1. M. Ward – Hold Time
Following a foray into nostalgic ’50s pop with actress and songstress Zooey Deschanel, M. Ward returned to his raspy-voiced story-telling ways. And return he did, crafting perhaps the most complete album of the year. Ward’s familiar folk tinge is heard on “Jailbird” and the upbeat “Stars of Leo,” and his traditional tales of travel are on “Shangri-La.” Ward even ventures into homage with a cover of Buddy Holly’s hit “Rave On,” which, though covered many times before, is made more his own by preserving Holly’s guitar riff and slowing its pace to complement Ward’s smooth vocals. Hold some time, approximately 45 minutes, to savor its folk, rock “n’ roll and Americana roots and Hold Time will remind you that somebody’s still making music like they used to.
2. Phoenix – Wolfgang Amadeus Phoenix
Postmodern odes to neoclassicism never made you want to dance so badly. Unrelenting hooks and hints of euro-disco power pop make the Frenchies’ fourth their most memorable. Wolfgang Amadeus Phoenix is replete with memorable tracks from toe-tappers “Lisztomania” and “1901” to the most-likely-to-be-overshadowed-by-other-hits “Countdown (Sick for the Big Sun).” Frontman Thomas Mars and the boys delivered the pop album of the year8212;maybe of the decade.
3. Owen – New Leaves
A lot can be said for never taking a step backward. Mike Kinsella, the man behind Owen, has yet to do so. If New Leaves suggests Kinsella meant to turn something over, this side is just as brilliant as the previous. His latest release fits so perfectly into his growing collection of blatantly honest, and sometimes callous, confessionals concerning his8212;and others’8212;deficiencies. There are moments of New Leaves that are completely entrancing, such as the majestic “A Trenchant Critique” or the perfectly crafted “The Only Child of Aergia.” As a longtime solo artist, Kinsella competes with no one but himself, and on New Leaves he’s well out of his own way. He’s constantly building upward and forward, but never backward.
4. Grizzly Bear – Veckatimest
Immediately jumping to the top of everyone’s best of 2009 lists after its release in May, Grizzly Bear’s Veckatimest has a genre-melding contagiousness that grows with each play. Few albums this year evoke such striking imagery and passion, and in the case of Veckatimest, it’s overflowing. Striking instrumentation and precise vocal harmonies from Ed Droste and company work seamlessly with ambient instrumentation, that occasionally give way to the band’s more bombastic side, flashing a haunting dark side to accompany the band’s choirboy allure.
5. The Swell Season – Strict Joy
There’s been joy in the journey for Glen Hansard and Marketa Irglova, and it’s been quite a trip. The European darlings who garnered critical acclaim for their work on the 2006 film “Once,” for which they won an Academy Award for best original song, might have produced this year’s best album no one’s talking about. Strict Joy is rife with Irish undertones, which often segue into powerful folk-rock balladry concerning love, loss and a longing to retrieve what was abolished. Poorly veiled brooding about the couple’s post-“Once” relationship surfaces on the wrenching “In These Arms” and Irglova’s “Fantasy Man” as she sings: “The timing wasn’t right and the force that swept us both away was too strong for us to fight.” Although “Once” wove the makings of their real-life falling in love, Strict Joy plays as their falling out in an “It’s not you, it’s me” dysfunctional confession that’s8212;fortunately for us8212;encased in a gorgeous collection of songs.
6. Julian Casablancas – Phrazes for the Young
The Strokes’ main man apparently knew just what would pre-emptively save us from the impending winter doldrums8212;a collection of songs with toe-tapping hooks and infectious melodies. Although Julian Casablancas never meant to go solo and only produced Phrazes for the Young to kill the boredom during time away from the band, he joined fellow bandmates who had previously branched out to work on solo work or pursue side projects. Elements of The Strokes are understandably preserved in Casablancas’ solo work, but bits of dance beats and heavy synthesizer are new accompaniment for Casablancas’ distinctive vocals, which are strong as ever. With an opening synth line that would make the band Europe jealous, “11th Dimension” is the kind of track you couldn’t wear out if you tried. When it’s cold and snowing outside, just stay in and dance to Phrazes for the Young.
7. Cursive – Mama, I’m Swollen
For the seminal Nebraska indie outfit, following the mostly-mixed-reviewed Happy Hollow was further complicated because of the departure of longtime drummer Clint Schnase. The setback prompted a return to the retrospective self-examination familiar to their groundbreaking Domestica and can be heard on what plays as singer Tim Kasher’s opus “What Have I Done?” Unlike so many artists whose primary projects suffer as a result of peripheral pursuits, The Good Life frontman and company crafted another distinctly Cursive, ever impressive offering.
8. David Bazan – Curse Your Branches
For an album charting struggles with faith and acceptance, Curse Your Branches finds David Bazan more comfortable than ever. The former voice and creative force of influential Seattle band Pedro the Lion, Bazan’s religious history is well-known to listeners. Although his “coming out” as agnostic is a central theme to Curse Your Branches, its broader message of finding comfort in not always needing an answer seems to have freed Bazan to craft his most polished album to date. With a voice as pure and unabashed as you’re ever going to find, and with the complement of a full band, Bazan produced 10 of his most memorable tracks.
9. Monsters of Folk – Monsters of Folk
Synergy describes a situation in which different entities cooperate advantageously for a final outcome, or simply put, a whole that is greater than the sum of its individual parts. For supergroup Monsters of Folk, composed of members of Bright Eyes, My Morning Jacket and M. Ward, such synergy should have been more difficult to achieve. Years spent touring, collaborating and talking of releasing an album together made the formation appear almost seamless. Listening to the band’s self-titled debut, it’s obvious that little, if any, planning went into what the band would sound like. Instead, the members contributed a bit of what they’re best at and, voila, synergy. Conor Oberst’s lyrical potency is present on the standout “Temazcal,” Jim James’ pleasantly piercing vocals carry “His Master’s Voice,” and Ward’s trademark stylings pervade “Baby Boomer.” Listening to this album feels like being invited to a jam session with some of today’s great musicians cutting loose.
10. Coconut Records – Davy
Newly appointed indie poster child Jason Schwartzman somehow manages to make fantastic music between bouts of screenwriting and acting in both film and television. For the former drummer for the infamous Californians, Phantom Planet, Schwartzman’s debut Davy, released under the moniker Coconut Records, surprised many by its wide range of musical styles, often sounding like a mixed tape of different artists. Schwartzman clearly narrowed the focus with Davy, creating a mostly acoustic collection of Beach Boys-esque songs. Standout tracks include the opener “Microphone,” the plea for independence “I Am Young” and
the ballad “Is This Sound Okay?” Yes, it sounds OK. In fact, it sounds like some of the best music out there.
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