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Top 100 Tracks of 2010 (75-51)

 

75. “Doubt”

The Corin Tucker Band

I always thought Carrie Brownstein was the more punk rock of the ladies in Sleater Kinney. I always thought she had the fire, the anger, and the edge that counteracted Corrin Tucker’s more feminine approach. I was wrong. So wrong.

 

74. “Stranded”

The Walkmen

I’m a sucker for trumpets, especially when they sound this damn dreamy.

73. “Theme From ‘Cheers””

Titus Andronicus

Looking back on my year, one memory that stands out the most is when me and BDWPS contributer PtheStudP visited Cheers in downtown Boston.  After a two-hour marathon at a beer festival, our tour guide Steph led us to Cheers where her friend Justin was bartending.  What I thought was going to a quick tourist visit turned into hours of drunken splendor. Soon the variety of beers and shots somehow turned into a night of boisterous chanting of  “U-S-A!”, “Lord-By-ron!”, and “Tom Arn-old!”  This song brings me back to that night, not necessarily because of the reference to Cheers in the title, but the chorus that could have easily been one of our chants that night: “So let’s get fucked up, and let’s pretend we’re all okay, and if you’ve got something you can’t live with, save it for another day. Save it for another day.”

72. “Bloodbuzz Ohio”

The National

After carrying The National’s Matt Berninger to Ohio, I’d like that same swarm of bees to visit Jim Tressel’s house.

71. “Tame On the Prowl”

The Medications

In most cases, my adoration of The Medications stems from trying to untangle the vine of intertwined guitar licks in each song.  “Tame On the Prowl” continues this tradition, but also features a melody that will quickly wrap around your Hippocampus.

70. “Whores; The Movie”

El-P

Not only is “Whores; The Movie” a stellar song, but it would also make a great movie (preferably in 3-D).

69. “Leave You Forever”

Cloud Nothings

I could never leave this song forever.

68. “Apartment Wrestling”

Maximum Balloon (featuring David Byrne)

If you’ve ever wondered what TV On the Radio would sound like if they joined forces with The Talking Heads, it’s as amazing as you expected.

67. “Grief Point”

Destroyer

This is not really a song, rather an audio-short-film, or an audio-psycho analysis, or maybe just the ramblings of a confused artist. Whatever the case, this eight minute insight into the mind of Dan Bejar and his view of music at this point in his career is fascinating.  Earlier this year, Bejar discussed ending his recording career altogether (fortunately he didn’t with a new album coming out soon), and this B-side to his “Archer on the Beach” EP captures him in the midst of this confusion of what role his music plays in both his life and his listeners.  Plus, I just like the imagery of “picnic baskets filled with blood”.  Call me a hopeless romantic!

66. “Fresh Hex”

Tobacco (featuring Beck)

“Maniac Meat” is such a fun fucking album and on “Fresh Hex” Beck joins the party, giving the album his own fresh take on their energetic sound.

65. “Pop Culture (revisited)”

The Ponys

The Ponys originally formed in Chicago back in 2001, and one of their earliest songs was “Pop Culture”.  For whatever reason, this song never made it onto a major record, only being heard during live performance.  I can still remember them playing this song when I first saw them live four years ago.  But in 2010, with the release of their song EP “Deathbed Plus 4”, “Pop Culture (revisited)” was finally released from captivity, and it sounds as lively as ever.

64. “Swim Until You Can’t See Land”

Frightened Rabbit

Water has always represented rebirth, and on “Swim Until You Can’t See Land” singer Scott Hutchison swims not only for a renewal, but also to feel alive again.

 

63. “You Must Be Out of Your Mind”

The Magnetic Fields

This past year I’ve had to learn how to forgive others, and also tried to gain forgiveness for those I’ve hurt.  In both cases this isn’t the easiest of tasks.  As the person who was wronged, there is some agitation with the idea that by simply saying “I’m sorry” that everything goes back to the way they were. They don’t and they never will. But as the person asking for forgiveness, you can’t “simply press rewind” and things will be they way they once were no matter how bad you would like them to.  Stephin Merritt’s snarky lyrics take on the persona of the one burned, and his stance can be either an anthem for moving on or a eulogy for a relationship (depending one what side of the forgiveness fault-line you stand).

 

62. “Waterfall”

Fresh & Onlys

The Fresh & Onlys are time travelers, but instead of going to the past, they’ve come to us from the 60s, bringing with them a sound that has been long forgotten. Amazingly, a song like “Waterfall” grows out of the oldies, yet sounds like nothing else on the radio.  This is the type of song that would lead Marty McFly to say, “I guess you guys aren’t ready for that yet, but your grandparents loved it.”

 

61. “Below the Hurricane”

Blitzen Trapper

At first this seems like a beautiful little folk song, but halfway through the band kicks it up a notch with Doobie Brother’s persona that is sweetened with a couple drops of harmonica.

60. “I Learned the Hard Way”

Sharon Jones & the Dap Kings

The only thing I don’t like about this song is the fact that she never defines exactly what this guy did to turn her into such a bitter old maid.

 

59. “Mr. Peterson”

Perfume Genius

This eerie song tells the story of a teacher, Mr. Peterson, leaving a note on a student’s paper telling them to meet him at a certain time and place. For some reason, the narrator meets up with the teacher, smokes weed with him, and possibly has sex with him (although this event is only inferred).  When the teacher goes on to kill himself, the narrator doesn’t necessarily hold a grudge toward him. Instead, the speaker hopes that Mr. Peterson can find a place where he’s wanted, even if that place be hell.

So yeah, this songs kinda depressing.

 

58. “Moves”

The New Pornographers

After their lackluster 2007 release “Challengers”, I’d kinda written The New Pornographers off.  It just seemed like their sound had run its course and had no where else to go.  But on their latest release, “Together”, the band has found new ways to eek a little more life out of their collective, especially on a song like “Moves” that amps up their classic sound with a driving orchestral addition.

57.  “Suffering Season”

Woods

I made the mistake this summer of defining Woods as the next Neil Young. The falsetto vocals do conjure up images of Sir Neil, but a song like “Suffering Season” shows the band is influenced by many other voices of the past (possibly the Mamas and the Papas?).

56. “Girlfriend”

Ty Segall

In just two minutes, Ty Segall will have you singing along.  That has to be some type of record.

55. “Favourite Food”

Tokyo Police Club

Getting old stinks, a point this song pounds into the ground.  Not only have I had to face the facts that I’m no longer young, but my parent’s aging has become apparent, a notion that scares me.  When the lyrics say “cause it’s sweet getting old” followed by “Let the hospital be your home”, I can’t help but feel that Tokyo Police Club are being morbidly ironic. I would like to believe that there is some hope hidden within the metaphors of this riveting song, but I can’t seem to find them.

54. “Written in Reverse”

Spoon

With all that screaming and punching of piano keys, something must have really pissed Britt Daniels off. But unlike the Incredible Hulk, you’ll like Britt when he’s angry.

53. “Relief”

Sam Amidon

I really should start listening to some R Kelly.  A couple of years ago I couldn’t quit listening to Bonnie “Prince” Billy’s cover of R. Kelly’s “The Word’s Greatest”.   This year Sam Amidon, who is known for his modern interpretations of classic folk songs, switched his routine by taking R. Kelly’s “Relief” and giving it a more classic ambience. On second thought, I’ll just stick to people covering R. Kelly.

52. “POWER”

Kanye West

Even though it’s the third track on “My Beautiful Dark Twisted Fantasy”, “POWER” is the introduction to the Shakespearan tale found on this album.  In it, Kanye portrays a man dealing with the struggles of being in power. At times he seems arrogant and aloof, but near the end of the song the listener begins hearing a man realizing that the one thing he doesn’t have power over is himself.  By the time the outro arrives, the speaker is standing on a ledge envisioning himself jumping, saying, “This would be a beautiful death”.

Oh, and did I mention it samples King Crimson’s “21st Century Schizoid Man”?

51. “He Would Have Laughed”

Deerhunter

A lot of great musicians died in 2010 (Captain Beefheart, Ronnie James Dio, Mark Linkous), but the most devastating loss in my view was the death of Jay Reatard simply because Jay had so much left to create, so must potential.  Being friends with Jay, Deerhunter’s Bradford Cox wrote “He Would Have Laughed” in dedication to the lost genius.  I’m not sure if the song is necessarily about Jay with its abstract lyrics, although there is something there within the lyrics “Where do all my friends go?” and “What did you want to be?”.  I think the connection to Jay’s life is found within the music its self, with the slow progression that eventually goes into a euphoric swell, but then, just like Jay’s life, the song just suddenly stops. Fuck.

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Wolf Parade “Expo 86” / New Pornographers “Together”

When I first heard LeBron James announce his “decision” to “take his talents to South Beach”, I had mixed emotions.  On one hand, I was devastated, not only for the poor fans of Cleveland, but also for the NBA as a whole.  The pillars of what made the league successful (team work, cohesion, and loyalty) all evaporated in the moment LeBron made his heel turn, creating the NBA equivalent of the New York Yankees in the form of the Miami Cheats.  The best name I found for the big three in Miami was a blog that called them The Nazgûl (characters in “Lord of the Rings” that were former kings who lost their humanity due to their search for the all-consuming ring).

Stan Van Gundy would be Samwise.

Despite all the selfishness surrounding the big move, I couldn’t help but smirk a bit at the thought of someone dethroning the misanth-rapist himself, Kobe Bryant.  Plus, as a fan of basketball, I secretly look forward to seeing what a team comprised of three superstars will accomplish (oh, and adding Mike Miller and his Godly 3-point shooting won’t hurt).

The question is, does a super group ever work? In music there have been many super groups over the years with established musicians joining forces, whether it be CSNY, The Traveling Wilburys, or The Highwaymen.  While these groups produced some memorable songs, they all seemed a bit unauthentic, while CSNY were never quite as good without Young carrying the load.   In recent years, bands like Velvet Revolver, Audioslave, and Chickenfoot have brought shame to the notion of the super group.

With two of indie rocks biggest super groups recently releasing albums (Wolf Parade and The New Pornographers) I decided to take a look at their latest offerings to help evaluate how The Nazgûl in Miami may work out.

Wolf Parade
“Expo 86”
[Sub Pop]

Rating: 6

In my humble opinion, Wolf Parade are a super group. Comprised of Sunset Rubdown’s Spencer Krug, Dan Boeckner from the Handsome Furs, and  the former guitarist of Hot Hot Heat Dante DeCaro, this trio along with drummer Arlen Thompson have been creating music together on as a side-project for the past seven years to critical acclaim.  On their past albums, Dan and Spencer are in the forefront with every other song jumping back and forth between their two distinct styles. “Apologies to the Queen Mary” and “At Mount Zoomer” somehow remain focused, despite the band’s multiple personalities.  While Spencer’s artistic fortitude makes you think, Dan’s penchant for melodies will have you up on your feet dancing.  This combination of kinesthetic and intellect resulted in two puzzling albums that remind me of a Coen Brother’s film; with each listen you find something new and thought provoking.

“Expo 86” lacks this variance in sound.  It seems Dan has conceded his musical efforts and let Krug take charge.  Of the eleven songs there is not one that sounds distinctly Boeckner. As a result, the album just kind of sits there.  Krug remains a wonder, but “Expo 86” is basically a Sunset Rubdown album without a heart (plus the whole damn thing is really loud – what happened to your peaks and valleys Mr. Krug?).  After his disappointing Handsome Fur’s album “Face Control”, has Boeckner lost his confidence and let Krug take full control?  Which leads me to the first and second possible outcome of the Evil Empire in South Beach:

1. With all three of these guys accostumed to being the top dog on their former teams, will one or two of them lose confidence when their usually high stats plummet? Will one of the three step back to the extent Boeckner did on the latest Wolf Parade album, resulting in a team that is no longer the big three, or even the big two?

2. Or will the unholy trinity be more like the Wolf Parade of the past, with all the members offering up their strengths and somehow merging them into a balanced, unending attack?

Here’s a little “Cave-O-Sapien” off of “Expo 86” while you ponder these questions:

New Pornographers
“Together”
[Matador Records]

Rating: 7

I would venture to say The New Pornographers are one of the most successful super groups, second to maybe only CSNY.  Over the years the band has accumulated one great album after another, and shown that the members of the band are at their best when working together – well almost.  Neko Case and A.C. Newman, artists who first found success on their own, have shown from one album to the next they are able to blend their voices and styles into a new sound that trumps their solo work.  Instead of trying to stand out as individuals, the two have shaped a sound that is patently New Pornographers.

Then, of course, there is Dan Bejar.  Being the brains behind Destroyer, Bejar has never fully committed to The New Pornographers.  On each album he offers up a couple songs, but he rarely performs live with the rest of the band and is noticeably absent from any song that isn’t written by him.  A quick Google image search of New Pornographers yields a page of images all devoid of Bejar.  This is all fine and dandy if Bejar would like to be the mysterious contributor, but it is all the more frustrating when you realize that the best songs on each album are invariably written by him.

The band’s 2010 release “Together” is as good as anything they’ve released in the past and is a big step up from their 2007 snore-fest “Challengers”, but the distinct New Pornographer sound is becoming a bit stale.  A comparison of “Together” and the band’s first album “Mass Romantic” shows little evolution over the past 10 years.  I can’t help but wonder what would happen if Mr. Bejar dedicated all of his energy into a New Pornographer’s album, working alongside Newman and Case, bringing his brilliance into the mix and creating an album that is refreshing and original.  The thought of Neko and Newman singing about the “Trembling Peacock” and “admiring the admirals” is the stuff of dreams – the stuff of a dream team.  Which leads me to the final possible outcome of the Miami take-over:

3. Will one of the big three take the role of Bejar, unwilling to fully commit to the team?  Will they try to egotistically get their big numbers, putting themselves ahead the others?  Or will one of them be inspired by their new Cuban neighbors and write an album called “Bay of Pigs” that consists of two ambient-disco songs? Okay, maybe I’m taking my analogies too far.

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