Motion City Soundtrack- My Dinosaur Life (***½)

Nerds don’t have it easy.

Sure, people like Rivers Cuomo and MC Lars have been on the forefront of geek chic in the 00s, but the constant battle they’ve endured for social acceptance (while remaining true to themselves) is as much of a universal constant as death, or taxes.

On some level, maybe that’s why bands like Motion City Soundtrack are so appealing. Coming from a genre that’s saturated with far too many A New Found Glory sound-a-likes, Motion City’s music comes across as charmingly inviting while retaining a quirky sense authenticity. No bad haircuts for them, instead they’ve remained true to themselves with a steady diet of pop culture references and quick hooks.

It’s with no surprise then, that the Minneapolis 5-piece keep things consistent on My Dinosaur Life, their fourth album overall. Tapping Mark Hoppus of blink-182 fame for the production duties, My Dinosaur Life finds Motion City name checking everything from Busta Rhymes to the Ocarina of Time, amidst furious, down stroked guitar and big choruses. The result is a record that plays to their strengths as songwriters, and less as an innovation on their current sound.

The record hits the ground running with the driving “Worker Bee” and the hard-hitting “A Lifeless Ordinary (Need A Little Help),” both tracks offering an energetic one-two punch. Against the backdrop of Joshua Cain’s bouncing guitar and Tony Thaxton’s enormous drums, vocalist Justin Pierre uses his smooth upper register to confess, “I think/I can figure it out/But I’m gonna need a little help to get me through it/Need a little help to get me through it!” Jesse Johnson’s airy piano provides some lightness to the song’s stompy chorus, but it’s all very clear that this is a different Motion City Soundtrack than the one that wrote 2007’s Even If It Kills Me.

In fact, there are two big differences that distinguish My Dinosaur Life from the rest of Motion City’s back catalog.

The first being Pierre’s newfound lyrical maturity, which is a welcome change from the band’s usual “so-invested-it-hurts” mentality towards life. On My Dinosaur Life, Pierre has found a more optimistic sense of self to combat the perils in his world. There’s more than enough blame for ex-lovers, but there’s also a proud sense of personal progress that stems Pierre's prose. Whether it’s lamenting on past tragedies for future wellness (“Her Words Destroyed My Planet”), a refusal to wallow in self-pity (“History Lesson”), or the defense of a specific social circle (“@!#?@!”), My Dinosaur Life shows Pierre as someone ready to take the unknown by the horns and wrestle it to the ground.

This brings us to the album’s other huge difference, and that’s the band’s stringently conservative take on its own sound. This is surprising, considering the risks Pierre is taking with storytelling this time around, but My Dinosaur Life sheds much of the experimentation and quirky synthesizers that made Even If It Kills Me such a breath of fresh air.

It seems that Motion City Soundtrack wrote a set of songs that’s primarily guitar driven this time around, light on ballads and heavy on vigor. Hoppus also seems to implement a “less-is-more” production style, where each instrument carries itself with clarity, but lacks richness. The bass is bouncy, and the guitars zoom from muted to buzzing, but none of it quite crunches or chugs along with much weight. Instead, Motion City Soundtrack relies on their energy, a quality that’s endearing, but also shows a band afraid to take the next big leap in their sound.

However, the album does find a comfortable groove midway through when Hoppus and Motion City decide to pepper these tracks with some expanded instrumentation. The acoustic strum turned dancey thump of “Stand Too Close” and the string laced “History Lesson” give the album a bit more character than its typical pop-punk by the numbers approach. Elsewhere, “Pulp Fiction” flies by with fuzzy melodies and twinkling keyboards. Pierre’s rapid fire wit goes into warp speed as he juxtaposes life’s style and substance with lines such as, “And like a nightmare/Covered in the tracks that brought you there/Paranoid and frozen in the heathers/Like a slasher film/I’m torn in opposite directions/The plot sucks/But the killings are gorgeous…”

Sadly, the filler on My Dinosaur Life relegates it to the status of a good record, rather than a great one. “Hysteria” is a rather vanilla mid tempo sing-along that shows Motion City coasting when they should be going for the jugular. Additionally, “Delrium’s” banal chant of “I swear/To pharmaceuticals…” and “@!#?@!’s” overly confrontational chorus of “You all need to go away/You mother ****ers!” tend to mar a rather consistent lyrical outing.

Despite those mishaps, however, My Dinosaur Life is the sound of a band that’s enjoying themselves. While they sport their share of growing pains, Motion City Soundtrack serves up another sweet and satisfying exercise in quirky pop-rock, their geeky fans hanging on every go-go-gadget guitar part and Miami Vice name check. If other bands indulged in what they loved as unabashedly as Motion City Soundtrack does, pop music might be less about fitting in entirely.

In fact, nerds might have the good life.

Key Cuts: A Lifeless Ordinary (Need A Little Help), Stand Too Close, Pulp Fiction

Sounds Like: You’re Awful, I Love You (Ludo), Pasadena (Ozma), Weezer (The Green Album) (Weezer)

Click on the artwork to sample My Dinosaur Life for yourself!

Vampire Weekend- Contra (****)

When you become a Pitchfork darling like Vampire Weekend has, you have an even more difficult time following up an excellent debut album.

True, Vampire Weekend’s self-titled effort owes a great deal of thanks to Paul Simon’s Graceland, but the novelty of resurrecting afro-pop tinged songs doesn’t last forever. So, singer-guitarist Ezra Koenig was going to have to push his Columbian friends into more daring and exciting sonic territory on their next record, if not for Pitchfork than for themselves.

Thankfully, Contra is every bit as exciting as Vampire Weekend’s debut. It’s an album that matches exuberance with tight musicianship, quaint confessions married to a rich pop background. From the thick opening pulses and blips of “Horchata,” to the cascading keyboards and muted bass lines of “Taxi Cab” it’s clear that Contra is an album from very a focused band, a band that doesn’t wish to be seen as a flash in the pan.

The largest difference in Vampire Weekend this time around is their increased emphasis on percussion. Drummer Chris Tomson has a big day out on Contra, his skins work fluid and hard hitting, often times taking center stage. Thankfully, the group puts a bit more thought into production this time around as they dash away the memories of that stiff kick drum with a spacious and full one this time around. What results is a record that’s not overly compressed, but one that’s certainly crisp.

Healthy growth seems to be the trend on Contra, for Vampire Weekend never get too distracted within their short bursts of melody. While the jaunt upstroked bounce of “Holiday” and the blistering guitar flurry of “Cousins” harkens back to their previous record, they aren’t record’s more exciting moments. Rather, it’s the moments where Vampire Weekend flexes their studio muscle. “Giving Up The Gun” sports thick smashing drums against a propulsive bass line and delicate bells, while “Taxi Cab” is a lush valentine set to strings and piano. Elsewhere, the group gets more baroque on cuts like “California English, the song’s fluttering backbeat giving way to cool harmonies, spiky guitar work, and even liberal amounts of auto-tune.

On paper, it sounds like a horrendous exercise in pop-indulgence, and for a lesser band it might be, but what makes it work is Vampire Weekend’s brevity. Their ability to experiment without feeling obnoxious puts them head and shoulders above their indie pop counterparts. In short, they seem to know exactly when to pull their sonic punches on, and this self-awareness has allowed them to create an album that never overstays it’s welcome, and always keeps listeners guessing.

It’s not all pop dalliances though. Where John Mayer failed in his “love-as-war” metaphor, Vampire Weekend excels in exploring romanticism within the hipster class war. On “White Sky” listeners are treated to skittering beats, twinkling synthesizers and Koenig’s syrupy croon as he sings, “Around the corner/The house that/Modern art built/I ask for modern art/To keep it out the closet…” In Koenig’s world, taste is everything, and it’s a dangerous propsition to stray from that.

Interestingly enough, however, Contra is less about love as a battlefield and more about the quest for authenticity eludes rich 20 somethings. True, it’s hard too feel too bad for the boys, whose lives seem to be all about sweet Mexican milk and modern art, but there’s real resonance to Koenig’s songs, intimacy as well as substance. On the album’s delicate and low key closer “I Think UR A Contra,” Koenig laments about the pitfalls of love, his soft tenor dipping and diving over chiming guitars. He sings, “My revolution thoughts/Live in lies of desire/I wanna trace them to the source/And the wire/But it's not useful now/Since we both made up our minds/You gotta watch out for yourself/So will I…”

If only more pop music could use its head like this.

While the band doesn’t quite hit the mark on the rather mundane “Run” and the sloppily arranged “Diplomat’s Son,” it hardly detracts from Contra’s consistent presence. Critics may complain that the band’s descending guitar work and smooth strings are only used sparingly, but Vampire Weekend are smart enough not to go back to the well too many times. In fact, it’s refreshing that they didn’t rest on their classical musings on Contra, opting to push their sound outward with coy percussion and nimble marimba touches.

Contra is a brave record where Vampire Weekend could have simply made a safe one. While people will always complain about something (and it’s probably a safe bet to assume they’ll complain about Contra), it’s clear that those detractors won’t really be listening to the music itself. Rather, they’ll be looking to see if their friends like it, or worse yet, if it meets Pitchfork’s seal of approval.

Good news for those people: Pitchfork likes Contra too.

The rest of us are free to enjoy East Coast love and Vampire Weekend’s infinite potential with some upbeat tunes.

Key Cuts: Horchata, Taxi Cab, Giving Up the Gun

Sounds Like: The Beatles (The Beatles), The Broken String (Bishop Allen), Vampire Weekend (Vampire Weekend)

Click on the artwork to hear Contra for yourself!

WE NEED VICES!

Mine happen to be of the vinyl variety.

2009: The Year In Music

After a great deal of re-listening and reflection, I can definitively say THESE are the albums in 2009 that caught my ears, piqued my interest, and took up space on both my iPod and computer. For a complete list of music releases this year, go here.

And now, without further adieu…

Best Release of 2009: Daisy by Brand New (*****)
Pound for pound, there wasn’t an album in 2009 that came as full formed, fully realized, and as unapologetic as Brand New’s Daisy. It was visceral, immediate, and groove oriented, opting for abrasive experimentalism rather than delicate atmospherics. You either loved it, or you hated it. Descending into brooding melodies, bluesy riffs, and tortured prose, songwriters Jesse Lacey and Vin Accardi ignored the band’s previous reputation to create a set of songs that paid homage to their indie and hardcore heroes of the 90s. Coming from a scene that begs for consistency and uniformity, Brand New continue to make a career out of writing their own rules. As a result, Brand New created the most daring album this year, a record that forced listeners to dissect its differences rather than rely on the band’s reputation for reactions. Key Cuts- Bed, You Stole, Bought A Bride

Best Debut: Ordinary Riches by Company Of Thieves (****)
Mining both folk and blues, with a touch of hazy texture, Company Of Thieves were a welcome surprise early on in 2009. Their debut felt like the work of an established artist, focused and catchy but with real resonance behind it. Simply put, Ordinary Riches is the type of album that captivates on first listen, and marvels you when you rediscover it years later. The playful bounce of “Oscar Wilde” and the slinky jazz overtones of “Old Letters” round out a set of songs that feels timeless when you hit play, an amazing feat for any debut album. Key Cuts- Old Letters, Oscar Wilde, Under The Umbrella

Best Rock Release: 21st Century Breakdown by Green Day (*****)
Expanding their sonic palate and their narrative scope, Green Day’s 21st Century Breakdown was the soundtrack to a nation in crisis. Tapping Butch Vig for a larger stadium rock sound, the Berekely trio created an album that was all at once broader than American Idiot, and at times, angrier. While the record includes some heavy doses of piano and power ballads, Green Day never let the cries of “sell-out” phase them, nor do they lose their sense of urgency. Instead the classic rock flavors and power-pop leanings give the disc variety, while Green Day is able to retain their signature voice, a voice that’s always tapped into the punk ethos. Full of buzz saw guitars and human sentiment, 21st Century Breakdown is a big album with big ideas, a set of songs that reflect the sign of the times while remaining timeless. Key Cuts- 21st Century Breakdown, East Jesus Nowhere, Restless Heart Syndrome

Best Metal Release: Deflorate by The Black Dahlia Murder (****)
No metal band in 2009 seemed to be concerned with musical progression, or at least progressing positively. The one exception seems to be The Black Dahlia Murder and their latest release, Deflorate. While the group’s signature down tuned frenzy, shrieked/growled vocals, and manic lead work are all in tact, the group added hints of melody this time around. Riffs had a tendency to stick with you, breakdowns allowed for breathtaking dynamics, and Trevor Strnad’s caustic screams held a sense of warped hooks. As a result, Deflorate is the most approachable album by these death metallers yet, an album that can hook in new converts while staying true to their aggressive take on European metal in under a half hour. Key Cuts- Black Valor, Necropolis, I Will Return

Best Punk Release: Grey Britain by Gallows (****)
It’s refreshing to see Gallows continue to kick listeners in the teeth with their dissonant take on hardcore punk. Drawing from 80s pioneers Black Flag and the underrated 90s innovators Refused, Gallows came back in 2009 with the massively foreboding Grey Britain, an album that outlined Britain’s social impotency as a target for their rage. The real treat, however, came from how the group has refined their punk attack. Focusing more on groove, fluidity, and huge gang vocals, Gallows sound menacing and powerful on Grey Britain. In fact, their newfound confidence allows them to forego many of the awkward stutter-stop time changes that bogged down their last full length. People always worry about spitting at the Devil, but with an album this ferocious, maybe they should be worried about spitting at Gallows. Key Cuts- I Dread The Night, Death Voices, The Great Forgiver

Best Electronic Release: Merriweather Post Pavilion by Animal Collective (***½)
Everyone put Merriweather Post Pavilion on their lists of definitive albums of the decade, but raging hype aside, Animal Collective created a very interesting album. While their scattered arrangements and choppy time changes are all but absence, these freak folkers opted for dense beats and slick synthesizers with varying results. For the most part, Merriweather Post Pavilion is an immersive listening experience, even if the consistency is questionable. It's big weakness was that tracks tended to meander in the disc’s second half, something that was largely absent even from the most abrasive Animal Collective record. Still, with a group this daring, there are bound to be bumps on their musical journey. And when it’s all said and done, it’s highs like the murky “Bluish” and the snappy “My Girls” that make it all worthwhile. Key Cuts- My Girls, Summertime Clothes, Bluish

Best Produced Release: The Blueprint 3 by Jay-Z (****)
Kanye West, No I.D., Timbaland, Swizz Beatz, and The Neptunes all have their fingerprints all over Jay-Z’s latest album, and the results are staggering. Hova has always been a musical personality that’s reached for the stratosphere, but his production army behind The Blueprint 3 sets a new standard for hip-hop pomp and circumstance. Effortlessly shifting between swinging soul, 80s electronics, and stiff beats, The Blueprint 3 is a lush feast for the ears. The music is kinetic, featuring fluttering high hats and deep grooves, all to allow a seasoned veteran the chance to share his thoughts. And it shows; now 11 albums into his career, it sounds like Jay-Z finally found a sound to match the breadth and scope of his legacy. Key Cuts- D.O.A. (Death Of Auto-Tune), Empire State Of Mind, Young Forever

Best Comeback Release: The Fall by Norah Jones (****)
Norah Jones seemed a bit confused on Not Too Late. There were flourishes of folk and other American roots music, but the piano still took center stage for her and the results seemed a bit predictable. So, enlisting the help of Modest Mouse producer Jacquire King, Ms. Jones roared back with 13 dreamy tracks that showcased not only the urge to change, but the drive to take risks. As a result, The Fall places Jones back in the arena of relevancy, an album that is sultry and tender while showcasing Jones’ velvety voice. Add to the fact that Jones wrote or co-wrote every song this time around, and it’ll make you wonder there aren’t more pop artists like her around. Key Cuts- Chasing Pirates, Light As A Feather, I Wouldn’t Need You

Best E.P.: Gold Motel E.P. by Gold Motel (****)
Everyone, including myself, was fairly skeptical when Greta Salpeter helped put The Hush Sound on the shelf to explore a solo career, but the Gold Motel E.P. effectively quells those apprehensions. The E.P. is a welcomed exercise in piano driven pop, stacked with witty lyrics and Salpeter’s soft and delicate voice. While her song styles aren’t drastically different from The Hush Sound on the surface, Salpeter’s able to push a bit more with her newfound autonomy, exploring quirky new wave and soft jazz with Gold Motel. Still, it’s the jumpy piano numbers like “The Cruel One” that will make fans realize the truth: Whether it’s by herself or with The Hush Sound, Salpeter’s music is something to be cherished. Key Cuts- Perfect In My Mind, The Cruel One, Who Will I Be Tonight?

Most Ambitious: Mean Everything To Nothing by Manchester Orchestra (*****)
To follow up an album that felt as intimate and as immediate as I’m Like A Virgin Losing A Child was going to take a great deal of courage. Thankfully, courage is something that Manchester Orchestra exhibit in spades with Mean Everything To Nothing. Their sophomore effort feels larger in every sense: Towering riffs, dexterous vocal delivery, sweeping ballads, and universal stories. It’s also clear from their earnest perspective and fresh approach on contemporary rock that Manchester Orchestra improved on every facet of their debut. And as lead singer/guitarist Andy Hull spills his awkwardly agnostic self onto the floor, listeners will find that it’s all in an effort to ensure the band’s message, and record, are anything but nothing. Key Cuts- The Only One, I Can Feel A Hot One, My Friend Marcus

Most Experimental: No More Stories… by Mew (****½)
It’s difficult to create an album that draws from progressive rock while still breaking new sonic territory. After all, that’s the genre’s norm, so there’s nothing to do but go big or go home. Yet if their new album’s hyper verbose title No More Stories/Are Told Today/I’m Sorry/They Washed Away//No More Stories/The World Is Grey/I’m Tired/Let’s Wash Away, Mew are going to try their damnedest to be progressive pioneers. Largely, they succeed; No More Stories… carries over the crisp but spacious production from their last album, but the freshness they apply to these tracks is new and exciting. Whether it’s the 7 minute, shimmering guitar opus of “Cartoons & Macramé Wounds,” or the reversed theatrics of “New Terrain,” Mew approach these songs with “out-of-the-box” thinking and a sharply honed sense of melody. What results is an album that can blend jaunt xylophone, cold electronics, heavy low-end bass, and pixie-like vocals into something cohesive. Key Cuts- Beach, Cartoons & Macramé Wounds, Tricks Of The Trade

Most Eclectic: It’s Blitz! by Yeah Yeah Yeahs (***½)
Slick disco beats, fuzzy electronics, delicate piano, and twinkling guitar atmospheres? No, it’s not some sort of retro revival, it’s the Yeah Yeah Yeah’s latest baby It’s Blitz!, and boy is it an interesting one. Decidedly more focused on spacious movements than their warped version of punk, Karen O leads her group through 10 songs that sway rather than propel forward. The strident synths of “Heads Will Roll,” and the piano ballad turned shimmering anthem of “Runaway” overlap so slightly, that half the fun is seeing if the Yeah Yeah Yeahs can actually pull it all off. O’s voice ties the whole thing together, but these songs are about as miles apart as one can get without making it into a compilation album. Thankfully, It’s Blitz!’s dedication to melody is what makes the songs truly sparkle. Key Cuts- Zero, Heads Will Roll, Skeletons

Most Critically Praised: Sainthood by Tegan & Sara (***½)
People seem to be fascinated with lesbians, but lesbians in a band seem to create an even larger level of adoration. Thankfully, Tegan & Sara are smart songwriters, and refused to let cheapen their craft. Their latest album, Sainthood, is perfect proof of that. The sister duo sunk further into their synth pop hooks on Sainthood, the album itself met with well-deserved warmth from most major publications. The reason has to be the Quins’ disciplined approach to pop-rock, letting their quick witted and snappy songs take focus as opposed to their sexuality. They’re never too heavy, never too obscure, and they just get in to deliver witty hook after witty hook. What results is a rather subversive record about iconography construction from a pair of girls that make it seem effortless. Key Cuts- Hell, On Directing, The Cure

Most Critically Crapped On: I’m Not A Fan, But The Kids Like It! by BrokeNCYDE (0)
Let’s make this quick: Crunk was a dirty take on hip-hop and screamo was just a packaged version of post-hardcore. So who thought it would be a great idea to merge the two? To this day, I’ve yet to see any critic write kind words about BrokeNCYDE’s substance free Frankenstein of a record, which is probably for the best. Even Fred Durst is ashamed. Key Cuts- Look elsewhere.

Biggest Surprise: Them Crooked Vultures by Them Crooked Vultures (***½)
Super groups typically fizzle out faster than Pepsi, but Them Crooked Vultures are an interesting exception to that rule. While their self-titled debut contains its fair share of misses (largely due to their indulgent tendencies), the dream team of Josh Homme, John Paul Jones, and Dave Grohl come up with just enough off-kilter riff rock to sustain some of the hype. What really makes their self-titled album stand out is its focus on rhythm, a quality that was far subtler in all their other bands. Whether it’s the dance rock thump of “Gunman” or the funky bounce of “New Fang,” it’s clear that the group is having fun simply playing together, an oddity in the world of super groups. Perhaps with some focus and self-editing, they could follow this up with an even stronger release next time. Key Cuts- No One Loves Me & Neither Do I, New Fang, Gunman

Biggest Letdown: Crash Love by A.F.I. (**)
A.F.I. once stood for fearless experimentation within a hardcore punk frame. While they’ve written their fair share of radio hits since 2003, they’ve never been guilty of co-opting a tired sound. Sadly, the same can’t be said for their latest release Crash Love, a disc heavy on glam rock shuffles, Morrissey-like ballads, and surface level modern rock drama. A.F.I. has always pushed the envelope when it came to experimenting, implementing a wide variety of electronics and non-punk elements into their sound, but they’ve always sounded like themselves in the process. On Crash Love, they sound like they’re imitating David Bowie or Robert Smith. Jade Puget’s often gripping guitar parts are processed and stale, while Davey Havok’s one time tragic prose is now riddled with hammy hooks. For a band that used to have such a unique voice, it’s a darn shame that they'd like to sound like someone else. Key Cuts- Torch Song, End Transmission, Medicate

Biggest Blog Buzz: Wolfgang Amadeus Phoenix by Phoenix (***½)
With fluttering keyboards and fuzzy guitar swagger, Phoenix was hipster catnip in 2009. Glowing Pitchfork review? Check. Spot on a car commercial? Check. Overwhelming presence on “Best of the Year Lists?” Check. Anyone who was anyone blogged about these French rockers and while Wolfgang Amadeus Phoenix wasn’t anything revolutionary, it was a fun album to indulge in. Phoenix created a disc full of gentle atmospherics and dance-ready drum fills, enough for an easy listening experience and, apparently, blogosphere hysteria. Key Cuts- Lisztomania, 1901, Girlfriend

The Album That Should Have Caught On: Swoon by Silversun Pickups (*****)
There was a lot of strong music that came out in 2009, but one album that blew me away on first listen alone was Swoon by Silversun Pickups. Sure, there were other records that had more immediate radio appeal, but none that showcased such a firm grasp of growth from a band. Track for track, there was no other record that so thoroughly demolished a band’s past catalog as Swoon had for Silversun Pickups. The group’s fuzzy wall of distortion and androgynous vocal style were augmented with rich synthesizers and dramatic strings. All in all, Swoon is a fuller experience than Caranavas, from the spacey haze of “There’s No Secrets This Year” to the crunchy groove of “It’s Nice To Know You Work Alone.” Perhaps next time the Silversun Pickups decide to top themselves, more people will open their ears. Key Cuts- There’s No Secrets This Year, It’s Nice To Know You Work Alone, Catch & Release

Worst Release: Artwork by The Used (0)
There has to be irony in the fact that The Used named their album Artwork. This disc over slick angst rock comes across as some of the most inauthentic and insincere songs in recent memory. It’s difficult to imagine a band that’s become lazy with every facet of their performance, arrangements, and overall content. Enjoy the irony, because the music is a rough ride. Key Cuts- Look elsewhere.

WILDCARD!: Common Existence by Thursday (*****)
As with all of my WILDCARD! picks, I choose an album that was really well made but that I couldn’t quite place in any category listed above. For my money, Common Existence by Thursday was the perfect pick. While many applauded the group’s more aggressive sense of song styling, I was equally captivated by Geoff Rickly’s thoughtful lamentations and the band’s continued experimentation. Thursday has always been socially motivated but this was the first time where Rickly dabbled into current affairs with his lyrics. “Friends Of The Armed Forces” tackled American military actions with dignity and humanity rather than partisan polarization. Additionally, the group continued to add post-rock textures to their thunderous punk presence. Both the swirling “Time’s Arrow” and the dreamy "Circuits Of Fever" offered thick soundscapes as Rickly’s versatile voice filled in the gaps. In short, Common Existence might not have sold a huge amount of copies, but it certainly did great many things well. Key Cuts- Resuscitation Of A Dead Man, Time’s Arrow, Circuits Of Fever

Honorable Mention:
The following releases were all albums that I really enjoyed in 2009 and that I personally endorse with a 3/5 rating or above. Some are better than others and some narrowly missed out on being listed up top for specific categories. Regardless, all of them deserve at least one listen.

A New Found Glory- Not Without A Fight (***): Slightly missing former glory with catchy, but predictable, pop-punk.

As Tall As Lions- You Can’t Take It With You (***½): Equal parts Radiohead, U2, and acoustic valentines.

Charlotte Gainsbourg- IRM (****): Dense, Sea Change era Beck songs sung by breathy French siren.

The Dead Weather- Horehound (***): Jack White’s swampy take on Hendrix style blues that feels a bit too familiar to be considered classic.

Death Cab For Cutie- The Open Door E.P. (***): Folky odds and ends that play hard with hooks and light on atmosphere.

Every Time I Die- New Junk Aesthetic (****): A grinding and violent journey into southern rock tinged nihilism.

Grizzly Bear- Veckatimest (****): Lush and hazy soundscapes coalesce in breath taking four-part harmonies.

ISIS- Wavering Radiant (***): Hypnotic and delicate passages give way to large impending riffs but could use a few more memorable melodies in the process.

Jack’s Mannequin- The Dear Jack E.P. (***½): Folky piano ballads that empower as well as reveal.

Karen O & The Kids- Where The Wild Things Are Soundtrack (***½): Playful and rambunctious folk-pop that’s endearing as well as substantive.

Kid Cudi- Man On The Moon: End Of Day (***): High in the sky concept/story mixes with spacey atmospheres courtesy of Kanye, MGMT, and Ratatat.

Lamb Of God- Wrath (***½): While the death growls, grinding riffs, and deathly screams are present, an increased reliance on thrash influences detracts from the band’s groove.

The Mars Volta- Octahedron (***): Ever wondered what a post-hardcore version of Miles Davis would sound like if he French kissed Wish You Were Here era Pink Floyd?

Massive Attack- Splitting The Atom E.P. (****): Two finished tracks and two remixes of unheard of material will leave fans hungry for more.

Morrissey- Years Of Refusal (****): Moz shows middle age doesn’t wash away the melancholy.

Muse- The Resistance (***): The sound of a band resisting hard work, and coasting on their natural talents.

Passion Pit- Manners (***): Loopy beats and glitchy melodies from the group that does the song for the Palm Pixi commercial; you know the one.

Say Anything- s/t (****): A neurotic, bombastic, and yet some how focused effort about Max Bemis’ existential temper tantrums.

Set Your Goals- This Will Be The Death Of Us (***): Hardcore for kids that want to rise above, if only they’d rise above songs that sound like b-sides to their last cool 7”.

Taking Back Sunday- New Again (***): New tricks and new radio power-pop twists show a band that yearns for old accolades.

Thrice- Beggars (****): A groove oriented and often-dreamy exploration of human universality.

Two Tongues- s/t (****): Power-pop flavored love songs that are fuzzy, slick, and hungry for additional guitar solos.

Wale- Attention Deficit (***½): Hungry to be Common and content with being a poor man’s Kanye; if only he’d lose those club tracks.

Weezer- Raditude (***): Liberal amounts of arena rock crunch and sugary moog, but light on substance as Rivers Cuomo continues to alienate fans.