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<cds>
	<album rank="1">
		<artist>Andrew Bird</artist>
		<title>Noble Beast</title>
		<label>Fat Possum</label>
		<origin>Chicago</origin>
		<review><![CDATA[
			One of the first releases of the year, I knew almost immediately that this was to be also one of the best albums of the year. Andrew Bird is one of those artists who's always been relatively popular, but I've just never been into him. Something about his music was almost too anticipated, or maybe I just got annoyed by the people who were into him. Either way, I was immediately really impressed with this release, in spite of my previous impressions of Bird's music.\n
			I think I originally heard it on NPR's web site, which has nice amount of new material, although it's somewhat limited in both scope and its availability (they take it down after a while). "Masterswarm" immediately struck me, especially its chorus, which is both catchy and intelligent at the same time. And that's where Bird and, in particular, this album really shine: his use of rhyme and homonyms in his lyrics, and an almost mirrored musical version of that with his mixing of instrumentation, often more non-traditional instrumentation, like violin picking and his famous whistling. "Anonanimal" is my favorite on the album though, packed in with short, instrumental interludes that assist with what ends up being a relatively flawless flow.\n
			And flow is what makes this a great album as opposed to a bunch of good but random tracks. The album has a decided tone that makes its runtime go by without notice if you're not paying attention to it. It's one of those albums that you can play while doing homework, cleaning the house, or sitting around reading magazines. But it also works for long car rides, lying in bed with headphones on, or in other situations where you are going to be focused on the music.\n
			Bird was responsible for possibly my favorite concert of last year, at the Rialto Theater here in Tucson on Valentine's Day (yeah, weird, right?). It was one of the venue's few reserved seating events, and it was a nice change from the sort of sweaty, standing room only that's usually there. We were led to seats by ushers as some nice, relaxed music played through the PA system. Bird's tremendous instrumentation was already back-lined by that point and, when he finally emerged, the set, mostly from this album, merged in perfectly with the ambiance set by the Rialto's more relaxed and mature atmosphere that evening. Bird played better and seemed to be in better spirits than when I saw him later in the year at Red Rocks in Denver, opening for Death Cab for Cutie.\n
			In most other years, this would not be my top album but it was, honestly, not the best year for music, so this just reached the top. That's not to say that this is not a really good album. I would say this is one of those releases that everyone should listen to, because there's a good chance that you'll like it.\n
			Andrew Bird will be playing at the Bovard Auditorium on the USC campus in LA, Feburary 20th.
		]]></review>
		<release>120</release>
		<link>http://www.andrewbird.net/</link>
		<video url="jFmfncE-jD0">Anonanimal (live)</video>
		<audio url="02 Masterswarm">Masterswarm</audio>
		<audio url="11 Natural Disaster">Natural Disaster</audio>
	</album>

	<album rank="10">
		<artist>The Antlers</artist>
		<title>Hospice</title>
		<label>Frenchkiss</label>
		<origin>Brooklyn</origin>
		<review><![CDATA[
			When I first heard the second track from this album, "Kettering," I quite literally cried. Although the song is itself, very emotional, the song brought back strong memories from my own adolescence, when my mom who was, at most times during a year, hospitalized after various surgeries and various treatments in an ultimately futile attempt to remove the cancer that was, at best, relatively quick in its fatality. I doubt that anyone who has, at some point in their life, had a loved one die, or even suffer from cancer, would react any differently to this track.\n
			While there are a couple of other emotionally draining, powerful songs on this album, a lot of it is a little trite. Take "Two," for instance, the album's de facto single. It's actually a little poppy and stands out on the album, but kind of in a bad way, because it just doesn't go with the rest of it. Then there's "Bear," which runs over the painful decision that a couple go through when deciding to have an abortion. This one is more painful in that it gets to be simply obnoxious after a while. Now that I've heard the album a few times, I usually end up skipping this track.\n
			So it's hard to judge this one because it's kind of all over the place, and it may be because of its production. The story goes that the lead singer and writer of the songs spent about two years in relative isolation while writing this. A lot of this album is a window inside of that time of emotional pain and trying introspection, but that also means that you have to filter through some stuff that isn't quite as prolific. All in all though, this is an excellent release, especially since this is a band that I had almost zero interest in - based on what I had heard - before this was re-released this past year once the group was signed onto French Kiss (so it's debatable whether this album should be on any "Best of" lists for this year in the first place).\n
			The Antlers will be in LA and San Diego on Feb 9 and 10 respectively.
		]]></review>
		<release>818</release>
		<link>http://myspace.com/theantlers</link>
		<audio url="02-kettering">Kettering</audio>
		<video url="UC5iVarCBiA">Two (official video)</video>
	</album>

	<album rank="11">
		<artist>Asobi Seksu</artist>
		<title>Hush</title>
		<label>Polyvinyl</label>
		<origin>Brooklyn</origin>
		<review><![CDATA[
		I've only seen Asobi Seksu once, in Tucson, at Hotel Congress. I had never heard of them before and I swear that I was there for another show but ended up much more impressed with them. However, I cannot remember who it was that I was there to see, and that really, really annoys me.
I think what really drew me to the band was the singer, an easy-on-the-eye, petite woman of Japanese heritage. Emitting from that woman was a voice capable of rattling any person to attention, all while skillfully navigating the synth in front of her. To me, nothing's sexier than a woman who has both singing and instrumental talent.\n
It wasn't until the group switched over to Polyvinyl that I really began to pay them attention. Polyvinyl has, traditionally, been capable of doing fantastic things with the bands that they sign. Some of my favorite groups are on there: Aloha, Headlights, Of Montreal, and many others that have since moved onto other, larger labels.\n
"Hush" is the first result of that switch and it's the band's best effort yet. Stripped away from previous releases are the sort of unnecessary deviations and we're left with a more palatable and laid back collection of music. The production on "Hush" is also an improvement in leaps and bounds.\n
		"Transparence," with an ethereal quality and siren "Ohs" closing the song out, is an easy favorite. My only gripe with that song is that, for the video and single, there was an intro part added to what was a sudden entrance, and it really kind of ruins the song, at least to me. Much of the rest of the album consists of songs that work well on their own, and well together as an album, but nothing really stands out. "Glacially" marks itself with yet another excpetional vocal performance. The flow gets ruined a little bit with the last two tracks. "Me and Mary" is almost hommage to the group's prior work: a sort of fast, jangly musical rant that leads no where. "Blind Little Rain," on the other hand, sounds almost like a cover, and is a departure from the style of the rest of the album.\n
		But I really wanted to like this when it came out, and stand by it as a very good album. It's worth at least checking out.
Asobi Seksu just left the West Coast (didn't come to AZ), but is still touring. Check the MySpace or Polyvinyl's site for the dates.
		]]></review>
		<release>217</release>
		<link>http://myspace.com/asobiseksu</link>
		<audio url="09 Glacially">Glacially</audio>
		<video url="XZUnLCM4R0Q">Transparence (official video)</video>
		<video url="KYuDBdVj8_k">Me &amp; Mary (official video)</video>
	</album>

	<album rank="2">
		<artist>Dan Deacon</artist>
		<title>Bromst</title>
		<label>Carpark</label>
		<origin>Baltimore</origin>
		<review><![CDATA[
		Dan Deacon is one of those artists who sits around for years in relative obscurity only to be suddenly thrust into the spotlight through a prolific release and sudden media attention. "Bromst" is that release for the Baltimore-based Deacon, which has also brought attention to Baltimore's Wham City art collective, of which he is a member. And it's the members of that collective who have written a new chapter for Deacon in his live performances: 14 or so of them have followed Deacon around the country on a converted, biodiesel-burning school bus to perform possibly one of the most interesting shows you'll attend.\n
I attended one such show in Phoenix this past year. It began with a 5-minute period of instruction from Deacon: shuffle (don't lift your feet) around the room in one direction with your eyes closed until you bump into someone, then turn 90 degrees and continue on. After this, was the strange, comical speak and repeat rant that I took the video of below. Further along in the show were other, obviously ridiculous, exhibitions of audience participation, taken to an extreme.\n
		"Bromst" although it may seem strange at times to some with its shrill vocal effects, is Deacon's most accessible album yet. "Build Voice," titled as such likely because it begins with vocals fading in, starts off with a bang: a driving wall of sound that also serves as a tasting tray of the sort of instrumentation you'll hear throughout the rest of the album. "Snookered" is an easy favorite, with its catchy, repeated chorus, "Been wrong so many times before, but never quite like this." But "Paddling Ghost" is my personal favorite, with a half-time/double-time rhythmic layout that's hard not to bob your head along with.\n
		To me, what's really admirable about this release is all of the obvious effort that was put into its production: it sounds fantastic. Then there's the instrumentation involved. Deacon's touring group includes no less than 14 people, some often switching between instruments. To me, it's daunting to imagine the time that was put into this record. And I think it shows in the end product.\n
Dan Deacon has sporadic tours. He'll be on the East Coast in February for a couple of dates but, if you're interested in seeing him (it's an experience), keep checking his web sites because his shows just pop up.
		]]></review>
		<release>324</release>
		<link>http://myspace.com/dandeacon</link>
		<audio url="04 Snookered">Snookered</audio>
		<audio url="05 On the Mountains">On the Mountains</audio>
		<video url="N01aTvi7ef4">Paddling Ghost (official video)</video>
		<video url="RHtkFlpgIlE">Recorded by me at his show at The Clubhouse in Phoenix in April</video>
	</album>

	<album rank="3">
		<artist>Phoenix</artist>
		<title>Wolfgang Amadeus</title>
		<label>Astralwerks</label>
		<origin>Versailles, France</origin>
		<review><![CDATA[
		Although revisiting 80's New Wave electro-pop has only become fashionable within the past five or so years with bands, Phoenix probably only sees this as the rest of the world catching up with them. The French group has been around since 2000 with their debut LP "United", when the American 20-something world was properly introduced with "Too Young" from that first release being featured in the somewhat generation-defining Sofia Coppola film "Lost in Translation," whose soundtrack included such old school underground masters as My Bloody Valentine, Squarepusher and The Jesus and Mary Chain.\n
Almost sensing that the music world was now ready for them this time around, Phoenix, who have always been on the electro-friendly and financially well-off Astralworks, released this collection of songs, with more production and decidedly more promotion. Nothing has changed from the group stylistically, only that their songwriting has become more refined and catchy melodies have been thrown out in favor of somewhat more intricate arrangements and riffs. In other words: they've improved a lot.\n
It was on XM radio - which I only get when I have a rental car (I forget where I was, but I was driving a lot) earlier in 2009 that they did an interview with the group and played some songs off the new album. At that point, I got excited, because I knew that this was finally a Phoenix album worth buying not for its pop sensibility alone, but for its pure music value.\n
Say what you want about the French, but they have given us Air and Daft Punk (just to name a few) and you could label both of those groups, without argument, as "highly influential." Phoenix is in a position to become that, to an extent. The problem is that, whereas those other now well-known groups were pioneers with their respective styles, Phoenix has come at an unfortunate point in time where their style has, essentially, "already been done" by other groups, despite predating those groups by several years. I think had this album been released two years ago and given the same push as it's gotten, it would been much more prolific for people. But that's not to say that this album is not making Phoenix more popular. With commercial exposure at an all-time high (Cadillac commercial, anyone?) and a David Letterman appearance, the group can only go up in popularity.\n
As for the album, there are the catchy but still wonderful tracks to open the album: "Lisztomania" and "1901" (both of which have awful videos made to promote them). But all of the other tracks on the album are just as good, if not better. "Rome" is probably my favorite, with a more introspective and more drawn-out framework, the song is less catchy but easier to get really involved with. There's the interesting, two-parted "Love Like a Sunset," the first part of which is an instrumental that slowly builds until the crescendo reveals an acoustic guitar and the second part of the song, where the vocals begin. If you look at the structure of it, it really is like a sunset, and that makes it all the more interesting, at least to me.\n
If you're going to buy an album in 2009, I don't know that this necessarily needs to be it. This year, my list is, I think, more varied than it has been in past years, so you can certainly check out other stuff because, although I think most people will like the catchier Phoenix tracks, not everyone will end up loving the album.\n
Phoenix will be in Phoenix (???!!!) on February 1, at the Marquee Theatre (yeah, okay, that's technically Tempe).
		]]></review>
		<release>526</release>
		<link>http://www.myspace.com/wearephoenix</link>
		<audio url="06 Lasso">Lasso</audio>
		<audio url="07 Rome">Rome</audio>
		<video url="NhhzV5Xv9Tw">Lisztomania (official video)</video>
		<video url="4rbGj4_qYgI">1901 (official video)</video>
	</album>

	<album rank="7">
		<artist>Passion Pit</artist>
		<title>Manners</title>
		<label>Frenchkiss</label>
		<origin>Boston</origin>
		<review><![CDATA[
		Whereas Passion Pit will likely not bowl anyone over with their inspired song writing and deep, reflective lyrics, they're also a band that you can't take too seriously. Something is just funny and light-hearted about their music, and that may be where that music falters a bit. "Little Secrets" is cutesy enough to make you choke, but is also so catchy that you'll certainly find yourself unknowingly singing along with it. The breakout hit, "Sleepyhead" makes an appearance on this release, after also appearing on the group's original EP, "Chunk of Change," and, if you haven't heard it before, you'll likely get into it.\n
		I found myself liking the songs that I was unfamiliar with the most. "Moth's Wings," "To Kingdom Come," and "Seaweed Song" are my favorites. It may be that the album is so catchy that it's easy to get a little sick of but, at the same time, there's a lot of good stuff here. I've never been to a Passion Pit show. I missed them the last time they were, more out of choice than anything since they were already wriggling in teenie popularity and were playing an all-ages show. I can only image though that it's a fun show, because it's just fun music. When you make an album this fun and catchy, it's hard for people not to like it. It's easy to critique an album like this for placating to a certain preconception of music, but you sometimes have to let yourself go, chill the fuck out, and just enjoy some things in music. Passion Pit is one of those things.\n
		Passion Pit were in Phoenix last fall. You missed it and, honestly, they're probably going to be rocking the Dodge or some other impersonal venue the next time they're in the state.
		]]></review>
		<release>519</release>
		<link>http://www.myspace.com/passionpit</link>
		<audio url="03 Moth's Wings">Moth's Wings</audio>
		<video url="xh0ueJN5rvA">To Kingdom Come (official video)</video>
		<video url="9U-Ul5qnLeQ">The Reeling (official video)</video>
	</album>

	<album rank="5">
		<artist>Laura Gibson</artist>
		<title>Beast of Seasons</title>
		<label>Hush</label>
		<origin>Portland</origin>
		<review><![CDATA[
		Laura Gibson is one of those artists who I feel that everyone should listen to. Her music is undeniably sweet, thoughtful and introspective and, personally, she's one of the nicest people you could ever meet. I first came across her in 2007 at a show in Spokane, Washington. She opened for fellow Portlanders Point Juncture, WA. I had stayed in town an extra night to see this show, and I'm glad that I did. Dawned in a flowery summer dress and tall cowboy boots, she played a solo set of some of the more beautiful songs I've heard performed live, in the backdrop of a slowly receding twilight on the patio outside an old mill, now converted to a winery. It was really beautiful.\n
		Her only available release at that time was "If You Come to Greet Me," and it became a quick favorite of mine and began my mission to introduce her music to everyone I knew. Everyone who I've given the release to to listen has loved it, and I take that only as confirmation that she stands out as an artist, in a sea (ocean, really) of female singer-songwriters, playing a very similar brand of music. What separates Laura may be her personality and genuinity, in the way it comes across in her music. I read once that her music is the audial equivalent of "sweater weather," and although that may have been true with "If You Come to Greet Me," "Beast of Seasons" has much more depth, and is put together in a way 
that entices you to expand your perceptive boundaries regarding this genre of music.\n
		"Beast of Seasons" is divided into two decidedly separate sections, both on the track listing and in the sonic atmospheres that each section creates. The first section contains the aptly-titled "Spirited," an easy single for the album and, by far, Laura's most upbeat track to date. "Come By Storm" is a beautiful ballad of longing that allows the listener to imagine the sort of gray day affairs that may have led to its artistic conception. It also appeared on her Daytrotter session in 2008, and was the first taste, for me, of this new release.\n
		The second section though, gets much darker, and we start to see almost a different side of Laura's music. "Funeral Song" (yet again aptly titled) is not sad in the way that a tearjerking movie scene backed by dramatic music is, but rather the sort of sad you encounter at funerals where you didn't know the person particularly well and reflect largely on your own mortality. The next track, "Where Have All Your Good Words Gone," blends flawlessly with its predecessor, and contains a beautiful violin swell, introducing an aspect of this particular Laura Gibson release that allows it to excel past her previous efforts: instrumentation. Although Laura still womans the guitar and that gorgeous voice, there's a lot else going on. The album closes with "Glory," a whole-hearted reflective track where she reminisces on those small memories of our childhoods and families that, although relatively abstract, hold a greater significance and representation of that time in our lives.
		All in all, I could not be happier with this release, especially after following Laura for the past few years, waiting for a new one to come along. I remember asking her about this album at a show in Prescott (terrible show as the crowd talked over her) in the summer of 2008 and I was surprised when what she told me then - February - turned out to be right on. Laura's just that kind of person though: if she sang about the sky the being green, I would be inclined to hear her out and, at the least, try to imagine a world where it really was.
		Laura will be at various spots on the West Coast (mostly California) throughout the spring. Look for more dates soon though.
		]]></review>
		<release>224</release>
		<link>http://www.myspace.com/lauragibson</link>
		<audio url="03 Spirited">Spirited</audio>
		<video url="DTBhPt5PSCY">Come By Storm (recorded live, by me, at Solar Culture in Tucson)</video>
		<video url="rrJpDvpkmFc">Sweet Deception (recorded live, by me, at Solar Culture in Tucson)</video>
	</album>

	<album rank="12">
		<artist>Animal Collective</artist>
		<title>Merriweather Post Pavilion</title>
		<label>Domino</label>
		<origin>Baltimore</origin>
		<review><![CDATA[
		A darling of the indie blog and media scene, this was an early favorite for album of the year. Even before it came out, in 2008, there was a lot of buzz. The album's title comes from a large arena in central Maryland, and the album is supposedly written specifically to be performed at that arena.\n
If you're familiar with Animal Collective's previous work, then the first thing you'll notice is how much more "accessible" this album is. There are tracks on here that could be played on the radio (and have been) and even considered "pop songs." In that way, if you were a fan of their other stuff, then you very well may not like this one. I was never in love with their music. It was that sort of stuff that was almost written to be deliberately strange and avant garde, attempting to make some sort of unknown "artistic statement" to the listener. It was interesting, but it wasn't good. You could also hear the strong Pink Floyd influence in the group, particularly in the vocals, but that's nearly gone on this album.\n
		With all of this attention, maybe it's just reactionary on my part to rate this album below ten but, honestly, when it first came out, I really did try to get into it. I listened to it, in its entirety, online every day for about a week. Finally, I realized the issue: I really liked the first half, but the second half dragged unnecessarily. The first half is where you find the more catchy, possible singles like "My Girls" and "Summertime Clothes," but everything else above track 6 is upbeat and interesting. And it's on that track 6 that I usually find myself becoming bored with the album and letting it fade into the background, until I become sick of it outright.
		But, the fact is, those first few tracks are really, really good, 
		]]></review>
		<release>120</release>
		<link>http://animalcollective.org/</link>
		<video url="zol2MJf6XNE">My Girls (official video)</video>
		<video url="GxhaRgJUMl8">Summertime Clothes (official video)</video>
		<video url="fYEAflCO4Eo">In the Flowers (official video)</video>
	</album>

	<album rank="6">
		<artist>White Denim</artist>
		<title>Fits</title>
		<label>Downtown</label>
		<origin>Austin</origin>
		<review><![CDATA[
		The release date of this album depends on where exactly you live. "Fits" was released to Europe in late April but not in the US until late October. It seems strange, but there was reason behind this, as the band started a European tour just after the EU release, and a US tour just after the US release. It was to keep the press buzz up so that people would come out and experience them. And they would likely not be sorry. <strike>White Denim is one of the few bands that I've wanted to see for over a year, but have just never caught them at the right time. From videos, they seem to have an energetic and enjoyable live show though.</strike> White Denim's live show is one of the better 
For the music, the band catches a lot of crap about their often disjointed use of time signatures, but that just falls right in with something that I've always wanted to do myself, musically: make music that people can NOT dance to. Try bobbing your head to a White Denim song, and you'll likely get confused somewhere in the middle, because they will have shifted time signatures and/or tempos on you. It's like garage math rock, if that actually exists.\n
Possibly to make up for the long wait their home country had to endure for their new album to drop, the US version of "Fits" came/comes with a bonus copy of their 2008 US "debut" (it's hard to say what their debut is) "Exposion." Although the majority of the songs from the EU debut "Workout Holidays" are on here as well, some are missing, and the track order is very different, making it, in my opinion, an inferior version of the group's initial offering. But, still, it's fun to have it. Even funnier is that the CD pressing was made in error, and the "Exposion" artwork is on top of the "Fits" CD, while the "Fits" artwork is on top of the "Exposion" CD. I can't imagine that it was deliberate.\n
But what really is deliberate with this new release is the music. Recording, quite literally, in a travel trailer, the group had an unrefined sound, near the extreme of lo-fi without going into the "poor quality" realm, and that almost seemed to gain the group a fanbase, based solely on the recording quality. Though "Fits" was, again, recorded in that same trailer, it's somehow a much different album, but not in any negative way.
"Fits" is, at first listen, a much more coherent and palatable album. Drawing more from psychedelia and vintage sounds, many songs sound as though they could have been on the "Dazed & Confused" soundtrack, but something still sounds very fresh and contemporary about their particular sound and, more specifically, the WAY that they draw from the obvious influences.\n\n
My first listen made me literally jump up and go buy the album. I had waited until October to actually listen to it, possibly because, having such a strong initial release, I didn't have much faith that the group would be able to top it. But, oh, they have.\n
The album opener is nice, and sort of what you would expect from the group if you were already acquainted with them: a sort of rambling rock song that suddenly and dramatically shifts time signatures. It's a good opener though, and it sets the stage for one of the album's highlights, "All Consolations," which brings out an overly-reverbed Petralli on vocals, along with one of the group's few guitar solos. And, just as you start bobbing your head to this one, the chorus comes in and completely shifts the rhythm, throwing you off. Oh, but it's a good thing!\n
"I Start to Run" was a track released early on as a free download. Its heavy bass, introduction of sampling (somewhat awkwardly) and singing style are immediately reminiscent of, maybe, The Guess Who, or really any other powerful late 60's/early 70's rock group you can think of. It's not a bad song, but doesn't do a whole lot at showing off how good of an album this is. Then comes in "Sex Prayer," which is almost a psychedelic overload. Think "In-A-Gadda-Da-Vida" but shorter and all instrumental. It's jammy, yet ethereal and, I think, one of the highlights of the album.
But, by far, one of my three favorites on here is "Mirrored and Reverse," which is, again very psychedelic, complete with sitar-like guitar line and minimal, repetitive vocals, but quickly winds into a much more interesting and unexpected chorus that works very, very well for it.\n
White Denim were just here. You missed it, dude.
		]]></review>
		<release>1020</release>
		<link>http://myspace.com/whitedenimmusic</link>
		<audio url="07 Mirrored and Reverse">Mirrored and Reverse</audio>
		<audio url="11 Regina Holding Hands">Regina Holding Hands</audio>
		<video url="VW26TBF1boo">I Start to Run (official video)</video>
		<video url="XBx8zZpQ0PQ">Heart From Us All + Others (recorded live, by me, at Club Congress)</video>
	</album>

	<album rank="9">
		<artist>Here We Go Magic</artist>
		<title>Here We Go Magic</title>
		<label>Western Vinyl</label>
		<origin>Boston</origin>
		<review><![CDATA[
		Here We Go Magic's self-titled release (not their debut) begins with "Only Pieces," a song that may immediately remind you of a Paul Simon tune, both in how closely the singer's voice resembles that of Simon's, and how much it sounds like something that he would have done in the '80's, during his heyday. The other tracks on the album though are not in the least similar, but that's really for the best. I mean, would you buy an album of songs that sound like '80's Paul Simon? Even the singing style of vocalist (and the one, real member) Luke Temple changes throughout the album. The second track, "Fangela," one of the stand-outs of the album, is best described as quirky but, in that way, fun. Temple utilizes overlapping vocal lines during the verses to create an almost chaotic effect on top of what is, at its core, a rather organized and solid song. The result is a catchy and enjoyable track. But his singing style changes dramatically, into a sort of shrill falsetto that ends up working well here.\n
		"Ahab" (linked below) is also one of my favorites, introduced with an odd staccato guitar riff, until the layers of other sounds are brought in, and the rhythm makes much more sense. I could easily see this track being featured prominently in a film, although only in a certain mood. It's a jam song, only lightly peppered with vocals making you appreciate, all the more, the instrumentation and arrangement that went into this.
		"Tunnelvision" is the definite single here: simple, very catchy, the title is repeated many times in the verses, and it's a fun song. The videos for both "Tunnelvision" and "Fangela" were done by the same artist, so they're very similar, but also very interesting in the visual interpretation that artist took with these songs.
		Much of the rest of this short album is very abstract. Take "I Just Want to See You Underwater," which begins with a keyboard line that can best be described as "tabulation music," and slowly fades into a real beat, lined with guitars, bass and vocals repeating the title. It's an interesting song, and available for listen on their MySpace.
		If you go onto that MySpace, it's easy to figure out that each of these songs is by the same artist, but what's no completely evident is they're from the same album. I know that I always talk about "flow" making great albums and it seems like this may not have that flow with such strikingly different tracks, but it all somehow works.
		]]></review>
		<release>224</release>
		<link>http://myspace.com/herewegomagic</link>
		<audio url="Ahab">Ahab</audio>
		<video url="fer4JUpYWV0">Tunnelvision</video>
		<video url="cpxZvQsQH8Y">Fangela</video>
	</album>

	<album rank="4">
		<artist>The Heligoats</artist>
		<title>Goodness Gracious</title>
		<label>Graveface</label>
		<origin>Champaign, Illinois</origin>
		<review><![CDATA[
		Note: This album was officially released on 1-26-2010, but has been available for digital download from the record company since the release date specified here. It's a tough call as to the "when" it was released, but I use Radiohead as a precedent: "In Rainbows" was released as a digital download in 2007, but the actual album was not released until 2008, however, most "Best of 2007" lists (including mine) had "In Rainbows" on them.\n
		With The Heligoats came something that happens a lot in my pursuance of live music: I found a show that I thought would be good to see but, when checking out the opening bands, found that I liked one a lot more than the one I had intended to see. The Heligoats were definitely that way, when I went to see them about a year ago at Plush. 2007's "The End of All Purpose" was excellent, with, I think, one of the better tracks of the decade in "You Win." I was hoping that the group would get their next release out in 2009, and they did so, in mid-November with "Goodness Gracious." \n
As an album, everything is very consistent: there are few surprises musically but, at the same time, nothing is really the same on any two tracks. Singer Chris Otepka has a way of keeping you entertained with lyrics that teeter between sad, painful, witty and hilarious, sometimes all at the same instance. Otepka begins the album with "A Guide to the Outdoors," a strumming tap-your-foot sort of song that is, based on their past releases, very Heligoats but, at the same time, more refined and focused. We move onto "Mercury," where, in one of those bouts of depressing hilarity, Otepka reassures us with "Don't be discouraged, dead fish on the beach, they were probably just swimming in mercury." There are plenty of other tracks that follow this same vane of intelligent lyrics and intelligent songwriting, in a way that makes you think that musicians in the Midwest are somehow just doing things better than the rest us right now. "Watertowers on Fire" and "Rubber Stopper" offer great tracks, but my personal favorite is the title track, which has Otepka solo with his guitar, with occasional back-up from a background piano, in a somewhat sad sense of reminiscence: "I went from burning my days by to burning daylight with a purpose." It's a perfect closer and what makes it better is that the initial recording of Otepka and his guitar sound as though they were recorded late, one introspective night in his bedroom.\n
The Heligoats are again on tour and will be back at Plush on February 11.
		]]></review>
		<release>1110</release>
		<link>http://myspace.com/theheligoats</link>
		<audio url="03 Fish Sticks">Fish Sticks</audio>
		<audio url="07 Rubber Stopper">Rubber Stopper</audio>
		<audio url="10 Goodness Gracious">Goodness Gracious</audio>
		<video url="E_hJBfZ5DSw">You Win (from &quot;The End of All Purpose&quot;)</video>
	</album>

	<album rank="8">
		<artist>Bear in Heaven</artist>
		<title>Beast Rest Forth Mouth</title>
		<label>Hometapes</label>
		<origin>Brooklyn</origin>
		<review><![CDATA[
		You have to wonder if Bear in Heaven, out of frustration for titling their second, full-length release, just picked four, random words from the dictionary. I'm sure there's something there (maybe the inversion of some letters producing other words), but it's not exactly catchy.
"Lovesick Teenager" though, from this release, is one of the catchier tracks of the year. But that's not to belittle the album as catchy and, therefore, a bit contrived and boring, it's actually fairly layered and interesting.\n
		This is another album that I keep listening to and getting more and more into it.\n
		Bear in Heaven will be in Phoenix at the Rhythm Room, opening for Cymbals Eat Guitars, on March 22.
		]]></review>
		<release>1013</release>
		<link>http://myspace.com/bearinheaven</link>
		<audio url="Bear in Heaven_03_You Do You">You Do You</audio>
		<audio url="Bear In Heaven - Lovesick Teenagers">Lovesick Teenagers</audio>
	</album>
	
	<album rank="15">
		<artist>Real Estate</artist>
		<title>Real Estate</title>
		<label>Woodsist</label>
		<origin>New Brunswick, New Jersey</origin>
		<review><![CDATA[
		I loved this album when I first heard it via Pitchfork, and listened to it every day for about a week, only getting more into it every day. I bought it but, after a few listens, realized that, although it is a good album, it's really that there are 2-3 stand-out tracks, and the rest of the album is closer to average. There's something going on in the indie rock world with sounding a bit amateur in your production, and I just don't like it. And I'm not talking about lo-fi, because that's fine, I'm talking about putting tracks onto an album that should have been scrapped and actually putting a bit of effort into your recording process. Real Estate only has a couple of examples of this, but those examples are enough to annoy me and bring it up. There are a lot of other bands out there who are much, much, much worse. You know who you are!
		]]></review>
		<release>1117</release>
		<link>http://myspace.com/letsrockthebeach</link>
		<audio url="01 Beach Comber">Beach Comber</audio>
		<audio url="07 Green River">Green River</audio>
	</album>
	
	<album rank="13">
		<artist>Maps &amp; Atlases</artist>
		<title>You, Me and the Mountain</title>
		<label>(unsigned) Sargent House</label>
		<origin>Chicago</origin>
		<review><![CDATA[
		Maps & Atlases represents an almost bizarro-world version of the annoying new indie wave of not getting things right: these guys are fucking precise. Math rock evolved out of gear heads and music nerds realizing that no one wanted to listen to their prog bullshit except them. That's right, there's a reason why Dream Theater never really took off and why no one gives a rat's ass about Rush, let alone what Alex Lifeson is up to in the way of side projects. Math rock is usually a bit much for most people though and, if you're not into odd time signatures, then you're probably not going to appreciate it. Maps & Atlases is really one of the first of these groups I've heard that's actually palatable to the masses and enjoyable, and "You, Me & the Mountain" is their best offering to date.\n
		I wasn't really into them until I saw them open for Ra Ra Riot in Minneapolis. It seemed odd for an obscure math rock group to open for the more poppy Ra Ra Riot, but I ended up actually enjoying them a lot more than I did Ra Ra Riot, who seemed like they were totally exhausted (although I saw them a couple of months earlier at Red Rocks in Denver and they were amazing). I left deciding to listen to them more, and that's when I discovered a couple of their songs that have really grown on me since then: the still-unreleased "Israeli Caves" and "Artichokes," which appears on this release, an EP. I bought the EP and have only gotten more into it as I've listened to each song more, but "Artichokes" definitely remains my favorite.\n
		With this album, my suggestion would be to listen to the MySpace tracks (most of this album is streaming on there) and see if you can get into it. Like I said, this is a more non-geek-friendly offering, but still, not everyone will like it.
		]]></review>
		<release>102</release>
		<link>http://myspace.com/mapsandatlases</link>
		<audio url="02 Artichokes">Artichokes</audio>
	</album>
	
	<album rank="14">
		<artist>A Sunny Day in Glasgow</artist>
		<title>Ashes Grammar</title>
		<label>Mis Ojos Discos</label>
		<origin>Philadelphia</origin>
		<review><![CDATA[
		I always like having round numbers in these lists. When I finished compiling my favorite albums of the year, determined the order and then looked at the results, I had 14. That's when I do some much-needed revisiting and when I often find some really good work that I had previously overlooked.\n
		A Sunny Day in Glasgow is from, of all places, Philadelphia, and plays a style of music that is, to me, reminscent of obscure, mid-80's electronica. Female vocals dot most of their songs, but are almost always heavy with effects. The music often falls into walls of noise and pieces that seem to come from no where and, after a few minutes, go back there. I really enjoyed "5:15 Train" from their 2008 release "Scribble Mural Comic Journal" though, and spent at least a week last year listening to the song at least once a day. It was fun and it was easy to get into.\n
		What "Ashes Grammar" does differently is think. Most importantly, to me, things like "Where should this next part go?" and "What would sound good here?" seemed to be thought over a lot more in this release. Part of that may be just acquired experience on the part of the group.\n
		A lot of the tracks on here still sound a bit like a clusterfuck though, honestly. Part of it is the band's now quintessential lyric production: relatively monotone, high, lots of effects and often layered up. But it's done better here and the result is an album that's actually pretty good.\n
		A Sunny Day in Glasgow will be at Solar Culture on March 15.
		]]></review>
		<release>915</release>
		<link>http://myspace.com/asunnydayinglasgow</link>
		<audio url="A Sunny Day in Glasgow - Ashes Grammar Ashes Maths">Ashes Grammar &amp; Ashes Maths (two separate tracks on the album)</audio>
		<audio url="A Sunny Day in Glasgow - Failure">Failure</audio>
	</album>
</cds>
