Album artwork is arguably the most important aspect of a musical release next to the music itself. In many cases, it's our first impression of what we are about to hear, and a visual companion to the recording. Because of this, we have compiled the best of 2009. The selections below were chosen because of their visual appeal, in addition to how well they work alongside their sonic counterparts.
Indie has never been more mainstream than it was in 2009, and a portion of that was due to the surprising success of Passion Pit. In just two years, the modest band went from playing campus shows to commercials, video games and TV shows, with no signs of slowing down. With the continued proliferation of electronic music and experimentation to the masses, it's certainly not farfetched to believe that Manners is only the beginning of their continued stay atop our consciousness.
A lot of that appeal comes from the group's unabashed embrace of supposedly outdated and long-gone conventions of pop. Lead singer Michael Angelakos thrills listeners with his ecstatic and energetic approach, mixed amidst layers of bright keyboards, kid chorus background vocals and hand claps. Yet, with all of that going on, you can still reach out and touch tracks like "Make Light" and "To Kingdom Come," whose exuberance is so innocent and untainted, it's hard not to get sucked right in. Even though Manners creates a world all its own, it invites you in to enjoy it too-- its biggest asset and the reason the album gains more new listeners everyday.
For the remainder of the year (save holidays and weekends, of course), we'll be sharing some additional lists of our favorites in music from 2009. Today, that lists is our top 10 movie soundtracks from films that came out this year. All of the songs don't have to be unique to the film however, so it's open for quite a few endeavors. This is also the only time you'll ever see Twilight mentioned in this space besides for being the awful, cultish collection of poor storytelling it's usually regarded as, and is.
The only self-released effort on this list, Aim and Ignite delivers what could be expected of an album by a band named fun. Riding the energy and excitement surrounding lead singer Nate Ruess's first recording venture since The Format's 2008 breakup, the album doesn't disappoint fans of his former band either. Ruess appears here with a newfound confidence and exhilaration. No, he wasn't overjoyed by the split with longtime co-conspirator Sam Means, but if there were any doubts beforehand, this release makes a clear statement that he's over any lingering hardship, and even those Dog Problems he lamented about so many times before.
Yes, as damaged as Ruess's quiet and unassuming voice appeared when singing for The Format, fun. is an entirely different animal. Tracks like "Benson Hedges" and "All the Pretty Girls" bleed exuberance and enthusiasm, sparked with optimism and a more mature outlook. Equally, the instrumentation remains creative and lively throughout, surprisingly even more so than Ruess's former band. And yet, there are also those moments of clarity and calm, when Ruess reflects on his feelings both good and bad more somberly, but with the same painstaking honesty we're used to by now. For those who want The Format back, I'm sad to say they're still gone, however this album may go along way in replacing the void.
For the remainder of the year (save holidays and weekends, of course), we'll be sharing some additional lists of our favorites in music from 2009. To start things off, our list today consists of our favorite debut albums from the year. All of these are the artists' first full-lengths-- so we're not counting mixtapes or EPs, nor are we considering those who have recorded under another name previously (just for you, the reader's information).
Girls' Christopher Owens story has been broadcast across the internet time and time again, so we'll just elect to leave it out when talking about his debut effort, Album. It's just that there's so much more to explaining how Album came to be what it is-- an engaging and honest endeavor the likes of which were rarely seen this year. Maybe that ends up being a result of Owens' past, and maybe not.
Hitting on a wide array of influences from The Beach Boys to Buddy Holly to Guns N' Roses, Girls leaves no ground untouched. One minute, it's a cascade of surf rock, and the next a 1950s doo-wop ballad. Even amidst the intoxicated-Brian Wilson aesthetic, it's Owens' stunningly honest and forthright delivery that grabs you in. From there, the catchy pop hooks and fearless approach are what keeps you coming back-- and that's what's most important. With Album, Owens has compiled a collection of his innermost thoughts and fears, and what follows is about as creative, witty and unashamed as you could ask out of a debut.
M. Ward's latest endeavor, Hold Time, is nothing new for the artist. He's made a living the last few years creating instrumental-heavy guitar music that strikes the balance between modern and classic sounds. With each album he's put out, this ability has seemingly gotten more and more pronounced, as one can tell by 2008's She & Him collaboration with Zooey Deschanel, and this effort here. In particular, Hold Time executes this aesthetic phenomenally well, with a series of older covers and of course, enough of a filter on Ward's already-weathered voice to make him appear to be singing to us from 30 years ago.
For an album mainly about introspection and a search for something more, Hold Time manages to keep it surprisingly upbeat-- as the journey is mostly highlighted by bright and pleasant melodies (see "Jailbird," "To Save Me"). Yes, there are your more somber moments as well ("Hold Time," "Blake's View"), but all fit into the puzzle perfectly (even the covers) as Ward's soul-seeking map unfolds. The results are also left ambiguous, leaving the listener to wonder if success was, in fact, achieved. Many of the album's closing tracks alternate between upbeat satisfaction and somber realization, but it's to the record's advantage. Without a definitive ending, the listener is free to assume their own, and explore the effort further, to really grab what they want to out of it.
If it weren't for the joyous, collective energy and sound of a few other artists, perhaps Foreign Born's Person to Person would have taken this year's top spot. Still though, with their second album, the band has managed to carve out a niche for itself amidst the stifling buzz of bands out in California. The group is fresh, uninhibited and unafraid to experiment. Mixing your basic indie rock with a tropical approach all their own, it shouldn't be too long before it's hard to miss these guys.
From start to finish, Person to Person plays like a fast-paced tropical vacation. It's not surf music, but rather, island-infused pop using indie rock as its distribution method. Starting with opener "Blood Oranges," the expert employment of auxiliary percussion plays a huge role in setting the mood for the jumpy, driving background. In fact, the first five tracks ("Blood Oranges" through "Early Warnings") might have you convinced that this is, indeed, the album of the year. The series' bright and boisterous presentation of the collection's main themes, combined with beach harmonies and steady drum rolls are truly something to behold, as the band transports you south of whatever currently snow-covered locale you're residing in. It was a perfect soundtracks for this past summer, and now, it's managing to brighten up the winter a bit too with its steady, infectious pop melodies.
Initially seen as a record small in stature and large on ambition, The Swimmers' sophomore effort, People Are Soft, conjures up enough familiarity to earn itself these well-deserved accolades. Sporting a pleasant outlook, and an upbeat and optimistic sense of itself, the record overachieves its humble beginnings and expectations, and rose above the pack in a year top-heavy with quality indie pop. For an album recorded and produced by the band themselves in a basement home studio, it possesses a fantastic amount of clarity-- an achievement not to be overlooked.
Chock-full of all of the cliches we've seemingly written off in serious music, People Are Soft employs clapping, group choruses, bright keyboards and peppy staccato backgrounds. Set against the aforementioned steady optimism, and its hook-laden choruses, you're left with a very basic, yet very in-depth exploration of indie pop's roots. The Swimmers lean heavily on some obvious influences like The Shins and Wolf Parade, yes, but merged with their own jovial approach, it works to perfection. For those who grew tired of the catchy, yet trance-like pop choruses which littered 2009, perhaps this more intelligent alternative will do you well. As subdued as The Swimmers manage to be here, it doesn't cloud the emotions or production value that made People Are Soft a tutorial in expert indie pop execution.
Our latest list-- the Most Prolific Artists of the Decade-- looks to chronicle the most important (for better or for worse) artists of the decade. For one reason or another, be it their positive (or negative) cultural significance, landmark moments for music, staying power or otherwise, these artists mattered a great deal this decade.
In no way is this a list of our favorites of the decade. On the contrary, many of our favorites are not present, while others whom we're actually not fans of, have made the list. So without further ado, check out our the fifth (and final) part of our Most Prolific Artists list below. Next to each artist's name, you'll see a basic numeric list of all primary recordings this decade. For many of these, their impact should probably be self-explanatory. Enjoy, and if you haven't yet read our list of the Best Songs of 2009, or Best Albums of the Decade, read up on those too.
10. T.I. -- 6 LPs (Most recent: 2008's Paper Trail)/2 EPs, P$C -- 1 LP (2005's 25 to Life)
Warm, friendly and inviting, Wilco's latest endeavor, Wilco (The Album) was a welcome and encouraging start to summer 2009. The melodies lacked complication-- there were no sprawling soundscapes like that of "Impossible Germany" on 2007's Sky Blue Sky. They also remained as positive as possible, beginning of course, with the bubbly, reassuring intro "Wilco (The Song)." By this point in the band's lengthy career, they understand their status and familiarity. Rather than run from it, they've embraced it, and the results are still astoundingly fresh.
Even in its darkest moments (i.e.- "Bull Black Nova"), Wilco (The Album) maintains the type of aesthetic that begs you to continue on with peppy backgrounds and bright scenery. Songs like "One Wing" and "You and I" take complicated and potentially stressful situations and turn each into a mixtape gem. Elsewhere, servings of Americana and folk are delivered in heavy, yet not overbearing doses. Possibly more than any Wilco album before it, this record is familiar from the onset. Needing no lengthy introduction, the listener can simply delve right into its reassuring charms. Jeff Tweedy and the rest of Wilco are getting older, yes, but they'll never leave outward hints of it in their music. Rather, just small clues, but I doubt that aging will slow them down anytime soon.
Animal Noises is a blog about music, both old and new, and how it stands up in the current music scene. The staff-- John, the editor, with contributions from Matt-- uses their various music backgrounds to intelligently discuss artists and albums, focusing on the good, while not avoiding the bad. We focus on sub-genres of rock, electronic music and hip hop, but don't be surprised to see the occasional wildcard too.
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