Top 10 Albums of 2010 - #1 Sigh No More by Mumford and Sons

Oops.

I'm a little bit late on this post, and I apologize. Turns out having a real-life job can be just as consuming as grad school (or more). However, without further ado, I'm happy to announce our number one pick on the list of very awesome albums of 2010: Mumford & Sons' Sigh No More.

Those who know their stuff may question the legitimacy of our choice—yes, the album did technically debut in 2009. However, it wasn't released in the U.S. until 2010, and, unless you have the time and funds to keep up with British music charts, you likely didn't hear about this fantastic band until this year.

I still remember the day last spring that my roommate Desiree called me into her room, excitedly voicing her belief that she had just found a band that I just had to listen to. She was right. I was instantly struck by both the sound and the poetic lyrics of the title track, and I continued to be impressed and, even, moved by each track on the album.

Since purchasing Sigh No More last spring, I've seen the band live twice and purchased anything else they've released, so this review is by no means unbiased. However, I can honestly say I would recommend this album to just about anyone. There is an earnestness in Marcus Mumford and co's music that seems to reach across genres. Despite their heavy dose of banjo and upright bass, the band enjoys a heavy rotation on alternative rock radio. And though they can certainly rock, the group has an old-tyme, spiritual feel on tracks like "Timshel."

Lyrically and musically, the four members of Mumford & Sons seem to be wise beyond their twenty-something years. In a very short period of time, they've developed a massive following in their home country and abroad, and it's for good reason. If all you've ever heard of Mumford & Sons is "Little Lion Man," check out the rest of the album. It's the most uplifting, rollicking, and—in my personal opinion—the best album of 2010.

This is the is the first Mumford & Sons video I ever saw, and "Winter Winds" is still one of my favorite songs on the album:

Top 10 Albums of 2010 - #2 The Family Jewels by Marina and the Diamonds

The first time I heard Marina Diamandis (singer-songwriter of Marina & the Diamonds), I was smitten: her single, “I Am Not A Robot”, was the Starbucks pick-of-the-week. Per usual, I binge downloaded all the Starbucks picks in my wallet at the same time I was shredding old receipts. Some days this process yields a winner; other days, nothing; on the rare occasion I’ll uncover a gem (pun intended). Whatever else I downloaded that day (perhaps regrettably) has been forgotten, because Marina outshone it all.

“Marina & the Diamonds” is Marina’s stage name. “The Diamonds” are not her backup band (as I wrongly assumed) but rather her fans. She says on her MySpace page: “I’m Marina. You are the diamonds”. In this offbeat vein, her single, and indeed much of her album, plays out like a quirky, indie movie. It does what it wants without any self-consciousness about being different. A song about (not) being a robot. Random vibrato. Vocal synthesizers and echoes. Doesn’t every song have these? Marina leads you to believe so with the confidence and personality she emits with her music. It’s fetching how the song creeps up on you, with the dainty piano and delicately performed vocals. The first time I heard it, I never expected a full-fledged pop-dance number would follow. Pleasant surprises like this are widespread in Marina’s debut studio album, “The Family Jewels”. Akin to Regina Spektor (another much adored female singer-songwriter), Marina uses her voice like an instrument. For her, it’s more than just hitting the right pitch. There’s dynamics. Not just in volume, but also speed. Short, separated notes. Long, fluid ones. And like a seasoned jazz musician, Marina mixes these elements in a way that feels spontaneous. There’s times when Marina alters her voice to lend the melody and lyrics a specific personality – like a robot in “I Am Not A Robot”. Or in “Hollywood” when Marina uses her lower range, her voice takes on a dreamy, almost underwater quality. Sometimes she jumps to her falsetto even though she could hit the same note without it. It’s these nuances that make Marina’s music unique, impromptu and intentional, all at the same time.

If you mixed the off-color attitude and cynicism of Lily Allen, the charisma and electronica of Lady Gaga, and the spontaneity and experimentation of Kate Nash you’d have the makings of Marina’s sound. But in the end, it’s what Marina does with these qualities that truly makes her music singular and extraordinary. Listening to “The Family Jewels” was, for me, like watching an indie movie: it’s eccentric and strange at times but the pleasure rests in the unpredictability.

Top 10 Albums of 2010 — #3 Age of Adz by Sufjan Stevens

Age of Adz starts out gently enough, with the tender "Futile Devices," which doesn't sound far off from a Michigan or Illinois track, with its acoustic simplicity and honest lyrics.

From there, the album takes a turn with the electronic orchestrations of "Age of Adz," which might shock those whose exposure to Stevens is limited to the two albums in the now-defunct (probably) fifty-states series. However, for those die-hard fans who know either Stevens' dabbling in electronica with Enjoy Your Rabbit or his extended orchestrated, instrumental soundscape to his film, The BQE, Adz will likely seem a logical progression.

The album is a bit strange, I'll admit it. Like Derek Webb's transition from acoustic to electronic last year, this isn't an album for everyone. But for the fan with an open mind—the one who can forgive Stevens for deviating from the fifty states project and can accept that Adz has more synth than banjo (don't worry, there's still banjo)—the album is not to be missed.

At the least, it must be conceded that the album is ambitious—in many ways a departure from what Stevens has become known for, Adz was a risk. When he performed in Portland this winter, he acknowledged the risk, somewhat sheepishly thanking fans for coming out to the show and patiently listening through a set of almost completely new songs—songs released (on Adz and its preceding EP, All Delighted People) after most of them had purchased their tickets for the show. Even with his apologetic thanks, Stevens likely left few fans feeling shafted. He put his heart and soul into the technicolor, multisensory show, and I'm sure most fans left feeling the way I did—that they had just seen the most bizarre and most excellent show.

On Adz, Stevens does more than just experiment with new sounds. Without the convention and themes he built up around the fifty-states album, he was able to create songs that were less about telling a story and more about expressing an emotion. And Adz is highly emotional. At times angry (with the anger sometimes aimed at another, like on "I Walked," and sometimes at himself, like on "I Want to Be Well"), and at times melancholic, the album seems to be, ultimately, a call (like the art of the tortured Royal Robertson, which influenced Stevens heavily as he wrote) to "Get Real Get Right."

There's a lot more I could say on the subject, but, rather than gush, I'll leave you with the newly released video for "Too Much" and let you decide for yourself:

Top 10 Albums of 2010 - #4 Lonely Avenue by Ben Folds & Nick Hornby

Ben Folds adds music and melody to Nick Hornby’s words in “Lonely Avenue” (as is written on the CD’s cover). Depending on how you count, this is Ben Fold’s seventh studio album. Things get confusing when you start distinguishing between band albums, solo albums, compilation albums, collaboration albums, etc. Although “Lonely Avenue” is a collaboration album in the truest sense, I consider it to be the seventh official installment in the Ben Folds repertoire (in order: Ben Folds Five, Whatever and Ever Amen, The Unauthorized Biography of Reinhold Messner, Rockin’ the Suburbs, Songs for Silverman, and Way to Normal). Of course, the diehard fan will also know there exists a plethora of EPs, collaborations (including two with William Shatner), second cuts and other miscellanies written by Ben. He is a musician who is not afraid to try things out, embraces experimentation and is inclined toward diversion. Perhaps this is why he teamed up with novelist and screenwriter Nick Hornby (High Fidelity, About a Boy, Fever Pitch, An Education) to create “Lonely Avenue”. But what may have began as a diversion, something different, something new, turned into a remarkably fulfilling and mature album.

“Lonely Avenue” begins with “A Working Day” – musically, it may be the worst song on the album. You might even call it annoying. But inside of it there’s a message. Midway through the song, Ben sings, “Some guy on the net thinks I suck and he should know; He's got his own blog”. In other words, it’s easy to be a critic. To sit back at a computer and judge someone’s music*. It’s not easy to put your heart and soul on the line in song. *I might add, it’s not exactly easy to write thoughtful and interesting music reviews, but it certainly is easier than songwriting. Songwriting is toilsome.

After that, “Lonely Avenue” takes off with one sensational song after another. My favorite songs are “Picture Window” and “Password”. “Picture Window” is a beautiful, sad and cynical song about hope during difficult times. Though the lyrics are bitingly pessimistic, the melody is still somehow hopeful. “Password” is also a sad song (come to think of it, much of the album has tragic undertones; I guess it is called “Lonely Avenue” after all). “Password” is a point-of-view story about a crumbling relationship told through passwords that are sung letter by letter. It sounds strange, but is extremely effective and makes the song’s conclusion all the more heartbreaking. A lot of “Lonely Avenue” is about relationships and they do not all have happy endings. Yet still, the album is emotionally fulfilling. Dave Matthews was right when he sang, “Somebody’s broken heart becomes your favorite song”.

Top 10 Albums of 2010 — #5 Together by The New Pornographers

Speaking of bands made up of seven highly talented band members, it only makes sense that The New Pornographers' Together should follow the Arcade Fire's Suburbs on our top ten list.

I confess, I resisted checking out the Pornographers for awhile, based on their name* alone. However, I had a chance to cover their show in Portland this past fall for the music website I write for, and I can rarely say no to a free show. Plus, when I realized Neko Case, who I'd been a fan of for some time, was one of the members of the Canadian power-pop group, I knew there was a good chance I'd love them.

I started listening to Together in preparation for covering the show, and the album instantly grabbed me. There isn't a bad track on the thing. From lead singer A.C. Newman's staccato on the album-opening "Moves" to Neko Case's powerful vocals on the stand-out "Crash Years" to Dan Bejar's distinctive, raspy stylings on "Silver Jenny Dollar," each track is completely different yet somehow complementary to the next. And on tracks like "Sweet Talk, Sweet Talk," the group shows their ability to blend together their divergent sounds to create one beautiful, very catchy song.

The twelve track album is a brilliant collection, worth a listen or a purchase by both old New Pornographer fans and those who've never given the band a listen. It's an album that functions equally well as an introduction to the group as it does an expansion on what the group has created with other albums, including the beloved Mass Romantic.

*I decided I didn't mind the band's name, once I read someone's commentary that claimed the name was chosen by Newman in response to a comment by Jimmy Swaggart that rock and roll was the "new pornography." However, in researching this blog, I learned (via Wikipedia, so take it with a grain of salt), that that information may not actually be totally true.

Top 10 Albums of 2010 - #6 The Suburbs by Arcade Fire

What do I know about Arcade Fire? They’re from Montreal, Quebec, Canada. They consist of a husband and wife duo (Win Butler and Regine Chassagne) along with five other members. And their song “Wake Up” was featured on the “Where the Wild Things Are” trailer (which was the most adult, kids-movie I’ve seen in a while, I might add. “Adult” in terms of theme and profundity). Before aforesaid trailer, I hadn’t knowingly heard a song by Arcade Fire. I downloaded “Wake Up” and listened to it many times. I loved its progression. It was like several songs in one. Just when you think you know what it’s up to, it changes course. When one of my art students burned me a copy of Arcade Fire’s 2010 release, “The Suburbs”, and told me I had to check it out, I didn’t know what to expect. Having only heard “Wake Up”, I had no clear conception of Arcade Fire’s “sound”. After having listened to “The Suburbs” several times now, I still don’t have a clear concept of the band’s “sound” (if, in fact, they have one).

In part, this is what makes “The Suburbs” so enjoyable: there are so many sounds. Perhaps this is the result of seven band members contributing to the album. Or a wild instrumentation that includes a glockenspiel, French horn, accordion and hurdy-gurdy. A couple tracks sound like they came out of the 80s. Whatever the cause, the effect is an expansive album that ascends on many levels. Even after several listens, I haven’t wrapped my head around this album – which in this case, is a good thing, because it is so enjoyable to play. It surprised me that an entire LP would be as diverse and unique as the first song I heard by them. Even amongst this list, “The Suburbs” is an idiosyncratic album. It entices repetition by its assortment of diverting and wonderful melodies.

Top 10 Albums of 2010 — #7 Weathervanes by Freelance Whales

Everybody loves a good ghost story. When that story is told through delightful lyrics and accompanied by myriad instruments, from banjo to glockenspiel to harmonium to synthesizer, it becomes even more irresistible. The songs on Weathervanes are spun from childhood memories and dream journals, centering on the idea of a young boy in love with the ghost who inhabits the old house he lives in. Some songs fit the theme better than others, but, together, they paint a dreamy, spectral picture.

My first introduction to the Freelance Whales was "Generator (First Floor)," a song I stumbled upon accidentally but was instantly captivated by. I watched their tiny little desk concert over and over and over again:

And, then, even though I heard mixed review of Weathervanes from a friend, I decided to purchase it, and I haven't regretted it. Their music is light and airy and reflects the playful nature of the band who spent their earliest days busking the streets of New York. At other times, the songs tend toward the more reflective and melancholic, like "Location," on which lead singer Judah Dadone reflects on the "tinder box we live in / and what a flammable heart I've been given."

If you haven't yet, do yourself a favor and download "Generator (Second Floor)" for free here. And then think about getting the rest of the album too.

Top 10 Albums of 2010 - #8 Kaleidoscope Heart by Sara Bareilles

Like the title of her second album suggests, Sara Bareilles’s “Kaleidoscope Heart” is full of color, vibrancy and life. When asked about the much-anticipated follow-up to 2007’s “Little Voice”, Sara said that she spent her entire life coming up with and fine-tuning the songs for that album– she couldn’t just magically produce another studio release overnight. Indeed, few artists can. Fewer still create a sophomore album that shines and impresses as much as “Kaleidoscope Heart” does. From the gorgeous a cappella intro to the first chords on the piano filled with vigor and buoyancy, Sara’s songwriting is overflowing with brilliance.

“Uncharted” is the album’s first complete song (after the elegant vocal intro). It’s passionate and catchy and delivers on one tried and true method of songwriting: start with a piano and build from there. It doesn’t have to be unnecessarily complex; most of Sara’s songs follow a familiar pattern of verse, chorus and bridge, but good music doesn’t need frills. Sara succeeds at the basics, for example: writing a slow-tempo song with energy. This should be basic, but so many musicians fall flat with this. Songs that are supposed to be pretty and beautiful are dull, boring and lifeless. You know which ones I’m talking about. You press “skip” on the CD player when they come on because you want to hear something upbeat. On the other hand, Sara’s slow-tempo songs are brimming with drive and vitality. Sara nailed this on her first album and continues the tradition with “Hold My Heart”, “The Light” and “Breathe Again”.

Sara writes melodies and lyrics that are instantly enjoyable while at the same time offer enough depth and diversity to merit multiple listens. I can imagine Sara performing this album acoustically and solo – just her and a grand piano – that would be an incredible concert. I can’t say that about some other albums or bands, because many hide behind sketchy instrumentation that hides the melody or vocals more than it highlights them. Sara’s vocals are magnificent. I think Sara is one of the finest singers around; her range and pitch is phenomenal. Even though her vocals are not showcased with quite the same prominence as on her debut album, they are still outstanding. Perhaps she has less to prove on her second album. Or maybe she has more to prove now, to show her staying power. Regardless, she has succeeded in creating an album that exhibits the maturity and adeptness of her craft. “Kaleidoscope Heart” is rich with color and emotion.

Top 10 Albums of 2010 — #9 Have One On Me by Joanna Newsom

I once heard Douglas Jenkins (of the Portland Cello Project) liken seeing Joanna Newsom in concert to watching a fairy pirate with a harp, and I've yet to hear a more apt comparison. Of course, I would add to his description "captivating" and "talented" and a string of other complimentary adjectives.

Besides the harp, Newsom's sometimes dulcet and old-world, sometimes vibrant and childlike, voice, combined with lyrics about tarantulas and inflammatory writs and cockleshells, lends credibility to the comparisons to pixies and other mystical beings. In a world where the number of new bands to listen to each day can grow wearying, and where every band is compared to some other band, Newsom has created a sound that is truly unique and incomparable.

Have One On Me picks up where her previous albums left off, not doing something terribly different that what she did on Ys or The Milk-Eyed Mender, but doing it better, with greater depth and maturity. The album is long—18 tracks in all, with the majority of them longer than six minutes—and filled with epic tales and rich arrangements of harp, piano, percussion, banjo, jaw harp, recorder, trombone, guitar, violin, and more.

And, even with 18 tracks, it is an album on which it is very difficult to pick favorites. Have One is an album that stops you in your tracks—entangling you in the subtle opening strings of the romantic "Easy" and taking you on a two-hour journey through another world—and once you reach the sad, sweet farewell of "Does Not Suffice," you'll want to take the journey over again.

While picking favorites is difficult, "'81" is a definite stand-out, and once you watch Newsom perform it live, you'll have no trouble understanding how the songstress sold out two back-to-back shows when she visited Portland this fall:

Top 10 Albums of 2010 - #10 Contra by Vampire Weekend

“Contra” by Vampire Weekend begins with the lyrics:

“In December, drinking horchata
I'd look psychotic in a balaclava
Winter's cold is too much to handle
Pincher crabs that pinch at your sandals”.

It’s beautiful right? But if you said you knew exactly what these lyrics meant, I’d call you a liar. Where else have you heard the words “horchata” and “balaclava” together? Nowhere, that’s where. For those of you who were curious like me: Horchata is an almond-flavored soft drink in Spain and Latin American countries. A balaclava is a close-fitting wool hat that covers the head and neck. For use of these abnormal words and more, Vampire Weekend deserves credit. Deciphering lyrics is not my forte. Fortunately, you do not have to understand what Vampire Weekend is singing about to enjoy their happy, upbeat music. The music and melodies speak for themselves.

I had not heard Vampire Weekend prior to purchasing “Contra” early this year. I saw they were at Sasquatch in an advertisement – I didn’t see them at Sasquatch unfortunately. And I bought their self-titled debut album shortly after. Because I listened to both releases so close together, I must admit I have trouble distinguishing between them. The band however, has a very distinct sound that stays consistent across the two albums – it’s a cross between ska, punk and indie rock. For a band name that could’ve described a morose, moody rock group, Vampire Weekend is remarkably cheerful (and pleasantly surprising if you were expecting morose and moody). At the risk of offending more ardent and long-standing fans, all of Vampire Weekend’s songs fit into one of two moods: upbeat or laidback. Which is fine, because there’s so much the band does with these categories; no two songs sound alike. Sometime’s it’s a change of beats, a mix of percussion or a splash of synthesizers, but Ezra Koenig’s vocals always soar. For me, “Contra” (and “Vampire Weekend”) was a surprise hit of the year.

Bringing it Back

That's right, folks. Kyle and I have completely failed at blogging this year, but that doesn't mean that we haven't been listening to good music. And it doesn't mean we aren't dying to tell you about it.

So, we'll be getting the band (the "band" being Kyle and myself) back together for a countdown of the year's best ten albums (in our humble opinions).

Stay tuned for the posts--and please share your top album picks of the year with us. We'd love to hear them.

The Top 10 Albums of 2009 -- #1 Strict Joy by The Swell Season

I have this thing for sad songs. After all, as Elton John said, “Sad songs (say so much).” It might be no surprise, then, that my favorite album of the year is The Swell Season’s Strict Joy. An album filled with songs written by partners in music and ex-partners in life is bound to be filled with some powerful emotions, and listening to Joy can feel a bit like a rollercoaster. Irish singer-songwriter (of The Frames) Glen Hansard, half of the duo, explains that the album is a bit like a diary, and I think that description is accurate.

Perhaps it’s really more like two diaries. Hansard and Czech singer-pianist Marketa Irglova became romantically involved during the filming of 2006’s Once (in which they played, oddly enough, musicians who fall in love but then part ways). Since then, their romantic relationship has ended, and, listening to joy, you can feel each artist grapple with the loss of love, sometimes with sadness, sometimes with anger, and sometimes with relief.

One of the most beautiful things about the album is the transition between songs. The quiet simplicity of “In These Arms”—where Hansard wonders if “maybe I was born to hold you in these arms—gives way to the angst of “The Rain:” “I know we're not where I promised you we'd be by now, but maybe its a question of who'd want it anyhow.” Whether the songs are inspired by the real-life break-up or a prescribed narrative that functions as a sequel to their film, as one reviewer suggested, the result is lovely.

Each track on the album is honest—sometimes painfully so—and, together, they form a truly beautiful piece. The combination of Hansard’s energetic folk rock and fiery voice and Irglova’s honeyed vocals and peaceful piano lends the album variety. Irglova is at her best on the dreamy and melancholy “Fantasy Man,” while “Back Broke” demonstrates that, even on a softer song, Hansard’s voice and lyrics can make you want to laugh and cry all at the same time (“Back broke and dancing, cause you’re here beside me”). “The Verb,” “Two Tongues,” and the bonus track “Somebody Good” showcase the vocal chemistry of the pair perfectly.

The duo also recorded a live session at Daytrotter, which features three songs from Strict Joy, as well as a beautiful rendition of “Star Star.” While I’m not sure if Hansard and Irglova will continue to make music together or choose to pursue their individual projects—I certainly hope Swell Season will continue on.

The Top 10 Albums of 2009 - #2 Far by Regina Spektor

I've found that some albums are catchy at first but lose their shine after the first few listens (like for example, Matchbox Twenty's More Than You Think You Are). Others are not so exciting at first but grow on you over time (like Duncan Sheik's Daylight). Regina's latest album, Far, is one of the rare gems that is both immediately satisfying and worthy of repeated listens. The first two tracks, "The Calculation" and "Eet", are instant hits that rope you in to the album, like "Fidelity" and "Better" did in Begin to Hope. They're fun, upbeat and ever-so pop-y. As usual, Regina uses her voice like an instrument, which for me, is one of her strongest appeals; the layering she's able to create with her voice and the other instruments is unlike any other artist I've listened to. After the second track, the album becomes more mature; that is, the music is more deliberately-paced and the lyrics become more introspective and abstract.

It's likely that some songs on Far will hook you right away. When I wrote my original review for this album they were: "Dance Anthem of the 80's", "Eet", "Human of the Year" and "Laughing With". I still love "Dance Anthem"; it's ridiculously infectious. I dare you not to like it. But some songs which were definitely not my favorites at first have grown on me and I see this album as a well-rounded and deep piece of musical art. Songs like "Blue Lips" and "Genius Next Door" have become more fulfilling with every listen. There were many great albums that came out in 2009, some may be fads, but I predict that Far will have long-lasting appeal.

The Top 10 Albums of 2009 -- #3 Noble Beast by Andrew Bird

If you've listened to Noble Beast already and didn't love it right away, I suggest putting on a pair of headphones and trying it again. In some ways, Bird's newest release is less overtly dramatic than his previous albums. That's not to say he doesn't still whistle like the wind and a saw and anything else a whistle can sound like. And he still shows off his beautiful violin skills and his impressive vocabulary. Even so, the theatricality of songs like "A Nervous Tic Motion of the Head to the Left" (from Andrew Bird & The Mysterious Production of Eggs) and "Fiery Crash" (from Armchair Apocrypha) aren't to be found here.

The subtlety of Beast should not be confused for boring, however. The album opens with "Oh No," which begins with dreamlike strings and whistles but quickly transitions to a catchy, pop number. "Masterswarm" features a latin-inspired rhythmic feel while "Effigy" begins with some amazing, eerily layered violin. "Not a Robot, but a Ghost" is noisy in a way that is unusual for Bird but is undeniably catchy. For me, the album's real high point (and the point at which you should really put on those earbuds if you haven't already) is "Anonanimal," which features Bird at his wordplay best: "I see a sea anemone, the enemy. See a sea anemone, and that'll be the end of me." Honestly, how can you not love a man who uses the phrases "tenderest of tendrils underneath her tender gills," "anomalous appendages," and "innocuous plecostomus though posthumous."

I would marry him for his alliteration and assonance alone. You know, were he to propose. I read one review that complained that Bird’s lyrics didn’t make any sense and left her with a headache. I say, just enjoy the sound and don’t over think it too much. Sometimes Bird’s lyrics make sense; sometimes it’s okay to just appreciate that “proto-Sanskrit Minoans to porto-centric Lisboans; Greek Cypriots and Hobis-hots who hang around in ports a lot, uh huh” (from “Tenuousness”) sounds really cool and leave it at that. Think of Andrew Bird as the Lewis Carroll of music and enjoy the whistling, catchy, alliterative ride.

The Top 10 Albums of 2009 - #4 Big Whiskey and the GrooGrux King by Dave Matthews Band

I've said a lot about Dave Matthew's Band latest album in my original review of Big Whiskey and the GrooGrux King. From the first time I heard the lonely saxophone in the opener "Grux", flamboyantly followed by the energetic "Shake Me Like a Monkey", I knew I would be writing about this album on our Top Ten of 2009. Big Whiskey is pure and unadulterated DMB in all its pre-Stand Up glory: soaring, innovative melodies, varied and intricate drum beats, fantastic musicianship all-around.

In my opinion, the comeback album of the year. The band returns to form in every number, delivering songs with multiple parts and melodies (not the same boring chorus repeated over and over and over, a la "Louisiana Bayou"). Even in the radio-friendly single "Funny the Way It Is", Dave's vocals seem to have more spark and life than they did in half of the songs from their previous release. On other songs, Dave's vocals and the backups really come alive, like "Why I Am" and "Seven"; I missed DMB at the Gorge this year, but I can imagine these songs performed live. The whole sound of this album is bigger, not the sound of a cramped recording studio. Big Whiskey is a timely reminder why we still listen to DMB albums like Under the Table and Dreaming fifteen years later. I would wager that Big Whiskey will still be making its rounds on my iPod playlist fifteen years from now.

The Top 10 Albums of 2009 -- #5 Stockholm Syndrome by Derek Webb

Derek Webb’s newest album isn’t for everyone. Stockholm Syndrome is the former Caedmon’s Call singer/songwriter’s fifth solo studio album, and, musically, it is a stark departure from his previous efforts. After my first couple listens, I couldn’t decide if I liked the new, techno-fied Derek Webb. However, Stockholm is an album that grows on you—if you’ll let it—and I’ve since been won over by the thumping beats paired with Webb’s gorgeous vocals.

One of the great things about Webb is his ability to surprise listeners—each of his solo albums has had a distinctly different feel, from the simple acoustic sound of She Must and Shall Go Free to the more experimental sounds of I See Things Upside Down. Stockholm is the first album that reflects a heavy electronic influence, and, while it doesn’t work perfectly on every track, overall, I think Webb pulls it off well, especially when violas mix with heavy bass on “Cobra Con” and with Bollywood-esque flutes on “I Love/Hate You.”

Aside from the new sound, one thing about Stockholm isn’t new to Webb—controversy. An open Christian, Webb’s lyrics are filled with religious references and marketed primarily within the Christian music market. However, since his first solo release, Webb has faced resistance in that market. Some Christian retailers refused to stock Go Free because of its “strong language.”

Over Stockholm, Webb and his label disagreed sharply, especially over one song in particular, “What Matters More.” The song is a strong criticism of the church’s condemnation of homosexuals, and opens with the lines, “You say you always treat people like you’d like to be. I guess you love being hated for your sexuality.” Apparently, Webb crossed the line by including two expletives in the song. Eventually, he and his label reached an agreement—they released a censored version of the album, while the full version was available only through download on Webb’s site (You can download the controversial track for free here: http://www.derekwebb.com/).

The rest of the album is filled with Webb’s usual mix of introspective, political, and honest lyrics. Both lyrically and sonically, Stockholm is a daring attempt, and Webb deserves accolades for that, even if the album doesn’t gain him any new fans.

The Top 10 Albums of 2009 - #6 Taller Children by Elizabeth & The Catapult

Taller Children is Elizabeth & The Catapult's debut album. They are a trio from Brooklyn consisting of Elizabeth Ziman, Dan Molad, and Pete Lalish (are Dan and Pete "the catapult"?). I've been listening to the group for a while now; their self-titled EP came out in 2006 and features a few numbers that later appeared in Taller Children. Their sound is a little bit folk, a little bit pop, and a smattering of jazz, rock and soundtrack. As a whole, the album is quite eclectic, where one genre's influence takes the forefront in one song and all but disappears in another. "Apathy" and "Complimentary Me" are delightfully and shamelessly folksy. "Rainiest Day of Summer" and "Right Next To You" are mesmerizing, ethereal ballads that escape categorization. The vocals, wonderfully led by Elizabeth, are the mortar that connects the unique songs and sounds into a consistent and expressive album.

Most of the songs give me a feeling of nostalgia and sentimentality, but the title track is decidedly cynical in its assertion "in the end, we're all just taller children": cynical yes, but not in a brooding, loathing sort of way... the upbeat kind of cynicism (?). A few songs remind me of KT Tunstall (which in this author's opinion is a good thing), particularly in the soulful vocals and the use of strong beats like those in "Everybody Knows" and "Race You". Though not always in the form of a drum set (sometimes claps, guitar strums or backup vocals), rhythm is invariably an essential part of their music, cluing the listener into the mood and tone of each song. Taller Children is one of the most varied albums I've heard this year and its range of sound and tone is without a doubt one of its strong suits.

The Top 10 Albums of 2009 -- #7 3 Rounds & a Sound by Blind Pilot

Blind Pilot is from Portland. I am from Portland. Those two sentences should warn you that this post may be less than objective.

I first heard of Blind Pilot from two music-savvy locals and actually intended to see the band live at the Crystal Ballroom a few months back. I ended up missing the show, having made the mistake of thinking I could buy tickets at the door

I don’t know if Blind Pilot is selling out shows outside of Portland, but, if they aren’t, they likely will be soon.

3 Rounds & a Sound is the group’s first album, and an excellent first album it is. Lead singer Israel Nebeker’s voice has a warm, emotive quality that feels reminiscent yet new. Maybe that doesn’t make any sense. What I mean to say is that the album feels somehow familiar, but not hackneyed or uninteresting.

Overall, the sound is mellow (perfect for rainy Portland Januaries). At times it is melancholy, like the pitying “Poor Boy,” which tells of hard labor, bondage, and graves. At other times, the sound is more upbeat (albeit a mellow upbeat), like the title track, which rounds out the album. Sometimes rustic, sometimes whimsical, 3 Rounds takes listeners on a captivating, folky journey through beautifully written lyrics accompanied by acoustic guitars, dulcimers, and violins with a Northwest feel.

It’s not just Blind Pilot’s sound that is so distinctly Portland. In 2008, when the band was just a duo (Nebeker with Ryan Dobrowski)—they’ve since added four members—they completed a bicycle tour from Bellingham, Washington, to San Diego, California.

If you aren’t ready to purchase 3 Rounds & a Sound yet, consider checking out the free Blind Pilot tracks available on Daytrotter. They also released an EP on December 29, and it’s available on iTunes.

RIYL: The Avett Brothers, Fleet Foxes, Iron & Wine

Standout tracks: “The Story I Heard,” “Go On, Say It,” and “I Buried a Bone”

The Top 10 Albums of 2009 - #8 Go Easy Little Doves by Brooke Waggoner

Go Easy Little Doves is not the same as Brooke Waggoner's other two releases: Heal for the Honey and Fresh Pair of Eyes. It is not as whimsical. There are not as many virtuoso piano riffs and solos. That being said, it is no less brilliant, though it may take some more time to grow on listeners - Brooke fans will probably connect with it immediately. Go Easy Little Doves is slower and quieter than its predecessors creating a pensive and tranquil mood - some of the songs evoke feelings of movie soundtracks, like "Meek; Wild"and "Wish for Bridges". Where Brooke primarily used piano parts to carry the melody in Heal for the Honey, in her latest album Brooke expertly arranges stringed instruments for the main melody and the piano is used as an accompaniment or embellishment to specific parts.

One of my favorite songs, "Find Her Floods", begins with two violins, one playing a smooth, fluid line, the other plucking the song's rhythm. Brooke begins singing. Eventually the staccato violin transforms into a rhythm of cascading triplets. It's enthralling and the sort of ingenuous songwriting that makes Go Easy Little Doves a fantastic listen like all of her albums. I had the wonderful pleasure of seeing Brooke perform this year at the Service Station in Spokane and meeting her afterward. She was impressive on stage and humble in person, just the type of musician I like to meet. Her short discography has already made me a lifelong fan and I eagerly await her next masterful songwriting.

The Top 10 Albums of 2009 -- #9 Forget and Not Slow Down by Relient K

I’ve been listening to Relient K since 2001. I was a sophomore in high school, worried about geometry tests and homecoming dances. They were singing about Thundercats and Sadie Hawkins Dances. We were a perfect fit.

Thankfully, the band—and I—have matured since then. While I loved singing “Sadie Hawkins Dance” as a fifteen-year old, I have enjoyed watching the band evolve in the four studio albums—as well as EPs—Relient K has released since I began listening to The Anatomy of the Tongue in Cheek.

Since the Ohio-based Christian punk-group group was formed by Matt Thiessen, Matt Hoopes, and Brian Pitmann in 1998, band members have come and gone, and both their sound and lyrical content has undergone significant change.

Their most recent album, Forget and Not Slow Down, which they released under their new label, Mono Vs. Stereo, an imprint of Gotee Records, has been described as a break-up album. With lyrics like, “I met the devil and I stared her in the eyes… I took the fire escape and made it out alive” off the bonus track, “(If You Want It),” it’s hard to argue with that assessment. Clearly lead singer and songwriter Thiessen’s recent break up had a serious impact on the content of this album.

But Forget is a lot more than just a break-up album. The record is proof that Relient K is more than just a ’90s poppy punk band for church kids. The band has progressed into a dynamic rock group with witty lyrics and a complex sound that is less synthesizer and continues to show the range of influences that have been affecting Relient K’s sound since 2004’s Mmhmm, which brought banjo (played by Jon Schneck) to the band.

Forget may be a break-up album, but it’s also an album that displays a mature sound and mature songwriting about life and faith and relationships in a way that is relatable and enjoyable (and still at times displays the spunkiness that RK fans have been enjoying since the beginning). There is sadness here, for sure, but there’s also hope, as the reminiscent “I Don’t Need a Soul” proclaims: “Without you I’m still whole; you and life remain beautiful.”

Stand-out tracks: “Savannah,” “Therapy,” and “Sahara.”

RIYL: Switchfoot, Something Corporate, Jimmy Eat World