Devendra Banhart: Smokey Rolls Down Thunder Canyon

Devendra Banhart: Smokey Rolls Down Thunder Canyon
XL: 9/25/2007

Smokey Rolls Down Thunder Canyon continues Devendra Banhart's steady march away from the eccentric lo-fi acoustic guitar recordings of his early career, but he is by no means settling down into a comfortable rock aesthetic. Though there is a greater emphasis on a wide variety of instruments and complex arrangements, Banhart's greatest strength is still his gift for writing endearingly weird pop songs.

The album really begins to build momentum about halfway through, with the doo-wop Jewish romance, "Shebop Shalom". "The Other Woman" and "Freely", the album's most beautiful track, demonstrate Banhart's ability to easily shift point-of-view or even gender in his song-writing. "Saved" is one among many experimentations with a wide range of genres, including gospel blues and reggae. Smokey might be initially off-putting to longtime fans who loved Oh Me Oh My... and Rejoicing in the Hands, but repeated listens show that it might be his best album yet.

Calvin Harris: I Created Disco

Calvin Harris: I Created Disco
Almost Gold: 9/4/2007

Sometimes I like to say things that are so absurd that a rational person would not ordinarily believe them. But people will believe anything, or at least think that you believe it, if you say it with an appropriately earnest tone and expression. I sometimes get myself into trouble that way. I once told a coworker that I used to make money swallowing condoms full of cocaine and smuggling them into the U.S. That wasn't true, of course, and I thought the notion so absurd that she had to know I was joking. She didn't.

I think that Calvin Harris must have a similar sense of humor. He asserts the claim contained in the title of his debut so earnestly that some have thought he actually believed it. I think that's he's actually quite humble and his affectation of arrogance throughout the album is a joke so absurd that he couldn't imagine anyone taking it seriously. In fact, one can tell that he is quite well versed in and reverent of the work of those who came before him. One glance at his MySpace profile places I Created Disco squarely in the context of a tribute of sorts to his idols: Bowie, Funkadelic, Daft Punk, just to name a few. I think a good artist always plagiarizes a vast range of sources, and Harris certainly fits this description. This ecclectic sensibility and its creator's humor make I Created Disco one of the best electronic albums this year.

CocoRosie: The Adventures of Ghosthorse and Stillborn

CocoRosie: The Adventures of Ghosthorse and Stillborn
Touch & Go: 4/9/2007

The critical controversy surrounding CocoRosie exposes hypocrisy exhibited by many critics. They crave originality but frequently dismiss truly visionary artists for being too weird. CocoRosie have gotten some love in the press, but they still have their share of haters. In a few years, I think that those that originally panned Ghosthorse and Stillborn will not only reconsider their positions, but try to convince everyone that they loved CocoRosie before they were popular.

Ghosthorse and Stillborn is difficult to classify or describe. Imagine if a bunch of Care Bears stayed up for several days smoking joints dipped in embalming fluid and watching David Cronenberg films, then decided to make a hip-hop album with a dash of opera. This description is probably as close as any you will read. It can be abrasive at first listen, but given an honest chance, Ghosthorse and Stillborn will not fail to impress.

Nina Nastasia & Jim White: You Follow Me

Nina Nastasia & Jim White: You Follow Me
Fat Cat: 8/14/2007

Nina Nastasia's latest outing, a collaboration with Dirty Three drummer Jim White (not to be confused with the American singer/songwriter of the same name), didn't initially sound much different than her last record. On Leaving was certainly a lovely record, but a little monotonous. You Follow Me, however, somehow compelled me to listen again and again, each time drawing me in a little deeper.

Again, Nastasia's greatest strength's are her gorgeous, emotive voice and moving lyrics. However, the addition of White's unusual drumming style provides a background against which her vocals shine even more brightly. White is often cacophonous, sometimes subtle, but always engaging. White's and Nastasia's respective contributions could have been released as two separate but equally amazing records. I am grateful, however, that they didn't, because You Follow Me's strength lies in the combination of seemingly paradoxical musical ideas.

Amy Winehouse: Back to Black

Amy Winehouse: Back to Black
Republic: 3/16/2007

Technically, Back to Black was released in the UK last year, but it took several months to reach the States. This being my blog, I can apply whatever standard I want, so I'm declaring it a 2007 release.

Based on what I've read about Amy Winehouse, it's easy to see why people think she's a lush and a bitch. For some, her tabloid-baiting and erratic behavior are barriers to appreciating her music. Even some of those who praise her music express their appreciation in a condescending and dismissive manner. In some ways I wish Back to Black was as terrible as Winehouse's public behavior; it would certainly accomodate a more simplistic worldview. But there's no denying that it's a fine album. It seems I will have to discard some of my cherished beliefs about the universe in light of Back to Black's beauty.

The biggest draw, of course, is Winehouse's voice. It's hard to believe that a voice such as hers can come out a woman so young and so, well, white. She reminds me of so many early 60s Motown stars, whose names I have forgotten but whose songs will never depart from my brain. It's fortunate, then, that so many of the songs on Back to Black are in this vein. Winehouse's style recalls a time when R&B was innovative and genuinely expressive rather than just sappy. She brings soul back to a genre that has been merely going through the motions for quite a long time. This album has burrowed into the heart of this cynical, arrogant, aging music snob and laid lots of eggs in the few weeks I've had it. That alone should tell you more than everything else I've said so far about the power of Back to Black to win over the skeptics.

The Arcade Fire: Neon Bible

The Arcade Fire: Neon Bible
Merge: 3/6/2007

It's late September, and for me that means starting to write about the best releases so far this year. Last year, the task proved too daunting and I gave up after about 90 reviews. This year, either I've become a little more discriminating or there are slightly fewer outstanding releases. Either way, it means I might have a shot at reviewing all or most of the releases I want to recommend by the end of the year.

I have abandoned the idea of reviewing them alphabetically, as it's kind of, well, nerdy. Not that that's very successful at stopping me from doing nerdy things. Another weakness of the alphabetical approach is that inevitably, an outstanding album in the C's will be released when I'm up to the M's. I have decided to use randomly generated playlists of about five hours in duration of complete albums, listen to the playlist, and then review any of the albums I deem outstanding. Yes, I am aware that this is even nerdier than the alphabetical system, so there is no need to point it out.

The first great album culled by this method is The Arcade Fire's Neon Bible. The Arcade Fire have certainly received their share of good press this year, and favorable reviews for their new album are about as ubiquitous as air. They don't need my laurels, certainly, but I'm happy to join the chorus of their admirers.

The Arcade Fire's sophmore effort is superior to their debut, I believe, in a several respects. Funeral, while absolutely sublime, suffered from sub-par production that obscured Win Butler's vocal abilities. Second, there is a greater diversity of styles and instrumentation on Neon Bible. Funeral's midsection sagged in comparison to the stellar songs near at the beginning and end.

Upon first hearing Neon Bible, I was annoyed by the first track, "Black Mirror", because Butler's vocal is too far down in the mix and it felt limp. I still haven't warmed up to this song, but fortunately the rest of the album doesn't suffer from this handicap. "Keep the Car Running" has often been favorably compared to Bruce Springsteen, and justifiably so. For a Canadian band that I associate with artful sophistication, the song sounds unexpectedly American and down-to-earth. "Intervention", probably the best track, is an excruciating lament about neglect and poverty. Its use of strings and distant female vocal harmonies appear again later on the album, but here they are employed to greatest effect. "Windowsill" continues the theme of parental alienation and resistance to following familial traditions, alternating simplistic vocal/guitar/drum arrangements and swelling, ornate choruses. This competition between simplicity and complexity continues throughout the album, making Neon Bible more sophisticated and enjoyable than its predecessor.