The cover of the latest release from the Conor Oberst catalog features a picture of himself along with his backing band, only Conor is wearing a blindfold as a way to symbolize his first album where he gives credit to a backing band and allows them to rise to the forefront. Well that’s all good and nice, and a fine gesture from Conor, but hopefully it’s nothing that we’ll have to get used to. Just 9 months after his self-titled album, his first released under his own name, Oberst returns with Outer South which features 16 songs, a handful of which Conor didn’t write and does not contribute vocals to. Predictably, the Oberst songs are the strength of the album (with a few exceptions). “Ten Women” and “White Shoes” are the kind of stripped down acoustic folk ballads that show Conor at his best, and along with free-wheelin’ rousers like “Slowly (oh so slowly)” these are the kind of songs that helped Conor earn the tag of the “New Bob Dylan”.
The seven songs led by members of The Mystic Valley Band aren’t nearly as strong (with a few exceptions) with “Difference in Time” and “Eagle on a Pole” being the highlight of those (both Jason Boesel led tracks). And a quick shout out to bass player and Birmingham, Alabama native (and fellow Homewood High School alum) Macey Taylor who sings lead vocals on “Worldwide” which is the lone Oberst penned track that Conor doesn’t sing himself. However, a song as bad as “Air Mattress”, a non-Oberst written song, should never find its way onto a Conor Oberst release. As a whole this album is exactly what it was meant to be: a collection of fun folk-rock songs that Conor and the band wrote while on tour supporting the self-titled release. However, that’s all it is…a collection of songs, which is why it’s nothing special. What Conor has always done so well, as his Bright Eyes releases can attest, is create an album that is more than just a bunch of songs thrown together. So kudos to Oberst for allowing his friends and back-up band to get a little credit, but when’s the next Bright Eyes album already?
This is the first of what I plan to be a regular occurrence here on the blog. Every now and then, I’ll post a little playlist, or “A Round of Sound” (hey, that’s the name of the blog!) as I like to call it. Sometimes it’ll have a theme, other times it’ll just be random tunes. What all the songs will have in common though is that they’re all in my music library. So without further ado:
My post about Jimmy Eat World and their amazing album Clarity got me kind of on a late 90’s into the early 2000’s emo nostalgia kick. So here’s an emo playlist for your pleasure. Note that I left A LOT off of this list (I’m trying to limit these to about 10 songs). I’ll have to do a part 2 sometime in the future. Argue all you want about whether or not these are truly “emo”, but all of these were indeed at one time or another considered emo.
[“Forever Longing the Holden Sunsets” – The Appleseed Cast :: Mare Vitalis]
2009 marks the 10 year anniversary of Jimmy Eat World’s defining album, Clarity. It may come as a shock to many that I consider this one of my favorite albums of all time, but Clarity is one of those influential albums that helped shape a genre and not to mention my music tastes. It’s hard to say what makes Clarity so timeless. It’s not like Jimmy Eat World has done (or ever will do) anything this good since releasing this album back in ’99, but to this day many of the “emo” bands going list Clarity as one of their influences (even if you can’t really tell it in their music).
The late 90’s produced an explosion of bands that were placed into the rock subset of “emo”. Now, what truly defines emo is a controversy that is still argued to this day and it really has become more of a subculture rather than a music genre. However, Jimmy Eat World, and especially Clarity, has long since been considered a pioneer for the genre (whether you agree with it or not). What’s amazing about Clarity is that it was more of an underground hit. Only one of its songs, “Lucky Denver Mint”, was a single and the band was dropped from Capitol Records after this release. Maybe its lack of mainstream success is one of the reasons why it gained such a cult following, but whatever the case, 10 years later, there is no denying that this album still holds a strong place in the hearts of its fans and has gained many new fans just from word of mouth.
So it’s no wonder that Jimmy Eat World celebrated the 10 year anniversary by staging a 10 city tour in which they played the entire album start to finish. The last of those shows, from Tempe, was recorded and released as a live album exclusively on the JEW website. No one, not even Jimmy Eat World, could have predicted that 10 years after releasing their 2nd album, they would be on the road celebrating it’s anniversary. It speaks volumes to the album’s significance and the impact it has had on so many musical lives.
On its own, Clarity stands just fine, but isn’t necessarily mind blowing. It’s a good listen and is easily Jimmy Eat World’s Tour de Force. However, when put into context of the genre it helped build and define, Clarity is a monumental release that will continue to be celebrated many years past its 10 year anniversary.
Well, with 1Q 2009 (that’s first quarter of 2009 for you non-business savy) in the books, its time to highlight some of the releases so far this year that deserve mentioning. It’s been a semi-disappointing year to this point, but there have been a few excellent releases. Here’s a few that were released in the first 3 months of ’09 that are sure to stand out when all is said and done for this year.
The Antlers
The Antlers – Hospice
For me, any talk of the best albums so far this year has to begin with this haunting album from the Brooklyn based 3 piece, The Antlers. A concept album of sorts, Hospice tells the story of a relationship forged in a hospital, which inevitably ends in sadness, and the effect it has on the protagonist from there on out. It is truly one of the most emotional albums I have heard in quite some time, and while it does tend to come off as slightly pretentious, after a few listens that mindset fades away and the gravity of the songs really set in. Musically, Hospice is an immensely dense and atmospheric album with gorgeous production thanks to the inspired work from Peter Silberman, who is the heart and soul of The Antlers. The backstory of this album is similar to Bon Iver’s For Emma, Forever Ago and the results are just as heartbreakingly beautiful.
[“Bear” – Hospice] – Download this track free from The Antlers website by clicking here.
[“Two” – Hospice] – Download this track free from The Antlers website by clicking here.
Animal Collective – Merriweather Post Pavilion
In what is sure to garner numerous album of the year awards by the time 2009 is over, Merriweather Post Pavilion is possibly the best of Animal Collective’s 9 full-length releases. I’m probably not the best source for saying something like as the only other album of theirs I have is 2007’s Strawberry Jam, but the consensus on MPP is that it is indeed their best. However, there’s no arguing that this album definitely was their most anticipated. The hype surrounding this album pretty much won it album of the year before it was even released (Pitchfork’s 9.6 didn’t hurt either). I wouldn’t call myself an avid Animal Collective fan, but I do enjoy them to a degree and there is no denying that this is a fantastic album; much more accessible than what I’ve heard in the past. Who knows where it will rank in my list, but it is certainly deserving of the hype. (Old People don’t agree)
[“My Girls” – Merriweather Post Pavilion]
Antony and the Johnsons – The Crying Light
To say Antony Hagerty’s voice is an acquired taste is an understatement. And considering I didn’t quite get the hype behind 2005’s breakout I Am a Bird Now, but now find myself coming back to it over and over again, I guess I have acquired that taste. Now here we are four years later and Hagerty has finally released the follow up with his much anticipated The Crying Light. Hagerty gets help from Nico Muhly with the musical arrangements which is an added bonus, but the star here is still Hagerty’s haunting voice. Hagerty has created another beautiful and engaging album with The Crying Light, one that is sure to go down as one of the best of ’09.
[“Her Eyes are Underneath the Ground” – The Crying Light]
The Pains of Being Pure at Heart – The Pains of Being Pure at Heart
Last year M83 filled the void for 80’s indie pop retro bands, but this year The Pains of Being Pure at Heart has decided to step in. However, whereas Saturday=Youth was more electronic and synth based, Pains is straight up guitar pop with some synths sprinkled in. The New York City four piece is set to be this year’s indie darlings with their self titled debut full-length. It’s rare for a debut album to show this much confidence and the group shows a very good knack for songwriting while still having room to grow. It’s more shoegaze than what most indie-poppers might be looking for, but for those looking for a mix of shoegaze and twee-pop, Pains has pretty much nailed it.
[“Young Adult Friction” – The Pains of Being Pure at Heart]
Laura Gibson – Beasts of Seasons
With her second album, Gibson has created another intimate masterpiece full of her gentle folksinging that helped launch the All Songs Considered’s Tiny Desk Concert series. Gibson is to be appreciated in an intimate setting and as a way to showcase that intimacy, All Songs invited her to perform at the desk of Bob Boilen. That is how I was introduced to Gibson and Beasts of Seasons hasn’t disappointed one bit. Her voice reminds me of a less crackly and quirky Joanna Newsom, while also not being nearly as freak-folk as Newsom. It’s not easy to stand out as a folk singer-songwriter, especially based out of Portland, but with her subtle musical nuances and lyrics, Gibson is able to pull it off.
It’s pretty ballsy for a band on a major label to create a “rock-opera” concept album with only one real radio song on it, however Colin Meloy had been dabbling in prog rock for a while now so it was about time. But The Decemberists pull it off and while it is their worst album, that’s more of a compliment to the Portland band’s previous 4 releases. This is still an epic release.
Bird is easily one of the most talented musicians going today and Noble Beast does plenty to showcase that. However, for me the length of this album holds it back. It’s just a little too long…a few unnecessary tracks.
Another fine release from the Portland folk singer (yes, again Portland…are we seeing a theme here?). It’s a shame that She & Him is how he was introduced to the masses, because his solo stuff has and always will blow that project out of the water.
Here’s my big intro to this blog: Its new. It’ll be mostly about music with a few pictures sprinkled in and also some posts about some of my other interests (but mostly music). So there you have it…lets get right to it.
Every year, long after I’ve completed my Albums of the Year List, I come across a few albums from the previous year that I never got around to getting a hold of for whatever reason. So for the first few months of 2009, I’ve been listening to a good bit of 2008 releases that I missed out on last year. So what are some of these albums? Well thank you for asking. Here they are in no particular order.
Blind Pilot – 3 Rounds and a Sound
Blind Pilot is made up of a couple guys from Portland, Oregon and while they aren’t breaking any new ground, it’s clear they are great songwriters. I heard about these guys last year on NPR, but never really gave a listen until NPR featured Blind Pilot’s SXSW show on their Live Concert Series. After that, I got 3 Rounds and a Sound right away and haven’t stopped listening ever since. Currently on tour with fellow Portlanders The Decemberists, people like to consider them a folkier version of The Shins, which I can see. I can also see them experiencing a breakout similar to what The Shins went through as soon as they release a follow up to this wonderful debut. (And no, I didn’t get the name of the blog from this album title.)
Yet another folk band from Portland, Blitzen Trapper was actually one of the breakout bands of 2008, but for some reason I never got around to getting this release. Once I got an itunes giftcard for Christmas, this album was tops on my list to get. Furr is the fourth full-length from these guys but first on Sub Pop Records. It’s a fine album and the title track is easily the highlight of the album and one of the best tracks of 2008.
[“Furr” – Furr]
Marching Band – Spark Large
I checked these guys out thanks to a recommendation from a friend who discovered the band at this year’s SXSW. And man, this is catchy indie pop at its best. The Swedish band uses some great harmonies and fine percussion to create what I consider a more standard and twee version of Anathallo (although not quite as ambitious). I would like to see them change things up sonically a little more from song to song, as the album can get a little repetitive. However, Spark Large is only their debut album so there’s plenty of time to grow, but for now this is an insanely entertaining and fun listen.
[“For Your Love” – Spark Large]
Son Lux – At War With Walls and Mazes
At War With Walls and Mazes is the debut full length from New York based Ryan Lott, aka Son Lux. The album was released on anticon records which is home to some hip-hop and electronica versions of post rock acts. So yeah, Son Lux is kind of hard to describe. Robin Hilton of NPR’s All Songs Considered voted Son Lux as his best new artist of 2008 and this release as the top unknown album of last year. The music consists of tightly composed soundscapes and is an emotionally draining album. But it certainly isn’t for everybody.
[“Break” – At War With Walls and Mazes]
Miles Benjamin Anthony Robinson – Miles Benjamin Anthony Robinson
This guy was one of the discoveries Carrie Brownstein talked about on NPR’s SXSW ’09 Wrap Up show and the song featured, “Buriedfed”, starts off slow before erupting to anthemic proportions that took me by storm. I quickly got the album and have been very impressed by this self titled debut from Miles Benjamin Anthony Robinson. It takes a lot for me to get into any singer-songwriter, but there’s something special about MBAR and it doesn’t hurt that he gets contributions from members of Grizzly Bear and TV on the Radio to help out with this release.
Of all the ’08 releases that I’ve gotten into since 2008 ended, this album (and maybe Blind Pilot’s) is the only release that could’ve battled for a top 10 spot in my albums of the year list. I was introduced to these guys when eMusic named The ’59 Sound their album of 2008 and after checking Pitchfork to find a review of 8.6, I still can’t figure out how I missed them. These guys are a straight up rock band similar to The Hold Steady, but even more of a retro throwback to Springsteen and pull it off perfectly. This is their second full-length album, but whenever they decide to release their follow up, I certainly won’t plan on missing out on that one.
The cover of the latest release from the Conor Oberst catalog features a picture of himself along with his backing band, only Conor is wearing a blindfold as a way to symbolize his first album where he gives credit to a backing band and allows them to rise to the forefront. Well that’s all good and nice, and a fine gesture from Conor, but hopefully it’s nothing that we’ll have to get used to. Just 9 months after his self-titled album, his first released under his own name, Oberst returns with Outer South which features 16 songs, a handful of which Conor didn’t write and does not contribute vocals to. Predictably, the Oberst songs are the strength of the album (with a few exceptions). “Ten Women” and “White Shoes” are the kind of stripped down acoustic folk ballads that show Conor at his best, and along with free-wheelin’ rousers like “Slowly (oh so slowly)” these are the kind of songs that helped Conor earn the tag of the “New Bob Dylan”.
Posted by Hawkins 
A Round of Sound 