Radio Tragedy!

On December 15th, Howard Stern announced on the air that he would be the new host of NBC's Americas Got Talent.  Stern has long admitted to being a fan of this, as well as other, reality talent shows, and the show's hardcore following of daily listeners were probably not surprised by the seemingly surprising announcement.

Stern's reintroduction into the NBC community, to many, is the nail in the coffin of a once heroic icon of the media, and the ultimate betrayal of an underground leader.  It is certainly Stern's withdrawal from the fringe, and into the mainstream, and will be looked on disdainfully by his audience.  For three decades now, Stern has been "our" thing: a cult of responsible adults abandoning their maturity for 4 hours a day to laugh at dick and fart jokes.  In a world where the masses are pushed to be adults, the Stern show gave listeners the ability to be kids.  We waited with baited breath as a guest told a sex story, and gasped when a juicy revelation was told on the air.  Stern was not for everyone; it was not for most.  While most people looked at him as a pervert, racist, or asshole, we knew better.  We were not afraid to laugh.  Stern, with his new AGT venture,  is no longer "our" thing...but "their" thing.  He is now a watered-down, virgin cocktail of what he used to be....he has all the ingredients, except the kick that really matters.  He is no longer subversive, but ready to be honored by the masses, and a parody of the rebel he claims to be.

Stern's death of credibility was solidified with his contract with Americas Got Talent, but it was a slow and painful fate that his audience foresaw long ago.  Stern has gradually, as he put it, "evolved" into something else, and several precipitating events lead to his infamous December 15th announcement.  Each event is a small crack in the facade of a now broken legend.

Politically Correct Stern:
Howard Stern fans are not that different from the rest of America.  We, as well as Stern himself, know racism, sexism, and homophobia is wrong.  That being said, there is nothing inherently wrong with laughing at satire.  No subculture was safe from Stern's wrath.  He strived to point on the ignorance of humanity.  For every "Out of the Closet Stern" or "Black Jeopardy" bit making fun of their respective demographic, Daniel Carver (Grand Wizard of the KKK) was on the airwaves making white people look stupid.  For every porn star he had on the air taking her clothes off, he had a TRULY pathetic man trying to sleep with her, usually failing and mocked.

Stern has abandoned the cultural satire for refined, safer, critiques on pop culture.  He now discusses reality stars and talking heads who are open season for all on air opinions.  Stern's drifting from the taboo to the acceptable weakened his rebellious notoriety, and softened his image.  One of Stern's greatest traits is his ability, through his satire, to exhibit an exaggerated image of the world at large.  He can no longer achieve this with his increasingly vapid discussions.

The Sybian and Sirius:
When Howard Stern began his reign on Sirius Radio, there was a noticeable revitalization of Stern. For the first time in years,  he was excited to be on the air.  He had carte blanche over the airwaves, and his enthusiasm was contagious....it didn't last.  The paycheck, not contingent with ratings, quickly led to an apathy; and the ability to be no holds barred on the air paved the way for easy, bland, comedy.  When on terrestrial radio, his shock value was based on pushing the envelope of convention.  He can now says what he wants, and it takes away from the show.  He no longer has to find a clever way to be x-rated....he can just be x-rated.  If one of his diatribes isn't funny, he will throw in a shelling of "fucks" to make it more extreme.  If an interview is floundering, he will ask about "anal." Clever, I know.

If his team of writers cannot think of something funny, or the guests simply aren't available, Howard always has his ace-in-the-hole: The Sybian.  The Sybian is a sex toy, where a woman rides this object to climax.  Countless times on The Stern Show, beginning from the early 80s, a woman has achieved orgasm on the air; this is no longer funny or edgy for Stern, but a cop out.  It is an unintelligent failsafe for when decent comedy writing is at a loss, and the ride, and the post interview is an easy way to eat time between commercials without the effort of creativity.  (Note* When Stern brought Dave Lampert, the now ancient Inventor of the Sybian, into the studio, it WAS radio gold.)


Who to Fill "The Chair?"
2010 ushered in a new era for The Howard Stern Show.  After nearly a decade, Artie Lange left the show to stabilize his life.  This left the show without a fifth member, and a void Stern now has no intention of filling.  Between the departure Jackie Martling and Lange, the show has been left without an anchor: someone to offer checks and balances between cast members, namely Howard and Robin.  Stern and Quivers have been partaking in increasingly self indulgent, and downright bizarre, behavior.  Quivers travels the world on trendy philanthropic endeavors lacking true altruism or substance, and Stern has become increasingly pompous and detached; unrelatable to his audience.  These behaviors are tee-offs for Martling, who NEVER had reluctance to call the mighty into question.  Lange, while not as open to criticize as his predecessor, created common ground between the listeners and the show.  Unlike Stern, Lange had no interest in "Dancing with the Stars" or Hamptons soirees.  The absence of this dynamic takes commonality that made the show successful.    

The New Cast:
There is definitely some high points of the new ensemble.  Many of the new cast have truly funny moments.  The issue lies in Howard Stern's  reliance on these characters and their one-trick schtick.  Instead of creating funny bits or provocative interviews (Yes, Stern used to do both,) Stern excessively calls into question one trait of each second tier member of the show.  Ronnie is an angry cocksman, Sal is a pervert who's marriage is falling apart, Richard is a dirty hillbilly, ETC.  At one time, pointing out these traits was hilarious, and made for great listening for the fans.  Stern, however, took it and ran with it.  Now, Stern makes up faux arguments to get the cast on the air, thereby taking pressure and creative responsibility off Stern himself.  The end result is are bland, obviously contrived, squabbles between staff members, where Stern serves as a mediator.  Being as how these cast members were once fans, and never part of the entertainment or comedy industry, they are equally uncreative, and amplify their trademark behaviors.

Stern is a very funny person...he has made a career out of his humor.  It is a shame that, in recent years, Stern has taken the attention off of him and his primary cast, and on these second tier workers surrounding him.    The peak moments of the show lie within the banter of five friends talking together.  Those organic discussions, and resulting arguments and resolutions, are what made the show incredible.  The show has always had fans as part of the show, with regular callers, wackpackers, ETC, but they were used sparingly. The implementation of this ensemble cast puts the emphasis away from the talent, and expected primary focus, of The Howard Stern Show.

Hampton's Howie and the Amaaazing Beth O:
Shortly after his divorce from Allison, Howard told his audience that the marriage ended because he was becoming "too much like his character on the radio."  Many fans suspect infidelity, an accusation that has never been confirmed absolutely.  The real issue, however, was not that he became the cocksman he portrayed on the radio, but the angry curmudgeon, surlily watching television in his basement, then voicing his sexless misery to millions of listeners.  Too much of his world was divulged onto the radio, and the water became muddied as to where the Stern show ended and Howard Stern, husband and father, began. Since the inception of his newest relationship, he has clearly made a conscious attempt to leave many details of the two privy to only the parties involved.  This practice may be wise for Stern, as radio success is not worth, especially at this point in his career, personal unhappiness.  However, if this portion of his life is off limits, then Stern should leave it as such.  He needs to abandon the praise that is becoming more and more omnipresent on the air.  If she is immune to to fodder, then she should be immune to adulation.  Advertising her books and causes (the exact same thing he made fun of Imus for) is jading the fans, and the irrepressible praise, and more importantly, her exemption from critique, is perverting the nature of the show.   Many listeners consider her a gold-digger because of her CONSTANT presence on Page 6.  This notion is only exacerbated by Howard plugging her book and charities, and glorifying her existence throughout the show on a daily basis.  The dynamics of Howard and Beth's relationship is of no business to the audience, so it is his responsibility to leave her off the airwaves.

Sirius Radio OFFERED Howard Stern an obscene figure to switch to satellite radio , and he would be stupid not to take it.  For much of his professional career, Stern has been well off financially.  The amount of money Stern earns, or the amount of chimneys in his Hamptons abode, has no bearing on the quality of the show.  His reaction, sadly, does.  In his finest days, Stern's greatest strength is his ability to separate from, and highlight, the bullshit of the culturally successful.  He hated phoniness, and his most notable feuds stemmed from his cognizance and broadcasting of it.  Those feuds are now buried with the edge of the show.  He now schmoozes and placates Rosie and Chevy, hanging out with them at Billy Joel's private concerts.  Ostensibly there is nothing wrong with famous friends, but being best friends with a recently sworn enemy is either artificial or juvenile: neither is admirable. Outside of his now overplayed vendetta with Jay Leno, he is completely benign to all levels of the Hollywood world, from A-List to Tila Tequila.  He is obviously afraid of creating potential enemies, both for him and Beth, as highlighted by his new found praise of Tyra Banks' talent.  Where Stern was bitter, and celebrated, for being ostracized from the cool, he is now as hip (phony baloney) as all those he once cranked called and sabotaged.

Stern has evolved, and perhaps his audience (myself included) is wrong to fault him for it.  We have come to expect more out of him, though, and Americas Got Talent is not what we were looking towards.  If anything, fans crave a retreat into the depths of himself, and the brutal honesty he would spew on the air.  His introduction in the most mainstream of cultures is the exposure of a truth we have long been fearing, but subliminally aware of...that Howard Stern is not the comedian we thought he was.

Best of 2011!

It's that time of year again.  Same rules apply...
-No live releases or reissues.

-No jambands, bluegrass, or bands that I have traveled extensively to see.
-No bands I have an invested interest in.

-No rating hierarchy, just great albums side by side.

*NOTE:  Sometimes I struggle with interchanging a producer's name with his stage/production name,  sorry for any confusion.

Anyways, Here you go:

 

Middle Brother: S/T-     Members of Deer Tick, Dawes, and Delta Sonic came together late in the evening, in a tiny bar, during the 2010 SXSW festival.   All parties involved felt the resulting magic needed to be captured on tape.  In early 2011, armed with their new official moniker,  Middle Brother released a beautiful album of folk rock and Americana tunes.  Throughout the album, each band members influence appears equally and organically.  In an era where textures and synths are increasingly valued (respectively), it is refreshing to hear bear bones folk.

Portugal, The Man:  In the Mountains, In the Clouds-  The major label debut from glam-rock Alaskans proves to be a successful endeavor.  Portugal incorporates all the great pop hits, and grandeur of its 70s influences (most notably, T-Rex.)  Unlike many modern bands who's catalog is an homage to bands and genres past, In the Mountains, In the Clouds sounds relevant; devoid of the schtick and cheese.  The albums poppy chorus' will stick in the heads of the most idiomatic listeners for days, and it's tactful layering will impress the most cynical critics.  

      Yuck: S/T-     On their debut album, the London Band does an amazing job capturing the 90s alternative concept.  As much of the indie world is aligning with the synth of 80s pop, it is refreshing and unique to hear a band identify the fuzzy distortion and grit of the grunge era.  The lo-fi garage rock sound is so authentic, the listener could easily imagine it on the Singles soundtrack.  Though it is yet to be determined, Yuck's album may also pose as an important fulcrum in the direction of rock.  Never before has a band so accurately captured the sound of the early nineties with such critical acclaim.  The opportunity is ripe for this sound to be the new tangent of the "hip."  

    Toro y Moi:  Underneath the Pine-  2011 just may well be the watermark and, downfall, of the chillwave movement.  Coffee shops and dinner parties are now oversaturated with mediocre bands creating benign melodies over temperate synth sounds.  Chaz Bundick (Toro y Moi), a pioneer of this subgenre, opted to not rest on his laurels and drown in the reverb sea.  The resulting product is this 2011 masterpiece,  where Bundick adds color and panache, along with a band, to a style of music that typically celebrates sparseness.  Underneath the Pine transcends all the traditional rules of chillwave, and allows Bundick to make his own.   Toro y Moi uses lush textures and and vibrant dance rhythms to create something that the chillwave movement that has long been devoid of: Fun!  Truly one of my favorite albums of the year.

Radiohead: King of Limbs-  The release of a new Radiohead album is always a big deal, and this was no exception.  King of Limbs has been Radiohead's most highly scrutinized album to date.  Many fans were critical of the band's minimalist, electronic, production, along with its concise 37minute time elapse.  The fact is that no Radiohead release can live up to its expectations, and no band since the Beatles have had the excruciating task of having to continuously release masterpieces to a tremendously demanding fanbase.  King of Limbs has beautiful melodies and vocals, and evokes emotion as well as any Radiohead album.  It is unfair to fault the band for going off on a different tangent, as this is the trait that made the band the darlings that they are.  If some listeners do not like this album, they will like the next one....."if you think this is over, then you're wrong."

*NOTE:  Those upset over the length of the album can be comforted that the band has since released four new tracks via internet.

The Decemberists:  The King is Dead-   It's been a long road for The Decemberists to release an album this great.  The Portland quintet went spent the previous two albums delving into increasingly avant-gard projects before deciding to strip down to the basics. For their efforts, the band compiled an amazing set of simple, alluring world folk songs.  For this album, the proggy concepts of the past were abandoned in favor of acoustic guitar and harmonica.  The Decemberists wore this traditional sound well, and have been critically rewarded for it.

tUnE-yArDs: W H O K I L L-  Merrill Garbus, brainchild of Tune-Yards, is hip...really hip.  Aesthetically, she easily blends into the crowd of the most pretentious coffee shop,  and she creates music with the same elitism.  It is painfully non commercial, and not accessible upon first listen.  But after a few turns, the sing-songy feel of the album becomes contagious and eventually get heads bobbing.  The addition of a band for this album really helped out the sound, as Tune-Yards now sounds like a full musical experience; the instruments converse with each other, and expunges the unintentional isolation that often accompanies one person solo projects as this.    

 Fleet Foxes:  Helplessness Blues-  There were no surprises with Fleet Foxes sophomore release, but that is a good thing.  The band has already set the bar for modern, harmony driven, folk rock, so they have nothing further to live up to.  So, what does a harmony heavy, beautifully folky, band do for their to keep their momentum?  They make an album that is more harmony heavy, and more beautiful.  The influence of CSNY and Joni Mitchell still shine through the sun soaked acoustic guitars, but Fleet Foxes are clearly cultivating a style all their own, and its only a matter of time before new bands cite this album as THEIR influence. 

Steven Tyler: (It) Feels So Good-  I haven't heard a song off this album, and I just saw the cover for the first time....it made me laugh out loud.  I thought I would share it. I'm sure (it) sucks.

The Roots: Undone-  After a disappointing release by Atmosphere, I was left with a noticeable void of conscientious, introspective, hip-hop.  That was finally filled in December, with The Roots 13th studio release.  This album is The hip-hop (BAND's) first foray into concept albums; a reverse tale, beginning with the death of a street hustler, and subsequently unwinding the story that lead to his fate.  The tone of the album is more subdued then the aggressiveness of previous efforts, but the emotion is just as powerful.  Another home-run by the hardest working, and most prolific, hip-hop group in the game.

Blitzen Trapper: American Goldwing-  It seems that most artists draped under the expansive indie rock umbrella keep attempting to push the envelope.  While, in and of itself, that is not a bad thing, it leads to a muddying of talent, and the artist's emotion is exchanged for hipster convolution.  Portland based Blitzen Trapper have recognize this problem, and combated it.  The band utilizes to classic rock tact to create an album that is truly amazing.  Heavy on guitar, and with melodies as contagious as the plague, this album sticks in the listeners head for days on end.  There are few albums in 2011 that perfect the art of collective songwriting as American Goldwing.  This album has a drive that is lacking in the intelligent music scene, but still avoids the schtick of top forty rock bands.  EASILY one of the best albums of 2011!

Washed Out:  Within and Without You-  Washed Out, Brainchild of Georgia based producer Ernest Greene, is one of the latest electronic based chillwave acts to hit the semi-underground music scene.  His debut LP, Within and Without You, was met with some criticism by chillwave purists, as the production forewent the haziness of chillwave for the polished sounds of classic electronic.  Praise should be given to Greene, however, as he opted to tweak his sound, and separate himself from the ever-expanding list of similar artists revered in the indie music scene.  This album still holds true to the dreamy beach vibe chillwave fans have come to expect and appreciate (he did not do what Toro y Moi did)  but the warm sound is more accessible to casual listeners.  

Real Estate: Days-   Music of this nature must be approached with tact and subtlety, and this New Jersey rock outfit does so flawlessly.   There is no sophomore slump with this album.  Real Estate incorporate spacy, languid, guitars, and soft echoes to make an album that seamlessly transitions from beginning to end.  The catchy hooks and lyrics celebrate simplicity, and it easily comes through to the listener.  However, after listening closely to the melodies, and clever layering of its instruments, it can be seen that this album is nowhere near as simplistic as it sounds.  Real Estate put in LOTS of work to sound this relaxed.

Wilco:  The Whole Love-  After releasing a string of albums that redefined Americana rock,  the world has come to expect a lot from Wilco.  Despite being good albums, fans harshly called the band's work ethic into question, misinterpreting quality (rather than genius) for complacency.  Wilco released another great albums to similar reviews in 2011.  However, The Whole Love shows the band taking more chances than they have with their previous couple of efforts.  The clearest example of this is the opener "Art of Almost," where the band utilizes glitches and pecking keyboards that departs from their expectant sound.  The album is still unmistakably Wilco, featuring tight melodies, folky guitar, and alt-country aesthetic, but the band pushes itself farther than they have as of late.  It may not reach the greatness of Yankee Hotel Foxtrot, but the attempt is appreciated.  

Bon Iver: S/T-  Justin Vernon (AKA Bon Iver) is no longer heartbroken.  After becoming famous by retreating to the snowy woods of WI., and writing brilliant songs of lovelorn for his epically minimal debut,  For Emma, For ever Ago, Vernon has made peace and is ready to move on, both emotionally and musically.  The first thing listeners will notice on this album is the transition from folk to experimental pop.  He has put far more focus on his band, rather than the man and his guitar.  Furthermore, his soft voice remains, but the words are different.  They are far more indirect.  In For Emma..., Vernon was clearly pining for love, but for Bon Iver, he seems to be longing for something more existential.  He sings about geography and intoxication;  Vernon is clearly looking outside himself.  Bon Iver is no less brilliant than its predecessor, and is still emotional despite its increased musical complexity.

Dale Earnhardt Jr. Jr.:  It's A Corporate World-  The two members of Dale Earnhardt Jr. Jr. (Johsua Epstein and Daniel Zott) came together due to a mutual, nerdy, love of electronic production.  Their debut LP (They have previously released an EP, and all three songs have subsequently been released on this album) is a shining example of electro pop.  It's A Corporate World is a collection of simple lyrics and melodies, combined with relatively skeletal bleeps mixed with a drum machine , that create a brimming lush sound.  It's A corporate World's sum far exceeds its parts, and shows the beautiful simplicity of pop structure.

Kurt Vile: Smoke Ring For My Halo-  Few artists have reached the critical acclaim with as little mainstream success as Kurt Vile.  Through his eccentric lyrics and Folk guitar tinged with psychedelia,  Vile creates a masterpiece.  His eclectic classic rock influences are all on full display throughout the album, as he pinballs from soft fingerpicking, to distorted power chords, to simple acoustic melody.  He also employs charmingly cynical lyrics (complaining about not wanting to get off the couch) to capture the zeitgeist of the times.  Production-wise, Smoke Ring is also a masterpiece.  The juxtaposition with a man and a guitar, and the effects he utilizes cannot be ignored.  Vile's lonlieness and isolation comes through in the sparseness, and is exacerbated by the expansive reverb of his voice. The guitar effects, and competent backbones of the songs add a warmness to it, so its not a total downer.  This album makes perfect representation of the times; bouncing wildly from optimistic to pessimistic, and from apathetic to dynamic: "I've got it made....most of the time."

The Field:  Looping State of Mind-  Sometimes gimmicks work.  Axel Willner (The Field) has a schtick that has paid off.  This one man Swedish electronic project has created a beautiful album, based on the titles suggestion.  The album is nothing more than series of looping electronic samples, but they are incorporated beautifully.  Each song seams together to create a melange of Ambient and minimalist house, creating a unique style of IDM soundscapes.  Though Willner's approach to music may be simple, Looping State of Mind blooms with the sound of tactfully placed layers and textures. 

The Woods:  Sun and Shade-  Many would think releasing five albums in as five years would exhaust a band.  That is certainly not the case with Brooklyn based workaholics, The Woods.  This band are some of the forefathers of the freak-folk movement.  This latest release, Sun and Shade, continues the bands consistent output of folk songs laden with psychedelia.  It's use of reverb, jangly guitars, and extended instrumentals sound just as welcome in the 60s golden era as present day indie meccas.  The band's sound, however, is authentic, and devoid of cliches.   Most of the song structures on Sun and Shade are crafted in the folk vein, lush with CSNY harmonies and conciseness, so the songs are still accessible and easy to listen to.  Twice in the album, major psychedelic instrumental breaks occur, but other than that, the spacey sounds are relegated to the background of traditional songwriting to give the album and beautful, ethereal vibe.  Another great album by a great band.

 M83:  Hurry Up, We're Dreaming-  Anthony Gonzalez had a specific plan when coming up with his latest album.  Inspired by Smashing Pumpkins' Mellon Collie and The Infinite Sadness, he wanted a double album, and he wanted it "epic."  He certainly achieved that with his blockbuster 2011 release, Hurry Up, We're Dreaming.  The album starts with a five and a half minute intro,  building steam, before the anthemic "Midnight City."  The song creates the mood of the album, which is big sounding retrolectro pop.  The album adds multiple short segue tracks, giving the listener a much needed break between grandiose songs.  Often, within the shoegaze genre (the closest subgenre M83 can be classified as), less is more.  It is amazing to hear the ambition painted within the songs of these momentous songs.  Anthony Gonzalez certainly achieved his goal, and in the process, created one of the best albums of 2011.

The War on Drugs:  Slave Ambient-  Though relatively unknown, this indie/folk/psych/rock band has created one of the best (and my favorite) albums in years.   Slave Ambient employs amazing American rock and roll music, but adds more texture and substance.  Subtle electric instrumentation and synths make for a sound of Springsteen deep in lysergic trance.  Often in modern indie music, bands go two ways:  They either sleek up, or strip down.  The War On Drugs have done both. The backbone of their sound is accessible and straightforward, but layered with complexities.  It is folk, but flourishing with energy.  The sound is intricate, but not pretentious. Though it fits into any urban coffee shop or used book store, Slave Ambient is not a polaroid of flash-in-the-pan 2011 hipster culture; this album can easily stand the test of time ...an incredible masterpiece of an album.

***For some notable live releases, reissues, and jamband albums, check out...

-Phish: Hampton/Winston-Salem '97
-Grateful Dead: Europe 72 Vol.2
-Frank Zappa: Live at Carnegie Hall
-Miles Davis Quintet: Bootleg Series Vol.1
-STS9: Axe the Cables
-Medeski Martin Scofield and Wood: In Case the World Changes it's Mind
-Umphrey's McGee: Death by Stereo
-Disco Biscuits: Otherwise Law Abiding Citizens
-Greensky Bluegrass: Handguns
-Infamous Stringdusters: We'll do it Live!

Radio Moscow: The Great Escape of Leslie Magnafuzz

 

     While looking up the history of this band, I found a Pitchfork review of one of Radio Moscow's old albums.  The author tore the band apart, making references to generic southern bar bands schwilling crappy beer in the mountains.  Apparently Pitchfork is too far above straightforward rock and roll, and homage to simplicity is uncool and lowbrow.

      The Great Escape of Leslie Magnafuzz is a tribute to the classic era of Rock and Roll.  When indie artists are polishing their sound and slicking their image, Radio Moscow strip down to raw power.  The psychedelic blues-rock of The Great Escape gives the listener monster riffs, the likes of Hendrix and King Crimson, and exchanges subtle textures for balls.  In an era where creative music is predominantly based of ethereal soundscapes, it is extremely refreshing to hear some good ol' fashioned rock tunes, filled with rattling drums and sloppy guitar solos.

       There are some minor contentions with The Great Escape, however.  This band is clearly influenced by the classic rock legends.  The only problem is, put simply, they are not as talented.   While a band could never be faulted for not meeting the level of Hendrix and Sabbath, reaching for this level and falling short makes Radio Moscow sound like they are trying to imitate a more generic form of 70s rock, after its peak.  The band follows a traditional blues rock formula, which can sometimes become mundane, especially when the listener isn't in the mood for 50 minutes of fairly consistent effects and tempos.  Similarly, epic solos without epic talent such as that in the song "Speed Freak" can sometimes feel a tad overindulgent. 

     The Great Escape of Leslie Magnafuzz is an album built for rock and roll purists, nostalgic of the glory days.  It is a fun album for people tired of the inundation of indie rock, and ready to let their hair down.  It may not be Jimi, The Stones or The Who, but it will do.

 

Back in the Saddle

     

     This morning, Kenny Williams shocked White Sox fans by hiring former All-Star 3B Robin Ventura as the Chicago White Sox new manager.  Ventura will replace Ozzie Guillen, who was released after serving as manager for 8 seasons.  Ventura has a lot to live up to, as Guillen led the team to hte playoffs multiple times, and brought a World Series championship to the Windy City for the first time in 88 years. 
     Chicago met the Ventura deal with mixed reactions.  To say that the third baseman was loved while in Chicago would be an understatement.  Beyond his exceptional play, he was a voice of reason in the clubhouse, and advocate of team camaraderie, and all-round nice guy; it goes without saying that Sox fans are happy to see him once again don a White Sox jersey.  Additionally, Ventura has always claimed Chicago as his baseball home, and his loyalty to the team is rock solid.  There is no person tied to the major leagues who would put more effort into the making the team strong.  In terms of this, Kenny Williams made a smart decision to keep it in the family.
      Robin Ventura, throughout his career, was consistently known as a nice guy;  quiet and subdued, and easy to get along with (save for one highly publicized run-in with a certain Texas pitcher.)  His demeanor is a stark contrast to the outspoken, highly visible personality of Ozzie Guillen, whose style was endearing at the beginning, but was grating towards the end (in some fans' eyes.)  Ventura and his personality will certainly be a breath of fresh air and a perfect change for a good team who is concern is lacking in direction, rather than talent.
      The 800 LB elephant in the room is Ventura's obvious lack of experience.  There were many candidates, such as Davey Martinez and Sandy Alomar Jr., who were also brought up in front room discussions.   Many people also thought that newly unfettered Terry Francona,  two time World Series Champion manager for the Red Sox, would sign with the Goodsox.   The fact of the matter is that there were lots of candidates for the manager position, and Ventura had less experience than all of them.  He has never been at the helm of a team, and there is no empirical evidence of his potential.  This does not necessary mean failure though, as the talent is on the field for October play.  What the team needs is someone who is capable to motivate them to perform their best.  Ventura is a person who can do that.
     Clearly the hiring of Ventura is a risky move, and this multi-year deal could prove to be nothing more than a failed experiment.  At this point, however, the Sox have very little to lose.  Morale seems to be low, and any change, at this point, would be for the better.  Fans will always love Ozzie, but its time for the moon to change phases, and Ventura is a good person to take the reigns and bring the best out of the team.   

WIlco: The Whole Love.

     Wilco has unnofficially been dubbed the best American band of the new millennium.  Only the mythical Radiohead has so consistently released genius albums. Few would argue that their landmark 2001 album, Yankee Hotel Foxtrot,  is on the list of history's greatest albums, and the soundtrack to post 9/11 Americana.  The only minute downfall of this band may be that they have rested on their laurels for the last (arguably two) albums.  Their last effort, Wilco The Album seemed unambitious and formulaic for the band who set the world on fire multiple times in the last decade.  It was not a bad album, necessary, but the band seemed to follow the blueprint they designed with the release of YHF.
     The Whole Love opens with the 7 plus minute "Art of Almost," which is a bold statement of change for the band.  With its glitches, pecking keyboards, and synthetic sounds and distortions, Wilco shows that they are not afraid of change or experimentation, and they refuse to rely on their fallback sound.

       "Art of Almost" is definitely most pervasive example of the bands direction with the album, but their willingness to open up is peppered throughout several songs on this LP.:  "Capitol City" seems to take significant influence off the Beatles, and the occasional keyboard synths compliment the saloon style tempo and melody.  The album mood quickly changes as "Standing O" blisters through high energy rock and roll. For Wilco traditionalists, all the key elements of the band remain true.  They have retained their intelligent rock/ alt country sound, and fear not....The Whole Love is unmistakably Wilco, in all its catchy, singable glory.

      The album is not without flaws, most notably that mentioned in the first paragraph of this blog.  While they have worked hard to show a new direction, fans and critics are still waiting for Wilco's "next big thing."  The world has come to expect greatness from Wilco, and The Whole Love seems low-stakes.  The best way to enjoy this album is to ignore and overlook any possible comparisons, and just enjoy it for what it is.  It will not be remembered throughout time, but it truly is a worthy album.

Girls: Father Son, Holy Ghost

    

     Indie Rock seems to move opposite the weather.  Beginning in the East (Brooklyn) and tapering off as it moves west, with pockets of action scattered across the United States.  It seems shocking then, that one of the years best indie rock albums comes from Girls, a band based out of San Francisco.   The groups latest effort, Father, Son, Holy Ghost echoes all sentiments valued by good urban rock, but is honest in its California roots.  The opening song, "Honey Bunny," is filled with upbeat jangly guitars, and a surf rock vibe peaks through the indie rock quirkiness throughout the entire album.    All the components of modern rock are there, such as the heavy instrumentation and sad lyrics,  but it still retains a sound that independent of the "typical" indie scene.  The quick alteration in musical styles can sometimes seem scattered, as it does, indeed, move between surf rock, psych rock, and folk rock, but this is easily forgivable for a band this ambitious (not to be confused with narcissistic), and for an album this good.

The War on Drugs: Slave Ambient.

   It is a rare treat when a band can channel both the past and future within one incredible album.  Slave Ambient by Philadelphia raised The War on Drugs does just that.  Plain and simple, this shamefully underrated band has released not only the best album of 2011 (stated with absolute confidence, even though it is only September), but one of the greatest works in the last several years.
      The War on Drugs released their debut album, Wagonwheel Blues, in 2008.  This album was a nonstop highlight reel of Americana.  Slave Ambient takes this same principle, and expounds on it tenfold.  The band continues its traditional rock and roll style, with raspy vocals, evocative of Springsteen and Dylan, and traditional instrumentation, but adds a futuristic touch, adding synthy layers and ambient jams.  The culminating sound is awe-inspiring....honestly, no blog will do it justice.  Just go listen to it.

 

 

Toro Y Moi and the chillwave movement

     In the last twenty years, electronic music has evolved from a computer nerd experiment, to drug culture soundtrack, to a credible and tenable genre of music.  Since its inception, electronic music has branched into several different sub-genres, and has matured from simple blips to textured compositions, and no production displays this sophistication as the chillwave movement, led by Chazwick Bundick (AKA Toro y Moi)

     Chillwave, a moniker that has blossomed simultaneously in various hipster friendly locales, can be characterized by electronic or Indie based music filled with synthesizer loops and effects processing.  Chillwave often involves vocals, but they are heavily filtered through reverb effects.  The resulting effort is music that evokes a spacey "shoegazy" vibe.  The dreamy sounds have been popularized by urban cynicism, hope, and the reemergence of psychedelic experimentation among intellectuals. 

      The release of Panda Bear's Person Pitch, see above is universally accepted as the inception of the chillwave movement.  Since then, a seemingly endless array of artists have emerged that can be classified as part of the chillwave movement.  Sadly, many creative artists have been drowned out by groups  who practice benign effects and ambiance for the sake of the trend.  While it is a shame that the genre is quickly undergoing harsh commodification, it has subsequently allowed for creative minds to offer unbelievable variations on the art form, and expounding upon an already A-typical genre of music.  No other music shows this occurrence as Toro y Moi.

      Chazwick Bundick (AKA Toro y Moi) subscribes to most of the credos of the chillwave movement, but his sound is based more principally on hip-hop.  Toro y Moi incorporates ambient loops, synths, and filtered vocals just as tactfully as any other artist on the scene, but has applied them to beats and funky rhythms to create mellow sound, albeit not enough to be classified as downtempo.  There is enough progressiveness in his tunes to make some of his songs somewhat danceable, even though his albums have a dulcet, lounge, vibe.

      Toro y Moi blasted on the scene in 2010 with his debut album, Causers of This.  While released in during the heat of the chillwave movement, Toro y Moi opted for a more electronic vibe, over the indie rock of his colleagues.  His sound offered electronica fans a more mild option than the intestine rattling dubstep prominent on the digital scene.  Where dubstep's emphasized intesity, Causers of This relied on rhythm and textures.  The result is stunning pathos; something rarely found within the electronic world. 

  

  In 2011, Toro y Moi released his sophomore effort, Underneath the Pine.  This album was welcomed with rave reviews, and proved that this artist is at the forefront of the electronic chillwave movement, and that his previous effort was not a fluke.  Underneath the Pine highlights Bundick's second to none amibtion, and his ability to pursue new direction rather than rest on his laurels.  Underneath the Pine, although still clinging to the skeleton of his sound,  opts for more organic textures (organ, chimes, and even a live drummer!) rather than the synth pop of Causers of This.  Additionally, songs like "New Beat" see above show off Toro y Moi's penchant for funk music, while still remaining rooted to his signature warmth and melody.  The results of his enterprise is one of the best LP's of 2011.
     Within the next couple of years, the popularity of this new chillwave movement will almost definitely subside as the next new sound hits cities across the universe.  With that, thousands of bands and DJs will search for new jobs, or find a new sound for new ears.  As this happens, however, the true greats of the chillwave movement will stand, and continue to release amazing work.  Not the least of these is Toro y Moi, whose talent will continue to seduce fans in both the indie and electronic genres.  Soon enough, hundreds of chillwave artists, as well as the name chillwave, will be nothing but an urban memory, but the work of Chazwick Bundick will not.

Fleet Foxes: Helplessness Blues

 

      The recording process of Helplessness Blues was not carefree and breezy as the sound would suggest.  Throughout the cultivation of the album, the band toured extensively, and scrapped almost an entire albums worth of material before coming up with these songs.  The band, most explicitly vocalist Robin Pecknold, revealed how trying it was for a Fleet Foxes to produce an album as revered as their debut.

    The fruits of this arduous process is an incredible album: one of the best of 2011.  Helplessness Blues comes together in beatific acoustic sound.  For this latest album, all of the essential parts of the Fleet Foxes are present:  Acoustic guitars, vocals laced with wistful reverb, gorgeous harmonies, and Americana lyrics.  Helplessness Blues, however, is far more intricate than its predecessor.  The album is deeper, which allows the songs to unfold into greater depths.  While the band holds steadfast to their folky sound, there is much more instrumentation and texture to Helplessness Blues.  There is a saxophone solo in "The Shrine, An Argument," chirping flutes in "Grown Ocean," and more complex musical interplay throughout the entire LP.  The album also has a slightly darker tone, which adds a more analytical mood to the album, while still keeping it optimistic and unpretentious.  

     It was a long hard rode for Fleet Foxes to release this album, but the work paid off in brilliance.  The band has constructed a folk/indie masterpiece that captures all the mood of American Escapism, without pomp or overbearing grandiosity.

Panda Bear: Tomboy

     After pushing the envelope further and further off the table with his Baltimore based Animal Collective, Noah Lennox (AKA Panda Bear) has been rightfully crowned king of the indie/experimental scene.  In 2007, he further incited the hipster masses with his solo effort, Person Pitch, an album which many critics agree sets the standard for indie rock.  Lennox's long antipated sophomore release, Tomboy,  does its best to live up to the hype.
        Listeners, especially new ones, must approach Tomboy with an open mind, as Lennox employs his typical blips, synths, and HEAVY reverb effects.  It is a shame that the indie rock scene has been so over-saturated with artists who use these effects unsuccessfully, as they have become as prevalent as auto-tune in pop music.   Tomboy is not a particularly accessible album, as it is ample on noise, and devoid of melody.  Still, Lennox creates a beautiful album, exchanging Person Pitch's driving electronic beats for hazy atmospheric sounds.  The opening song, "You Can Count On Me," seems to expand forever, and "Scheherezade" is downright creepy with its lonely, isolated sound and mood.
    Panda Bear's Tomboy may never take the radio by storm, nor sell an exorbitant amount of copies, but few can argue the creativity Noah Lennox possesses.  This latest effort lives up all of Lennox's previous efforts, and continues to solidify his reverence as indie rock legend. 

Atmosphere: Family Sign

     Throughout the last 15 years, Sean Daley (AKA, Slug) of Atmosphere, has slowly established himself as one of the most talented, and brutally honest rappers.  Forgoing songs about Cars and Cognac, Atmosphere pens songs about drinking to the point of vomit, and Slug's tenuous relationship with his son.  Atmosphere has long been a refuge for fans of true hip-hop, searching for great music devoid of superficial trends.

    With Family Sign, Atmosphere continues the exploration of Slug's self pity and bad habits.  Typically, at this point, this could be considered schtick, but Slug is so well-spoken that it is forgivable.  Songs like "Bad Bad Daddy" portray him as getting shitfaced at a bar with his kids in tow.  Slug's words are poignant and mature, but par for the course.  Some fans might be let down by the abundance of gloomy ballads on the album, and the scarcity of self-deprecating humor. Many times throughout the album, Slug sounds like he has lost his perseverance, and is nothing more than a grumpy old man.

     The biggest Difference between Family Sign and previous Atmosphere efforts is the introduction of a keyboardist and a guitarist. The opening song, "My Key," announces a new frontier for the bands sound. A full band adds another dimension to the music, and serves as a great enhancement to the words.  Distorted guitars and haunting keyboards only augment Slug's world-weary raps.  Instrumental breaks also provide emotional buildup, and time for the listener to soak in the lyrics, which, in typical atmosphere fashion, often tell a story.  The full band, however, does not have the power to gain or lose fans, as Family Sign is still undeniably Atmosphere.

The Strokes: Angles

     It has been almost a decade since The Strokes released Is this It, the landmark album that knocked boybands off the map, and allowed creative music to have mass appeal.  Since then, The Strokes have released two more albums to mixed reviews, before taking a nearly five year hiatus to decide where, if anywhere, they wanted the direction of the band to go.
    They  have now released Angles, which is something of a return to classic Strokes form, although slightly tweaked.  The band reemerges as a post-punk band.  The difference is, however, is that where initially The Strokes sounded like a band playing CBGB's in the early 70s, they now sound like a band playing there in the early 80s.  This most recent album has a more polished New-Wave sound, abandoning their raw guitar work for more precise instrumentation, and laced with synthesizers.  Despite it's more lacquered sound, Angles is still a return to the short punchy rock that put The Strokes on the map.  Fans of The Strokes, as well as post-punk in general, will enjoy the music throughout.  The music seems a little sadder on this album, best evidenced by the song "Call Me Back," which forgoes any percussion, and only has sparse keyboard and guitar to aid the vocals.  Some of this dolefulness may stem from lead vocalists Julian Casablanca's apathy to this album (as of late 2009, he was unsure of the future of the band, and even after he committed to the project, opted to mail his work into the band rather than be part of a recording process.)
     After all is said and done, The Strokes have resurfaced with a good album.  Fans expecting another masterpiece like the greatness achieved 10 years ago, may be disappointed, but people looking for a solid album that shows a bands reshaping over the years, will be pleasantly surprised.

All In!

     With the beginning of the 2011 Baseball season, many fans and analysts have determined the Chicago White Sox to be the frontrunner for the AL Central Division Crown.  While the team is irrefutably lacking "superstar" talent, they possess the same potentially consistent lineup and rotation that brought the Championship to the South Side in the fabled 2005 season.  For the Sox to be successful,  several starts must align; among them....

     Mark Buehrle must continue to produce, and the supporting cast must continue to support.  Buerhle continues to be the heart-and-soul of the White Sox pitching rotation, but perhaps it is his time to step back from his role.  In the last couple years, he has had a falling strikeout rate, and a slow start to the 2011 season.  While this could be inconsequential, it could also be a signal that Buerhle is in for a true career decline.
     With the Buerhrle's (possible) decline from superstardom, the rest of the rotation needs to step up and take on a leadership position.  While former ace Jake Peavy has failed to produce anything but stress for the South Siders, John Danks continues to rise as a formidable pitcher, and newcomer Edwin Jackson is a great source of wins for the Sox.  This along with consistent outings by Gavin Floyd, will help keep the runs low, and allow the offense room to produce.

     The White Sox offense has the potential to be a powerhouse.  With a pleasant mix of young and seasoned players, and a hitter-friendly ballpark, heavy run-production is almost a certainty.  A few things need to happen for offensive supremacy.
      No fans of the South Side expect career years for Paul Konerko and Adam Dunn, but the two are expected to do what they are supposed to do.  Dunn and Konerko, both in the autumn of their respective illustrious careers, are no longer going to take the role of on-field leaders.  They must however, continue to produce their projected numbers.  Dunn is slow, and has an immaterial batting average.  Still, he is always good for 30+ home runs per season.  If he can do this once again, Dunn will have exceeded his expectations, and fulfilled his role as a dependable DH.  Konerko, although in his mid-30's, still has all the possibility of being a consistent hitter.  Even though his numbers may be lower than what they were several years ago, Pauly is still expected to wield a decent bat with decent results.
     Three seasons ago, Carlos Quentin put up MVP numbers.  Since then, he has been riddled with injuries.  Quentin is dependable when healthy, as he rarely slumps.  If Quentin can stay away from the disabled list, the Sox can count on him as one of the biggest threats in the American League.
     Last year, Alex Rios came into his own as a White Sox.  Arguably the most steadily producing offensive player of the 2010 season, Rios has the capabilities to put up high average, as well as 100+ RBIs.  If he can put up similar numbers as last year, he will certainly emerge as a youthful team leader alongside Gordon Beckham.

     Gordon Beckham, the wunderkind second baseman (and my favorite player), has been proving that he is deserving of the hype that has surrounded him since the minor leagues.  After learning the ropes the first couple of seasons, Beckham is beginning to show his comfort at the plate and in the field.  Last year, his actual performance was better than his numbers suggest, and 2011 is looking to be his breakout year.  Some analysts have suggested that Gordon Beckham could theoretically win the MVP this year.  If the White Sox make the playoffs, and Beckham shows the numbers that match his ability, this may become a reality.

     The 2011 Chicago White Sox have the lineup and rotation to take them well into the playoffs.  With the entire team firing on all cylinders, it seems that the AL Central is theirs to win.  Only time, and a summer of possibilities will tell what the year holds for a team that intends to go "all in."

Destroyer: Kaputt

     Dan Bejar, the NYC by way of Vancouver based frontman (and primary mind) of Destroyer, has entered 2011 with an enigmatic, and arguably finest record to date, with Kaputt.  Following the recent trend of new-wave revivalism, Destroyer opts to take the ethereal route, rather than the jittery.  Kaputt creates a dreamy soundscape using a complex blend of MIDI instrumentation. Kaputt is not a shoegazing album, though.  Destroyer opts to create a smooth, jazzy mood, enhanced by saxophone laden hooks, and retro sounding keys and guitar licks.  The result is an emotional collection of funky, movable songs that are easily accessible to the listener.  It is difficult to determine whether Kaputt will stand the test of time, or will fall away in the ocean of hipster-era synth, but regardless of its future, Destroyer's latest creation is something truly original and special.

Girl Talk- All Day

  

   There are no surprises on Greg Gillis' (AKA Girl Talk) latest album.  Girl Talk Critics will not have an epiphany after hearing All Day.  The formula is the same, Gillis puts the last 30 years in a pop-music blender and produces a cocktail that is humorous, ironic, and danceable.
     With All Day, however, Gillis shows maturity as a producer.  In his previous works, Gillis seemed to force his samples together, which made his work too chaotic for the discerning (sober) listener.  With All Day, Gillis extends his samples, giving the songs room to breathe and evolve on their own.   It sounds like his most effortless album, but his cooldown moments, which are interspersed throughout, are carefully calculated.  The samples go on longer, and therefore, so does the punchline. The result is Gillis' most cohesive album to date.  All Day will still make dance floors erupt, but it is possible to listen to this album and appreciate his craft.

Track n Field- Marathon

 An underground electro classic eleased in 2007, Finnish producers Roberto Rodriguez and Jukka Kaartinen have produced an amazing tapestry of danceable music styles.  With Marathon, the duo display beats that are both driving electro and laid back lounge.  Throughout the album, there is sexy soul sounds immeshed with acid midtempo to create intelligent dance music easily appreciated by the critical ear.   Track n Field is an extremely accessible and genre nebulous project, so this album can be appreciated by fans across the board, be it jazz, hiphop, or electronic (and everywhere in between).  Marathon was never released in the United States, so finding this album can be a chore. The resulting feeling attained from this album is well worth the hunt!

 

Lawsuits For a Cure

     With complete reckless abandonment of public image, and a slap in the face to those affected by cancer, as well as their benefactors, the Susan G. Komen foundation has filed countless lawsuits against any other cancer awareness group using the phrase "for the cure."  Most of these non-profit organizations are smaller organizations completely unable to weather the fight against the Komen Foundation's top tier legal team.
      It's a sad chain of events to know that the the nation's preeminent charity vigilantly looks to seek and destroy other grassroots organization, creating some sort of altruistic hegemony.   Through some degree of separation, everyone is somehow affected by cancer, and those who donate to charities fighting the illness do so out of their own kindness.  It's a shame that their kind donations are going to lawyers instead of researchers and raising awareness for copyright laws instead of a plaguing disease.  It can only be imagined those suffering from cancer feel about how THEIR money (those who donate do so for the people affected, not the organization) being put to such a proactive endeavor.... kudos.
     The most disturbing of the matter is what this action represents to society.  It is already common knowledge that 98% of America is governed by corporate greed, the last 2% being charities and those who donate to them.  Now that the charities are corrupt, the donators now have no choice but to behoove apathy and cynicism.  The small percentage of people who do care are disillusioned.  How can someone donate money now when transparent politic muddy the compassion.  Why support causes, it all goes to the system anyway; abandon all hope!*

Author's(blogger's) note:  Im being a tad hyperbolic.  I still urge people to see the glass half-full and to support causes.

History repeated? Meh...

     In 2006, despite lacking a regular starting quarterback, the Chicago Bears fought there way to the Super Bowl.  Their 13-3 record underscored the fact that there was no true offensive greatness elevating the team to victory; the cards simply fell in the right place.
     The stage is once again set for Chicago's surprise return to greatness.  Jay Cutler, although still not walking on water, as many Bears fans originally predicted, seems to be getting hot at just the right moment.  Also, Forte has regained some steam (some) after a disappointing sophomore effort, and WR Johnny Knox is coming into his own as a offensive threat, tallying up nearly 1000 receiving yards.  This, along with its swarming run defense could easily catapult the Bears to the top.

     The tepid performances of other NFC teams further boost Chicago's potential.  The Philadelphia Eagles, despite looking like a frontrunner for a trip to Texas, has kinks needed to be addressed.  Michael Vick, team leader, and canine enthusiast, is hurt, and his performance is sure to suffer.  LeSean "Shady" McCoy, rarely breaks the 100 YPG mark, leaving DeSean Jackson to carry the bulk of offensive production.

     Atlanta Falcon's are an amazing team, but may be unready for the pressures of the playoffs.  Sure Matt Ryan is a good QB, but can such a young player persevere the stress of postseason play?  He will need to depend on his  (amazing) supporting cast for help.

     New Orleans are looking to repeat their performance, but they are lacking a solid running game, Chris Ivory only had one exceptional game this season.  Also,  the Saints defense hasn't been something to be desired.  Who Dat nation will be relying on Brees to carry the weight of the Lombardi from the French Quarter to Dallas. 

     Chicago seems in the right place to capture the NFC title, but they are reliant on Karma and productivity on both sides of the ball.  The three NFC teams previously highlighted are ALL more talented than the Monsters of the Midway.  For any success, the offensive line needs to protect Cutler (he's extremely fragile!), and the defense must continue to create offensive breathing room....although judging from last weeks game against New England, this whole blog could be a moot point.

     

Some notable releases of 2010

Being a new year (and a new blog),  it's about that time again for me to start making my "Best of" list.  Since in the past, I have always over-thought and stressed out about these lists, I will not be ranking the albums, but rather just make a list of great albums standing side-by-side.

So with no further ado, I give you the top (non-jamband) albums of 2010.

Ariel Pink's Haunted Graffiti: Before Today- This album is a great fusion of 70's and 80's pop.  Before Today bounces from psychedelic guitar riffs and jangly guitars to synth lines and downtempo electro.  A great example of the modern emergence of Psych-Pop talent.

Of Montreal: False Priest-  After releasing two masterpieces previously, False Priest a bit of a step down for the Athens, GA electro-glam outfit.  Despite lowering from their highwater mark, this album still has the danceable disco beats and provactive lyrics that Of Montreal fans have come to expect from an album.   Although not their best work, False Priest is hardly a let down.

Vampire Weekend: Contra- This afternoon, while compiling this list, I have seen the "Holiday" Honda commercial at least 30 times. I will now by Ford and avoid Vampire Weekend.

Deerhunter:  Halycon Digest- One of the best albums of 2010.  Headed by art-rock maven Bradford Cox, Deerhunter release an amazing array of songs that blend and defy genres.  Halycon Digest tactfully intertwines art rock, ambient folk, and atmospheric sounds to produce his best work to date.

LCD Soundsystem: This Is Happening- In his latest, and most ambitious, release to date, producer James Murphy flirts with aging and maturity, while keeping the party going all night.  This Is Happening seemlessly combines art-house with dance party beats and synth lines galore.  Murphy pushes the envelope closer to the edge than most any other producers, as  he tends to have a proclivity to anthemic pop.  This album sounds more like Bowie or Talking Heads than the typical electro sounds of the modern DJ.  With This is happening, LCD Soundsystem shows that he continues to be the leader of the electric pop movement.

The Roots: How I Got Over- The Philadelphia legends return to greatness with this classic hip-hop album.  This is the bands most cohesive effort to date, beginning with melncholy and ending with survival. The band's previous two efforts have had a darker feel to them, with slightly more aggressive beats backing them.  How I got Over return to optimistic, conscious tunes over jazz beats.  A great profession of resilience from hip-hops finest musicians and wordsmiths.

Minus the Bear:  OMNI- Seattle's Minus the Bear released an impressive album unapologetically themed around sex and chemicals.  This album has sultry, x-rated lyrics that match well with the post-punk synth based indie rock that is played underneath.  This album is one part organic and one part electro, both shoegaze and danceable.  From this album emerges Minus the Bear as a rock band able to incorporate blips and synths to achieve a unique sound.

Beach House: Teen Dream-  An amazing album from a relatively unnoticed band. Teen dream has a dreamy pop sound that is second to none.  A cerebral blend of elegiac vocals, droning keys, and guitars, Teen Dream kindles a warm feeling of nostalgia and melancholy.  This album is loaded with rich melodies and hazy ambience. A very well done album.

The Black Keys: Brothers-  With the release of Brothers, The Black Keys are coming into their own as a band.  The Ohio grown duo's latest effort featured a myriad of sounds, exhibiting their past and shows their intentions for the future.  Brothers has both the garage rock feel of their earlier work, as well as the more technically produced tracks like their previous effort (produced by Dangermouse).  The result is the classic Black Keys sound with new enhancements.  

Arcade Fire:  The Suburbs-  Having dealt with the issues of death and religion in their previous two efforts, Arcade Fire tackles the issues of getting old and having responsibilities.  Despite the potential boredom of subject matter, The Suburbs delivers in typical genius fashion for the Canadian maestros of indie rock.  Arcade Fire blends genres fluently (Vocalist and guitarist Win Butler described the album as a combination of Depeche Mode and Neil Young).  Throughout the album there is, indeed, a cohesive mix of 80s new wave and classic folk-rock.  With The Suburbs, Arcade Fire continue to push the envelope and set the bar high.  

Flying Lotus: Cosmogramma- For his latest effort, Flying Lotus creates a sonic masterpiece.  Cosmogramma blends urban jazz beats with a multitude of electronic sounds (often simultaneously) to make a hip-hop/electronic/downtempo masterpiece.  The mood of Cosmogramma changes often throughout the album, but always seems to hold the same theme.  The guest appearance by Thom Yorke (Radiohead) only solidifies its place as one of the finest albums of the year, and declares Flying Lotus as one of the world's premier producers.

 Gorillaz: Plastic Beach-  This album, as opposed to their previous two efforts, lacks the potential for a Top 40 single, and will probably take longer to grow on the listener.  What it lacks in accessibility, Plastic Beach makes up for in creativity and talent.  The Gorillaz have released an album truly different than its predecessors.  This concept album is an evolution of the sound of the previous releases.   Plastic Beach is a benchmark for collaborative efforts, as it features such diverse guests as Snoop Dogg, Bobby Womack, and Lou Reed.

Caribou-Swim:  A great electronic work.  Caribou (aka Dan Snaith) creates a unique sound by blending his soft vocals with dark quiet electro sounds.  The end result is Caribou's best effort to date.  Swim is darker and moodier than Caribou's other efforts, but this album is a definitive step up for the Canadian producer.  This album has the rare ability to simultaneously ignite thought and bob heads.

Broken Bells: Self Titled- Indie Rock extraordinaire James Mercer (The Shins) and production legend DJ Dangermouse (AKA Brian Burton, Gnarls Barkley) create a brilliant album that demonstrates both artists at their finest.  Broken Bells features poignant lyrics and haunting vocals paired with organic and original beats.  Both Mercer and Burton embrace each others respective talents and genres, making this album truly original (this album doesn't sound like The Shins or Dangermouse). A masterful collaboration and beautiful album. A true masterpiece.