popwreckoning

How did I end up at the posh Four Seasons hotel, sitting across from Bill Murray, Snoop and the rest of the A-listers getting trashed at the bar, as I anxiously waited for An Horse to meet me for a drink? I have to admit that parts of day three and four of SXSW are a bit, shall we say, blurry. Too many shows, too much Tecate and not enough sleep are most likely to blame. I’ll try to recount the event through the fog of it all. The second half of my trip was even more spontaneous than the first. A few more friends joined our expanding South-by crew, which made crashing at the penthouse even more ridiculously fun, I discovered a new favorite band, saw them twice, and closed out the weekend by sweet talking may way around the longest line yet, into a coveted showcase on Saturday to see some killer shows.

Friday was all about Spin Magazine’s VIP party. How I wrangled three “All Access” passes to the hottest day party at South-by isn’t important. Just know that my nickname over the weekend became, to those around me, “The Godfather.” No kidding. Big head nod to you know who. At the Spin bash we saw a second set by the fab Miike Snow, (my lust for all things Miike is well documented in the first installment of my SXSW trilogy) a DJ set by Das Racist, an electric performance by Sharon Jones and the Dap Kings, and of course, the festival headliner: the return of Hole. Love opened her set with a cover of “Sympathy for the Devil,” which seemed fitting for her big comeback. All eyes were on her to act psycho and make a mess, but I’m sorry to report that just the opposite occurred. Backed by a fully loaded, shiny new band, I think Love surprised everyone there by pulling off a respectably rockin’ set. Despite a little mention of flapping genitals and having been inspired by Perez Hilton, Love had a tight grip on the music. The scratchiness of her weathered voice enhanced the music’s rage rather than show the sign of time. She did a few classics such as crowd favorite, “Miss World” and “Violet,” which was maybe my first real “time machine” music moment. I imagine it was similar to what it must have been like for my mom to see CSN a few years back. Déjà vu? Some of the new material that Love debuted was hard to get into and I honestly would have preferred a greatest hits performance, but I’m not complaining. I was happy to be there even if I had to climb up the Stubb’s BBQ sign pole to catch a glimpse of Love.

After a short respite, I hit the Wave Rooftop for a set by Papier Tigre, a raucous post-hardcore punk trio from Nantes, France. While it wasn’t quite my style and perhaps the music needs a bit more time to mature, I have to give the boys props for producing such an intense and driving sound minus a bass. Their energy and enthusiasm more than filled in the gap.

Later that night, I hit The Galaxy Room Back Yard for Local Natives and An Horse. Local Natives absolutely blew me away. I realize that I’m probably late to the game here but I didn’t know anything about this Silverlake-based, mustachioed quintet when I showed up to the tent at the suggestion of a good friend and now they’ve changed the game as far as I’m concerned. They played a total of nine shows at SXSW and I saw two of them. Couldn’t help myself, they’re just that good. You could throw them in the same class as Fleet Foxes and Vampire Weekend if you needed a comparison, but really let the music speak for itself. It’s a unique sound, all it’s own, that grabs you from the first listen. It will be hard to resist the hooky, tender harmonies, nostalgic musings, and afro-pop beats coming from these So Cal sweethearts.

An Horse always turn out a solid rock show with plenty of grit and heavy guitar riffs. This time I even noticed some classic metal guitar moves from front woman Kate Cooper. Yes I said it, metal. This oft-described “indie-pop” outfit from Brisbane is actually a lot heavier than people give them credit for. I had the chance to catch up with the band the next day where we discussed this discrepancy over lattes at The Four Seasons. Ballin’. Stay tuned for their thoughts on new music, what it’s like to tour for eighteen months straight, their love of Fugazi, and how things have changed for them since we first met last year at SXSW.

On Saturday, I had to use my womanly charm to slither into the packed Brooklyn Vegan Party where Andrew W. K., Plants and Animals and Local natives were playing (again). While I was expecting W. K. to blow the top off the backyard tent, his stripped down classic keyboard crazed-concerto was actually kind of amazing. Truth is, W.K. has skills that rock beyond the party. Later that night I stopped by the Cedar Street Courtyard for a chilly outdoor set by recent favorite, Memory Tapes. I had been kind of keeping Dayve Hawk’s dreamy synth-pop all to myself for months and I was excited to see it come to life. Unfortunately, things got a little lost in translation. The beats were spot on but his voice didn’t hold up in the flesh. I figure I’ll just stick with the digital version. It’s my favorite album to daydream to and I’m not willing to give that up. I could tell you that the night ended there, but that would be a lie. Rumor had it that Tigercity was playing a late night set at Habana Calle 6 and well, we just couldn’t resist putting Southby to rest without a last ditch booty-bumpin dance party. Yes Gillim, WE ARE SENSATION.

This year’s SXSW far exceeded my expectations. Like I had hoped, it was all the magic of last year with a much better view. I discovered more than a few new favorites, revisited some standbys and happily added some new members to my festival family. While most like to think that SXSW is just about discovering the next best thing, that’s really only part of the story. The true beauty of Southby is the memories that you make and the traditions that are born out of the music.

I was very excited for my second day in Austin. Still on fire from the Miike Snow show, I was up and at it early in anticipation of the arrival of my musical partner in crime who was flying in from New York that morning. Not only do my buddy and I have a lot of fun getting into trouble together, but also he has top-notch taste in music, so I knew wherever he pointed me would be the right direction. My list of possible shows to catch for day two included: Dr. Dog, Sharon Von Etten, Peter Wolf Crier, Phantogram, and Marina and the Diamonds. While I may have missed all of the above, my resume for the day ended up being pretty amazing.

For those of you who have never had the pleasure, SXSW is known for its “day parties.” There are literally hundreds of free parties taking place all over the city, all day long, at bars and various makeshift venues, like parking lots and BBQ joints, hosting performances by all of the showcasing artists your heart desires. Did I mention that there’s usually free beer, food, and lots of eye candy? Following a tip from a friend, we started the day at the Pianos (NYC) Showcase at the Kung Fu Saloon just a wee bit outside of downtown. Ok, so we may have had to cross some sort of rainforest-like bridge, a highway, and a dusty path to get there but the King Fu Saloon was well worth the trek. I got to see my guy, Mr. “best album of 2009” (according to yours truly) Miles Benjamin Anthony Robinson, for the very first time. Hard to believe, I know. Yes, he’s from Brooklyn, but somehow his live show has eluded me until now. Miles played a selection of stripped down tunes from his second album, Summer of Fear Part 2, with just a keyboard and a mic. The songs, fuzzed out and cloaked in reverb, may have barely resembled the Dylan-esque look they owned on the record, but I assure you were no less visceral in person.

The second star of the showcase would have to be Shilpa Ray and Her Happy Hookers, also from my fair city, NYC. To describe Shilpa is a bit of challenge probably because there’s really no comparison. There’s definitely some PJ Harvey in her family tree, but Shilpa is a lot less contained. Imagine pulverizing cymbals and guitars meet vicious jazz explosions and fast and dirty punk – that is my humble attempt at a description. Regardless, the music will give you chills. Pulled by the antique Harmonium to which it’s attached, Shilpa’s body wrenches and gyrates as it breathes in and spits out raging, bluesy tunes like, “Woman Sets Boyfriend on Fire” and “Filthy and Free.” Her entire band is flawless but her drummer deserves a special shout out. Dave Grohl meet your son. The boy split his hand open during the set, didn’t flinch, and kept playing. Raw!

After the hanging with Shilpa and enjoying a few of the finest Bloody Marys that Austin has to offer, we headed over to the Central Presbyterian Church on 8th Street to meet the kids from Canadian label, Arts and Crafts. Award-winning singer songwriter and former front woman for New Buffalo, Sally Seltmann offered up a preview of her soon to be released album, Harmony to My Heartbeat. From the title, you can imagine it was a bit more PG than what we had chosen to see up to this point. Saccharine and sunny, Seltmann waxes poetic on pretty things from behind the keys in front of her. If Feist is your thing or your dream world looks like an Anthropologie catalogue, you might want to check her out.

After Seltmann, Timber Timbre (a.k.a. Taylor Kirk) took the stage, er..um…altar. I caught Timber Timbre during CMJ and was absolutely floored. Kirk delivered his authentic brand of dark and stormy blues accompanied by keyboard, lap steel, auto harp, and violin. With unnerving spook, Kirk’s molasses-like baritone brought all of the saints and sinners in the pews to their knees. I guess my dream world looks a little more like an abandoned cabin in the woods. I’m O.K. with that.

Next we tried to see The XX, but failed miserably for the first of many times over the weekend. The lines for this band are just unbelievable…even for press. Love the band, but I’ll wait to see them on my turf. Having come to the realization that we had probably taken in enough official stuff for one day, we decided to roll through the rest of the night looking for a little adventure. A friend knew about a “funk dance party” that was happening somewhere out there behind some abandoned train tracks. We followed him into the dark only to stumble upon a full on, raging indie-rave party behind some roadhouse biker bar. We had no idea who the band was, but they kind of sounded like they could be Passion Pit’s little cousin. It didn’t matter. It was a cool find in the middle of nowhere and we took it in before deciding to head back to the penthouse where we were staying. Did I mention the 31st floor wrap-around view of downtown Austin that we had? I finally felt the festival had hit its stride as we walked along the tracks singing Shanice’s “I Love Your Smile,” arm in arm, at the top of our lungs. The magic of last year was in full force by the end of day two and I was pumped for what was sure to follow.

I began writing this report from the lobby of Austin’s downtown Hilton Hotel where gangs of lanky, skinny jean wearing music aficionados prepared to storm the well-worn streets of Austin for day one of SXSW 2010. As I sat there among all of the bloggers uploading like crazy, I couldn’t help but think about how much things have changed for me since my first go-around. If you happen to remember my SXSW diary from last year, I took to the festival like a true punk, i.e.: without any credentials, aimlessly wielding a flimsy point and shoot, and alternating crash pads between an air mattress and a dog hair-infested couch. Despite the less than official digs, I still managed to charm my way into enough private showcases and late night parties to make the trip a win. This time around, I hoped to have the same sort of magic, but with a lot more game. With some official credentials, a penthouse crash pad that I got to share with a few of my favorite people, and at long last, a legit camera set-up, Southby this time around was nothing short of mind-blowing.

Scrolling through the hundreds of shows I had scheduled on my fancy SXSW iphone app (note: last year I still rocked a flip phone) I tried to narrow down my picks by making a little pact with myself: try to see bands that I don’t get to see all the time. She and Him and Broken Bells will hit New York soon enough. It’s the smaller, fledgling unknowns who tour tirelessly, backpack and conversion van style for months on end that should be my focus, right? SXSW is about discovering new music and from what I learned last year, to find those gems, you have to drop the schedule once in awhile and be spontaneous. So, on that note, I christened my second Southby by checking out Cocoon, an adorable French folk duo, Mark and Morgane, from Paris, who create a warm hybrid of sweet, airy folk-pop. With aspirations to be folk music’s answer to Jack and Meg White, Cocoon signed to French indie label Sober & Gentle in 2006. If you’re interested in a comparison, the band claim artists like Devendra Banhart and CocoRosie as American peers. Cocoon nestle nicely into the new canon of folk, one that honors it’s earthy past while incorporating contemporary sound and sentiment.

While contemplating the endless lines snaking Austin’s famous 6th street, it didn’t take long to break my new festival rule and I soon ended up at the closest Tigercity show that I could find. Remembering what I learned last year about good times bringing good music, I felt a Tigercity drive-by was in order. My New York City go-to band for funky, electro-pop doesn’t get the attention they deserve. There’s something to be said for having the ability to inspire the kind of intergalactic dance party that TC is known for. I quickly dropped my rigid schedule and let Bill Gillim’s shaman spirit show me the way.

I ended my first night in Austin with a huge score by catching the super crowded, highly anticipated Miike Snow set from the photo pit at The Galaxy Room Backyard, home to some of the best line-ups that the festival offered this year. I was curious to see how the elusive Grammy-toting Stockholm quintet, best known for producing pop hits for artists like Britney and Madonna, would translate their masterfully produced synth-pop to the stage. No worries, folks. I can, without a doubt, say that Miike Snow absolutely destroyed my expectations in the best way possible. Putting on one of the heaviest sets I’ve ever heard, the boys, clad in matching black silk bomber jackets and rocking Cheshire cat-sized grins as they beasted over their keyboards and mixers, took electronic music to a new and avant level; one that’s faster, more intense, and sonically expansive. Citing Aphex Twin, Peter Gabriel, and Kate Bush as influences makes perfect sense. The combination of American lead singer, Andrew Wyatt’s infectious falsetto and Swedish producing duo Christian Karlsson and Pontus Winnberg, a.k.a. Avant and Bloodshy, is actually less hipster and more art than you might think. At it’s core, Miike Snow makes dance music for metal heads, which should really come as no surprise considering that some of the best metal I’ve ever heard (what’s up Katatonia?) comes from Scandinavia. If their keyboards could scream, they’d look like Lemmy. That’s all I’m saying. Despite their commercial success, this wasn’t “ipod music” by any stretch. They were far better. In fact, Miike Snow put on a set that left my skin buzzing for hours.

Stay tuned for more from Reni’s SXSW Diary…

More extensive coverage on Miike Snow‘s performance at SXSW is coming later, but for now enjoy some photographs detailing the fantastic dance party of a set:

Valentine’s Day is today kids, and while other music blogs seem to be in a holiday-inspired quasi-posting frenzy offering countless “Best Of” lists that make you question your taste in music, I offer you dear readers, just one, single song to nurse your dark heart back to life.

Ween is a band I discovered in junior high school. I won’t mention how long ago that was, but I will say that at the time I was rocking quite a bit of M.C. Hammer and Bel Biv Devoe on my Casio Walkman. You can do the math. I clearly remember my brother and his best friend anxiously awaiting the 1992 Christmastime release of Ween’s Pure Guava. Big box retailers at the time didn’t carry music like that—hard, foul and birthed via four-track—with no internet to speak of, we had to get our music on from the little lone record store on Main Street, Downtown Sounds, I can still smell the dusty wood paneling and discontent festering behind the counter. The album had to be special ordered, that’s just how remote music like Ween was at the time. My brother and his buddy Kevin each bought a copy and then exchanged them with each other for Christmas. They thought that was pretty slick. When the shipment finally arrived at the store, weeks after Christmas, the boys couldn’t get their grubby paws on the genius quick enough. I remember they came home and locked themselves in my brother’s tiny bedroom, just big enough for a twin bed and a bong made out of an Abdow’s Big Boy plastic penny bank and listened to the album on repeat. A few days later Kevin’s mom called wondering where the hell he was. To be honest, neither one of them were the same after they discovered Ween and Downtown Sounds had just as much to do with that as the album itself. I soon ditched the bolo tie and patent leather oxfords in exchange for a flannel and something a bit more rugged on my feet and let the alternative side of life in.

From the same band that has blessed us with righteous tracks like, “Put Your Boobs On,” “Wavin’ My Dick In The Wind,” “Baby Bitch” and “Pinkeye (On My Leg),” I want to share with you one of my most favorite love song of all, a twangy, country-infused, simple little lick called, “Stay Forever” by Gene and Dean Ween. On Valentine’s Day, I dedicate this song to remembering how I first fell in love with the discovery of music. Eighteen years later and I’m still smitten.

Happy Valentine’s Day to all of my kindred dark horses out there.

.“Stay Forever”

If you tuned into the big game on Sunday, did you happen to see the ad for the US Air Force Reserves? The one that apparently uses a re-recorded version of The White Stripes song, “Fell in Love with a Girl” to persuade young men and women to join their troops? I may have missed it because I was too busy watching “Puppy Bowl” during the commercial breaks, (you know you did too…) but it looks like Jack White saw the ad, and well, he’s pissed.

According to the White Stripes label, Third Man Records, the band did not authorize use of the song to the Air Force Reserves and offered the following statement:

“We believe our song was re-recorded and used without permission of The White Stripes, our publishers, label, or management.”

“The White Stripes take strong insult and objection to the Air Force Reserves presenting this advertisement with the implication that we licensed one of our songs to encourage recruitment during a war that we do not support.”

He adds, “The White Stripes support this nation’s military, at home and during times when our country needs and depends on them. We simply don’t want to be a cog in the wheel of the current conflict and hope for a safe and speedy return home for our troops.”

White and his management plan to pursue legal action. Stay tuned.

End Times, the latest album from Eels, the project of Mark Oliver Everett, better known as E, and current members Koool G Murder and Knuckles (the group could be called a collective of sorts, with a revolving lineup and E at the helm) is a salty, sinuous tale of melancholy pop, sobering lyrics, plucky lullabies, and troubled, bluesy guitar scratch. Mostly recorded on a four track, End Times panders to the notion of form meets content, where busted hearts express themselves through a long forgotten transmission source. The songs, raw and unadorned, have the kind of great range that movie stars aspire to, the ability to be many things at once and to completely transform with each performance or in this case song. 

From the disquieting whispers on “The Beginning” to the jangling roadhouse rock n’ romp of “Paradise Blues,” End Times is inspiration for something simpler. On “Nowadays,” E is accompanied by a thick as molasses, heavy-handed strum and sings, “the truth is something no one really wants to hear you say…just how do you do and have a nice day…” There’s certainly a familiar kind of denial or “wash it down” sentiment that needles through all of the songs on this beautiful and tragic album. E punctuates his grizzly gulps, so to speak, with the eerie, ambient “High and Lonesome,” a decoupage of noise: pouring rain and passing cars, a knock at the door, a buzzing dial tone, and even plays with some spoken word on “Apple Trees,” all of which set the dark and stormy stage where E’s misery unfolds.

Despite the greatly satisfying gloom on the bulk of the album, there are poppier hints throughout, like the campy la-la-la on “Mansions of Los Feliz,” or the tinny 60s beat on “Unhinged,” one that’s offset by a kind of Cobain gruff that reaches for a girl with “crazy eyes.” You know the kind. I guess that’s the thing about this album that has me so swept; it’s a pulling familiarity – one that’s easily recognized. You too have tried to make sense of it all. You’ve been bruised, you’ve thrown a few punches and you’ve opted to shoot down the truth at a bar instead of dealing with it. End Times is that feeling: that burning, cold, lonely feeling. And in the end, just like the album closer “Little Bird” delicately reveals, we all just want to be loved.

Track Listing:

1. The Beginning
2. Gone man
3. Mansions Of Los Feliz
4. A Line In The Dirt
5. End Times
6. Apple trees
7. Paradise Blues
8. Nowadays
9. Unhinged
10. High and Lonesome
11. I Need A Mother
12. On My Feet
13. Little Bird

So, here we are my musical playmates, at the tail end of 2009 with “Top Ten” lists jamming your inboxes, twitter feeds, and collective unconscious. I find myself overwhelmed when faced with the task of writing down that looming “Top Ten.” In an attempt to narrow down the scope of my list, as well as in taking full advantage of the opportunity to write about what is near and dear, I offer you my humble thoughts on the best music North of the border, 2009. That’s right folks, Canada: home to free health care, equality, and just about the best avant garde, trendsetting, F’d up music around.

10. MSTRKRFT

Hailing from Toronto, MSTRKRFT, pronounced Master Kraft, released their second EP in ‘09, Fist of God. Swooping synths, scratchy white noise, and chunky, electro dance beats landed these guys on my list. The duo has remixed songs by fellow Canadian crew members Metric and Wolfmother as well as The Kills and Bloc Party. In 2009, the boys signed to Dim Mak/Downtown and collaborated with hip-hop heavy weights Ghostface Killah and E-40. Boom! A fan of Crystal Castles? Daft Punk? Check these guys out and be prepared to break out your best robo-moves.

9. GENTLEMAN REG

I had the chance to catch Reg Vermue, a.k.a. Gentleman Reg at The Bowery Ballroom in New York this Fall. His stunning 2009 album, Jet Black, released on “It” Canadian label Arts &Crafts, home to big-ups like Broken Social Scene and Feist, blew me away. It’s not often you stumble upon music that has you aghast and asking, “Why isn’t everyone listening to this?!” Over the past year, Gentleman Reg’s eclectic genre-mashing musings have sort of been my little secret, my go-to album for everything from inky 80s inspired dance to tethered and bluesy, sly, indie chill. He won’t be staying under the radar for long, so I suggest you beat the crowds while you still can.

8. OHBIJOU

Ohbijou is a group of people from Canada who sing and play instruments together and make music, but don’t call them a band. OK? Preferring, “friends, a curatorial movement, familial unit, assembly of musicians, and philanthropic initiative” to the former, Ohbijou are my number eight reason to love Canada this year…and maybe next? I’m predicting an unbearably long line at their SXSW showcase this year. Another great big Canadian collective to fuss over, Ontario-based Ohbijou sound like pillowy exchanges during a late-night slumber party: nostalgic, delicate embroidering of the heart. There’s a certain intimate yet orchestral gleam to lead singer Casey Mecija’s sympathetic choiring. The critically acclaimed, Beacons, was released on Last Gang Records in 2009, and features some of the loudest, feverish rustling I’ve heard all year.

7. K’NAAN

A Somali-born rapper who landed in Toronto at the age of 13, inspired by Eric B and Rakim, and raps about everything from his war-torn homeland to learning ones “ABCs,” K’Naan’s heavily buzzed-about 2009 release, Troubadour, didn’t need much help but certainly picked up steam with guest spots from Damian Marley and Mos Def. On the top of almost every critic’s 2009 watch list, K’Naan offers some of the freshest, most intelligent beats around and boasts an authentic sense of self that challenges the tired, hip-hop stereotypes still being regurgitated in the mainstream.

6. JAPANDROIDS

They hit SXSW last year, rocked CMJ in October, played NYC’s Siren Festival this past summer, and are already slotted for SXSW 2010 return. Beyond buzz, you should be listening to Japandroids if you dig raw, mashed up, cymbal crashing, fuzzed out, beat up, rock with an infectious heart. The emo-steeped “coming of age” tale we know all too well is at the core of this duo, and honestly, it’s what really makes them so damn hard to resist. You know the yearning, bratty chorus by heart: “We used to dream/ Now we worry about dying/ I don’t want to worry about dying,” but this time it’s packaged in a rousing, busted up, pure punk-drunk adrenaline shot.

5. THE RURAL ALBERTA ADVANTAGE

I have to admit, I just sort of stumbled upon this trio not that long ago, but boy do they deserve to be on this list. Signed to Saddle Creek, in 2009 they released Hometowns, 13 indie rock love letters that pay homage to everything from the beauty of the Alberta wild rose flower to summers in the Rockies to rising towns and hometown honeys. The organic beauty and soil of the rural Canadian countryside is mirrored in this affectionate and nostalgic collection of songs. They are also playing SXSW 2010; stay tuned for my full report.

4. TIMBER TIMBRE

I caught Timber Timbre (a.k.a. Taylor Kirk) at his packed to capacity Arts & Crafts CMJ showcase in October at Union Pool in Brooklyn. It was worth being sardined in a tiny bat cave to witness this rising dark horse summon the souls of many to his hearth. Timber Timbre’s self-titled 2009 release is a chilling folk-blues foray into a strange world of soulful and haunted hymns, acoustic stillness, cloaked and rising choirs and gloomy, hollow pastoral visions…it’s what you would imagine it sounds like as your passing from this life to the next; vacant, washed out coolness punctuated with flashes of recognition—chirping sparrows, leaves rustling, and cinematic last glances. Kirk had produced one of the most original artistic visions I’ve come across in the past year.

3. HANDSOME FURS

There’s no denying that Sub Pop had a big 2009. Celebrating an anniversary and a kick-ass roster which includes Fleet Foxes and my #3 pick on this list, The Handsome Furs. Face Control, the band’s second release garnered a lot of enthusiasm and kept the two touring for the better part of ‘09. The album is punchy, electro boss with a Soviet slink-all the heart and rumble of Springsteen matched with some of the raunchiest keyboard clout I’ve ever heard. This Montreal match made in heaven, husband and wife duo, Dan Boeckner and Alexei Perry, are so damn sexy when they perform the music pretty much seeps from their pores. The sweaty kinetics between these two live trumps for best live show of 2009 in my book.

2. FUCKED UP

Whether you like hardcore or not, Fucked Up is a band that you need to know about. Winners of the elite 2009 Polaris prize for their album The Chemistry of Common Life, these Toronto-based breakneckers have pretty much owned top spots on almost every list over the past two years. Some critics have been bold enough to claim that the band’s second release has even “redefined hardcore.” With intelligent, provoking lyrics and melodic subterfuges this isn’t your mama’s hardcore. Maybe it’s the fact that they’re on Matador, played a twelve hour marathon album release show last year which featured drop-ins from Vampire Weekend’s Ezra Koenig and Dinosaur Jr’s J. Mascis, or that they open the album with a wind instrument that has all the indie-kids perched, but one listen and you have to admit Fucked Up is bringing something different to the game. Now we could get all huge with how many overdubs there are on a particular track or the nerdiness and wonder of the atypical instrument choices they’re batting with or I could just tell you that it’s one of the most thrilling, charging, genre-bending, pioneering albums of the past ten years, never mind 2009.

1. TEGAN AND SARA

Tell me you’re not surprised that my favorite Canadians took top honors on my list of reasons to heart Canada 2009. Tegan and Sara are a PopWreckoning favorite and we’ve been all over coverage for the girls’ highly anticipated, stellar sixth album, Sainthood, released in October to wide critical praise. Fans of the twins have been pining for new music since wearing out 2007’s The Con. The new material is a creative push forward for the sisters, one that boasts a heart-wrenching, hyper-analytic, intellectual aplomb and is decidedly more experimental; marking the first time the sisters penned tracks together. I can’t deny my love for the twins’ addictive, power-pop, motives of love and I’m already anxious for new music…most anticipated album of 2012?

Top 3 Albums of 2009:

Top 3? You know, when doing these lists, you have to decide which perspective you want to come from. Do I remark on what’s trendy and basically tell you what you already know…that dream-pop, 80s synth, super groups, and flannel-fuzzy folk is “It”? Or rather, do I share my personal Aha! albums with you, the ones that got the most spin on my ipod, the ones that I shared my crusty morning commutes and busted late night subway sojourns with, the ones that are still stuck in my gut? You should be able to tell from my list where I landed.

• Tegan and Sara – Sainthood
• Miles Benjamin Anthony Robinson – Summer of Fear
• Mew – No More Stories…

Honorable Mentions:

• Gossip – Music For Men
• An Horse – Rearrange Beds
• Jay Z – The Blueprint 3

Best Show of 2009:

• Peaches @ Music Hall of Williamsburg

You have not lived until you’ve seen the Madame of electro-clash, Peaches, “Fuck the Pain Away” with a giant glow stick dildo while simultaneously dangling like a wild arboreal mammal from the rafters in Brooklyn. Nuff said.

• Honorable Mention: PJ Harvey @ SXSW

PJ debuts her album, A Man A Woman Walked By, for a small gathering of oh…about thirty, myself included? Yeah, that pretty much has to be mentioned, again.

Most Anticipated in 2010:

Buzzed about, fussed over, sophomore challenges and an unthinkable reunion, make the list.

• Lissy Trullie – Self-Taught Learner (early 2010): Asymmetrical bob sporting, art school educated, former model, sings and struts a decidedly Downtown, New Wave cool beat.
• Vampire Weekend – Contra (January 12, 2010): Ezra Koenig buys a new pair of boat shoes and hopes they last as long as the first ones.
• Los Campesinos! – Romance Is Boring: Arts & Crafts darlings return on January 26 with more frisky music to crush on. According to singer Gareth Campesinos! the new album is about “shagging and death.” What more could I possibly hope for?
• Fences: Tattooed, foul-mouthed, impossibly indie crooner with Sara Quin at the helm. Expect an early 2010 release.
• Pavement: Reunion tour…time for the wee ones to wiki “prog rock” and take note!
• MGMT: Congratulations is to be released this coming spring and a “secret” Sir Paul McCartney project in the works? Will their follow-up make Neon Indian’s Alan Palomo break a sweat?

Most Overrated in 2009:

• Grizzly Bear-Veckatimist

Hold yourself back now! I know, it was highly anticipated and got top honors from just about everyone from the moment it leaked, and I tried, I really tried to love this album but it just didn’t stick for me. I’m even going against my hero Bob Boilan (NPR/All Songs Considered) when I shut this album down! Sure, it’s intricate and dreamy, with all the lush harmonies, strings, and chilly choirs an indie-lovin’ girl could ask for, but the hype! The hype! It’s good, but not mind-blowing and I’m still not sure about this “glo-fi” movement that they’re pioneering according to some.

Favorite Musical Memory of the Decade:

• Simple. I’m talking about the moment at the very end of Michael Jackson’s last rehearsal for the This Is It tour, at the end of “They Don’t Really Care About Us,” when he drops a little smile and stands still for a peaceful split second. It’s the last image of Jackson we have and he’s smiling. I watched it twenty times in a row on You Tube after hearing the news of his death. Seeing him happy in that moment is both haunting and beautiful.

It looks like The Thermals will once again be teaming up with Chris Walla, indie power-producer extraordinaire and guitarist for DCFC, for an anticipated September 2010 release on Kill Rock Stars.

Since 2002, The Thermals have consistently churned out authentic, snot-nosed, un-fussed, tri-chord punk pistols that fire with a shot from the hip kind of glory. Walla, who has previously worked with the beloved Portland-based punk rock rascals, producing Fuckin A in 2004, will be setting up camp with The Thermals at the Jackpot Recording Studio in Portand, OR.

This will be the fifth LP from The Thermals and the first with new drummer Westin Glass on board. Keeping Walla in the family means we can look forward to another classic from these bruisers.

The Thermals: website | myspace | interview | @ monolith 2009 | @ the slowdown