The Collegian

Issue date: 1/22/09 Section: Arts

1. "Rook" by Shearwater. Ornithologist Jonathan Meiburg likes birds, though to say his music is about them would cheapen this masterpiece. Birds provide an inspiration and aesthetic sense for "Rook," which may be the culmination of Meiburg's artistic vision. Shearwater - which consists of Meiburg, ex-wife Kimberly Burke, and jack-of-all-trades Thor Harris - employs hammer dulcimers, waterphones, and a smattering of other fairly unusual instruments, but not as cheap shortcuts to an odd sound. The otherworldly and surreal sound merges with Meiburg's fantastical lyrics, sung either in fabulous choir-boy tenor or a tremendous, shouting baritone. The combination makes this the year's best and most unified album.

2. "For Emma, Forever Ago" by Bon Iver. "For Emma, Forever Ago" is the debut album of Justin Vernon. After a breakup with his girlfriend and his band, Vernon secluded himself in a remote cabin in northern Wisconsin and emerged three months later with this album. The songs in themselves are all simple and heartfelt, but Vernon infuses profundity into an often-sparse framework of guitar, percussion, and blended voices. This album haunts us. Vernon's eerie falsetto and gorgeous harmonies captivate, and his sincere and carefully fashioned, if occasionally ambiguous, lyrics complement the music.

3. "Fleet Foxes" by Fleet Foxes. Fleet Foxes' self-titled debut album garnered praise from a surprising variety of critical audiences. Heavily influenced by American folk music, Fleet Foxes leads the listener through ancient forests. A beauty emerges from their crisp voices and a wonderful mixture of acoustic and electric guitars that escapes excessive clutter. Albums this easy to listen to often draw criticism for their plainness, but Fleet Foxes achieved nearly universal critical acclaim for their debut album. While remaining eminently accessible, it displays an originality and complexity of sound that never lags.

4. "The Stand Ins" by Okkervil River. "The Stand Ins" follows and exceeds 2007's "The Stage Names" as the second part of a double-album project. Driving acoustic guitar, muffled banjo, and Will Sheff's scratchy, never-refined voice restore classic Okkervil River magic, a brilliance partially rooted in the band's marvelous knack for sustaining unity amidst shifting tempos between and within songs. "The Stand Ins" cynically examines pretension, manufactured hit music, and hypocrisy. Will Sheff sings true stories of seedy stars dying from AIDS and suicide, but the album, though filled with tragedy, never left us despairing.

5. "Microcastle" by Deerhunter. Deerhunter establishes and sustains a dream sequence for forty minutes using typical rock instruments. The album highlights the electric guitar, while the lyrics reveal an alternately sinister and sentimental preoccupation with mental chains. "Microcastle" opens with "Cover Me Slowly," a wailing, wordless eighty-one seconds that slides into the opening lyrical jumble of "Agoraphobia" (which means fear of being trapped). "I had a dream / no longer to be free" - the concept to which Deerhunter will constantly return. A shimmering drowsiness overtakes this album that could be tiresome but for the astounding jolts which punctuate this sleep. Punctuate, rather than interrupt, for the combination of instrumental repetition, lyrics, and Cox's wavering vocals make these moments feel, if it can be imagined, like a kind of frenetic sleepwalking.

6. "Heretic Pride" by the Mountain Goats. John Darnielle, once a hero of lo-fi fans, continues to expand the scope of his music. Lush string arrangements and piano lend fullness to acoustic guitar. The instruments, though, always serve the vocals - a distinct advantage given the Mountain Goats' outstanding lyrics, so long as you get used to Darnielle's nasally voice. References from the Hebrew Tanakh abound, particularly the Edenic imagery on "San Bernardino" and God's promises to Israel amidst the story of a reggae artist's murder on "Sept 15 1983."

7. "Ghost Glacier" by Breathe Owl Breathe. This great Michigan folk trio crafts lovely music with cello, banjo, guitar, and percussion. Over the beautiful instrumental work, the vocals of guitarist Micah Middaugh and cellist Andrea Moreano-Beals entwine, singing of love and childhood. Such subjects easily degrade into a revolting sentimentality, but Breathe Owl Breathe's plain sincerity avoids that potential mire. The middle of the album offers solid tracks with minor surprises and mild discordance. But the strongest songs-opener "Playing Dead," late track "Your Cape," and closer "Toboggan"-also happen to be the most straightforward ones.

8. "med sud i eyrum vid spilum endalaust" ("with a buzz in our ears we play endlessly") by Sigur Rós. Surprisingly cheerful, "med sud i eyrum vid spilum endalaust" moves away from the dark tones of previous albums but succeeds in maintaining the austere power Sigur Rós is known for. Two gleeful songs of wildness-"Gobbledigook" and "inní mér syngur vitleysingur" open the album with driving drums, downright cheery vocals, and powerful horns. After these pop wonders, only five of the remaining minutes provide similar levels of energy. Still, the opening two songs define the album. The gorgeous, quiet music that follows contains nary a sinister note. The songs are satisfied reflections after an outbreak of unrestrained joy.

9. "3 Rounds and a Sound" by Blind Pilot. Blind Pilot fashions unassuming acoustic pop melodies. Soft percussion and agreeable guitar back clear voices; brass or strings selectively appear. Plain but apt lyrics fill the album; each song satisfyingly contributes mildly to Blind Pilot's catchy creation. Their musical plainness is enthusiastically reflected in the band's West Coast Bicycle Tour, where they rode their bikes, instruments tugged behind on carts, from town-to-town to play shows.

10. "In Ear Park" by Department of Eagles. The title track invites us to "sit in the grass / right in your spot / In Ear Park," to listen and "hear the waves." Department of Eagles' album is majestic playfulness. The jaunty second track, "No One Does it Like You," provides the grandest piece of fun. "Around the Bay," however, may be the most interesting track, an enchanting piece that abruptly introduces a disconcerting dissonance for the last forty seconds. The complex and expansive arrangements of glittering guitars, strings, piano, and continual choral parts provide a fullness and depth that only unfolds with repeated listening.

Page 1 of 1

Article Tools