This article was reprinted for The Llano Idea.

It seems like Virgina rap duo Gene and Terrance Thornton (otherwise known as Malice and Pusha-T, aka Clipse) revel in releasing their albums in December, purposefully screwing up everyone’s year-end list order after it’s been made. Although their latest effort doesn’t pack the punch as past releases Hell Hath No Fury and Lord Willin’, in a year when rap music was devoid of great albums and people were debating if this was the beginning-of-the-end of hip-hop, their release is probably second only to Raekwon’s epic wordily titled masterpiece Only Built 4 Cuban Linx Pt. II — which, to be honest, is kind of sad.

The album starts off strong with a 1-2-3 combo of “Freedom”, “Popular Demand (Popeyes)”, and the hit single “Kind of Like a Big Deal” (featuring none other than the voice of our generation). The opening track, produced by the popular prolific pair Sean C & LV, features a beat more rock than rap with screeching omnipresent electric guitars over a haunting looped vocal sample of “speak / speak of freedom / sing of amber / waves of grain”. Contrary to the straight-up-street grimy flow we’re used to, Pusha-T makes no qualms of informing us exactly where his inspiration for this change of style on the song came from, exclaiming “let me play the role of a Common / over this beat boy / speaking my truth in rhyme / no matter how bland it is”. However, the laid-back Neptunes beat on “Popular Demand” brings out the old school drug-dealing braggadocio we’re used to (“lining up hoes like dominos”), and even the featuring Killa’ Cam returns to word play form (a la “Gone”) with lines like “I keep it fa’ real with the clips”.

No doubt the album highlight comes in the form of the prematurely released hit first single “Kinda Like a Big Deal”. With a roaring bass drum line clacking around like a street performer’s five gallon plastic mini-barrell, this is a jam that’s meant to be bumped to in an old Caddy that houses an embarrassing amount of sub woofers. Not ones to put to waste a great beat, Clipse destroys the track with some of their sickest rhymes (“It’s a blessing / to blow a hundred thou’ in a recession / with no second guessin’”) and even the sometimes lyrically-lacking West joins in on the pummeling by declaring “Spitting fire on the PJ in my PJs / Fire Marshall said I took it to the max like TJ” (although I’m not so sure I agree with his claim of being “the black Marshall meets Jay”).

Unfortunately, the quality starts going downhill from here. “Showing Up” features a much-too-forced, uninspiring Pusha-T verse (“Seeing through your poker face / That n**** bluffin’ / Ladies going gaga for n**** trying to fuck em” — uh, ok) over one of those cluttered “impending doom” type beats that has as much chime on it as “(Don’t Fear) The Reaper” has cowbell. Continuing the suckiness, “I’m Good” is one of those obligatory hip-hop down tempo “ballad” tracks which is probably the worst song on the album and the trite “n***** die out here for snitching” in “There Was a Murder” is about as played-out a line that you could feature on a hook. And on, and on…

Now one thing this album is never lacking in are amazing quips. You can’t help but smile a little at lines like “cocaine aside / all of the bloggers behooved / my critics finally have a verse of mine to jerk-off to” (Freedom) and “do what I say like Simon / and you too will diamond blind ‘em / I’m on my Dylan” (Footsteps) — a node to the laughable Makin’ da Band reggae singer (I use this term loosely) Dylan “Dylinjah” John. Unfortunately, the lyrically quality (and album) as a whole does not hold-up to the unattainably high expectations generated by their past glories. It’s a shame too because ’09 certainly needed Till the Casket Drops to be as great as its predecessors in order for hip-hop to maintain some sort of mainstream relevancy moving forward into the new decade.

Clipse // Popular Demand (Popeyes)

Clipse // Kind of Like a Big Deal

Featuring as its A-side arguably the best song from 2009′s #17 album (and also Pitchforks ninth best track of this year), it really doesn’t matter what you put on the other side of the record; however, “Life In San Francisco” matches the charm of its flipside counterpart as best as you can hope for. Contrary to the get-up-and-move pace of “Lust for Life”, “Life In San Francisco” is a more downtempo melodic track about missed connections and love longings — you know the standard adolescent late-night phone chatter you’d expect from a Girls track. Check out a stream of the song here.

Wavves // To the Dregs [PPM]

Released on No Age founded label Post Present Medium Records at his buzz-zenith (the repeated z’s are not a coincidence), it’s no wonder that Wavves’ “To the Dregs” blazed through its 1000 pressings in little under forty-eight hours. Featuring two versions of Nathan William’s hit and one of my favorite album covers of the year, it’s unfortunate that so few people got to enjoy it. Although the A-side is the standard album version, the B slows it down to molasses speed creating, accurately described by the label, “a slightly more relaxed and twisted rendition” of the song.

Wavves // To the Dregs

The Sandwitches // Back to Sea | Beatle Screams [Southpaw]

If I haven’t convinced you yet of the awesomeness that is The Sandwitches, I sure as hell won’t change your mind with a couple of gushing sentences. If your a fan of modern spins on 50s pop (The Raveonettes, God Help the Girl, The Pipettes), you are bound to dig this trio of females as well. If there was a better adjective than catchy, I would use it, but alas a quick glance in the thesaurus reveals unsatisfactory results. Do yourselves a favor and cop this record before the paltry 250 pressings fly off the shelves.

The Sandwitches // Back to Sea

Vampire Weekend // Cousins | California English Pt. II [XL]

Now for anyone who knows me, it comes as no surprise that I think Ivy-leaguers turn indie-darlings Vampire Weekend are, how do I say this tactfully…, over-rated? However, this doesn’t mean I can’t change my opinion — and a pretty slick sounding 7” certainly helps. Markedly different than anything off of their S/T debut, both “Cousins” and B-side “California English Part II” could be loosely defined as experimental indie-rock (with cut-up, uncomfortable rhythm and Animal Collective-esque looped synth swells respectively). What this 7” provided me with is excitement for the future of Vampire Weekend — something I didn’t get with anything from their debut.

You can watch the video to “Cousins” at their official website.

Thrift Store Cowboys & One Wolf Split // Nothing | Everything’s On Fire [Mt. Inadale]

It’s the rainy season here up in the Northwest, so it’s natural I would long for those sometime-crazy-but-most-likely clear skies of West Texas. When I get too stricken with homesickness and can’t help myself from reminiscing about my past life in Lubbock, the best remedy I’ve found is busting out local acts Thrift Store Cowboys and One Wolf’s latest 7” split and get lost in the beautiful country melodies. On the A-side entitled “Nothing”, Thrift Store’s singer Daniel Fluitt immediately takes charge of the song with his powerful-yet-delicate vocals, meshing perfectly with the slow-moving mellifluous instrumentals him and the rest of the Cowboys provide. Channeling a little bit of Rock N Roll era Ryan Adams, One Wolf (fronted by singer/guitarist Daniel Markham) provides an uptempo counter to Thrift Store’s somber track. “Everything’s On Fire” is without a doubt a stadium jam that, in a just world, would have scores of fans shouting along in unison to all the “Everything’s on fire”s and “I guess I’m just a liar”s of the chorus. Who knows, maybe in a couple of years it will be like that — we can only hope.

Here’s a video of Thrift Store Cowboys performing “Nothing” live on their latest West Coast US Tour:

Rainbow Bridge // Big Wave Rider | Bird Cage & Sensitive as a Dream [True Panther]

It was only a week ago since I purchased Washington-based garage rock duo Rainbow Bridge’s debut 7”, but it has made enough of an impression on me that I had to include it in my year-end favorites. With dirty White-Stripes style guitar & drums (I’m sure they are probably getting sick of that comparison), they come off as the perfect counter to the excessive amount of “glo-fi”-ness infiltrating the blogs these days. With their relaxed pace and strong guitar riff interjections, all songs on this 7” are perfect when you need something to kick back and zone out to. Indisputably, their biggest hit-to-date is the kick ass “Big Wave Rider” which you can download below:

Rainbow Bridge // Big Wave Rider

Explode Into Colors // Paper | Heat [M'lady]

Another belated acquisition from another NW band, Explode Into Colors last entry to their tryptich of 7” releases is arguably their best to date. With groovy bass lines from singer/bassist Claudia Meza paired with standard garage drums, Explode Into Colors would be at home sitting next to any Mika Miko, Finally Punk, or Vivian Girls record on the shelf. Here’s the B-side “Heat” so you can judge for yourself:

Explode Into Colors // Heat

Moonface // Introducing Moonface [Aagoo]

Prior to the release of his insane 20-plus-minute marimbad and shit drums EP, Spencer Krug put out a tame-by-comparison 7” under the moniker of Moonface. Part of a series of David Horovitz picture disks, Introducing Moonface exhibits Spencer Krug at his most vulnerable: by himself with a lone piece of musical equipment. Opting for the piano for Side-A’s “Coming to At Dawn” and his instrument du-jour electric guitar on “Insane Love is Awakening”, no one, and I mean NO ONE, could fathom what Krug had in store for us with his Marimba EP. Nevertheless, he was able to stitch together a pleasant sounding pair of songs that definitely belong on this list. Here’s a video of a full band arrangement of “Coming to At Dawn” performed live in Austin, TX over the summer:

Grouper // He Knows | He Knows [Collective Jyrk/Yellow Electric]

Oh the perks of living in Portland! Not only do we have the highest bicycle commuters in the US and enough vegan food to, well, choke a horse, we have the added benefit of being able to easily cop obscure releases from well-recognized local acts. Portland-based mysterious experimentalist Grouper certainly ranks as one of the most talented the city has to offer, and with the haunting sounds on her He Knows 7”, it’s no wonder that she’s gain a sizable fan base in her hometown. Chalk-full with reverb heavy guitar and looped fuzzy cassette recordings, both sides would be fitting music to scare off any Halloween trick-or-treaters.

Finally Punk // Hypertension EP [M'lady]

I’m unsure if Austin’s Finally Punk‘s Hypertension EP was recorded this year or in 2008, but I’ll go ahead and include it in the list because it’s that kick ass. Able to somehow fit four songs on this 7” (hell, it take longer to read the titles of the tracks than listening to them), Finally Punk is able to eliminate the passively degrading connotations which the term “girl-punk” implies (you know, the whole “she’s good…for a girl” type shit) — and eliminates the hyphenation by making flat out great music. With songs all clocking in at under two-minutes, the EP is a whirlwind that you want to get caught up in. Here’s a video of “Missiles” (which is not on the EP), just to give you an idea of their style (courtesy of The Llano Idea):

Best Coast // Make You Mine EP [Group Tightener]

Not to be confused with Best Coast the record label, Best Coast the band is the brainchild of Californian child-actor turned musician Bethany Cosentino. Nicely fitting into the chillwave vibe of the summer, Cosentino is able to do fuzzed-out bedroom indie-pop as good as the rest of them. Instead of blazing through four songs like Finally Punk, Cosentino takes her time with hazing pleasant melodies and putting it together with blurry vocals to make some of the best songs of the year.

Best Coast // In My Room

The Fresh and Onlys & Dan Melchior UDM // Split 7” [Volar Records]

Rushing through at tempos easily over 100 bpms, The Fresh & Onlys start off fast and furious with their opening track “A Taste of Hunger” and release their foot slightly from the accelerator for the following track “Black Coffin”. Making lo-fi indie-rock, this San Franciscan band is one I am certainly keeping my eye out on for the future (or the present, if you count their ’09 Woodsist released 7” and LP). Providing a nice flip-side complement, British born NC resident Dan Melchior und das menace‘s music likens itself to the hypothetical situation of Art Brut‘s Eddie Argos recording two tracks while tripping out of his mind on acid.

The Mayfair Set // Already Warm | Desert Fun [Captured Tracks]

Rounding out the end of my 7” favorites is the collaborative project between members of LA’s Dum Dum Girls and one of Brooklyn’s most prolific band Blank Dogs that goes by the name The Mayfair Set. A fitting ending to the string of fuzzy indie-pop outfits appearing on the list, The Mayfair Set might be the best in the bunch. I think popular blog Gorilla vs. Bear describes their sound the best by saying that they “combine Blank Dogs’ dark, Joy Division-like baritone with Dum Dum Girl’s bright, shimmering, ’60s informed vocal melodies to create a warm sound that is at once haunting and hopeful.” Well said, my friend. Well said.

To let you know what they sound like, here’s an mp3 off their Woodsist/Captured Track Young One release:
The Mayfair Set // I’ve Been Watching You

So to recap, here are my favorites:

• Girls // Lust for Life | Life In San Francisco
• Wavves // To the Dregs
• The Sandwitches // Back to Sea | Beatle Screams
• Vampire Weekend // Cousins | California English Pt. II
• Thrift Store Cowboys & One Wolf Split // Nothing | Everything’s On Fire
• Rainbow Bridge // Big Wave Rider | Bird Cage & Sensitive as a Dream
• Explode Into Colors // Paper | Heat
• Moonface // Introducing Moonface
• Grouper // He Knows | He Knows
• Finally Punk // Hypertension EP
• Best Coast // Make You Mine EP
• The Fresh and Onlys & Dan Melchior UDM // Split 7”
• The Mayfair Set // Already Warm | Desert Fun

Stay tuned, I’ll have my favorite songs up tomorrow!

You know the expression “never judge a book by its cover,” well it seems applicable with vinyl records as well. Although the front of Big Wave Rider b|w Birdcage looks like someone threw up a bag of skittles on top of a magazine collage, the music from Olympia-based duo Rainbow Bridge has been one of my favorite finds of the year. I first came across them when the infamous Pitchfork forkcasted (sounds dirty, I know) their single “Big Wave Rider”. In a summer chalk full of lo-fi electronic outfits like Neon Indian and Washed Out, it was refreshing to hear some dirty White Stripes-esque garage rock burst onto the scene.

The A-side of the 7” features their insta-hit “Big Wave Rider”. Not particularly concerned with maintaining a steady tempo, guitarist Adam Croce intros with a series of arpeggios before entering into a lazy strum repeated throughout the song. Somehow drummer Bridget O’Brien-Smith is able to keep the wheels from falling off completely, bringing the song back from the edge of implosion and driving it forward. The lyrics, with the repeated “big wave rider / try to ride a little higher / you’re a glider / sole survivor”, certainly adds to the carefree feeling of the track.

The B-side is composed of a duo of sub two-minute songs. The first, entitled “Birdcage”, sounds like it could easily pass as an early Man Man with it’s bouncy rhythm and oddball percussion. “Sensitive as a Dream” is a drugged out psychedelic nursery rhyme that, with its dark undertones, is sure to give children more nightmares than pleasant sleep.

If the displayed hand-written count of 476/500 is to be believed, there aren’t too many copies left to grab. If you aren’t down with sifting through your local record store to see if you can find a consigned copy, you can order directly from their label True Panther. Also, I recommend seeing them live — I caught them opening recently for Real Estate and they almost outshone the headliners (quite a feat, I know)! Here’s an mp3 of “Big Wave Rider” to try to win you over:

Rainbow Bridge // Big Wave Rider

Moderat // A New Error

Moderat // Nasty Silence

It seems that there have been a large number of album reissues this past month that are worth the attention of any self-described “die-hard music fan”. Among the noteworthy re-releases are Spiritualized’s 1997 euphoric space-rock album appropriately entitled Ladies and Gentlemen We Are Floating in Space”, the Beastie Boys’ Check Your Head (a follow up to the much heralded Paul’s Boutique), and the entire catalogue of Nick Cave and the Bad Seeds. However, the remastered collection that caught my eye the most was a quartet of LPs by experimental art-rock legend Scott Walker.

The four albums chosen – Boy Child 67-70, Classics & Collectibles, Sings Jacques Brel, and most importantly Tilt – do a good job of spanning the career of one of music’s most enigmatic artists, chronicling almost everything from his 60s pop-rock origins to whatever genre you call beating the shit out of a huge slab of meat for 30 seconds. I was first introduced to the music of Walker through his most recent 4AD released LP The Drift which, for anyone who has heard the album, isn’t the best of ways to gather a good first impression of his diverse discography. Tension filled melodies composed from chords containing both harmonic and dissonant elements puts the listener at a discomfort throughout, and Walker’s vibrato baritone voice does nothing to alleviate the uneasiness. The Drift as well as its predecessor Tilt are highly demanding albums to listen to, about the auditory equivalent of the Iron Man competition. Only after understanding the back story of Walker’s life and the drastic transformation his music has made over the decades can one fully understand how groundbreaking his most recent albums are.

Scott Walker // Tilt

The latest of my weekly post for The Llano Idea centers around the two recent compilation albums that have been getting rave reviews in the press: Dark Was the Night and War Child Presents Heroes. Here is an excerpt from full article which you read here when it comes out tomorrow:

It seems that most philanthropy done these days by the music community is either in the form of mega-benefit concerts or charity compilations. Since the former has been adequately exhausted due to Obama’s campaign trail, independent music listeners will have to settle for a handful of recently released albums featuring a jaw-dropping collection of musicians. The two such pieces that have caught my eye (and no doubt others’ as well) recently have been the Dark Was the Night two-disc set benefiting the Red Hot Organization in their fight against AIDS and the War Child Presents Heroes compilation helping children who live in war-torn regions.

Dark Was the Night is the brainchild of The National’s brother guitarists Aaron and Bryce Dessner whose aim is to use “music as a great vehicle to raise both money and awareness for AIDS.” With a who’s who list of popular “indie” artists that are sure to make any music hipster giddy with joy (Andrew Bird, Beirut, and Spoon to name a few) the album was destined to move a lot of copies with or without the added incentive of helping a good cause. As a much-heralded bonus, artists featured on Dark don’t contribute throwaway tracks and forgettable B-sides but rather songs which would fit nicely on any of their individual “proper” LPs.

Switching gears a little, Heroes features fifteen music industry stalwarts selecting modern day artists to cover one of their songs. Just as compelling as the cover songs themselves are the artists chosen by the living legends, making the album interesting to listen to on multiple levels. For example, Beck’s take on Dylan’s “Leopard Skin Pill Box Hat” is killer – bringing out the bass line and exaggerating the electric guitar interjections – but the image of Bob jamming out to Guero when he’s all alone is absolutely priceless. Some of these selections aren’t too surprising (David Bowie choosing T.V. on the Radio’s after they featured Bowie on “Province” from Return to Cookie Mountain), but others certainly leave you with that WTF feeling. The most egregious of pairing has to be The Clash’s selection of Lily Allen that I am sure lead to some deceased members rolling over in their grave.