Happy New Year!

Its 2012! Mayans n shit.
Listen to Bygones.
Www.Bygones.bandcamp.com

Hey!

Haven't posted in a while but Merry Christmas!!! Listen to Busdriver.

(young) American Landscape

My boys in (young) American Landscape posted their new album "The Burden of Song" for free on bandcamp. Go peep that shit.



-DHAGZ

Rites of Initiation

I'm late on listening to the newest Circle Takes the Square. I've been a big fan of their music for years and I simply let myself forget about them. Shitty. Anyway, I love it. I read somewhere online that some dude thinks CTTS are corny. Fuck that. These songs are amazing.
Listen here: http://ctts.bandcamp.com/album/decompositions-vol-i-chapter-1-rites-of-initiation

Why aren't you listening to Ocoai right now?

Ocoai is a really good band from Johnson City, TN that I discovered not too long ago. Its unusual to find a band this adept at what they do that isn't signed, I can say that having seen them live not only is their material compelling but their the kind of band thats tight and powerful enough live to make you feel like the room could collapse around you. I suppose you could easily call this post-metal but there's alot of things that make these guys hard to classify. Sure there's the usual Isis influence, but there's also beautiful cello and slide guitar melodies as well as good doses of riff-based stoner rock and prog. I have a feeling you'll probably be hearing more about them soon anyway.

Listen to

Bad Bad Not Good
And
Alexander Spit!

You should listen to

Wolves in the throne room

West coast, dead?

I'm in menifee, CA and wondering what the fuck is going on here. When I was younger I thought California was head-first with music and style. Yet, all I've seen/heard so far is a shit ton of thuggy moto x gear, rockstar apparel and almost everyone listens to some shitty scary kids scaring kids nonsense. Is boring as fuck. Vietnam core bullshit can ninja kick their way outta here. OFWGKTA and Trash Talk are from LA and Tera Melos are from somewhere in CA so I suppose all is not lost on the left. I'm happy that www.terroreyes.tv exists. Maybe California shouldn't fall in the ocean just yet.

Listen to This

Blast from the past, but great songs and bands nonetheless.


SHELLAC


The Jesus Lizard


Charles Mingus


Bad Religion


Polvo



...and that's what that's about.

-DHAGZ

Corey's decade list 19-10

19. M83 - Before the Dawn Heals Us
M83 - Before the Dawn Heals Us
2005

I usually find music most enthralling when its vivid enough to paint a picture that you wouldn't have normally seen on your own. And even though initial thoughts like "Mogwai scoring the soundtrack to prom on the moon" aren't exactly commonplace, M83 bring this and much more to mind with their 2005 album Before the Dawn Heals Us. M83 is the musical project of French musician Anthony Gonzalez, and along with a small supporting cast he brings forth of bevy of sound and emotion on Before the Dawn Heals Us that while heavily electronic, still has more in common with post-rock/shoegaze than it does a typical electronica or synth-pop act. This album literally makes me think things like "Who needs movies or television when you have an album that unfolds as cinematically as this one does?" While there doesn't seem to be a certain narrative present, each song manages to tell its own story while the album still feels right as a whole, most of the songs bring very different emotions forward and sometimes contain pre-recorded sound effects and dialogue. This is still mostly an album for the hopeful though, there's upbeat, dancier tunes like "Don't Save us from the Flames" just as much as there are mesmerizing post-rock scenes like the album closer "Lower Your Eyelids to Die with the Sun" which are so triumphant that no other band in the genre could come close to matching them. M83 are masters of taking seemingly simple chord progressions and changing their meaning with whats played over them, making even the longer songs feel as if they are constantly building towards something. Apparently the combination of shoegaze and electronics work together really well and M83 figured that out at just the right time, because life has certainly been better since the release of Before the Dawn Heals Us. Literally one of the most strangely addicting albums I've heard in years.



18. Mono - You are There
Temporary Residence 2005

I'm going to try not to over-use words like beauty to describe the truly life-changing music of a band like Mono, even though this Japanese group (with the exception of maybe Sigur Ros) seem to have found a way to translate that word to a language that our ears can understand more than any other modern band. However, Mono's music is for more than just your ears, the same way the the music they make transcends sounds being made by musical instruments. These are pieces that exist in ones heart and are brought to life by living breathing people, not instruments, in a similar manner Mono's You are There is for your heart and soul. You are There is not simply an album defined to trite genre terms such as "chamber-rock" or post-whatever, but a deeply moving collection of music that balances every nuance of sound and melody perfectly. Not only are Mono's compositions here on classical caliber, but the level of detail payed to every note played is astounding. Reverb and delay swells fall as softly as snow while distorted climaxes burst forth with commanding power on tracks like "Yearning". The ghostlike, pushing and pulling melody of "Are You There?" makes one of Mono's finest pieces ever, and the grandiose strings on "Moonlight" further cement this albums' status as a true heart-wrencher. While I'm sure there have been many peak and valley comparisons used to describe the intensity of Mono's music I'll simply leave this one saying that they showed themselves as being head and shoulders above the rest of the instrumental post-rock movement of recent years with You are There.




17. Bibio - Ambivalence Avenue
Warp Records 2009

Criminally underrated and overlooked British artist Stephen James Wilkinson (aka Bibio) is probably even more overlooked due to the fact that in recent years you may not even realize that song on that Nook commercial you just saw is the same artist that was once making obscure, lo-fi "folktronica" on albums like Fi and Hand Cranked. However there's absolutely no question that everything this guy has touched is golden. There are many artists that I consider to be exceptionally good, but its a true rarity when one comes along like Bibio that creates music so utterly beautiful and boldly creative that your mind could never conceive or imagine what it might be like until you've heard it. In short, there's nothing quite like Bibio, and the bold new step that he began taking on 2009's Ambivalence Avenue only brought his music closer to my heart. An artist once known for mixing nature field recordings, spine-tingling folk and vintage analogue electronics, Ambivalence Avenue would bring new ideas forward but with a similar artist touch that lets you know that you are indeed listening to the same person's music. Bringing in soul, funk, and psych samples that are so utterly convincing of not being from this era that its scary, Wilkinson began an all together groovier approach to his songcraft on gems like "Jealous of Roses". "Fire Ant" is Bibio's first foray into beat-making, and the song carries a strong J-Dilla/Madlib feel (coming from me thats about the biggest compliment a beat can possibly get). His acoustic moments are still there, this time with better production and trippier effects on tracks like "Lover's Carvings", which is the perfect summer day personified in song (no seriously, listen to it and tell you didn't smile inside). Which is really the most perfect thing about this perfect album, it simply makes you feel good. Ambivalence Avenue is the soundtrack to all of your great memories with friends and loved ones, and for that its an album I will always cherish.



16. Mouth of the Architect - The Ties that Blind
Translation Loss 2006

Bands like Neurosis, Cult of Luna, Mastodon, and Isis would usher in an altogether new heavy music movement in the first decade of the 21st century. Like any new music movement, some of the imitators fell short by large margins, but Ohio's Mouth of the Architect is not one of those bands. In all the "post-metal" albums that there were to sift through this past decade, few that I heard were better than this colossal sophomore effect by Mouth of the Architect. The Ties that Blind didn't merely follow the "Neur-Isis" blueprint as much as it did take notes where needed and then make its own permanent indention with both flawless production and a stellar understanding of composing this style of music. Mouth of the Architect observe the almighty riff but don't let anything drag on where it doesn't need to, the opening song "Baobab" lets several awesome ideas breathe and meld together, the second half of the song resulting in a buildup that manages to layer new riffs and melodies without ever sounding boring or trite. The album's second track "No One Wished to Settle Here" could be one of my favorite songs ever, with a hypnotic opening melody that is pure musical narcotic. At 15 minutes long and them some, the song never wears out its welcome and it resolves beautifully by going back to the main tremolo-picked melody that climaxes the first half. The rest of the album may still move at a slow pace but does so by leading the listener through some truly interesting chord progressions and changes (such as at the beginning of "Carry On"). At six songs and over an hours worth of music, The Ties that Blind balances beauty, crushing heaviness, and forward-thinking composing. The beauty element comes through most on the tranquil and heart-wrenching opening of "Harboring an Apparition" with pristine clean/delay guitar tones and faint keyboard bell chimes. Its the closest thing we got all decade to the genre's true masters, and it doesn't get far from their greatness.




15. Sigúr Ros - Takk...
Geffen 2005

Iceland's Sigur Ros are very far from an average music group. Through the years they've brought to life visions that no one else ever could. They've done it by unusual mean as well, not through skill at playing one's instrument per se but by an uncanny understanding of what brings forth human emotion. They tap into that part of you that you almost forget (or try to ignore) sometimes that leaves you vulnerable to feel. Often thought of as one of the band's most beloved albums, Takk... may do this to an even greater degree. Not to undermind the perfect chamber-rock of Ageatis Byrjun or the somber dirges of ( ), but Takk... Is almost too intense to take in at certain moments. Its a bit of a paradox then, the quality of the music here is so amazing that it could be one of the most addictive albums ever made, except for the fact that there are certain times when Takk... almost offers too much emotionally for us to digest. The ceremonial beauty of Saeglópur brings back innocent memories of a first snow, while Glosoli's constant crescendo is what every other band in this genre hopes to replicate. Sigur Ros have an excellent way of suggesting their own melodies, and things seem to find a way back into your head even when the notes aren't being played. Hoppipolla is triumphant celebration of life that has been known to bring tears, but its only the third track on the album. Whats in store for you throughout the rest of the album? I encourage everyone to find out yourself, you won't be dissapointed.




14. Isis- Oceanic
Ipecac 2002

It could be the album that launched a thousand metalgaze bands (or at least its partially to blame with any Cult of Luna release) but you can't blame people for being so entranced with what many consider to be Isis' magnum opus: Oceanic. While Isis' previous efforts would mostly just draw the listener's attention to how much Godflesh and Neurosis vinyl they had sitting around at home, who would have thought of what they had in store for us with one of the most notoriously expansive and and mind-altering albums in all of heavy music? With Oceanic, Isis began building upon a foundation of meditative post-rock with subdued progressive metal and hints of a sludge/doom-coated past that would set them apart as one of the most powerful and creative bands of the decade. Oceanic also stands out as a fan favorite often because of the albums balance between what Isis had previously done and the band's future evolution into prog that they would continue to push further with each release. This album made Isis into what they are today, and made plenty of imitators as well. Oceanic is a climactic movie scene played in slow motion, the scope of each precious second of music magnified by its slow movement and epic gestures. The track "Maritime" offers a glimpse of depressing melody to lighten up the atmospheric waves of heaviness, while "False Light" is mid-tempo riff nirvana, and quite possibly the most perfectly written post-metal song ever. Oceanic was even good enough to merit a remix and reinterpretation album (which is also essential listening) that featured everyone from the glitch-hop of Venetian Snares to the heavy shoegaze of Jesu's Justin Broadrick. Even though we no longer have Isis, Oceanic's impact can still be felt today.



13. Sufjan Stevens - Come On, Feel the Illinoise!
Asthmatic Kitty 2005

Nothing seems too ambitious for this seemingly gentle, prolific songwriter. He's done things like push the limits of freak-pop with crazed synthesizer chords and create beautiful indie folk. He's done things like taking on a project that involves making an album about every state in the USA, and thank God for that. Come on, Feel the Illinoise! is one of the most brilliant and essential albums of the decade, and its definitely the one that put this soft-spoken genius on the map. Trying to find a genre here won't do you any good, this is an album so diverse in emotions expressed that it literally goes from one of the most jubilant songs I've ever heard (complete with full horn and string ensembles) to a song about a mass murderer/rapist. There's laid-back banjo complimented modern-americana on songs like "JACKSONVILLE" and "Decatur, or a Round of Applause for your Stepmother!". There's the utterly breath-taking but all too short "Concerning the UFO Sighting Near Highland, Illiniose," and the heart-brightening choir of voice and woodwind on "The Predatory Wasp of the Palisades is out to Get us!" You get the point, if you don't then you're probably confused and you desperately need to acquaint yourself with this buffet of musical genius. There will truly never be another Sufjan Stevens, at least I hope not, no one else would do it anywhere nearly as perfect.




12. Think Differently Music - Wu-Tang Meets the Indie Culture
2005

A compilation this high on a list of the greatest albums of the decade? You obviously haven't heard this record. Even if it wasn't one of my favorite hip-hop albums ever if would warrant a spot even just for the fact that Treddy Kruger managed to get the Wu-Tang Clan in on a collaboration with some of the greatest indie hip-hop emcees out there right now. They just got my two favorite elements of hip-hop together is all, you'd be happy too. Anyway it certainly doesn't hurt that this comp has some tracks that are absolutely monster, some I would even consider to be perfect rap. The album's strength is in its balance. There's a track with the GZA and progressive political rapper (and general hater of the white man) Ras Kass, there's also spots from heavy hitters like Del the Funky Homosapian, Aesop Rock, and some of Wu's finest as well. But the beats, production, and the way its all brought together is what makes this album essential to any rap fan's collection. Tracks like "Listen" and "Verses" are nothing short of perfect for this reason, with as much collaboration as there is in hip-hop its good to see something come together this fluidly to make you think it might all actually be worth something. And you know you just can't help but love a good compilation, there's just something addicting about a good one that hooks you even more than a real album. This one just happens to do that about ten times more.




11. Hopesfall - A Types
Trustkill 2005

I'll continue to stand alone on this one and speak my mind on why I think Hopesfall's criminally underrated A Types is one of the best straight-up modern rock records that I've heard. Not unlike a North Carolinian take on Cave-In, Hopesfall started off playing hardcore that was known for its gripping emotional intensity, which gradually led them down a more melodic, spacey path on 2002's The Satellite Years. Three years and a few member changes later the band nearly scrapped the melodi-core template altogether and released a space rock album that had both the accessibility and creativity that should have been able to become a full on radio-hit success while still keeping its dignity intact. Well that success never quite came, as a matter of fact A Types really just brought about a bunch of pissed off ex-fans and a few new ones, but surely someone else out there appreciated the unadulterated modern rock goodness of this album? I certainly did when it came to the catchy groove of opener "It Happens", and even more so on the spacey chords and odd lead choices of "Start and Pause" a song that manages to strike an awkwardly delightful balance of heavy and melodic. The album's single "Icarus" should have definitely been a hit in an age when everyone wanted melodic metalcore crossovers, but the songs refusal to go in either screamo, metalcore, or radio rock territory made it slip on by the more close-minded. And while many may still make an argument for the raw emotion of Hopesfall's earlier material, I dare anyone to listen to the ending of "Breathe from Coma" and tell me that this band isn't at their most knee-buckling intense here. The triumphant lead guitar riff that brings out the last chorus takes just the right blend of delay and distortion to put the perfect cap on a modern space-rock classic. If this story would have ended happily then this album would have been the next Jupiter, but instead we have a piece of a legacy from one of North Carolina's greatest bands. Not too bad either.

Playlists

I'm making progress on the 'living in the future' front. I've mastered making playlists (at least to my own standard of mastery). However, I didn't realize the premise behind sharing the playlists with sites like www.8tracks.com until very recently. For those who are still confused about this trend, it serves to 1. Attract a like minded partner for copulation. Music is the most important thing on Earth to some people and when seeking mating material we often consider their musical tastes, even if only subconsciously. So, by sharing our playlists we are (unwittingly) searching for a place to share our genitals with some other dead heads or something.

2. We (still being music lovers) wish to share our amazing niche genre knowledge because we're smart asses and egomaniacs.

I kid.

Playlist sharing is fantastic simply because one can discover new music easily. Elementary my dear Watson. Jenny Lewis and the Watson Twins. Man I love the internet.

So without further Mountain Dew, some playlists of mine:

Classic Rock (in the overly generalized sense)

1. Syd Barret - 'Wined and Dined'
2. Queen - Bohemian Rhapsody
3. Alice Cooper - The Black Widow
4. Alice Cooper - Steven
5. Black Sabbath - Sweet Leaf
6. Elf - Gambler, Gambler
7. Pink Floyd - Set the Controls for the Heart of the Sun
8. Pink Floyd - Hey You
9. The Marshall Tucker Band - Fire on the Mountain
10. Queen - Good Company
11. Thin Lizzy - Cowboy Song
12. Thin Lizzy - Rosalie
13. Steely Dan - Deacon Blues
14. Steely Dan - Babylon Sisters
15. The Eagles - One of these Nights
16. The Who - Pinball Wizard
17. Tom Petty - Zombie Zoo
18. Black Sabbath - Children of the Grave
19. The Rolling Stones - Paint it Black
20. Dire Straits - Sultans of Swing


Punk/Hardcore

1. NOFX - Vincent (Don McLean cover)
2. Black Flag - Police Story
3. Black Flag - Fix Me
4. AFI - He who Laughs Last...
5. Lagwagon - May 16
6. Bad Brains - I Against I
7. Dead Kennedys - Police Truck
8. Dead Kennedys - Let's Lynch the Landlord
9. Vision - Close Minded
10. Crass - Do They Owe Us a Living?
11. Crass - Fight War, Not Wars
12. Minor Threat - Filler
13. Circle Jerks - Don't Care
14. Dead Kennedys - Kill the Poor
15. The Germs - What We Do is Secret
16. Leftover Crack - Atheist Anthem
17. Minutemen - Jesus and Tequila
18. Hot Water Music - Paper Thin
19. Hot Water Music - Jack of All Trades
20. Pennywise Feat. Exene Cervenka of X - We're Desperate

More like these to come.

Your friend,
DHAGZ

DELAYS FROM ALASKA

Whoa, geez.
Sorry everyone!
I moved from SC to AK last March and have, well, been a little busy!

Instead of a review (I'll get to Prurient's Bermuda Drain later, promise), here's some video footage of some local Anchorage music. ENJOY!




xo
T-BOTZ

Early Mornings Call for Smooth Tunes

The Bossa Nova Breakfast station on iTunes radio makes any morning at work a little more tolerable.

SHOWS

What shows do you plan on attending this year? Tell us!


For instance, I intend on going to see Jolie Holland at the Grey Eagle in Asheville, North Carolina on Saturday July 29th.

Chocolate Pressings

Please click the title link to go to the original article.







I don't want to just repeat what I read at www.disinfo.com but this is amazing. If the price was reasonable enough to listen to and then eat a record, I would be all in.





Your friend,


DHAGS

I'm forgetful and Lazy

I nearly forgot that this blog existed. Luckily, my friend Corey has not and has been regularly updating the B.E.A.R.D. with great reviews!

Anywho...

Tyler the Creator and the era of

OFWGKTA

Everyone seems to be riding hard on the collective dick that is Odd Future Wolf Gang Kill Them All. The LA based hip-hop collective has seen an immense amount of popularity in 2011. This is mostly because of the group's head, Tyler the Creator.

I first heard Tyler the Creator in January of this year. Yeah, so I'm a little behind. Nevertheless, upon first listening, I looked at my girlfriend and said, This guy is going to blow up. I guess I wasn't aware that he already had.

Now having made appearances on Jimmy Fallon's show, MTV and even the mother fucking BBC, Tyler the Creator and his crew of extremely clever misfits are on their way to the top. Which seems a little strange given the deviancy of his lyrics and the suggestive nature of his live show. Let's face it, the majority of Americans don't seem to be very interested in the pent up aggression of a young black man like Tyler. But if I can empathize to some degree, I guess others can too. Even if the subject matter isn't what people are latching on to, I can see several other very viable reasons for loving Mr. The Creator.

For one, his 'flows' are retarded solid. He's not obsessing over AB rhyme schemes which 95% (not a real stat) of popular rappers seem to be enamored with. Tyler ventures around in a lyrical wonderland of half-rhymes and dead end sentences that drop you off in the most unusual places. For instance, in his single 'Yonkers' from his latest album Goblin: "I'm a fuckin' walkin' paradox, no I'm not

Threesomes with a fuckin' triceratops, Reptar
Rappin' as I'm mockin' deaf rock stars
Wearin' synthetic wigs made of Anwar's dreadlocks
Bedrock, harder than a muthafuckin' Flintstone
Makin' crack rocks outta pissy nigga fishbones
This nigga Jasper tryna get grown
About 5'7" of his bitches in my bedroom
Swallow the cinnamon, I'mma scribble this sinnin' shit
While Syd is tellin' me that she's been gettin' intimate with men
(Syd, shut the fuck up) Here's the number to my therapist
(Shit) Tell him all your problems, he's fuckin' awesome with listenin' "

This obviously isn't the latest Lil' Jon hit. There's a deep understanding of writing at play here that, I would venture to say, most people his age just can't grasp. Tyler is terribly imaginative and intelligent. Yet, it seems that most people that I talk to who have listened to his stuff seem to think that it's awfully childish. I don't necessarily disagree, or agree for that matter. Most young men have an affinity for potty mouth musings. This is nothing new. Still, you can't deny the skill.

Tyler seems to have a troubled past. Among many other issues, he lacks a relationship with his father and that truly bothers him. But, I'm not here to psychoanalyze the guy. I merely appreciate his honesty. I wish that more artists were capable of saying exactly what they feel. Instead, most rappers these days tend to indulge in "I've got more money and bitches than you" rants and dick measuring contests. On that level, if you have any love for hip-hop, you have to at least appreciate where Tyler the Creator is coming from.

What can I say about Tyler or his group of godless heathens that Pitchfork or STUPIDDOPE hasn't? I have nothing truly original to say so I'll leave it at this (because I'm too tired to give a shit about writing eloquently), Tyler the Creator and Odd Future are most definitely going places and if they can keep a tight grip on who they are and not allow money to blind their creativity, they will go down as gods of the hip-hop game. They're extremely talented young people with a lot of room to grow into extremely talented and respected old people. Good luck to OFWGKTA in their future musical endeavors. Oh and Tyler, kick Kanye's ass like you promised.

Your friend,

DHAGZ

Corey's Decade list 30-20

30. Isis - In the Absence of Truth

Narrowing down the decades best releases from one of the decades greatest bands may not be easy, but choosing In the Absence of Truth may have come more naturally to me than many would believe. Despite the fact that this was an Isis album that would open them up to a host of new fans that would have been previously unaware of their sludge meets post-rock efforts, it still wasn't held in the highest regard by old school Isis fans. That is because itAoT is a noticeably more melodic and progressive album in general, although when truly judged by its musical merits, its also one of the band's greatest achievements. The enticing buildup of opener "Wrists of Kings" doesn't continually build and slowly gain volume like one of Isis' former songs might have, instead it works its way into a beautiful mid-tempo groove with Aaron Turner singing instead of screaming. Its a bit of a change, but as soon as an actual verse and chorus are demonstrated twice the bottom drops out and the listener is suddenly kicked into the distorted, climactic ending that they've been waiting for. Its moments like these that show that Isis' did some of their finest and most forward-thinking songwriting on this album. The Opening bass riff of "Not in Rivers, but in Drops" is still one of the most hypnotic things I've ever heard in my entire life and the rest of the song is absolutely trance-inducing with its ethereal, yet always clever twists and turns. They drift off into heart-stopping space metal on "Over Root and Thorn" and "1,000 Shards", and tracks like "Garden of Light" are full of power and commanding presence. The band members performances were at some of their best as well, with drummer Aaron Harris' roomy fills and excellent drum tones being one of my favorite components of the album. The comparisons to Tool would not stop of course as a healthy dose of prog into their trademark combination of post-rock and sludge metal certainly did give them somewhat of a resemblance, but I don't think there's any use wasting time on comparisons here. Isis were something all their own on this album, just the way they've always been.

29. Intronaut - Prehistoricisms

LA progressive metal group Intronaut had hinted at great things within the first couple of years of their career but were still yet to truly fall into their own until this full-length masterpiece. Their first release for Century Media and the first to truly showcase the band's progressive muscle that would expand their sound to uncharted territory, Prehistoricisms was an abrasive yet forward-thinking and highly enjoyable musical statement. Sludge, prog, jazz, fusion, and Indian music all seem to meld together so harmoniously that its almost scary, as is Intronaut's ability to make bizarre time meters groove hard on tracks like "The Literal Black Cloud". They also display a knack for taking something from punishing to jaw-droppingly beautiful on song like "Austropalithicus" which shows come pretty adventurous writing, maybe even more so for an extreme metal band. The prehistoric theme of the album is also brought to life through the dual percussion onslaught at the end of "Any Port" and the range of music explored on the mind-bending 17 minute instrumental "The Reptilian Brain" should win some kind of award for one of the greatest unsung psychedelic metal songs (Joe Lester's fretless bass and Middle Eastern melody and rhythm techniques add a truly unique flavor here). Prehistoricisms might not be for everyone but it was just what I needed, and it was also the start of an exciting evolution for this band.

28. Raekwon - Only Built 4 Cuban Linx Pt. 2

New York Wu-affiliated MC Chef Raekwon took his time for the follow up to one of the greatest hip-hop records of the 90s, but once the end result was dropped in 2009 I don't think anyone was complaining. Only Built 4 Cuban Linx Pt. 2 hearkens back to the greatest days of New York hip-hop and still manages to stay relevant at the same time. Its a thorough look at great hip-hop that slays almost anything in the genre thats been released in the past decade. Rae and Ghosts' most unrelenting crime stories yet are brought to life by perfectly fitting production and beats by everyone from Dr. Dre to Dilla, and its the kind of album that has enough staying power and replay value to warrant a place in any hip-hop fan's collection. Rae does some of his best rhyming here and the other Wu-emcees make everyone feel right at home. Cuban Linx Pt. 2 is full of classic songs, whether its "New Wu", "Sonny's Missing", "Ason Jones" (one of the best O.D.B. tributes ever) or any of the other countless memorable tracks from the album, you can't miss. Although the best thing about it is that it truly feels like a record, and its meant to be experienced that way from start to finish.

27. King Geedorah - Take me to your Leader

Only when dealing with an artist like MF Doom and his cohorts is it possible that one of the greatest hip-hop albums of the decade would be released by a short-lived moniker that only did one album. With that being said, King Geedorah's Take me to your Leader stands amidst the enigmatic MC's vast catalogue as some of his greatest work ever. Consisting largely of guest rappers and unique, eclectic samples taken from sources such as Godzilla movies and the anime series Gatchaman, Take Me to your Leader follows its name in the sense that it is truly like alien hip-hop, refreshing and profound. Its the kind of eclectic, creative record that one stumbles upon and listens to non-stop for months on end.

26. Between the Buried and Me - Alaska

While it might not be as open-minded of a musical expression as Colors was, there's no denying that Between the Buried and Me flexed some of their strongest prog-metal muscle on Alaska. Alaska was the album that proved that this NC group wasn't just another fly-by-night metalcore band, but a group of misfits that still oddly fit in almost wherever they went. The opening track "All Bodies" has all the components of a devastatingly good progressive death metal song; its not just the shredding and odd time meters, its the riffs that truly stick with you. The band also began breaking free from their former genre's parameters by introducing some daring elements (for a Victory band anyway) in the form of the chilling dream-rock section in "Backwards Marathon" and the Brazillian acoustic jazz of album-ender "Lazer Speed". True story: did you know that when I first bought this album and took it home to listen to it that the instrumental section at the end of "Selkies: the Endless Obsession" literally left my mouth open and almost brought tears to me eyes? I had to replay it instantly, and I'm sure I did many times after that.

25. Mastodon - Leviathan

Some may consider it heresy that Mastodon's debut Remission did not make it onto my decade list. Well before it comes to fisticuffs know that I agree that its an excellent album, but this Atlanta, GA quartet pulled out all the stops on their sophomore effort. Leviathan is the kind of album that renews the faith of thousands when hope for modern metal was truly waning, an album that marries heavy and smart in a completely non-cliche and non-fashionable way. Leviathan opens with one of the most infectious and mosh-able songs of the decade; "Blood and Thunder" before the growing Black Sabbath and Thin Lizzy influence keeps "Seabeast" tough, yet melodic. While Mastodon hadn't fully shifted into prog yet, their dedication to progressing as musicians was already evident as not only was the band's writing stronger and more adventurous, but Bret Hinds' and Troy Sanders' vocals had already come a long way and would continue to grow from here. The record is pure classic from start to finish, but its true shining moment is none other than the 13 minute epic "Hearts Alive". As eight-armed drummer Brann Dailor pounds his way through alien rhythms the song develops the way a true progressive rock song should, and there's even a little Skynyrd tribute in Brent's climactic solo. I'd also like to see anyone argue their way out of tracks like "Iron Tusk" and "I am Ahab" being some of the most punishing that Mastodon has ever done.

24. Minus the Bear - Planet of Ice

Its certainly been argued by me before that depending on what you're in the mood for, three of Minus the Bear's albums: Highly Refined Pirates, Menos el Oso, and Planet of Ice, are all equally excellent in quality. While I've believed this to be true at times, deep down I've always felt as if Planet of Ice truly stood above the rest as Minus the Bear's crowning achievement. While perhaps not as pure as the addictive math-pop of Highly Refined, or as hip as the polished glitch-hop rock of Menos el Oso, Planet of Ice still left me utterly stunned with its addition of shimmering prog into the band's already highly agreeable formula. Planet of Ice shows the band's evolved songwriting pushing the catchiness level to pandemic levels while still adding complexity and depth. The album truly paints a picture with its lush keyboard landscapes and shimmering, ether-worldly guitar tones. Opening song "Burying Luck" improved upon what MtB had already done in previous records, while songs like "Dr. L'ling" and "Lotus" are spacey and enjoyable enough in their prog-pop to make David Gilmour smile. Besides, the sheer joy from "Throwin' Shapes" is like sugar to the ears, yet another reason why Minus the Bear have set a high an extremely high bar for themselves with this one.

23. The Flaming Lips - Yoshimi Battles the Pink Robots

While these Oklahoma acid-rockers were already a well-established cult favorite in the decade prior, it still often feels like The Flaming Lips career is sometimes spoken about in terms of before and after Yoshimi Battles the Pink Robots. It could be because Yoshimi was not only a huge breakout album, but a complete masterpiece. Picking up where the Soft Bulletin left off with the Lips' new approach that would define mostly electronic alternative pop for the rest of the decade, Yoshimi Battles the Pink Robots is the perfect marriage of modern pop sensibility and brilliant, slight psychedelic genius. Wayne's friendly voice draws you in the instant you hear it on the whimsical melodies of opener "Fight Test", a song so utterly infectious that you've lost all hope of breaking free by the time it reaches the first chorus. Even in the more melancholy moments like "One More Robot/Sympathy 3000-21" (which features a truly stunning ending) the Lips still manage to push through to your heart in only a way that a band that writes songs about robots learning to love can. Everything on this album literally comes together perfectly, as evidenced by the fact that "Do You Realize?" has become sort of an anthemic celebration of life amongst alternative music fans (its also Ohio's state song). Yoshimi doesn't miss, every track is gold, and whether or not its your favorite Lips record, its not only a defining moment in this legendary psych-rock band's 20 plus year history, it stands as one of the greatest albums period.

22. Pedro the Lion - Control

David Bazaan's relatability has helped make him one of the greatest musical minds to come along in quite some time. And while the story of a successful business who has an affair and is then murdered by his wife might not be relatable to everyone reading this, his knack for stripping things down to a common language and taking all the flowerie-ness of the common "indie" singer songwriter is what makes him such a relevant and essential artist. Here Bazaan appears as he always does, surprisingly calm and collected through his often dark lyrics and timeless songs. Bazaan steps slightly outside of the minimalistic and mostly acoustic approach of his previous records to deliver for all intents and purposes; a rock album, but its one thats still introspective and thoughtful enough to hit harder than the efforts that most indie rock bands can muster. Bazaan's aching low voice is at its best here and the arrangements are simple yet fully realized to their potential. Despite the many gems in Pedro the Lion's back catalogue, Control will always stand out to me as their finest moment. "Wouldn't it be so wonderful, if everything were meaningless. But everything is so meaningful, and most everything turns to shit. Rejoice." Doesn't exactly sound like the words of someone who wrote such a golden album, but then again he knows what he's talking about. He's one of us.

21. Jesu - Conqueror

Who would have known that grindcore godfathers Napalm Death's first guitarist would go on to make the soundtracks to your life's most emotional moments twenty years later? Indeed, Justin Broadrick has been many things, including industrial/sludge hero in the legendary band Godflesh, but he's also been the new king of shoegaze after channeling some of that aggression into his newest electronic/post-metal project Jesu. Conqueror's dream-rock achieves a hypnotic effect that very little music can, while it doesn't sound like it on paper, the combination of crushing guitars, swirling electronics, and soft, dreamy vocal melodies come together to create something that can make your ears bleed and your eyes watery. For a guy who isn't typically thought of as a post-rock writer, Broadrick knows how to use simplicity to create heart-stopping buildups like few others. The sheer intensity of the anticipation in songs like "Weightless and Horizontal" is enough to create a truly mind-altering voyage even without the drugged-out electronic panning effects. Listening to Conqueror again and again one thing is truly evident; there will never be another band quite like Jesu.

20. Made ouf of Babies - The Ruiner

"If you believe in such things then start praying..." hiss

es/pants Julie Christmas at the beginning of the song "Peew", track 8 on Made out of Babie's third LP The Ruiner. The warning could have come a bit sooner. At this point in the album we've already been trampled by barrages of jarring guitars, distortion coated bass, and of course the vocals of one of music's most refreshing, creative, and terrifying female singers. Brooklyn, NY quartet Made out of Babies struck gold on The Ruiner with a truly innovative, yet simple formula. If I had to describe MooB to anyone who had never heard them I'd say imagine a three-way cross between Neurosis, The Jesus Lizard, and Bjork. Falling somwhere between post-metal and art punk, The Ruiner is truly difficult to compare to anything else I've ever heard. And its not all harshness either. The melodic ending half of "Invisible Ink" is beautiful, smart, and surprisingly simple all at the same time, its a nice contrast to the next track "The Major" which features dark, creeping riffs underneath Christmas' haunting vocals that eventually build to a truly bludgeoning climax. Of course Christmas is the star here, her ability to bring different personalities to life with her shapeshifting voice never ceases to amaze. Unfortunately I have to quote Revolver magazine here, even though I'd rather not it could be the most astute observation they've ever made about anything: "Its called The Ruiner because it makes everything else sound lame." Very true words.

Next time its 19-10, thanks for reading!

Corey

Album reviews March 2011

Some recent stuff I've been spinning that I thought I would review:

Maserati - Pyramid of the Sun

Depending on who you talk to and which album you are referencing, Athens, GA's Maserati can be described a number of different ways. Most often described as "instrumental post-rock", they're still a good deal different from the reverbed-out, dramatic buildups that lead some bands of that particular genre into elliciting yawns. Pyramid of the Sun is the tribute to Maserati's tragically departed drummer Jerry Fuchs who was lost in an elevator accident in late 2009 and who's drumming can be heard on Pyramid of the Sun.

The fact that Fuchs has worked with dance-rock group !!! shouldn't come as much of a surprise after hearing PotS, as its instantly noticeable as a harder-grooving album with its strong 80s synth-pad presence and its further deviation from typical post-rock writing. Fuchs and bassist Chris McNeal come together to create tight, danceable rhythms that allow guitarists Coley Dennis and Matt Cherry to let their effected riffs truly flow and intertwine. Delays that create almost ping pong-esque bouncing along with a myriad of other effects let the guitar melodies truly shimmer, and the band layers and builds enticing sounds not unlike what other post-rock bands specialize in. However this is still a much more to-the-point affair compared to other bands of the genre, the album even carries a more fun and experimental vibe than some of Maserati's former work like 2007's epic Inventions for the New Season. If Maserati are indeed creating movie soundtrack music then think less Explosions in the Sky and more as their label Temporary Residence calls it: "A relentless, bloodshot 3 A.M. soundtrack to a car chase beneath city lights." But no matter what your taste, this is some pretty enjoyable and accessible music, proven by the fact that they've shared the stage with acts as different and diverse as jam band Sound Tribe Sector 9 and Japanese chamber-rock heroes Mono.

The only thing wrong with Pyramid of the Sun is that its leaves more to be desired, which is not to take away from the quality of the album. Its to simply say that at 8 tracks it just makes you want more of their music, which isn't necessarily a bad thing. Especially if you enjoy pentatonic space-rock riffing you get on tracks like "We Got the System to Fight the System" as much as I do.

rating: 8/10

I'm not sure who I would recommend this for, but like the band sort of alludes to in their bio, this might be right up your alley if you've ever imagined David Gilmour and The Edge collaborating with Daft Punk.

Crippled Black Phoenix - I, Vigilante

Crippled Black Phoenix are a still mostly unheard European post-rock collective that makes some really great music. They've put out a few records already, but for those who still aren't familiar with them the group contains members from bands as diverse as Mogwai and English stoner-metal/doom legends Electric Wizard. An odd coming together indeed, especially when mystery around the band has apparently started rumors that they are actually a Portishead side project (which will make even less sense after you hear them).

Anyway, their latest offering is a full-length LP titled I, Vigilante that sort of picks up where their last album 200 Tons of Bad Luck left off. CBP are another band that really can't be pigeonholed. Any band with a large number of musicians from different backgrounds is bound to stray outside genre parameters, although if I had to describe their music as anything I'd call it: "minimalist folk-prog dirges". The songs tend to go long and build up a good bit, but CBP are still far from a typical post-rock band. The heavy opening riff of aptly titled opener "Troublemaker" leads the song in both a soulful and sinister direction. The second track "We Forgotten Who We Are" is one of CBP's finest yet, the latter half featuring a winding piano run that accentuates the powerfully building climax showing an epicness that this band has really yet to display. Its the perfect mix of post-rock cinematics and classic rock groove, and its something that bands should do right more often. CBP somehow manage to stay both mellow and intense throughout I, Vigilante, and the band throws some curveballs towards the end. The soulful female vocals and weeping minor duel guitars played commandingly over a bed of synth/organ on "Of a Lifetime" would seem like the perfect ender until a) you realize that this is somehow a cover of an old Journey song and its still amazing and b) the album actually ends with a rather whimsical cover of "Burning Bridges" by Mike Curb Congregation from the Clint Eastwood movie Kelly's Heroes. A little strange yes, but Crippled Black Phoenix are a band that no one should overlook, and I, Vigilante is yet another great offering from them.

rating: 8/10

recommended for fans of: Blueneck, A Whisper in the Noise, and early 70's Pink Floyd

Ghostface Killah - Apollo Kids

Ghostface Killah is one of those musical artists that almost releases music too fast for someone like me to keep up with. He seems to have an album per year quota (or at least it seems that way when you combine his releases with his prominent appearances on albums like Only Built 4 Cuban Linx pt. 2 and Wu-Massacre), the astonishing part being that each one never lacks in quality. Whether or not Ghost is your favorite Wu-emcee, the quality of his approach to pure NY hip-hop is hard to argue with.

Ghost's swift flow is given a huge helping hand by the construction of actual songs, much like the way it was on albums like 2006's superb Fishscale. Tracks like "Superstar" and "2getha Baby" contain memorable hooks, beats, and choruses that elevate the raps to "song" status while always retaining the feel of true gritty hip-hop. Its this balance of accessibility that will draw many to this album like much of his former music. And as always, lyrical themes stick closer to girls that some of his gritty, crime-story spitting cohorts. The lyrical and musical highlight of the album comes in the form of "In the Park", Ghosts' ode to the origins of hip-hop and call to modern rappers to remember where they came from.

Apollo Kids is truly great

through and through, but with such an impressive back catalogue its hard to say how it stacks up to some of Ghosts' finer records and whether or not it truly stands out as "essential". Although it is that time of year again, so if you're needing your Ghost fix then you already know that this is essential enough to warrant a trip to the record store.

rating: 8/10

recommended for fans of: Nas, Method Man, Chef Raekwon

sorry to be so repetitive with the ratings but they were all of consistent quality this time around. Who knows, maybe next time you'll get lucky and I'll find something that truly disgusts me.

Thanks for reading!

C McD

Corey's decade list part 1

I'm about a year late on this, but I didn't really have a place to post it until now. And while its true that Tbots beat me to the punch I still wanted to go through with posting my list of my favorite albums of the past decade. Creating this list was difficult, mostly because opinions do change about certain bands/albums as one crosses from teenage years to adulthood, but also because it was hard to decide on just 50 albums. I could have went on and had a much larger number as there are many albums that aren't on here that still deserve some credit, but I'll try to give notice to as many as I can. For this list I looked for albums that took me back to a certain place and time, something that I know had a huge impact on me at the time I heard it even if the impact has lessened since. I tried to do a fair a job as possible with this so I hope you enjoy.

50. Beloved- Failure On

49. He is Legend - I am Hollywood

48. Zao- the Funeral of God

47. Protest the Hero- Fortress

46. Baroness - Blue Record

45. Torche - Meanderthal

44. Botch - We Are the Romans

43. Coldplay - Rush of Blood to the Head

42. At the Drive In - Relationship of Command

41. Atmosphere - Seven's Travels

40. Jurassic 5 - Quality Control

39. Converge - Axe to Fall

38. Between the Buried and Me - Colors

37. Queens of the Stone Age - R

36. Extol - Undeceived

35. Mastodon - Crack the Skye

34. Pinback - Blue Screen Life

33. Open hand - You and Me

32. The Fall of Troy- Doppleganger

31. Gnarls Barkley - St. Elsewhere

Other notable mentions:

Mogwai - Rock Action

Godspeed You! Black Emperor - Lift Your Skinny Fists like Antennas to Heaven

Black Mountain - In the Future

Astra - The Weirding

Norma Jean - Bless the Martyr and Kiss the Child,

Enslaved - Runn

Neurosis - Given to the Rising

Ghostface Killah - Fishscale

Isis - Panopticon

Eisley - Room Noises

Starflyer 59 - Old

Joy Electric - The White Songbook

He is Legend - Suck out the Poison

Gospel - Moon is a Dead World

Blindside - About a Burning Fire

David Gilmour - On an Island

Opeth - Ghost Reveries

Queens of the Stone Age - Songs for the Deaf

Minus the Bear - Highly Refined Pirates

Minus the Bear - Menos El Oso

Pelican - the Fire in our Throats will Beckon the Thaw

MewithoutYou - Catch for us the Foxes

Project 86 - Songs to Burn Your Bridges by

Next time, for 30-20 I'll have write ups on the albums. Until then, cheers

Corey

2010: the year in music

Best of 2010:

2010 was a weird year for me in the sense that I wasn't really able to keep up with alot of new music that came out, mostly for lack of money. The pickings were a little slim for me to come up with a top ten like I traditionally would, so I'm just going to talk about my favorite albums of the year instead. Granted this list will probably change as there were many releases by bands/artist that I really enjoy whose releases I never even got to listen to all the way through. Bands such as: Mogwai, Tera Melos, Maserati, Nachtmystium, The Ocean, Omar Rodriguez-Lopez, Enslaved, Julie Christmas, Madlib, and probably some others that I'm forgetting. Those all would have a place on this list for sure, but since I don't really feel as if I can review them for the limited number of songs I've heard this list will have to do. I do still have an album of the year however, which I will point out when I get to it. If this list seems to cater to the "stoner" variety then sorry, it seems strange to me too.

High on Fire - Snakes for the Divine

Few things slay quite like a High on Fire record, they are one of the few extreme metal acts thats managed to appease their hesher fan base and still create a brand of music that is widely accepted by heavy music fans from all different walks. Its hard to wonder why on Snakes for the Divine, an album that continues the band's formula of gut-pounding, drum-circle like percussion, bass guitar that hits so hard its downright concussive,and Matt Pike's awesome riffage bumping up its harry bro-fist with his "Lemmy after a carton of cigarettes and a fifth ofbourbon" vocals. The opening (also title) track is one of the best HoF have ever done, and not only do you get classic stoner thrash pit-starters like "Frost Hammer", but some more down-tempo tracks like "Bastard Samurai" and "How Dark We Pray" harken back to Pike's days in legendary stoner-metal outfit Sleep. High On Fire have some past albums like Blessed Black Wings and Death Is This Communion that are pretty hard to top, but Snakes for the Divine certainly gets close.

Mouth of the Architect - The Violence Beneath

As Pelican have proven, post-metal can work in EP format just as well as in LP in some cases, especially since the genre usually deals with very long, drawn out compositions. Mouth of the Architect's 2006 LP The Ties That Blind was truly stellar display of post-rock and sedated prog-metal, but their 2008 LP Quietly seemed to lack a little inspiration and drift on in areas that should have been cut short. The Violence Beneath cuts right to the chase with the opening track that is probably the most up-tempo song that MotA has ever done. With crushing Neur-Isis style riffs that give way to some nice duel harmony licks, its certainly a less shoegazy affair than before. The second track incorporates more clean-singing with great results, and the ending buildup is carried out well by Intronaut bassist Joe Lester's smooth fretless lines. "Restore" is classic MotA goodness while the last track; the suprisingly beautiful cover of Peter Gabriel's "In Your Eyes" fits the band's intense post-metal dirges perfectly. Mouth of the Architect seem to have found a good balance for now, lets just hope they can hold onto it for the next full-length.

Kylesa - Spiral Shadow

Whether it was from a fit of inspiration or perhaps an increased budget (as it takes a nice pedal collection to conjur up this kind of rich, sonic vortex) as a result of their last album, it looks like Kylesa have finally started putting their money where their mouth is with bringing in more diverse influences and ideas. Where they've always been considered a combination of crust punk, sludge metal, and psychedelia, they still always had a sound that was pretty easily indentifiable as sludge. Merely a year and a half after their best release yet Static Tensions, Kylesa have come forward with their most vibrant, psychedelic, and surprising work yet. Of course the heaviness is still there, but this time its accompanied buy enough melody and effect layering to make this band feel like a new animal. Not to mention stronger song writing , even trippier stereo headphone effects, and Philip Cope and Laura Pleasants' strongest and most indentifying vocal performances yet. There are some downright ballsy moments as well. Case and point; the major-key leaning "Don't Look Back" which features a riff poppy enough to pass for the Pixies. And while I can't say the aforementioned track is my favorite, I still respect Kylesa for having the kind of audacity to piss off so many of their heavily-bearded fans. The only down-side to this new experimentation is an occasional lack of focus such as on "Crowded Road". Despite having an awesome middle-easternesque guitar solo halfway through the song, once its over you realize that there is only one repeating riff that bookends the song, and thats it. And hell thats not even that big of a draw-back for me, especially when the title track is probably the best song Kylesa have ever written.

Torche - Songs for Singles

Torche set the bar for themselves extremely high with 2008's full-length album Meanderthal. It was the quintessent look at what makes this band so good, and while Songs for Singles returns to the shorter format the band's accustomed to, it still gives us a shorter, more focused dose of awesome. The opening song "UFO" is yet another prime,fun, stoner-pop singalong that combines Steve Brook's memorable vocal melodies with warm, distortion-coated riffs. Songs like "Lay Low" and "Arrowhead" continue to expound upon the band's Melvins-esque freak rock weirdness that they flexed a little on Meanderthal. The two tracks making this release most worth a purchase in my opinion are the last two: "Face the Wall" features an almost Justin Broadrik style shoegaze quality while "Out Again" is yet another triumphant Torche rock anthem. It might not pack as much bang for your buck as Meanderthal, but short and sweet seems to be how Torche really likes it.

Carolina Chocolate Drops - Genuine Negroe Jig

If there's not really a folk revival going on in North Carolina you now have another reason to believe otherwise. While groups like the Avett Brothers have been busy garnering mass appeal with their style of folk-rock, The Carolina Chocolate Drops have been roughing it playing all styles of old-timey music the only way they know how. Genuine Negroe Jig shows the Durham, NC trio's versatility and ability to channel various emotions through traditional southern music. Some of my favorite moments come in the form of up-tempo bluegrass singalongs like "Trouble In Your Mind" and "Cornbread and Butterbeans", but the trio covers a wide enough range to also include darker ballads such as "Kissin and Cussin" and "Trampled Rose". And I'm not sure if "Reynadine" is a traditional spiritual or not but the Carolina Chocolate Drops are convincing enough to make it all more than pass. There's a genuinity here that is essential to this group's greatness, there is no concern here with hipness or appeal, just real songs presented in earnest fashion. In other words Genuine Negroe Jig might not be your choice if you've spent alot of time growing that beard out for some Austin indie-folk festival, but if you want something good to listen while you sit on your rocking chair out on the porch drinking whiskey, it may be just what you're looking for.

Black Mountain - Wilderness Heart

So unfortunately the 17 minute prog epic "Bright Light" from Black Mountains last LP In the Future was not exactly a sign of things to come as their new album Wilderness Heart features some of the shortest and most to-the-point, accessible rock songs they've done. On the positive side the are proving more and more that they still write timeless songs that are undeniably good. Wilderness Heart starts off with the fun and highly singable hooks of "Hair Song" but also expect some of the heaviest Sabbath worshipping Black Mountain has ever done. "Roller Coaster" features hazy pentatonic grooves while you could probably convince someone that the uptempo riffs of "Let Spirits Ride" were from Iommi himself. But thats far from all you'll get; the beautiful blend of acoustic guitar work and mellotrone/organ/synth domination on tracks like "Buried by the Blues" and "Radiant Hearts" create a vehicle for Stephen McBean and Amber Webb's strongest vocal performances yet. The songs like these are moving and memorable and prove that Black Mountain are truly exceptional at writing easy to love rock songs that are real and without cliche.

Titan - Sweet Dreams

Titan were one of my new discoveries for 2010, and easily my favorite new discovery. As it makes sense that many modern hard rock musicians are rediscovering the magic of 70's prog, Brooklyn, NY's Titan turn to the spacey yet active realms of krautrock, and its about time someone did. Titan may be on Relapse but they're not as much metal as they are a reeling head-trip of epic synth-driven prog and psyche. Although opening song and title track "Sweet Dreams" does have a bit of a galloping 80's metal riff, you're more likely to compare the vintage sonic buffet of songs like "Highlands of Orick" to the likes of Van Der Graaf Generator, Hawkwind, and maybe some Pink Floyd, Eloy, and Baroness all thrown together. In other words; total skull-banging, cosmic-vomitting eargasm. And although some may be tempted to cry "hipster!" at some of Sweet Dreams' slightly tongue-in-cheek song titles like "Synthasaurus" and "Maximum Soberdrive", Titan are simply a band making good music for those who may fancy taking a drug-addled voyage to realms beyond. Nice to meet you.

Wu Massacre - Self-Titled

Before any of us even had time to recover from the thoroughly pleasant beating that we all took last year from Chef Raekwons' Only Built 4 Cuban Linx Pt. 2, Rae and Ghost decided to drop yet another piece of hip-hop gold with Wu affiliate Method Man early this year. Wu Massacre is what we've come to expect from some of the world's most talented emcees, its hip-hop for those that love hip-hop. Criminology 2.5 is a vicious reworking of a Cuban Linx Pt. 1 classic but doesn't overstay its welcome, a common theme on an album thats surprisingly short for a hip-hop LP. Superior sampling combined with the "if it ain't broke don't fix it" rhyme scheme of these three emcees is what makes tracks like "Smooth Sailing Remix" and "Miranda" along with plenty of guest spots of course. The fact that its a short record may leave some fans disappointed but it also leaves one thing for sure: there is absolutely no filler on Wu-Massacre.

Sufjan Stevens - The Age of Adz

Trying to summarize my thoughts on this album quickly after only two weeks of listening to it will be difficult, but I think it deserves to be on here. I think its safe to say two things about American songwriter Sufjan Stevens. A: he's always pretty much just going to do whatever the hell he wants. B: As long as he's doing that we can be assured that its going to be good. Whether that means showing little concern for continuing his beloved states project or making a new album largely based of synthesizers, its really just him. Not that The Age of Adz is the first time that Sufjan has relied on electronics, as the far more abstract Enjoy Your Rabbit would tell you. Although some fans will not relish the thought of a mostly synth Sufjan album, the technology certainly hasn't quelched his creativity. The Age of Adz shows him as inventive as ever, as usual bringing seemingly simple melodies to life with rich arrangements that draw on a variety of instruments and voices. He represents some odd voice fluctuations this time around to compliment the unfamiliarity as well, or at least enough so that it differs from his usual deliveries. Most of the songs on The Age of Adz are not remotely simple; the title track brings forth an orchestra of synths and keyboards as well as stately woodwind flutters and brass reinforcements. The opening song "Futile Devices" is a brief, beautiful glimpse of the more subdued Sufjan that many are used to, and mostly features hushed vocals along with piano and guitar. The contrast being that songs like "Impossible Soul" are among the most ambitious and complex that Sufjan has ever written. Plenty of vocal indulgence can also be found on the ascending and descending lines of "All for Myself", while on one track Sufjan even takes on a little vocoder auto-tune. But in the end this is the artist we know and love, and the Age of Adz might just be the best thing he's put out since Illinois.

Intronaut - Valley of Smoke

Those who are in the know about Intronaut know that to not expect progression from them would be nothing but idiotic. For those of you who aren't in the know, my album of the year pick for 2010; Valley of Smoke is a good place to learn everything you need to know about one of metal's (and progressive music's) most promising bands. Intronaut have continued to expand and build upon their blend of progressive metal, sludge, jazz fusion and middle eastern influences that they brought to a dizzying level on 2008's Prehistoricisms, and if Valley of Smoke boasts the addition of anything, its a larger use of melody. Valley of Smoke augments a unique style of clean vocal from guitarists Sacha Dunable and Dave Timnick that supports this. Although while normally the quickest way for a metal band to sellout is to implement clean vocals, Sacha and Dave present a tough, quasi-melodic style of singing that is unrefined and helps add layers of melody to the already rich compositions. With unpredictable chord progressions that always keep you excited to see where the song heads next, polyrhythmic meters that are incredibly complex yet easy to groove on, and effects pedals that are used more as instruments than for excess, Valley of Smoke defies genre classification altogether. It may be considered prog, but if it is then its for those who prefer their prog deeper, spacier, and less about musical masturbation. And as for the rhythm section? I don't think I can think of a better one in modern heavy music. Danny Walker's drumming combined with the god-like fretless lines of bassist Joe Lester are an unbeatable combination, and just wait until you hear the album's second to last track when Justin Chancelor from Tool joins in on a double percussion and bass onslaught. If you care about this kind of music and thats not incentive enough to buy this album then I can't even imagine what must be wrong with you. Its heavy, beautiful, and smart all at the same time, to me its simply music that penetrates farther into the realms of the mind.

Shows of the year (of the few I saw this year):

Braveyoung at the Milestone in Charlotte, NC

Back when this Greensboro group was Giant, they admirably struggled to find their identity amongst the rising Neur-Isis bands of the time, but as Braveyoung they seem to blossoming into a truly relevant band. Not that I had a problem with their previous post-metal dirges, but Braveyoung's performance at the Milestone this particular February evening had a decidedly more "arty" air about it, despite it being in the dingiest punk venue in town. Braveyoung played a 30 minute set that consisted of two unreleased songs complete with timpani crescendos, acoustic breaks, bows, and other things not typically found in a room full of punks and metalheads. Braveyoung demanded reverence with their moving performance, the crowds devotion to each note played was unwavering even after the raucious performances of hardcore bands Torche Runner and Young and in the Way. As always they balanced dynamics and created building tension the way a good post-rock band should, it was worth the trip.

Eyehategod, Nachtmystium, Joe Buck, and Withered in Spartanburg, SC

Despite the fact that Eyehategod have played Ground Zero numerous times, the turnout at this show suggested that there certainly are some newer fans that understand the band's importance. Decently well-attended for a Ground Zero show, Withered played first due to Graves of Valor's absence. Their blend of doom, death metal, and black metal was just as ear punishing and unrelenting as one would expect from listening to them on record. Withered may not be for everyone, but they certainly don't mess around. Next was the band I was just excited to see as EHG, Nacthmystium. Being a huge fan of Assassins; Black Meddle Pt. 1 I was really looking forward to their performance, although their song choices leaned more towards the band's black metal side and shied away from prog. They still kept things interesting with choices like "Ghost of Grace" and a song off their new record which had just been released. They played a song off of Instinct: Decay and the Doomdsay Derelicts EP before more great cuts from Assassins such as "Your True Enemy". Although I dare say that Ground Zero's downstairs sound didn't complement them like other venues would, the reverb on Blake Judd's vocals still added a nice pinch of psychedelia to the surprisingly metal set. Eyehategod's performance was eagerly anticipated by everyone there, and whether its because they're clean or because they've been doing this for a while, their sound was airtight. After a prolonged feedback drone, with no lead in or count off the band struck one colossal chord that set the mood for the rest of the show; loud, earth-shaking southern sludge by one of the genre's forefathers. The band played until late, with cuts from each album, and since there was indeed some Take As Needed for Pain, I got what I came for. Indeed, many heads had a good reason to bang that night.

Black Mountain and The Black Angels at the Grey Eagle in Asheville, NC

Best show of the year, I already went into detail on this one so I'm not doing it again.

R.I.P.

Isis

The demise of Isis this year was not a normal band breakup. This was not a mere bummer to be shrugged off because of a vacant hole that could easily be filled with imitators. This was the loss of a band whose influence and impact have been felt tremendously since their beginning. A band that more and more people were getting into each year and having their minds greatly expanded because of it. No, this was not a normal breakup because Isis were not a normal band. The music of Isis straddled enough lines to make some very unlikely fans who appreciated very different things, they also served as a gateway to many like myself. I may have only started hearing about the band around 2005 due to the press from Panopticon, but in the few years I've been listening to them they meant more to me than most bands ever have. Sure I had encounters with the likes of Mastodon, Converge, Botch, Neurosis, etc. All bands that challenged my boredom with heavy music and molded me into a different person, but Isis still did it differently than anyone else.

Isis began in 1998 and gained more notoriety each year until they became the go-to band for individuals breaking out into different musical territory. Soon enough metal-heads that usually went for more typical listening were introduced to an entirely new world, while indie/shoegaze types would find one of the few heavier bands they loved. Fans of sludge, prog, post-rock, even ambient electronic music would soon find some common ground, and while many have varying opinions on which years the band put out their best material, I think its all brilliant in its own way. And oh have there been imitators. I'd be lying myself if I said I wasn't one of the many that heard Oceanic for the first time and said "thats exactly what I want to do". But perhaps they were in the right, the band believed that they had milked Isis dry and that anything further from this point would just be repeating what they've already done, so honestly more power to them for having the respect for their fans to stop before their hearts were no longer in it. Now what we all need to do is just reflect on and enjoy their music, I know I myself and making sure to get my hands on all the LPs, CDs, MP3s, or whatever I can find Isis related this year to truly pay tribute. To one of the most influential bands of the past decade: Farewell, you guys had a hell of a run and I can't wait to see what directions you go in next.

In memorium: Ronnie James Dio

Being at the age I am its bitter reminders such as these that let you know that alot of the musicians you look up to might not be around much longer. The passing of Capt. Beefhart this year Pink Floyd's Richard Wright two years ago were such reminders as well of course. Many know Dio as the singer for Rainbow and the second incarnation of Black Sabbath, with him we lost not only an iconic figure that may as well have made one of rock's biggest contributions with his patented horn throw, but an amazing singer and someone who just seemed like he would be a cool guy. And sure I love Ozzy-era Sabbath as much as any self-respecting rock fan, but I still look at Heaven and Hell as being one of Sabbaths finest albums. A sad loss indeed.

Nujabes

A truly profound artist that I wish I would have discovered sooner to say the least. Nujabes was a Japanese hip-hop producer that was most known for having a strong jazz influence in his production/beats. Collaborating with some truly great underground rappers and putting together some really beautiful music, I can truly attest to the work of Nujabes as healing to the soul and I hope that more people continue to discover his music. I've been playing his album "Metaphorical Music" for the past six months and reflecting on how good that it is makes it even sadder that he's no longer with us, due to a traffic accident that took his life in February of last year. One can only hope that somewhere, him and Dilla are working on something amazing.