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I had high hopes for 2009. What can I say? Each year since 2006 simply outdid the previous year. And it’s been exciting. You know, you’ve had all these young artists, most of whom don’t fall into any of the retro cliches that defined the earlier part of the decade, finally using their influences of the past to create something refreshingly original and timeless all at the same time: Nicole Atkins, Vampire Weekend, The Raveonettes, The Kills, The Pierces, The Fratellis, The Pipettes, The Virgins (notice all the “The” bands?). Even mainstream artists like Outkast, Gnarls Barkley and, dare I say, Christina Aguilera were getting it done.
So what’s the verdict in 2009? Not so good–and that’s not to take anything away from any of the artists who made my list. It’s just that last year, I had to strive to whittle it down to 10 albums. And then there were 10 honorable mentions. To be fair, I came home from Paste magazine with about 300 CDs, most of which I haven’t listened to, so there may be a few hidden gems I’ve yet to discover. Perhaps I missed something; feel free to call me out.
The rules: no compilations, reissues or EPs. Had to be an original full-length album released this calendar year, either in the U.S. or overseas.
So here’s what I scrounged up, with a few honorable mentions:
10. Hotel St. George – City Boy Lemon
I feel bad because I’ve been following this San Diego quartet the past year and a half. They weren’t eligible for my 2008 albums because they’d only released a couple EPs, but this year, they actually had an album… and I almost forgot about them while compiling this list! Enough prologue. On the surface, it’s in-your-face power-pop fueled by frontman Matt Binder’s snotty vocals. But listen closer and you quickly discover these guys actually have great discipline when it comes to musical ability and song structure while never compromising the immediacy the modern music-listener demands. (Read my full review at Saw*Kick here.)
9. The Felice Brothers – Yonder is the Clock
The legendary Doug Hite calls them carpetbaggers. And yeah, they were definitely upstaged by opener Justin Townes Earle at the 2008 Kent State Folk Festival. But on tape, the boys from the Catskill Mountains rarely hit a bad note. It’s tough to say if Yonder is the Clock tops the 2008 self-titled record, but some of these songs are more distinguishable and rowdy, at times borderlining all-out rock more than the folky vagabond image they’ve created for themselves. (See my video review at Paste here.)
The Felice Brothers on MySpace
8. Paleface – The Show is on the Road
Once a troubled anti-folk pioneer of the early ’90s mentored by famed Ramones manager Danny Fields, Paleface has come a long way from his alcohol-related problems that nearly killed him a decade ago. Relocated from NYC to N.C. and reformed as a duo with his lovely girlfriend, Mo Samalot, the singer/songwriter has created a stripped-down yet atmospheric collection of songs. In his own words to me: “It’s a nice little record, and we had fun making it. It’s not gonna tear down the walls and make a million dollars and whatever.” No, but it sure does get stuck in your head. (Read my full interview with the duo at Paste here.)
7. The Von Bondies – Love Hate and Then There’s You
All I can say is FINALLY! I’ve been waiting for this album since 2004′s Pawn Shoppe Heart. And while a five-year wait couldn’t yield something better than that record or 2001′s Lack of Communication, I got over that really quick when I could blast tracks like “Pale Bride” and the boppin’ “Accidents Will Happen” (not a cover of the brilliant Elvis Costello song) out my car window. It’s not groundbreaking. I probably won’t like it 10 years from now. But it provided me a burst of enjoyment when I needed some loud music. So kill me.
6. The Peekers – Life in the Air
Ever hear a band you really enjoy but have trouble describing them in a conversation? I’m having that problem right now, and I have the luxury of sitting here, thinking through each word I type. Words that come to me while listening to The Peekers: The Beatles, The Beach Boys, soulful, carefree, cabaret… cute? I don’t know, I took a stab at it earlier this year when I volunteered to write a blurb for the album at Paste. I think that came out a lot better. Read it here.
5. The Raveonettes – In and Out of Control
What a difference a year makes. Indisputably my #1 artist of 2008 with a perfect album in Lust Lust Lust, the Danish duo barely cracks my top five of 2009. But there’s something to be said about Sune Rose Wagner’s sense of urgency and tenacity to craft the perfect pop album. After the noise machine that was Lust, Wagner set out to create something more hurried, more polished, more mainstream. He succeeded–without sacrificing the fuzzed-out guitars, I might add. It’s an interesting effort, kind of summing up the dilemma with which the Raveonettes are continually faced: mainstream success or obscurity? When they’re putting out music this good this often, the better question is, “Who cares?”
4. Weezer – Raditude
Again, what a difference a year makes. While I enjoyed 2008′s Red Album, I felt somewhat slighted that one of my favorite all-time bands couldn’t deliver one of my favorite albums of the year. Needless to say Raditude‘s cover art had me thinking nothing would change in 2009. Boy, was I wrong. Not only is it a more cohesive effort, “(If You’re Wondering if I Want You to) I Want You to” easily joins the Weezer classics catalog. (For me, it almost perfectly described my first real relationship junior year of high school.) A couple of re-recorded tracks from Rivers Cuomo’s last Alone compilation make it to the disc, most notably the heartstrings-pulling album closer, “I Don’t Want to Let You Go.”
3. Gliss – Devotion Implosion
When your team is on the verge of going to the World Series and you can’t watch the gateway game because you’re stuck in some club watching some unknown band switch instruments in between songs, your patience wears thin. That was two years ago. But let me state for the record just how wrong I was that night. I love these guys (and girl). Their sophomore album is a bleak noisy blast of sex and vanity, but underneath all the blankets of reverb, guitars and harmonies is something not heard on their 2007 debut: hope? A deeper emotion? It’s almost like they decided crack open the blinds on a bright sunny day with songs like “Morning Light” and “Beauty.” Yeah, it’s still pretty dark, but a few golden rays have found their way inside. (Read my interview with the trio at Paste here.)
2. Slow Club – Yeah So
A few months ago I saw something interesting on one of the music websites. Either the NME or Blender, I think, but I can’t seem to figure it out. That’s not important. What matters is the cool little video for a simple catchy song called “Trophy Club.” I quickly MySpace friended the British boy-girl duo behind the track and forgot about them–until I saw they were releasing a Christmas EP. Again, I was drawn to the folky popsters playful back-and-forth vocals. The setup is so simple that it gives Charles Watson and Rebecca Taylor (my new crush) plenty of room to breathe and build on each others energy. Finally, I ordered the album from Amazon UK, received it this past Saturday and, perhaps unfairly, rushed it to my #2 album of the year. Yeah, it’s that good. Just watch the “It Doesn’t Have to Be Beautiful” video and tell me you’re not in love:
1. Justin Townes Earle – Midnight at the Movies
There’s very little I can say about Justin Townes Earle that I haven’t already said a million times. He’s absolutely electric–electric in the way that he doesn’t even need electricity. In fact, the fewer distractions around him the better. People ask me to describe his sound. “Well, he’s kind of old-school country. Some honky tonk, bop, blues, folk, a little rockabilly…” But no matter how hard I try, my summations never do him justice in conversation. The truth is, he’s simply a great performer. When you see him live, he’s in complete control of every nuance. The audience is his. It doesn’t matter if you went in skeptical. If you walk into a Justin Townes Earle show, you are coming out a fan. It’s that simple. Running just 32 minutes over 12 tracks, this album in particular captures the stripped-down intensity of the live set better than The Good Life with tracks like “They Killed John Henry” and “Halfway to Jackson.” But the true excitement comes in the moment–the being there. The albums are there just to tide you over. (Read my full review at Paste here.)
Justin Townes Earle on MySpace
The Honorable Mentions (in no particular order):
Annabel – Each and Everyone
William Elliott Whitmore – Animals in the Dark
Rancid – Let the Dominoes Fall
Placebo – Battle For the Sun
Cut Off Your Hands – You and I
My Favorite Reissues
Buddy Holly – The Memorial Collection
Buddy Holly – Down the Line: Rarities
The Kills – Keep on Your Mean Side
Albums I Meant to Pick Up But Haven’t… Yet
A Place to Bury Strangers – Exploding Head
The Riverdales – Invasion USA
The Kabeedies – Rumpus
AFI – Crash Love
Albums I’m Looking Forward to in 2010
Both of the new Nicole Atkins records
Magic Wands
…and a slew of other stuff I can’t think of.
Best Find
The Prissteens – Scandal, Controversy & Romance (1998)(took a $1 chance at Criminal Records in Atlanta. Paid off big time. Booya!)
The Raveonettes’ Sune Rose Wagner discusses “Christmas in Cleveland”
Is it simply an afterthought? Peer pressure? Label execs twisting the arms of uninspired artists, pressuring them to churn out something they can shovel into mall-radio playlists? There must be a reason for all the–oh, how can I or anyone else in a normal frame of mind put this nicely–rotten Christmas leftovers we are force-fed each and every Christmas season, each and every time we waltz into brick-and-mortar retail hell. Sure, you’ll have a few bright lights speckled in there amongst “Simply Having a Wonderful Christmas Time” (sorry, Paul) and its ear-hating kin, but it’s like waiting to hear a store clerk drop the C-word in lieu of the ever-trendy “Happy Holidays.”
Cheer up, Charlie Brown. It’s not all pink aluminum holiday trees and mass consumerism.
Last November, with already one Christmas classic in the bag in 2003′s “The Christmas Song”, Danish noisebirds the Raveonettes showed the world that yes, it is possible to create meaningful songs for the season that hold their ground next to an artist’s normal catalog. Capping off a perfect year and saving the best for last in a series of four EPs, Sune Rose Wagner and Sharin Foo released Wishing You a Rave Christmas on November 25, 2008. Although it presents us with only four tracks, it’s somewhat of a mini-masterpiece, channeling the surreal spirit of A Christmas Gift to You From Phil Spector. (While Darlene Love’s “Christmas (Baby Please Come Home)” was the only original on that album, it’s the only cover on the Raves’ EP.)
Just two months later I was on the phone with Wagner discussing the 50th anniversary of “The Day the Music Died” and how Buddy Holly’s and Ritchie Valens’ music has touched him. Still thinking about that EP, I couldn’t resist asking him about one of the tracks, “Christmas in Cleveland.” Besides, the whole song is about the band’s 2003 appearance in Cleveland at the Rock and Roll Hall of Fame to commemorate the life of Buddy Holly. Needless to say, the topic fit the flow of the conversation quite nicely.
The setup: The Rock Hall in conjunction with Case Western Reserve University was showcasing the eighth annual American Music Masters program Dec. 5 and 6 with the spotlight on Holly. The Raveonettes were invited to play two shows at the event. (To this day, I regret not being in attendance as I was fully aware of the Friday show.) Anyone who’s heard the Raveonettes understands the logic behind the decision. Most obviously, Holly’s song “Rave On” was a direct influence in creating the name of the band. The two-day celebration included appearances by the Drifters, Wanda Jackson, Holly guitarist Tommy Allsup and many others. But no one’s presence was as important to Wagner than that of Maria Elena Holly, the 22-year-old rock ‘n’ roll legend’s widow.
“We were there for two nights. We just came from a European tour and we flew into Cleveland and we had to play that same night. We were really, really tired when we showed up. But it was exciting for us to be there because it was the whole Buddy Holly thing. They had all his stuff on display—the glasses that they found at the crash site. But what was most exciting about it, I thought, was that his wife was there, Maria Elena, so we got to hang out with her for two days. She showed us personally all his items and would say, you know, ‘Well, these are the pants that he wore the first time we met.’ It got really personal instead of [simply] looking at a pair of pants through a glass window. She made it very personal and that was very nice. So we basically just hung out with her for two days. We sat in the bar and drank and she told stories and we could ask questions, whatever. She’s just a really lovely woman. It was a very, very nice experience. It was probably the closest that you would come to, to actually being in the company of someone you like who is dead.”
Perhaps it was that encounter that adds layers of sadness and nostalgia to “Christmas in Cleveland” despite the relatively straightforward lyricism. Listening to the echoey guitars and synthesizers emphasizing each note of the synchronized vocals, it’s easy to imagine yourself there in the presence of history and legacy: not simply the artifacts of a moment that changed music encapsulated in a museum, but also bringing together many of the faces who could convey and relive their emotion the morning after that cold February evening in 1959.
“Christmas in Cleveland”
It’s Christmas
in Cleveland
Buddy died
Not so far from here
It’s Christmas
in Cleveland
Buddy died
years ago
All the trees
in the hallway
They’re all so tall,
so beautiful
It’s Christmas
in Cleveland
We’re honoring
Buddy Holly
Wanda Jackson
in Cleveland
She’s honoring
Buddy Holly
The Drifters
in Cleveland
They’re honoring
Buddy Holly
And so are we
And so are we
We’re all in Cleveland
Except Buddy Holly
Without giving too much away, I spoke to Sune Rose Wagner of the Raveonettes earlier this year. Still excited about their Christmas EP, Wishing You a Rave Christmas, released a couple months earlier, I asked him to comment on the inspiration behind one of the songs. It’s kind of cool because I think the Raveonettes are one of those groups who truly enjoy this time of year. The real-life inspiration behind this track in particular is pretty interesting. I’m still deciding on how I’d like to go about presenting it. More to come on this very soon…
In the studio
First off, I must apologize for the lack of updates. A combination of laziness and some other stuff is to blame. But now that we’ve got that out of the way, I’ll get right to it. Updates from The Raveonettes are coming faster than I can keep up with, apparently, but here’s the latest.
In between the last update and now, both Sune Rose Wagner and Sharin Foo have each had one-hour live video chats with fans. You can find Sharin’s here and Sune’s here. Very informative stuff. One bit: The new album should be ready for an Oct. 6 release.
Yesterday marked the first of three opportunities fans can peer in on the studio sessions for a couple hours. It’s neat because you feel pretty exhaustive listening to the same stuff over and over again, just like the artist must feel. The next one is tomorrow, June 24, but there appears to be a discrepancy in time. Twitter says 3 p.m. EST, while the Vice page says 12 p.m. – 2 p.m. So, who knows at this point. You can see the first one here, where the duo, along with producer Thomas Troelsen, is working on vocals for the tentatively titled “D.R.U.G.S.”
Photo taken by J.J. McCarthy
You can’t really ask for much more these days if you’re a Raveonettes fan. Depending on where you lived, they released an album in either late-2007 or early-2008. Then, the duo released a series of four EPs throughout the final quarter of last year. Early this year, the band announced it was headed to the studio to record a new album that would be released Sept. 1.
Now, if all of that wasn’t enough, Sune Rose Wagner and Sharin Foo are sharing demos from their overseas romp in Denmark. (I say overseas because although they are Denmark natives, both have since relocated to the States.) Today they released the third demo in as many days, titled “In and Out of Control.” (You can download it here.) This one hooks you from opening second and doesn’t let go. Great progression — just gets catchier and catchier. This is the most “Raveonettes” of the three tracks released so far, but the bass riff in the middle and the guitar guiding the chorus make it all sound so explosive and fresh.
I’m wondering if by the time they’re done giving us these demos we’ll have nearly the full album. Not the finished product, but the songs. What do you think? If they release more over the weekend, I’ll post them here just like all the others.
In other related Raveonettes news, Wagner has stressed via Twitter and MySpace that these demos are strictly for your enjoyment. Says the frontman:
“It seems like the media is a bit confused about what we’re doing right now in regards to inviting you into the recording process. I’ve read some articles about how we ‘need’ help from our fans which obviously is not true. We’re totally tuned into what we’re doing and we’re making a fucking great album. I always appreciate and believe that people should be able to leave comments but we’re not looking for production or songwriting help. Hope that clarifies it.”
Photo taken by J.J. McCarthy
There’s something to be said about being able to create a pop song with the title, “Boys Who Rape.” The subject matter is dark, but the chorus, which goes, “Boys who (Boys who) / Rape should (Rape should) / All be (All be) / Destroyed,” is infectious. It almost becomes comedic, in a good way — like a no-brainer rallying cry most people would have no problem supporting. The heavy reverb and intro’s fading lo-fi guitar sound and electric drums keep the song in check, if you will, from becoming a simple ditty. Those elements ground the subject matter, reminding us of what we’re dealing with.
Again promising fans via Twitter a new demo would drop later today, the Raveonettes have released the second work-in-progress in as many days. Like I said yesterday, from the lyrics I’ve seen and the two songs posted so far, this new album is shaping up to be the Danish duo’s darkest yet. Musically, though, it may be the poppiest, taking into consideration other snippets I’ve heard. I personally like the idea. The last record had Sune Rose Wagner focused in on lust and its various forms. It was dark, but more of a personal journey. Now, we have tracks dealing with rape and girls overdosing. Without trying to label the whole forthcoming album, both of these songs sympathize with tortured women. So besides sound, we’re dealing with something completely new and fresh from the previous effort, while keeping the spirit of the band closely intact.
More to come…
Sharin Foo and Sune Rose Wagner in the studio
Making good on their promise this morning, The Raveonettes have released their first studio demo, “Last Dance.” Please note that is the working title. The annoucement came via Twitter, complete with special links to their U.S. label’s (Vice Records) website: one to download the new track, and another to sign up to receive further updates on demos and other “special things the band has planned for their new record.”
This is a pretty cool marketing strategy and in some ways furthers artists’ ability to use the Internet control their own destiny. Instead of the record leaking a month before its release and possibly getting a bad reception, fans can now weigh in and pretty much know what to expect before the proper package hits stores, thus killing that dire need to hear the entire thing early. And even if it does leak, who cares? Most of the stuff was released first by the band. I think we are moving out of the area of the big surprise record. The sooner artists embrace this and use the Internet to their benefit instead of simply going through the motions with their MySpace accounts, the more interesting music will be. I’m not saying everyone should release demos in the runup to a record; but the Internet just makes it so easy to be creative, and most people are still following that old-school record label model.
But let’s get to the specifics here, because after all, the reason this song was released in the first place was to get reaction, buzz, whatever. Firstly, “Last Dance,” in its current form, represents a huge difference from the last album, Lust Lust Lust. Where that release was caked with layer upon layer of feedback, noise and fuzz, this three-and-a-half-minute pop song, despite relatively subtle hints of fuzz in the guitar, is clearer and much more accessible. Not to say that’s a bad thing. I think frontman Sune Rose Wagner has always regretted not breaking the mainstream, and songs like this might be his chance to change all of that. Don’t let any of this fool you, though. The reverb, catchy hooks and dark lyricism — possibly bleaker than before — are all intact, and so far, it doesn’t sound like Pretty In Black. Take that however you wish.
Sune Rose Wagner in the studio w/ producer Thomas Troelsen
Would you describe yourself as one of those people who hates the thought of Twitter? Has sworn never to get an account? Not even sure what it does? Well, I feel your pain. I only signed up about a month ago because I knew I’d eventually end up using the viral information-distributor. For what, I wasn’t exactly sure, but that all changes today. The Raveonettes have announced they will be releasing studio demos from their forthcoming album via Twitter. So if you don’t have an account, get one NOW because the first demo is dropping today, and you’ll want to keep up on this. The duo did something similar for Lust Lust Lust on MySpace, which I have a feeling will show itself to be the superior of the two social networking in leaking music. Unless, however, we are allowed to download the tracks. More to come later today…
Photo taken by J.J. McCarthy
Raveonettes frontman Sune Rose Wagner announced today the duo would officially begin recording this week with Danish producer Thomas Troelsen. So as Copenhagen is six hours ahead of those of us on the East Coast, they get to it in probably less than 12 hours.
It should be a very interesting four weeks. Wagner says a few people will be documenting the entire recording process and promises once or twice a week video updates. This won’t include the daily blog updates he also says are coming. So like the last record, Lust Lust Lust, expect heavy fan involvement/feedback.
In the meantime, here’s some appropriately black and white video Wagner shot with his point-and-shoot. New, guitar/vocal-only tracks play over moving images of the lyric sheets. Just a quick glimpse at the words and it seems like this is shaping up to be an even darker record than the others. With lines like, “And every time you overdose / And rushed to intensive care / Another sad-eyed stare / Before you disappear” and “Your boyfriend’s violent / And your mom’s a bitch”…yeah, and yet, the catchy hooks are all there, perhaps more than ever.
Here are the songs in the video in the order they appear. The last one, “Baby I’m Ready to Go,” is amazing — the progression, the guitar riff, the lyrics…it’s all there.
“D.R.U.G.S.”
“Last Dance”
“Do It Again”
“Stardust Girl”
“Baby I’m Ready to Go”
The almost-daily updates continue flowing from the Raveonettes‘ MySpace blog courtesy of frontman Mr. Sune Rose Wagner. So you can bet I’ll be trying my best to keep up and give you play-by-play analysis.
On Thursday, Wagner reported flying in from New York. Where? Copenhagen, where he and fellow Dane Sharin Foo will be recording with producer Thomas Troelsen. Wagner seemed to deadset on working with this guy, and it’ll be interesting to see how different this album is from their previous record, Lust Lust Lust, which was recorded at singer/songwriter’s flat in NYC. So far, things seem to be going well, Wagner saying “[i]t’s the first time I’ve ever sat down with someone to write and it was quite an amazing experience I must say.” He also posted a little video while in the studio. Although he stressed what you hear in the video is in no way indicative of the final sound (recording officially begins May 18th), the song Troelsen is playing back is unbelievably infectious… Could this be THE record the duo?
Also moments ago, Wagner posted another blog, essentially saying his newfound producer is pushing him to greatness. We shall see… He rattled off a few of the track names they’re working with right now: “Stardust Girl,” “Last Dance,” “Oh, I Buried You Today” and “Baby, I’m Ready to Go.”
