Black Dahlia Murder Music
Elizabeth ShortRare variant shot of Elizabeth Short from same shoot as one with pearls and bow in hair taken from a newspaper wire photo
After a great deal of re-listening and reflection, I can definitively say THESE are the albums in 2009 that caught my ears, piqued my interest, and took up space on both my iPod and computer. For a complete list of music releases this year, go here.
And now, without further adieu…
Best Release of 2009: Daisy by Brand New (*****)
Pound for pound, there wasn’t an album in 2009 that came as full formed, fully realized, and as unapologetic as Brand New’s Daisy. It was visceral, immediate, and groove oriented, opting for abrasive experimentalism rather than delicate atmospherics. You either loved it, or you hated it. Descending into brooding melodies, bluesy riffs, and tortured prose, songwriters Jesse Lacey and Vin Accardi ignored the band’s previous reputation to create a set of songs that paid homage to their indie and hardcore heroes of the 90s. Coming from a scene that begs for consistency and uniformity, Brand New continue to make a career out of writing their own rules. As a result, Brand New created the most daring album this year, a record that forced listeners to dissect its differences rather than rely on the band’s reputation for reactions. Key Cuts- Bed, You Stole, Bought A Bride
Best Debut: Ordinary Riches by Company Of Thieves (****)
Mining both folk and blues, with a touch of hazy texture, Company Of Thieves were a welcome surprise early on in 2009. Their debut felt like the work of an established artist, focused and catchy but with real resonance behind it. Simply put, Ordinary Riches is the type of album that captivates on first listen, and marvels you when you rediscover it years later. The playful bounce of “Oscar Wilde” and the slinky jazz overtones of “Old Letters” round out a set of songs that feels timeless when you hit play, an amazing feat for any debut album. Key Cuts- Old Letters, Oscar Wilde, Under The Umbrella
Best Rock Release: 21st Century Breakdown by Green Day (*****)
Expanding their sonic palate and their narrative scope, Green Day’s 21st Century Breakdown was the soundtrack to a nation in crisis. Tapping Butch Vig for a larger stadium rock sound, the Berekely trio created an album that was all at once broader than American Idiot, and at times, angrier. While the record includes some heavy doses of piano and power ballads, Green Day never let the cries of “sell-out” phase them, nor do they lose their sense of urgency. Instead the classic rock flavors and power-pop leanings give the disc variety, while Green Day is able to retain their signature voice, a voice that’s always tapped into the punk ethos. Full of buzz saw guitars and human sentiment, 21st Century Breakdown is a big album with big ideas, a set of songs that reflect the sign of the times while remaining timeless. Key Cuts- 21st Century Breakdown, East Jesus Nowhere, Restless Heart Syndrome
Best Metal Release: Deflorate by The Black Dahlia Murder (****)
No metal band in 2009 seemed to be concerned with musical progression, or at least progressing positively. The one exception seems to be The Black Dahlia Murder and their latest release, Deflorate. While the group’s signature down tuned frenzy, shrieked/growled vocals, and manic lead work are all in tact, the group added hints of melody this time around. Riffs had a tendency to stick with you, breakdowns allowed for breathtaking dynamics, and Trevor Strnad’s caustic screams held a sense of warped hooks. As a result, Deflorate is the most approachable album by these death metallers yet, an album that can hook in new converts while staying true to their aggressive take on European metal in under a half hour. Key Cuts- Black Valor, Necropolis, I Will Return
Best Punk Release: Grey Britain by Gallows (****)
It’s refreshing to see Gallows continue to kick listeners in the teeth with their dissonant take on hardcore punk. Drawing from 80s pioneers Black Flag and the underrated 90s innovators Refused, Gallows came back in 2009 with the massively foreboding Grey Britain, an album that outlined Britain’s social impotency as a target for their rage. The real treat, however, came from how the group has refined their punk attack. Focusing more on groove, fluidity, and huge gang vocals, Gallows sound menacing and powerful on Grey Britain. In fact, their newfound confidence allows them to forego many of the awkward stutter-stop time changes that bogged down their last full length. People always worry about spitting at the Devil, but with an album this ferocious, maybe they should be worried about spitting at Gallows. Key Cuts- I Dread The Night, Death Voices, The Great Forgiver
Best Electronic Release: Merriweather Post Pavilion by Animal Collective (***½)
Everyone put Merriweather Post Pavilion on their lists of definitive albums of the decade, but raging hype aside, Animal Collective created a very interesting album. While their scattered arrangements and choppy time changes are all but absence, these freak folkers opted for dense beats and slick synthesizers with varying results. For the most part, Merriweather Post Pavilion is an immersive listening experience, even if the consistency is questionable. It's big weakness was that tracks tended to meander in the disc’s second half, something that was largely absent even from the most abrasive Animal Collective record. Still, with a group this daring, there are bound to be bumps on their musical journey. And when it’s all said and done, it’s highs like the murky “Bluish” and the snappy “My Girls” that make it all worthwhile. Key Cuts- My Girls, Summertime Clothes, Bluish
Best Produced Release: The Blueprint 3 by Jay-Z (****)
Kanye West, No I.D., Timbaland, Swizz Beatz, and The Neptunes all have their fingerprints all over Jay-Z’s latest album, and the results are staggering. Hova has always been a musical personality that’s reached for the stratosphere, but his production army behind The Blueprint 3 sets a new standard for hip-hop pomp and circumstance. Effortlessly shifting between swinging soul, 80s electronics, and stiff beats, The Blueprint 3 is a lush feast for the ears. The music is kinetic, featuring fluttering high hats and deep grooves, all to allow a seasoned veteran the chance to share his thoughts. And it shows; now 11 albums into his career, it sounds like Jay-Z finally found a sound to match the breadth and scope of his legacy. Key Cuts- D.O.A. (Death Of Auto-Tune), Empire State Of Mind, Young Forever
Best Comeback Release: The Fall by Norah Jones (****)
Norah Jones seemed a bit confused on Not Too Late. There were flourishes of folk and other American roots music, but the piano still took center stage for her and the results seemed a bit predictable. So, enlisting the help of Modest Mouse producer Jacquire King, Ms. Jones roared back with 13 dreamy tracks that showcased not only the urge to change, but the drive to take risks. As a result, The Fall places Jones back in the arena of relevancy, an album that is sultry and tender while showcasing Jones’ velvety voice. Add to the fact that Jones wrote or co-wrote every song this time around, and it’ll make you wonder there aren’t more pop artists like her around. Key Cuts- Chasing Pirates, Light As A Feather, I Wouldn’t Need You
Best E.P.: Gold Motel E.P. by Gold Motel (****)
Everyone, including myself, was fairly skeptical when Greta Salpeter helped put The Hush Sound on the shelf to explore a solo career, but the Gold Motel E.P. effectively quells those apprehensions. The E.P. is a welcomed exercise in piano driven pop, stacked with witty lyrics and Salpeter’s soft and delicate voice. While her song styles aren’t drastically different from The Hush Sound on the surface, Salpeter’s able to push a bit more with her newfound autonomy, exploring quirky new wave and soft jazz with Gold Motel. Still, it’s the jumpy piano numbers like “The Cruel One” that will make fans realize the truth: Whether it’s by herself or with The Hush Sound, Salpeter’s music is something to be cherished. Key Cuts- Perfect In My Mind, The Cruel One, Who Will I Be Tonight?
Most Ambitious: Mean Everything To Nothing by Manchester Orchestra (*****)
To follow up an album that felt as intimate and as immediate as I’m Like A Virgin Losing A Child was going to take a great deal of courage. Thankfully, courage is something that Manchester Orchestra exhibit in spades with Mean Everything To Nothing. Their sophomore effort feels larger in every sense: Towering riffs, dexterous vocal delivery, sweeping ballads, and universal stories. It’s also clear from their earnest perspective and fresh approach on contemporary rock that Manchester Orchestra improved on every facet of their debut. And as lead singer/guitarist Andy Hull spills his awkwardly agnostic self onto the floor, listeners will find that it’s all in an effort to ensure the band’s message, and record, are anything but nothing. Key Cuts- The Only One, I Can Feel A Hot One, My Friend Marcus
Most Experimental: No More Stories… by Mew (****½)
It’s difficult to create an album that draws from progressive rock while still breaking new sonic territory. After all, that’s the genre’s norm, so there’s nothing to do but go big or go home. Yet if their new album’s hyper verbose title No More Stories/Are Told Today/I’m Sorry/They Washed Away//No More Stories/The World Is Grey/I’m Tired/Let’s Wash Away, Mew are going to try their damnedest to be progressive pioneers. Largely, they succeed; No More Stories… carries over the crisp but spacious production from their last album, but the freshness they apply to these tracks is new and exciting. Whether it’s the 7 minute, shimmering guitar opus of “Cartoons & Macramé Wounds,” or the reversed theatrics of “New Terrain,” Mew approach these songs with “out-of-the-box” thinking and a sharply honed sense of melody. What results is an album that can blend jaunt xylophone, cold electronics, heavy low-end bass, and pixie-like vocals into something cohesive. Key Cuts- Beach, Cartoons & Macramé Wounds, Tricks Of The Trade
Most Eclectic: It’s Blitz! by Yeah Yeah Yeahs (***½)
Slick disco beats, fuzzy electronics, delicate piano, and twinkling guitar atmospheres? No, it’s not some sort of retro revival, it’s the Yeah Yeah Yeah’s latest baby It’s Blitz!, and boy is it an interesting one. Decidedly more focused on spacious movements than their warped version of punk, Karen O leads her group through 10 songs that sway rather than propel forward. The strident synths of “Heads Will Roll,” and the piano ballad turned shimmering anthem of “Runaway” overlap so slightly, that half the fun is seeing if the Yeah Yeah Yeahs can actually pull it all off. O’s voice ties the whole thing together, but these songs are about as miles apart as one can get without making it into a compilation album. Thankfully, It’s Blitz!’s dedication to melody is what makes the songs truly sparkle. Key Cuts- Zero, Heads Will Roll, Skeletons
Most Critically Praised: Sainthood by Tegan & Sara (***½)
People seem to be fascinated with lesbians, but lesbians in a band seem to create an even larger level of adoration. Thankfully, Tegan & Sara are smart songwriters, and refused to let cheapen their craft. Their latest album, Sainthood, is perfect proof of that. The sister duo sunk further into their synth pop hooks on Sainthood, the album itself met with well-deserved warmth from most major publications. The reason has to be the Quins’ disciplined approach to pop-rock, letting their quick witted and snappy songs take focus as opposed to their sexuality. They’re never too heavy, never too obscure, and they just get in to deliver witty hook after witty hook. What results is a rather subversive record about iconography construction from a pair of girls that make it seem effortless. Key Cuts- Hell, On Directing, The Cure
Most Critically Crapped On: I’m Not A Fan, But The Kids Like It! by BrokeNCYDE (0)
Let’s make this quick: Crunk was a dirty take on hip-hop and screamo was just a packaged version of post-hardcore. So who thought it would be a great idea to merge the two? To this day, I’ve yet to see any critic write kind words about BrokeNCYDE’s substance free Frankenstein of a record, which is probably for the best. Even Fred Durst is ashamed. Key Cuts- Look elsewhere.
