25. The Arcs – Yours, Dreamily,
The Arcs – Put A Flower In Your Pocket
I pretty much told myself I shouldn’t like The Arcs debut just because it was a Dan Auerbach project. Yes, I’ve been a huge fan of The Black Keys and most other collaborations and productions by Auerbach, but I would listen to this critically. I agreed with myself and still really dug the songwriting and vibe on this hazy Rhythm & Blues release. He has touched on Soul music before, but never gone this far. The details though lie in the dynamic gospel-inspired sound orchestrated by the entire band. They are going for certain character and they nail the mood – picture a foggy urban alley with street musicians – although with more over the top production. “Outta My Mind” may sound like a warped version from the previously mentioned band, but the menacing groove and psychedelic effects of “Put a Flower in Your Pocket” are far out. Even more so is the mind trip “Everything You Do (You Do For You)” with unidentified dissonance buried within. “The Arc” boogies along a pounding beat and engaging guitar leads with copious phasing. Maybe one of the most impressive representatives of the 1960’s Southern Soul sound is “Velvet Ditch”, but there are some inventive sounds here too. All together, it feels a bit like they are trying too hard at times to create an atmosphere instead of letting the aura naturally develop and lead the way, but most of the songs are strong and the buzzing production has incredible value.
24. Royal Headache – High
Royal Headache – Need You
I know nothing of the punk scene in Sydney, Australia but this band would rule anywhere. Blistering garage punk is rarely this satisfyingly melodic. “My Own Fantasy” could seem derivative of any number of early punk bands, but vocalist Shogun has a particular phrasing to his wail that seems fresh. “Need You” erupts at a frenetic pace before title track “High” rides waves of distortion into rollicking new wave territory. The pace only eases off on the radiant “Wouldn’t You Know”, with alluring keys and vocals. Instances of both catchy sing-alongs – “Love Her If I Tried” – and brash ferocity a la The Stooges – the bass-driven “Garbage” – give this listen dimension. If you are looking for rock in this vein, this is no doubt the best of the year.
23. Marrow – The Gold Standard
Marrow – The Gold Standard
Every once in awhile, I hear something brand new that grips me immediately and flashes creativity and bright potential. Recently, it was the debut album of Chicago’s own Marrow. This young band has all the qualities that move me – various influences, song-craft, twisted structures, and the desire to jam somewhat. They easily bring to mind another local favorite, and indeed it appears they’ve had some hangout time with Wilco’s Jeff Tweedy. Lead off track “She Chose You” features lead vocals from guitarist Liam Kazar. It is straight-forward rock, save the tasteful warped back-up vocal from keyboardist Macie Stewart. She then takes lead on the delightfully freakish “Darling Divine” and furious rocker “Paulson”. This use of duo-vocalists is deployed to great effect. Title track “The Gold Standard” is a slow-building and ultimately raucous jam, but compact in comparison to the wide-open “Ocean of Glory”, featuring an impressive segue into a churning electronic outro. Jangly indie-pop returns later in “Corsicana”. There is something powerful just barely contained in these harmonious tunes with shifting time signatures and exploding crescendos. A deluge of sonic complexity brings excitement for future work.
22. Built To Spill – Untethered Moon
Built To Spill – Living Zoo
In the beginning, “indie” rock was guitar riff heavy. Swirling sounds and delay effects were generated from guitar pedals. Song structures were fractured but full of melody. Sometimes the indie band was even really on a huge label. Still on contract with Warner Bros, Built To Spill is back after a long hiatus. Doug Martsch sings “Rock N’ Roll will be here forever” in the soaring, nostalgic “All Our Songs”. “Living Zoo” is a sublime representation of the muscular and angular sides of their music. It builds from some cutting guitar riffs into a furious pace before breaking into wonderful harmonics. Lovely, jangly pop is featured on “Never Be The Same” and “C.R.E.B.” – about a DNA protein responsible for long-term memory. Album closer “When I’m Blind” is another classic side of this band with awesome extended guitar, bass, and drum jamming – of course of the noisy variety. It kills. I remember sifting through the new release bins at my independent record store in college and finding this band. A store recommendation for those into the northwest “grunge” sound but also the art rock of 80′s New York City. That still describes them pretty well, as they don’t reinvent themselves here, but Martsch’s warbling vocals, imaginative lyrics, and mastery of intertwined guitar hooks still sounds like impassioned Rock and Roll to me.
21. JD McPherson – Let The Good Times Roll
JD McPherson – Bossy
The awakening of vintage 50’s Rock and Roll has been observed in some outstanding new artists over the past few years. “Let The Good Times Roll”, name of the album and first track, is a wild ride in that form. “Bossy” has an impressive guitar attack that duels with the hand-clapping stomp forcing it along. My first listen barely caught all the shining details buried in the mix, but soon after felt stunning – along with the sheer awesomeness of McPherson’s brilliant bellow. It’s highlighted in the classically-gorgeous crooners “Bridgebuilder” and “Precious”. Some heavy rockabilly with reverb-soaked guitar is dialed up on “It Shook Me Up” and “Head Over Heels”. McPherson applies the perfect amount of grit both musically and vocally to every track of pop wonder – evident on the second half of “You Must Have Met Little Caroline?”. It is this ability to dig out sonic trenches in the gently rolling hills of time that make this album such an imposing experience. And it’s guaranteed to move your feet.