Weekly Top 10: Songs Without Choruses

The days of the one size fits all, hook-heavy, verse/chorus/verse formula are long gone. These days, songs come in many shapes and sizes, and although we have nothing wrong with a good catchy chorus, this week's Top 10 highlights our favorite songs that do without. These tunes make it on their own merits, without the help of a memorable rallying point. They stand out for their unique structures and varying styles. Check them out below.

[Previously on Animal Noises: Weekly Top 10: Songs About New York]

Best of 2009 So Far: #11-15

I'd like to start this off by saying that this has been a fantastic year in music thus far. In six months, one may even go as far to say that the overall quality of 2009's releases has already surpassed 2008's. You can count me one of them. I'd also like to take this time to thank everyone who has been reading over the last 12 months, as well as those who have supported this blog in anyway. As we head into year two, you can expect much more from us, as we hopefully see more of you. It has been, and will continue to be, a pleasure.

Below are albums #11-15 (in opposite order) for the year thus far. For the albums that have been reviewed here already, we've also included a link to the original review. Some things have changed. Others have not. Either way, all original reviews were left as they were.

15. Wilco (The Album), Wilco

Just reviewed last week, Wilco's latest effort squeaks in to the top 15 of the year thus far. It shows a proud and happy Jeff Tweedy- one who, maybe, is finally comfortable with both the life that exists inside, and one outside of the music. Not their best, but in no way their worst, Wilco (The Album) is definitely one fans of the band can embrace.

14. God Help the Girl, God Help the Girl

I'm just going to face facts that I'll probably take some heat for this. I'm a sucker for nostalgia, and a fan of Belle and Sebastian, so when I saw Stuart Murdoch put together a pseudo- 60s concept album, I needed a listen. Quaint, fun and playful, this album does all I could have asked of it.

13. Here We Go Magic, Here We Go Magic

Every year there are a couple of debuts that blow me away. Here We Go Magic would fit that bill. Luke Temple's new project isn't jaw-dropping, as much as it's simply thought-provoking. A fresh gust of air in an increasingly crowded indie and folk scene. Plus, I'm pretty sure one of the underlying themes is an alien abduction, which is fun.

12. Bromst, Dan Deacon

I'm still hooked on the first description I ever read of Dan Deacon- "electro-terrorist". Never has an artist been described so ridiculously, yet so aptly in the same breath. Bromst is a tribute to positive noise, and the outcomes you can create when literally mixing the hell out of an effects board. Not for the faint of ear, but if you enjoy an album with a lot going on, here it is.

11. Mean Everything To Nothing, Manchester Orchestra

As I mentioned when it came out, this album surprised the hell out of me. Positive steps, and real, natural progression and maturity in music. Plus the powerful vocal pipes of one Andy Hull, and you've got yourself quite an album. The band has taken their formula to the next level, hopefully with more to come.

Well that's the first five. Stop back in tomorrow for round two of three, when we reveal numbers 6 through 10.

Pre-Screening: Manchester Orchestra

Album: Mean Everything to Nothing

Artist: Manchester Orchestra

Label: Favorite Gentlemen/Canvasback

Due Out: April 21st

Every once in a while, a band comes out with a sophomore effort that is not, in essence, dwarfed by its first album. This situation will usually lead to a faction of band "purists" insisting that the old stuff was better and becoming the hipsters that every new fan of the band hates. However, with Manchester Orchestra's second official full-length, Mean Everything to Nothing, this is not the case. Truly a rock and roll album, MEtN allows the band's sound to evolve to a level even its most diehard fans will be pleasantly surprised by. Yes, there's still angst, but those feelings are made to simply enhance the musical aspects here, rather than become to focus, along with questioning God and life. Each time I hit play on this record, I'm still equally as shocked as the first, and incredibly glad to be listening to something as moving and interesting as I am. Without getting out of the first paragraph here, I'll commend them for a job well done.

Within five seconds of the onset of "The Only One," you're hit with nostalgia, but not for the band's old work. The fast-paced and hard-hitting pop track immediately alludes to Neutral Milk Hotel and the rest of the Elephant 6 Collective. The record label's psychadelic fuzzy pop gained quite a following at the end of the 90s and the early part of this decade, and if you look hard enough, you can still see its influence on today's music. Some may be fooled by this clever ploy at the beginning of the album- assuming a complete change in sound for the group, but the next track, "Shake It Out," is what the band has always excelled at. Quick and soaring hard rock, coupled with lead singer Andy Hull's angst and pain-ridden voice makes the song one of the record's best, as it explores new dimensions of the band, from a young garage band to a more mature, arena indie rock artist. Next, "I've Got Friends" epitomizes what the album is about, a certain growth and potential, whether reached or unreached, but still strived for. This is not reflective of the band, but rather a life, perhaps- not necessarily Hull's. Still, what grabs you on this track, as well as every other, is the amount of organized and overwhelming noise contained within. It's an all-consuming aesthetic that really enhances the listening experience.

"Pride" also hits with force, and coupled with the first three tracks, you're already hooked. What differentiates these tracks from the band's past work seems to lay in the fact that they used to simply couple softer pop instrumental parts with harsh vocals, but now, have seemingly allowed the instrumental pieces to catch up with the heavier vocals. Even the pop tracks have an edge rarely seen on those types of songs. Following that, "In My Teeth" starts in slow, before exploding into a spacious and vast wall of sound, further enhanced by the vocal layering of Hull's voice. Once you've fully recovered from those songs, you'll probably welcome the break that comes with "100 Dollars," a stripped down song about Hull losing a $100 bill that his father gave him. It's simple, yet thought provoking, and is well-placed in the canvas of the record as a whole.

For anyone that owns the band's most recent EP, Let My Pride Be What's Left Behind, you'll surely recognize the next track, "I Can Feel A Hot One". Along with "I Was A Lid," the two songs were the standouts off of the EP, and I'm glad that at least one of them made it on. Both remind me a lot of their old sound- very damaged and subdued, with its moments of heavier sonic influx. From here onward, you'll notice a move back towards that sound, but only in bits and pieces. The next track, "My Friend Marcus," seems like a full band version of a piano ballad, and in my opinion, is. The song is also one of the tracks where the name of the album comes from. Then, for all you cereal enthusiasts, "Tony the Tiger" follows. I'm pretty sure this is about some guy Tony who cheated on Hull's sister, but maybe I'm wrong on that perception. Afterwards, "Everything to Nothing" seemingly wraps up the sentiments expressed throughout the album, speaking of insecurities and dependency, but is not the end of the album. "The River," with hidden, enclosed track, "Jimmy Whispers," both seem to readdress the faith issue, as touched upon in I'm Like a Virgin Losing A Child, but barely hit on here. Stick around for the full 11 and a half minutes to hear "Jimmy Whispers". I feel like both tracks complement each other pretty well, and provide some appropriate closure, as well as a cliffhanger for the next album.

When you reach the end of MEtN, you are questioning a few things, but in the best way possible. The God issue becoming prominent again doesn't confuse, but rather keeps the motor running, even after the music's over. It's one of those records you're sad to see end, but are content with what you've got at the same time. From everything I've heard with this one, it seems as if Hull and Brand New's Jesse Lacey spent a lot of time together during the writing and recording process, as I detect pieces of Lacey's songwriting mentality within this record. Borrowing from a friend is a good thing, however, and the commonalities going forward between Manchester Orchestra, Kevin Devine and Brand New will only make the three artists more enjoyable to listen to. I was impressed to say the least by this album, and I'm sure you will be too. For some similarities, the best place to go is obviously Manchester Orchestra's past work, but other comparisons include the aforementioned Brand New, Nirvana (to a point) and Northstar.

Rating: 8.5/10

Best Track: "I've Got Friends"

Manchester Orchestra Unplugged at Spin Magazine

Continuing with our recent news about Atlanta-based Manchester Orchestra, lead singer Andy Hull did a live acoustic performance of some of the band's new songs in Spin's NYC offices.  It's four songs, including "I Can Feel A Hot One," "I've Got Friends," "My Friend Marcus" and "100 Dollars".  Though hard to derive the exact nature of the tracks from stripped-down acoustic versions, I'd say the band is taking a slightly different approach.  If their new video for first single, "The Only One" is any indication of where they're headed though, I'd have to agree with Matt and say we're looking at a reincarnation of Neutral Milk Hotel.  We'll see though, I suppose.

Check out the live set for Spin here.  Manchester Orchestra's new album, Mean Everything to Nothing, will be out April 21st via Sony.

New Manchester Orchestra, "The Only One"

Manchester Orchestra's new album, Mean Everything To Nothing, is scheduled to be released on  April 21st, and the first bits of new material are just starting to surface across the interweb.  Yesterday, the brand new video for the album's first single, "The Only One", was posted on the band's official YouTube channel.  It sets the story of a woman escaping a mental hospital, to a backdrop of grainy, old, home video-style footage, and includes captions in assorted retro typefaces.  It's an interesting concept that goes strikingly well with the band's new sound, which is much more raw than what we heard on I'm Like A Virgin Losing A Child.  At times, it even sound sounds like a modern Neutral Milk Hotel.  If the rest of the album is anything like this, I think we're in for a real treat.  Check it out below.