat, leading back in to another lapping of up-stroked barre chords. It's simplicity and accessibility make the song very easy to like.

"California English" is a grease fire. Vampire Weekend should never use auto-tune, ever. Even though the vocal manipulation was used mildly and is not overpowering...it's still there and is incredibly annoying. I can't take the song seriously and it's a 'must-skip' song if you're trying to listen to the album in it's entirety. For the most part the music is all over the place with very little continuity. It's very herky-jerky. The only bearable portion of the song is the string filled bridge in which Koenig (via auto-tone) delivers up some playful imageries of posers:

"Sweet carob rice cake, she don't care how the sweets taste. Fake philly cheesesteak, but she use real toothpaste."

I know I don't like the auto-tune, but there is another new musical facet on Contra that I'm not sure if I'm in love with. For whatever reason, Vampire Weekend decide to sample M.I.A on "Diplomat's Son," a very slow and monotonous beach number. It's completely uninspired and lulls the listener to sleep with electronic loops and island keys. The song really stumbles in the middle when we're forced to listen to yet another clap track, this time battling an acoustic piano (that is clearly trying to play a different song). This bridge provides us with about thirty seconds of solid head scratching.

The head scratching continues on "I Think UR a Contra." Sounding like something that couldn't make the cut for a Papercuts record, the final track is far too vast and spacious. Droning synth and ambient guitar trickles provide an airy backdrop for nothing to happen. And it doesn't. With the exception of the final chorus being accompanied with congas and acoustic guitars...nothing happens. I'm aware that there was meant to be more of a shift in focus towards the lyrics on this track, but with miniscule instrumentation and no kind of discernible melody, it's really hard to pay attention.

Like all albums, Contra has it's peaks and valleys, and for what it's worth I think it's a great sophomore effort from the band. However, it's really not what it could be. They've vacated their unique musicality and have chosen to drag their feet through the current fads of indie music. Clap tracks, auto tune and hip hop samples just don't fit the Vampire Weekend that we've all come to love. At least not for me. Even with all of this criticism the album perseveres and provides a fair amount of enviable brilliance. "Cousins," "Holiday," "Giving Up the Gun," and "Run" are all amazing in their own right and affirm that, while Vampire Weekend may have experimented a bit too much with their sound, we still love them.

Tracks

1.) Horchata

2.) White Sky

3.) Holiday

4.) California English

5.) Taxi Cab

6.) Run

7.) Cousins

8.) Giving Up the Gun

9.) Diplomat's Son

10.) I Think Ur a Contra

WK1 - Kanye West - VH1 Storytellers (5.5)

Released - 1/5/09

Label - Island Def Jam

BLURB - Very quietly, Kanye West released his fifth full length album this past week, a CD/DVD encapsulating his performance on VH1 Storytellers. The original airing of the show was well over a month ago and largely featured West's fourth release, '808's and Heartbreaks.' While this release does feature some unique and raw performances, ultimately it's a pretty lackluster representation of one of the greatest artists of the decade.

Rating - 5.5 out of 10

FULL STORY - Well here's the good: there is a full pit orchestra accompanying West for the duration of his Storyteller's set. So instead of just programming instruments and musicians into his production studio laptop, we actually get to see and hear West with a full, dynamic band. What's also good is the energy Kanye musters up for some of the songs, namely 'Touch the Sky' off his second album, 'Late Registration.' Here we see the performer that we've grown so accustomed to. You can hear and (if you have the DVD) see Kanye's amazing stage presence. He boldly commands the stage and the audience in a way that very few performers can claim. Everything was on point here. There were nice little alterations to the song's verses and choruses, an impressive parade of background vocals, and once again - the pit orchestra (w/ electric guitars) added a very unique flavor. Unfortunately, this was probably one of the few highlights from the CD.

What is also unfortunate, is the placement of Kanye's stories and narrative ad-libs. During 'Touch the Sky,' West (mid-song) arrogantly boasts how he feels terrible that he can not personally witness his own performances:

"I am so disappointed that I cannot see me perform...except for on playback. My greatest pain in life, is I will never be able to see me perform. So you are welcome to know a pleasure that I will never have."

Think what you will. Personally, I love when Kanye says crazy shit like this. If I was as talented as him I'd be the same way. Cocky, conceited and arrogant. Kanye West will go down as one of the greatest artists of the decade...it's a fact. So whenever he has a mic in his hand he's likely to remind us of this. My problem is that he goes on this personal diatribe for about six minutes right in the middle of the best song and performance of the show. This transforms the song into a 9:54 short story which I now cannot listen to without skipping forward.

'Flashing Lights' is also another highlight from the Storyteller's performance. This was one of Kanye's most overplayed songs when it came out, but for some reason I still feel it's underrated. A real testament to the song. The string section of the orchestra is featured on this track, and sounds amazing. Once again the energy and momentum are quickly halted as Kanye moves into another personal story. I'm seeing a theme here.

Here's my problem...I think I bit off a little more than I can chew on this one. In buying this album I really didn't factor in the Storyteller's premise of telling stories. Since it was a CD/DVD I figured that the CD would be all music (editing out the narrated sections) and the DVD would be the unaltered, unedited performance. Wrong.

Here's what else I didn't like. Song selection. Keep in mind that I'm going off of the CD (not the DVD) but in a program that showcases the career of Kanye West and how he got to where he is...how does he not perform any songs from "The College Dropout?" That album revolutionized aspects of hip hop and introduced Kanye into the mainstream. How can you not even have one song from that album? It doesn't stop there, as the album has only one track from "Late Registration" and three from "Graduation." So obviously the goal of this performance was to really market and sell "808's and Heartbreaks." Here's my beef. This whole album was made with auto-tone, a drum machine and a keyboard. This repertoire of songs isn't necessarily designed to be performed live and with an orchestra. You can make the argument that of '808's and Heartbreaks,' the only song that would fit this performance style would be 'Love Lockdown' with it's massive percussion sections, pianos and strings. Yet it's nowhere to be found.

The majority of the live auto-tune tracks sound terrible live. Again, this is a great tool in the production studio, but when used live is hard to predict exactly what sound(s) you will get out of it. 'Heartless' is probably the best of the live auto-tune tracks, but that is not to be viewed as a compliment. The old "best trailer in the trailer park" axiom surfaces here. Ironically, I actually do like 'Heartless' in the sense that the performance really darkened the song, musically. Heavy, distorted electric guitars are present throughout the song and give it a real 'metal' feel. Also, Kanye sounds and feels pissed off for the whole song. So even if the auto-tune makes it sound less than superb, the music and Kanye's persona sort of redeem the song, bringing it back to life.

At the end of the day, this album is something that I would really advise against purchasing. And this is coming from a tried and true, dedicated Kanye West fan. It's nice to hear Kanye's personal trials and tribulations weaved throughout his performances...but when I want to throw some Kanye on and blast the iPod, it's not going to be his VH1 Storyteller's performance. If anything, the DVD portion of this album may be worth seeing, but if you're looking for a collection of great live tracks from Kanye, you'll have to look elsewhere.

Tracks
1.) See You in My Nightmares

2.) Robocop

3.) Flashing Lights

4.) Amazing

5.) Touch the Sky

6.) Say You Will

7.) Good Life

8.) Heartless / Pinoccchio's Story

9.) Stronger

52 Records' Top 15 Albums of 2009

Here are the Top 15 Albums of the year, according to '52 Records.'

15.) "Cage the Elephant" - Cage the Elephant: This was the lone release of the year that could have got by purely on energy. Cage the Elephant received a ton of hype after their SXSW performances and are certainly looking to carry their success into 2010. This was raw, unfiltered rock music from the perspective of your average 20 year old. A very nice debut.

14.) "Steps" - Caleb Hawley: As I said in his review, Caleb Hawley is the greatest songwriter you've never heard of. Everything from his melodies to his chord selection scream originality and honesty. His talent is bursting at the seems, and oh yeah, he's a down-to-earth great guy.

13.) "Manners" - Passion Pit: So I think Passion Pit is the most overrated band of 2009. There I said it. That being said, they are still amazingly talented. Their fusion of synth, indie, pop and dance is almost unheard of. They have an unwavering knack for being catchy, and that's good enough for me.

12.) "Fool's Gold" - Fool's Gold: This release made me realize that Vampire Weekend were fakes, well, to some extent. Fool's Gold shows us what it's like to be a real African-Pop act. The instrumentation, percussion and danceability of this record really shine through here.

11.) "Seek Magic" - Memory Tapes: Quite the combination of indie pop and electronica. This is what Passion Pit will always try to sound like. Memory Tapes has an uncanny ability to combine indie rock and synthesizers in way that is not just pop-friendly, but experimental. I'm a huge fan of artists that push the envelope.

10.) "Nuclear Evolution: The Age of Love" - Sa-Ra Creative Partners: Heavy and wet, this album is just dripping with R&B and soul. Aside from the bass and synth, the lyrics offer up limitless innuendoes and NC-17 themes. I won't have it any other way.

9.) "Peace Love Weed 3D" - Eliot Lipp: This past year I became heavily infatuated with electronic music...in any form. I lived for it. And the record that I listened to the most this year (in good times and bad) was PLW3D. This album was hip, trendy, synthy and full of bass...everything a 24 year old young professional could want. Also, every song was 4:20.

8.) "Ambivalence Avenue" - Bibio: Somehow this album combined minstrel folk music, psychedelic folk rock and futuristic computer generated beats. What else can I say. This was one of those experiments that went well...

7.) "Heartbeat Radio" - Sondre Lerche: One of my favorite songwriters here...so my bias is showing through. Regardless, Sondre Lerche provides us with a soundtrack of melodies that showcase his versatility as a songwriter and performer. This album is filled with big melodies, big sounds and big risks. Just listen to the big strings on 'Rosebud.'

6.) "Bitte Orca" - Dirty Projectors: This was the album that nobody should have liked. All of the time signatures and rhythms are unique. The feel is nothing short of rushed and experimental. But like the mad scientists that they are, Dirty Projectors show us that there is more to music than music. There is also music. Oh... and they also sing about love.

5.) "Wolfgang Amadeus Phoenix" - Phoenix: What can be said that hasn't already been said? This is the model for pop rock song structure. Every track on this album has the potential to be a hit (with the exception of the Love Like a Sunset suite). Upbeat pop/indie/rock songs are what we crave...and Phoenix has delivered them all year long.

4.) "The Ecstatic" - Mos Def: Everything from the beats to the rhymes really ring true on 'The Ecstatic.' This was one of, if only, the major hip hop releases of the year that is worth buying. Nowadays rap owns the airways...but if you want real hip/hop, you want Mos Def. The lyrical substance on this album is second to none and the beats are just as good.

3.) "Veckatimest" - Grizzly Bear: What an album. This collection of pop/folk numbers is filled with experimental harmonies and instrumentation. Grizzly Bear takes a huge music risk and leap here...fortunately they know what they're doing and 'Veckatimest' becomes one of the best releases of the year.

2.) "Phrazes for the Young" - Julian Casablancas: I've been waiting so long for this. Julian Casablancas' (post / mid) Strokes debut is filled with an incredible amount of pop experimentation. And when I say pop experimentation, I mean like 1987 pop experimentation. 'Phrazes For the Young' is a collection of upbeat, transcendent tunes that show us the real brilliance behind this past decade's best band, The Strokes.

1.) "Psychic Chasms" - Neon Indian: This blew my mind. Neon Indian's collection of creative, yet lo-fi synthy medleys completely drew me in. The creativity and ability to reference the past, while working in a futuristic genre sold me. Throw in introverted lyrics and a great live show and you have, what I think, is the best release of the year.

52 Records' Top 15 Songs of 2009

Have no fear...52 Records' 'Top 15 Songs of 2009' is finally here. It took much thought and consideration, but I feel that I've finally come up with what I would consider the top tracks of the past year. Keep in mind here that my resources are limited as I am only picking songs that have appeared in album reviews from this blog. So no Animal Collective, Local Natives or even the new Vampire Weekend tracks. It's probably better this way - given the chance, my Top 15 would likely all be Animal Collective songs. So without further adieu, here is '52 Records' Top 15 Songs of 2009,' counting down from 15...

(NOW AVAILABLE FOR PURCHASE ON iTUNES)

15.) "Last Time" - Paper Route: I considered this the top pop/rock song of 2009. This should have been playing constantly on TOP 40 radio all year and I'm dumbfounded why it wasn't. Inspiring and emotional lyrics combined with well crafted pop songwriting is all that is ever needed.

14.) "Shades" - Wale: Arguably the best track on Wale's highly anticipated, 'Attention Deficit,' Shades features racially driven lyrics pitted against a snare drum and a beat. Detailing the trials and tribulations of growing up a different shade of black, Wale delivers an autobiography of sorts that is both thought provoking and enjoyable.

13.) "Terminally Chill" - Neon Indian: I'll be honest the first time I heard the intro to this song I thought it was 'Last Christmas' by Wham. With seemingly nothing more than a drum machine, a synthesizer and a microphone, Neon Indian somehow throws this chilled out, synthy masterpiece together. Imagine a completely disinterested Prince, making video game music for ATARI in 1983. Rad!

12.) "Surprise Hotel" - Fool's Gold: I dare anyone not to belly dance during this song. Filled with African rhythms and syncopated beats, Surprise Hotel will leave you wondering what country you're in and what language the vocals are. Hebrew...I think. Plain and simple this song is fun. Throw in some chanting, clapping and a couple catchy little riffs and you'll feel like you're at a wedding in Madagascar.

11.) "The Reeling" - Passion Pit: No I'm not dumb - and yes, this song is better than Little Secrets. Much better. I like Passion Pit, but definitely feel they grew to be a little overrated as the year unfolded. What wasn't overrated was The Reeling, as it was filled with tension and unrest as each beat passed. Match that anxiety against a background of synthesizers and clever percussion and you have a chase scene from some futuristic police movie. Sweet.

10.) "Lovers' Carvings" - Bibio: After a 90 second classical guitar introduction (albeit electric) this song turns into instant nostalgia. Sounding like every enjoyable song I've ever heard from the late '60's, Lovers' Carvings is a carefully constructed gem. Continuously building steam and good feelings, the track pushes forward with warmth and good vibes. Break out the olive green furniture and a bottle of red.

9.) "Death of a Star (Supernova)" - Sa-Ra Creative Partners: Easily the best R&B track of the year, and I don't want to hear otherwise. It's funky, it's groovy, it's raw and it's intoxicating. The only thing heavier than the bass is the synth and when you throw in about 15 different vocals...the song really turns into its' own entity. You can really feel the energy on this one.

8.) "11th Dimension" - Julian Casablancas: Imagine your local church organist getting drunk and accidentally speeding up the opening to a musical hymn. That's the introduction to 11th Dimension. Casablancas' post-Strokes solo venture featured this single complete with drum tracks, synth and that classic croon that has left everyone in desperate need of a new Strokes record. It will come in due time, until then 11th Dimension and the rest of 'Phrazes for the Young' is a more than worthy stopgap.

7.) "Deadbeat Summer" - Neon Indian: The only thing better than 1 Neon Indian song in the Top 15 is 2 Neon Indian songs in the Top 15. Deadbeat Summer was the original and first Neon Indian song to garner any attention. It's laid back, relaxed and apathetic - never has a title matched a song so beautifully. It's amazing the timeless and unique quality of music just one person can create in their room, with the aid of drugs of course.

6.) "Graphics" - Memory Tapes: Enter this weird concoction of lo-fi, disinterested vocals and a well-orchestrated, rapid arsenal of computer effects and synthesizers. Graphics proves that there is no single correct way to create a song. Continuously evolving and gaining momentum, Graphics takes the listener on a ride of futuristic musical teases that never establish any set structure, leaving everything to imagination. The sounds and energy are all over the map...just as it should be.

5.) "Life in Marvelous Times" - Mos Def: Finally...the return of Mos Def and substance to hip hop. Mos Def has such an addictive and mesmerizing flow to all of his rhymes he might as well be a brand. When I see the swoosh I know it's Nike, when I hear this flow I know it's Mos Def. As with most of, 'The Ecstatic,' Life in Marvelous Times lacks any real song structure and really allows the listener to appreciate the style and genius of Mos Def. Energy, passion and authenticity...it's all here.

4.) "1901" - Phoenix: The best pop recording of the last 5 years? Can we say that? Too soon? From this song comes the mold for every aspiring indie rock band looking to make it. Create a uniquely clever, yet wandering drum beat, add some synth and guitars, lock in an amazing chorus...shake and serve chilled. Maybe you can get featured in a Cadillac commercial too. Phoenix has all too much talent, and 1901 is the proof.

3.) "Stillness Is the Move" - Dirty Projectors: I've never been a fan of weird time signatures or disregard for music theory, yet somehow I love this song. For every reason this song shouldn't be enjoyable, it is. I've never seen so much ingenuity, patience and creativity in one place. Throw in some brilliantly crafted lyrics and this song really takes flight. Dirty Projectors have historically been a tough listen for everyone, but if ever there was a song to pull you in, Stillness Is the Move is certainly it.

2.) "Two Weeks" - Grizzly Bear: Endless harmonies, a catchy keyboard riff and a killer chorus. Man, the Beach Boys are somewhere collectively smiling on what they've inspired. With vocals reminiscent of a baroque chamber choir and a musical medley of what sounds like Brian Wilson meets 2009, we're all left with what is the brilliance of Two Weeks. Somehow surf music, synth and folk all work together here. I'm still trying to figure it out.

1.) "Walkabout" - Atlas Sound (With Noah Lennox): My Animal Collective (Panda Bear) bias shining through. Walkabout showcases what happens when two creative minds combine for the greater good of music. Obviously Bradford Cox aka Atlas Sound of Deerhunter and Noah Lennox aka Panda Bear of Animal Collective mutually worked on this diamond of a song. Leave out the well crafted, timeless lyrics devout to childhood inquiries and you're left with a clever, nostalgic musical journey. The riff sounds like something off of a children's record or a jack-in-the-box. Your choice. Leave out the music and you're instantly reminiscing about your childhood. Why? This song is timeless. The music...the lyrics...the feel...everything. Everything about this song can be applied to the past, present and future. Anyone and everyone can fall in love with this song. I think that was the goal.