Written by Fense

The year is over. We have a new president about to take office, a failing economy, and out of control weather. The good news is that last year saw some amazing albums hit and, thanks to the rampant oppression of hard times, next year should prove just as fruitful music-wise. After all, difficult times, depression, etc. can often breed above average achievements in the arts… right?

So here it is, my top 33 and 1/3 albums of the year and the last post of 2008. The 33 is for the top 33 albums (with a few EPs included) of the year, while the 1/3 is an honorable mention 7″ single. We’ll begin with the latter…

UPDATE (12/27/2008): OK, so I blew it. I included two albums from ’07, one of which I know was on the ’07 list. Well, I’ve gone and made the edits, but have kept the comments and writing. In the next few days watch for new numbers 32 and 33.

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Top 1/3. Topps 7″ Single by BOAT on Magic Marker

David Crane of BOAT and I share a few things. First and foremost, in relation to this release, is our early love for baseball cards. D Crane sums this love up perfectly in “Topps”. I guess it’s also fitting to kick off this year’s best of list with a single for a song called “Topps”…

BOAT: Topps [mp3]

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31. Car Alarm by Sea & Cake on Thrill Jockey

I’ve got a few Sea And Cake albums, but none of them gripped me as much as Car Alarm.

Sea And Cake: Car Alarm [mp3]

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30. From The Valley To The Stars by El Perro Del Mar on Memphis Industries

El Perro Del Mar writes simple songs with overly-repetitive lyrics, but that’s what makes her music great. “Glory To The World” is no exception.

El Perro Del Mar: Glory To The World [mp3]

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31. In Our Bedroom After The War by Stars on Arts & Crafts

Stars always seem to release great music, but it’s music that doesn’t intrigue me right away. It tends to take about a year before the obsession hits. I’m sure this album will be no different — in a few months I’ll be regretting it’s low placement at 31.

Listen to Stars on their MySpace page.

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29. Rotten Apples by Voxhaul Broadcast on Retone Records

This is the first of several “surprise” albums on this year’s list. Rotten Apples by Voxhaul Broadcast continually pops up in my playlist. It’s great songs like the title track and “The Backrooms” that give this one a spot.

Voxhaul Broadcast: Rotten Apples [mp3]

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28. Partie Traumatic by Black Kids on Columbia

OK, so Partie Traumatic by Black Kids was initially a great letdown. With the amount of hype generated thanks to Wizards of Ahhhs, that’s really not much of a surprise. Then the new songs started to grow on me.

So yeah, the song below is technically from Wizards of Ahhhs, but a clean, fresh version is on Partie Traumatic.

Black Kids: I’m Not Gonna Teach Your Boyfriend How To Dance With You [mp3]

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27. Escapements by The Flying Tourbillon Orchestra

Just one of many anthemic bands out there, The Flying Tourbillon Orchestra will soon, I’m sure, be a household name. While nowhere near the power that is The Arcade Fire, their music is true and right and very, very good.

The Flying Tourbillon Orchestra: In A Dream [mp3]

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26. Weepy EP by Mt. St. Helens Vietnam Band

I guess it’s no surprise Mt. St. Helens Vietnam Band has hooked up with Dead Oceans. Weepy is a damn great EP, and MSHVB is a damn great band that shows a monumental amount of promise.

Mt. St. Helens Vietnam Band: Dull Reason [mp3]

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25. Falling Off The Lavender Bridge by Lightspeed Champion on Domino

Falling Off The Lavender Bridge by Lightspeed Champion is a truly brilliant album. Full of British-tinged vocals backed by acoustic guitar and violin, this ex-Test Icicle finally found his true calling.

Listen to Lightspeed Champion on their MySpace page.

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24. The New Year by The New Year on Touch And Go Records

The New Year‘s self-titled release is filled with catchy pop gems any fan of Bedhead could be proud of.

The New Year: The Company I Can Get [mp3]

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23. In Case We Lose What We Have by Letters on Yoyo Recordings

Letters are one of many seemingly unheard-of bands on this year’s list. They’re a bit of a local favorite — from Olympia, WA — and their style of folk is both unique and memorable. Definitely a band to keep an eye on!

Letters: Ode To Yr Medicine [mp3]

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22. First Frost by The Lucksmiths on Matinee Recordings

First Frost may very well be The Lucksmiths‘ greatest collective work yet. Other albums have had noteworthy tunes, but you’d probably be hard pressed in finding one that holds together as well as this one. A masterpiece!

The Lucksmiths: The National Mitten Registry [mp3]

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21. Fear Of Flying by David Karsten Daniels on Fat Cat

Yet another surprise in a year full of them. My seven month late review will be published soon, and I just couldn’t resist the power behind David Karsten Daniels‘ music. His style of folk blends various additional genres for something a bit different and totally amazing.

Listen to DKD on his MySpace page.

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20. Huggable Dust by Okay on Absolutely Kosher

Was it coincidence that I spilled my bike in front of three cars on a busy road while listening to Huggable Dust by Okay, or was it something else? After all, I hugged the dust, so to say, but was okay in that I ultimately came away without a scratch. Think Electric President gone folk.

Okay: Beast [mp3]

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19. Who Killed Harry Houdini? by I’m From Barcelona on EMI Sweden

The follow-up to their glorious debut, Who Killed Harry Houdini? holds together better than I’m From Barcelona‘s first and finds the group with a more standardized, accessible sound, but fails to have a true standout like “We’re From Barcelona”. Still, it’s a more than worthy release for the top twenty.

I’m From Barcelona: Music Killed Me [mp3]

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18. The Plum Album by Haakon Ellingsen

Haakon Ellingsen‘s style of pop may hint of classic artists like The Beatles and, perhaps less so, The Beach Boys, but despite tiny similarities his music is quite unique. This is definitely a pop artist to keep an eye on in 2009 and beyond!

Haakon Ellingsen: Sunshine Girl [mp3]

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17. Crystal Antlers EP by Crystal Antlers on Touch And Go Records

Crystal Antlers is the one “noise”-ish band to make this year’s 33 and 1/3, though there were several notables — HEALTH, Oneida, Crystal Castles, to name a few. These guys made it thanks to their wild solos and heart-wrenching screams.

Crystal Antlers: A Thousand Eyes [mp3]

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16. Sings Like A Priest / Smaller Constellations by The Sweetheart Parade

The Sweetheart Parade popped up on random shuffles consistently this year and nearly every time I was astonished that it wasn’t fronted by Songs:Ohia and Magnolia Electric Co. frontman Jason Molina. And each time the surprise faded to the duh factor. TSP’s music has the volume that Molina’s never seemed to achieve, though you always wanted it to.

The Sweetheart Parade: Crooked Crow [mp3]

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15. Second To The Last Frontier by Feral Children on Sarathan Records

One part various hints of Modest Mouse and five parts the pent up angst of child locked in cage, Feral Children is a ferocious band that gives a par none live performance that simply must be witnessed to be believed.

Feral Children: Spy/Glass House [mp3]

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14. Nothing Is Precious Enough For Us by Death Vessel on Sub Pop

Death Vessel is another surprise. The first few listens are a little strange due to Joel’s somewhat ambiguously gendered vocals. It’s an oddity quickly overcome, and thus elements like the solo in “Penninsula” and the lyrical prowess quickly come to dominate. Death Vessel was the band that launched FensePost 2.0 when we went live this past August.

Death Vessel: Bruno’s Torso [mp3]

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14. The Flying Club Cup by Beirut on Ba Da Bing

It’s not that The Flying Club Cup by Beirut isn’t a great album — it very much so is — it’s just that the originality has dropped slightly since Gulak Orkestar. Still, it comes in at number 14, no small feat there. Beirut will always be a band to watch, listen to, and love.

Beirut: A Sunday Smile [mp3]

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13. If Children by Wye Oak on Merge

If Children by Wye Oak is a simple album. After all, how complex can two individuals be when they’re up against groups that have ten times their number, like Dark Meat and I’m From Barcelona. Then again, there’s something complex here that makes Wye Oak pretty damn amazing. It’s easy to see what drew Merge to put out this album.

Wye Oak: Family Glue [mp3]

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12. The Stand Ins by Okkervil River on Jagjaguwar

Part of Okkervil Rivers epic duo of albums (also including The Stage Names), The Stand Ins quickly replaced the group’s past library as their greatest work yet. They’ve made it abundantly clear that they’re ready for the bigtime — move over Colin Meloy and The Decemberists, you’ve got a right competitor in Okkervil River!

Okkervil River: Lost Coastlines [mp3]

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11. Everything Is Alive by Pomegranates on Lujo Records

I don’t know how I felt about Pomegranates the first time I heard them, but like many of this year’s top albums, they grew on me. And quickly at that. Around the same time as the year’s #3 album, they came to dominate my playlist. And I can’t wait to hear the release they’ve slated for next year…

Pomegranates: Thunder Island [mp3]

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10. In Field & Town by Hayden on Hardwood Records

Folk-pop is an interesting genre, and even within the realm of folk-pop, Hayden is a very interesting and unique artist. I was overwhelmed by his in-store at Easy Street Records this year, and even more so at how In Field & Town left behind the self-destruction of his early work.

Listen to Hayden via his MySpace page.

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9. Hospital Blossom by The Wailing Wall

As I’m wrote this I decided that Hospital Blossom deserved better. I’m listening to it in my headphones. From 14, it then jumped all the way to 9. Not only is The Wailing Wall‘s Jesse Rifkin’s voice very unique, he’s also an expert songwriter. That he surrounds himself with equally amazing songwriters makes a release like Hospital Blossom one of the most amazing folk releases this year.

The Wailing Wall: Hospital Blossom [mp3]

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8. Eight Golden Greats by The Old Believers

The Old Believers‘ music draws reference to the most ancient of pop music, back with terms like their album title, Eight Golden Greats, were common. We’re talking the days of Lawrence Welk, or shortly thereafter. Well… maybe not that far back.

The Old Believers: Granny’s Song [mp3]

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7. This Is Ivy League by This Is Ivy League on TwentySeven Records

This Is Ivy League holds a special place in my heart — they were officially the first FensePost Feature artist, way back in 2006 — and their music still rings true. Filled with indie pop hinting of everyone from The Beatles to The Beach Boys to more contemporary artists like Kings Of Convenience, This Is Ivy League is a band to keep an eye on as we hit the 9th anniversary of Y2K.

This Is Ivy League: London Bridges [mp3]

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6. Grand Archives by Grand Archives on Sub Pop

Grand Archives‘ debut is probably the oldest album on this list, but even back then I knew it would be a top ten release for the year. For one, Grand Archives have been a favorite since first hearing them — I was such a large fan of Carissa’s Wierd, and the multiple harmonies they added to their pop instantly attracted my heart.

Grand Archives: Torn Blue Foam Couch [mp3]

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5. Fleet Foxes by Fleet Foxes on Sub Pop

Fleet Foxes seemed to take everyone by surprise this year. Their blend of folk-pop, with an emphasis on old-time folk, combined with perfect four-part harmony vocals gave this group’s debut release national attention. And it’s no surprise, as the album, and the band, are absolutely brilliant.

Fleet Foxes: White Winter Hymnal [mp3]

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4. Soft Airplane by Chad VanGaalen on Sub Pop

Each year there seems to be a single album that astonishes even the list compiler. This year’s surprise is Soft Airplane by Chad VanGaalen. I am continually astonished at just how great an album this is, and I cannot say enough good things about it…

Chad VanGaalen: Willow Tree [mp3]

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3. A Certain Feeling by Bodies Of Water on Secretly Canadian

For a good two to three months, A Certain Feeling by Bodies Of Water literally took over my playlist. I listened to it in my car, at home and at work. I listened to it day and night. One of the most mysterious and delightful releases this year.

Bodies Of Water: Under The Pines [mp3]

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2. Bury The Cynics by The Lovely Sparrows on Abandoned Love Records

Bury The Cynics by The Lovely Sparrows was released on September 9, which happens to be my birthday. In my review of the album, I mentioned that it was one that would grow on you. Well, The Lovely Sparrows have grown so much, they’ve reached the number two spot in this year’s Best Of list.

The Lovely Sparrows: Department Of Foreseeable Outcomes [mp3]

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1. Na Na Ni by Fredrik on Jezebel Recordings/The Kora Records

There is no surprise here, as I’ve been saying that this album would be my number one pick for months. It was apparent when I first reviewed it, and had my prediction been wrong all those months ago, 2008 would have been a pretty amazing year for music. So, here it is, Na Na Ni by Fredrik, my number one of 2008…

Fredrik: Black Fur [mp3]

Written by Fense

And here I thought quirky, lo-fi, synth-based garage bands were pretty much limited to Kill Rock Stars releases, but Hot Lava (http://www.myspace.com/hotlavaep) proved me wrong. Their little ditty that is Lavalogy may sound like it could be a KRS release, but it comes to us from the honored label Bar None. But then again, this is a label that goes through such a diverse list of artists to include 10,000 Maniacs, Architecture In Helsinki, and DJ Spooky in their catalog, and that’s before you even hit E!

“Mummy Beach”, the first single off Lavalogy, is so unbelievably catchy, it’ll have you making up your own “mummy dance” in your bedroom at 1AM (note, in italics: I am not stating this out of experience). But there are plenty of other noteworthy tunes within the album’s… err… casket. “Blue Dragon” has lovable vocal hooks, and the synth lines in “Resolutions ’08″ are totally my fav. And I love love love the “JPG In The Sun” line Now we’re together / We’ll be there forever — and it has great vocal hooks in the verse too!

It’s no surprise that, given the synth-heavy garage-pop element, and songs with titles like “Mummy Beach” and “Ghosties” and “Brainex”, that Hot Lava carries a light Belaire reference. It’s spoooooky garage-pop! Ugh… and then there’s the sexy, seductive “love song” directed at Lovefoxxx, who of course is the crazy-sexy frontwoman of CSS.

See, this is what happens when old stodgy people like myself start listening to bands like Hot Lava and albums like Lavology. We start dancing awkwardly in our bedrooms at ungodly hours well past our company-required bedtimes. We start talking like we’re 14 again (of course, using more modern slang like bff and wtf and rolf) and stop using caps and punctuation.

OK, maybe not the last two, but still. wtf is happening to me?

Hot Lava: Mummy Beach [mp3]

Bar None Records [CD, 2008]

1. Brainex
2. Apple+Option+Fire
3. Blue Dragon
4. Over It
5. Mummy Beach
6. Iggy
7. O Retorno Da Lovefoxxx
8. Resolutions ’08
9. JPG In The Sun
10. Ghosties

Written by Fense

I don’t know about the rest of the world, but we here in America like to binge. Be it binge drinking, binge eating, binge buying. We gorge ourselves to the point of being quite disgusting. I am part of the problem, and a recent visit to the Cloudberry Records website saw me binge downloading a mass of mp3s, many of which will soon find their way here into posts (though I may concoct a playlist — better yet, mixtape — of various artists from the label to post all at once).

Bye Bye Bicycle (MySpace) is one of the artists I pulled from the indie-pop and twee label. And their song “Siren” comes from a single. It has the sounds of brit pop, in the vein of a major Morrissey and Smiths influence. Not all Bye Bye Bicycle’s music is super Smiths-y, though. “Eastside” takes a slightly different direction, with synth-heavy hooks and more new-wave-y emotive vocals. Still, the guitars are filled with a lovable jangle and the bass-line is all over the place.

I can feel it coming — that satiated feeling one gets when they’ve filled up on a mass quantity of whatever. Bye Bye Bicycle is just the first band of dozens that I will come to love as I work my way through the Cloudberry catalog. “Sirens” is definitely my fav so far… and it’s no surprise they’re from Sweden.

Bye Bye Bicycle: Sirens [mp3]

Bye Bye Bicycle: Eastside [mp3]

Written by Fense

I didn’t check out Fugu 1, the debut LP by Fugu, until well after its release. Featuring an impressive lineup of French and European pop artists, Fugu’s music is a blend of pop styles, from the upbeat to the softly melancholy. And, to continue the trend, I’m just now checking out Fugu’s latest.

Like the early stuff, As Found is awkward at times, a little off-kilt. But that’s what makes it great. It’s got a distinct nature, a quality that makes it unique, and that’s a rarity in the pop world, has been a rarity in the pop world for some time, and gives the album a fresh sound. Songs like opener “Here Today” and the first single, “Civil Rights”, fit the description perfectly.

Despite the occasional strange nature of Fugu’s music, it’s super clean and clear — a single listen to “Blackwell” will tell you that. It is often a bit jangly, heavily upbeat, and simply gives off warm vibrations; it’s quality pop for sure — and after only a few brief tastes, it’s quite apparent that As Found is tailoring quite well to my palette.

Fugu: Civil Rights [mp3]

Minty Fresh Records [CD, 2008]

1. Here Today
2. You Pick Me Up
3. Blackwall
4. Civil Rights
5. Straight From The Heart
6. A Bigger Splash
7. I Give Up
8. Hold It Tight
9. People
10. The Flow
11. She’s Coming Over
12. Here Today (Sean O Hagan Remix)

Written by Fense

Nick Butcher is youthful but balding; he’s thin with a very natural, normal look. One would hardly expect him to be the mastermind of a minimalist-experimental-electronic outfit. But he is. That his appearance is more fitting for a talegate party than this just goes to show that looks can be deceiving.

While some of Butcher’s material is more discernible with beats and various noises and rhythm, “Shape Note Singing” is merely that, minus the singing. There’s a definite shape to what’s going on and the note is equally (or at least nearly) as singular.

This year Hometapes released Nick Butcher’s latest, Bee Removal, a seven-song twelve-inch on white vinyl that surely looks pristine.

Nick Butcher: Shape Note Singing [mp3]

Written by Fense

I can get into this, no problem. The Big Picture plays soft, bedroom-y pop with emphasis on slow tunes that feature acoustic, or, at least softly electric, guitars and quiet melodies on keyboard. None of it gets too loud. And it sure is cutesy — like “About A Dog”.

The Big Picture hails from a place not generally associated with pop music — China. But there’s no surprise that the project’s head honcho, Mikael Salomonsson, originally hails from Sweden. No surprise at all.

Their self-titled release can be found on the beloved CD-R label Series II Records. Sounding like a blend between the softer sides of Weezer and Ben Folds (maybe some Elliott Smith too), but with a massive twee-like, indie bedroom pop twist, The Big Picture’s music definitely has a fun element to it.

I’ve included “About A Dog” and “A Good Start” below for you listening/downloading enjoyment.

The Big Picture: About A Dog [mp3]

The Big Picture: A Good Start [mp3]

Written by Fense

Sometimes when I review an album, I like to go in fresh, knowing nothing of the group, their influences, what people thing they sound like, what I expect them to sound like, et cetera, et cetera. Tonight I’m sitting in The Old Edison Inn, one of the few restaurants in Edison — one of the few businesses. I don’t feel like cooking. So I decided to pack up my laptop and pop in for a quick bite. I have, in fact, heard their Alaskan Wild Salmon Burger is mighty tasty, so naturally that’s what I’m awaiting.

All The Saints sounds strangely at home here, in this back-country tavern. The folk are predominantly country; the jukebox a more modern version that hangs on the wall and lights up and flashes as the music plays. It’s a bit honky tonk with bad metal blasting in the background, but I’m covering it up with some good, hard, in-your-face rock. Songs early on, at least, have an almost epic feel — there’s a restrained noise in “Sheffield” and “Farmacia” that make them worthy of blowing eardrums and assholes, yet they’re with-holding in the pain, making it almost euphoric.

Bars like this inevitably tend to feature bad rock. It’s like it’s in their blood, their make up. More often than not, it’s a band that lacks both intricacy and skill; loud for the sake of being loud; never restrained or in control; only sometimes in tune. But All The Saints is far from that — they sound like a band should sound playing in a bar like this. They rock and they know it, and the audience knows it. Even at their more subdued, there’s an element of soft alarm, the quiet before the storm, the gasp of silence before an explosion. And it’s fucking mind-blowing.

All The Saints’ latest release, Fire On Corridor X is out now on Killer Pimp and Touch And Go Records.

All The Saints: Sheffield [mp3]

Written by Fense

Bathed in orange light from an Ikea touch-lamp, I sat down at my kitchen table a few evenings ago. On the table I placed three things: 1) a box of organic ginger snaps, which was to be my dinner as I did not feel like cooking, 2) my white MacBook, 3) a bottle of Cabernet Sauvignon. I set forth with a task — to pare my inbox down from its more than 300 emails to under 200. It was going to be a long night.

Several hours later, I stood up. The room lurched slightly and I didn’t speak for fear of slurring my words. Half the bottle was gone, as was half the bag of cookies. My inbox was now at 195, and the desktop of my MacBook was filled with mp3s to write about. One of the songs was “Wicked” by Johanna And The Dusty Floor.

Backed by a jazzy piano, a lightly strummed guitar and a soft percussive shuffle, Johanna is at the forefront of The Dusty Floor with her seductive, sultry vocals. They’re dark and mysterious; as she repeatedly coos Is this love…, one cannot help but notice the simplicity in her lyrics. As she says, she likes to write like a prepubescent girl, but boy does she sing like a full-grown woman. It’s siren-esque.

“Wicked” can be found on Like Sailors, available for purchase from CD Baby.

Johanna And The Dusty Floor: Wicked [mp3]

Written by Fense

In music, it is very rare to create something entirely new. To break ground would be to christen a new instrument, one that does something bizarre, one that sounds like no other. Or to use an instrument in a way that has never been done before. Moments like these have spawned great works — my recent viewing and subsequent coverage of Kraftwerk And The Electronic Revolution comes to mind. Another artist along these lines could be Wolf Eyes.

Can you see where this is going? No, A.Armada does not break new ground. In fact, they sound a bit like their contemporaries in Explosions in the Sky, and my friends AristeiA. But genres and subgenres often feature an array of similarities in the artists that call them home. To quote Heroes (yes, I am a nerd) — We are all cheap knockoffs of our fathers. But I wouldn’t go so far as calling A.Armada a cheap knockoff. No, with the amount of instrumental passion and emotion, they could never be that.

Earlier I mentioned Explosions in the Sky — A.Armada often have the drone-filled sound EITS favors, but it’s not always so. There’s also a bit of metal here; something along the lines of Sweden’s Dungen. That’s what can be heard in “The Moon Shifts The Sea The Sea Shapes The Shore The Shore Shakes The Sand The Sand Sinks The Ship”, a song that could very well challenge the standing “Longest Song Title” champion.

That song is included below for your enjoyment. And for my patience, I’ll simply call it “The Moon Shifts The Sea…” For some reason, I can never get enough of this style music, be it EITS, AristeiA, Mono, Dungen, or even A.Armada… I love it all.

A.Armada: The Moon Shifts The Sea… [mp3]

Written by Fense

One of the first noticeable items about Cake On Cake (MySpace) is the name. It’s a sweet (no pun intended) take on Bob Dylan’s classic Blonde On Blonde. The two, of course, have little, if anything, in common. It’s there; but that’s not really important in the bigger scheme of things, now, is it? We’re here to hear about the music.

Yet again, here is a band that is immediately reminiscent of Au Revoir Simone. I seem to have written about several of those lately (Chop Chop, Hearts In Palm UK… the list goes on). And again, it’s the airy female vocals and emphasis on keyboards that warrants the relation. However, unlike some of the other new groups that hint of the dominant trio monikered after a Pee Wee Herman line, Cake On Cake has a distinct European sound, primarily in vocals.

Yes, I recognize that accent — it is the one most frequently heard in my beloved Swedish artists and it is also an immediate element that sets Cake On Cake aside from Au Revoir Simone, Hearts In Palm UK, and Chop Chop; these three artists have all been covered here and, no surprise, received praise. And there’s another sound that I hear in the music of Cake On Cake — the obscure, more experimental pop I have come to cherish in Swedish artists like Fredrik, or even a neighboring country’s Silje Nes. It’s pop, it’s cute, and I really really dig it.

Cake On Cakes latest, Hymns I Can Remember, is available for preorder now on Sleepy Records.

Cake On Cake: Sunday Girl [mp3]

Cake On Cake: Visiting The Venice Biennale [mp3]

Written by Fense

You don’t typically hear songs named for guys. Yet the new I’m From Barcelona (MySpace) album, Who Killed Harry Houdini? does just that — and they use my name. As an opening track, “Andy” isn’t quite as hard-hitting as “Oversleeping” was to Let Me Introduce You To My Friends, but it does set the stage well for the rest of the album, which doesn’t necessarily have the power tracks of their debut.

But overall, Who Killed Harry Houdini? is more well-rounded than the debut. Powerful tracks are here, but there simply not as awe-striking as “We’re From Barcelona”, which isn’t saying much as that remains a pretty kick-ass song. And the elements that made I’m From Barcelona such a great album remain — the group is still 20 plus “friends” large, most of who join in with choir-like vocals.

As a whole, Who Killed Harry Houdini? has a better flow to it. It doesn’t succumb to the three song rule: three songs remain on repeat while the rest lay dormant. No, that was Let Me Introduce You To My Friends — the three tracks were at the beginning of the album, and while there plenty of great tunes, those were the ones that dominated the playlist. Here, however, there are simply great tracks and while none have stepped out as phenomenal (well, maybe “Music Killed Me”, the first single, and the lengthy closing tune “Rufus”), there aren’t any duds (I always had trouble listening to “Treehouse”).

Even the mellower tunes are great — case in point is A-side closer “Gunhild”. Oh yeah, “Mingus” is also a pretty decent standout. Here band leader Emanuel Lundgren utilizes his entourage choir a bit differently — the chorus has bas and las, which, when placed alongside hand claps, make the tune quite catchy (besides, it’s named after one of my all-time favorite jazz artists).

So, I guess that brings me to the conclusion. I can see Who Killed Harry Houdini? dominating my playlist just as much as Let Me Introduce You To My Friends, if not moreso. Sure, “We’re From Barcelona” and “Oversleeping” and “Collection Of Stamps” will always remain there as well, but three phenomenal songs are a damn good trade-off for ten great ones.

I’m From Barcelona: Music Killed Me [mp3]

Mute Records [12" LP, 2008]

1. Andy
2. Paper Planes
3. Headphones
4. Music Killed Me
5. Gunhild (Featuring SoKo)
6. Mingus
7. Ophelia
8. Houdini
9. Little Ghost
10. Rufus

Written by Fense

Ramona Córdova (MySpace) is a folk artist. But he’s a very nontraditional one. Like my recent post on DZR:P, Ramona tends to favor the falsetto voice, but unlike DZR:P, he tends to not only be in-tune, but he comes off sounding somewhat similar to Visit, the Asian opera singer from this year’s season of Bravo’s Top Design.

(Note that the prior statement is meant as a great compliment; while Visit was somewhat odd, he was an amazing singer. Had there been a band behind his voice, it would not have sounded as awkward and pained.)

Instead, Córdova’s album The Boy Who Floated Freely is more like the recent concept album by Fishboy — but here the theme is being stuck on “an island inhabited by gypsies” (Swedesplease). And the music is a bit more exotic.

The band’s vocals are often sung falsetto, adding to what first seems like sarcasm. But it’s not always the case; “Giver’s Reply” off the aforementioned album is about half falsetto, half not. It is still packed with a similar sarcasm, though. This pattern can be found throughout the album.

Attached here are a few tracks off The Boy Who Floated Freely. The entire album is available for download here.

Ramona Córdova: Givers Reply [mp3]

Ramona Córdova: One Day, Someday [mp3]

Written by Fense

Oh yeah. This is the stuff that gets me excited. The Glasses (MySpace) are the style of indie pop that’s packed with male/female vocals and totally catchy vocal and instrumental hooks. I’m pretty sure I’ve got one of their older EPs, but the one currently in my hands is their latest LP, Story Problems. “When Moonlight Falls” kicks the album off on a massive high point.

Honestly, Story Problems just gets better from that first tune. One item that instantly sets The Glasses apart from other indie pop bands is that their guitar riffs are fit for power, yet they sound acoustic — or, at least, super clean electric. This element makes for an interesting twist that just heightens the group’s likability. Add to it synth-y keys on “Small Town World” and “Change Of Seasons” and you’ll come to the decision that this cannot get any better.

It’s no surprise that The Glasses has the sound of Sarah Records given the description noted above. It sounds somewhat twee-ish, a fact that is emphasized by the jangle in the guitar and the lovable, carefree tone in virtually every vocal part on Story Problems. Furthermore, few songs top three minutes — two to be exact, and those tail the album. So, with ten songs, the album is over in a shade under :30.

What may be surprising is that The Glasses are a vastly different band than they once were; If you were already familiar with the group prior to Story Problems you’ll likely detect that there’s something distinctly different going on here. That’s because what once was The Glasses is no more. Now it is simply the solo project of remaining member Will.

I, for one, cannot complain. I love the sound. I love the visual concepts behind Story Problems. And I love virtually every song on the album. Oh, and you’ll love that The Glasses have made the entire album available for free on their website. It’s well worth it.

The Glasses: Blew A Kiss [mp3]

The Glasses: When Moonlight Falls [mp3]

1. When Moonlight Falls
2. Confused Hair
3. Fireflies & Stars
4. Paper Airplanes
5. Psychiatrist Says
6. Strange Nature
7. Small Town World
8. Change Of Seasons
9. Shows Through My T Shirt
10. Blew A Kiss

Written by Fense

Like Sweden, Norway churns out some pretty great pop bands and one of those is Haakon Ellingsen. Ellingsen’s music is a mixture of pop and folk that is occasionally reminiscent of The Beatles, but not in an distracting or negatively impacting, overtly-influenced manner; maybe a hint of The Polyphonic Spree’s epic nature, as well.

Ellingsen is not your typical self-indulgent, self-named artist. Certainly, he surrounds himself with great musicians, but he’s not the focal force behind the songs he creates. Each song is heavily orchestrated, full with strings and horns and keys. Ellingsen may be the vocal force, but his music is much more classic than your simple pop or folk artists.

These traits all filter through virtually every moment of The Plum Album. An exception is “Charlie”, a stripped down, folksy tune whose lyrics border on country — yet the tune has a distinct pop element to it. Other tunes, like “Dear Funny” draw similarities to Jens Lekman for the quirky, low vocals and borderline humorous, story-like lyrics.

Ellingsen is an old-school pop artist. Several of his musical influences (with exception to Lekman) are seemingly pre-Beattles. Still, there’s a bit of a 60s psychedelic folk sound to several tunes on The Plum Album; others delve into chamber and baroque pop. They all flow well together, too…

The past few weeks have been filled with turmoil as I started a new job, camped out with the girlfriend’s parents so my commute wouldn’t be so horrendous, and contemplated how to make ends meet. Now on the eve of a minor move to a town whose population cannot top 300, I realize that The Plum Album is the perfect album for my current mood. It’s uplifting and fun and has all the pop elements a pop fan could want.

Haakon Ellingsen: Sunshine Girl [mp3]

Haakon Ellingsen: The Sky Police [mp3]

[CD, 2008]

1. Sunshine Girl
2. Tonight
3. The Teacher
4. Charlie
5. Love To Be With You
6. 100 Years Ago
7. Dear Funny
8. Miss Universe And Me
9. I’d Stay In This Mood All My Life If I Could
10. They Play With The Wind
11. Barefoot Sunshine Girl
12. The Sky Police

Written by Fense

Au Revoir Simone seems to have created a slew of impersonators. Recently Hearts Of Palm UK released an album that blended multiple-part harmonies and an emphasis on keyboards. What I’ve heard of that release, I’ve enjoyed. The same can be said for the recent release by Chop Chop (MySpace), called Screens.

The vocal sound is quite similar as are the drum box beats, but the backing instrumentation is a bit plusher with selective stringed instruments from guitar to violin. These differences, while they seem significant, are actually quite miniscule when looked at from above. However, this only lasts through the first few songs before spreading itself out a bit.

When the album hits “Damascus”, the sounds increase–there is a definite synth element that is missing in Hearts Of Palm UK and Au Revoire Simone. And then the strings increase in “Serial Killer”, a romantically orchestrated tune initially at odds with its title. It soon dives into eerie synth lines that are a bit more fitting.

“Fed” includes the first male vocals, paired harmonically with the earlier female ones; the midpoint, it is also the highpoint on Chop Chop. Provided for your listening enjoyment below are two tracks, “C Train David” and “Northern Airlines”. Enjoy!

Chop Chop: C Train David [mp3]

Chop Chop: Northern Armies [mp3]

Written by Fense

Not too long ago–more specifically, earlier this year–I wrote that The Explorers Club release Freedom Wind could have been the record The Beach Boys released after Pet Sounds. While that statement is a bit of a stretch, as few titles can live up to the Pet Sounds name, all the press on The Bellfuries seem to dub Palmyra with a similar, Beach Boys-y label.

I disagree. Freedom Wind is quite a bit more… well… fresh. Despite its old sound, there are moments where it feels quite new. Palmyra, The Bellfuries latest, on the other hand, does not. And that’s a trait The Beach Boys always seemed to encompass–especially circa Pet Sounds. Sure Palmyra has that lovable indie pop sound bands from the 80s on to present like to indulge in when they list The Beach Boys as a major influence, but it simply does not sound new.

Of course, that’s not always a bad thing. There’s plenty here to enjoy. It’s just not as insightful nor as inspiring as The Explorers Club. So it’s no surprise that The Bellfuries are at their best when they sound “most” like The Beach Boys–and the key song is midpoint “Cheerleader” and “Into The Arms Of My Baby”. Both are brilliant.

But the one available for posting is “Give It, Get It”, a song that isn’t necessarily moving pop forward, but is a pretty damn decent pop song nonetheless.

The Bellfuries: Get It, Give It [mp3]

Written by Fense

“Alright” opens with blaring trumpets and Jesse Dee’s soulful vocals. This continues for a full minute before opening up into something a bit wider—wider in that the instrumentation comes full circle with organs, back-up singers and a slew of classic influences that are readily apparent…

Let’s see. There’s Etta James and Al Green, oh and a bit of Otis Redding. Maybe even some Amos Lee. And it’s also good to hear artists taking advantage of the full spectrum of instruments—“Alright” soon breaks into a Baritone Sax solo.

Listening to Dee, you want to think of Etta James and Nina Simone, but Dee is no middle-aged black woman. It’s a skinny white guy in a tailored black suit and pencil-thin tie. But damn does this boy have their sound; just listen to “Slow Down”.

Both songs can be found on Dee’s debut, Bittersweet Batch, out now on 7not Records.

Jesse Dee: Slow Down [mp3]

Written by Fense

For some reason, I missed Structure & Cosmetics by The Brunettes last year. Not only is the album on Sub Pop, it’s indie-pop! This male/female duo crafts beautifully melodic tunes that, at times, are surprising coming from a band on this label.

Several tunes are also heavily orchestrated, like “Stereo (Mono Mono)”. Others include dual harmony vocals, like opener “Brunettes Against Bubblegum Youth”, in which the two consistently spell out and sing BABY; in fact, most tunes feature both Heather Mansfield and Jonathan Bree on vocals. Sometimes they’re together, sometimes they trade off on the lead.

I didn’t pick up Structure & Cosmetics until quite recently, but my a friend did recommend the band to me late last year after CMJ–knowing my taste in music and my love for poppy bands, they figured I’d dig these two. And boy do I!

The Brunettes: Small Town Crew [mp3]

Written by Fense

This feature warrants a introductory statement: For those of you who actually read, you’re in for a treat. In an effort to boost FensePost comments, I’m giving you a chance to get the Delta Spirit CD and a physical copy of Ragged Magazine. Leave your comment over the weekend or early next week and I’ll choose a winner on next Friday. Simply let me know what you think of the song “Trashcan”, included below. It can be well thought out, or simply an I love it!

Delta Spirit (MySpace) was recently featured in Ragged Magazine (their site allows a download on a mini copy of the mag), but I was originally introduced to the band several months ago by Daytrotter. But I was confused—I thought it was The Duke Spirit (another group that surfaced through Daytrotter). I stand corrected; these two bands are very, very different.

Regarding the “competition”, I’ll go first. I like it—the intro piano has a bouncy soul that carries through in the vocals. “Trashcan” is the first single from Ode To Sunshine, out now on Rounder Recodrs, a label known more for roots and bluegrass rather than an indie powerhouse. But if the rest of Ode To Sunshine is anything like “Trashcan”, we all are in for a major treat (myself included).

Delta Spirit: Trashcan [mp3]

Written by Fense

Flannel (MySpace) is one of those spacey pop bands, dabbling lightly in dreamy shoe-gaze-like moments. The music paints a colorful sunset much like that found on the cover of Dear Something, Dear Someone. It’s the perfect album to listen to through headphones while staring up at the sky as the sun is setting; it’s very peaceful.

With tight percussion, reverb-filled vocals, and softly distorted guitars, songs like “Drops” and “Saving This Moment” and “Yesterday’s Crane” hint of Swedish artists like The Radio Dept circa Lesser Matters. Flannel, however, differs from such groups in that Dear Something, Dear Someone closely follows the DIY and lo-fi categorizations.

Also contrary to acts like The Radio Dept, Flannel lives up to the bedroom pop name; along with being lo-fi, the songs tend to me much slower and softer with a few minor exceptions. One exception is the upbeat, uptempo “Spring Time”, which features a double-time beat but remains soft and light in the instrumentation and vocals.

For fans of Swedish pop, Flannel fits the mold—Swedish pop tends to be a bit homogenous in that it tends to have that distinct “Swedish Pop” sound. The big surprise is that Flannel is not from Sweden. Nor are they from the US. They’re from Japan!

Flannel: Light [mp3]

Flannel: Spring Time [mp3]

Series II Records [CD, 2008]

1. Spill
2. Drops
3. You Should Take Your Time
4. Saving This Moment
5. Spring Time
6. Where Before The Water Becomes The Stream
7. Soundtrack
8. Morning, About The Mill And Mugs
9. Yesterday’s Crane
10. Light
11. Slow Watlz
12. To Begin With