John's Albums of the Month: July 2013

Hey everyone,

So, I thought it might happen. Here we are in September and I'm posting about July. It won't happen again, I promise! But yes, finally July is over with in my world. It was definitely a down month, where highly anticipated albums from Jay-Z and Robin Thicke didn't really hold up. On the bright side, it made July much closer from a rankings standpoint. In fact, I kept shifting albums around up to today. Anyway, check out what I picked!

Honorable Mentions: Grant Hart - The Argument (Domino), AlunaGeorge - Body Music (Island), Kirin J. Callinan - Embracism (XL), Gogol Bordello - Pura Vida Conspiracy (ATO), Van Dyke Parks - Songs Cycled (Bella Union)

10. True Widow - Circumambulation (Relapse)

Bands who christen a specific mash-up genre as their sound don't always work out, but Dallas "stonegaze" trio True Widow is onto something. Their third album "Circumambulation" is the best distillation of the band's sound, the droning yet gritty rhythm section of bassist (and part-time vocalist) Nicole Estill and drummer Slim Starks grind along to Dan Phillips' chunky guitar riffs and serene vocal melodies. It should sound like pure doom and gloom, but the surprising vocals lend a My Bloody Valentine-gone-stoner rock edge to songs such as "Four Teeth" and "Creeper". Even "Numb Hand" sounds like an echo of "Only Shallow" with more sludge. Though "Circumambulation" is far from the flashiest metal album this year, it's one of the most captivating. Its aching plod will hypnotize you if you're not careful.

Key Track: Creeper

9. Anna von Hausswolff - Ceremony (Fat Possum)

The pipe organ can certainly sound great, but there's not much of a precedent for its use in indie rock. Until now, that is. Gothenberg, Sweden singer-songwriter Hausswolff used her local church's organ to serve as the backbone for her sophomore album "Ceremony", making it both ethereal and monolithic. Though the music isn't overtly religious, it's clearly church-inspired on the titles alone ("Funeral for My Future Children", "Liturgy of Light"). Which means those expecting an easy pop album are in for a surprise, as Hausswolff opens with two slow-burning dirges and takes a full ten minutes for her to sing. But where, Hausswolff could get lost in her own reverb and Karl Vento's moaning guitar, she also displays serious pop sensibilities on "Mountains Crave" and "Sova". Most importantly, the pipe organ is not a distracting gimmick, but effectively woven into a fabric that's somehow equally muscular and delicate.

Key Track: Deathbed

8. Letlive - The Blackest Beautiful (Epitaph)

Post-hardcore; if you've ever rolled your eyes at another screamo band or scoffed at Warped Tour, you know it's a divisive genre. Yet there is still a progressive segment that revitalizes the genre by incorporating punk and metal influences. Los Angeles quintet Letlive do just that on their third album "The Blackest Beautiful", a focused punch that turns skeptics into believers. While many post-hardcore bands sound overwrought and formulaic, Letlive used industrial clutter ("The Dope Beat"), blistering punk ("Empty Elvis") and crisp speed metal drumming ("That Fear Fever") to show that it doesn't have to be predictable. Lead vocalist Jason Aalon Butler keeps this eclecticism grounded with angry screams, but even he dabbles in Rage Against the Machine-esque rap metal banter. Unhinged, raw emotion is still the name of the game, but it's great to hear an album that also keeps you thoroughly off-balance.

Key Track: Banshee (Ghost Fame)

7. Daughn Gibson - Me Moan (Sub Pop)

Central Pennsylvania isn't exactly an oasis of talent from which acclaimed artists emerge, but it does have one trick up its sleeve. Carlisle-born Josh Martin started as a drummer for stoner metal band Pearls and Brass, but has recently garnered praise for his solo career as Daughn Gibson. His sophomore album and Sub Pop-debut "Me Moan" is a unique mix of old-school country over somber electronics. Martin's deep baritone has the twang of a country crooner that's endearing even when he warps his vowels nearly to the point of self-parody. It may sound preposterous, but the mutated boogie of "The Sound of Law", the drum-and-bass shadowed honky tonk of "Kissing on the Blacktop", and the Burial-influenced ambient textures used effectively on songs such as "Won't You Climb" and "Phantom Rider" actually work. “Me Moan” is startling in that way, containing a daring sound that somehow sounds natural.

Key Track: Kissing on the Blacktop

6. Weekend - Jinx (Slumberland)

Slumberland Records has had a solid string of noisy pop rock albums this year, from Veronica Falls to Girls Names, but "Jinx" is a big feather in their cap. The San Francisco shoegaze/lo-fi trio's sophomore effort isn't so much a blending of those two genres as it is an expert superimposition. The post-punk heft of "Mirror" and "Sirens" is intentionally obscured by extra echo and reverb, while "Celebration, FL" is an spacier take on Tears for Fears-style college rock. This is not to say that "Jinx" is only defined by its influences. "Oubliette" is jangly and forboding, with singer and bassist Shaun Durkan's long, slow vocal melody beautifully dissonant. Meanwhile, "July" and "Adelaide" are chock full of noisy punk outbursts that keep you on your toes. Such an expansive sound could have been muddled, but Weekend recall My Bloody Valentine in their ability to crystallize a stark and fully-formed song out of the abyss. 

Key Track: Oubliette

5. Speedy Ortiz - Major Arcana (Carpark)

Just two years ago, Northampton, Massachusetts indie rock quartet Speedy Ortiz originated at singer-songwriter Sadie Dupuis' summer camp, where she was teaching songwriting and recording on the side. Talk about humble beginnings. But debut "Major Arcana" is a satisfying product of that hard work, a display of Dupuis' biting wit and sneering that Stephen Malkmus of Pavement used so well. That influence goes way beyond Dupuis; "Major Arcana" is full of jagged 90's riffs and indie nostalgia, but the send-up is so good that it's hardly bothersome. Besides, there are cracks that show the unique character of Speedy Ortiz., such as an extra measure or tricky time signature is thrown in so fast that you almost miss it. "Fun" is terrific pop punk with a quiet-loud dynamic worthy of the Pixies, while "No Below" reveals surprising depth when Dupuis' middle school angst makes her feel "better off as being dead". For a band so indebted in a decades-old sound, "Major Arcana" is a well-crafted debut that shows lots of promise.

Key Track: No Below

4. Alela Diane - About Farewell (Burnside)

At the risk of sounding corny, breaking up is hard to do. Portland, Oregon-based Alela Diane ended a long relationship, but unlike most breakup albums it's she who initiated the split. As a result, Diane's fourth album "About Farewell" is filled with deep, complex emotions. After all, how do you let go of someone you know so well when you know it will break their heart and yours? Diane not only makes the tough decision, but shows quiet dignity in the face of its emotional consequences. The contradictions are also apparent, where she lets him go on the title track and asks him to dig deep, but still reminisces about him deeply on "Colorado Blue". Finger-picked acoustic guitar and strings are usually the only components of the album's sparse arrangements. All of that space makes it sound like Diane is lost in her head with her own harmonies. But though most of the tracks are folky musings, there's still the stomping "The Way We Fall" that shows Diane has some soul. A deep album both musically and lyrically, "About Farewell" shows Diane coming into her own without sounding overly sentimental.

Key Track: The Way We Fall

3. Hiatus Kaiyote - Tawk Tomahawk (Flying Buddha)

There are progressive R&B groups such as Little Dragon and Quadron, and then there's the future soul of Hiatus Kaiyote. This Melbourne, Australia four-piece is seeking not only to move past barriers, but to rip them to shreds. In their brief history, they've garnered praise from ?uestlove and Flying Lotus and signed to producer Salaam Remi's label, all on the strength of "Tawk Tomahawk". The album grazes 30 minutes and half of the songs are under two minutes, but there are few R&B albums this year that are better pound-for-pound. Guitarist and singer Nai Palm is infinitely crafty, a superb vocalist who can sound both sweet and downright abrasive. The backing band of bassist Paul Bender, drummer Perrin Moss and keyboardist Simon Mavin are no different, letting loose on longer tracks "Mobius Streak" and "Lace Skull". After hearing the minute-and-a-half bangers of "Ocelot" and "Boom Child", it's easy to think that Hiatus Kaiyote only works in short, mad bursts. But then they reign in their craziest tendencies for "Nakamarra", making Palm and co. a force to be reckoned with.

Key Track: Nakamarra

2. Pet Shop Boys - Electric (Sony)

Neil Tennant and Chris Lowe, a.k.a. the London synthpop duo Pet Shop Boys, have been legends of their genre since the mid-80's, but every star fades. At least that's what seemed to be happening on their 11th studio album "Elysium", a release maligned for its more ambient sound. Ten months later, "Electric" opener "Axis" renders their previous album irrelevant when a minute of beatless electronics is interrupted by Tennant's "turn it up". From then on, "Electric" lives up to its name through an onslaught of explosive dance beats that are firmly entrenched in Pet Shop Boys' origins but still sound remarkably fresh. "Bolshy" is pure fun and goofy love over pounding drum machines and a myriad of syncopating synths and pianos. But "Fluorescent", with its low, claustrophobic synths and "Halloween"-esque melody, is as dank as "Bolshy" is bright. Just when you thought that was impressive, they also managed to pull off a cover of Bruce Springsteen's "The Last to Die". In essence, Pet Shop Boys sound so good on "Electric" that it must surpass even their fan club's wildest dreams. It's amazing what going back to the basics can do, especially when it's reinforced by such a revitalizing confidence. As "Axis" puts it: "electric energy".

Key Track: Axis

1. Fuck Buttons - Slow Focus (ATP)

Andrew Hung and Benjamin John Power, the duo behind Bristol noise/drone electronic group Fuck Buttons, don't adhere to a more specific sound than making big-sounding music. And by big, I mean London 2012 Olympics opening ceremony big, where two of their songs were prominently featured. Their third album "Slow Focus" arrived a year nearly to the day after that ceremony and four years after the lauded "Tarot Sport". Long story short, Fuck Buttons are still on their own level partly because of their expansive sound and partly because of their willingness to turn their sound inside out. Not that Hung and Power changed their foundation, far from it. What "Slow Focus" accomplishes best is the introduction of more nuanced rhythms, brought to the forefront by the album's hip-hop influence. "Brainfreeze" acts as a mutated 2-step that starts with thunderous floor toms and ends with beat emphasis on one and three. "The Red Wing" even resembles a straightforward hip-hop track for a second, complete with midtempo breakbeat and what sounds like a crude attempt at sampling. All of this could sound pretty hokey coming from the doomsday masters we know and love, but thankfully Fuck Buttons still very much know how to be brutally epic. They've even kept the piercing buzz and wail of those stratospheric synths from "Tarot Sport". "Slow Focus" is a satisfying new wrinkle to their terrific sound and another great album for one of the most exciting electronic acts in music today.

Key Track: Brainfreeze

John's Albums of the Month: June 2013

Hello everyone,

I know, I know. I am ashamed. Pretty soon I'll be doing the July albums in September probably...but hey, at least the album dates never change! What really has kept me motivated was the slew of great albums that came out in June, to my delight. This was the toughest month for placing my albums for sure. I'm sure you know a few of the highly anticipated albums that came out, so stay tuned to see if they made it!

Honorable Mentions: Camera Obscura - Desire Lines (4AD), These New Puritans - Field of Reeds (Infectious), Austra - Olympia (Paper Bag), Run the Jewels - Run the Jewels (Fool's Gold), Jason Isbell - Southeastern (Relativity)

10. Jagwar Ma - Howlin' (Mom + Pop/Marathon Artists)

When Madchester staples Primal Scream released their rock-leaning “More Light” last month, one could easily reminisce about the psychedelia-dance fusion that they crafted so well in the early 90’s. Luckily, the Sydney, Australia trio Jagwar Ma is happy to remember those old days. Drummer/producer Jono Ma and bassist Jack Freeman lay down woozy beats for singer Gabriel Winterfield. More importantly, the band is able to go far beyond mere nostalgia. Play through “What Love” or “The Throw” and you’ll hear not only a great sound but a knack for structure; Winterfield’s poppy, soaring melodies are used then tastefully looped over Ma’s tight dance grooves. “Howlin'” is a stellar debut album and great legacy-builder for its genre.

Key Track: Uncertainty

9. Mavis Staples - One True Vine (Anti-)

Philadelphia-born singer Mavis Staples has been in the music business for over 60 years, becoming a Rock & Roll Hall of Famer as a member of 70's Stax greats The Staples Singers. That well has long since run dry, but the septuagenarian Staples has found arguably her longest sustained period of critical acclaim on the Anti- label, working with famed producers Ry Cooder and now Wilco frontman Jeff Tweedy (who wrote three songs on this one). Her 13th studio album "One True Vine" continues this trend, an intimate collection of gospel and blues as performed by a master. The Funkadelic cover "Can You Get to That" is an enjoyable group effort, while the Staple Singers cover "I Like the Things About Me" is equally empowering and sassy. No matter who's song she's singing, Staples reminds you why she's great with this well-crafted effort.

Key Track: I Like the Things About Me

8. Jon Hopkins - Immunity (Domino)

A Londoner from the Wimbledon district, producer and multi-instrumentalist Jon Hopkins has had a strange career trajectory, releasing two well-received studio albums before breaking to collaborate with artists from King Creosote to Coldplay. Now firmly back on the solo track with his 4th album "Immunity", Hopkins shows that he clearly deserves a spotlight of his own. His productions burst with angular, kinetic energy, a startling combination of bass-heavy claustrophobia and expansive piano-led musings. The drums are relentless and the hefty synth gargles are used expertly as tension and release, as on "Open Eye Signal". "Collider" is equally effective, starting as nervous skipping before building with ambient strings, clipped vocals and synth stabs. There are better electronic albums this year, but none may be as striking as "Immunity".

Key Track: Open Eye Signal

7. Thundercat - Apocalypse (Brainfeeder)

Virtuoso bassist Stephen Bruner (a.k.a. Thundercat) is not one to be pigeonholed. He has both been in Suicidal Tendencies and collaborated with Erykah Badu. Yet the most fruitful collaboration--left-field hip-hop artist Flying Lotus had him on his two latest albums--is also the slipperiest. FlyLo also has produced Bruner's albums, including his sophomore effort "Apocalypse", so the off-kilter, jazzy influence is alive and well. But what's so rewarding about this album is how Bruner is able to adapt his great bass/lovely falsetto blueprint into many forms. We get an ecstatic party ("Oh Sheit It's X"), a Stevie Wonder send-up ("Without You") and even an unabashed pop song ("Heartbreaks + Setbacks"). There's no question that Thundercat and his ample talent could go in many different directions, but for Bruner to harness that eclecticism so effectively makes for an even more impressive release.

Key Track: Oh Sheit It's X

6. Disclosure - Settle (Island)

Surrey, England born brothers Guy and Howard Lawrence are arguably the hottest band of the U.K. house/garage scene, despite their youth (22 and 19, respectively). But they've been releasing singles, E.P.'s and remixes for three years, so why now? Their debut album "Settle" is your answer, which includes their 2012 high-charting single "Latch" and thirteen more absolute bangers. Though it's obviously tailor-made for the dancefloor, the album is surprisingly deep and sophisticated. The syncopated, airtight drum machines always pop and the synths are as thick as molasses, their frequent modulations rarely getting dull. The synths are sometimes so good that they are the relentless driving force behind songs such as "Voices" and "When a Fire Starts to Burn". Top it off with several great vocal guest spots, from Sam Smith on "Latch" to Eliza Doolittle on "You & Me" and you get one of the most entertaining electronic albums you'll hear all year.

Key Track: You & Me (Feat. Eliza Doolittle)

5. Sigur Ros - Kveikur (XL)

After the Icelandic post-rock quarter Sigur Ros released their 6th album "Valtari" last year, it was easy to think that we knew where they would go from here: they would continue to make the beautiful yet passive, soundtrack-friendly music we've come to expect. But then, multi-instrumentalist (and primary arranger) Kjartan Sveinsson left the band, and everything changed. Just a year later, the now-three piece has come back quickly with "Kveikur", and Sigur Ros is surprisingly vicious and aggressive. The opener "Brennisteinn" ("brimstone" in Icelandic) starts not with cute strings, but a badly-mangled burst of distorted noise followed by pounding drums and biting bass notes. But through it all, that lofty falsetto of singer Jonsi Birgisson reminds us this is indeed Sigur Ros. It's just that he doesn't sound precious anymore, especially when fighting distorted waves and piercing guitar lines. Though not a complete reinvention, it never needed to be. Hearing the band tackle a different angle so successfully makes it worthy among the greats of their deep catalog.

Key Track: Brennisteinn

4. Deafheaven - Sunbather (Deathwish)

On the surface, black metal looked like a genre that was very set in its ways of extreme doom and gloom, and for the most part it still is. But one band who is bucking that trend is San Francisco quintet Deafheaven, who combined elements of post-rock and shoegaze with shrieking vocals and breakneck drumming until their music is almost blinding in its brightness. Their second album "Sunbather", a stunning collection of just four songs and three instrumentals, is their best distillation of that sound to date. Even the album's pacing is fascinating, with the cool-down, piano-featuring "Irresistible" caught between the two monsters of "Dream House" and the title track. And on those monsters, you surprisingly hear big guitar hooks over the substantial muscle of the rhythm section. The instrumentals are also vibrant in their own way. "Please Remember" slowly builds in a series of nauseous loops, peaks with deafening feedback before giving way to acoustic guitar strumming. I must say that I'm not a big metal fan, but "Sunbather" is as dynamic a metal album as they come.

Key Track: Sunbather

3. Boards of Canada - Tomorrow's Harvest (Warp)

When Scottish brothers Michael Sandison and Marcus Eoin (a.k.a. Boards of Canada) put forth a brilliant marketing campaign and then announced their first album in eight years, anticipation was certainly high. It's safe to say that they delivered with their 4th studio album, "Tomorrow's Harvest". With the tone set as soon as they released eerie Conet Project-esque snippets as clues, the album is arguably their darkest and most unsettling to date. Even de facto single "Reach for the Dead", which showcases their downtempo muscle, has foreboding synth arpeggios to create a pervasive sense of dread. "Jacquard Causeway" has a hip-hop backbone, but its darting, muted synths keep you guessing. Then there's "Telepath", an eerie yet somewhat soothing microphone check of a distorted voice oddly reminiscent of the campaign clues. But BoC still does nostalgia best on "Tomorrow's Harvest" (see "Nothing is Real"), drawing from 70's film soundtracks in a manner that is often as haunting as the ghostly city barely appearing on the cover.

Key Track: Nothing is Real

2. Queens of the Stone Age - ...Like Clockwork (Matador)

Singer/guitarist Josh Homme, frontman for Palm Desert, California quintet Queens of the Stone Age, is one of the preeminent heavy rockers of his generation, even without counting that he had a hand in Kyuss and Them Crooked Vultures. But QotSA had fallen off just a tad in the last eight years from their world-conquering first three albums. 6th album "...Like Clockwork" reestablishes the band's high stature and then some. With help from fill-in studio drummer Dave Grohl, it's a rock album of mythic proportions. "Keep Your Eyes Peeled" sets the tone excellently, plodding along dangerously before exploding in fits of distorted wah guitar. "If I Had a Tail" excels in its restrained intensity, with that beautifully dank guitar sound and Homme's crooning. Even more impressive are the little surprises in the second half, be it the delicate piano and synth bass opening "Kalopsia" or the vaguely funky "Smooth Sailing". Equally powerful and sophisticated, "...Like Clockwork" is a return to form for QotSA and a peerless rock album this year.

Key Track: If I Had a Tail

1. Kanye West - Yeezus (Def Jam)

There are a lot of things that have made the Chicago-based rapper Kanye West famous. His egotistical persona and the resulting antics are often bigger than the music itself. But there's only one thing that has made West consistently great: his willingness to adapt, regardless of whether the hip-hop climate demands it. He is the most influential force in hip-hop not only because he has forward-thinking ideas, but the talent and discipline to pull them off. After the masterpiece that was "My Beautiful Dark Twisted Fantasy", West was clearly at a musical crossroads. Only he could be so bold to go medieval on "Yeezus", an album with virtually no promotion, no album cover and that is the opposite of radio-friendly. Drawing heavily from electronic music (four songs were produced by Daft Punk) and even industrial rock, the album is jarring on principle by stripping down West's previous music to the bone. But as off-putting as it sounds, the result is exciting and immersive. We get a demented marching band ("Black Skinhead"), a blaring rave ("On Sight") and a demonic R&B slow jam ("I'm in It") with captivating quick cuts and tempo changes keeping everything on edge. Of course, West lets his ego show, extremely petty on "I Am a God" using civil rights imagery provocatively on "I'm in It", though at least he's charming on "Bound 2". But through this strange roller-coaster ride, what stays intact is West's underlying vision of hip-hop, completely shunning popular conventions. That groundbreaking potential is where the true power of "Yeezus" lies.

Key Track: Black Skinhead

John's Albums of the Month: May 2013

Hello everyone,

Well, this is awkward. Three weeks removed from May and I'm finally posting about it...ouch. Well I'd better move on, because I'm just making it more awkward...

May was another terrific month for music this year, and possibly the best one on paper. We had one triumphant return, an impressive debut, and albums from a slew of great (consistent and not so much) artists. But how did they fare in my list? You're about to find out!


Honorable Mentions: The Child of Lov - The Child of Lov (Double Six), Mikal Cronin - MCII (Merge), Eluvium - Nightmare Ending (Temporary Residence), Bibio - Silver Wilkinson (Warp), Laura Mvula - Sing to the Moon (RCA Victor)

10. Dirty Beaches - Drifters/Love is the Devil (Zoo)

Songwriter/producer Alex Hungtai, known as Dirty Beaches for his records, is Taipei-born but has lived in many cities from San Francisco to Berlin. Those vastly different experiences may have contributed to his lo-fi electronic-meets-rockabilly style. But instead of his previous sampling, "Drifters/Love is the Devil" enlists several collaborators to create original loops. It is also an album split down the middle by an ended relationship, switching to instrumentals halfway through. Yet early, uptempo tracks such as "Night Walk" and "Casino Lisboa" lead seamlessly into the expansive "Greyhound at Night" and "Alone at the Danube River." The album is by nature schizophrenic, but Hungtai's mastery of his lo-fi aesthetic holds it all together.

Key Track: Alone at the Danube River 

9. Mount Kimbie - Cold Spring Fault Less Youth (Warp)

"Crooks & Lovers," the 2010 debut album of English electronic duo Mount Kimbie, may be the unofficial beginning of post-dubstep (preceding even close friend James Blake). The organic yet delicate approach that members Dominic Maker and Kai Campos took on that album is downplayed on their sophomore effort "Cold Spring Fault Less Youth." Muted synths are then paired with the crackling snare and husky vocals of King Krule on "You Took Your Time." Even the single "Made to Stray" eschews melodies for intricate rhythms. Maker and Campos might be thinking bigger, but the genre-bending, field-recording mentality remains at the core of "Cold Spring." Still, Mount Kimbie have pushed themselves in new, compelling directions for a worthy follow-up to their debut.

Key Track: You Took Your Time (Feat. King Krule)

8. Majical Cloudz - Impersonator (Matador)

Big voices are a common element of electronic music, but Montreal songwriter Devon Welsh doesn't exactly fit the mold. His sultry baritone is at the forefront of "Impersonator," his second album as Majical Cloudz, while minimal yet lush electronics (co-produced by Matthew Otto) provide a stark background. This combination leads to some beautifully sad moments such as "Childhood's End," with it's lamenting refrain of "went down on me" as death happens all around him. And Welsh's da's and dum's of the title track carry an air of heartbreak over looped strings and wordless ahhs. "Impersonator" is an ironic title; very few sound quite like Majical Cloudz, let alone pull off his blend so well.

Key Track: Bugs Don't Buzz

7. Primal Scream - More Light (First International)

In their 30+ years of existence, Scottish rock/electronica sextet Primal Scream are a mixed bag, with several lamented, Stones-esque departures in between bonafide classics. Yet on their tenth album "More Light," the band has pulled another rabbit out of the hat just when you thought they had nothing left. This time, it's psychedelic rock that Primal Scream uses so effectively. Opener "2013" is a great example, starting with fluttering synths and phased-out guitar before launching into a chugging groove and a killer saxophone melody. The Stones are still an obvious presence, but that doesn't fully explain the bluesy waltz of "Tenement Kid" or the dance-punk of "Invisible City." "It's Alright, It's OK" for Primal Scream, as the closing gospel track says; they're doing fine as a band if they can still put out such a bold and excellent record.

Key Track: 2013

6. The National - Trouble Will Find Me (4AD)

As one of the world leaders in brooding indie rock, Cincinnati quintet The National have become certified critic's darlings since 2005's "Alligator". They've earned it, too; vocalist and songwriter Matt Berninger leads a literal band of brothers with remarkable consistency. The band's sixth album "Trouble Will Find Me" wisely decides not to fix what's not broken. It combines post-punk flourishes ("Sea of Love", "Graceless") and delicate folk rock ("Fireproof", "Slipped"), all with the weighty presence of a deep rhythm section and Berninger's down-in-the-dumps baritone. Not to mention the opening one-two punch of the catchy "I Should Live in Salt" and the propulsive "Demons". Though the overall sound of "Find Me" is predictable and nothing new, The National manage to throw in a few new angles to their already excellent sound.

Key Track: Graceless

5. Deerhunter - Monomania (4AD)

Altanta, Georga noise rock quintet Deerhunter in the 2010's--along with singer/songwriter Bradford Cox's side project Atlas Sound--had been mellow and ambient compared to their earlier works. Most of that restraint disappears in a flash with "Monomania". Self-described as "Nocturnal garage", the album hearkens back to Deerhunter's early live antics, presumably in the dankest dive bar you can imagine. "Leather Jacket II" starts with piercing guitar feedback before a squealing and rumbling freakout. The title track does this new/old sound best, full of thrashing garage rock and Cox's punk-y snarls. Not that Deerhunter can't turn it down and still rock, as on mid-album breather "T.H.M." It's just that Cox and his distorted, sloppy double-tracked vocals are still omnipresent. Whether or not they're tired of "Helicopter," "Monomania" is a refreshing 180 from one of the best rock bands in the business.

Key Track: Monomania

4. Laura Marling - Once I Was An Eagle (Ribbon Music)

It's pretty incredible to say that there's a folk artist out there who just released her fourth solid album before the age of 24, but that's what we have in Laura Marling. The Hampshire, England native took the London folk scene by storm at age 18, but "Once I Was An Eagle" shows Marling truly coming into her own as an artist. Over sixteen songs, she throws out one fully-realized idea after another, sometimes running seamlessly as a quasi-suite. Syncopated percussion and Marling's deft acoustic guitar set the stage very well, while her soothing and elegant vocals seal the deal. From the low notes on "I have you, bad man" in "Little Love Caster" to her soaring "when we were in love" on "I Was An Eagle," Marling has dynamic range punctuated by a voice with the wisdom of one twice her age. As an album statement, she'll be hard pressed to top this album, a confirmation of her place as one of music's vibrant talents, and still rising.

Key Track: I Was An Eagle

3. Vampire Weekend - Modern Vampires of the City (XL)

Here's a line you won't hear on Vampire Weekend's self-titled debut: "You and I will die unbelievers..." Death was definitely not on the minds of well-off Ivy league students, but a lot can happen in five years. The third album from the NYC indie rock quartet is their "grown-up" album, but it's actually spelled departure, with a capital D. The friendly Soweto-influenced grooves, reverb-heavy guitar and posh string arrangements are either kept from the forefront or completely discarded. The electronic elements hinted at by their sophomore effort "Contra" are all the rage now, recalled not only side project Discovery but the totally-serious-pre-Vampire-Weekend rap group. There are also bold experiments in pitch shifting and drum tape-manipulation, best heard on the rollicking "Diane Young". This band had been great before, but "Modern Vampires of the City" shows Vampire Weekend's true potential and nature of rampant (and rewarding) eclecticism. As Ezra Koenig sings in "Everlasting Arms", the chandelier is going down.

Key Track: Diane Young

2. Daft Punk - Random Access Memories (Columbia)

Those who know me know that I love Daft Punk, so perhaps this is a biased ranking. "Random Access Memories" is the French electronic duo's fourth studio album, their first in eight years. It was a wild, hype-filled ride to its eventual release, from teaser SNL spots to declaring EDM to be a "stagnant" genre. As promised, it brings in studio musicians--collaborating with disco pioneer Giorgio Morodor and Chic guitar wizard Neil Rodgers, among others--to relive the groovy disco/R&B of the late 70's and early 80's. However, Thomas Bangalter and Guy-Manuel de Homem-Christo are still capable conductors, providing expressive vocodors ("Within"), tight drum machines ("Doin' It Right") and synths that range from glossy to grating. Also, they keep that electronic philosophy of tension and release; "Giorgio by Morodor" and "Contact" are built like classic Daft Punk songs, even if they don't sound like them. And of course, there are the career highlights of "Get Lucky" and "Doin' It Right", two stellar collaborations (Pharrell and Panda Bear, respectively) that play on separate "memories" of the era. And yes, it's lengthy and schmaltzy, but that's nothing out of the ordinary for Daft Punk. Overall, it's a bold yet rewarding release that's a worthy addition to the band's great catalog.

Key Track: Get Lucky (feat. Pharrell)

1. Savages - Silence Yourself (Matador)

Debut albums have some kind of allure to them that's hard to explain. It's when a band is hungriest, just bursting onto the scene with a lot of time to hone their craft. And when the band's sound is fully realized on their debut, you have a select few. The Doors and Jimi Hendrix come to mind, as well as recent successes such as The xx and Janelle Monae. "Silence Yourself" deserves to be in that group as well; it's an impressive showcase of the lean, mean and badder-than-bad London quartet known as Savages. As far as post-punk goes, "Silence Yourself" is some of the hardest and best to come along in a long time. Gemma Thompson's heavy waves of distorted guitar, Ayse Hassan's fat, nimble bass and Fay Milton's thunderous drums back Jehnny Beth's wails with a lot of force. And the fact that this is an all-female band only accentuates the emotions that boil over in these jagged tunes. For instance, the album starts off with some dialogue between a pushy, older woman who keeps asking a younger woman how old she is. Frustrated by something, possibly the impossible expectations of beauty for women or authority in general, the band launches into "Shut Up", letting us know that she's fed up with the bullshit. "She Will" forces those expectations with a near-crippling anxiety, finally breaking down with Beth's blood-curdling scream at the end. Whether it's musically or lyrically, each of these songs hit with a power that's nothing short of incredible. Just listen to it already, and be quiet.

Key Track: She Will

John's Albums of the Month: April 2013

Hello everyone,

Well, here I am again, ready to sum up my picks for the best music of the previous month. April 2013 will always be defined by its middle, involving the horrific bombing of the Boston Marathon and subsequent paralyzing manhunt. But if you were trying to find a distraction from this senseless act, the new records of April were more than capable. Five April Tuesdays meant that the good albums were even more numerous. Highly anticipated included Phoenix, James Blake, The Flaming Lips, Yeah Yeah Yeahs, Iron & Wine and The Knife and they largely delivered. Enjoy what's likely the best month of 2013 music so far.

Honorable mentions: Phoenix - Bankrupt! (Glassnote), Junip - Junip (Mute), Letherette - Letherette (Ninja Tune), !!! - Thr!!!er (Warp), Kurt Vile - Wakin On A Pretty Daze (Matador)

10. Iron & Wine - Ghost on Ghost (Nonesuch)

South Carolina-born Sam Beam (a.k.a. Iron & Wine) said he wanted to stay away from the "nervous tension" of his previous two albums for his latest release. His last album "Kiss Each Other Clean" was probably the worst offender, jumping between 70's AM radio styles at a moment's notice. Not to say that "Ghost on Ghost" never sounds anxious. On the contrary, "Low Light Buddy of Mine" practically boils over with tension between Beam and a friend jealous of his love affair. "Ghost" carries the same eclecticism as "Clean", but it's more subtle, streamlined and jazz-oriented. Yet you still get Beam's strong melodies and terrific falsetto background harmonies. He may be more relaxed, but he's still in top form.

Key Track: Lovers' Revolution

9. Thee Oh Sees - Floating Coffin (Castle Face)

In its 15+ year existence, this quintet from San Francisco has had nearly as many name changes as albums. They've released a staggering seven albums in five years as Thee Oh Sees and even have a semi-steady tambourine player. Their latest, the rocking, psychedelic "Floating Coffin", only gives the sense that the band is hitting its stride after their return to self-releasing albums. It carries on the great tradition of San Francisco rock, right down to vocalists John Dwyer and Brigid Dawson recalling the Grace Slick/Marty Balin combination in Jefferson Airplane. And they have great range too, going from the filthy chug of "Toe Cutter - Thumb Buster" to the near-whimsy of "Minotaur". Perhaps the finest release to date from a very consistent band.

Key Track: I Come From The Mountain

8. Charles Bradley - Victim of Love (Daptone)

Daptone Records is famous for their soul revival sound, lovingly recreating the aesthetics of 60's and 70's R&B. In terms of authenticity and quality, the label has released few better than "Victim of Love", the second album from 65 year old Gainesville, Florida native Charles Bradley. The strange and compelling story of Bradley (past lives as a Maine chef, hitchhiker and James Brown impersonator) might have overshadowed his music career, but an album such as "Victim" that distills its influences so well makes it a footnote. With a gruff, soulful voice that is equal parts James Brown and Otis Redding and the steady backing of the Menahan Street Band, Bradley brings his best right out of the gate on "Strictly Reserved for You". Good thing they still make records like they used to.

Key Track: Strictly Reserved for You

7. Colin Stetson - New History Warfare Vol. 3: To See More Light (Constellation)

Bass Saxophonist Colin Stetson has carved out quite a niche for himself as sideman and tour member, working with luminaries such as Tom Waits, Arcade Fire and Bon Iver. But it is Stetson's now completed "New History Warfare" trilogy that has made him so prominent and unique. "Vol. 3" rounds out the series nicely with more of the same: a startling, loop-based sound where Stetson uses his sax to create some kind of jazz-drone hybrid in a single live take. That, and Stetson frequently turns his instrument into an abrasive, howling monster ("Brute", "Hunted") all while showcasing his virtuosity ("Among the Sef"). Justin Vernon himself then returns the favor, adding his trademark falsetto here and there, including the gorgeous "And In Truth". If you thought jazz and electronics could never go together, Stetson has proved you wrong...again.

Key Track: Who the Waves Are Roaring For

6. Bombino - Nomad (Nonesuch)

Omara Moctar (a.k.a. Bombino) has a lot on his mind. As a member of the Tuareg people, nomads (get it?) better known as Berbers who mainly inhibit the Sahara desert, Moctar is singing and playing for their concerns in the face of a very real rebellion in which he was exiled from Niger. "Nomad" is Moctar's second album of properly recorded material, and this time he has the capable The Black Keys' Dan Auerbach as producer. The results are explosive; Moctar's vocals are sinewy and filled with protest, even to those who don't speak the Tuareg language Tamashek. But it's his twangy blues riffs that drive "Nomad", showing an adept ear for melody and an effective use of overdubs. This album cements Bombino's place as a top notch  African musician, whose subject matter and sound may be the most dynamic since Fela Kuti.

Key Track: Amidinine

5. Ghostface Killah & Adrian Younge - Twelve Reasons To Die (Soul Temple)

Just as it seemed Dennis Coles (a.k.a. Ghostface Killah of rap group Wu-Tang clan) was starting to stagnate artistically, he pulls another rabbit out of the hat. This surprise is his 10th album "Twelve Reasons to Die", in which he tapped producer/composer Adrian Younge for collaboration, who is best known for his dead-on 60's/70's nostalgia in the "Black Dynamite" soundtrack and a solid album with The Delfonics earlier this year. "Twelve" showcases the best of both parties, with Younge's punchy drums and cinematic organ as a great backing for Coles's top-notch storytelling. And it is the coherent story of the album (narrated by RZA), seemingly an origin story of the Ghostface Killah, that thrills by sounding like "The Godfather" meets "Nightmare on Elm Street" right down to the Freddy Kreuger-esque nails on the proverbial "Ghostface" of the album cover.

Key Track: The Sure Shot (Parts One & Two)

4. The Haxan Cloak - Excavation (Tri Angle)

It could be said that part of the human condition is wondering what happens after you die. Will it be a peaceful transition, or will your soul wander aimlessly? Electronic/metal producer Bobby Krlic (a.k.a. The Haxan Cloak) has attempted to answer this question with his second proper album "Excavation", and his findings are not exactly comforting. The album is more electronic than Krlic's earlier work, but it still keeps the droning and distorted waves zooming past. At the same time, it invokes a fascination and dread of the unknown, its sub-sub bass giving the sense that this is just the tip of the dark and gloomy iceberg. But before you dismiss Krlic as a more experimental Burial, consider his more unsettling touches such as the nauseating string section on "Mara" or the manipulated yelp of surprise in "Miste". If anything, "Excavation" signals a big arrival in electronic music with a unique sound.

Key Track: Excavation (Part 1)

3. The Flaming Lips - The Terror (Warner Bros.)

Eleven years ago, vocalist Wayne Coyne sang "everyone you know someday will die" on "Do You Realize!?!". Sure, the line was somewhat bleak, but at least is was surrounded by lush, uplifting music. "The Terror", the thirteenth album of the Oklahoma City quintet's illustrious career, is anything but uplifting. Devastated by recent lost love, Coyne and co. carry over the dirty psychedelia of "Embryonic" into something more insular, tortured and hopeless. "Look...The Sun Is Rising" takes an everyday occurrence and makes it sound borderline apocalyptic. "You Lust" and "Butterfly (How Long It Takes To Die)" also stand out, with a mournful synth line in the former and angry guitar scratches in the latter. But perhaps the most compelling thing about is not the bleakness, but the indifference when songs such as "Lust" eventually trail off into a dreamy trance. In all, a remarkable album by a band who can still find daring new ground.

Key Track: You Lust

2. The Knife - Shaking The Habitual (Rabid)

The Swedish electronic sibling duo of Karen Dreijer Andersson and Olof Dreijer, a.k.a. The Knife, have been on their own plane of existence for nearly ten years, making music and speaking out however they please. After 2006's excellent "Silent Shout" comes another major transition in the triple LP "Shaking The Habitual", perhaps their most challenging album yet. From the get go, the album takes no prisoners, musically and lyrically, taking inspiration from feminism and queer theory as well as railing against the royal family, the nuclear family and the blatant commercialism of the music industry. "A Tooth for an Eye" is skipping yet forceful, driven by Andersson's Bjork-esque wails. "Full of Fire" is even more off-the-wall, a nine-minute tour de force of furious, morphing drum machines and visceral DJ scratching. On the other end, you get the ambient, 19-minute "Old Dreams Waiting To Be Realized". As an album that is so ambitious and breathtaking in its scope that it threatens to spread itself too thin, "Habitual" still manages to sound groundbreaking; another big feather in The Knife's cap.

Key Track: Full of Fire

1. James Blake - Overgrown (Polydor)

Enough Thunder EP. Love What Happened Here EP. Fall Creek Boys Choir (with Bon Iver). These are the releases since his excellent self-titled debut album that show the prolific producer/singer has kept busy. Now that the Joni Mitchell covers have come and gone, he's standing before us because he knows we've gotten a good look at him. To be honest, I was a little disappointed that Blake's song structures on "Overgrown" were, shall we say, more conventional. A big part of the beauty of his debut for me was the sketches-not-songs feel that added a lot of mystique. But of course, Blake is three steps ahead of his listeners, as always. All of his strengths--sophisticated chord progressions, impeccable production and velvety voice--are all on full display on "Overgrown", except that they are being used together more effectively than ever before. The title track starts with Blake's hushed vocals, piano and bubbling electronics, but soon adds a whole string section to great effect. "Retrograde", "Digital Lion" (with Brian Eno) and "Voyeur" also stand out, creating dark, insular landscapes where Blake shows his ability to build tension, morph song structure and captivate with melody simultaneously. If "Overgrown" doesn't cement his status has one of the best artists around today, then nothing will.

Key Track: Retrograde

John's Albums of the Month: March 2013

Hello everyone,

Well, this is awkward...almost halfway through April and I'm just putting out March's best. I have quite a lot of catching up to do. But never mind that now, it's never too late for good (and fairly new) music! March was loaded with the stuff, with several big name veterans such as The Strokes, Devendra Banhart and Suede putting out solid records that didn't even make the list. Bigger names such as Justin Timberlake and David Bowie led the pack in terms of anticipation, but not always in quality. Like any month, there were many, many surprises along the way. Here's to the start of Spring!

Honorable Mentions: Justin Timberlake - The 20/20 Experience (RCA), Josh Rouse - The Happiness Waltz (Yep Roc), Javelin - Hi Beams (Luaka Bop), Julian Lynch - Lines (Underwater Peoples), Youth Lagoon - Wondrous Bughouse (Fat Possum)

10. Wavves - Afraid of Heights (Mom + Pop/Warner Bros.)

Wavves, the punk/surf rock project of San Diego's Nathan Williams, has had a tumultuous five years of addiction issues, meltdowns and lineup changes. Williams seems to have weathered the storm with "Afraid of Heights", his first output since 2011's "Life Sux" EP and his fourth album overall, but only just. Album opener "Sail to the Sun" opens with a mocking cuteness complete with glockenspiel, then promptly charges forward with a hook about "dying alone just the way we live, in a grave". Though "Heights" bares more than a slight sonic resemblance to early 90's grunge--a ways away from Wavves' lo-fi origins--"Sun" and most everything else is classic Wavves, still focusing on his bread and butter of feeling lonely and getting high.

Key Track: Lunge Forward

9. Waxahatchee - Cerulean Salt (Don Giovanni)

Birmingham, Alabama-native Katie Crutchfield may be 24, but the high-school anxiety and grief riddled throughout her sophomore effort belies her age. "Cerulean Salt" is not a bedroom project like her debut, but comes close; it was recorded in Philadelphia in a group house where she lives with her sister and their boyfriends, drummer Keith Spencer and producer Kyle Gilbride, respectively. That intimacy plays into the confessions of "Salt", as if Crutchfield could bare her soul only to those closest to her. There are drums on eight on the thirteen tracks, but some of the highlights such as "You're Damaged" and "Blue Pt. II" thankfully leave Crutchfield be, bringing out the somber southern twang in her voice. Though she is still looking back, Crutchfield has a startling maturity to her songwriting.

Key Track: Coast to Coast

8. Suuns - Images du Futur (Secretly Canadian)

Whether Suuns knows it or not, they are in the business of breaking barriers. The Montreal quartet mixes deep, unsettling electronics into a dark, almost nihilistic experimental rock format. That's a combination that most bands never dream of pulling off, let alone making it work. "Mirror Mirror" would sound like a clearer late 80's My Bloody Valentine track if it wasn't punctuated by fluttering and screeching synths, the latter straight from "Homework"-era Daft Punk. At the same time, "Sunspot" and "Bambi" sound like Sunns trying to reconcile dank art rock and minimal house. It's true that industrial sounding electronics are nothing new, but pitting them up against stellar indie rock guitar and singer Ben Shemie's Thom Yorke-esque mumurs is another matter altogether.

Key Track: 2020

7. The Men - New Moon (Sacred Bones)

The rate at which Brooklyn quintet the Men release albums these days--four in the last four years--is almost as blistering as their music. Yet "New Moon", released 364 days after their 3rd album "Open Your Heart", surprisingly opens with "Open the Door", a piano and organ led, country-sounding song. The next few songs continue to borrow from unexpected areas, such as 70's rock on "Half Angel Half Light", without letting go of their trademark roughness. And just when you think that the band has gone country rock for good, they pummel you with "The Brass". It's exciting to see a band find new ground so effortlessly, even incorporating Wurlitzer and harmonica with the ease of seasoned veterans on "Bird Song". They're using older influences, but the Men sound newer than ever.

Key Track: The Brass

6. DJ Koze - Amygdala (Pampa)

The amygdala is a section of the brain that processes memory and emotional reactions. Hamburg-native Stefan Kozalla, who records under the name DJ Koze, must want that section to be completely overwhelmed. Unlike many of his genre, Kozalla puts an eccentric personality (the album cover says it all) at the forefront of his music. Yet it's clear with "Amygdala" that he has a certain magnetism and vision in his work, recruiting big names such as Caribou and Matthew Dear for the album. Minimal techno forms the backbone of this record, but its layers and chopped-up vocals often make it veer into full-blown house. "Das Wort" even morphs into such a lush yet nostalgic rush (complete with Marvin Gaye sample) that it would make the Avalanches blush. Expansive and colorful, "Amygdala" is quite a ride.

Key Track: Magical Boy

5. Marnie Stern - The Chronicles of Marnia (Kill Rock Stars)

New York's Marnie Stern has shredded and finger picked her way through four albums and considerable critical acclaim as a technically gifted musician. All of Stern's guitar prowess is still apparent on "The Chronicles of Marnia", but things have changed. Along with a new drummer in Kid Millions from Oneida, her vocals are clearer then ever and the guitar parts are not as layered. But with well-crafted songs such as "Year of the Glad", which proves to be undeniably catchy with its pervasive "Yaw eee eee", Stern makes you want to hear every detail instead of washes of distortion. There may be more space in "Chronicles", but it's never squandered. "Still Moving" serves as somewhat of a punk waltz with many stops and starts, finding a way to capture as much energy as her previous work.

Key Track: Year of the Glad

4. Phosphorescent - Muchacho (Dead Oceans)

Matthew Houck, a.k.a. Phosphorescent, has been gradually gaining steam as a singer-songwriter ever since his debut in 2003. After ten years, six albums and recently personal troubles, the hard work has payed off: "Muchacho" is the big one. Houck's indie folk has been good, but not this good. In fact, the album is sometimes stunning for what is absent. Instead of the expected guitar, "Song for Zula" takes a string section and subtle electronics, sounding like a country Jens Lekman. "Terror in the Canyons" also surprises as a soft country ballad that later swells into a majestic chorus with strings and trumpet. The vocal harmonies can't help but recall Fleet Foxes at some points, even though they are kept from the forefront. However, Houck's assured and bold songwriting is what drives "Muchacho".

 Key Track: A Charm / A Blade

3. David Bowie - The Next Day (ISO/Columbia)

As the ultimate musical chameleon and one of the greatest rock artists of all time, a new album from David Bowie completely devoid of promotion and a following tour is surprising to say the least. All we know is that he got the itch again after 10 years of silence. "Here I am, not quite dying" he says on the title track. On the contrary, "The Next Day" is Bowie as alive as he's been in 30 years. The ambitious range of the album gives it an extra power, as if he's been digesting music trends of the last ten years. The halting, saxophone-driven "Dirty Boys" is a mile away from the rollicking dance-punky "If You Can See Me", for instance. "Where Are We Now?" with its strange, circular chord changes and "The Stars (Are Out Tonight)" with its jagged and dissonant guitar riff also make a great one-two punch of singles. While it's impossible to compare "Next Day" to his 70's output, the new album only expands and deepens Bowie's wonderful career.

Key Track: The Stars (Are Out Tonight) 

2. Rhye - Woman (Innovative Leisure)

Who is Rhye? We know now that Rhye is the downtempo R&B duo of Canadian electronic musician and vocalist Mike Milosh and Danish electronic musician Robin Hannibal, but they didn't let us know at first. We didn't even know if a boy or girl was singing due to Milosh's breathy, highly androgynous voice. After a mutual appreciation of each other's work and independent moves to the U.S., the duo is now based in Los Angeles with "Woman" as their debut album. There's something very miraculous about this collaboration, and it may be the best debut album of its kind since "xx". Though "Woman" is similar to The xx among other artists, the ten tracks they put forward are unmistakably warmer and sweeter. The first track "Open" sets the tone, using  muted electronics and snaps as a bed for Milosh, letting out a sultry croon of "I'm a fool" to his lover. "Shed Some Blood" and "The Fall" use the same formula, drawing from quiet yet constant syncopation  to drive the songs while also showing a bit of anxiety. It is this kind of tenderness and attention to detail that makes "Woman" so excellent.

Key Track: Shed Some Blood

1. John Grant - Pale Green Ghosts (Bella Union)

In his 45 years of life, John Grant has had more than his fair share of trials and tribulations. He grew up as a gay man in a homophobic Midwestern environment, then experienced severe drug and alcohol addiction after moving to Colorado as a member of alternative rock band The Czars. Even after his stunning 2010 debut "Queen of Denmark", he was diagnosed as HIV-positive last year. How can you experience so much pain and not fall into a crippling depression? In Grant's case, he was able to cope with his past demons by openly confessing them on "Denmark" and now "Pale Green Ghosts". Yet while "Denmark" was recorded with indie rock band Midlake, "Ghosts" is a result of a retreat to Iceland and a collaboration with Gus Gus, the country's pioneering electronic artist. It's then no surprise that electronics pop up throughout the album, but their effectiveness with Grant's sonorous baritone is still startling. "Blackbelt" and "Sensitive New Age Guy" work extremely well with a driving yet dark techno beat and Grant's disparaging remarks about his ex-boyfriend. "GMF" and "Glacier" are more like his previous work, but the echoing depth of the former and the string swells of the latter are further proof that "Ghosts" is not so much an album as it is a tour de force.

Key Track: Pale Green Ghosts