Top 30 Albums of 2009: Part One (30-21)
by Jonathan Doyle, Neil Karassik and Ken StuebingIn these early days of Media Party, all music contributions have come from myself, Neil Karassik and Ken Stuebing. Since we're all bored with personal best-of lists -- which journalists tend to exploit for reasons of personal branding and street-cred -- we're with-holding our personal lists and instead posting a list that says more about our collective (and therefore the site's) taste. Our personal lists all included wild cards that are nowhere to-be-found on this popularity contest of a group list, but if it cracked one of our top 10s, chances are it also found a place on the group list. So yes, there are all kinds of oversights (sorry, female musicians), but this is a pretty accurate list of the albums that generated the most interest around Media Party headquarters in 2009. -- JD
30. The xx – The xx
Sure, I’d prefer if we placed The xx somewhere in the single-digit zone, but at least this impressive debut secured a spot in our top 30. This is one of the year’s sweetest and most strangely sexy minimalist indie surprises, a lively tête-à-tête between guitarist Romy Madley Croft and bassist Oliver Sim. The album sustains a precise vision with every track ranging from great to great. It’s also a choice album to spin as you ponder your sweetly sour romantic life. Though The xx has already experienced problems on the road -- forcing them to re-shuffle their line-up -- hopes are high for this promising young band's musical future. -- NK
29. Vetiver – Tight Knit
Coming off the one-two-three punch of their darkly folky self-titled debut, its more lively, eclectic follow-up (To Find Me Gone) and a killer covers record (Thing of the Past), Vetiver seemed poised to break through to even bigger and better things with their Sub Pop debut. As it turns out, most critics were content to push the unassuming Tight Knit aside with a B- and the usual references to AM radio, easy listening and Fleetwood Mac (which all basically mean the same thing). Vetiver’s not trying to re-invent the wheel, but the good news is they’re making better wheels than just about anyone in town. From the bittersweet optimism of “Rolling Sea” to the contemplative enigma of “At Forest Edge,” Vetiver once again demonstrate their uniquely evocative powers of restraint and inventive pastiche. -- JD
28. Wooden Shjips - Dos
Wooden Shjips are nothing if not self-indulgent. From their bizarrely misspelled name to their penchant for track lengths even Bela Tarr might find unwieldy -- two of this album’s five tracks clock-in at over ten minutes -- Wooden Shjips does everything in their power to alienate the non-believers. There are no half measures with this band, just forceful, uncompromising ideas. In other words, if you have an aversion to dreamy, jammy, psych-influenced fuzz rock with an extremely repetitive rhythm section and Jim Morrison-style vocals, watch out. But if any of that sounds vaguely interesting to you, prepare for a fascinating musical experience that rewards repeat ljistens. -- JD
27. Oneida - Rated O
What can you say in conventional language about this fantastically far-out band of experimental rock heroes? They rock well, that's what. The mood on this album can be a touch oppressive, but the sufi-like drive with which these drone and/or noise rock dirges are performed is thrilling. The music spread across all six sides of this triple LP is challenging, far-ranging, performance-based electronic drone and noise. Very diverse, but overall a band that mixes driving rock rhythms reminiscent of Battles' extremely tight and cathartic rock songs. While Oneida will never be known for the genius of their lyrics, the best music on this album may be recognized in time for being as important as Suicide or daresay the mighty Can. Killer stuff. -- KS
26. Califone - All My Friends Are Funeral Singers
If you're a Wilco fan who feels less-than-thrilled with the band's accomplished-yet-straightforward work of late and pines for the noisier experiments of yore, this is a great place to turn. These guys are confidently carrying the torch of edgy folk rock with pizazz. Califone grew out of nineties group Red Red Meat and the stylistic similarities and sheer quality of Tim Rutili's songwriting is consistently impressive. Production-wise, the sputtering beats, morbid basslines and pianos dropped in and out of the mix help accentuate the Americana melodies at the songs' cores. Califone has proved an eminently reliable band on the vanguard of a certain post-alt-country landscape. Opening song "Giving Away the Bride" is probably 2009's best song to start your day with. -- KS
25. Jim O'Rourke - The Visitor
Every single song on this album is a gem -- all one of them! That's right, Jim O'Rourke's ostensible return to traditional-and-or-accessible song structures is a single, 38-minute track. This is a relatively faithful return to the vocal-free portions of O'Rourke's celebrated "Nicolas Roeg trilogy," namely Bad Timing, Insignificance and Eureka -- but particularly the former, which The Visitor most closely resembles. Over the past decade, O’Rourke has played an essential role in celebrated albums by both Wilco (Yankee Hotel Foxtrot) and Sonic Youth (Murray Street, Sonic Nurse), all of which offer fitting precedents for the diversity, complexity and mysterious beauty that The Visitor so generously provides. -- JD
24. Monsters of Folk - Monsters of Folk
Expectations are limiting and, with their debut release as Monsters of Folk, Conor Oberst, Jim James, M. Ward and Mike Mogis faced towering expectations. With the amount of songwriting and production talent shared by these four chums, you'd expect this album might rival CSNY's Deja Vu. As it stands, it's more of a Travelling Wilburys, not as iconic as its contributors' respective career high points, but most worthy of attention from fans of any individual group member. All are in fine voice and the album's a definite grower. Particular props go to "Temazcal" and "Slow Down Jo" for their mellow bliss. These musicians haven't fused into a coherent, distinct sound but ooh, those harmonies are very pretty. Ultimately, this plays like a sampler that should introduce fans of each musician to a few new artists they might also appreciate. -- KS
23. Neon Indian – Psychic Chasms
To label Neon Indian’s breakout wonder as lo-concept distortion would be an epic undercut. Like a warped record or broken cassette tape, the audio whirls, wobbles and explodes to produce psychedelically euphoric sounds of laser beams and eighties arcade games. More than just a throwback to old-school mediums, Psychic Chasms is highly inventive and, in many ways, cutting-edge. It’s a meticulously melodic fusion of analogue and digital. It’s trippy, nostalgic and the closest thing to getting high and playing NES next to... actually getting high and playing NES. [Note to readers: the universe may very well implode if you simultaneously incorporate drugs and Nintendo while listening to this record, though I have yet to test this theory.] -- NK
22. Cass McCombs - Catacombs
Though it received its share of buzz when it was released in June, Catacombs may be the single most underrated album of the year. Like Vetiver, McCombs distinguishes himself through impeccable songwriting and skillful, measured execution more than groundbreaking originality. And yet, there’s nothing really derivative about his style. An unapologetically pleasurable musical experience, this may take the prize for album-I-listened-to-more-than-any-other-this-year. Alternating between no nonsense, insinuating simplicity and intricately beautiful musical flourishes -- combining pedal steel, jazzy percussion and even some eighties-inspired synths -- this spooky album’s quiet confidence may give you chills. -- JD
21. Charles Spearin - The Happiness Project
Speaking as a devoted fan of DoMakeSayThink, Charles Spearin's (other) day job, I knew this album would be special from the moment I scanned its braile cover. There are no better vibes in any of 2009's music than Mrs. Morris' simple recipe: happiness is love. The hidden melodies in everyday voice are celebrated here in fine fashion and such good-natured subject matter could not have been given better treatment. Though the album's interview subjects discuss wide-ranging components of happiness, my vote goes to "Vittoria" for good times song of the year and highlight of this package: a jive jumpin' hoe-down that relies on a young girl's sweet stammering, "When it's like, it's like uh, when it's um like, like um..." for its melody and lyrics. There's song in every voice and Charles Spearin's excellent project helps make this loud and clear. -- KS
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