Top 30 Albums of 2009: Part Two (20-11)
by Jonathan Doyle, Neil Karassik and Ken Stuebing
20. Ganglians - Monster Head Room
It was a big year for Woodsist (see number 14 and 12 on this list), the mom-and-pop record label run by Woods front-man Jeremy Earl. But for reasons that remain somewhat unclear, Ganglians didn’t break through to quite the same extent as other current or former Woodsist artists like Woods, Wavves, Kurt Vile or Real Estate. With its peculiar mix of hippy affectations, Beach Boys melodies and low-fi production methods, Monster Head Room is an infectiously schizophrenic record that suggests Ganglians is willing to try just about anything -- and succeed. The best part? Even after releasing a solid EP and this terrific full-length in the same calendar year, Ganglians upped-the-ante with a 7” featuring their two best tracks to date (“Blood on the Sand,” “Make it Up”). Stay tuned. -- JD
19. Sunset Rubdown - Dragonslayer
It's slightly mind-boggling that Wolf Parade still isn't a full-blown mega success, but if they never release another album, it might not be the end of the world... so long as Spencer Krug continues working on stellar side projects. Dragonslayer (awesome title, no?) is the third LP by Krug’s Sunset Rubdown -- still another Krug band, Swan Lake, also released a terrific album (Enemy Mine) in 2009 -- and it’s just as good as anything you’ve heard from Wolf Parade. The band's sound can be a bit severe, but Krug’s slanted vocals are made more accessible byway of gentle backup from Camilla Wynne, who adds a warm new dimension to this already multifaceted sonic assault. -- NK
18. Dinosaur Jr. - Farm
With his long, albino-white mane and nerd-core specs, J Mascis isn’t looking any younger these days. His band, on the other hand, sounds as nubile as ever. After nearly two decades apart, the original members of Dinosaur Jr. made a strong comeback with 2007’s well-received Beyond, but even that didn't prepare us for the wonders of Farm. From its stoner album art to the sick video for “Over It” -- which features Mascis and co. pulling-off faux tricks on bikes and Dino-brand boards -- it’s as if we were back in the ecstatic late eighties of the band's prime. What a treat it is to have these guys back and sticking to their original style, combining raw messiness and technical virtuosity in all the right ways. Featuring crunchy licks and catchy hooks, all alongside Mascis’ typically aching inflection, this may be Dinosaur Jr.'s finest album since their days on SST. -- NK
17. Wilco - Wilco (The Album)
Following the success of Yankee Hotel Foxtrot, some complained that Wilco abandoned their promise and pursued overly conventional, feeble new directions on A Ghost is Born and Sky Blue Sky. As far as I’m concerned, Wilco (The Album) is the first Wilco record where that criticism actually seems accurate -- and it’s still one of the best albums of the year. This is Wilco’s most streamlined, mature and disciplined record to date, which means it features some of their most memorable tracks (“Wilco (The Song),” “Bull Black Nova”), but also some frustratingly professional dull patches (“Deeper Down,” “You and I”). And yet, even these lesser tracks have moments of undeniable skill and musical sophistication, which might explain why those frustrated Wilco fans keep coming back for more. -- JD
16. Jay Reatard - Watch Me Fall
Jay Reatard is a powerhouse unto himself, tossing off concise, buzz-saw garage rock ditties with natural charm. It may take time to aquire a taste for his sound (and his nasally voice), but ever since The White Stripes went on hiatus, the field's wide open for JR to rule in his crunchy glory. Even while alienating his band members (both of whom quit in late 2009), I can see this guy continuing to blaze uncompromising rock trails for years to come. His talent for producing catchy, 2-3 minute pop songs with timeless melodies helps make Watch Me Fall play like a killer singles comp. Fact is, Jay Reatard knows what rock 'n' roll is all about. "It Ain't Gonna Save Me" indeed. -- KS
15. Antony and the Johnsons - The Crying Light
Four years was a long time to wait for this phenomenal release, but no one's complaining if that's how long it takes Mr. Hegarty to produce such breathtakingly beautiful elegies for modern times. The haunting, mournful moods of I Am A Bird Now are carried-over, but the sadness quotient has generally been kicked-up a couple notches. This is great music for lonely and forlorn people, but perhaps the biggest revelation is how much actual joy shines through in songs like "Kiss My Name" and "Aeon." The latter is one of Antony's finest compositions and a peak performance. A tribute to his father, this song is performed with remarkable elegance, yet it also carries the raw, soulful passion of Otis Redding's best work. -- KS
14. Woods - Songs of Shame
One of the most proudly low-tech bands around -- singer Jeremy Earl uses an incredibly primitive-looking microphone and a tape deck (or Walkman!) usually figures into the band's onstage antics -- Woods nevertheless shoots for the stars with every track. With Songs of Shame, they continue scrambling for a form of low budget, nostalgic transcendence and they achieve it with greater frequency than ever before. Their risky blend of low-fi indie rock, jam band noodling and atmospheric, high-pitched vocals is impressive, but it reaches even greater heights thanks to consistently memorable songwriting or, in the case of Graham Nash’s “Military Madness,” one the year’s most memorable covers. -- JD
13. Papercuts - You Can Have What You Want
With one of the most forceful organ assaults in recent rock, ghostly Kevin Shields-style vocals and an overall bummer vibe that sounds like the rainiest of rainy days, Papercuts have a resignation that seems designed to appeal to about twelve people. But against all odds, these songs crawl inside your brain and refuse to leave. It would be tempting to dismiss this as a wildly dreary album -- if it weren’t so deliciously summer-of-love melodic. Whether in the cheerier-than-usual “A Dictator’s Lament” or the urgent desperation of “Dead Love,” You Can Have What You Want is an album of consequence from a band with a distinctive and unsettling voice. -- JD
12. Real Estate - Real Estate
It was an exceptionally memorable year for Woodsist -- and Real Estate is their crowning coup. Strikingly fresh even in its most referential moments, this ten-song debut doesn’t contain a single false note. I'm also here to report that this album is no fluke. Real Estate recently toured with Girls and, at Toronto's El Mocambo, they totally out-performed the headliner. Catching this band live only verifies how perfectly the band members' strengths complement one another. During the wintery days ahead, throw this record on, free your mind and picture yourself laid-back on the Jersey shore with one of the grooviest up-and-coming bands to arrive this year. Also, be sure to take note of those amusingly spaced-out song titles. -- NK
11. Camera Obscura - My Maudlin Career
The Scottish indie pop, alt-country-ish outfit’s fourth album continues their longstanding custom of crafting melancholic mood pieces that cut deep beneath their catchy surface. Arguably Camera Obscura's most consistent release to date, My Maudlin Career begins with the flawless, violin-augmented “French Navy” and continues to evolve into something richly reflective (if not maudlin) and profoundly rewarding. Everything that made 2006’s Let’s Get Out of This Country so lasting has been fine-tuned and the band's sound has grown even more refined. It’s a beautiful accomplishment, one that defies the perimeters of genre classification to become one of most richly appealing albums of the year. -- NK
