Boom.
1. TV on the Radio - Quartz (Seeds)
2. Daft Punk - One More Time (Discovery)
3. Donnie Trumpet & The Social Experiment - Wanna Be Cool (Surf)
4. Passion Pit - Five Foot Ten (1) (Kindred)
5. Unknown Mortal Orchestra - Ur Life One Night (Multi-Love)
6. Sonic Youth - Rats (Rather Ripped)
7. Caribou - Dive (Our Love)
8. Stars - Going Going Gone (Live) (Sad Robots)
9. Moonface - Black Is Back In Style (Julia With Blue Jeans On)
10. Grizzly Bear - Colorado (Yellow House)
11. Led Zeppelin - Ramble On (Led Zeppelin II)
12. Lightning Bolt - The Metal East (Fantasy Empire)
TRT 49:14
2015 music: Donnie Trumpet, Lightning Bolt, Passion Pit, Unknown Mortal Orchestra
Showing posts with label Grizzly Bear. Show all posts
Showing posts with label Grizzly Bear. Show all posts
Sunday, July 12, 2015
Friday, May 1, 2015
Mux170: May 2015
Boom.
1. Felix Da Housecat - Rocket Ride (Devin Dazzle and the Neon Fever)
2. Belle and Sebastian - Another Sunny Day (The Life Pursuit)
3. Will Butler - Anna (Policy)
4. TV on the Radio - Love Stained (Seeds)
5. Crystal Castles - Air War (Crystal Castles)
6. Chromatics - Just Like You (Tommy)
7. Bon Iver - Inside Out (Spoon cover)
8. Viet Cong - March of Progress
9. Death From Above 1979 - Nothin' Left (The Physical World)
10. Iceage - How Many (Plowing Into The Field of Love)
11. Grizzly Bear - Foreground (Veckatimest)
12. Built To Spill - Living Zoo (Untethered Moon)
TRT 46:15
2015 music: Built To Spill, Chromatics, Viet Cong, Will Butler
1. Felix Da Housecat - Rocket Ride (Devin Dazzle and the Neon Fever)
2. Belle and Sebastian - Another Sunny Day (The Life Pursuit)
3. Will Butler - Anna (Policy)
4. TV on the Radio - Love Stained (Seeds)
5. Crystal Castles - Air War (Crystal Castles)
6. Chromatics - Just Like You (Tommy)
7. Bon Iver - Inside Out (Spoon cover)
8. Viet Cong - March of Progress
9. Death From Above 1979 - Nothin' Left (The Physical World)
10. Iceage - How Many (Plowing Into The Field of Love)
11. Grizzly Bear - Foreground (Veckatimest)
12. Built To Spill - Living Zoo (Untethered Moon)
TRT 46:15
2015 music: Built To Spill, Chromatics, Viet Cong, Will Butler
Friday, November 30, 2012
Mux114: December 2012
A little something for everything. Or maybe a little something for no one?
In the Box.
1. Grizzly Bear - Sleeping Ute (Shields)
2. Spoon - You Got Yr. Cherry Bomb (Ga Ga Ga Ga Ga)
3. Dirty Projectors - Swing Lo Magellan (Swing Lo Magellan)
4. Lotus Plaza - Dusty Rhodes (Spooky Action At A Distance)
5. Passion Pit - Little Secrets (Manners)
6. LCD Soundsystem - Daft Punk Is Playing At My House (London Sessions)
7. Four Tet - Pinnacles (Pink) (listen to this one with good headphones)
8. Bon Iver - Blindsided (For Emma, Forever Ago)
9. Elliott Smith - King's Crossing (From A Basement On The Hill)
10. Titus Andronicus - (I Am The) Electric Man (Local Business)
11. Frankie Rose - Interstellar (Interstellar)
12. Metz - Headache (Metz)
TRT 49:38
Rookies:
Metz
In the Box.
1. Grizzly Bear - Sleeping Ute (Shields)
2. Spoon - You Got Yr. Cherry Bomb (Ga Ga Ga Ga Ga)
3. Dirty Projectors - Swing Lo Magellan (Swing Lo Magellan)
4. Lotus Plaza - Dusty Rhodes (Spooky Action At A Distance)
5. Passion Pit - Little Secrets (Manners)
6. LCD Soundsystem - Daft Punk Is Playing At My House (London Sessions)
7. Four Tet - Pinnacles (Pink) (listen to this one with good headphones)
8. Bon Iver - Blindsided (For Emma, Forever Ago)
9. Elliott Smith - King's Crossing (From A Basement On The Hill)
10. Titus Andronicus - (I Am The) Electric Man (Local Business)
11. Frankie Rose - Interstellar (Interstellar)
12. Metz - Headache (Metz)
TRT 49:38
Rookies:
Metz
Saturday, December 26, 2009
JDK's 2009 in Albums
I hate it when websites put up their “Best Of” year-end lists. The implication of the word “Best” seems like it makes my own opinion moot. So here are some of my “favorite” albums of the year.
1. Japandroids – Post-Nothing
I saw the Japandroids play at the Pitchfork Music Festival this past summer. In short, they were fantastic, and they played with an energy I thought impossible for a duo.
Later that day I won a charity auction for some Japandroids merch. While I was cradling a vinyl of their debut Post-Nothing, I was asked by some blogger if they could briefly interview me about the band. I obliged, and the first question was, “How would you describe their music?”
I paused for a moment because, honestly, I didn’t quite know how to call it anything other than the blanket term of “rock.” Sure, others have said they’ve part of some 90s revival of something-rock and garage-rock, but I don’t even know what that means. I just know what I hear on their album and live on stage: fast, intense, distortion-heavy, drums-heavy songs that are anthemic without the weight of being called an “anthem”; lyrics that, despite my usual habit of ignoring, I’ve actually read and found out usually consist of little more than a few sentence bits sing-shouted over the course of a track; rock about escape, which one could argue is what rock is all about; escape from the nothing-towns of our youth, the friends we had just because we went to school with them, not giving a shit about the weather in our hometowns “‘cause we’re far from home tonight.”
All this over eight blistering tracks and thirty-five minutes and forty-four seconds.
One could mull over the corner the band has painted themselves into, and how a second record could bring a change in sound or a change in some sort of direction that would probably seem untrue to themselves. Maybe they should just bow out now and leave Post-Nothing as their ultimate work after two pretty-good EPs.
Regardless, Post-Nothing was my most-listened-to record of the year; I saw Japandroids play live twice and they are one of my best live bands I’ve seen; I have an autographed t-shirt pinned up on my wall; I dug my mom’s old record player out of the crawlspace so I could listen to Post-Nothing on vinyl; and, despite the killer single “Young Hearts Spark Fire” and the single-quality of every last track, Post-Nothing coheres into a brilliant album, and it’s by far my favorite of the year.
2. The Antlers – Hospice
In the same vein I love The Antlers’ Hospice as I do Deerhunter’s Microcastle. Both make the case for the dwindling trend of an album as a whole instead of just a collection of songs, beyond the simple trick of having tracks bleed into each other.
Unlike Japandroids, though, I have blissfully ignored the lyrics to Hospice. I only know that album highlight “Bear” is probably about an abortion, and I’ve read reviews and year-end lists that mention the overarching story of a cancer patient and death and all that gloomy stuff.
But even with subject-matter that wouldn’t play well as a good driving record, Hospice manages to reach cathartic heights I haven’t heard since The Arcade Fire’s Funeral. “Sylvia,” “Bear,” and “Two” have their slow points, which makes their triumphant apexes all the more majestic.
And, like Japandroids and my next-favorite album, the band is apparently a duo. Consider it the Year of the Duo.
3. Fuck Buttons – Tarot Sport
Take former album Street Horrrsing and LCD Soundsystem’s 45:33 and create a synthetic bastard child and somewhere in its angsty teenage years you’ll get Tarot Sport.
Gone is the sometimes-huge disconnect between tracks of the still-brilliant Street Horrrsing and the toy-microphone screaming. Gone is the inner-map-of-the-mind noise-madness that defines the former and, fortunately, keeps it relevant (meaning Tarot Sport is no replacement). Here is, by god, a Fuck Buttons album you could dance to. Here’s an album that goes from the paranoia of “Surf Solar” to something as high-flying as the march-step “Olympians” and spaceship-to-Mars glory of ender “Flight of the Feathered Serpent.” If Street Horrrsing was a way to see inside your mind, Tarot Sport is the world surrounding, in all its chaos and beauty, absolutely seamless from fevered start to breathtaking finish.
4. Why? – Eskimo Snow
I’m usually wary of albums culled from the same sessions as the prior album. How can an educated listener think of them as anything but B-sides? That’s my continued problem with Radiohead’s Amnesiac, which has been called Kid B by many.
But Why?’s Eskimo Snow is the comedown to last year’s Alopecia. Singer Yoni Wolf seems to be either apologizing or embarrassed of the massive guilt-admissions that peppered the band’s 2008 offering, in which Wolf dug down into some ugly shit like, “Sucking dick for drink tickets at the free bar at my cousin’s bar mitzvah / Cutting the punchline ‘cause it ain’t no joke.” Here, he seems more pensive, more guarded, still willing to admit “sporting my ex-girlfriend’s dead ex-boyfriend’s boxers” but unwilling to finish the statement “I need to quit doing all this random fucking,” just letting the anticipated word fizzle after a long-held F (which I thought he’d let rip at their live show, but didn’t).
So sharing the Alopecia sessions is probably the reason for the band releasing two albums in two years. Because of the strength of Eskimo Snow, I might have to revise my opinion of multiple albums culled from single sessions.
5. Cymbals Eat Guitars – Why There Are Mountains
Cymbals Eat Guitars’ Why There Are Mountains falls into the sort of space as The Antlers’ Hospice. It doesn’t, however, have any clear singles. Some might point to “Wind Phoenix” as a standout track, but I see it as the long-coming burst after the four-minute build up of “What Dogs See.” And one of the band’s more accessible, stand-alone tracks, “The Living North,” comes at the very end of the album. Not to mention the album starts with “And The Hazy Sea,” a six-minute marathon with as many peaks and valleys as some entire records.
6. Dan Deacon – Bromst
I was talking to my friend Dan Kricke shortly after the leak of Bromst. I was already a big fan, and he was a bit on the fence. “I think what you don’t like about it is that it’s like a bunch of ‘Big Milk’s,” I said, referring to one of the slower, more contemplative tracks on Deacon’s schizophrenic Spiderman of the Rings. It’s arguably true, which may be due to the nature of Deacon using more “analog” equipment, like marimbas and vibraphones and all that stuff that was tucked in the back of the BHS orchestra room. Counter that, though, with the revealing documentary about the making of the album, which shows off Deacon’s new favorite toy: a computer-programmable piano capable of hammering out notes faster than human fingers could possible play.
Still, Bromst is a solid step for Deacon in terms of both his impossibly-complex compositions and his more toned-down, simple melodies. For those who fear change, there’s still “Woof Woof” and “Get Older.” For those thinking Deacon might get locked into his bright-neon-plastic cage, listen no further than the plaintive “Snookered,” which feature vocals by Deacon (“been wrong so many times”) that haven’t been contorted to Woody Woodpecker-esque shrillness, or the beautiful, computerized-piano ending of “Slow With Horns / Run For Your Life.”
7. Grizzly Bear – Veckatimest
I didn’t really “get” Yellow House until I drove to my parents’ house on a predawn Christmas morning a few years back. Veckatimest, however, seemed poised as that fearful indie promise – a “crossover” record – once “Southern Point” slammed right into “Two Weeks,” which is the first song since Gnarls Barkley’s “Crazy” that I’m pretty sure I’ll have stuck in my head when I’m eighty years old.
There’s been a lot of ballyhoo concerning the album, from the “Two Weeks” Letterman premiere to the album showing up on the Billboard charts its first week to the Jay-Z sighting at a Grizzly Bear show. This all, of course, underscore the fact that it’s a fantastic album that lived up to the hype that the band was piecing together said “crossover” record after the acquired taste of Yellow House (that is, for those who venture outside of repeat listens of “Knife”).
But, like most of the albums on this list, it’s up here because it’s an album-album. Some might download it and delete everything except “Two Weeks” and “While You Wait For The Others” off their iPod, but I’m in it for the long haul. For me, Veckatimest starts with “Southern Point” and I’m sure as hell not done listening until the gorgeous closer “Foreground” goes silent.
8. Dirty Projectors – Bitte Orca
I guess I’ve fallen into a trap that may or may not have been baited by the Dirty Projectors themselves. Much like the weariness associated with “crossover” records, here is the DP’s “accessible” album.
But other than “Stillness Is The Move” and “Useful Chamber,” what’s so accessible about it, really? Can anyone tell me what time signature most of these songs are actually in? Or how profoundly weird the track “The Bride” is without even hitting the three-minute mark?
After, I suppose, months of trying to figure out all this, the answer came pretty simple: it’s the first record in recent memory in which the singers can actually sing. It’s not just empty prettiness: all that other stuff – the weird guitars, the math-rock beats – keep it interesting. That, and from here to forever, the long-as-hell ending of “Stillness Is The Move” will segue into a beatmatched “Teardrop” by Massive Attack on every mixtape I make for the rest of my life.
Sunday: Notable albums that didn't make the top-eight cut.
1. Japandroids – Post-Nothing
I saw the Japandroids play at the Pitchfork Music Festival this past summer. In short, they were fantastic, and they played with an energy I thought impossible for a duo.
Later that day I won a charity auction for some Japandroids merch. While I was cradling a vinyl of their debut Post-Nothing, I was asked by some blogger if they could briefly interview me about the band. I obliged, and the first question was, “How would you describe their music?”
I paused for a moment because, honestly, I didn’t quite know how to call it anything other than the blanket term of “rock.” Sure, others have said they’ve part of some 90s revival of something-rock and garage-rock, but I don’t even know what that means. I just know what I hear on their album and live on stage: fast, intense, distortion-heavy, drums-heavy songs that are anthemic without the weight of being called an “anthem”; lyrics that, despite my usual habit of ignoring, I’ve actually read and found out usually consist of little more than a few sentence bits sing-shouted over the course of a track; rock about escape, which one could argue is what rock is all about; escape from the nothing-towns of our youth, the friends we had just because we went to school with them, not giving a shit about the weather in our hometowns “‘cause we’re far from home tonight.”
All this over eight blistering tracks and thirty-five minutes and forty-four seconds.
One could mull over the corner the band has painted themselves into, and how a second record could bring a change in sound or a change in some sort of direction that would probably seem untrue to themselves. Maybe they should just bow out now and leave Post-Nothing as their ultimate work after two pretty-good EPs.
Regardless, Post-Nothing was my most-listened-to record of the year; I saw Japandroids play live twice and they are one of my best live bands I’ve seen; I have an autographed t-shirt pinned up on my wall; I dug my mom’s old record player out of the crawlspace so I could listen to Post-Nothing on vinyl; and, despite the killer single “Young Hearts Spark Fire” and the single-quality of every last track, Post-Nothing coheres into a brilliant album, and it’s by far my favorite of the year.
2. The Antlers – Hospice
In the same vein I love The Antlers’ Hospice as I do Deerhunter’s Microcastle. Both make the case for the dwindling trend of an album as a whole instead of just a collection of songs, beyond the simple trick of having tracks bleed into each other.
Unlike Japandroids, though, I have blissfully ignored the lyrics to Hospice. I only know that album highlight “Bear” is probably about an abortion, and I’ve read reviews and year-end lists that mention the overarching story of a cancer patient and death and all that gloomy stuff.
But even with subject-matter that wouldn’t play well as a good driving record, Hospice manages to reach cathartic heights I haven’t heard since The Arcade Fire’s Funeral. “Sylvia,” “Bear,” and “Two” have their slow points, which makes their triumphant apexes all the more majestic.
And, like Japandroids and my next-favorite album, the band is apparently a duo. Consider it the Year of the Duo.
3. Fuck Buttons – Tarot Sport
Take former album Street Horrrsing and LCD Soundsystem’s 45:33 and create a synthetic bastard child and somewhere in its angsty teenage years you’ll get Tarot Sport.
Gone is the sometimes-huge disconnect between tracks of the still-brilliant Street Horrrsing and the toy-microphone screaming. Gone is the inner-map-of-the-mind noise-madness that defines the former and, fortunately, keeps it relevant (meaning Tarot Sport is no replacement). Here is, by god, a Fuck Buttons album you could dance to. Here’s an album that goes from the paranoia of “Surf Solar” to something as high-flying as the march-step “Olympians” and spaceship-to-Mars glory of ender “Flight of the Feathered Serpent.” If Street Horrrsing was a way to see inside your mind, Tarot Sport is the world surrounding, in all its chaos and beauty, absolutely seamless from fevered start to breathtaking finish.
4. Why? – Eskimo Snow
I’m usually wary of albums culled from the same sessions as the prior album. How can an educated listener think of them as anything but B-sides? That’s my continued problem with Radiohead’s Amnesiac, which has been called Kid B by many.
But Why?’s Eskimo Snow is the comedown to last year’s Alopecia. Singer Yoni Wolf seems to be either apologizing or embarrassed of the massive guilt-admissions that peppered the band’s 2008 offering, in which Wolf dug down into some ugly shit like, “Sucking dick for drink tickets at the free bar at my cousin’s bar mitzvah / Cutting the punchline ‘cause it ain’t no joke.” Here, he seems more pensive, more guarded, still willing to admit “sporting my ex-girlfriend’s dead ex-boyfriend’s boxers” but unwilling to finish the statement “I need to quit doing all this random fucking,” just letting the anticipated word fizzle after a long-held F (which I thought he’d let rip at their live show, but didn’t).
So sharing the Alopecia sessions is probably the reason for the band releasing two albums in two years. Because of the strength of Eskimo Snow, I might have to revise my opinion of multiple albums culled from single sessions.
5. Cymbals Eat Guitars – Why There Are Mountains
Cymbals Eat Guitars’ Why There Are Mountains falls into the sort of space as The Antlers’ Hospice. It doesn’t, however, have any clear singles. Some might point to “Wind Phoenix” as a standout track, but I see it as the long-coming burst after the four-minute build up of “What Dogs See.” And one of the band’s more accessible, stand-alone tracks, “The Living North,” comes at the very end of the album. Not to mention the album starts with “And The Hazy Sea,” a six-minute marathon with as many peaks and valleys as some entire records.
6. Dan Deacon – Bromst
I was talking to my friend Dan Kricke shortly after the leak of Bromst. I was already a big fan, and he was a bit on the fence. “I think what you don’t like about it is that it’s like a bunch of ‘Big Milk’s,” I said, referring to one of the slower, more contemplative tracks on Deacon’s schizophrenic Spiderman of the Rings. It’s arguably true, which may be due to the nature of Deacon using more “analog” equipment, like marimbas and vibraphones and all that stuff that was tucked in the back of the BHS orchestra room. Counter that, though, with the revealing documentary about the making of the album, which shows off Deacon’s new favorite toy: a computer-programmable piano capable of hammering out notes faster than human fingers could possible play.
Still, Bromst is a solid step for Deacon in terms of both his impossibly-complex compositions and his more toned-down, simple melodies. For those who fear change, there’s still “Woof Woof” and “Get Older.” For those thinking Deacon might get locked into his bright-neon-plastic cage, listen no further than the plaintive “Snookered,” which feature vocals by Deacon (“been wrong so many times”) that haven’t been contorted to Woody Woodpecker-esque shrillness, or the beautiful, computerized-piano ending of “Slow With Horns / Run For Your Life.”
7. Grizzly Bear – Veckatimest
I didn’t really “get” Yellow House until I drove to my parents’ house on a predawn Christmas morning a few years back. Veckatimest, however, seemed poised as that fearful indie promise – a “crossover” record – once “Southern Point” slammed right into “Two Weeks,” which is the first song since Gnarls Barkley’s “Crazy” that I’m pretty sure I’ll have stuck in my head when I’m eighty years old.
There’s been a lot of ballyhoo concerning the album, from the “Two Weeks” Letterman premiere to the album showing up on the Billboard charts its first week to the Jay-Z sighting at a Grizzly Bear show. This all, of course, underscore the fact that it’s a fantastic album that lived up to the hype that the band was piecing together said “crossover” record after the acquired taste of Yellow House (that is, for those who venture outside of repeat listens of “Knife”).
But, like most of the albums on this list, it’s up here because it’s an album-album. Some might download it and delete everything except “Two Weeks” and “While You Wait For The Others” off their iPod, but I’m in it for the long haul. For me, Veckatimest starts with “Southern Point” and I’m sure as hell not done listening until the gorgeous closer “Foreground” goes silent.
8. Dirty Projectors – Bitte Orca
I guess I’ve fallen into a trap that may or may not have been baited by the Dirty Projectors themselves. Much like the weariness associated with “crossover” records, here is the DP’s “accessible” album.
But other than “Stillness Is The Move” and “Useful Chamber,” what’s so accessible about it, really? Can anyone tell me what time signature most of these songs are actually in? Or how profoundly weird the track “The Bride” is without even hitting the three-minute mark?
After, I suppose, months of trying to figure out all this, the answer came pretty simple: it’s the first record in recent memory in which the singers can actually sing. It’s not just empty prettiness: all that other stuff – the weird guitars, the math-rock beats – keep it interesting. That, and from here to forever, the long-as-hell ending of “Stillness Is The Move” will segue into a beatmatched “Teardrop” by Massive Attack on every mixtape I make for the rest of my life.
Sunday: Notable albums that didn't make the top-eight cut.
Tuesday, December 22, 2009
JDK's 2009 in Rock
Everyone loves a good gun-jumping. And, while I figure everyone is either on break or about to travel to said break, here's one of four year-end mixes I made that could soundtrack some of that holiday fun/mind-numbing boredom.
Also: I won't be doing any best-of-decade lists. Forget that shit; if I can't figure out what my favorites of the 1990s were, forget the 00s. And you need some hindsight, people.
So here are some of my favorite rock songs of the year. Their respective albums might not have made my list of favorite albums, but these tracks definitely stand out.
Download or stream via drop.io
1. Metric - Help I'm Alive
2. Phoenix - 1901
3. The National - So Far Around The Bend
4. The Thermals - Now We Can See
5. Grizzly Bear - Two Weeks
6. The Pains of Being Pure At Heart - Young Adult Friction
7. Future of the Left - Arming Eritrea
8. Oneida - I Will Haunt You
9. Spoon - Got Nuffin'
10. A Place To Bury Strangers - Ego Death
11. Japandroids - Sovereignty
12. We Were Promised Jetpacks - Quiet Little Voices
13. Franz Ferdinand - Lucid Dreams (Single + Album Version JDK Megamix)
14. The Antlers - Bear
Tomorrow: some of my favorite electronic songs of the year. Thursday: favorite "random" songs of the year (e.g. some hip-hop, some weird stuff, etc.). Friday: my favorite songs at this point in my life (sans "1979" by The Smashing Pumpkins because somehow I forgot it). Saturday: All the albums I listened to plus my eight most favorites. Sunday: Notable albums that didn't make the top-eight cut.
Also: I won't be doing any best-of-decade lists. Forget that shit; if I can't figure out what my favorites of the 1990s were, forget the 00s. And you need some hindsight, people.
So here are some of my favorite rock songs of the year. Their respective albums might not have made my list of favorite albums, but these tracks definitely stand out.
Download or stream via drop.io
1. Metric - Help I'm Alive
2. Phoenix - 1901
3. The National - So Far Around The Bend
4. The Thermals - Now We Can See
5. Grizzly Bear - Two Weeks
6. The Pains of Being Pure At Heart - Young Adult Friction
7. Future of the Left - Arming Eritrea
8. Oneida - I Will Haunt You
9. Spoon - Got Nuffin'
10. A Place To Bury Strangers - Ego Death
11. Japandroids - Sovereignty
12. We Were Promised Jetpacks - Quiet Little Voices
13. Franz Ferdinand - Lucid Dreams (Single + Album Version JDK Megamix)
14. The Antlers - Bear
Tomorrow: some of my favorite electronic songs of the year. Thursday: favorite "random" songs of the year (e.g. some hip-hop, some weird stuff, etc.). Friday: my favorite songs at this point in my life (sans "1979" by The Smashing Pumpkins because somehow I forgot it). Saturday: All the albums I listened to plus my eight most favorites. Sunday: Notable albums that didn't make the top-eight cut.
Monday, December 7, 2009
Mux008: September 2008, the reissue
Just a few more to go.
Yep.
1. Born Ruffians - Barnacle Goose
2. Bloc Party - Banquet
3. Pavement - All My Friends
4. The Magnetic Fields - Love Goes Home To Paris In The Spring
5. Patrick Wolf - Wind in the Wires
6. TV on the Radio - Family Tree
7. No Age - Keechie
8. The Arcade Fire - Wake Up
9. The Walkmen - Long Time Ahead of Us
10. Professor Murder - Free Stress Test
11. Oxford Collapse - I Hate Nobody
12. Grizzly Bear - Fix It
Yep.
1. Born Ruffians - Barnacle Goose
2. Bloc Party - Banquet
3. Pavement - All My Friends
4. The Magnetic Fields - Love Goes Home To Paris In The Spring
5. Patrick Wolf - Wind in the Wires
6. TV on the Radio - Family Tree
7. No Age - Keechie
8. The Arcade Fire - Wake Up
9. The Walkmen - Long Time Ahead of Us
10. Professor Murder - Free Stress Test
11. Oxford Collapse - I Hate Nobody
12. Grizzly Bear - Fix It
Tuesday, November 24, 2009
Mux004: August 2007, the reissue
I'm working on Archetype, I swear.
Download or stream off drop.io.
1. Bloc Party - Like Eating Glass
2. Born Ruffians - I Need A Life
3. Fleet Foxes - Ragged Wood
4. Weezer - El Scorcho
5. Foo Fighters - Learn To Fly
6. Destroyer - Painter In Your Pocket
7. Grizzly Bear - Knife
8. Joy Division - Transmission
9. The National - The Perfect Song
10. Do Make Say Think - A Tender History In Rust (Edit)
11. No Age - Every Artist Needs A Tragedy
12. Jay Reatard - Nightmares (Demo)
Download or stream off drop.io.
1. Bloc Party - Like Eating Glass
2. Born Ruffians - I Need A Life
3. Fleet Foxes - Ragged Wood
4. Weezer - El Scorcho
5. Foo Fighters - Learn To Fly
6. Destroyer - Painter In Your Pocket
7. Grizzly Bear - Knife
8. Joy Division - Transmission
9. The National - The Perfect Song
10. Do Make Say Think - A Tender History In Rust (Edit)
11. No Age - Every Artist Needs A Tragedy
12. Jay Reatard - Nightmares (Demo)
Saturday, September 26, 2009
Hey look, another list of albums!
And yet another gun-to-my-head scenario, in which if said gun was held to said head, and if said gun-holding thug demanded that I rank Pitchfork's Best New Music my ten favorite albums of the year, in order of preference, it'd go like this:
1. Japandroids - Post-Nothing
2. The Antlers - Hospice
3. Cymbals Eat Guitars - Why There Are Mountains
4. WHY? - Eskimo Snow
5. Fuck Buttons - Tarot Sport
6. Dan Deacon - Bromst
7. Grizzly Bear - Veckatimest
8. We Were Promised Jetpacks - These Four Walls
9. Sunset Rubdown - Dragonslayer
10. Dirty Projectors - Bitte Orca
Also, here are some albums I liked once or twice but have yet to give a fair/full shake:
1. Japandroids - Post-Nothing
2. The Antlers - Hospice
3. Cymbals Eat Guitars - Why There Are Mountains
4. WHY? - Eskimo Snow
5. Fuck Buttons - Tarot Sport
6. Dan Deacon - Bromst
7. Grizzly Bear - Veckatimest
8. We Were Promised Jetpacks - These Four Walls
9. Sunset Rubdown - Dragonslayer
10. Dirty Projectors - Bitte Orca
Also, here are some albums I liked once or twice but have yet to give a fair/full shake:
- Bibio - Ambivalence Avenue
- Eyedea & Abilities - By The Throat
- Dinosaur Jr. - Farm
- The Dodos - Time To Die
- Health - Get Color ("In Violet" is easily one of my favorite songs of the year)
- Mount Eerie - Wind's Poem
- Phoenix - Wolfgang Amadeus Phoenix
- A Place To Bury Strangers - Exploding Head
- Wild Beasts - Two Dancers
- The xx - xx
- Yacht - See Mystery Lights
- Annie - Don't Stop (which is apparently all-new beats and some new tracks compared to the mass-leaked version I have)
- Los Campesinos! - The Sea Is A Good Place To Think About The Future
- Weezer - Raditude (probably will have one good song)
Tuesday, September 15, 2009
A few more albums in consideration for my best of '09
Old list prior to additions:
- Cymbals Eat Guitars - Why There Are Mountains
- Dan Deacon - Bromst
- Dirty Projectors - Bitte Orca
- Grizzly Bear - Veckatimest
- Japandroids - Post-Nothing
- Sunset Rubdown - Dragonslayer
- We Were Promised Jetpacks - These Four Walls
- The Antlers - Hospice
- The Big Pink - A Brief History of Love
- Eyedea & Abilities - By The Throat
- Fuck Buttons - Tarot Sport
- Why? - Eskimo Snow
- Wild Beasts - Two Dancers
- The xx - xx
Thursday, May 14, 2009
Additions to the best albums of 2009 (thus far)
A lot of great new music recently. New additions in bold.
Animal Collective - Merriweather Post Pavilion
Camera Obscura - My Maudlin Career
Cymbals Eat Guitars - Why There Are Mountains
Dan Deacon - Bromst
Fever Ray
Franz Ferdinand - Tonight
Grizzly Bear - Veckatimest
Japandroids - Post-Nothing
Sonic Youth - The Eternal
The Thermals - Now We Can See
Tortoise - Beacons of Ancestorship
Animal Collective - Merriweather Post Pavilion
Camera Obscura - My Maudlin Career
Cymbals Eat Guitars - Why There Are Mountains
Dan Deacon - Bromst
Fever Ray
Franz Ferdinand - Tonight
Grizzly Bear - Veckatimest
Japandroids - Post-Nothing
Sonic Youth - The Eternal
The Thermals - Now We Can See
Tortoise - Beacons of Ancestorship
Saturday, April 25, 2009
Favorite albums of 2009 (thus far)
I like making lists about music. Here's another! And, like the last one, it's alphabetical. Too soon to call favorites, really, other than saying that Grizzly Bear and Cymbals Eat Guitars are probably my two most-played on the list.
Andrew Bird - Noble Beast
In brief: Woodsy; visually evocative; he has a dreamy voice
Animal Collective - Merriweather Post Pavilion
In brief: Initial player-hating refuted by an IL-MN drive listen; infectious electronic-pop-something
Cymbals Eat Guitars - Why There Are Mountains
In brief: Modest Mouse meets Built To Spill meets Broken Social Scene; epic
Dan Deacon - Bromst
In brief: Insane, mathematically-pleasing arrangements; lots of good mallet instruments
Fever Ray
In brief: Hypnotic; it's The Knife
Franz Ferdinand - Tonight
In brief: Experimental in the right places; forget the haters, the electro-freakout end of "Lucid Dreams" bumps
Grizzly Bear - Veckatimest
In brief: A Grizzly Bear album without any weak, skippable songs
The Thermals - Now We Can See
In brief: Good old mid-tempo guitar rock; love singer Harris' vocal enthusiasm and cadence
Tim Hecker - An Imaginary Country
In brief: Transportive, like a non-violent Street Horrrsing
Andrew Bird - Noble Beast
In brief: Woodsy; visually evocative; he has a dreamy voice
Animal Collective - Merriweather Post Pavilion
In brief: Initial player-hating refuted by an IL-MN drive listen; infectious electronic-pop-something
Cymbals Eat Guitars - Why There Are Mountains
In brief: Modest Mouse meets Built To Spill meets Broken Social Scene; epic
Dan Deacon - Bromst
In brief: Insane, mathematically-pleasing arrangements; lots of good mallet instruments
Fever Ray
In brief: Hypnotic; it's The Knife
Franz Ferdinand - Tonight
In brief: Experimental in the right places; forget the haters, the electro-freakout end of "Lucid Dreams" bumps
Grizzly Bear - Veckatimest
In brief: A Grizzly Bear album without any weak, skippable songs
The Thermals - Now We Can See
In brief: Good old mid-tempo guitar rock; love singer Harris' vocal enthusiasm and cadence
Tim Hecker - An Imaginary Country
In brief: Transportive, like a non-violent Street Horrrsing
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