NYC Music

New York may have turned into Yuppie Paradise but musically it has closed the decade in style, on top of the pop heap. Excuse me then if I indulge in some dancing about architecture.

It has been a fantastic Indie decade for the city, contributing more unforgettable albums to these fragmented ten years than any other time since the CBGB’s heydays in the late 70’s. Be it The Strokes’ Is This It? or TV on the Radio’s Return to Cookie Mountain and Dear Science or Vampire Weekend’s eponymous debut, its been a thrilling ride. In my opinion though, 2009 has put all the other years in the shade.

Just take a look at this year’s releases. Among the countless hipster faves, you’ll find such gems as Antony and The Johnsons’ The Crying Light, Animal Collective’s Merriweather Post Pavilion, Julian Casablancas’ Phrazes for the Young and arguably the best album of the year- Dirty Projectors’ Bitte Orca.

Pic: Antony Hegarty, beautifully brittle

The Crying Light was the first of the lot that I managed to get. Its impossible to go through the strangely luminous, teasingly seductive songs that makes up the album without being profoundly moved. Everyone knows about Antony Hegarty’s much talked about sexuality, but it really amazes how few have actually heard the music. A great amalgam of jazz figures, understated autumnal strings and Hegarty’s beautiful voice, The Crying Light is absolutely brilliant. Although the album deals with issues like death and decay it’s a classic statement of the creative will turning fear into a defiant celebration of life. Epilepsy is Dancing, based in part on the famous Japanese Butoh dancer Kazuo Ohno, who at 106, is still performing, is a case in point. And then there are deeply sexy, playful songs like Kiss My Name, one of the most accomplished come-ons set to music that I can think of. On top of all that, Hegarty’s album makes one of the most personal environmentalist statements in music. In the haunting Another World, he sings, “I’m gonna miss the sea, gonna miss the snows; I’m gonna miss the trees, miss the things that grow.” A beautiful album.

Pic: Animal Collective, Good Vibrations

Very happy with life seem Brooklyn favourites Animal Collective. They delivered another early stunner when Merriweather Post Pavilion was released in January this year. MPP is like most other AC albums in one way- it takes time getting used to. At least so I thought, before I heard the album a second time. Its no understatement to say that this is veritable candy-shop of an album- immensely accessible, and with new sound-treats in store every time you visit.

Lyrically the songs move away from the tribal hootenannies of yore, peopled by strange animals and colours, as Panda Bear and Avey Tare write about the joys of domesticity on Summertime Clothes. Of course, if you’re as Day-Glo as these gents, even your domesticity’s slightly weird. They write love paens to wives and children in the band’s surreal metaphors on My Girls and Also Frightened. On Brothersport As opposed to being slightly cheesy, its actually exciting and very touching, especially when coupled to the fairground music that goes with it. Ah the music! All AC albums have followed the relatively simple but hard-to-execute sonic architecture of overlapping circular arrangements culled from samplers and damaged-guitar tones, that come together for soaring choruses and then break down again, creating a compelling ebb and flow. In MPP, they get it very right because all the sounds chase the very conventional song structures in a dizzying sound that’s designed for the inside of your head. Grounding this kaleidoscope wash of sounds are deep bass pulses, tambourines and the occasional tribal thud. By the time the album orgasms in the joyous Brother Sport, you’re left breathless and grinning. AND they made Billboard Top 20! Last month’s Fall Be Kind EP’s no slouch either.

Pic: Julian Casablancas, Synth Popper!

Strangely enough, you hear distinctly AC-ish sounds at 1:53 of 4 Chords of the Apocalypse, a great blue-eyed soul number delivered with uncharacteristic ferocity by Strokes-man Julian Casablancas. Yes, you read right- Casablancas and ferocity in one line. Nearly all the members of the Strokes had released multiple solo albums- barring guitarist Nick Valensi- but what people were really eager to hear was new music from the band’s singer and songwriter Julian Casablancas. Finally released, his debut solo album Phrazes for the Young is a triumph.

It starts out on familiar Strokes territory with the chugging, chiming guitars of Out of The Blue bursting from the speakers. But by the time the glorious chorus comes on, it isn’t guitars that come to the fore, but synthesizers! And this from a man who we all thought was a late-Seventies, guitar chewing, Velvet Underground-loving pop purist!But the song’s so good, you can hardly imagine it existing in any other sonic context. The other tune on this short album that most resembles The Strokes is the raging River of Brakelights. But the other six songs take one musical left turn after another, all the while retaining their quality pop hooks. So while Glass can only be described as a combination of Western Classical motifs and shiny, glacial electropop, 11^th Dimension wanders through a looking glass world of cheesy 80s synth pop, treated percussions and a decidedly 50s guitar figure. These wildly disparate elements should never mix, but here they do so, miraculously. In a similar vein, the deep soul of 4 Chords of the Apocalypse suddenly morphs into sampler-led sonic terrorism in the chorus, which then leads to a delightful sweeping guitar solo. It’s a mesmerizing mix, one that feels perfectly logical.

Casablancas has often been accused of singing in a sullen whine. On Phrazes he buries his vocals deep in the mix ala Mick Jagger on The Stones’ Exile on Main Street, and just as Jagger did on that album, Casablancas proceeds to unveil his rich range- considerably better than on the Strokes’ albums- from the fantastic soul croon on Apocalypse to a warped, wry sing song on the country ditty Ludlow Street. His voice is expansive and expressive. It grows on you, and soon you’re humming the tune. Ludlow Street, another strange mix of styles, is the masterpiece on this album. It starts with an ominous drone like something out of the There Will be Blood soundtrack before morphing into a country lament for the soul of New York City. While Casablancas rips into the gradual marketing and yuppification of the world’s greatest- and once the most bohemian- metropolis, banjos duel with pianos, drum machines and loud brass. I’ve never been this pleasantly surprised.

And finally, Dirty Projectors.

Pic: Dirty Projectors, obstinate eccentrics

When I saw Bitte Orca, it looked strange enough for me to get it. And when the heavily reverbed prog guitar intro of Cannibal Resource started, with the very Led Zeppelin heavy drums, I was lulled for a second into thinking that this would be a straightforward pop album. Of course, I knew nothing about band mastermind David Logstreth. Pretty soon the soaring, ethereal voices of singers Angel Deradoorian and Amber Coffman started floating all over the place, in precisely written parts over stop-start rhythms, Tinariwen-like handclaps- all tied into a very Captain Beefheart-like approach to songwriting. Its difficult music, but one that let’s you in if you give it enough time. And once you’re in, the pleasures- melodic and rhythmic- just keep on coming.

Take Temencula Sunrise for one. Soaked in the same warm communal vibes as Merriweather- is this the dawn of an East Coast love-in?- this songs winds its way into your skull through a beautiful chordal acoustic guitar figure that is as eccentric as Longstreth’s high, keening voice; which suddenly leads up to a gloriously electric chorus and then breaks for the second verse which is arranged like a song from Tinariwen’s Aman Iman from two years ago. Longstreth evidently takes African music seriously, and you can hear his influence on the band that two of his erstwhile protégés formed- Vampire Weekend. Anyway, the song then goes into a compelling, driving yet utterly inscrutable guitar solo- more inventive than anything Jack White has recorded in the past few years.

Further on you have the brilliant Timbaland soul r’n’b pastiche Stillness is the Move. Amber Coffman outdoes herself in a masterful vocal turn of glorious radiance. Then you have the unsettling folk ballad Two Doves and other highlights like Useful Chamber which winds all over the place over eerie keyboard figures and voices, a dancefloor beat before convening for the strangely uplifting chorus of “Bitte Orca Orca Bitte” and another blistering solo that Jimmy Page would have been proud of, as would be Thurston Moore. Its mesmerizing music, messy by design and rich in melody and rhythm. Its my favourite album of the year by miles.

Songs of Summer

As I write this, Graham Coxon's punk guitars are raging through my headphones. I love the rush. But after an entire weekend of hearing giddy punk pop, I'm wondering if I've reached saturation point. Just consider:

Graham Coxon- Happiness in Magazines; Love Travels at Illegal Speeds. The Blur guitarist is the coolest man I've seen, from the haircut to the Elvis Costello glasses, to the melodicity of his guitar playing....and now this, a couple of albums of great to middling pop songs.

Fastball- Little White Lies. Maybe its not cool to like them, but 1998's All the Pain Money Can Buy is still one of my favourite pop albums from that decade. This new album is quite nice too, especially the title track and all those melodies and hooks that stick under my skin like some insidious rash. They aren't cool for sure, but heck they're fun!

The Strokes- Room on Fire. Two years after my Strokes craze, I finally hear their second album in full. A lot less giddy fun than Is This It? but then again first contact is always more electrifying. I love 12:51 and Under Control, but none come anywhere near You Talk Way To Much...perhaps because of the sentiment, or perhaps that's the song where they do theirbest Velvet Underground impersonation. I'd like to see them live.

Dirty Projectors- Bitte Orca. What drew me to them was the fantastic pop moment of Knotty Pine, their collaboration with David Byrne on the charity LP Dark Was the Night. Now for someone like me, Dirty Projectors are a difficult band. I thrive on hooks, and with this band, you have to dig deep AND be patient to find them, and then you find quite a few actually. Cannibal Resource is a fantastic song, as are Temecula Sunrise, Stillness is the Move, and the wispy and beautiful Two Doves. I love it especially when they all scream "Bitte Orca, Orca Bitte!!!" Don't even know what that means.

Doves- Kingdom of Rust. Ok I know that the big production move in Noughties Indie is the atmosphere. Its everywhere, that echoey, down-in-the-bottom-of-a-well-sound- from Arcade Fire to Fleet Foxes to Coldplay (!) to these here gents, the Doves. Their playing is great-muscular, melodic and serious but not too serious. And this album has some really good songs- Jetstream, Kingdom of Rust (with its lovely muted country rock chug which becomes something much more explosive and beautiful by the time the chorus comes about, followed by the sparkling guitar arpeggios). But why did they have to go with the in vogue thing, and make it all so spacey? I guess I love Vampire Weekend cause their sound's so crisp.

Manic Street Preachers- Journal for Plague Lovers. I like the politics of the Manics, unabashedly left of centre. But as it so often happens, the band with the most attractive politics hardly ever match it with exceptional music. So though I've liked the occassional Manics songs over the years, they've always seemed to me to be one trick poneys, wailing anguishedly over metallo-punkish guitar walls of sound. Therefore, I'm very very pleasantly surprised with this album. This is harrowing music, both lyrically and in its musical bite, and it all makes sense, in no small part due to the fact that there's a lot of different textures to the guitars which keeps the songs interesting all the time...I'll be getting more into it, I'm sure.

Green Day- 21st Century Breakdown. I know Rolling Stone is bullshit, but even then, how could they give this album four stars? If I like the Manics for the guitars, I hate this album because of the guitars. While some of the songs veer between interesting and likeable- the opening three songs for example- the monotone growl of the guitars playing identical figures on each and every song grates like nothing else. Only the bits where they try to do a Gogol Bordello are fun. I despair...I love the Green Day of Dookie and Nimrod but all this big RAWK CONCEPT ALBUM EMPTY CLICHES, GESTURES and immature facile politics leave me cold. Which begs the question, should Green Day be a sideproject to The Foxboro Hot Tubs, instead of the other way round?

The Decemberists- Hazards of Love. Heard this bizzare concept album about princesses, and forest dwelling shape shifters and evil queens and swans et al just once from start to finish. Its very lush, very melodic, and I suspect that as long as I'm not trying to follow the story or some such shit, I might just spend a lot of time humming the hooks.

Franz Ferdinand- You Could Have it so Much Better. Thrilling, super virile, very sexy rock. Therefore, very demanding too..."Well do ya, do ya do ya wanna?" God, the pressure to have a good time! I think Eleanor Put Your Boots On is a classic.

Various- Dark Was the Night. The charity LP I was talking about. A veritable Indie who's who. However, you'd be forgiven for thinking that the Indie crowd only does acoustic-y head music and leave the body to Hip Hop. However, of the 31 songs here, there are quite easily at least 25 very good songs. Favourites-

Dirty projectors and David Byrne- Knotty Pine

Feist and Ben Gibbard- Train Song

The National- So Far Around the Bend

Grizzly Bear and Feist- Service Bell

Beirut- Mimizan

My Morning Jacket- El Caporal

Sharon Jones and The Dap Kings- Inspiration Information

The New Pornographers- Hey, Snow White

Cat Power- Amazing Grace

Riceboy Sleeps- Happiness

....and finally....

TV on the Radio- Dear Science,

I spent all of last year wanting to hear this album, and now that I have heard them- over and over and over and over again- I agree with the critics. I haven't heard any of their other albums, but a band that can mix the post-Apocalypse tom toms and handclaps of Halfway Home, the absurdly lovely funk guitars on Crying, the propulsive Rap Rock of Dancing Choose, the majestic Golden Age, the stately melodic shifts of Family Tree, the funk politics of Red Dress, the Radiohead beauty of Love Dog and the brass-led sexual healing of Lover's Day into the same album could only be a great band.

Others I've heard, but not much yet: Neko Case- Middle Cyclone. The National- Boxer. The Mars Volta- Octahedron. Sonic Youth- The Eternal. Supergrass- Life on Other Planets.