Top 20 Albums of 2008: Part IV

The final countdown! Hold on to your hats! Clutch your children to your bosom! Repent! The end is nigh!

PLEASE NOTE: All tracks are for preview purposes only. Support the artists you love by buying their work!

5. Brad Mehldau Trio - Live (Nonesuch)

Brad Mehldau is one of the young superstars of jazz, frequently playing sold-out, multiple-night live events that display his impressive physical dexterity and encyclopedic knowledge of musical technique. Part of what makes Mehldau so appealing are his sophisticated reinterpretations of modern pop songs, in which he often turns their harmonic structures inside-out, drawing out a depth and beauty one might never have known existed within them. Live is an enormous, double-disc document of the Mehldau live phenomenon, featuring many of Mehldau's own compositions alongside erudite readings of jazz standards and pop material, including blazing renditions of Oasis' "Wonderwall" and Soundgarden's "Black Hole Sun." Though I hate to gush, Mehldau's musicality really is stunning, and while bassist Larry Grenadier and drummer Jeff Ballard are impressive musicians in their own right, as when describing another Mehldau rhythm section from several years back, Richard Cook and Brian Morton had it right when they said that they are "inevitably overshadowed" by Mehldau's formidable display of talent. At the cost of a standard CD, this double album is one of the best buys of the year. Hell, the tracks "Wonderwall" and "Secret Beach" alone are worth the purchase.

Track listing: Disc I: 1. Introduction (00:15) 2. Wonderwall (8:44) 3. Ruby's Rub (13:08) 4. O Que Será (10:38) 5. B-Flat Waltz (9:11) 6. Black Hole Sun (23:31) 7. The Very Thought of You (12:59) Disc II: 1. Buddha Realm (12:00) 2. Fit Cat (10:40) 3. Secret Beach (11:36) 4. C.T.A. (16:16) 5. More Than You Know (12:09) 6. Countdown (14:52)

Personnel: Brad Mehldau piano; Larry Grenadier bass; Jeff Ballard drums

Download the track "Wonderwall"
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4. Bonnie 'Prince' Billy - Lie Down in the Light (Drag City)

Bonnie 'Prince" Billy's Is it the Sea? already saw a spot in this Top 20 countdown, but it wasn't Oldham's best of the year. It was his studio effort, Lie Down in the Light, that was truly a revelation. Many people consider Oldham's 2006 album The Letting Go to be his strongest work to date, an album that set itself apart from the rest of his discography with warm, sleepy arrangements and the extended presence of Dawn McCarthy's unique backing vocals. (It also contains my favorite Billy tune, "Strange Form of Life"). Lie Down in the Light captizalizes and improves upon all of these changes, and livens the mood in the process. Oldham tapped a sizeable cast of Nashville musicians for the recording of the album, and throughout are pleasing harmonized vocals, charming ragtime piano and folksy fiddle, and occasionally some real head-turning touches, like the beautiful clarinet solo in "For Every Field There's A Mole." And for Oldham's part, things just seem to be getting better. His singing is strong and clear and the songs themselves are among the best he's penned in an already prolific career. A recent profile of Oldham in The New Yorker contained a quote that claimed that he was the most likely underground musician to sneak his way into the Rock and Roll Hall of Fame, a thought that stopped my eyes on the page as I was reading. At first it seemed like flattering hyperbole, but then I started thinking: is it really so preposterous? Beware, his highly anticipated album set to come out in a few months, may very well give us a clear answer.

Track listing: 1. Easy Does It (3:54) 2. You Remind Me of Something (The Glory Goes) (3:56) 3. So Everyone (4:02) 4. For Every Field There's A Mole (3:20) 5. Keep Eye On Other's Gain (4:36) 6. You Want That Picture (3:51) 7. Missing One (2:48) 8. What's Missing Is (4:28) 9. Where is the Puzzle? (3:50) 10. Lie Down in the Light (4:09) 11. Willow Trees Bend (4:08) 12. I'll Be Glad (2:44)

Personnel: Will Oldham vocals, guitar; Shahzad Ismaily percussion, banjo, piano, electric guitar, row of wrenches, laptop organ; Emmett Kelly guitar, harmony vocals, recorder, shrooti box; Paul Oldham bass; Ashley Webber vocals; Roy Agee trombone; Tony Crow piano and organ; Glen Duncan fiddle; Pete Finney pedal steel; Ben Martin percussion; Dennis Solee clarinet; Rod Fletcher, John Ryles, Marty Slayton voices

Download the track "For Every Field There's A Mole"
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3. Nick Cave and the Bad Seeds - Dig, Lazarus, Dig!!! (Mute)

Nick Cave is another giant of the music world that I only just recently acquianted myself with. I had heard a few tracks from The Lyre of Orpheus/Abattoir Blues when it was released a few years back, but for whatever reason they didn't really stick with me, leaving me still with no clear picture of Cave's music. Honestly, I'm not sure what it was that made me decide to buy Dig, Lazarus, Dig!!!, but I did, and I was hooked. There's something so distinctive about the atmosphere Cave invokes with his music, some cryptic way that his intelligent lyrics, driving rhythms, and the swirling haze of Warren Ellis's musical contributions unite into a singular vision that makes the Bad Seeds not only immediately recognizable, but also sets them head and shoulders above the rest of the rock'n'roll world. The rockers (see: title track, "Lie Down Here," "We Call Upon the Author") rock harder than Cave has rocked in years (excepting Grinderman), and the slower, moodier tracks are as good or better than the highlights from Abattoir Blues. "Hold On To Yourself" and "Moonland" are Cave at his haunting best. Dig, combined with Cave's recent scoring efforts, are case in point that Cave, now aged 50, is just getting warmed up.

Track listing: 1. Dig, Lazarus, Dig!!! (4:12) 2. Today's Lesson (4:41) 3. Moonland (3:54) 4. Night of the Lotus Eaters (4:53) 5. Albert Goes West (3:32) 6. We Call Upon the Author (5:12) 7. Hold On To Yourself (5:51) 8. Lie Down Here (And By My Girl) (4:58) 9. Jesus of the Moon (3:22) 10. Midnight Man (5:07) 11. More News From Nowhere (7:58)

Personnel: Nick Cave vocals, organ, piano, tambourine, sleigh bells, toms, harmonica, electric guitar, vibra-slap; Martyn P. Casey bass; Thomas Wydler brushed snare, shaker, tambourine, drums, hand drums; Warren Ellis viola, loops, Fender Mandocaster, tenor guitar, maracas, 12-string lute, drum machine, flute, mandolin; Mick Harvey electric guitar, acoustic guitar, bass, organ; Jim Sclavunos drums, bongos, cowbell, cuica, congas, finger cymbals, shaker, maracas, tambourine, sleigh bells; James Johnston organ, electric guitar

Download the track "Hold On To Yourself"
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2. Bennie Maupin Quartet - Early Reflections (Cryptogrammophone)

For several decades now, Bennie Maupin has doned the hat of sideman-extraordinaire. The bass clarinetest is best known for his work with Miles Davis' early electric bands, his role in Herbie Hancock's pioneering Headhunters ensemble, and one strange, gorgeous ECM album in the early 70s entitled The Jewel in the Lotus. Since the 70s, Maupin continued on a quiet career arc, faithfully recording as a sideman and session musician but releasing no albums as a leader. In 2006, he returned with the Cryptogrammophone release Penumbra. The album was so good, people were puzzled as to why Maupin remained silent as a leader for so long. His latest, Early Reflections, is even better. Maupin seems to have been made for the bass clarinet, as he exhibits remarkable control in even the lowest registers of the instrument. His lines and runs are thoughtful and melodic, indicative of his maturity and experience as a musician. But we all know we can count on Maupin for a stellar contribution. What truly puts Early Reflections ahead of so many albums released this year is the backing band of young Polish musicians Maupin has surrounded himself with. There is an interplay and communication between the members that would be impressive with a group that had been playing together for several decades, let alone just a few years. Pianist Michal Tokaj is a name to watch: his contributions here hopefully will garner him some of the recognition he deserves. He plays with the lyricism and restraint of someone twice his age, and it is Tokaj that serves as the unifying anchor of the quartet. In all, subtle, radiant stuff. Here's to you, Bennie.

Track listing: 1. Within Reach (2:37) 2. Escondido (7:47) 3. Inside the Shadows (2:23) 4. ATMA (8:57) 5. Ours Again (3:51) 6. The Jewel in the Lotus (10:13) 7. Black Ice (3:08) 8. Tears (7:48) 9. Not Later Than Now (2:38) 10. Early Reflections (5:46) 11. Inner Sky (7:14) 12. Prophet's Motif (4:24) 13. Spirits of the Tatras (9:04)

Personnel: Bennie Maupin bass clarinet, tenor sax, soprano sax, alto flute; Michal Tokaj piano; Michal Baranski bass; Lukasz Zyta drums, percussion; Hania Chowaniec-Rybka voice

Download the track "Escondido"
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1. Nik Bärtsch's Ronin - Holon (ECM)

"Ritual groove" and "Zen funk" are two descriptors that Nik Bärtsch has used to describe his music. "Zen funk" I don't like so much, but "ritual groove" seems to do it justice. Holon is hypnotic and addictive. Though it uses jazz instrumentation, it's not really jazz, as most of the album is meticulously composed by Bärtsch and there is little room for improvisation (but he has left more than on past outings). Rhythm is the name of the game here. Bärtsch's compositions are not concerned with melody or harmony, but with intense rhythmic interaction between instruments. He builds funky, repetitive grooves by layering instruments, each subtly shifting its line as the pattern continues, often in ways that build unexpected tension. But it's when Bärtsch lets these taut grooves finally snap that things really get awesome. The rhythmic chasms the band can open at will are mindblowing, expert uses of tense-and-release dynamics that make you want to just...boogie. Naturally, all of this wouldn't be able to take off without an exceptional group of musicians. Björn Meyer absolutely sings on his 6-string bass, and Sha's bass clarinets add bulk the low-end, often weaving together with Meyer and Bärtsch to create triple-bassline tapestries. Really, it's hard to capture what Bärtsch is doing in words. I stumbled upon Holon relatively late in the year, but within two weeks I had listened to it maybe two dozen times, and I still find small touches and tiny details that amaze me. But what do I love the most about Holon? That it's one of the best examples of someone taking huge musical risks, trying something new and exciting and likely to be misunderstood, and succeeding so smashingly that the only word that comes to mind is "genius." It's taken Bärtsch several years and a handful of albums to reach this point, but now, his vision realized, it really is true genius.

Track listing: 1. Modul 42 (6:28) 2. Modul 42_27 (14:51) 3. Modul 39_8 (8:00) 4. Modul 46 (7:16) 5. Modul 45 (9:41) 6. Modul 44 (9:23)

Personnel: Nik Bärtsch piano; Sha bass clarinet, contrabass clarinet, alto sax; Björn Meyer bass; Kaspar Rast drums; Andi Pupato percussion

Download the track "Modul 46"
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Top 20 Albums of 2008: Part III

Today: Numbers 10 through 6! Let's roll!

PLEASE NOTE: All tracks are for preview purposes only! Support the artists you love by buying their work!

10. Bar Kokhba Sextet - Lucifer: Book of Angels, Vol. 10 (Tzadik)

It speaks to the power of Bar Kokhba's music that the ensemble, having released only three albums in the past 10 years, is one of the best-selling outfits that tackle John Zorn's music (such groups are usually noted for their prolificacy). The Book of Angels entry is the Bar Kokhba Sextet's first studio work since 1998, and it finds the band playing tighter than ever, whipping out wonderfully exotic takes on Zorn's Masada compositions, which are based on Jewish scales and sonorities from both Sephardic and Ashkenazi traditions. Of particular note in this session is Marc Ribot, his playing both urgent and lyrical, one of his best showings in recent memory. Though his musical palette is much wider than many other contemporary guitarists, he seems especially at home in the company of this particular group. While I still prefer the immediacy and spontaneity of the 50th Birthday Celebration live recordings, Lucifer is a pleasing addition to the Bar Kokhba canon and is certainly in the running as one of the best releases in the Book of Angels series, as well.

Track listing: 1. Sother (5:59) 2. Dalquiel (6:08) 3. Zazel (3:23) 4. Gediel (6:13) 5. Rahal (3:50) 6. Zechriel (7:55) 7. Azbugah (3:02) 8. Mehalalel (9:54) 9. Quelamia (4:59) 10. Abdiel (3:25)

Personnel: Cyro Baptista percussion; Joey Baron drums; Greg Cohen bass; Mark Feldman violin; Erik Friedlander cello; Marc Ribot guitar

Download the track "Sother"
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9. Earth - The Bees Made Honey in the Lion's Skull (Southern)

Earth are in an interesting position in the metal world, having essentially invented drone metal in the early 90s, only to disappear and let their followers (most notably sunnO))) ) attract attention and garner accolades for its unique sound. Earth didn't stay hidden though, and when they returned after nearly a decade-long hiatus, their sound had changed quite drastically. The music was still slow in tempo and drawn out over long swaths of time, but it was spare and even more economical, not nearly as heavy, at times lacking distortion at all, and it had a hint of country twang that made it sound like a glacial Morricone soundtrack. In the three years since their reappearance, Earth has worked diligently toward fully fleshing out this new approach, and The Bees Made Honey in the Lion's Skull represents the apex of that vision. To put it succinctly, the album is just beautiful. The sound is still deep, full in the bass register, but it's not abrasive or percussive like metal, instead delivered as a rich, healthy vibration that's more relaxing than anything else. Every element is carefully considered and nothing is used to excess; each guitar chord or splash of Hammond is delivered in a deliberate, measured way that works towards building a lush, dense atmosphere, but without becoming overbearing or murky. Carlson has indicated Terry Riley is one of his inspirations, and I think Mr. Riley would approve.

Track listing: 1. Omens and Portents I: The Driver (9:08) 2. Rise to Glory (5:47) 3. Miami Morning Coming Down II (Shine) (8:01) 4. Engine of Ruin (6:28) 5. Omens and Portents II: Carrion Crow (8:04) 6. Hung From the Moon (7:44) 7. The Bees Made Honey in the Lion's Skull (8:15)

Personnel: Dylan Carlson electric guitar; Adrienne Davies drums, percussion; Steve Moore grand piano, Hammond organ, Wurlitzer piano; Don McGreevy bass guitar, double-bass; Bill Frisell electric guitar (1, 4, 5)

Download the track "Omens and Portents I: The Driver"
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8. Bobo Stenson Trio - Cantando (ECM)

Bobo Stenson is one of the most revered modern jazz pianists, having recorded as a sideman and a leader for over 30 years. Cantando served as my first introduction to Stenson, and I've been ravenously seeking out his back catalog in the few months since. Honestly, if I had found Cantando a little sooner in the year, it very well may have placed higher on this list. It's an album so bursting with ideas, so expertly executed, so illustrative of the magic that can happen when musicians are keyed in to one another, that gaining a full appreciation of its entirety seems a herculean task. Stenson and bassist Anders Jormin have played together for most of their respective careers, and share a musical symbiotic relationship: each anticipates and complements the other in a manner that suggests they share a single mind. Since long-time trio drummer Jon Christensen passed away a few years ago, his seat has been filled by Paul Motian and now the young Jon Faelt, who is absolutely breathtaking. He subscribes to a Motian-style drumming philosophy, serving not so much to keep time, but by subtly accenting the lead players (Jormin's role is hardly that of a mere rhythmic anchor). Faelt's contribution is by far the best example of this style drumming I've encountered, and I think I even prefer Faelt's drumming to Motian's. The Stenson/Jormin organism, when taken with Faelt's new energy, results in a tremendous collection of tracks that embody the best elements of free music and creative interpretation of standards and source music.

Track listing: 1. Olivia (6:39) 2. Song of Ruth (6:42) 3. Wooden Church (7:01) 4. M (8:00) 5. Chiquilin de Bachin (8:04) 6. Pages (13:40) 7. Don's Corapiece (5:09) 8. A Fixed Goal (4:13) 9. Love I've Found You (3:13) 10. Liebesode (8:36) 11. Song of Ruth, var. (6:48)

Personnel: Bobo Stenson piano; Anders Jormin double-bass; Jon Faelt drums

Download the track "Wooden Church"
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7. Bohren & der Club of Gore - Dolores (Ipecac)

Bohren & der Club of Gore is a band comprised of a bunch of metal heads. The thing is, almost 20 years ago, they decided they didn't want to play metal. What they've steadily developed in the years since is an arresting, doom-metal-slow style of jazz that pushes the boundaries of both tempo and minimalism. Bohren's frugal use of notes places great emphasis on every musical decision, and the economy of their sound combined with the timbre of their instruments of choice makes for a haunting, beautiful listen. While some of Bohren's past albums deliberately strove to create a creepy ambiance, it seems with Dolores the band is no longer concerned with being scary, merely with making the best possible music they can in the style they have pioneered. There are still a few chilling cuts, though, largely thanks to the ominous samples utilized in some of their Mellotron lines. Also of note is the shorter song lengths this time around, which suprisingly doesn't detract from the slow, steady crescendo building they've employed in the past.

Track listing: 1. Staub (7:51) 2. Karin (3:38) 3. Schwarze Biene (Black Maja) (8:12) 4. Unkerich (5:31) 5. Still Am Sresen (3:59) 6. Welk (6:19) 7. Von Schanälbeln (3:57) 8. Urgelblut (6:13) 9. Faul (5:56) 10. Welten (6:54)

Personnel: Thorsten Benning drums, percussion; Christoph Clöser Fender Rhodes, vibraphone, saxophone; Morten Gass 8-string bass, Fender Rhodes; Robin Rodenberg contrabass, fretless bass

Download the track "Staub"
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6. Charles Lloyd Quartet - Rabo de Nube (ECM)

Charles Lloyd is another jazz legend that I first caught wind of this year, with Rabo de Nube being released in conjunction with his 70th birthday. A live set, the album showcases Lloyd's new backing band of fiery young musicians. It quickly becomes clear that their youthful exuberance is required to keep pace with Lloyd, who plays with a vigor and passion that matches that of his classic 60s output. Drummer Eric Harland is particularly notable on this session, as well as Jason Moran, who has attracted quite a lot of critical attention as a leader of his own band in the past several years. For the most part his piano-playing is in lock-step with Lloyd's vision, though there are portions of a few of his solos that are occasionally aural stumbles, as though the wild drive of the music simply broke free from Moran's control. It's not enough to detract from the overall brilliance of the set, though, and Moran's got big shoes to fill in any case: Lloyd's consistently surrounded himself with high caliber piantists. His groups have included the likes of Keith Jarrett, Bobo Stenson, Geri Allen, and Brad Mehldau. Lloyd has been a consistently powerful voice in the jazz world for over 40 years now. Charles, we hear you loud and clear.

Track listing: 1. Prometheus (14:42) 2. Migration of Spirit (10:14) 3. Booker's Garden (14:32) 4. Ramanujan (11:38) 5. La Colline de Monk (4:01) 6. Sweet Georgia Bright (12:16) 7. Rabo de Nube (7:36)

Personnel: Charles Lloyd tenor saxophone, alto flute, tarogato; Jason Moran piano; Reuben Rogers double-bass; Eric Harland drums

Download the track "Prometheus"
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Top 20 Albums of 2008: Part II

Let's continue the count down, shall we? Here's the next five entries in my "Top 20 Albums of 2008 list:"

PLEASE NOTE: All tracks are for preview purposes only. Support the artists you love by buying their work!

15. Bill Dixon with Exploding Star Orchestra - Bill Dixon with Exploding Star Orchestra (Thrill Jockey)

Bill Dixon is an enigmatic figure in the history of free jazz. He's generally allotted the status of "legend," but for someone who lent such a helping hand to the development of avant-garde jazz, there's a considerable lack of recordings documenting his contributions, especially compared to his contemporaries. This recording, however, isn't one that slips past unnoticed. Dixon, now 82, joined up with the relatively young Exploding Star Orchestra collective for a lengthy showcase that exhibits two of Dixon's compositions (the "Entrances" tracks) and an extended performance dedicated to Dixon himself that was written by band leader Rob Mazurek. The music contained within is consistently exciting and inventive, one of the best examples of large-scale structured improv I've ever encountered. The band does it all: orchestrated themes, mindless free jazz freak-outs, shifting textural explorations, crescendi, decrescendi, shouts and whispers. And heading it all is Dixon, who squeezes all manner of belches and squeals out of his trumpet, even occasionally using electronic effects to alter his tone. In all it's an impressive showing, not only for the aging Dixon, but for the entire ensemble. It's to their credit that such a large group never dissolves into the muddied mess that mars many big band free jazz endeavors. The only misstep is the strange Hawkwind-esque spoken word bit at the beginning of "Constellations for Innerlight Projections," but given the strength of the music surrounding it, it's a minor and totally forgivable gaffe.

Track listing: 1. Entrances/One (18:10) 2. Constellations for Innerlight Projections (for Bill Dixon) (24:13) 3. Entrances/Two (18:11)

Personnel: Bill Dixon trumpet, composer; Rob Mazurek cornet, composer; Nicole Mitchell flute; Matt Bauder bass clarinet, tenor sax; Jeb Bishop trombone; Josh Berman cornet; Jeff Parker guitar; Jim Baker piano; Jason Adesewicz vibraphone, tubular bells; Matthew Lux bass guitar; Jason Ajemian double-bass; Mike Reed drums, timpani; John Herndon drums; Damon Locks voice (2)

Download the track "Entrances/One"
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14. Brightblack Morning Light - Motion to Rejoin (Matador)

Reverb is a wonderful thing. (Well, most of the time. Don't ask me my opinion on Grouper). What makes reverb even better? When you slather it all over slow, groovy Fender Rhodes lines. And then bolster those lines with bottomless bass, chiming percussion, soulful harmonies and chill lyrics. Brightblack Morning Light specialize in all of this. They don't mind stretching out, and they'll ride a groove until it unravels, then find a new groove to jam on. Motion to Rejoin sounds almost exactly like the band's 2006 self-titled debut, but as far as I see it, they didn't really do much wrong the first time around. While the genre term "stoner rock" is generally associated with riff-heavy hard rock, it probably is better suited to Brightblack's sound. It's got groove, it's got soul, and it's got all the time in the world to let everyone know. Yeeeeeah, man.

Track listing: 1. Introduction (00:43) 2. Hologram Buffalo (5:18) 3. Gathered Years (8:01) 4. Oppressions Each (3:27) 4. Another Reclaimation (7:06) 5. A Rainbow Aims (9:46) 6. Summer Hoof (5:28) 7. Past A Weatherbeaten Fencepost (6:49) 8. When Beads Spell Power Leaf (2:44)

Personnel: Naybob Shineywater vocals, electric guitar, Clavinet, vibraphone; Rachael Hughes vocals, piano, Fender Rhodes, vibraphone; Matthew Davis clarinet, saxophone, trombone; Meara O'Reilly, Ann McCrary, Regina McCrary vocals; Windy Dankoff flute, bass flute; Matt Henry Cunitz celesta, pump organ, Mellotron; Jessica Ruffins bass guitar; Otto Hauser drums, percussion
Download the track "Gathered Years"
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13. Bonnie 'Prince' Billy - Is It the Sea? (Domino)

I didn't fall in love with Will Oldham's music the first time I heard it, but over the years he's slowly taken a place as one of my favorite musicians. He's a tremendous songwriter whose songs always seem to take off despite Oldham's vocal limitations, and their simple musical structures allow Oldham to reinvent them frequently and successfully in live settings. Is It the Sea? is a wonderful collection of Oldham's work, with Bonnie 'Prince' Billy captured at a live performance backed by the Irish folk band Harem Scarem and omnipresent out-drummer Alex Neilson. The arrangements transform Oldham's tunes into dreamy, droney Irish folk dirges, with warm violins, female vocal harmonies, and delicate acoustic guitars. The instrumentation does wonders for some Oldham classics, shining new light on tracks like "Cursed Sleep" and "My Home is the Sea." The group also doesn't pass up the opportunity to tackle some traditional Irish folk tunes, and the reading of "Molly Bawn" may very well be the highlight of the album.

Track listing: 1. Minor Place (4:41) 2. Love Comes to Me (4:19) 3. Bed is for Sleeping (3:52) 4. Arise Therefore (3:25) 5. Wolf Among Wolves (4:45) 6. Ain't You Wealthy? Ain't You Wise? (4:47) 7. Cursed Sleep (7:52) 8. Molly Bawn (7:33) 9. Birch Ballad (4:46) 10. New Partner (4:39) 11. Is It the Sea? (6:31) 12. My Home is the Sea (7:32) 13. Master and Everyone (3:31)

Personnel: Will Oldham vocals, guitar; Inge Thompson piano accordion; Sarah McFadyen fiddle; Nuala Kennedy flute, woodwinds; Eilidh Shaw fiddle, vocals; Ross Martin guitar; Alex Neilson drums, percussion

Download the track "Cursed Sleep"
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12. Ocean - Pantheon of the Lesser (Important)

When I first heard Ocean's Here Where Nothing Grows at my university's radio station in 2005, I was blown away. It seemed that the band had tapped in to the very essence of the genre of doom metal, and in stripping it back to its barest essentials had managed to rejuvenate the staling genre and make a name for themselves in the process. The fact that amazed and excited me the most, however, was the fact that Ocean was from my home state of Maine. Nothing much ever originates in Maine, and it's the last place one would expect to find one of the most crushing, uncompromising, molasses-slow doom metal band the heavy music world ever know. Three long years later, the band finally delivered their sophomore effort, and while not quite as good as Here Where Nothing Grows, Pantheon of the Lesser is a tremendous statement from the purveyors of all things doom. There's something mesmerizing about the band's sound, and despite largely leaving my heavy metal years behind, Ocean is a group I'll always be willing to give the time of day. \m/

Track listing: 1. The Beacon (35:50) 2. Of the Lesser (23:04)

Personnel: Candy vocals, guitar; John Lennon guitar; Reuben J Little bass; Eric Brackett drums; Yosh vocals (2)

Download the track "Of the Lesser"
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11. Howlin Rain - Magnificent Fiend (American)

I first gained an appreciation for Ethan Miller with Comets on Fire's 2006 album Avatar. Its tremendous swirling windstorm of psychedelic rock caught hold of me on the very first listen, leaving me exhilarated and breathless. As much as I love Comets on Fire, when I found out Miller was also channeling his energy into a project that wasn't intent on leaving the amps turned up into the red, I was intrigued. Howlin Rain became the bluesier, more progressive outlet for Miller's endless psychedelic obsession. The first Howlin Rain album was a little messy and still had loud Comets-style guitar, but with Magnificent Fiend, Miller and Co. seem to have ironed out most of the bumps. The increased presense of Hammond organ and Wurlitzer piano lends a heady, retro vibe to the proceedings, and Miller's scratchy vocals are brought closer to the surface, finally freed from the bath of reverb they're usually subjected to. In all, it's a fitting tribute to the fringe rock sound of the 70s, and given that Howlin Rain was picked up by bigtime label American Recordings, it seems it's a sound the people want to hear.

Track listing: 1. Requiem (00:55) 2. Dancers at the End of Time (5:56) 3. Calling Lightning, Pt. 2 (5:11) 4. Lord Have Mercy (6:36) 5. Nomads (5:06) 6. El Rey (7:09) 7. Goodbye Ruby (7:52) 8. Riverboat (6:04)

Personnel: Ethan Miller vocals, lead guitar; Ian Gradek bass; Mike Jackson rhythm guitar; Joel Robinow keyboards, horns, vocals; Garett Goddard drums

Download the track "El Rey"
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Up next: Part III

Top 20 Albums of 2008: Part I

Somewhere along the line I picked up a bug that seems to infect many people that both listen to a lot of music and spend a decent amount of time online. The affliction: compiling end of the year lists. Some would argue that it isn't the most constructive activity, but at it's best, sharing end of the year lists is a way to find kindred musical spirits, possibly discover some great music that you missed during the year, and is a great excuse for a blog entry! There is one disappointing tendency that seems to be an issue year after year, though. Towards the end of the year, when folks are starting to think about the albums that they enjoyed the most, panic sets in. One becomes intensely aware of all of the albums that they didn't hear from the year in question, and many people frantically rush to listen to as many new albums as they can before the year is through, convinced that they'll encounter many worthwhile additions to their list. I'll admit to being guilty of this the first few years I made lists. I'd like to think I'm better about it now. But I digress. Of the roughly 120 albums I heard that were released in 2008, here are my Top 20 Albums. Today we'll check out the first five.

PLEASE NOTE: All tracks are for preview purposes only. Support the artists you love by buying their work!

20. Guapo - Elixirs (Neurot)

This was the final (and best) installment of a triad that is rounded out by 2004's Five Suns and 2005's Black Oni. The music contained within is a consistently eerie, highly orchestrated avant-prog that really does lay claim to its own unique slice of the musical spectrum. The band makes use of a dizzying array of instrumentation (including Fender Rhodes, harmonium, modular synths, autoharps, etc), and many of the lengthy tracks are arranged in suites that share loose thematic elements. The intricate arrangements are impressive given the band consists of only two members: main-man Daniel O'Sullivan (who plays just about everything) and drummer David J. Smith. Notable guest musicians include folk-looper-extraordinaire Alexander Tucker and the ever chilling Jarboe. At times the album sounds like it could have been the soundtrack to an especially creepy Tim Burton movie, although not as lame as that scenario implies (if that makes sense!). My only complaint is the inclusion of two substantial tracks that were previously released as the Twisted Stems EP in 2006.

Track listing: 1. Jeweled Turtle (13:09) 2. Arthur, Elsie And Frances (10:53) 3. Twisted Stems: The Heliotrope (7:32) 4. Twisted Stems: The Selenotrope (7:45) 5. The Planks (3:11) 6. King Lindorm (15:40)

Personnel: Daniel O'Sullivan Fender Rhodes, piano, bass, guitars, harmonium, modular synthesisers, autoharp, voice, electronics; David J. Smith drumkit, percussion; Sarah Hubrich violin, viola (1); Alexander Tucker voice (3); Jarboe voice (4)

Download the track "Jeweled Turtle"
Website

19. William Parker - Double Sunrise Over Neptune (AUM Fidelity)

William Parker is one of the busiest and most respectable bassists in the global free jazz scene. While his dizzying discography contains dates that haven't always appealed to me, Parker's specific contribution to whatever I've heard him on has always been impressive. However, on his best offering this year, he doesn't play bass at all. Instead he serves as composer and conductor (and occasionally contributes on double reeds and a Malian instrument called a Doson'ngoni). Utilizing a large ensemble populated with all sort of reeds, horns, and strings, the music captured on Double Sunrise Over Neptune is the tastiest of ethnic grooves, immense, rhythm heavy psychedelic jazz that churns the musics of several cultures into an intoxicating stew. Though initially jarring, the wordless vocals of Sangeeta Bandyopadhyay are a strong contribution, weaving throughout the dense music in a heady, ethereal way. At one point, I encountered an enthusiastic review of the album that claimed "This is what Charles Mingus would sound like if he were still making music!" Those are big shoes to fill, but at the going rate, Parker might very well prove to be a worthy heir.

Track listing: 1. Morning Mantra (15:08) 2. Lights of Lake George (27:18) 3. O'Neal's Bridge (00:37) 4. Neptune's Mirror (22:39)

Personnel: Lewis Barnes trumpet; Rob Brown alto sax; Bill Cole double reeds; Sabir Mateen tenor sax, clarinet; Dave Sewelson baritone sax; Jason Kao Hwang violin; Mazz Swift violin; Jessica Pavone viola; Shiau-Shu Yu cello; Joe Morris guitar, banjo; Brahim Frigbane oud; Sangeeta Bandyopadhyay voice; Shayna Dulberger bass; Gerald Cleaver drums; Hamid Drake drums; William Parker double reeds, doson'ngoni, conductor

Download the track "Morning Mantra"
Website

18. Dead Meadow - Old Growth (Matador)

I've had a special place in my heart for Dead Meadow ever since I saw them twice in one weekend, having been completely blown away at both shows (I still maintain they're one of the best live rock acts currently in operation). 2005's Feathers was the high watermark for the band, and I was a little disappointed upon first listening that Old Growth failed to reach those same heights. I took a break from the album, and after returning to it a few months later, found it to be enjoyable and a worthy entry in their discography. It's an album by a band that's comfortable with their sound, and while it doesn't stretch itself artistically, it is a collection of pretty good, recognizeably-Dead Meadow songs. Largely gone are the pedal-effects excesses of Feathers, replaced by laid-back, mellow grooves akin to some of the stuff from Shivering King and Others. Jason Simon is singing better than ever, his trademark nasally croon riding higher in the mix, no longer buried in a mess of hazy reverb. Still, the collection feels a little long at times, and probably could have had a few of the weaker tracks pared off without having sacrificed too much.

Track listing: 1. Ain't Got Nothing to Go Wrong (6:57) 2. Between Me and the Ground (3:16) 3. What Needs Must Be (4:18) 4. Down Here (2:41) 5. 'Til Kingdom Come (4:05) 6. I'm Gone (4:15) 7. Seven Seers (4:19) 8. The Great Deceiver (3:06) 9. The Queen of All Returns (5:32) 10. Keep On Walking (2:50) 11. Hard People/Hard Times (4:34) 12. Either Way (4:49)

Personnel: Jason Simon guitar, vocals; Steve Kille bass, sitar; Stephen McCarty drums

Download the track "Ain't Got Nothing to Go Wrong"
Website

17. Dans les Arbres - Dans les Arbres (ECM)

This subtle album caught me by surprise, and is one that demands close listening. It uses many of the tenets of electronic ambient music as its modus operandi, but the effects are achieved using all acoustic instrumentation, including clarinet, harmonica, acoustic guitar, banjo, piano, and various percussive instruments. There's an interesting internal logic to the album, and though the precise, repetitive nature of the tracks would suggest they were composed beforehand, they become all the more intriguing when one learns that they are all free improvisations. The emphasis here is clearly on a hypnotic exploration of texture, and careful listening uncovers some interesting tonal activity and rhythmic exchanges between the instruments. I've listened to Dans les Arbres several times, but feel as though I still don't have a full appreciation (or comprehension) of its depth. Great for headphones and introspection.

Track listing: 1. La Somnolence (4:55) 2. L'Indifference (8:28) 3. Le Flegme (6:17) 4. L'Engourdissement (5:27) 5. Le Detachement (6:15) 6. La Froideur (8:15) 7. L'Assoupissement (4:28) 8. La Retuenue (5:21)

Personnel: Xavier Charles clarinet, harmonica; Ivar Grydeland acoustic guitar, banjo, scruti box; Christian Wallumrød piano; Ingar Zach percussion, bass drum

Download the track "La Retuenue"
Website

16. Mogwai -The Hawk is Howling (Matador)

Ever since Mr. Beast came out in 2006, people have been bitching about Mogwai. It seems a lot of fans saw Mr. Beast as the fall of the once mighty kings of post-rock (don't ask me why; maybe because the songs were shorter?), and have been less forgiving with the band's output since that point. So, as to be expected, some people really loved The Hawk is Howling, and others found it to be the latest reason to dismiss the band. Excepting the wretched "The Sun Smells Too Loud," I am among those who find The Hawk is Howling to be a worthy addition to Mogwai's legacy. No, it's no Come On Die Young. Yes, it has all the quiet intimate moments and loud crescendos and oblique guitar one expects from a "post-rock" release. But there's something important I think a lot of people are forgetting. While all of those things may seem a bit trite and overdone nowadays, Mogwai was one of the first bands to implement such techniques. And they still do them well. You can't hate one of the founders of post-rock for sounding like post-rock. People seem to expect some glorious transformation of Mogwai, as though it is their duty to usher in a new era of rock music now that the one they originally helped along has become deluged with clones. I say enjoy them for what they are. They may not be reinventing themselves, but they are continuing to remind us of why we so loved them in the first place.

Track listing: 1. I'm Jim Morrison, I'm Dead (6:45) 2. Batcat (5:25) 3. Danphe and the Brain (5:18) 4. Local Authority (4:15) 5. The Sun Smells Too Loud (6:58) 6. Kings Meadow (4:42) 7. I Love You, I'm Going to Blow Up Your School (7:33) 8. Scotland's Shame (8:00) 9. Thank You Space Expert (7:53) 10. The Precipice (6:42)

Personnel: Dominic Aitchison bass; Stuart Braithwaite guitar; Martin Bulloch drums; Barry Burns guitar, keyboards; John Cummings guitar

Download the track "I'm Jim Morrison, I'm Dead"
Website

Stay tuned for Part II!

Two Thousand and Eight

Huh. A new year. This morning was the first time I had to write the date, and of course I wrote "08." It must be that part of all of us that is resistant to change. We'd like to believe there's something exciting about a new year and what it might hold, but a huge piece of us isn't really ready to leave the year we've just lived in so thoroughly. Such a small fraction of our life, yet such a long period of time. Damn. A year. You know, this means I'm only getting older. The more years you stack upon one another, the more wobbly the tower gets. I'm still pretty close to the bottom, but now I seem to be much more acutely aware of the top.

In 2008 I sat through an entire legislative session, got a new car, ended a lengthy relationship, got a little better at bass, rekindled an important old friendship, realized how crappy being single can be, got a dental implant, realized how nice being single can be, had the most carefree summer since my youth, became proficient at removing teeth from dead deer, gained a tiny bit more responsibility in my job, served on three jury panels and lost just over 30 pounds.

To celebrate the year that has passed, check out this great series of 2008 photographs from Boston.com (from which the heading image of this post was taken).

2008 in Pictures, Part I
2008 in Pictures, Part II
2008 in Pictures, Part III


Picture credits:
1. Photo by REUTERS/David Gray, taken from Boston.com
2. Photo by Carlos Gutierrez, taken from Boston.com

The Representative from Corwood

Jandek. It's a name I've heard many times throughout my dalliances with music. The story of Jandek, while interesting, is not one I'm going to detail here. The wikipedia entry seems fairly thorough, and is worth reading, because his tale is quite unusual, nearly surreal at points, and is one that can be appreciated without ever having heard Jandek's music. In fact, for reasons I might be able to articulate here, the story very well might be a better one if you never do seek out an example of his music, instead just imagining it from the descriptions that are given.

Having heard the name Jandek tossed about in music discussions, equally subjected to great praise and great disdain, I finally decided to do a little research. I read up on the man, particularly the details of the handful of live performances he had given in the past several years. I was struck to find that there were many musicians I was familiar with, even greatly impressed with, that were combining in interesting combinations to form Jandek's backing bands whenever he made a live appearance. These groups included names such as Richard Youngs, Alex Neilson, Chris Corsano (of Six Organs of Admittance, Bonnie 'Prince' Billy, among many others), Loren Mazzacane Connors, Heather Leigh Murray (of Charalambides), Matt Heyner (of No-Neck Blues Band), Liz Harris (Grouper), Alan Licht, and John McIntyre (of Tortoise). For those unfamiliar, most of the musicians are heavily involved in improvised music scenes, be it drone, free jazz, or various forms of improvised blues and folk.

Upon seeing such lineups, I decided: maybe it's time I listened to some Jandek. Knowing his discography to be difficult, I assumed that the best place to jump in would be recordings that had musicians I was familiar with, because to some extent I could expect a certain caliber of support from their like.

I'm not sure how I feel. And that's probably just what Jandek wants. It really could go either way: he could be an extremely competent musician looking to stretch the definition of the art that most are comfortable with, or he could be a fraud, a genius hack that has perpetuated one of the longest practical jokes in history. Towards the middle of the live album Glasgow Sunday, there are a few tracks that sound nearly identical, mid-paced angular atonal blues with half-spoken lyrics and no repeating forms, yet after each, there is uproarious applause and fanfare from the audience. A few people enthusiastically whoop and shout, clearly enthralled by what they just heard.

Honestly, I had a hard time taking it all seriously at that point. I had to listen to something else. Looming in my mind was this image of the ever-serious Jandek, quietly chuckling in his head as people cheered, utterly fooled by his joke. Jandek, the great ascetic, with the longest Poker Face in Texas. For a brief second, I even saw the other band members, musicians I respect, caught up in the legend, believing earnestly that they are part of some great moment in the history of experimental music, ignorant to Jandek's silent exploitation. It kind of hurt. Maybe I'm over-thinking the whole Jandek thing, and maybe those musicians really are a part of something unique and seminal. The hard part is, it is impossible to tell.

And by the very nature of the Jandek mythos, it is doubtful anyone will ever know for sure just what the representative from Corwood meant for his legacy to mean.

The Hub

Yesterday Freddie Hubbard died. Already today, both in writing and in conversation, I've tried to articulate just what it was that made Freddie so incredible, and the task has proved to be difficult. Certainly much of it has to do with the way language always seems to fail in accurately describing music (something I experienced firsthand as an excited, and then a disillusioned music reviewer), but some of it also involves the way language has been bastardized in modern times. It's an issue that I briefly touched upon in my ramblings after David Foster Wallace's death. He himself struggled with it for his entire writing career.

The problem is in invoking words which, by their standard definition, capture just what you'd like to describe, but by their standard application are relatively hollow and trite. Words like "inspire," or the aforesaid "incredible." If I say, "Freddie Hubbard was truly inspiring to me," there is no way to effectively communicate that what I intend is for the reader (or listener) to completely set aside everything about how the word "inspire" has been constructed for them throughout their lifetime of hearing it in less-than-sincere or not-entirely-appropriate contexts, to go back to the truest, most pure definition of the word, outside of history and all of its forces, and to then parse and consider my statement and its implications when "inspire" is understood to evoke the powerful and complex emotions it was originally intended to convey. Aside from such lengthy sentences, there is no way to guide how someone will handle my use of "inspire." And while some people may need no explanation, or may not even be cognizant of the issue at hand, the fact that I myself am aware of the potential cheapening of my words is enough to stop me in my tracks. And so I'm stuck.

It's frustrating. A loop, where language isn't enough to describe how language isn't enough. Ad infinitum ad absurdum. Today, I feel like maybe the only way to accurately capture what Freddie Hubbard means to me is in song. But what music could I ever devise that would set the right tone? Freddie was the man, man, and I'm whining about semantics. All I want is to aptly illustrate just how much of the man he was. And I want people to know I mean it.

Tonight I'm going to blast Ascension. It is the only tribute I deem fitting. To those spiritually inclined, the album has an apt title, but more importantly, it is the spirit of Freddie. One of the many, many instances of his spirit left for us to absorb, and one of the freest and most dangerous at that. He exists within the heart of its unbridled outpouring of life, and when we speak of the soul of Freddie Hubbard, it, glorious music, is the only soul there is to speak of.

Rest in peace, Freddie.