Grieves featuring P.O.S. — War For The Crippled (single)

I’ve been obsessed with this song and P.O.S’ verse in particular since the Confessions of Mr. Modest EP was released — coinciding with the re-release of 88 Keys and Counting and Grieves’ own induction into the Rhymesayers family. I’ve done a few design-related things to get it out of my system — mainly revolving around P.O.S’ slightly whispered lyrics “How come your eyes hurt me so bad”. So I played with it. Nothing super involved but I dig it and think it fits in with the EP’s album cover, in my own way at least. Imagery utilized from Shorpy.

Aesop Rock — Music For Earthworms

So I said I’d do this someday and now is that some day. It is very similar in style to the Appleseed cover. Again, relying heavily on the main image. I definitely dig it more than the old school original cover. Imagery utilized from Shorpy.

Waterbear — Untitled But Moustached Lady

This is seriously just for fun and is absolutely ridiculous. Nicholas and Tom need to put out an album and maybe this in some small way will help them along their way — motivation. If you’re reading this stop and go make some music. Put down the fish and beans. Stop shitting your pants, wearing wild life sweaters and make some music. Imagery utilized from Shorpy.

Saul Williams — NGH WHT

This is a digital-only download available here. It features Saul’s voice reading passages from his books, including the Dead Emcee Scrolls, accompanied by the fantastic Arditti String Quartet. I was sad there was no artwork included with the download so I made some. The album includes three FLAC versions of the record — one with both Saul and the quartet (the album), one with just Saul (a capella) and one with simply the quartet (this is the remix, son). The idea is to inspire remixes and submit them on Saul’s main website — saulwilliams.com. The release is well worth the $6 price tag. Go cop that dunny.

Omnii — Omniishell

This is for (an old friend of mine) Colin Swenson’s musical persona Omnii (one of many projects) and his album that may or may not be released, but he was kind enough to share it with a few friends. I, for one, think it’s pretty awesome and wanted to make a quick cover for it. I also realized that though this and NGH WHT were made many months apart, I chose to utilize the same typeface. Which also led to the inspiration for MRI’s logo design typeface, a modded version of a font called Mod.

Aesop Rock — Appleseed EP

Ah the elusive and rare Aesop Rock EP (1999) that will never again be officially re-released. Man I still kick myself for not purchasing a copy when I had a chance. I recently re-downloaded this, FLAC-style and needed high resolution artwork to print out for my shelves, along with it’s digital companion. The photo used is from this amazing photo archive website called Shorpy. I felt it was a perfect fit and I adore the photograph. So really, this is minimal on the design, heavy on imagery — I did do a tray card too. Some day I’ll do one for “Music For Earthworms” as well. If you haven’t checked out Shorpy and like nostalgia for the sake of living vicariously through dead people, go there — or if you simply like neat photographs.

This year has, yet again, offered a wide variety of incredible new artists/bands and some crowning achievements for already established musicians. Here are my personal picks for the best of 2009. Unfortunately, I didn’t have as much time to invest in this as last years and the write-ups suffer a bit toward the middle. Regardless, it is what it is and I hope you enjoy reading.

#15 Xasthur — All Reflections Drained

Listen to “Dirge Forsaken” from this record:

Xasthur is an artist that took a long time to sink-in and appreciate. His work has been fairly consistent, intriguing and full of depth. It has taken me ten years to digest and grow to appreciate isolationist black metal. It requires getting past the “horrible production value” — you just don’t know how to interpret it. Once digested and a foundation for understanding exists, you begin to immerse yourself in the massive guitar layering — becoming obsessed with their hypnotic power. Each little intricate facet becomes appreciated and often time, leaves the listener dumbfounded by what they have experienced. To the extreme we have such albums as, Velvet Cacoon’s Genevieve, Burzum’s Filosofem and Xasthur’s own Nocturnal Poisoning. These dense records deserve the “headphone listening experience” to be fully absorbed. You can listen countless times and discover more layers with each listen. This offers the listener a complex, challenging and meditative soundscape.

All Reflections Drained is Scott Connor’s 7th full-length release as Xasthur. It is far more instrumental, offering less vocals, than previous releases. Some have called it an extension of 2007’s fantastic Defective Epitaph. The first track, “Dirge Forsaken” slowly builds to a more disturbing and disjointed rhythmic assault. It feels drunk and depressive — dark, ominous and almost sickening. The middle has carnival-esque keyboard melodies that further push the bleak soundscape. These ambient tracks cycle through the above, over and over. The production on this release feels more depressive and hypnotic than previous albums. The hollow, muffled barrier between you and what’s happening far off in the distance, simply adds more intrigue. The album almost makes you feel hung-over. I’m not sure if that’s a good thing, but it’s good enough to land at number 15.

Stand-out tracks include: Dirge Forsaken, Maze Of Oppression, Obfuscated In Oblivion and Inner Sanctum Surveillance.

#14 Gavin Castleton — Home

Listen to “Cofflelocks” from this record:

Gavin Castleton holds a special place in my music collection. Since 2004’s spotty release Hypotenuse and the incredibly haunting songs “Builder” and “When You Come Home Bring Novocaine”, I have been sure to keep tabs on his progress. All his releases have been spotty but almost always have a few “hidden gems” within.

2009 brought us his most complete, compelling and overall strongest piece of work to date. Home is simply a fantastic album and by far one of my most listened to albums this year. It’s a comfortable album — a great go-to on those rough days. The vocals of Lauren Coleman (of Pebaluna) are simply fantastic. The musical conversations between her and Gavin create a beautiful balance that achieves something special. The album is as delicate as his most intimate songs. The haunting vocals, often revolving around relationships and interactions between people, while interacting with the listener like a play. It’s a playful concept album about love, relationships, zombie attacks and ridiculousness. Gavin’s greatest weakness has been his biggest strength, but this is the first time it’s been executed perfectly. All of his albums have been riddled with an eclectic barrage of genres, which while interesting, have ultimately failed. On Home he gets it right — while infusing pop, disco-like funk, hip-hop and more. I don’t know how he did it, nor do I care to put it under a microscope. It doesn’t feel as forced as previous efforts.

“Cofflelocks” offers a more commercially appealing structure and form, while “Stampede” is the aforementioned disco-like funk — his vocals remind me of Justin Timberlake at times. The incredible “Layers” could provide my favorite vocal performance on the album — from both Gavin and Coleman. I mean wow, it’s a truly special trade off here. “Unparallel Rabbits” borrows the melody from his song “Bad Rabbits” from 2005’s FortNightShift EP release. To this day I still love that song. Anyway, “Unparallel Rabbits” is the only song Gavin raps on and is very different in tone and content than the O.G. “Bad Rabbits”.

Gavin Castelton continues to impress the hell out of me. I highly recommend this release to any eclectic music listener that simply wants something different, challenging, fun and profound. He is crazy and I love him for it. Flat-out impressive musical genius.

Stand-out tracks include: Buggouts, Cofflelocks, Warpaint, Layers and Oregon…

#13 Velvet Cacoon — P aa opal Poere Pr. 33

Listen to “2” from this record:

Most people seem to have completely dismissed Velvet Cacoon since their whole misrepresentation fiasco in 2006 (or so). Whether you love them or hate them, you have to admit that Genevieve was a pretty significant release. Their approach to Black Metal was unprecedented. The intrigue surrounding their mysterious and cryptic nature wore out it’s welcome fast. After that fiasco I stopped buying-into any drama surrounding them and simply wanted more music.

P aa opal Poere Pr. 33 does not hold up to the brilliance of Genevieve. I never expected it to — it is commonly referred to as a watered-down version of Genevieve. I can definitely see the merit in that. It was recorded shortly after Genevieve but apparently took 4 years to see the light of day.

With all that nonsense out of the way, some thoughts on the album. The opening track “2” is easily the most solid track on the album. The hypnotic cathartic layered guitars create that Genevieve-like feeling, the almost operatic vocal undertones (less prominent in Genevieve). The buried screamed vocals add an interesting emotive depth, especially behind operatic droned voices. I truly can’t express how much I love this track. Unfortunately it is the highest high here. The album is very lethargic, it feels like Genevieve slowed-down, on drugs and approaching coma-like state.

The weakest aspect of P aa opal Poere Pr. 33 lies in the lack of musical composition. The album needs more highs to contrast the lows. Everything is muddy and washed-out. I’d like to hear more pieces highlighted — perhaps in a more epic fashion. The albums drags rather than building, climaxing and relief. “Aventine” offers the greatest stylistic departure on the album, filled with hollow wind-chime like keyboards (maybe? not sure) and overall eerie atmosphere. So, you may ask yourself why I put it on here? Well, I have found myself listening to it a lot, perhaps, trying to discover more about the release. Overall, I find this to be a challenging piece of work and drastically different to their ultra-minimal second release of the year, the 2-disc Atropine. Supposedly, as of December 2009 Velvet Cacoon is no more. Whatever, it’s probably bullshit. Either way, I’m glad we have another fine release from them. When Velvet Cacoon have been at their best, we have seen stunning atmospheric passages that may rival the most revered black metal releases ever. That in itself deserves praise.

Stand-out tracks include: 2, Claverie, Aventine, Oviamoire and Sovarine.

#12 Wolves in the Throne Room — Black Cascade

Listen to “Wanderer Above The Sea of Fog” from this record:

Wolves in the Throne Room have consistently delivered stellar black metal releases. This, being their third full-length release, finds them at a familiar place. They create some of the most forward-thinking, outstandingly refreshing black metal being produced today. Black Cascade is a welcomed addition. It does not carry the overwhelming surprise that came with Diadem of the Twelve Stars, nor have they re-written the book, so-to-speak. They have, however, put out one of the best black metal releases of the year, again.

While, over the past few years I have become enamored with isolationist black metal styling of Xasthur, Burzum and Coldworld; Wolves in the Throne Room have always stood out among the regular (more traditional) BM acts because they can write fantastic riffs and truly epic pieces of music. While only carrying four 10+ minute songs, Black Cascade never feels boring. It lays out brilliant guitar riffs that rise and fall through vocal barrages and raging drums. The magic lies in artistry. The meticulous selection of peaks and valleys, the intricities, often Opeth-like in epicness and contrast. Wolves continue to surprise me with their consistency and can still throw in some surprises. After 2 solid follow-ups, I want something that blows me away like Diadem of the Twelve Stars did.

Stand-out tracks include: every single one — all 4 of them.

#11 Amadou and Mariam — Welcome To Mali

Listen to “Ce N’est Pas Bon” from this record:

This album was technically released in 2008, but was not released in the United States until this year. I believe I first heard it in January, so I’ll include it as a 2009 release.

Amadou and Mariam have had a long career as brilliant musicians. Not only do they write incredible culturally-spanning music, they are both blind. Listening to Welcome to Mali takes me away to an almost utopian getaway and overwhelms me with positivity. Though they have been making music for decades, they made their biggest splash in the United States this year. I am grateful to have found their music and look forward to the next release.

Stand-out tracks include: Ce N’est Pas Bon, Je Te Kiffe, Africa and Welcome To Mali.

#10 Gossip — Music For Men

Listen to “Pop Goes The World” from this record:

I’ll make this one fairly short, since I did an initial review on the album earlier this year. The Gossip have refined their sound with this release. Some may say it’s more commercial and more polished — those are completely true. I find Music For Men to be flat-out catchy, memorable and each track makes you want to dance your ass off. They effortlessly create melodic musical passages that appeal to a wide variety of people — gay or straight, male or female. They have the special gift of overall appeal — not to mention one hell of a singer in Beth Ditto.

I’ve listened to this release countless times since it’s release — often on repeat for a whole work day. It keeps me focused, motivated and is just plain fun. It is a fun album that just plain kicks ass.

Stand-out tracks include: Heavy Cross, 8th Won­der, Pop Goes The World and the title track Men In Love.

#9 Neko Case — Middle Cyclone

Listen to “Polar Nettles” from this record:

Years ago I just didn’t get what Neko Case was all about. I liked female vocals but couldn’t get past her country roots and the influence it had on her music. After re-listening to 2000’s incredible Furnace Room Lullaby release, I began the typical obsession to absorb everything she’s put out. From her work with the New Pornographers to her most recent work at that time, the brilliant 2006 release Fox Confessor Brings the Flood. I finally understood why so many adored her work.

From the sultry, sexy, elegant and pitch-perfect soaring vocal performances to the unique interest in frogs, Neko Case is one hell of an artist. Middle Cyclone finds her at possibly her most intimate, from both a lyrical and production standpoint. Case had recently purchased a farm in Vermont. The farm had a barn on the property, which she ended up using as a recording studio for some of the album. The result offers a unique overall sound, especially the half hour closing track “Marais La Nuit”, appropriately titled, as it means “The Night Marsh”. The overall theme on Middle Cyclone is environmental in nature. She keeps up past themes of the disastrous affect humans have on the wildlife population, as seen most profoundly on “People Got A Lotta Nerve”. She seems to have an affinity for tigers and/or big cats, especially.

The piano pieces also need to be pointed out on this release. “Polar Nettles” offers very unique string and piano/organ arrangements. It is deliberately sparse in places, effectively highlighting Case’s unbelievable emotive range. It’s intimate and vulnerable, but always strong and assertive. She has a rare gift for delivery and storytelling.

Tip of the hat to Neko. If we have to wait another three years and get another album of this quality, well, I’ll be a happy guy.

Stand-out tracks include: This Tornado Loves You, The Next Time You Say Forever, Polar Nettles and Magpie To The Morning.

#8 Meshell Ndegeocello — Devil’s Halo

Listen to “Slaughter” from this record:

Meshell is one of those true tortured artist types. I have listened to her albums on and off over the past 10 years and always found something thought-provoking, vulnerable and unique about individual pieces scattered throughout. I have never fully appreciated a complete album from start to finish, until now.

Devil’s Halo is perfectly vulnerable and intimate. It’s greatest gift lies within the gentle and harsh. Each track is delicate and fragile. The general theme is as crushingly focused on relationships as ever. She explores her desires, failed relationships and emotional relief from the pain she’s held on to.

“Slaughter” is just that. Slow and intimate, crushing and harsh. The contrast of violent outbursts and subtle under-your-breath insults. “Tie One On” is an appeal to stay, hold on to love and togetherness. “Lola” is a more lively song about lack of contentment in relationships and how people move on. “Did you really think you were special”. There are sparse tracks like “Hair Of The Dog” that seem almost like drunken stupers, interludes between relationships, a break to think about what has happened. “Mass Transit” is easily the most radio-friendly, which is why it makes such a great single. The riff is unforgettable and infectious. Her voice is, arguably, the most lively in this track as well. “Love You Down” is percussively-heavy, offering an almost funked-out slowdown.

Front-to-back this is a strong release from someone with a unique voice. Always the artist, the innovative type. I adore her artistry.

Stand-out tracks include: Tie One On, Mass Transit, Love You Down and Die Young.

#7 Volcano Choir — Unmap

Listen to “Island, Is” from this record:

Justin Vernon is a busy man on a mission. He has been all over the place for the better part of the last decade and has never slowed down. Bon Iver was one of the best debut albums I’ve heard in years — and still stands as one of my favorite albums in the last 10 years. Volcano Choir dives into his most progressive, challenging and innovative music to date. This album succeeds because of Vernon’s vocals and the musical collaboration with the post-rockish, meandering Collections of Colonies of Bees. It’s part post-rock, part Vernon’s signature sound and for the most part works very well.

Vernon will most likely continue his career with hundreds of projects, all different names, containing various members, spanning every known genre and then some. For some odd reason I am very comforted by that. My biggest hope is to hear something that blows me away as much as For Emma, Forever Ago.

Stand-out tracks include: Island, Is, Husks And Shells and Still.

#6 Amesoeurs — S/T

Listen to “Les Ruches Malades” from this record:

This was one of the most talked about and anticipated albums of 2009, at least within some of my music micro-communities. Amesoeurs were a French band that composed a mixture of black metal, shoegaze and post-rock structures, with the brutal vocal stylings of Neige (of Alcest fame) and the haunting Audrey Sylvain. I can’t speak too much about the sorted history of this band, their personal issues or ultimately why this will be their only album. This albums succeeds through it’s unique ambition — it appeals to a fairly broad music base.The only drawback I see lies in the almost too-polished production. I’d like to hear this album with a bit more grit. “Les Ruches Malades” and much of the album remind me a bit of Klimt 1918’s album Undressed Momento in production and sound. The 4th track, “Recueillement”, has typical black metal vocals, however, they create a different atmosphere through song structure and approach. I hear glimpses of Day Light Dies in this track especially — actually, all the heavier “metal vocal” tracks do. Overall, Amesoeurs is a very eclectic experience that works very well. I strongly hope they reconcile their issues and make more music.

Stand-out tracks include: Les Ruches Malades, Recueillement, I XIII V XIX XV V XXI XVIII XIX ˆ IX XIX ˆ IV V I IV and Faux Semblants.

#5 Mos Def — The Ecstatic

Listen to “Casa Bey” from this record:

Bismillah ir-Rahman ir-Rahim

Mos Def has been, perhaps, the most significant voice of thought-provoking, intelligent hip-hop in the last decade (maybe ever). As Black Star, along with friend and equally prolific emcee Talib Kweli, he cemented his legendary status. His instant-classic debut, 1999’s Black on Both Sides was unprecedented and remains a flawless album. I truly miss the powerhouse that was Rawkus records. Through the years he has continued nurturing the hip-hop community through acting and his residency as the host of Def Jam Poetry. I wish I could say such kind things about his albums between Black on Both Sides and The Ecstatic, but I can’t. 2004’s highly anticipated New Danger was a mess, filled with throw-away generic Black Jack Johnson session tracks and mediocre rap tracks that overall felt uninspired. 2006’s awful True Magic furthered the rumored Geffen (absorbed Mos’ contract after Rawkus collapsed) “label obligation” trend. Mos just wasn’t feeling the whole music thing. At least, that is the conclusion I came to. Either that or he just couldn’t create what he wanted within the confines of hid contract and/or the parties involved.

So now it’s 2009 and we finally received the Mos Def album we waited for and hoped to hear in 2004. The album cover is no longer the typical portrait of Mos Def himself, it’s a screen still (with added red overlay) from Charles Burnett’s 1977 film Killer of Sheep. What we have here is a fantastic album from start to finish. The Ecstatic brings back the Mos flow and socially-conscious lyrics we’ve missed, and once again on top of stellar production. Mos has been steadily refining his singing voice and it shows. I’ve always liked the singing attempts on previous albums (“The Panties”, “Boogie Man”, “Rock and Roll”) and he succeeds through conviction — even when it’s kind of weird and awkward, like on “Worker’s Comp”. The Ecstatic as a title really says it all, Mos is Ecstatic through liberation.

I am excited about Mos Def again.

Stand-out tracks include: Auditorium, Priority, Quiet Dog Bite Hard and Casa Bey.

#4 Arizmenda — Within The Vaccuum of Infinity

Listen to “Those Beaten Paths of Confusion” from this record:

Arizmenda have created a stunning and brilliantly-crafted atmospheric black metal album, the best Black Metal album of the year in fact. They also get my praise for best debut album of the year. Beginning with “Those Beaten Paths of Confusion” (which is an accurate title in itself), it builds, pummels and falls — it’s tortured, haunting, dark and hypnotic. Around about the four minute mark I knew I was listening to something refreshing and special. This is an album that craves headphones. I have a hard time coming up with descriptive words that cut to the core of atmospheric, depressive, dense and isolationist albums. You either get it or you don’t and as I stated earlier, it took me a very long time to understand and appreciate albums like this. Black Metal is not unlike any other genre, you have your more obscure albums that push conventions and the genre forward, and you have the ones that simply exist to fulfill the given genre label. Arizmenda is luckily the former and this is the kind of album I search for constantly. It is epic in nature, bold and forceful where it needs to be and offers the perfect balance of breathing space — necessary to any composition.

Arizmenda have given me countless hours of eargasms and I look forward to coming back again and again. I really can’t further elaborate my admiration for this genius piece of work, so I’ll leave it alone and keep listening to it instead.

Stand-out tracks include: At only five songs, just listen to the whole damn thing.

#3 Katatonia — Night is the New Day

Listen to “Onward Into Battle” from this record:

Katatonia have defined a style of their own. Every time they release a new album I get excited, listen to it and sometimes forget about it completely. Then the winter comes and it finds me again. Then it won’t leave me alone for months — always the perfect soundtrack to aid any hint of seasonal depression. Over the past 15+ years they have perfected a unique, unmatched sound. The unique production style, Renske’s depressively haunting vocals, Nyström’s unparalleled guitar craftsmanship and a few like-minded musicians to fill in the rest. Their production and composition have always been fascinating in themselves. At the core, Katatonia have conformed to a more conventional song structure than fellow Swedes and friends Opeth, but they have done so with grace. Their songs are deceivingly complex. At the surface lay brilliant melodies and song arrangements, backing unique and varying vocals. When you dig further and start examining each piece, well, that’s where Katatonia really become something special.

Night is the New Day is simply a solid album. It is, dare I say, the most refined and interesting album Katatonia have released. I believe the addition of more pronounced keyboards has completely changed the density and complexity of each composition — while coming across as effortless almost over-produced pieces. Renske’s vocals have never been more perfectly aimed, refined and jaw-droppingly appropriate. His voice has become the perfect instrument to accent a perfectly structured canvas. Every single song stands out on it’s own and flows effortlessly as an entire piece. There is also an underlying urgency to each song.

“Forsaker” holds crushing drum passages, brilliantly executed keyboards and an overall stellar vocal performance. “The Longest Year” is insanely catchy and again, Renske’s vocal dynamics are insane. Katatonia have never been known for outstanding lyrics. Their lyrical content is usually comprised of emotional language, feelings and words themselves — rather than holding any consistent conscious stream or telling a story. However abstract or nonsensical they may be, they fit the music brilliantly. “Idle Blood” changes things up a bit with some acoustics and more down-tempo instrumentation. This highlights Renske’s outstanding vocals, yet again. This is perhaps the most Åkerfeldt-like track, as I could easily see the vocals being sung by Mikael Åkerfeldt. Actually, it is the most Opeth-like song I’ve heard from Katatonia — well, aside from Brave Murder Day, obviously. “Onward Into Battle” instantly draws you in as it builds and propels forward. The chorus is insanely infectious and catchy. This song plays off a few abrupt tempo changes, which come across effortlessly.

“Liberation” is a more typical Katatonia song, reminiscent of Last Fair Deal Gone Down or The Great Cold Distance. “The Promise of Deceit” highlights the keyboards as an overarching atmosphere and background element. Once again a few abrupt tempo changes, emphasized by Renske’s vocals. “Nephilim” is vulnerable and slow. Again, this track really highlights Renske’s more instrumental vocal approach. No one can sing a song like Renske. Also, I’m not sure who supplies backing-vocals on this track but they are executed well. “New Night” holds the more typical Katatonia sound and furthers the underlying feeling of urgency. “Inheritance” is eerie and slow, and once again really highlights Renske’s unique vocal approach. Seriously, who changes up their vocals like he does? Each passage becomes uniquely emphasized through vocal inflections, to an absolutely fascinating degree.

“Day and Then the Shade” is like a final moment of clarity and freedom before the albums close. It holds a sense of immediacy — again with the urgency sentiments. “Departer” is the most haunting and vulnerable track I’ve heard from Katatonia. It is extremely delicate, each vocal passage is delivered ever-so-cautiously. The almost characteristically delicate vocals of Krister Linder give this track added interest and depth — though even more delicate than usual. This is one of the best album closing track I’ve heard in years.

So there you have it, my long-winded track-by-track commentary. I say this after every release but seriously, Katatonia I hope to hear a new album for Winter 2012’s soundtrack.

Stand-out tracks include: Forsaker, Onward Into Battle, Inheritance and Departer.

#2 Antony and The Johnsons — The Crying Light

Listen to “Another World” from this record:

Antony Hegarty could easily be described as one of the most gifted musicians living and creating music today. Not only is he, arguably, the best male vocalist alive today, he writes stunning compositions. He may be a towering human in physical form, but he is a delicately beautiful person — often seen as a “gentle giant”. Admittedly, he is not for everyone and is often off-putting to folks I try to initiate and expose him to. Not to mention those who aren’t comfortable with their sexuality. Watching Antony sing is one of the most hauntingly real testaments to the beauty of the human race I have ever witnessed. He personifies everything I love, neigh, adore and obsess, about music. He is why I become so enamored and immersed, why I lament over coming up with 15 favorite albums every year. Antony is among the rare breed of talent, passion and conviction. He is why I hate everything about mainstream music — rather, music devoid of passion, innovation and conviction.

The Crying Light is nothing short of brilliant. Each composition comes to life, as an organic piece that grows with every listen. In lyrical content it appeals more to an audience than as a personal journey (I am A Bird Now). The content often revolves around nature, animals and our future on this planet. Also a strong theme of Antony finding his purpose in the world. Lyrically, he takes inspiration from the Japanese art of butoh dancing.

The Crying Light is far more “full of sound” than 2006’s masterpiece I am a Bird Now. It is not as delicate and personal but retains Antony’s intimate understanding of composition and structure. He succeeds in volumes through the little intricities scattered throughout the album. Her Eyes Are Underneath the Ground is a fairly macabre ballad about death, being buried and it comes across as personal — an event holding profound impact in his life. Epilepsy is Dancing is a spiraling whirlwind comprised of beautiful string arrangements and a shining example of Antony’s vocal range. The layering vocals entrance and pull you into the song. Another World appears here (from the 2008 EP of the same name) and remains one of my favorite songs he’s written — truly one of the most beautiful songs I’ve ever heard. Daylight and the Sun is another plea for our earth and life as we know it. Antony writes with a haunting sense of fatality and fear of death. This is one of the reasons I adore his work so much. It is beautifully human, outstandingly fragile and devastatingly real. Aeon starts out with a beautiful piano and string arrangement, which quickly morphs into an electric guitar ballad. It steadily rises and fades. Dust and Water is the most sparse track on the album, as the backing atmosphere merely resonates low-key hums. It effectively puts Antony’s vocals on display. Everglade is a strong closing track that again, steadily builds and falls.

I highly recommend you find Antony if you haven’t already. Everyone needs someone like him in their music collection.

Stand-out tracks include: Epilepsy is Dancing, Another World, Daylight and the Sun and Her Eyes Are Underneath the Ground.

#1 P.O.S. — Never Better

Listen to “Let It Rattle” from this record:

Shortly after it’s release earlier this year I wrote an initial impressions review of Never Better. I was never happy with it but chose to save any additional thought or refinement until the end of the year. As you can see my opinion of the album hasn’t changed, even after almost a full year. P.O.S successfully outdid himself and that is no easy feat. More so than all my Doomtree fan-boyisms, Never Better deserves to be my pick for album of the year. I definitely listened to it more than anything else released this year. I typically measure my favorite albums and their subsequent ranking on the list by how much I listened to them throughout the year. Never Better was listened to almost non-stop for the first 5 months of the year. Admittedly, I have not been listening to it much over the past few months, as new albums have been introduced to my thirsty brain. As I write this I am listening to the whole album all the way through for the first time in several months.

While nothing Stef records may ever impact me as much as 2004’s Ipecac Neat, I give him infinite praise for innovation and refining the hell out of what he creates. He has surpassed any other hip-hop artist to come out of Minnesota — in my mind at least.

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Other Notable 2009 releases

Miike Snow — S/T

I really love this record and it was hard to not include in the top 15. In retrospect I probably could have squeezed-out an album for this.

Dirty Projectors — Bitte Orca

The same can be said for this one too. Absolutely stellar release that I listen to daily, currently.

Brother Ali — Us

This might be one of my biggest disappointments of the year. I want to adore Ali. His voice is commanding, he has charisma and he crafts sometimes brilliant, thought-provoking songs. Unfortunately, since Shadows on the Sun those moments of brilliance have been mere glimpses, when I’ve wanted an eclipse.

Doomtree — False Hopes XV

While not an album, this EP is still worth many listens. This definitely exhibits Sims, Dessa and Mictlan in full force and in top form. I personally don’t care for some of the hooks, but for the most part the verses are solid.

Felt 3 — Tribute To Rosie Perez

This is possibly the best Felt release in the series. Unfortunately I’ve never found substance in any release. Even with Aesop Rock’s stellar production, I couldn’t find a place for this in the best of the year.

Eagle Twin — The Unkindness Of Crows

A massive sludge-fest of music fuckery. Yes, I said fuckery. This is one grimy-ass album full of 70’s grangely-ass dumps.

Imogen Heap — Eclipse

While I adore Imogen in brief intervals I’ve found a whole album too much to take. She has something special but it’s just not quite there…I guess?

Jeremy Enigk — OK Bear

Very solid album and I can’t really say anything bad about it. Sidenote: Mad props to Jimmy Fallon for the Sunny Day Real Estate reunion that took place this year — amazing!

Korouva — Sleepwalker

Good album, I feel sleepy.

Lushlife — Cassette City

Awesome production and some quality rhymes.

Patrick Wolf — The Bachelor

Pretty solid album that I listened to quite a bit.

St. Vincent — Actor

A nice sophomore release and I plan on listening to it more this year.

Sunn O))) — Monoliths & Dimensions

Awesome, not for everyday consumption. Massive and dense.

Tiny Vipors — Life on Earth

Recommended listening.

K’naan — Troubadour

I listened to this album a lot this year and I still really dig it. I admire what he has done and where he has come from. This is an excellent follow-up to The Dusty Foot Philosopher. Also, Kirk Hammett.…what!

Metric — Fantasies

One of the best singles of the year “Help I’m Alive”, too bad the rest didn’t match up.

Bat For Lashes — Two Suns

Kate Bush and Tori Amos had glorious sex. Tori’s testicular fortitude dominated their co-egg and birthed Natasha Khan. This album may grow on me more this year. It’s good but not quite digestible in one sitting.

Grizzly Bear — Veckatimest

Good album, not great.

Raekwon — Only Built 4 Cuban Linx II

Yes! Awesome sauce.

Doom — Born Like This

Pretty decent record. I’m kind of sick of MF Doom and his ridiculousness — though his talent is stunning. My opinion of him changed quite a bit after seeing him “perform” live at Soundset 2009. What a boring anticlimactic mess.

Passion Pit — Manners

Solid album, just plain fun.

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There you have it, my favorites and then some.

As always, thank you for reading and please share your favorite albums of 2009.

That One

Man, where to begin with this song. I guess I’ll start out by making a bold statement, P.O.S. is one of the most important musicians of the last 10 years. He puts forth some of the most honest, freshly distinctive, unconventional and innovative music today. It’s always challenging, holding layers, that are worth the time to unravel and dissect. In my opinion, his debut release, 2004’s Ipecac Neat was unprecedented, raw and full of heart. He poured himself into each track, with a fearless determination to be heard. Stef is a grand mix of talent and passion. He has a unique voice and lucky for us, he chooses to use it. I’ve never liked the mainstream bullshit, the watered-down music that finds it’s way into the ears of millions of sheep, eating the shit up like it’s the cure for cancer. It’s not, music like this is. The unrestricted, honestly bare-bones approach, leaving everything on the table. There is no “dressing it up”, no “making it pretty, marketable and easily digestible”. There is an honest connection that one recognizes and believes in. I have always been drawn to music that carries passion, integrity and conviction. There is no conviction and/or, to an extent, passion in mainstream music, it’s a business. I don’t believe it, so I don’t find it to be worth my time. I guess it’s a difference in what you demand from music, the value you find in music.

My love for hip-hop has everything to do with a deep love of language.
People dismiss hip-hop as ignorant and an abomination to music. Like anything, you have to sift through the shit to find what matters. I want to hear lyrics that mean something.

The funny thing is that hip-hop holds, by far, the most intelligent and creative expression of language in music today. I can not think of one single other genre of music that comes close. Don’t get me wrong, there are excellent, brilliantly-crafted lyrics to be found in any genre of music. If we measured them all up though, I think we’d find that hip-hop buries it’s competition. The sad thing, is that the commercial and marketable shit is all the sheep hear and in turn, dismiss the entire genre. Fortunately, I’ve never been close-minded when it comes to anything in life. Life is too short for restrictions, especially when it comes to something as humanly expressive as art.

Anyway, I’m getting a bit sidetracked…so..on to the song.
This song came to me when I needed it most. It offers a sincere, honest look at ones internal reaction to failed love. This song is the epitome of excellent storytelling and structure. Starting out with an intense barrage of lyrics, layers of aggression, passion and well-structured lyrical passages. Like thoughts, just festering in the brain, cycling through over and over, the could of and should of, the accusations of blame, the back-and-forth struggles of relationships. The confusion, the stress, the out-of-your mind pure fucking sadness. The desire to relieve yourself of the situation, find something, hold on for a bit longer. The olive branch. The memories, the little things, the times you shared and everything you miss. The realization that someone actually found it within themselves to love you, with all their heart and it was mutual. The pain that it may never happen again.

I structured this type experiment out in the same fashion the song builds.
The barrage of thoughts, all mixed-up and primal, followed by the climax, the main point, the final output of frustration and that glimpse of closure.

“My best, you can have it if you want it“
This almost offers comfort in the whole mess. The justification through being rational approach.

“Drowning, I’m not waving, I’m drowning“
The unease of it all, being human, being vulnerable, having your world collapse around you. The desire to give-in and fester in your sadness, to be alone.

This is one of my favorite songs ever and probably always will be.
Stef has refined his approach over the years and still continues to impress me, or rather, floor me with his expression, his craft. Nothing he puts out will ever touch the vulnerable beauty that is Ipecac Neat. Rather, nothing he puts out will affect me in the same way — pretty much like everything in life.

I also created a “waving” hand graphic that has a portion missing from the “ring” finger. Emphasizing a shattered relationship. I’m trying to break myself of the desire to make everything clean in these type explorations. I always gravitate toward clean, structured type and it’s tough to break the habit. I may start only using hand-drawn type for a while, free from the structure of typefaces and the computer.

I really enjoying doing these because it allows me to explore my favorite songs in a whole new light.

Ambulance

TV on the Radio have a very distinctive sound. From Tunde Adebimpe’s unique voice to David Sitek’s production style, TvotR offer dense and subdued musical gems. Their first official release, 2004’s Desperate Youth, Blood Thirsty Babes was not only an incredible debut but offered some profound lyrical content. However cryptic and open-to-interpretation they may be, one can’t help but be struck by Tunde’s emotion-filled delivery. The lyrics I chose to highlight here are my favorite from this release and carry great sentiment. Of course, I’m referring to the outstanding “Ambulance”, from the voice looped backbone to the passionate delivery, this song floors me. I remember playing it often on the jukebox at The Bad Waitress on Nicollet Ave. — taking in the atmosphere, especially on one, truly perfect, snowy winter evening. I do miss those days.

Another TVotR track that holds deep sentimental value to me is the Raymond Scott (Night and Day) sampled track “Say You Do”, which contains the incredible vocal-sample of Nina Simone’s rendition of “Wild as the Wind”. That was by far the best track on the elusive OK Calculator 2002 “backpack” release.

Since 2004 TVotR have continued releasing incredible albums and I always look forward to hearing what they do next. Great band, incredible songs.

Also, just to point-out, not even the genius of David Sitek could save Scarlett Johansson’s butchering of Tom Waits songs (Anywhere I Lay My Head). I don’t have the words for how bad that was, the production was excellent though! You can expect some Waits appearances in these typography experiments, that’s for damn sure.

Anyway, hopefully those of you reading dig these weekly installments so far.

Tao of Now

Saul Stacey Williams is one of the most important writers/poets in the world today. His words inspire and bring redefinition to the love of language. His spoken word and four published books of poetry have touched me in a profound way over the last 8 years or so. His music, while interesting, doesn’t carry the impact of his poetry, his naked, unaccompanied voice. His debut album, 2001’s “Amethyst Rockstar” was earth-shattering to me. I will always remember the day I purchased it, sitting in my car, blaring the entire album — with my mouth open, in awe of what my ears were hearing, experiencing. I even called my buddy Warn and tried to play him “Tao Of Now” over the phone. To this day, that song in particular, always has the same impact on me.

Saul has stated that he felt like he had a lot to prove with his debut album, and he did, and he did. I only wish his last three releases had the same impact on me. He still writes some great material but I don’t feel the overall direction he’s moving. Regardless, he is a man who deserves recognition and should be talked about more.

Saul also had a profound starring role, in the 1998 film “Slam”, alongside fellow spoken word genius Beau Sia (of HBO’s Def Jam Poetry fame and a 2 time winner of the National Poetry Slam). I think the most memorable scene in the film goes without saying, if you’ve seen it you know what’s up. The brilliant courtyard “words instead of fists” scene. This was Ray Joshua’s (Saul) breaking point in the film, the pinnacle, the defining moment of the world around him. He freed himself with that speech and dammit, I still get goose bumps every time I watch it.

Saul has books filled with insightful, witty, highly-quotable passages. Many of which, I’d be inspired to explore typographically. Perhaps the first one that struck me and stayed firmly etched in my brain, came from his book “She” (1999). Perhaps I’m a romantic at heart or just more in touch with my emotions than the average dude, but these words hold a significant place in my love for hip-hop, music, poetry, language and she.

Once a week or so, I plan on exploring various avenues of typography utilizing my favorite lyrics. Mainly because it fulfills a cross-section of design, the bridge between music and design, my two biggest passions. Also, because I love type and always need to evolve, take-in all I can from experience. Each piece will reflect a particular artist and give a brief overview, for the uninitiated.

The results of these may not be anything special, or this one in particular, but my goal is to push the way I think about type. I’m a fan of clean type but I also get down with more imperfect hand-lettering, which might end up being my main tool in these little exercises. I have visions in my head of arranging these profound words, as you often see, in motion — big, grand, spectacular typography in motion, Flash style. Well, my goals aren’t geared toward video right now, but my vision isn’t far off.

I will share them here for anyone who might be inspired to do the same or happens to enjoy what the process of examining type.

As always, thanks for reading.

Ex-Cop play their own special blend of black metal-meets-noise, mostly black metal though. They are crazy, create damn fine music and have unparalleled taste in beer. A relatively new band, Ex-Cop is made-up of members from Cellphone (rip) and Waterbear. Though they have not had an official release, they do frequently perform at unknown underground venues near you. It’s probably someone’s basement, hotter than hell, sweat-dripping and flying everywhere. Hell, there is probably a naked guy straddling an air conditioner, flopping his dong about and throwing food coloring at the audience. There is beer, music, deep film discussion and extreme levels of intoxicated pedal-falling-off bike-riding. But that’s the way Ex-Cop rolls. Peace to Mikkeller.

The Poster

About the design

If you hadn’t guessed it yet, this is heavily inspired by the work of the legendary Saul Bass and more specifically his work for the 1959 classic film Anatomy of a Murder. I’ve always adored hand-crafting type and I dig it when it’s sloppy. I had no master plan with this and wanted it to appear D.I.Y. Sure, this poster design could be refined, but I wanted to preserve it, as-is. A testament to experimenting with typography. Over time, I plan to hone my hand-craft-type skills and expand, in my own way, on the work of a legend. Note the “ex-cop” outlined body/figure assembled out of .38 special bullets — matching the .38 special revolver. All Ex-Cop, all day long.

When I think of the members of Ex-Cop, I think of the 1950’s-1960’s. I am ridiculous nostalgic and obsessed with the 50’s & 60’s. A time when I didn’t exist, but love to think of what it must have been like. Shout-out to Mad Men.

This is not a typical black metal aesthetic but who says it needs to be.

This album finds the Gossip at their most “poppy” to date, but there is nothing wrong with that. With standout tracks like “Heavy Cross”, “8th Wonder”, “Pop Goes The World”, “Four Letter Word” and my personal favorite, the ultimate gay anthem “Men In Love”. The whole album is solid and a welcomed release after their incredible 2006 release Standing In The Way Of Control.

I can’t really say anything else about this release, it’s fantastic, go get it.
Maybe I’ll write more later.

Made some minor tweaks and figured enough was enough. This one is far more textural and retro-ish in it’s overall theme. I also added a tasteful “release love for sale” graphic.

Anyway, figured I’d share it once again, for any of you other die-hard Bilal fans out there who’d like artwork but don’t have the means to produce some.
I’d really love a shot at designing a cover with actual high resolution studio images, instead of scraping the internet.

Note: This prints best on standard card stock. It gives it a nice vintage faded look, which I was going for.

The Cover for iTunes/internets:

Bilal — Love For Sale Artwork II

Downloadable zipped file:

Contains high resolution PDF’s of the Front Insert and the Back Tray Card, also includes the above iTunes album cover.

right-click and choose “save link as” or simply click it and it should give you a download prompt.

CLICK HERE TO DOWNLOAD

As always, comments much appreciated.

Take care peoples,
Joe

This is the only size I made = 1680px wide x 1050px high.
If you dig the wallpaper and need another size, let me know and I’ll upload one.

(click the image for fullsize version)

Billie Jean 1680x1050 Desktop Wallpaper

For the king of pop in a better place.