2009: The Songs

As far as my favorite songs go, this seems to be the year for the grand epic. I don't know what it is, but the longer progressive numbers were the ones that seemed to have the biggest impact on me, which you'll notice as you start perusing through the following list. On top of that, if you want to get technical, the entire Decemberists album is basically arranged as one lengthy 55 minute song and should actually be my number one song of the year, but that would just be a little too redundant, what with it already sitting atop my Top Albums of '09 list. So, having said that, here is my annual list of the songs that have warranted necessary use of the repeat button on my iPod throughout the year. As per usual, the tunes are not listed in any particular order, since basically all of these songs are tied for first place, in the sense that I listened to them all with great repetition.

Bay Of Pigs by Destroyer (from Bay of Pigs EP)

At 13 minutes in length, this one is a moody little number that is as epic sounding as the plans for the attempted 1961 Cuban invasion upon which the title of the tune is based most likely was at the time, although unlike that CIA trained endeavor, the song is actually quite successful. Beginning as an ambient mix of controlled synths and opportunities for Bejar to share confounding lyrics such as "Magnolia's a girl. Her heart's made of wood. As apocalypses go, that's pretty good. Sha-la-la, wouldn't you say?" the song shifts partway through into an upbeat disco thump before culminating in two minutes of white noise that is nothing short of mesmerizing.

Stream: Bay of Pigs at Stereogum

And The Glitter Is Gone by Yo La Tengo (from Popular Songs)

Although by and large the latest release by everyone's favourite Hobokeners has them sounding more poppy than ever before, it's the album's closing 16 minute instrumental psychedelic rocker that had me begging for more. Though many might disagree, YLT are at their best when they just let loose on their improvisational selves.

Video: And The Glitter Is Gone Pt 1 on youtube
Video: And The Glitter Is Gone Pt 2 on youtube

Siren Song by Bat For Lashes (from Two Suns)

Natasha Khan's voice pierces right through me on this hauntingly beautiful number. I know that comparing her to Kate Bush is a little bit redundant at this point (of course, so is using the word 'redundant' twice in the same article) but the fact that the song would not be out of place on Bush's The Dreaming is part of its wonderful appeal for me.

Video: Siren Song (live at Morning Become Eclectic) on youtube

Lemons (aka Big Fish Little Pond) by Amos The Transparent
(from My What Big Teeth You Have)

Skilled songwriting matched with a simple yet unforgettable melody makes this song an infectious slice of perfection as Jonathan Chandler and company prove that even amidst a year of grand orchestral experimentation, there is a lot to be said for the charms of a subtle, acoustic pop song.

Download: Lemons (aka Big Fish Little Pond) mp3
Video: Lemons (aka Big Fish, Little Pond) on youtube

Little Secrets by Passion Pit (from Manners)

Overall, this has been a moderately successful year for me as far as listening to dancier music goes, with bands like Green Go, Handsome Furs, Friendly Fires and Woodhands receiving at least some minimal iPod airplay from me, although getting through an entire album in one sitting by any of those artists is a bit of a tall order for my anti-disco soul. Still, there was one number that achieved 'press, play, repeat' status for me, and it was this retrofied number by the Massachusetts five piece. The songs Sleepyhead and The Reeling may have received a little bit more blogger love but trust me, Little Secrets is by far the standout.

Video: Little Secrets (live on KCRW) on youtube

Doom by Hut (from Hut EP)

There are some songs that lend themselves to pristine production by nature of their incredible hooks and infectious melodies. However, when that's been done a million times before already then there's something refreshing about hearing that dynamic within the confines of a rough and delightfully real, lo-fi sound. Daniel Lee (of Hooded Fang) has coined a masterpiece with this song, and I hope that when he makes it rich in the future, he chooses to keep this song just the way it is, because it's the roughness that gives this song its charm.

Download: Doom mp3

It's Not Your Birthday Anymore by Morrissey (from Years of Refusal)

I figured that the days of Morrissey sitting in a personal year end list was gone forever, but lo and behold, here he is with a song that ranks among some of the best work of his entire career. This song is classic Moz, with that tongue in cheek misanthropic lyricism in full force and a chorus that is as large as it gets. A twisted anthem for sure, and the type of song that wannabe bombasts (like Snow Patrol) could only dream of penning.

Video: It's Not Your Birthday Anymore on youtube
(It's basically just the song streaming over a still of a half eaten piece of cake, but that's the only place where I could find the song streaming)

Synastry / New Beginning by Dog Day (from Elder Schoolhouse EP)

You knew that the combination of Halifax shoegazers Dog Day and prolific studio mastermind Rick White was going to be pretty spectacular, and the limited edition Elder Schoolhouse EP (vinyl only, and only 400 copies made) has produced the band's most expansive material so far. It may be cheating a bit to include all of side 2 as one song, but these two tracks should never be pulled apart for any reason whatsoever. The second part is a massive wall of psychedelic feedback that'll have you seeing double. I can only provide an mp3 of the first part of the song, but you really need to track down the whole thing for the full impact.

Download: Synastry mp3

Venus Rising by Blue Rodeo (from The Things We Left Behind)

Like the aforementioned Morrissey, I was pretty sure that the days of including Blue Rodeo on best of the year lists were long behind us, but the Keelor / Cuddy combo have proven that they still have the chops to pull it off when they want to. The new album still contains quite a bit of filler, but there is enough gold on it to make it their best album since Five Days In July, and this may be their best song since Diamond Mine. An epic slowburner with some blistering guitar work.

Stream: Venus Rising on youtube

Cat Tail Legs by Megan Hamilton
(from See Your Midnight Breath In The Shipyard)

The award for best vocal performance of the year goes to Megan Hamilton for the incendiary throat shred that she pulls of throughout the course of this barn busting number. Everything about this track is straightforward and immediate and although she pulls off abstract just fine at other points on the CD, this quality rocker gets the job done with perfection.

Download: Cat Tail Legs mp3

Honorable Mentions:
Drunkard's Prayer by The Schomberg Fair
Black Bull Nova by Wilco
I Can't Be Normal by Shelby Lamb
Grew Up On The Seeds by The Hoa Hoa's
Saturna by Son Volt
Love's On The Run by The Space Between Things
Come Saturday by The Pains of Being Pure At Heart
Dené Sled by Pick A Piper
Tightrope by Yeasayer
Faults by The Paint Movement

Bobby B's Top 50 Albums Of The Decade (#25-21)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36] [#35-31] [#30-26]

25. Kid A - Radiohead (2000)

While I completely understand my own enthusiasm for this album, I can't say that I really get why everyone else loves it so much. I've noticed that it's already topped some other 'best of the decade' lists and it was also Radiohead's first mainstream number one. But if this album is so commercially viable, then how come King Crimson isn't the most popular band of all time? Or how come other old school eccentricitists like Can or Van Der Graaf Generator isn't emanating out of every 14 year old girl's headphones? I'll never understand how Radiohead has done it, but I'm very glad that they have, because expanding the boundaries of what can be referred to as music is something that has been explored as far back as the early 1900's with french composer Edgar Varèse, and brought into the mainstream by the psychedelic movement of the 60's. Say what you will about Radiohead's over indulgent ways, but any band that brings a redefining of what is acceptable to the mainstream masses is worthy of our respect. And Kid A sounds awesome in headphones. [Myspace: Radiohead]

24. Destroyer's Rubies - Destroyer (2006)

So I've had just over 3 years to fully absorb Dan Bejar's way of thinking as is transmitted through his lyrical wordplay, his thoughts and transgressions along with carefully studying just how his mind works and what it is that makes him tick and I gotta say that I still don't know what the hell he's talking about. But he just sounds so dang cool when he's musing and Destroyer's Rubies continues to be an entertaining listen from start to finish. The fact that it confuses me to the point where there are many times while listening that I find myself actually laughing out loud at how bizarre his ruminations can get (i.e.-sapphires vie for your attention, cheap dancers they mean well in their way but priest says - "please, i can't stand my knees and i can't bear her raven tresses caught up in the breeze like that!" etc etc etc) is only part of its charm and I still find it most enjoyable to continue the journey to finding out what it all means. Besides, if Bejar was easier to understand, what would be the point of returning? [Myspace: Destroyer]

23. Yoshimi Battles The Pink Robots - The Flaming Lips (2002)

It is a risky move to create an album that is steeped in the glory days of prog, it is an even riskier move to create an album that is steeped in the second wave and significantly lesser cool days of nouveau prog. The fact is that Wayne Coyne's musical opus about dueling futuristic robots has more in common with FM's Black Noise and ELO's Time than it does with more "respectable" acts like Pink Floyd or Can. Of course, much like my number 25 pick above, this all explains why the album is on MY personal list, but it doesn't really make sense of the fact that the public at large seemed to enjoy this album also. It's a weird one, that's for sure, with its electronic flourishes and bizarre content, and admittedly, I have to be in the mood for it. But when I am, it's an awesome sonic spectacle that reaps rewards and surprises with every listen. It's amazing, but I've listened to the album hundreds of times and there'll still be certain noises, blips, bleeps and moments of instrumentation that catches me off guard, particularly within the two major instrumental pieces, Yoshimi Battles The Pink Robots Pt 2 and Approaching Pavonis Mons by Balloon (Utopia Planitia). I also appreciate the album's lasting power, and how some of the songs that I thought were throwaways at first, have become my favorites, such as In The Morning Of The Magicians and All We Have Is Now. Stunning. [Myspace: The Flaming Lips]

22. Funeral - Arcade Fire (2004)

Ok, so this album is great and wonderful and fantastic and bla bla bla, yada yada yada. It's a great album, I get it. This one is destined to top more decade end charts than any other, and it's deserved, nobody is denying that. I do think that the accolades are a bit overblown, especially the ones where people are calling this the most original thing they've ever heard. The fact is, if you've ever listened to anything prior to this decade, than you know that not only has this sound been done before by the likes of Byrne, Bowie and others, but it's also been done better. Heck, if you really know your Canadiana, then you must've noticed how much Neighbourhood 3 (Power Out) sounds eerily similar to Rush's Red Sector A, at least at certain moments. Does that stop this from being a great album? Of course not. If you're going to emulate past artists, those are good ones to go to, even if the Rush fans and Arcade Fire fans still refuse to mingle at my parties. And as much as I hate the hype, the album is still responsible for some of my favorite musical moments of the year. The last minute breakdown of Une Anee Sans Lumiere, the woah-oh-oh's of Wake Up, the incredible lift-off of Rebellion (Lies) and the epic grandiosity of In The Backseat. So to sum up: album=great, overhype=bad. Alright? We still cool? [Myspace: Arcade Fire]

21. Boxer - The National (2007)

If ever there was an album that was a textbook example of a grower for me, this was it. At first I found it very hard to focus on. The borderline comatose slur of Matthew Berninger was consistently lulling me to the sleep, and if I wasn't such a sound sleeper then I'm sure that the blast of horns at the end of Fake Empire should have waken me with a jolt, but at first, it didn't. Then I went from easy distraction to mild intrigue, thinking that a couple of the songs were pretty dang epic before finally embracing the album as a whole the way most of my friends already had. Like most of my all time favorites, taking the time to let these recordings sink in is what eventually triggers a response within me, a response that, quite honestly leads to addiction and that's the case with Boxer, I've become addicted to it. This magnificent album is one of contrasts, as it is both comforting and alienating, political and deeply personal, melacholic and triumphant. It's a great album to put on when I'm feeling good, and it's an even better album to put on when I'm feeling lousy. That settles it, I know what I'm going to be listening to today. [Myspace: The National]

Tomorrow: Bobby B's 50 Albums Of The Decade (#20-16)

Destroyer w/Andre Ethier @ The Horseshoe

Penciling myself in for a show on the night of Toronto's annual city wide art festival may not be the greatest example of "thinking ahead" but if you're going to do it, then it may as well be with the likes of Andre Ethier and Dan Bejar, who are currently a couple of the most interesting songwriters around, in my opinion.

Despite the rabid amounts of praise I've hurled in the direction of the former vocalist for The Deadly Snakes, this is actually only the second time that I've ever seen Andre Ethier perform live. His combination of introspective lyrical folk and progressive barrelhouse jams has made both On Blue Fog and Born Of Blue Fog a couple of CD's that I always keep nearby. There are a lot of artists that I enjoy seeing on the live stage, but in recent months I actually found myself craving his live show. This is why, as much as I enjoy the headliner, it was Andre Ethier that turned this gig into a must-see for me.

For this show, Ethier chose to focus on some of his more upbeat and rockier material. This was no doubt emphasized by the fact that he had accompanying him a few members of Steamboat, who are a local rock band who boast some very talented musicians, some of whom I've seen accompany acts as diverse as Henri Faberge and The Hylozoists. This performance was basically one soul stirring jam after another, with Ethier's relaxed yet mercurial moans wafting through the air in a way that conjured up images of Lou Reed. His set contained many of his own songs as well as a few evenly placed covers. There were way too many highlights to mention, but it's hard not to focus on just how cool the song Cop Killer sounds with full band accompaniment on a live stage.

Photos: Andre Ethier @ The Horseshoe on flickr
Myspace: Andre Ethier
Video: Little Saddy on youtube
Video: Live @ Soundscapes on youtube
Download: By The Stables mp3

Destroyer's Dan Bejar is an interesting character to say the least. From his daunting presence to his bizarre lyrical whimsy, Destroyer has carved himself a niche that is currently unmatched. I've been obsessed with his latest 2 song EP entitled Bay of Pigs, which has a sound that is definitely still Bejar at his best, while still managing to tread in formerly unchartered territory. The 13 minute title track for example, is an ambient disco raveup of epic proportions that just may be my favorite song of the year. As soon as he stepped onstage equipped with only a guitar, a glass of scotch and two bottles of beer, it became obvious that the chances of him playing the new song with all of its electronic elements was highly unlikely, although I wouldn't put it past him to find a way. He didn't.

Instead, he played several stripped down versions of songs spanning the length of his career, which meant that there were songs that I recognized from his last two (pre-Bay of Pigs) albums, as well as some older cuts that I was unfamiliar with. I personally found it hard to take my eyes off of him while he performed. There's just something very intoxicating about the coupling of his Shakespearean vocal accompanied with the strumming of a lone guitar. Because his lyrics are so detailed and unique, I personally find it next to impossible to memorize them, but judging by the way the audience sang along, it became clear that I may be the only one who feels this way. The audience's participation led to some pretty interesting moments, including their singing of the la-la-la's during European Oils. However, as great a performance as it was, I must admit that hearing that many solo acoustic numbers in a row was causing my ever-active mind to wander a little bit. Perhaps anticipating that this may be the case for many, Bejar proceeded to call the members of Steamboat back to the stage to rock with him, leading to a couple of full band numbers that were absolutely outstanding. The indisputable highlight was hearing Rubies, which culminated in an epic jam that was filled out with some incredible sax playing by Joseph Shabason (of Toronto's Everything All The Time). For the encore, Bejar came back out and performed a couple more solo numbers including my fave, Painter In Your Pocket, which I was starting to worry wouldn't make the cut for the night.

Despite a couple of brief lagging moments, the show overall was immensely satisfying, which means that I didn't have to leave the Horseshoe overly disturbed that I scheduled a show on Nuit Blanche day. Still, this didn't make it any easier to hook up with my usual cast of art loving peers afterwards. More on that story later....

Photos: Destroyer @ The Horseshoe on flickr
Stream: Bay of Pigs at Stereogum
Video: Painter In Your Pocket (live @ Cat's Cradle in Carborro, NC) on youtube
Download: Dark Leaves Form A Thread mp3
Download: It's Gonna Take An Airplane mp3

Trying To Separate An Ocean From These Tears We Cried...

It's February, it's snowing like a madman and you've been very patient so let's back into this...

All of the official reviews and whatnots shall commence starting tomorrow, but today I just thought that I'd get all random and just talk about whatever I darn well feel like talking about. Musically speaking, of course.

First of all, looks like I won't be freezing my can off with The Weakerthans tomorrow after all. You see, when I got married 10 and a half years ago, my wife took on the job of remembering stuff and I took on the job of not. So she remembered that we have a family engagement this Saturday night and I, of course, did not. Family first, kids, which means the rest of y'all will have to tell me how the show went. I guarantee that I'll be catching them someday, but whatever.

Download Weakerthans songs:
Last Last One mp3 / Aside mp3 / Plea From A Cat Named Virtute mp3

Also, I made a promise to myself and others that I'll be toning down the concert goings this year (last year almost killed me,) but that doesn't mean that there aren't any good shows awaiting my future. This month I've got Dean and Britta at The Mod Club on February 9th. They're actually opening for Keren Ann, who sounds very reserved from what I know of her, which isn't much.

(UPDATE: Apparently, Dean & Britta and Keren Ann are doing a double headlining tour which means that they will take turns as headliners. This means that for the Toronto show, Keren is the opener and D&B takes the headlining slot. Suh-weet!!)

I've also got the magnificent Nicole Atkins on February 17th, who is going to blow your mind if you take this opportunity to see her. I can't wait. I'm hoping to catch Mr. Dan Bejar as Destroyer at Lee's Palace on April 19th. He'll be supporting his new CD 'Trouble In Dreams' which is out in March. And the most exciting news is the return of R.E.M. Now I truly hate the Molson Amphitheater with an intense passion, but check out this lineup: R.E.M. has The National and Modest Mouse opening for them. That's ridiculous. I'll have to wait on the price, but I may be willing to break into the piggy bank for that one. That show is on June 8th. The new CD is called 'Accelerate' and it's out on April 1st. I don't want to get ahead of myself, but from what I've heard it sounds like this has the potential to be the college rock comeback that I've been waiting for. Sweetness follows....

Download:
Destroyer - Foam Hands mp3
The National - Fake Empire mp3
Keren Ann - Lay Your Head Down mp3
Dean and Britta - Words You Used To Say mp3

Finally, I'm not sure if I'll be able to attend all of the TWM showcases to come, but even if I can catch one a month, that'd be wicked cool. And this month's first one sounds like a good place to start. The Schomberg Fair, The Stables and B.A Johnston. Mmm-hmmm. February 8th. There's more neat shows coming up, but gah, I'll talk about that another time.

Download:
The Schomberg Fair - John The Revelator mp3 / Some Things Never Change mp3
The Stables - Too Old To Skate mp3

My latest issue of Under The Radar has just arrived. I decided to subscribe since I pick up every issue anyways. Right now it's doing a whole half price thing and of course, you get the free CD too (mine was Prefuse 73's 'Preparations'. I'll let you know if it's any good.) The cover features a project that I'm mega excited about, going under the name She & Him. It's actually Zooey Deschanel and M. Ward and what I've heard sounds amazing. The CD is called 'Volume One' and it's out on March 18th on Merge.

Download:
M. Ward featuring Zooey Deschanel - When I Get To The Border mp3 (from The Go-Getter Soundtrack)

I think that'll do, donkey, that'll do. Enjoy the downloads and hopefully tomorrow I'll be throwing up some reviews on the artists that have been exciting me over the last few weeks.