Life's Little Luxuries: January 2008

Chuck Prophet - Soap & Water

Mr. Prophet is one of the many under appreciated performers. Not only can he pen a fine song, he also can get some amazing sounds out of junk guitars that look like they were bought from the Sears catalog.
This album, like his others, contains a recording tool he likes to use repeatedly. In the past that tool has included the likes of some sort of cabbie dispatch microphone loaded with distortion.
This time he uses a junior church choir. At first I thought he used the choir too often, but on further listens I felt like it worked perfectly, especially in the song 'Doubter out of Jesus.' In that song the choir makes things sound downright creepy. On most songs though (even the slow ones) he adds an effortless bounce and glide feel to them that certainly make him one of the more soulful white guys around.
King Khan and the Shrines - What is?!

A friend of mine turned me on to the Khan. And while I like his more garage rock focused work, I like this album with the Shrines much more. The full band, complete with horns, allows him to cover multiple genres; garage rock, soul, psych, and more. And it all seems to fit together nicely as if they weren't just genre hoping. Although sometimes sloppy, it's got a ton of energy
and is great throughout. It's a perfect record for your next party.
Spoon - Ga Ga Ga Ga Ga

Spoon continue to make records that are good from beginning to end. In fact, here, I like a lot of the songs
near the end of the disc. There's nice use of horns, maracas, vibes, and other added accompaniment and the pop songs are kept short, thus leaving you wanting more.
Joe Henry - Civilians

What amazes me most about this new album from Joe Henry is the feel of it. The production has often been described as organic and that is
as close as I could come to describing it. It certainly sounds like all the instruments are played at the same time in the same room (a very well mic'ed room that is). The songs here though seem a
bit more downtrodden than in the past. And Joe has definitely moved on from the jazz that he heavily used back on his album Scar. I guess what he is doing now is
recording songs that are not easy to categorize. They have a little bit of soul, a little bit of Tin Pan Alley, a little bit of jazz, and so on. And I'm sure that is just the way Joe wants it.
Sharon Jones & the Dap Kings - 100 Days, 100 Nights

Sharon Jones has seemed to harness the same elements that made Tina Turner great. And the Dap Kings serve as a fantastic backing band, complete with horns. All of this
makes for one fine modern soul revue. The recording is even able to convey some of the high energy of their live shows.
John Doe - A Year in the Wilderness

I'm not sure what makes this record so special other than I found myself playing it over and over again. It is the second strong outing for John Doe
after a few less than stellar records. Doe's voice sounds great as usual, the songs are strong, and he is again backed by some great musicians, including; Dave Alvin, Dan Auerbach, Greg Leisz (who seems
to be on everything), Aimee Mann, and Jill Sobule. The song 'The Golden State' even sounded like it should have been a hit.
Wilco - Sky Blue Sky

This one took a while to grow on me. At first, I wasn't very impressed, but over time the songs sank in and again
I was hooked. With the addition of Nels Cline here there is some very pretty guitar work, especially on 'Impossible Germany.' But again, Tweedy comes up
with some strong songs like the 70s sounding 'Hate it Here' and 'White Light' with its refrain that doesn't seem to get old even when repeated many, many times.
Eivind Aarset - Sonic Codex

The amount of great music coming from Norway in recent years continues to surprise me. Gone are the days of pop
bands like A-Ha and the occasional decent garage rock band. Eivand Aarset is a jazz guitarist who has put out a few solo records
and often plays with trumpeter Nils Petter Moelver. While Moelver's work is like an updated Miles Davis mixed with electronic music (complete
with DJs), Aarset's work here is more like a soundtrack to a non-existent film. Some of these songs would fit in nicely with some neo film noir.
Lionheart Brothers - Dizzy

This is the other record from Norway that I absolutely love. I've read that this band sounds like
a shoegazer band. Don't believe it. I think someone had heard a record by one of the member's previous bands (Serena Maneesh) which would have fit that description, but hadn't
bothered to listen to this record. It has a keyboard and rhythm section that remind me of Stereolab in that they usually play at a fairly fast pace
(with a high BPM, or Beats Per Minute). But instead of having songs influenced by French pop and 70's German avant-garde rock, the Lionheart Brothers focus on
60's pop melodies ala Brian Wilson. The band is named after a book called The Brothers Lionheart.
The New Pornographers - Challengers

The reaction to this record has been lukewarm at best. But, I love it. Darlings of the critics rarely stay
that way for too long. Where past records
have had a continuous set of upbeat rock/pop songs, this one is quite a bit more varied. I guess I like the variation. I think Neko Case's
voice comes out better on some slower songs, like the title track. Newman also has some strong songs such as 'All the Old Showstoppers' and I like
the Dan Bejtar songs that are a bit disjointed with some nice stream of consciousness lyrics going on. An example is in the song 'Myriad Harbour' where he spouts "I walked into the local record store and asked for an American music anthology, it sounds fun."
Ticklah - Ticklah Vs. Axelrod

I think I'm more surprised where I heard this record. It was played a few times on KUNI's Night Music.
Dub records like this are not the usual fare for KUNI, so kudos to them for playing this. Ticklah and Axelrod are one in
the same and this is Ticklah's, no Axelrod's project (his real name is Victor Axelrod). Ticklah also plays with the Afrobeat ensemble Antibalas. Here though he has created a dub
record that often has a great late night feel, reminiscent of things like the Special's 'Ghost Town' or the type of dub
the members of the Clash often listened to. At other times though
he changes things up a bit and introduces Latin elements into some of the tracks. Great stuff.
The Good, the Bad & the Queen - s/t

Speaking of that late night feel and laid back dub, those also seem to be areas Damon Albarn has been exploring with his post-Blur
projects like The Gorillaz and this supergroup. His take has been a bit different, more pop oriented with fewer horns and perhaps a bit more melancholy. But, again, I'm quite impressed with the records he's
been releasing as I was never much of a Blur fan. Here he enlists former Clash bassist Paul Simonon, former Afrika 70 drummer Tony Allen, and guitarist Simon Tong. And
while I can hear their distinct playing in the mix, it is not front and center. It is still Damon's show here. The record seems to build in intensity and climaxes with the great
title track to end things. I'm hoping he can get these folks back for a second record.
The New Mastersounds - 102%

Is there a better instrumental funk band around? I think not. Yet another great record from the boys DJ Keb Darge first brought attention to.
Graham Day & the Gaolers - Soundtrack to the Daily Grind

This was a nice record I actually discovered through MySpace. I was listening to some Billy Childish and saw the link to Graham and his Jailers
(as we'd call them here in the States). Instead of mining the distorted early Kinks sound that Childish often does, Graham Day (who often plays bass with Childish) has made
a record that sounds like a late 60's freakbeat album, complete with a dose or two of sitar. Like a lot of early freakbeat stuff, it has psychedelic elements but it keeps the songs short and punchy.
Amy Winehouse - Back to Black

Often things are hyped more than they deserve to be. In Winehouse's case, the hype seems to be backed up by some great updated and/or contemporary soul. Considering
that most of these songs were written after one of her many breakups from her boyfriend, I'm hoping she is able to keep it together and record more great records like this one.
Detroit Cobras - Tied & True

The fourth helping of soul covers interpreted by the garage rock outfit Detroit Cobras is again a good one. I'm
sure a lot of it is due to Greg Cartwright (of the Oblivions and Reigning Sound) being in the fold again. Well, that and Rachel Nagy's tough girl vocals.
The Church - El Momento Siguiente

What can I say, I'm a sucker for anything the Church does and that Steve Kilbey sings on. I
confess that I'd probably be interested in hearing Steve read the phone book. This record is the second The Church has done
for the Liberation Blue Acoustic Series (the first being El Momento Descuidado). The series is sort of a cross between an unplugged session and
a Peel session in that artists record songs acoustically (or in this case, mostly acoustic) in a studio over the course of a few short days.
This effort wasn't as good as the first, but again contains three nice new songs and a good cover of a Triffids song, 'Wide Open Road.'
Andrew Bird - Armchair Apocrypha

Bird continues to develop and change his sound. Gone are the days of his folk and pre-war jazz records. Same for his more soul efforts as heard on The Swimming Hour. And while he still
performs live with layers of looped sounds, here he has abandoned most of that as well. This is where this record feels the most different. Here he plays with Martin Dogh, who both drums and plays keyboards (mostly using a Fender Rhodes) on the album.
Between the two of them, with occasional help from a few other musicians, this record sounds much more like a band playing instead of Bird layering all the sounds by himself. The resulting feel of the music is much better. The songs are still dominated by his
violin playing but are more pop oriented. Although, there are still a few tracks that sound as though they would not be out of place in a French cabaret.
Crowded House - Time on Earth

Like hooking up with an old friend, it is really nice to have Crowded House back again. But, while there is the usual batch of
effortless pop treasures penned by Neil Finn, this album definitely has some songs that don't quite hit the mark. And the one striking element that doesn't seem to be back in full force is a sense of fun that previous
albums (or tracks off of previous albums) had. Most of this is due to original drummer Paul Hester's suicide a few years back and many of these songs are certainly written
with him in mind. In fact, much of it sounds like an elegy for Paul as Neil's lyrics are much more direct than they usually are. And while it's a beautiful elegy, Paul was always the jokester and probably would have enjoyed a tongue-in-cheek ditty or two.
Soulsavers - It’s Not How Far You Fall, It’s the Way You Land

Mark Lanegan sure has picked his post-Screaming Trees projects well. First, he sang with Queens of the Stone Age on their best record. Then he did a
nice record with former Belle & Sebastian member Isobell Campbell. But here, he picks a perfect venue fronting an electronic outfit that focuses on gospel music as its main ingredient.
Lanegan's voice is perfect on these subtle, organ laden songs.
Budos Band - II

Several albums this year that I enjoyed seemed to be modern takes on Afrobeat, the style of music made famous by Fela Kuti in the 70s which was a mix of James Brown funk, jazz, and traditional African rhythms.
This record was certainly my favorite of the new Afrobeat-like records. And while it has Afro elements it also mixes in a fair share of soul and funk grooves.
This group contains several horn players, one of them coming from Sharon Jones' Dap Kings.
Arcade Fire - Neon Bible

While I certainly wouldn't call this record a sophomore slump, it also is not as gripping as Funeral was. Thankfully though, they
made no attempt to simply create Funeral pt. 2. Instead, and maybe ironically so, this album is often darker than its predecessor.
Win Butler seems to have traded in his Bowie vocal leanings for something closer to Springsteen. The song topics are also more
Springsteen-like as the Boss often writes about cars and girls, and here we have titles like 'Keep the car running' and 'No cars go' (a reworking
of a song on their first EP). The element of the sound that grabs me the most is not the overblown grandiosity of it all but
rather how the music can be both fully orchestrated and still rough around the edges.
Loudon Wainwright III - Strange Weirdos

Strange Weirdos serves as the soundtrack for the film Knocked Up. Or at least sort of. Much of the music is used in the film, only sans vocals. For this record, Wainwright's cohort both in the production
and in the songwriting is Joe Henry. And they both work with a host of musicians that were pretty much the same ones that backed Joe on his solo record. The only main difference is that jazz guitarist Bill Frissel is not involved, but Richard Thompson appears instead on
a few songs. Wainwright has always been a humorous and honest folk artist. But on this record his wry sense of humor is matched by a great backing band that provide the same great organic feel that is heard on Henry's disc. The songs 'X and Y' (referring to chromosomes) as well as 'You
can't fail me know' (also recorded quite differently on Henry's record) stand out the most.
Nick Lowe - At My Age

Lowe continues his more mellow focus here, something he has been doing since 1994's The Impossible Bird. The music is a mix between
country and some lounge-like blue-eyed soul. Most of the songs are concerned with relationships, but Lowe has not forgotten his occasional smart ass take on them as is
evidenced by the tune 'I trained her to love me'. In that song, he gets a woman to love him only to break her heart so that he can get back at the female race that has done the same
to him. The only downside to this record is that it is far too short, just over a half hour in length.
The Woggles - Rock & Roll Backlash

Brash. Simple. Fun. That pretty much describes the Woggles great brand of garage rock. There
is no angst or irony here. Just songs that literally are created to get you up on the dance floor, shouting
and waving your hands in the air. This record was released on Lil Stevens' Wicked Cool label that like
his radio show focuses on garage music.
Jimi Tenor & Kabu Kabu - Joystone

I'd have to say that this could probably be considered my guilty pleasure of the year. I think I like this more than I should. The Finland native Tenor is sort of an Esquivel for the electronic and nu-groove
generation. And there is certainly no shortage of cheese on this record. While most of it is kind of a jazz/soul/Afro/groove mix, there are pieces that contain heavy breathing, lover-man lyrics,
and a wah-wah sound that makes one wonder if it all was created for an adult movie. While it's hard not to laugh at such devices, the music is extremely catchy and played very well (which should be no surprise
given that members of Kabu Kabu played with Fela Kuti). It's basically a party album.
Glenn Mercer - Wheels in Motion

A pleasant surprise this year was the first solo record from former Feelies (and Wake Ooloo) front man Glenn Mercer. While the music is certainly similar to what he has done in those
previous bands, most of this record has guitar playing with much more of a laid back flow to it that is reminiscent of Dean Wareham's work in Luna. There are a few songs that have loud, jagged guitars, but it is the softer numbers
where the guitar strumming gradually increases in intensity, even past a point where you think it has peaked, that stand out most to me.
Tuatara - East of the Sun

I've been a fan of the Tuatara projects that former Screaming Trees drummer Barret Martin has been doing
for the past decade. This one is quite different than previous efforts though. In the past, the music has been a mish-mash of instrumental world music, jazz, and
movie soundtrack music. Here, the songs are not primarily instrumental and have more of a standard pop structure. They have certain elements in them that give off a Spanish
and/or Southwestern feel. And there are a host of guest singers on the record that include; Gary Louris (Jayhawks), Mark Olson (Jayhawks), Dean Wareham (Luna), Mark Eitzel (American Music Club),
Victoria Williams, Coleman Barks, Jessy Greene (Geraldine Fibbers), and John Wesley Harding.
In fact, with the various singers it often sounds more like songs from different artists where Tuatara is merely the backing band. And the band is pretty much the same here and includes Barrett Martin, Peter Buck (R.E.M),
and Scott McCaughey (Minus 5, Young Fresh Fellows). The one absence is saxophonist Skerik, who is certainly missed here. What surprises me most about the record is the complete lack of press on it.
Whether you like the record or not, the sheer amount of notable guest artists on the record would seem to warrant a review or two. Oh, and there apparently were so many songs done while recording that there is an accompanying record titled West of the Moon.
Ted Leo & the Pharmacists - Living With the Living

Leo shows no signs of slowing down or losing any of his high intensity on his fifth record with the Pharmacists. And again Leo is politically charged, speaking out against the government and the war in the Middle East.
Leo continues to infuse his punk songs with some great pop influences. On 'Army Bound' you can certainly here a Kinks-type riff and on 'La Costa Brava' you can here some elements fitting for a Squeeze song. You'd have to call Leo a
very musically literate punk rocker.
The National - Boxer

What surprises me most about this record can be summed up in one word, restraint. With previous
efforts it seemed that this group would perhaps be moving to a more bombastic rock sound. Instead,
they have pulled back the reigns and instead have presented a downtrodden record that comes
off sounding like a mix between Americana, orchestral elements, and vocals that sound similar to
Nick Cave's brooding pieces.
Strings of Consciousness - Our Moon is Full

It should come as no surprise that this experimental French outfit whose music often has a film noir feel to its music would have
it's material released on Barry Adamson's Central Control International label. Barry has been making noir soundtrack music for several years now. And while the name of the
group implies a string quartet, there are many more elements to this than strings. There are cellos, violins, trumpets, saxophones, vibes, harps, guitars, keyboards, turntables, clarinets, samples, and various other percussions.
It is a cross between acoustic instruments and electronics essentially. Most of the tracks have narratives over them from the likes of Jim Thirwell (Foetus), Scott McCloud (Girls Vs Boys), Barry Adamson, and a host of other folks I don't know.
Richard Thompson - Sweet Warrior

You would think all the praise that this has been getting as a return to a more electric folk-rock album for Thompson, it has been decades since
he has done such a record. Alas, it has only been about four years. In the meantime he has done an acoustic record and a record of traditional tunes that dated back to the eleventh century.
So, while it really hasn't been that long, it is always great to hear Thompson pull out the electric guitar and show us again just how talented he is.
Grinderman - s/t

Much has been made of Nick Cave's new endeavor where Cave plays the middle aged, can't get no
satisfaction, man that is most evident on the single 'No Pussy Blues'. What hasn't been
mentioned as much is that even though the first several tracks are noisy and full of
frustration, this is no attempt to recreate the sound of his early days with The Birthday
Party. In fact, the second half of this disc is sometimes quieter and more in line with what
he has been doing in the past decade.
Federico Aubele - Panamericana

This was the second outing for Argentinean guitarist Aubele. The record was produced by Thievery Corporation's Eric Hilton, released on their label Eighteenth Street,
and certainly has some similarity to the work of TC in that the songs are often very hypnotic. Aubele combines Spanish guitar with dub bass and some laid back hip-hop beats. Natalia Clavier provides most of the vocals on the record and sings
in Spanish.
Okkervil River - The Stage Names

Usually when I hear about overly clever indie-rock bands, my first impulse is to avoid them. In this case though, these boys from Austin, TX are an exception.
The songs on this their fourth release are strong. The opening track, 'Our life is not a movie or maybe', gradually builds intensity and climaxes as if it were the last song in a live set. It is also the one song that has the grandiosity to match the likes of
the Arcade Fire. The clever elements though come out
in other tracks such as 'John Allyn Smith Sails' which pulls in the melody of the Beach Boys 'Sloop John B' and 'Plus Ones' which name checks a host of songs with numbers in their titles (e.g. '96 Tears', '99 Luftballons', 'TVC 15', 'Eight Miles High', and
'7 Chinese Brothers') and how no one will want to hear tunes that add one, like '97 Tears'. The also put up a nice covers EP called Golden Opportunities Mixtape that can be downloaded for free from their website.
Bugge Wesseltoft - Im

Perhaps the most well known modern Norwegian jazz musician (not that that means much), keyboardist Bugge Wesseltoft is one of the pioneers of what became known as Future Jazz or Nu Jazz (a mix
of jazz and electronica). He also started the Jazzland record label. For this record, many of the compositions are very sparse with piano as the main focus. And while there are still several electronic/ambient backings and samples, this is closer to a more
traditional jazz record (a minimalist one that is) than some of his past efforts.
AIFF - Afro Soul System

Yet another modern take on Afrobeat that is done by a bunch of Dutchmen. That doesn't sound
like a recipe for success, but this record turned out to offer an interesting mix that could
slide from Afro to soul to funk and back again, often in the same song.
Mark Olson - The Salvation Blues

This solo record from the former member of the Jayhawks is his first without backing by the Original Harmony Ridge Creek Dippers after his split from his wife Victoria
Williams (who was a member of OHRCD). Olson is able to assemble some fine musicians to put together this work. Ben Vaughn produces and his backing band includes one-time guitarist of X, Tony Gilkyson. He also brings
in the ubiquitous Greg Leisz for some pedal steel and mandolin. The sound on the record as well as his voice is one that is loose, but thankfully not as loose as the records with the OHRCD where songs were so loose they felt like
they would fall apart at any moment. Highlights here include the title track and 'Clifton Bridge'.
The White Stripes - Icky Thump

Jack White seems to have reacquainted himself with his guitar for this outing. The last White Stripes record seemed as if Jack
was tiring of the guitar and instead had a lot of piano mixed in. This time around the guitars are back in full force. And while there are several songs that make use of non-rock instrumentation, such as
bagpipes, many of these songs still come across to me as something of a modern day Zeppelin.
Soundtrack - Ocean's 13

On all of these Ocean 11 movies, they definitely get one thing right every time. And that is to leave the soundtrack to David Holmes. Holmes saves his best for the third outing and
again has a heavy mix of funk, psychedelic rock and lounge music. Most of the incidental pieces are performed by Holmes and a host of studio musicians where they bring the horns to the forefront of the songs. When he does switch back to playing DJ he not only
pulls in the obvious (such as Sinatra's take on 'This Town') but he brings in truly obscure things like a moog version of a Claude Debussy tune. Far out man.
Burial - Untrue

This is one of those love it or hate it records. It is the second dubstep record by the anonymous Burial. The songs are more aural wallpaper than standard songs, but it is truly a
great sound. With its occasional hushed vocals, samples of rolling bottles, slow hip-hop rhythms filtered through heavy reverb, scratches, and keyboards gives the feel of an alley in a large city at 3am.
It is the kind of musical territory Massive Attack were staking out ten years ago.
Mekons - Natural

For their twentieth record or so (who can keep count exactly), the Mekons chose to go mostly acoustic for a folk-rock affair (thus the title's reference). And while this is something that Jon Langford has often done, it is not
something the group has. Like a lot of things the Mekons do, on certain songs this works great while on others you wished they had the feedback turned up. But, that is one thing I've always admired about the Mekons. They
have never been afraid to fail. While other artists are afraid to even gently push the envelope of their sound, the Mekons have no problem in tearing the envelope to shreds. Thirty years later, these former art school punk rock Dadaists are still true to
their roots.
Bruce Springsteen - Magic

The Boss returns with the E Street band for a return to a brash rock sound. Often though the songs sound and energy don't seem to
match Springsteen's lyrics which seem to mostly be concerned with disillusionment with the state of the ole U S of A. I guess that isn't anything new though as the sound of 'Born in the U.S.A' certainly didn't match the
sentiments of the lyrics. It is when the lyrics match the feel of the music that I like this the best, such as with the single 'Radio Nowhere'.
Jim White - Transnormal Skiperoo

No surprises here really. Just more well crafted songs with a Southern gothic feel to them. This is not quite as good
as his last record, which was produced by Joe Henry. But, Joe Pernice (Pernice Brothers) does a good job here in his place. Jim White again creates some
songs with a spooky feel that can literally give you goose bumps.
Peter Case - Let Us Know Praise Sleepy John

I think Case has finally made the record he has always wanted to make here. For years, I think he has seen himself as a folk/blues troubadour. It's just that not everyone else has seen him that way.
Even though he busked in San Francisco for years he is mostly remembered as being a power pop icon from the late 70s and early 80s with his involvement in bands like The Nerves and
The Plimsouls. It also didn't help that instead of having one of those gravelly, smoked too many Marlboros kind of voices many old folk and blues musicians have, he has a very pleasant pop sounding voice. Age has caught up
with him though and the voice is not as sweet as it has been in the past, though it is just as pleasant. Add to that a record where he doesn't even bother to add a band to the mix, but rather plays his songs on acoustic guitars with minimal accompaniment. What
you end up with is a collection of folk songs that start sounding like the musicians he admires. Contrary to what the title might imply, this is not a collection of Sleepy John covers.
Unknown Instructors - The Master’s Call

Again, thanks go to a friend of mine for letting me know about this record. It's the first in years to hook up Mike Watt and George Hurley of Minutemen (and firehose) fame.
Joe Baiza formerly of the group Saccharine Trust adds guitars to the mix and Dan McGuire adds vocals. What they create is a freeform, sort of free rock jazz work with some spoken word/beat poetry, or spiels as Watt would refer to them, layered over the top.
Guest spielers on four tracks include David Thomas (Pere Ubu) and Raymond Pettibon, while Watt and McGuire handle the other songs.
Stephen Cummings - Space Travel

Cummings is another underappreciated singer/songwriter. He isn't known at all here and isn't much better known in his home country Australia. Yet Cummings has been around forever and first came
to notoriety with a band called The Sports in the late 70s that were in the same vein as Gram Parker & the Rumour. Since that band broke up he has been releasing solo records ever since and has written several novels to boot. This
new set of songs finds Cummings again presenting some fantastic acoustic pop ballads that often view love from a loser's perspective.
Antibalas - Security

This record from the NY Afrobeat collective Antibalas is certainly the one this year I heard
that has the most traditional elements of the genre. The lyrics, when there are lyrics, are
politically charged and the music has more African rhythms and jazz elements than some of
the other modern takes on Afrobeat I heard this year. Victor Axelrod (also known as Ticklah)
provides some interesting keyboard work as he uses a wide area of instruments. He pulls out
a clavinet for some more funky sounds while elsewhere he uses a celesta, which is a small
piano that sounds a bit like a glockenspiel.
Radiohead - In Rainbows

I've never been as big of a fan of Radiohead as many other people I know are. But, I do have to admit that there is quite a bit to like with this
record. After more experimental records, this one seems to be closer to a work with more standard rock and pop song structures. And instead of putting forth songs that are sorrowful in nature, a lot of them here are
... dare I say, romantic?
Lucinda Williams - West

I'm not sure what Lucinda has done to deserve so much trouble with her men. But, if even a portion of the narratives
in her songs are true, she's had a rough time of it. Perhaps that is why she is able to come up with so many great songs
though. She may put to use the age old cliche of the tortured artist. It certainly sounds that way in her rough gravely voice.
Andy Lewis - You Should Be Hearing Something Now

Lewis has been considered the DJ that helped bring about the type of modern soul in Britain that can be heard on the records by the likes of Amy Winehouse
and Candie Payne. The album contains both instrumentals and a host of tracks with guest vocalists. Easily the best track is the single 'Are You Trying to be Lonely?' that he wrote with Paul Weller
and which Weller sings on. It is a song that sounds like the Northern Soul of 60s Britain and the best thing Weller has done recently.
Mary Weiss - Dangerous Game

I don't think anyone saw this one coming. This is the first solo record from the former member of the all girl group the Shangri-Las, who has
essentially been out of the music biz for over thirty years. She doesn't try to recapture the girl group sound and instead goes for a more garage rock sound. The garage rock element comes from the fact
that her backing band is the Reigning Sound and its guitarist, Greg Cartwright, penned a number of songs on the album. Weiss' voice is surprising intact and sounds great on these numbers.
Sloan - Never Hear the End of It

Every time I seem to write these guys off, they come back with a fine record. What once was a Canadian version of a shoegazer band back in the early 90s,
Sloan evolved into a great power pop band with the release of 'One chord to another' in 1996. Since then they have released several records and while they all had their share of melodic rock, over time they seemed to lose any edge
to the songs. They all seemed just a little too precious. The release of this record sees the group bringing out some Beatlesque tunes that are still a little rough around the edges and thus, much more interesting.
Mimesis - Art Imitating Life

Yet another side project for Steve Kilbey of the Church. Mimesis (the word is Greek for imitation) is a group containing Kilbey, one time Church producer Simon Polinski, Colin Berwick and David Abiuso (with some help from Steve's brother John Kilbey and long time
Aussie electronic composer Ollie Olson). The songs are mostly ambient pieces, layered with sampled loops and Steve's voice.
Robert Pollard - Standard Gargoyle Decisions/Coast to Coast Carpet of Love

Pollard decides to save you a bit of time and releases two records on the same day. That way, you don't have to wait another
month or two before grabbing his next record. As usual, both have some nice songs but neither record really stands out as one of his best. I'm not complaining though.
Modest Mouse - We Were Dead Before the Ship Even Sank

It took a while for Modest Mouse to follow up their very successful last record, Good News for People Who Love Bad News. And any fear of some sort of sell out is unfounded. In fact, there are no standout singles such as 'Float On' to be found here at all.
Former Smiths guitarist Johnny Marr joined the band as well.
Danny & Dusty - Cast Iron Soul

What seemed like a one time offshoot record twenty years ago has been given a second go 'round. The 80s paisley underground supergroup of sorts returns with Steve Wynn (Dusty)
and Dan Stuart (Danny) once again writing songs about boozing it up. Has Stuart written songs about much else during his career? With the help of other former paisley underground folks like Cris Cacavas (Green on Red)
and Steve McCarthy (Long Ryders) as well as Bob Rupe (Silos) and Johnny Hott (House of Freaks), they fashion what turns out to be quite a good ole hootenanny.
The Aliens - Astronomy for Dogs

Beta Band fans take heart. While BB split up a few years ago, two of its members, Robin Jones and John Maclean, hooked up with original BB member Gordon Anderson to form the Aliens.
This, their first record, is generally a gleeful affair of music drenched in 60s psychedelic rock.
Broken West - I Can’t Go On, I’ll Go On

I went and saw these California power-popsters before I heard their record. There are a few great tunes on
this, their debut record. But, there are also several songs that don't stand out. Isn't that the case with a lot of power-pop records?
Eddie Roberts - Roughneck, Live in Paris

This is a live set from Roberts, who is the guitarist for the New Mastersounds. This outfit focuses on
jazz with a strong dose of funk.
Tinariwen - Aman Iman: Water is Life

Tinariwen is a band of North African nomads (i.e. Tuaregs) who perform with
electric guitars and use Middle Eastern/African rhythms. The resulting sound is often akin to a sort of African
blues music.
The Beastie Boys - The Mix Up

This record was pretty much panned in the press and I understand why. But, being as that I've always been a fan of the Hammond organ based instrumentals that they have done in the past, I was very
excited about this record. It certainly isn't as good as what they have done before in this realm because primarily it doesn't have the hooks that their previous instrumentals did. But, the sound is still a great one and this
serves as some fine background music.
Hanne Hukkelberg - Rykestrasse 68

This Norwegian singer at times sounds a bit like Bjork, but her music is much
more focused on jazz and experimental pop elements than dance.
LCD Soundsystem - Sound of Silver

I didn't get into this album as much as their first one. There are still some great dance tracks to be had here though.
Son Volt - The Search

Faraar has added horns and other layers of instrumentation this time around. And while they add some
nice touches, he still hasn't changed his songwriting formula very much. As usual, there are some very nice songs here but it still seems to be
lacking something.
Len Price 3 - Rentacrowd

For people like me who can't get enough of that early Kinks and The Who sound, have no fear, The Len Price 3 is here. This British
outfit sound like they came right out of 1965 and make a lovely racket. The record was also released on Little Steven's Wicked Cool label.
Of Montreal - Hissing Fauna, Are You the Destroyer?

Of Montreal is back with its very playful, modern psych, indie-rock. As you'd expect, much of it is very catchy and sticks in your head
longer than you might like.
Heavy Trash - Going Way Out With Heavy Trash

This is the second record by Jon Spencer and Matt Verta-Ray that messes with roots rock and rockabilly in a
similar way that the Blues Explosion tackled blues and rock, although not quite as sloppy. The duo is backed up by Canucks, The Sadies, on
several tracks.
Rob-O - Rhyme Pro

I definitely wasn't listening to as much hip-hop this year as I have in the past. This record
turned out to be quite a surprise though. It contains material that was recorded back in the mid-90s but never released until now.
It includes production by Pete Rock and he guests on the record as does De La Soul.
Gallon Drunk - Rotten Mile

After a several year hiatus, the also-rans to the dirge rock title that Nick Cave owns are back. There's a lot of fuzz guitar on this one
and I'm certainly a fan of this dirty sounding rock. I can get the feel of actually waking up in the gutter without actually having to be there.
Avett Brothers - Emotionalism

Indie rock played with folk instruments (most notably banjos). This turns out to be a nice mix. While several articles refer to them as
a bluegrass band, they are not. I think people seem to equate any music with a banjo as being bluegrass. That just isn't the case. Oh well.
Eleni Mandell - Miracle of Five

I had never heard of this singer before this year, but apparently she has done several records like this one. The tunes are
mellow, jazzy torch songs that appear to be made for late nights. Mandell is accompanied by some fine musicians, all of which add nice touches but stay in the
background. They include; Nels Cline, DJ Bonebrake (of X fame), and of course Greg Leisz.
Sigor Ros - Hvarf/Heim

This double CD whose title roughly translates to "disappear/home" is essentially a compilation record for the fans. Disc one contains
a b-side and four other studio recordings that were previously unreleased. Disc two contains acoustic versions of songs from their previous records. The music is really more of the same in that it sounds just like everything else
they do; orchestral swells, guitars that sound like whales, and indecipherable words sung in falsetto. The biggest surprise is that the acoustic tracks don't sound very different. A
string quartet that tours with the band, Amiina, is capable of creating the lush landscape sound even without amplifiers.
The Nels Cline Singers - Draw Breath

There are no singers to be had here. This is simply guitarist Nels Cline's jazz trio (with some percussion help from Wilco band mate Glen Kotche on one track).
This is their third album and has a number of different textures in play, moving from some very beautiful, mellow pieces to very abrasive free jazz.
Billy Martin/John Medeski - Mago

Medeski and Martin leave behind their bass playing pal Chris Wood this time around. Apparently, some fifteen years ago they first got together to play duets and just got around
to recording a duet record like they had planned all those years ago before forming Medeski, Martin, and Wood. The record has a lot of Hammond B3 organ groove tracks like you would expect, but it also has some
more free jazz pieces that you normally wouldn't get on a MMW album.
The Go! Team - Proof of Youth

I suppose the reason I'm not as fond of the second
helping from the Go Team has more to do with the fact that I've seen this trick before. The songs are not any worse then what they were on the
first record. But, the presentation is pretty much the same here and it just didn't grab me as much. It's still nice stuff though. This group has a hodgepodge of some very disparate
sound elements. There are dissonant guitars reminiscent of Sonic Youth, a bevy of samples, dance music elements, sirens, and vocals that often sound like double-dutch or
cheerleader chants.
Einsturzende Neubauten - Alles Wieder Offen

Much has been made of the distribution Radiohead attempted with its new release this last year. But, EN has
been releasing records directly to its fans over the Internet for several years now. This was the third fan project where people pay about 30 Euro
to finance the recording. The fans often get to view the recording sessions over the Net and get downloads of certain songs or videos
that don't end up on the final album (as well as a copy of the album itself).
As for the music, the once abrasive and destructive band is again much more refined and restrained here. The music is still played with quite a few non-traditional "instruments"
(e.g. metal cans, pipes, tables, etc.) but sounds more like a 21st century avant-garde composition mixed in with pop occasionally and not the cacophony of their 80s work.
Panda Bear - Person Pitch

Noah Lennox of the band Animal Collective releases his third work outside the group. This time around it is easy to
hear what is influencing him as Brian Wilson like melodies are everywhere on this record that makes heavy use of samples and loops.
Carbon / Silicon - The Last Post

Okay, I'm a sucker for anything Clash related. So be it. There are a few great songs here, but there are several that are just plain horrible.
The large amount of sampling used on Mick Jones' B.A.D. records is gone for the most part and it has been replaced by loud, plodding guitars.
Greg Brown - Yellow Dog

This was a live record Greg released with proceeds to benefit the Yellow Dog Watershed Preserve. It was recorded in the upper peninsula of Michigan
(Peterson Auditorium in Ishpeming to be precise) and includes a few new songs along with some old faves.
WaaJeed - Presents The War LP

I bought this record after hearing a few songs that made it sound like this was an American answer to the hip-hop
of Britain's Herbaliser. And while some tracks do have that feel, many others do not.
Mike & Amy Finders - My Friends Told Me It Would Never Last

This is a live album from Iowa City's own Finders. Tracks were recorded at various locations and this contains a mix of covers and originals. Amy's
fantastic voice is one of the main reasons I enjoy this one.
Various - The Sandinista! Project; A Tribute to the Clash

Another Clash related item. If I'd be honest, I think I like this better than Mick Jones' Carbon / Silicon record. Like
the kitchen sink mentality of the original 3LP set, this tribute has covers that are all over the map. It is saved by some nice interpretations done by the likes
of Jon Langford, Sally Timms, Steve Wynn, Wreckless Eric, and a Chicago Clash cover band who do a fine take on 'Lightning Strikes (Not once but twice).'
Black Lips - Good Bad Not Evil

A nice little garage rock record from the Black Lips, a band that seems to be getting a lot of press lately (and its
share of backlash). I'm not sure it deserves all the press it is getting, but I also don't believe it deserves the backlash. Come on, it's just a simple rock record.
Let's not get all bent out of shape here people.
Lifesavas - Gutterfly

This is a nice hip-hop/soul album by a group from Portalnd, Oregon. It is
essentially a soundtrack to a non-existent blaxploitation film. The songs vary drastically from one to the next.
Sometimes it works and sometimes it doesn't. Guest stars on the record include; Camp Lo, Angelo from Fishbone, George Clinton, and Vernon Reid (Living Colour).
Ryan Adams - Easy Tiger

This record is a little more straightforward than most for Ryan. It also turns out to be one of his better efforts. While I've had
trouble separating my disdain for Ryan's ADHD personality and his music in the past, I must admit that there are good songs here. He is again backed by the Cardinals, which
includes one former country-rock guitarist Neal Casal.
Swan Lake - Beast Moans

And you thought Destroyer records were disjointed? This side project from Dan Bejtar (from Destroyer and the New Pornographers)
is even a bit too disjointed for me. A few songs save it as I'm a fan. But, I'd rather he go back to working as Destroyer.
Nostalgia 77 Octet - Weapons of Jazz Destruction

Nostalgia 77 has done some electronic/funk/jazz work in the past. For this record
though they come together as a ten piece ensemble playing live, so this recording sounds like a 70s jazz-soul
record with a stronger emphasis on the jazz side of things. Some tracks feature nice vocals by Sophie Smith.
Yeasayer - All Hour Cymbals

This Brooklyn, NY outfit has created a record with songs that have
Middle Eastern and Arfrican rhythms backing up their pop songs. It ends up being a sort of indie-rock version of Peter Gabriel's Passion soundtrack
(in a good way though).
Monstrance - s/t

The first new music from Andy Partidge of XTC in years turns out to be an experimental/avant-garde work
with former band mate and Shriekback member Barry Andrews on keyboards. Martyn Barker, who was also in Shriekback, adds drums. As
with a lot of experimental works, it is a bit spotty.
Gorillaz - D-Sides

I've always been a fan of b-sides to singles. Usually there is a great song or two hidden away on them.
This second disc of Gorillaz b-sides is surprising simply in the sheer volume of songs that are still decent.
Dead Rock West - Honey and Salt

Dead Rock West served as John Doe's backing band for his last tour. I picked up
their disc at the show he did at the Mill. It's easy to see why he chose them as they definitely have been influenced by X
and have a southwestern feel to their songs.
The Dragons - BFI

Yet another lost record that is finally seeing the light of day. This was a 1969 record recorded by
surf soundtrack tunesmiths Dennis and Doug Dragon. Part psychedelic record, part groove laden instrumentals, this record indeed feels
like a soundtrack. The album was sent to Ninja Tunes record label owner as he was tracking down rights to release one of the songs that had
been used in an obscure 60's surf film. To his surprise, the Dragon brothers offered up the entire unreleased album.
The Go - Howl on the Haunted Beat You Ride

Perhaps one of the forgotten Detroit garage bands that once included Jack White of the White Stripes. Here, The Go move
a bit away from the garage rock and more into a 60's psychedelic rock feel.
The Fall - Reformation Post T.L.C.

Definitely not a great Fall record for Mr. Smith. But it still has its moments (i.e. 'Reformation', 'Fall Sound').
Considering that he sacked his backing band, got some American kids to become the new Fall, and immediately went into the studio to kick them
around, this turned out pretty good. Apparently though I missed out on Mr. Smith's collaboration this year with Mouse on Mars, called Von Sudenfed
that is supposed to be much better.
!!! - Myth Takes

An indie-rock dance band? I didn't think there was such a thing. But, alas there is. The first several songs here
are quite fun, but the style doesn't change much from there and gets old fast.
Clap Your Hands and Say Yeah - Some Loud Thunder

I liked their first record where CYHSY conveyed an angular New York sound ala The Talking Heads with a
singer that sounded as off in his vocals as Tom Verlaine of Television did. The main problem I have with this record is that the production has
everything here in the red, thus it sounds a bit too distorted to enjoy various elements.
Gore Gore Girls - Get the Gore

Right street, wrong address. The production here is a little stiff and I think it hurts the garage rock from this all girl outfit. It's better
to see them live. They at least look great in go-go boots.
The Hives - Black & White Album

The first four songs of great, simple garage rock here are overshadowed by the rest of the album that seems
to be another attempt at remaking 80's alternative rock with too many synths.
Interpol - Our Love to Admire

I guess you'd have to call this a junior slump. Their second album had some nice riffs and strong songs. Most of their third
effort just seems like rehash of what they've done before and only a few songs stand out. High school kids looking for more new depressing, Joy Division like music can rejoice.