Untitled…

I recently finished writing a solo piano composition that I’ve been working on for months. I think it’s a solid piece and I’m currently practicing it so that I can play it through consistently at a steady rhythm. Once that’s done, I’ll record it and decide whether or not I’ll release it now or wait until I have more material to go along with it. I am, however, having a terribly hard time deciding what to name it. I’ve been thinking over the last couple weeks on what exactly the importance of the title of a song is. Does it set up a listener’s expectations? Should it attempt to reflect the mood of the song? Does it matter at all? I’m not trying to sound all deep and intellectual, but it’s certainly something to think about.

In other news, we had another great Lifting Shadows practice over the weekend. We’ve got at least 20 minutes of material pretty much squared away. We’ve made more progress with Julian than any of the other drummers we have tried out. While he’s not much a metalhead (and by “not much” I mean “not at all”) he seems to be enjoying our music (and the challenge it presents). As long as things continue at this pace (and I don’t see why they wouldn’t), I expect we’ll be looking to play shows late March/early April. A MySpace, facebook page, last.fm page, etc. will probably be in the works too. It’s unbelievably exciting to be this close to being a legit band

Concert: Between the Buried and Me (1/30)

Saturday afternoon I drove down to New York City to see Between the Buried and Me with support from Cynic, Devin Townsend, and Scale the Summit. Being a huge fan of all of the bands, I was needless to say extremely excited about the show. The show was in a nice area of the city, so after spending some time walking around the city and grabbing a bite to eat, we got in the line for the show. I was very taken off guard by the length of the line. We went to the venue 15 minutes before the doors opened, and the line had already snaked its way to the end of the block and had started to curve up another street. Apparently some people had lined up hours ahead of time.

Despite the length of the line, when Patrick and I got into the venue we managed to get fairly close to the stage (maybe 5 feet or so from the barriers). Scale the Summit played a decent show that was fun to listen to, but Devin Townsend stole the show by putting on arguably the best performance of the night. It was a shame his set was only a half hour long. His mannerisms were extremely exaggerated and hilarious to watch, not to mention his intro monologue to the audience where he proclaimed “Yes, I will shut the fuck up. But not until I rape your ass for the next 30 minutes!” His music was also a refreshing change of pace. While the three other bands are quite technical and shreddy, his set was full of straightforward groove metal influenced songs.

Next up was Cynic. I was quite happy with their setlist, which was comprised mainly of songs from Traced in Air. Their stage presence sharply contrasted with that of Devin Townsend. They would sample spiritual (Buddhist, maybe?) speeches in between songs, and even led the audience through a Yoga exercise (which was probably the most badass thing ever). Unfortunately, this is also when the “bros” and people who only came to see Between the Buried and Me started to fill the floor in front of the stage. The audience was probably the worst part of the evening. I came close to punching a guy in the face who started to chant “BTBAM!” while Cynic was still on stage.

Finally, Between the Buried and Me took the stage a bit after 10, and promptly melted our faces. Despite the annoying audience, BTBAM put on a terrific show that was high energy throughout. The setlist was great, including my three favorite songs from The Great Misdirect, as well as a couple songs from Colors and a few older cuts as well. Ending the show with “Swim to the Moon” and “White Walls” back to back might be the most epic closure conceivable. The setlist was flawless, and the banter between the audience and Tommy, while kept short, was enjoyable.

All in all, besides for a shitty audience, I could not have asked for a better night.

Update

Well hell month is almost over. Midterm exams are behind me, as is the weekend long Model UN conference I attended (which was amazingly kick ass, but did cause an additional amount of stress). The only real hurdle that remains before things start to return back to normal is a 15 page research paper for English. Since we were able to choose our topics, and I obviously have a great interest in music, I decided to write my paper on punk rock and hardcore punk. Specifically, my paper argues that for music to be considered “punk” it must be socially conscious on some level and attack the status-quo of society. Hopefully it will be finished sometime in the next few days, and perhaps I will post it to this blog in case someone finds it of interest.

This Saturday I’ll be seeing Between the Buried and Me with Cynic, Devin Townsend, and Scale the Summit, as I’ve mentioned many times before. Needless to say, I’m incredibly excited. I love all of the bands that are performing and this show has been acting as a sort of “light at the end of the tunnel” to keep me going through all of the schoolwork and keep me in a relatively good mood despite a lot of personal turmoil.

There hasn’t been a band practice in a couple weeks due to all of this craziness, but I’m looking forward to starting up practice again soon. I’m still incredibly excited about our new drummer, Julian, whom we’ve had a few practices with already. At the rate we’ve been progressing, it would not be a stretch to say we might be ready to play shows in just a few short months.

Review: “Scenes from Hell” (Sigh)

There’s no breathing room in Scenes from Hell. On the contrary, within seconds of starting the album, the listener will be engulfed in a near impenetrable wall of noise. The production is purposely lo-fi, which creates an incredibly claustrophobic atmosphere. The vocals and guitars blend together to create a hellish combination, while the drums bash away as if they were being recorded in a different room. Obviously some will be put off by these unorthodox production methods, but they certainly give the album a unique identity and only add to the thick atmosphere the band creates.

If Sigh had to be pigeonholed into a specific genre, I would say they play an avant-garde variant of symphonic black metal. Don’t come into the album with preconceptions though, for their sound is quite original and unlike anything else out there right now. I haven’t listened to any of their other records, but I’ve been told that there’s more of a death metal influence on this album than on previous works, and indeed it is easy to pick out moments that are clearly death metal. It’s not done in a gimmicky manor, however, and the album is a very coherent listening experience. There is also a fairly liberal usage of strings throughout the album, which complement the other instruments successfully and add to the already tension filled atmosphere of the music.

It would be hard to pick out a favorite track from the album. because it is a very consistent listen with no clear highs or lows. Indeed, the best way to listen to it is straight through with no breaks, to fully immerse yourself in the hell that Sigh has recorded. The music does seem to be most effective when it’s fast and furious, so the shorter tracks (such as “The Soul Grave”) do tend to be slightly more memorable.

Overall, Scenes from Hell is a solid and engaging release to start off the year on the right foot. Sigh manage to weave plenty of interesting ideas together in tandem with a hell bent black metal base to create a memorable experience that anyone a fan of more extreme metal should be able to enjoy, as long as you can get past the oft-putting production.

Rating: 4.0/5

1. Prelude to the Oracle   [4:12]
2. L’art de Mourir   [4:57]
3. The Soul Grave   [4:01]
4. The Red Funeral   [6:56]
5. The Summer Funeral   [7:08]
6. Musica in Temporal Belli   [6:01]
7. Vanitas   [6:26]
8. Scenes from Hell   [3:35]

More (Exciting) Lifting Shadows News

We now have three songs finished with our new drummer, Julian, who is proving to be the most dedicated drummer we have played with, perfectly willing to practice weekly. We are thinking of adding a couple of cover songs to our repertoire. Both Patrick and I are crazy about “Wish” by Nine Inch Nails and “Give It All” by Rise Against. They are both angry, fast, and incredibly fun to headbang to – perfect for shows. Assuming Julian is okay with both of them, we will practice them next time we get together.

Unfortunately that may be a few weeks, because so far January has been the most stressful and busy month of school I think I’ve ever had, and it looks like it’s only going to get worse. That combined with personal problems have resulted in me having very little time to think about writing reviews. Hopefully when things calm down a bit, I’ll be be able to resume writing those.

So yeah, until next time…

New Lifting Shadows Drummer

I hope everyone enjoyed the Top 50 Albums of 2009 feature I did last week. I had some great news to announce at the time, but I didn’t want to take away from that series of blog posts. However, now that the dust has settled, I am pleased to announce that Lifting Shadows is honored to have one of my schoolmates, Julian, on the drums. He’s arguably the most technically proficient drummer we’ve had play for us and in just a few hours we managed to blaze through two of our original songs as he picked things up pretty quickly. Needless to say, everyone was very satisfied with the first practice and if things continue to go as smoothly for the next couple months we could easily be playing shows by spring.

So there you go, things had been pretty quiet on the Lifting Shadows front since September, but it looks like a new chapter has begun. Hopefully everything will work out this time (and I have no reason to think otherwise)!

Top 50 of 2009, Part VI: #5 – #1

5. “Black Cascade” by Wolves in the Throne Room

#5 (Genre: Atmospheric Black Metal)

Wolves in the Throne Room have in short time become one of the most well respected United States black metal groups. Their atmospheric music has even managed to find fans that normally don’t listen to much metal, making them one of the few black metal bands to have crossover success. “Black Cascade” is an interesting departure for the band. Wolves in the Throne Room seemed to reach their experimental peak on the “Malevolent Grain” EP released earlier this year, which utilized a number of unorthodox techniques such as clean, female vocalists. “Black Cascade” sees the band stripping down their sound and focusing on a raw, pure black metal sound – making this the most straightforward Wolves in the Throne Room album ever. This isn’t a bad thing at all, for the band manages to pull it off surprisingly well. All four tracks are filled to the brim with incredible riffs and ambient passages, creating a thick atmosphere that will leave the listener breathless. There’s no question as to why this band has been able to build up such a devoted fan base – black metal doesn’t get much better than this.

4. “Axe to Fall” by Converge

#4 (Genre: Metalcore)

This is without a doubt the best straight up metalcore album I’ve ever listened to. Converge’s 2001 album “Jane Doe” is considered by many to be the pinnacle of the genre, but I couldn’t quite understand this praise. It wasn’t bad by any stretch of the imagination – but it didn’t inspire me. Nevertheless, when I heard that Converge was releasing a new album, I decided it would be worth checking out. Within minutes I scolded myself for ever doubting this band – “Axe to Fall” is a brilliant, breathtaking album by a band that is comfortable taking risks and exploring new sounds.  No one pulls off metalcore like these guys do (as “Dark Horse”, the title track, and others demonstrate), but its the variety these guys put in the album that really sets it above the rest. “Worms Will Feed/Rats Will Feed” and “Damages” are both grindingly slow affairs that simply pummel you to the ground, while “Wretched World” ends the album on an extremely high note with its build-up and interesting composition. In short – don’t let any stigma attached to the genre of metalcore stop you from trying this release, for this is an album that you will not want to miss.

3. “Merriweather Post Pavilion” by Animal Collective

#3 (Genre: Psychedelic Pop)

I remember there being a huge amount of buzz surrounding this album’s release. I didn’t pay much attention though, because I was used to the indie community hyping albums like crazy for a week or so before moving on to “the next big thing”. Therefore I was surprised a month after its release that people were still talking about “Merriweather Post Pavilion”. Surely it had gotten enough time in the spotlight? I decided it was time for me to check it out to see if it was really deserving of all this praise. I am happy to say Animal Collective are completely deserving of all the praise they receive. The moment about a minute and a half into the album when the first track, “In the Flowers” explodes from a quiet intro to a full out psychedelic onslaught is simply breathtaking. The album is filled with these moments, whether it be an incredible vocal harmonization or a catchy lyric, that simply make you sit there and smile. I think one reason why people may come away from this album disappointed is that they expect too much from it. This isn’t high art, or an ambitious concept album. It’s simply a collection of 11 fun pop songs with a decidedly psychedelic spin. Nothing more. Yet it’s this simplicity that makes “Merriweather Post Pavilion” so invigorating to listen to. The album is immediately accessible, yet has so much underneath the surface waiting to be discovered. You don’t need to follow the indie scene to “get” this album, it’s something that truly anyone could enjoy.

2. “The Century of Self” by …And You Will Know Us by the Trail of Dead

#2 (Genre: Indie Rock)

I’m sure this is where many of you will close your browsers in disgust. A universally acclaimed masterpiece at #3, and an album that received lukewarm reviews at best at #2? Surely I must be out of my mind! However, I stand by my decision. “The Century of Self” blew me away unlike any other album this year (well, except for my #1 album). Never before have I seen seemingly opposite forms of rock blended together in such an impressive manor. Trail of Dead mix the pompous nature of progressive rock with the raw aggressiveness of punk, all under the disguise of noisy indie rock. Every song is incredibly unique and fresh sounding, and their epic nature are sure to bring a smile to anyones face. “Isis Unveiled” is surely the anthem of the year with its fast paced and hard hitting beginning, contrasting with its fist pumping middle section that seems to imitate the sound of a army marching on the battlefield before crashing back into the noisy rock of the beginning. Trail of Dead can also pull off slower, softer songs just as well as they can noisy, fast ones, as “Bells of Creation” and “Luna Park” attest to. And of course, there’s no better album closer then “Insatiable (Two)” which gives the whole thing a great sense of closure. Rock doesn’t get much more exciting (or loud) than this.

1. “Monoliths & Dimensions” by Sunn O)))

#1 (Genre: Drone Metal)

Sunn O))) find themselves in an interesting position with “Monoliths & Dimensions”. After taking the black metal influenced part of their sound to the extreme with 2005’s “Black One”, the group started to go beyond the realms of metal to find inspiration and their latest album is a testament to this – drawing on the works of musicians such as John Cage and Miles Davis. “Monliths” is a very big album in terms of the number of people involved: the credits in the CD booklet seem to be as long as that of a small scale film. Throughout the album, the core duo of Stephen O’Malley and Greg Anderson find themselves accompanied by violins, trumpets, harps, pianos, french horns, choirs, and more. Vocalist Attila Csihar gives arguably the strongest performance of his career, sounding like the Earth itself opening up and speaking to the listener. Dylan Carson (member of the band Earth and the pioneer of drone metal itself) joins Stephen and Greg throughout the album to create a wall of noise three guitars thick – the sound is so textured it’s literally palpable.

Of course, all of this sounds impressive, but it wouldn’t matter much if the songs weren’t interesting. However, on the contrary, “Monoliths & Dimensions” takes the genre of drone metal to places that it has never gone before. The albums open with Sunn O)))’s signature drone. It’s not long though, before a new element enters their sound. At first it’s hard to figure out just exactly what it is, but before long you realize that it’s an orchestra. The orchestra is not used in the typical sense – they’re not playing melodies and it doesn’t sound like they’re even playing notes. Instead they seem to play a sort of orchestral feedback unlike anything I’ve ever heard before. As the opening track progresses the guitars fade until the only thing left is Attila’s slow, interrupted vocals and the haunting sounds of the orchestra. This experimentation continues throughout the album; “Big Church” adds a female choir to Sunn O))’s sound, and “Hunting and Gathering (Cydonia)” brings back the orchestra and adds an eerie synth to the mix.

All of this pales in comparison to the final track, “Alice”. Guitars pulsate in and out in an airy fashion. Before long the song gradually begins to shift in tone – the chord progression that seemed dark at first begins to change in tone, emitting a feeling of warmth. Harps, clarinets, and horns become the focus of the song, and Julian Priester ends the album with a lengthy trombone solo. This is like nothing Sunn O))) has ever written before. It isn’t metal, and it sure as hell isn’t drone…

…this is something new entirely.

Top 50 of 2009, Part V: #10 – #6

10. “Memoria Vetusta II: Dialogue with the Stars” by Blut aus Nord

#10 (Genre: Atmospheric Black Metal)

Blut aus Nord have made a name for themselves by writing excellent, often experimental, black metal albums. They have released several genre defining albums, such as the 2003 classic “The Work Which Transforms God”. “Memoria Vetusta II” is more than worthy of the Blut aus Nord name that graces its cover, by infusing raw emotion and glorious melodies into their black metal sound.  The album’s sound is varied, and every song has its own identity. The music doesn’t stick strictly to blast beats and tremolo picking, but explores other sounds including ambient interludes and slow, catchy riffs. Black metal is often dismissed due to its extreme nature, but “Dialogue with the Stars” is an amazing album that deserves to be placed in high regard.

9. “The Great Misdirect” by Between the Buried and Me

#9 (Genre: Progressive Metal)

As I said in my full review of this album, I wasn’t sure what to expect from Between the Buried and Me with their latest release. Their 2007 release, “Colors”, holds a special place in my heart and I consider it to be one of my favorite albums of all time. Therefore I knew that no matter how good of an album BTBAM would release as a follow-up, I would be slightly disappointed with it. Thankfully “The Great Misdirect” is a big departure for the band, leaving little time for me to dwell on their previous releases. “Misdirect” sees the band straying farther then ever from their metalcore roots, experimenting with sounds we have never heard before from this band. Ideas seem to flow endlessly from these guys – whether it be the blues soloing of “Disease, Injury, Madness”, the folk rock sound of “Desert of Song”, the lounge music of “Fossil Genera”, or the prog guitars of “Obfuscation”. The album falters in places, and isn’t quite as consistent as its predecessor, but is an absolute must-listen for any fan of progressive metal or anyone interested into more “out-there” metal.

8. “Yrg Alms” by Njiqahdda

#8 (Genre: Black Metal)

Ever week I browse lists of recently released black metal albums and take note of ones that sound somewhat interesting, and I give them a listen when I find the time. This is how I came across “Yrg Alms”. The unpronounceable name of the group amused me, so I decided I would give it a try. Thank god I didn’t just pass over it, because “Yrg Alms” has in short time become one of my favorite metal albums. The album is five tracks long, but together they form a song cycle that really needs to be listened to together for full effect. Njiqahdda takes black metal to places that most bands wouldn’t even dream of taking their sound to. The songs become increasingly busy, weaving complex guitar parts and haunting vocals to create a total mindfuck – the soundtrack to your nightmares. Finally the sound collapses into a wall of noise that encompasses the last 10 minutes or so of the album. Njiqahdda have created an extremely unique and effective sound that simply needs to be heard. This album shows how powerful black metal can be when done correctly. I’m sure the extremeness of the album will turn off most, but those who can tolerate it will be blown away.

7. “Metazoa” by Cormorant

#7 (Genre: Progressive Metal)

Like Njiqahdda, Cormorant are another relatively unknown band that I discovered purely due to luck. In this case, the bassist of the band turned out to be a frequent poster at a forum I lurk at, and I saw a topic he created where he discussed his band’s first full length album. Intrigued by his description, I ordered the album and completely forgot about it until one day I found it waiting for me on my doorstep outside. Cormorant’s core sound is grounded in melodic death metal, but their songs explore numerous ideas that takes them well out of the confines of that genre. The riffs are infectious, the songs ambitious in scope, and the musicians overflowing with ideas. One of the most interesting aspects of Cormorant’s music are the lyrics – they are incredibly intelligent and deal with a wide range of topics from the French Revolution to illegal immigration. I’m sure I won’t forget about Cormorant again anytime soon – expect great things from this band.

6. “Part the Second” by maudlin of the Well

#6 (Genre: Progressive Rock)

Around the turn of the century, Toby Driver together with his band managed to release three masterpieces of progressive/avant-garde metal that to this day are held in high regard. However, he dismantled the group and went on to form an even more experimental outfit, Kayo Dot. Now years later, after constant pressure from fans, Driver agreed to reform maudlin of the Well and record new material. Fans donated the money required for the group to buy studio time, and in return the album was released for free. The albums title is fitting, for this is truly a new chapter in maudlin of the Well’s story. The metal aspect of their sound has been completely dropped, leaving behind a very experimental album. The songs manage to create the illusion of beauty as well as an intense feeling of foreboding. Ideas flow organically and without rush – this is an album that takes its time in revealing its secret and is all the more rewarding because of it. Toby Driver has lost none of his genius since maudlin of the Well first disbanded – only his methods have changed.

—-

Final five will be posted tomorrow. Happy New Years!

Top 50 of 2009, Pt. IV: #20 – #11

20. “Ineffable Mysteries from Shpongleland” by Shpongle

#20 (Genre: Psytrance)

Shpongle are the kings of the trance scene, and they know it. Their 2005 magnum opus “Nothing Lasts… But Nothing Is Lost” was supposed to be their swan song, but after the widespread critical acclaim and success that it brought, Shpongle decided to hit the studio earlier this year and record a follow up. How does one follow up such an incredible album? In Shpongle’s case, they simply pretend it never existed. Shpongleland takes the group back to the sound of their earlier records, such as “Tales of the Inexpressible”. The result is yet another amazing Shpongle album, filled with their world-influenced variety of trance. It may not be the genre defying masterpiece that was “Nothing Lasts…”, but it is still an incredible album that will disappoint no fans of the group. Anybody interested in electronic (or trance specifically) owes themselves to try Shpongle out.

19. “Crack the Skye” by Mastodon

#19 (Genre: Progressive Metal)

“Crack the Skye” is an incredibly easy album to hate. Whether it be the ridiculous and overblown lyrics, the the melodic music, or the general pretentiousness of the band, Mastodon has drawn a lot of flak over their latest release. Yet despite all the critics, the album has developed a devoted following and has garnered much praise. It’s truly a dividing album, and judging by its high ranking on my list, it should be fairly obvious which camp I belong to. Mastodon sound very fresh when compared to the numerous progressive metal bands that clutter the scene today with endless wankery. Mastodon’s sound is very melodic and restrained, placing their compositional skills ahead of technicality. “Oblivion” and “Crack the Skye” both make excellent singles, and “The Czar” is an excellent long-form piece. The only real weak point is the album closer, which at 13 minutes drags a bit longer then it needed to. Otherwise the album is very consistent throughout and definitely worth a listen.

18. “Primary Colours” by The Horrors

#18 (Genre: Post-Punk)

The easiest way to describe “Primary Colours”? Think My Bloody Valentine meets The Cure; a tantalizing blend of shoegaze and post-punk. Critics often complain that The Horrors wear their influences a little too much on their sleeves, and I won’t dismiss this. I simply don’t see why it’s a bad thing. It’s not like they’re stooping to plagiarism – it’s simply a homage to the acts they grew up. The album starts out with a bang with the excellent opening track “Mirror’s Image”, and continues strong throughout, with a multitude of different sounds and ideas throughout. The strongest song is without a doubt the epic closer “Sea Within a Sea”, which acts as a long buildup with a satisfying climax.

17. “On Little Known Frequencies” by From Monuments to Masses

#17 (Genre: Post-Rock)

It’s amazing how much can be said without uttering a word – and From Monuments to Masses are proof of this. With only a few scattered voice samples throughout, “Little Known Frequencies” manages to take the listener through a wide range of emotions, from outright joy to searing pain. Post-rock has always been known for blistering crescendos that build up tension to a breaking point, and From Monuments to Masses manages to use this technique more effectively than almost any band I’ve ever listened to (with the possible exception of Godspeed You! Black Emperor). This album manages to strike the perfect balance between calm and intensity and is worth a listen regardless of your opinion on the genre of post-rock.

16. “Across the Dark” by Insomnium

#16 (Genre: Melodic Death Metal)

Melodic Death Metal is often treated with scorn by “true” metalheads for valuing style over substance and for pandering to a mainstream audience by placing hooks and catchy melodies above writing strong compositions. Therefore Insomnium’s 2006 album “Above the Weeping World” shocked the metal community by being a well written, compositionally interesting album that still managed to be filled with hooks. “Across the Dark” continues this legacy, by once again combining skillful songwriting, progressive elements, and plenty of melody and hooks. The result is an album that is impossible not to head-bang or pump fists to, yet still holds up on close listening. Insomnium have proved that melodic death metal should not be treated as a joke, and “Across the Dark” is an album that any self respecting metalhead should have in their collection.

15. “Cryptomnesia” by El Grupo Nuevo de Omar Rodriguez Lopez

#15 (Genre: Experimental Rock)

I hated this album after my first listen of it. Oh god, how I despised it – the unsettling rhythms, the dissonant guitar work, the seemingly random background sound effects.  I almost didn’t make it through the whole thing (which at 35 minutes is  hard to believe), and I wanted to punch Omar in the face. Yet for some reason – I kept being drawn back to the album, and before long the album had crawled into regular rotation on my MP3 player. Why the change of heart? Simply put I went into the record with wrong expectations. I was expecting something more akin to his solo work and instead I was hit with what could be a described as The Mars Volta meets At the Drive-In on steroids. The tempos are relentless, the music all over the place, and Cedric’s voice filled with venom. This could easily be Omar’s most aggressive work to date. And once I accepted that, I fell in love with its vicious sound. If you’re in the mood for something a little crazy sounding, this might be exactly what you’re looking for. Omar has said that a trilogy of albums were recorded with this group, and needless to say I’m excited of seeing what else this group managed to create.

14. “Cosmogenesis” by Obscura

#14 (Genre: Technical Death Metal)

This could very easily be the most technical album on my Top 50 – Obscura’s playing ability is simply incredible. Every musician in the band has complete command over their instrument weave in and out of each other with a precision unlike almost anything I’ve ever heard before. Obviously, technical death metal is a pretty niche genre and therefore this will only appeal to a small subset of people – but if you are one of those people who enjoy bands such as Atheist, Cynic, and Death then this little known band should be right up your alley. Many bands in the genre fall into the trap of writing similar sounding songs, but somehow Obscura have managed to keep themselves out of this trap with each song having its own identity. Despite being long for the genre (around 55 minutes), the album stays consistently high quality throughout and never grows tiring. The one flaw? The lyrics are a bit weak and come off a bit cliche, but with music this interesting, who cares?

13. “It’s Blitz!” by Yeah Yeah Yeahs

#13 (Genre: Indie Rock)

I suppose I should preface this by saying I have not heard anything else that the Yeah Yeah Yeahs have released. A lot of criticism of this album stems from the fact that it was a drastic departure from the sound of their first album. Having not heard their first album, I did not have any expectations to be crushed and went into it with a completely open mind. And suffice to say, I was blown away. “It’s Blitz!” is simply bursting with energy. The Yeah Yeah Yeahs play an interesting blend of indie rock and synth pop, that as cheesy as it sounds, totally works. Karen O’s voice really carries the album, giving the fast, danceable tracks bite and giving the slower tracks (such as the show stopping “Skeletons”) emotional depth. If you have any preconceptions about this band, throw them away, and be prepared for one of the most energetic albums of the year.

12. “Black Clouds & Silver Linings” by Dream Theater

#12 (Genre: Progressive Metal)

Dream Theater were faced with quite a challenge while writing their latest release. The band had experienced quite a fallout with its fanbase over their previous few albums, as the band drifted further and further from the sound that got them famous in the first place and more towards a mainstream sound that seemed geared towards getting the band more airplay. Thankfully, Black CLouds & Silver Linings finally puts a stop to this downward trend by being their strongest album since 2002’s “Six Degrees of Inner Turbulence”. Every song is unique and interesting, but the show is stolen by the two closing songs, “The Best of TImes” and “The Count of Tuscany”, both which represent some of the best work the band has ever made. Always technically impressive and once again compositionally interesting, Dream Theater has turned the tide, kept the fans happy, and proven why they should still be considered the king of progressive metal. Here’s to hoping this album marks a permanent turn around for the band, and that the next album is even better.

11. ” Joy” by Phish

#11 (Genre: Rock)

I didn’t get into Phish until they had already gone on a seemingly permanent hiatus. Therefore, when it was announced that they were reuniting, I was overwhelmed with joy (no pun intended). Their summer tour, which I saw them on, showed them bursting with energy and having a genuinely good time playing together. Their latest record, appropriately titled “Joy”, is perhaps one of the happiest sounding records I’ve ever had the pleasure of listening to. Now matter how shitty a day I might have had, this album never fails to bring a smile to my face. Filled with tons of great solos by all members of the band and fresh sounding ideas, “Joy” sounds like it could have been recorded by twenty year olds, not by a band that’s been around for over 20 years. The one aspect of their sound that has matured are the lyrics – which are quite introspective and personal (which is surprising, coming from a band that has written songs titled “Tweezer” and “The Mango Song”). “Joy” is simply a joy to listen to, and is certainly worth a listen by anyone who enjoys rock music.

Top 50 of 2009, Pt. III: #30 – #21

30. “Geneva” by Russian Circles

#30 (Genre: Post-Rock)

What is post-rock? Of all the genres that exist, post-rock is certainly the most ambiguous. Even the all knowing Wikipedia falls short on delivering an adequate definition, simply stating that post-rock “is the use of rock instrumentation for non-rock purposes”. Could a definition be any more vague? Therefore calling a band post-rock does not describe the sound of a band to a reader. Russian Circles play a heavily atmospheric, instrumental variant of rock that at times draws inspiration from sludge metal bands such as Isis. The group focuses on creating a textured, moody sound that entrances the listener the entire duration of the album. No matter what term you use to describe the music that Russian Circles plays, you have to admit that they play it well. Recommended to anyone who enjoys music that places sound and atmosphere over hooks and melodies. And speaking of Isis…

29. “Wavering Radiant” by Isis

#29 (Genre: Atmospheric Sludge Metal)

If there’s any genre name that bugs me as much as post-rock, it would be atmospheric sludge metal. Nevertheless, I won’t divulge into another genre analysis. Isis captured my attention with their stellar release “In the Absence of Truth”. Like Russian Circles they play very atmospheric music that focuses on tension and release. Unfortunately, I feel that Isis has started to falter in their songwriting skills. Their sound has barely changed since their last release, and techniques that sounded fresh then are now feeling a bit stretched too thin. Isis is at a point where they will have to grow if they want to continue to be as highly regarded as they are now. However, don’t take me wrong – they are amazing at what they do. Fans of their earlier work will greatly enjoy this new album (even if they aren’t surprised by it), and there’s no better place for newcomers to start.

28. “Octahedron” by The Mars Volta

#28 (Genre: Progressive Rock)

If there’s one thing that impresses me most about The Mars Volta, it’s their ability to change their sound for every album. From the latin rhythms of “Frances the Mute” to the balls-to-the-wall approach of “Bedlam in Goliath”, fans always expect the unexpected when a new album drops. However, “Octahedron” may be the biggest surprise in The Mars Volta catalogue yet. The band describes it as their take on an “acoustic rock” album. It’s not full on acoustic – but it’s a much more mellow album then anything we’re used to hearing from the group. I’ll admit, on my first listen I couldn’t help but feeling disappointed. It seemed to lack energy when compared to their other works. But over time the sound grew on me, and before long I found myself enjoying it as much as their other works. The Mars Volta have proven with this record that they can write excellent music without having to rely on quick tempos, abrupt changes, and distorted guitars. And no, this isn’t the last time you’ll see Omar in the Top 50…

27. “The Hazards of Love” by The Decemberists

#27 (Genre: Indie Rock)

Sometimes I can’t help but crack myself up when I read the lyrics to this album, for they border on truly ridiculous at times. Despite this, as soon as I put on the album, I completely forget about the ridiculousness of the concept and am swept away by the sincerity of their sound. The Decemberists draw upon a wide range of influences that permeate their folk rock sound, so don’t be surprised when you hear a sludgy metal riff coming from your speaker. With a flowing story-line, catchy as hell melodies, beautiful vocals, and an overall satisfying sound, The Decemberists have struck gold with their latest release.

26. “Humbug” by Arctic Monkeys

#26 (Genre: Indie Rock)

I love the first two Arctic Monkeys. The blistering tempos, the abrupt changes, the rapid fire singing, the irresistible melodies…the Arctic Monkeys could have released a half dozen more albums using the same formula and still be well regarded. Therefore when listening through “Humbug” for the first time I was taken off guard. These weren’t the same monkeys that I had fallen in love with a couple years ago. I guess even the Arctic Monkeys had to grow up sometime. “Humbug” is a dark affair. The songs plod along like they were written for a funeral, the album has so much empty space it feels like its breathing, and the singer’s voice sounds subdued and weak. In other words, the Arctic Monkeys no longer sound like the Arctic Monkeys. The most fascinating thing however, is that it actually works (even if my description didn’t make it sound that appealing). It may take a few listens to get into, but I have to admit – I’m starting to like this band that stole the Arctic Monkeys name.

25.  ”Blood” by OSI

#25 (Genre: Progressive Rock)

OSI’s debut album was amazing. It was an extremely unique sound that managed to blend progressive rock, alternative, and electronic. However, after such an innovative debut, the band faltered with their second release, “Free”, which felt rather by the numbers. Thankfully, OSI haven’t spent the last three years slouching, and “Blood” is a step in the right direction for the group. Like all of Kevin Moore’s post-Dream Theater work, “Blood” is a depressing affair, with lyrics pondering opportunities lost and Moore’s melancholy voice drifting above the music. The music accompanies his voice perfectly, and together create a powerful modern progressive rock album. Interestingly enough, the song I  was looking forward to the most, the collaboration with Opeth’s Mikael Akerfeldt, turned out to be my least favorite song on the album! Guess it just goes to show that just because two people are great musicians, doesn’t mean that they can work together well.

24. “Breathing the Fire” by Skeletonwitch

#24 (Genre: Thrash Metal)

PURE FUCKING METAL! Yeah, that’s pretty much Skeletonwitch right there. Screw genre cross-pollination, this is about as straight up as thrash metal comes. Fast, aggressive, and excellent for headbanging (I’m sure I’ve lost more than a few brain cells listening to this album, so blame my poor writing on it). Skeletonwitch also don’t believe in letting up or variation – once you’ve heard one song by them you’ve pretty much heard them all. Honestly though, it’s not that big of a deal, because their sound is so fun to listen to and they keep the total length of the album under 35 minutes - not long enough for one to become tired of the album. Also, just take a minute out of your life to stare at the album art. Is that the most metal thing you’ve ever seen, or not?

23. “The Onslaught” by LaZarus A.D.

#23 (Genre: Thrash Metal)

I swear it’s a complete coincidence that the two thrash metal albums in my top 50 are next to each other. I originally had “The Onslaught” a bit higher on my list, but it unfortunately didn’t age quite as well as I had hoped it would. Nevertheless, this is still a kick ass album. Purists will probably be a tad annoyed by the occasional groove-metal influenced section, but the rest of us will appreciate the variation. The other notable aspect of their sounds are the guitar solos – they are incredibly good. Just the right amount of speed and technicality. I also am quite a fan of the singer’s voice. It fits the music well, just aggressive enough while still being perfectly understandable and even a tad melodic. Ultimately this is straight up thrash for the most part, so if you’re interested in the genre give it a look, and if you’re not give this a pass.

22. “Ki” by The Devin Townsend Project

#22 (Genre: Progressive Rock)

The second Devin Townsend album to land on my top 50. “Ki” is a very interesting departure for Devin, who is most often associated with the genre of metal. Therefore it was refreshing to hear him try something completely new – a very calm and mellow progressive rock album. It’s a very soothing listen, and ultimately in my eyes more interesting then the Project’s second album, “Addicted” (not to say “Addicted” is bad, after all, it also made my top 50). Although Devin hasn’t announced any plans to record another album with a similar sound to “Ki”, I do hope that he returns to this style and records a follow up sometime in his future. It’s only flaw is it’s length – it does run a bit on the long side. However, it’s sound is accessible enough that anyone could enjoy it, so give it a try!

21. “A Real Diamond in the Rough” by Buckethead

#21 (Genre: Experimental Rock)

Buckethead might be the most prolific artist I listen to. The amount of material he puts out is simply staggering. The fact that he can still put out fresh and original albums after over 30 studio albums and countless collaborations later is a feat upon itself. Not to say that everything he releases is quality, but this year alone he released a couple stinkers. Nevertheless, “A Diamond in the Rough” is an incredible album that merges some styles that we have seen on his pervious albums together. It takes the calming sounds similar to his work on “Colma” and “Electric Tears” and merges it with incredible solos and guitar work like that on “Population Override” . The end result is a breathtaking work that shows that Buckethead still has a lot to show us. “Diamond in the Rough” is also one his more accessible works, so if you were looking for a good starting point in his massive discography, this would be a good place to go.