10. The Soft Pack
“s/t”
[Kemado]
The Soft Pack’s music is a lot like the infamous tight-roper Phillipe Pettit: it teeters between the ram shackled reverb of the garage and the slick, streetwise attitude of the West Coast, yet they somehow balance their alter-egos with ease. Never has garage rock sounded so smooth. Their 2010 self-titled release rolls out before you without hesitation, one song after another picking up where the prior left off, continuing this Army-brat band’s direct assault of surfer guitar solos and matter-of-fact vocals. There isn’t one song that stands out as the “hit”, yet there isn’t a song you can bring yourself to skip past. Like Pettit, who conquered city skyscrapers one step after another, Soft Pack methodically satisfy, one great song at a time.
This video for “Answer to Yourself” reminds me of all the dumb stunts my friends and I used to pull while working at the swimming pool:
9. Kings go Forth “The Outsiders are Back” [Luaka Bop Records]
Have you ever wondered what Sly and the Family Stone would sound like with bongos? What about a James Brown with a higher register and a jazzier backing band? Enough with the rhetorical questions; I’ll get right to the point: Kings Go Forth may be a call-back to classic 70s funk, but as their name suggests, the sound goes forth, diverging in new directions while still yielding that retro-vibe of the soul kings that came before. Singer Black Wolf gives the album that classic 70s vocal display while the production of Andy Noble provides a modern edge. Summers of the past have been labeled a variety of “explosions” (ska, latin, british), and this year looks to be the explosion of soul.
Overall, a pretty lame video for the song “One Day”, although the cut scenes of records being made is like watching “How It’s Made”:
8. Free Energy “Stuck On Nothing” [Astralwerks/DFA]
I’m embarrassed that I like this album. The cover to “Stuck On Nothing” is hokey and easily a contender for our year end “Worst Album Cover” list. The production is polished and conventional. The music is nothing new: joyous melodies reminiscent of Thin Lizzy (this is the first time I’ve mentioned Thin Lizzy in an album review without bringing up the two-guitar-lead; kudos to me!). But despite all these setbacks, I can’t lie to myself; there are some great fucking songs here. In fact, “Stuck On Nothing” has the potential of being one of those albums where 80% of the songs end up becoming Top 40 Hits. But I doubt it will happen. You won’t see any Disney shows called “Free Energy” nor will you witness the band flipping off the New York Mets for publicity. They are simply a rock band from Philadelphia who happen to write kick-ass melodies. Remember the days when that’s all it took to make it big in music?
The downfall of the MTV that actually played music? High School themed music videos:
7. Woods “At Echo Lake” [Woodsist]
I understand this list is flawed. Summer music isn’t simply restricted to albums released within that year. It goes without saying that each July a moment will arise where I’ll dig up some old Neil Young for those long drives back to Iowa. I guess my goal here is to introduce some new music that you can check out this summer or possibly pull out in future years when in need of some cheer. But if you need a replacement for that “Tonight is the Night” album that you’ve played to death, the Wood’s “At Echo Lake” might be that modern Neil Young stand-in. I know, I know, that’s a huge statement and I wouldn’t dare to suggest that Woods are even in the stratosphere of Sir Neil Young, but you’ve got to give these kids credit. With innocent, falsetto vocals, and natural, weeping guitar solos, this lo-fi outfit seems to be on the right path toward someday being able to sing, “Neil Young take a look at my life I’m a lot like you.”
The ultimate sign of a cool band? Not having one music video on YouTube:
6. Tanlines “Settings” [True Panther]
I used to love getting tanlines when I was a kid. There is just something so strange about that distinct line that forms between the sun burnt red skin, the bronzed tan, and the pasty white flesh, resulting in the appearance of a human neapolitan. “Settings”, the six song EP from Tanlines, follows that same neapolitan form with several distinct auras bouncing off each other but never crossing that line toward unity. While the album relies heavily on the tribal rhythms of the djembe and steel drum, a pounding dance bass line throbs throughout each song as well, springing off of the more natural, earthy tones. The final layer of 80s pop sensibility will be burned into your memory way before you apply to sun block.
Seattle’s KEXP undoubtedly does the best job of in studio performances:
5. Morning Benders “Big Echo” [Rough Trade]
The cover to “Big Echo” says it all: a swimmer stands knee-deep in the forefront wearing a full body swimsuit and a swim cap, staring out into the vast expanse before him where other swimmers are already enjoying the ocean’s swell. He seems tentative, yet intrigued, just like the Morning Bender’s sound on this album. Like the flowing of the tide, the music moves fluidly between several genres. It begins planted in the simple, serene 1950s-style confines of the shore, and then before you know it, you are caught up in the gushing experimental expanse of the ocean, taking the listener off into uncharted territory. Their more mainstream side leans towards a laid back Phoenix, while the experimental splashes remind me of the Ruby Sun’s 2008 offering “Sea Lion”. As much as I enjoy The Morning Bender’s sandy beach love songs, I always find myself awaiting that next big wave of sound to whisk me back away to the enchanting sea of sound and hope that it won’t return me to the shoreline.
Who needs a video for “Excuses” when you’ve got an album cover like this:
4. Sharon Jones & the Dap Kings “I Learned the Hard Way” [Daptone]
A few years ago while visiting my friend Sewer in Lake Havasu, Arizona, we spent our afternoons lounging in the swimming pool, drinking margaritas, and listening to Hepcat, the SoCal ska band that we saw perform while still in high school. In our drunken reverie we’d sing along to the sweet melodies and dance amid the lukewarm water as the blaring horn section blew out their minds. Why am I bringing this up? No, Sharon Jones and the Dap Kings aren’t a ska group, and my friend and I have never sang along to their music. The reason I bring up this up is because every time I listen to Sharon Jone’s latest release “I Learned the Hard Way” I can’t help but be brought back to my memories of Hepcat over the years. There isn’t even a hint of ska in Sharon Jones sound, in fact her sound is straight up funk/soul of the 60s and 70s. I guess the connection is due simply to the combination of upbeat harmonies set next to a jovial horn section. Then again, I don’t remember Hepcat ever having such a soulful, passionate voice or writing such fiery love songs.
Sharon Jones is a musical Jackie Brown:
3. Surfer Blood “Astrocoast” [Kanine]
Don’t let the youth of Surfer Blood fool you; these kids understand the power held within their six-strings. The guitars of Thomas Fekete and John Paul Pitts complement each other in the same way I imagine it may sound like if Doug Marsh and Dick Dale joined forces. The band succeeds at blending the surfer guitar licks of old with distorted riffs reminiscent of Pavement. Back in March, I’d been listening to “Astrocoast” two weeks leading up to SXSW, but when I actually saw them perform, all thoughts of it simply being a happy rock album were erased. Watching the guitar work of these Florida youths had me in awe. At first glance, “Astrocoast” is simply fun, but if you delve deeper there is a darker beast brooding beneath the surface; a creature that craves to devour your pop sensibilities and digest them whole.
I like how in this performance of “Take It Easy” half of the band is filmed on surveillance camera in what resembles a panic room:
2. The Amazing “s/t” [Subliminal Sounds]
It’s that time of year again when a company airs a commercial laced with happy summer imagery, all set to the music of the late great folk hero Nick Drake. This season’s offering is an AT&T commercial set to Drake’s “From the Morning”, because really, what says “better coverage” than Nick Drake? But I get what they are going for: Nick Drake’s soft serenades fit perfectly with the calming spirit of the summer, which leads me to the Swedish side-project The Amazing (two members of The Amazing are from Dungen). On this project, Gustav Ejstes moves away from the psychedelic and focuses in on the same warm approach that Nick Drake mastered decades ago; it is pulled off brilliantly on the self-titled LP. Every song swells with emotion, all bottled up in Ejstes soft, tranquil voice, warbling on command, guided by the docile strumming of acoustic guitars. The fact that this album actually came out in December of 2009 may make this entire 2010 list a bust, but the idea of this warm album not getting the chance to see the sunlight is a thought that sends shivers down my spine.
The only thing missing from this video are images of people talking on their AT&T phones:
1. Fang Island “s/t” [Sargent House]
The opening track to Fang Island’s self-titled album features the sound of fireworks popping, reminding me of when my dad used to take us out on the 4th of July in his fishing boat to watch the display over Spirit Lake. “Dream of Dreams” multi-layered, Queen-like chant brings me back to the year “Wayne’s World” came out and how whenever the song “Bohemian Rhapsody” came on the radio my brothers and I felt compelled to re-enact the famous car scene. “Davey Crockett” has a swirling synth/guitar line that conjures up memories of watching “Reading Rainbow” with my brother Alex and laughing our asses off at the strange synth outro, and then commencing to imitate it the remainder of the day. ”Careful Crossers” punk rock anthem reminds me of the summers my friends and I would make trips up to Sioux Falls, South Dakota to see punk bands sweat it out at the now closed Pomp Room. ”Daisy” and its organ heavy backing track transports me to the summer I worked the late shift at a gas station and listened to Bob Dylan’s organ-heavy “Blonde On Blonde” while selling cigarettes to meth addicts. “The Illinois” is filled with guitar solos that almost seem stolen straight from classic video games, pulling my conciousness back to the days when, after a long day at the swimming pool, my friends and I would ride our bikes to the video store to rent the latest Nintendo game. Simply put: Fang Island makes me feel like a kid again. And isn’t that what summer is all about?
You may want to be annoyed by this video for “Daisy” and it’s cast of characters, but by the song’s end, I dare you to not enjoy their antics within the confined space:
I’m not sure I like the direction Robert Schneider is taking The Apples in Stereo. They once were a gritty pop-punk group hailing from the Elephant Six Collective, but over the course of the past two albums the sound has drastically changed towards a crystal clear space odyssey. Schneider’s obsession with the vocodor continues on “Travelers in Space & Time” and so doesn’t his fixation with space travel. Almost every song seems to discuss intergalactic travel. Despite the slow demise of The Apples and Stereo, Schneider continues to write alluring pop tunes, blending the 70s and 80s into some type of futuristic dance hybrid. Although this apple is bruised, it’s still dripping with a sweet sincerity that will keep the doctor away for at least the summer months.
As much as I adore the band name “Holy Fuck”, I have to admit that the moniker is more suited for a metal band. At no point while listening to Holy Fuck will you actually exclaim “Holy fuck!” Instead, the band’s live-techno decoupage of melody and decisive drum tracks will fill you with a calming state of quietude. Somehow the funky vibe of their pulsing onslaught provides you with confidence, gives you cool, leaves you feeling like Vincent Vega, like nothing can stop you (unless of course you’re caught reading 
This list may stray from most summer music countdowns. Instead of albums, the masses usually search out the summer-hit songs, which are invariably pop tunes. If you are a person who scours the radio for the upbeat melodies of pop music but feel over-inundated by Lady GaGa and Justin Bieber, the British songstress Kate Nash may be just what you’re looking for. While her songs are catchy and seem to be the cheerful tones of summer, Nash’s output on her 2010 album “My Best Friend is You” carries themes and storylines that require a little more maturity than “Poker Face” (we get it GaGa: poke her face, el oh el!). There is still summer fun present here with lyrics that say things like “barbeque is good” and “I love swimming”, but don’t be deceived. In “Mansion Song” the innocent chorus of “I don’t have to be your baby, I don’t have to be your baby, I don’t have to be your baby” is sang right alongside the rambling diatribe of “I can get fucked like the best of men; like the best of men, like the worst of pain, inflicted on another young girl again.” While the rest of America swoons over Bieber’s “Baby”, I’ll stick with Kate Nash’s caustic take on “baby”.
Personally, I will not be listening to “Contra” this summer. Not because it’s bad or doesn’t suit the spirit of summer – quite the contrary. My avoidance of Vampire Weekend in the coming months is a direct result of me listening to their 2010 release “Contra” non-stop for the entire month of February. Some would call it overkill; I would call it an addiction to joyous melodies. I’m guessing you’ve also fallen into the same Vampire Weekend trap (if you are an avid reader, you would know that it was picked as a ‘Best New Album’ when it first came out), but if you haven’t had the fortune of listening to Vampire Weekend and their tender tropical songs about “drinking horchata” and getting “away on a summer’s day”, then treat yourself to “Contra” (and a nice cool glass of horchata while you’re at it).
Your eyes aren’t playing tricks on you. The cover of Hunx and his Punx’s first album “Gay Singles” is simply a picture of a guy’s crotch, his junk only hidden by a pair of zebra print underwear. In this case, you can judge an album by its cover. “Gay Singles” is a collection of songs released over the past couple years that all happen to be gay love songs. I know the heterosexual in me is supposed to hate this album. No testosterone driven male should enjoy gay love songs, right? Well, I can’t deny it any longer. It’s time I come out of the musical closet and admit that I LOVE gay love songs, specifically Hunx and his Punx (although the Lemonhead’s “Big Gay Heart” may be my all-time favorite homo-love song). Despite the fact that the lyrics and effeminate vocals would make any right-wing conservative cringe, the songs, at their core, are as honest, pure, and comforting as anything by the Shangri-Las in the 60s. And just like the Shangri-Las, Hunx happens to also enjoy kissing guys. Get over your homophobia already and get on the dance floor.
The summer of 1995 was one of my most memorable for several reasons. For one, I started my first job as a lifeguard and worked alongside my brother who would be heading off to Iowa State in the fall. Like any other summer, music played a big part in our daily routine. Two albums stick out most when I think back: Warren G’s “G Funk Era” and Blur’s “The Great Escape”. I loved Blur’s grandiose approach to Brit-pop with songs about the simple, everyday life of a “Charmless Man” or relaxing days in a “Country House”. Warren G, on the other hand, told harsh tales of the American streets through a sparse, evocative landscape of pounding basslines and the occasional pleas of Nate Dogg. The Gorillaz “Plastic Island” is a combination of these two great albums of 95’ with Blur front-man Damon Albarn at the helm, providing his own unique nuances to the world of hip-hop with guest rappers ranging from Snoop Dogg to Mos Def. Although the album title may suggest another collection of upbeat summer jams, “Plastic Beach” is anything but cheery. Albarn’s backing tracks always seem on the edge of breaking into a celebratory tone, yet the bounding bassline reassures that this is a gangsta rap album for a new century. Snoop Dogg hasn’t sounded this fresh in years, and without Danger Mouse meddling with his genius, Albarn brilliantly captures the ill-omened world of the plastic beach. With the BP oil spill I can’t think of a more fitting album for the gulf coast in 2010.
There will always be room in the summer music mix for a cheery grrrl band with adorable vocals and lovable retro-jangle-pop tunes. In the 80s it was The Go-Gos and The Bangles, while the 90s produced Veruca Salt and The Breeders. It has been a while since we’ve heard it, but it looks like The Dum Dum Girls have brought this delightful music style back. It seems basic by nature: harmonizing, innocent vocals over bright guitars, and choppy, simple drumbeats. It’s so simple; you’d think it would have become stale after all these years. But on “I Will Be” the Dum Dum Girl’s reverb soaked collection of two-minute songs is somehow a refreshing blend that will dry up any hint of sadness within.
The Futureheads have been hyped for years now as the next Franz Ferdinand, but it never really panned out for them. Really, it’s a shame. “The Chaos” is my first venture into the band’s music, and if it’s any sign of what has come before, the hype was warranted. This album is a fusion of Devo and Gang of Four, pointed riffs and memorable chants of “Stop the noise!” and “This is the life!” While the album sounds like it could have been a lost vinyl from the early 80s, it also sparkles with freshness that echoes toward the future. Maybe they missed the boat when it comes to breaking through the mainstream, but with the type of fight evidenced in “The Chaos”, the tides may turn back in their direction.
Remember the scene in “Sideways” where Miles and Jack are driving along the California coast, heading towards wine country while upbeat jazz plays in the background? Now imagine the same scene, except this time Miles and Jack are driving along the African coast, heading towards South Africa’s wine country (yes it exists!) while the same jazz stylings are playing with the addition of an African choir, a hint of 70s funk, and bubbling drums that seem to be on the verge of spilling over at any moment. This, in a nutshell, is Tony Allen, the 70-year-old drum legend who helped create the influential Afrobeat sound of the 1970s . While most artists lose their passion with age, Tony Allen continues to produce music filled with soul and vigor as shown on his 2010 release “Secret Agent”.
“Subiza” is a multi-faceted summer album because it can serve all your needs. Its house dance beats seem perfect for a night on the town, yet the airy harmonies and bright vocals lend themselves to a hot afternoon with friends. I’m guessing the Spanish band Delorean’s chameleon-like approach to dance music may have something to do with that. While other artists like Ruby Suns and Yeasayer have abandoned the ambient natural harmonies that once defined them, Delorean has found a way to move the dance-beat forward without completely abandoning that sun-drenched environment. The result is much like the planet Pandora in “Avatar”: it looks like a vivid, natural world filled with life, yet there are brief moments where you realize it’s all manufactured. Which, when you think about it, isn’t such a bad thing.
