Being that my typical night consists of hitting the sack at around 10pm, and that my new radio show is Friday nights from 10pm to midnight, I figured that my second show would center around the theme of sleep. So I pieced together a playlist of bedroom pop, chill wave, dreamy shoegaze and what I’ve dubbed as psychedelic ambiance.

I took over for Stuarto just after 10 with a brief description of my first track, which I don’t believe made it on air. The switch-over was a bit rushed and I don’t believe I hit the “on” button allowing my voice to hit the airwaves. But Blood started and I was off; I gave the rundown after the song and continued on my way.

45 minutes before the show, I was in downtown Mount Vernon, stopping by Ristretto for an Americano. A show about sleep, starting at my bed-time; coffee was a necessity.

Below is the playlist. Click any bold track to listen to the song, and right-click it to download.

“The Ghost in our House” by Erik Blood off Music from the film Center of Gravity

“Happy Holiday” by Anois off Tree House Whispers
“White Fawn” by Pomegranates off One of Us
“To the Lighthouse” by Memoryhouse off The Years EP

“Stars” by Warpaint off Exquisite Corpse
“Velveteen” by Still Corners off Creatures of an Hour
“The Sea” by Exitmusic off From Silence
“Hands in the Sky” by Here We Go Magic off The January EP
“One Hundred” by Cock & Swan off Unrecognize

“Older Brother” by Pepper Rabbit off Beauregard
“All Apologies And Smiles, Yours Truely, Ugly Valentine” by Carissa’s Wierd off They’ll Only Miss You When You Leave: Songs 1996-2003
“Okay” by Venice Is Sinking off AZAR

“Secrets” by Silver Swans off Secrets
“Swim” by Oh No Ono off Eggs
“Ghosts in the Machine” by Death And Vanilla off Death And Vanilla
“Breakers” by Gem Club off Breakers

“Tunnels” by Port St. Willow off Even // Wasteland
“Marie Says You’ve Changed” by Papercuts off Fading Parade
“Beach Baby” by Bon Iver off Blood Bank

“So Long” by Fruit Bats off Tripper
“I’m So Lonesome I Could Cry” by Gabriel Miller Phillips off One For The Crow
“Shed Like An Hour” by Snails off Shed Like An Hour / Daylight Ends 7″ Single
“Reaching Out” by German Error Message off After the Warmth

“The Ballad of the Broken Birdie Records” by Mum off Yesterday Was Dramatic, Today Is Okay

Take a little travel across the country from the evergreen-clad, rainy Northwest to the Southeastern United States. You may have seen these guys atop our Top 50 Albums of 2009, or caught one of the many features or reviews we’ve passed their way over the past year and a half. Today FensePost phoned up Venice Is Sinking for a rare interview; rare for us. We were pretty excited about it as, after all, we don’t do many of these. But questions were easy to conjure up for last year’s favorite.

Fense: Along with AZAR being my #1 album of 2009, one of my favorite videos was that for “OKAY”. I thought the concept was brilliant. Was this an idea concocted by director Jason Miller and assistant director Ethan Payne, or did you have an idea about what you wanted to create for the song? Does this follow the path you’ve traveled on other Venice is Sinking videos, like “Ryan’s Song”?

Thanks for that #1 album, Andy! It really meant a lot to us. We worked so hard on that album, and it was nice to see it validated. As for the “Okay” video, I’m not sure who came up with the concept, but I’m pretty sure it was Jason, with input from us and Ethan. Wait…let me backtrack. The first step in our video-making process is to see what Yo La Tengo did a decade ago and then rip it off. I’m kidding here, but I realized after we made both videos we did for AZAR were somewhat similar (mostly in theme or tone) to some past YLT works. The “Ryan’s Song” video bears a slight resemblance to Hal Hartley’s “From A Motel 6″ video, and “Okay” is in the same wheelhouse as Yo La Tengo’s rock school, Mr. Show-created “Sugarcube” video (which might be my favorite video of all time, truth be told). But, seriously, we weren’t really ripping them off. We do that with our music. Haha!

Anyway, we had another concept for the “Okay” video, one that was going to be a lot dreamier and perhaps a little more dour. We were gonna take on of those Flip HD cameras and float it around the greater Athens, GA area on balloons, something that one of Jason’s pals had done over Central Park. We spent a day roasting in the sun working on this video, trying to get this camera to float with a bazillion balloons, even getting it very, very stuck on the top of the State Botanical Gardens. And we ended up with maybe 15 seconds of footage. It was a crushing blow, and Jason and Ethan were really excited about it and worked really hard on it. When the idea came to do a montage about montages we didn’t want to get too Wet Hot American Summer with it, so we hit upon the idea that we would have some sort of “life coach” following us around. Jason (Miller) showed us a picture of Jason (Martin), and we were floored. He was perfect. And he was waaaaay into it. When he showed up in costume at the gun range we knew we were onto something special. I really wish you could hear the audio of what he was saying because it was hard not to crack up the entire time. His favorite phrase was “Accelerate your dreams,” and I have no idea why it’s so hilarious to me, but it is. He spent half the shoot touching James in a…special manner and making comments that could mildly be called homoerotic. Not much of this ended up in the video, though you do get to see them silhouetted by a sunset, sharing a pelvic thrust together. That was a fun but challenging shoot for us, given that we were in those infernal (literally) sauna suits in 90 degree weather for much of it. I sweated out ten pounds, which all told wasn’t a bad thing. And the Ryan’s Song video was no slouch, either. Karolyn was in a box–taped up–for, like, two hours or something!

The “Ryan’s Song” video concept? Actually, I can’t remember who came up with that one. I’m going to go ahead and say it was me.

Fense: I have to say, Jason Martin was outstanding as the band coach. So now you have a new album out on One Percent Press. Any plans to create videos for any songs on Sand & Lines?

That’s a tricky proposition because the songs were recorded live onstage at the Georgia Theatre. Doing a video for something that has a bit of a “live feel” seems rather odd because almost immediately any video idea you might have goes to recreating the creation of the album. And because the Georgia Theatre burned down, we also have to worry about veering into bathos and sentimentality. I’d love to do something that references the Theatre and Athens, but I wouldn’t want it to be mawkish. I guess time will tell. Also, making videos means having money, and, in case you haven’t heard, it DOESN’T grow on trees. I know, right?

Maybe we should go the animated route? I have a great idea for a video about the star-crossed love between a vacuum cleaner and a chicken.

Fense: Now that’s something I would definitely watch, especially now that I am the proud owner of a vacuum cleaner and not one, but four chickens.

The recording process for Sand & Lines was a bit different. Tell me a bit more about how the album was put together and what makes it different from prior Venice is Sinking releases.

We’re definitely a studio band. I don’t think that we’re a crappy live band or anything like that, but we certainly aren’t renowned for barn-burning, bat-eating live shows. We spend a lot of time working out our live show and balancing between making it congruent with our album sound and having it be a compelling dynamic experience. I think we’re pretty good at that, but I’m sure it’s not for everybody because overall we’re fairly slow and dreamy and whatnot. So we’ve always worked pretty hard in the studio to make our music grow out of that environment. We are layering and overdubbing addicts. No track can be put to bed without first being embellished by a pan-African drum run through an octave pedal. Sand & Lines was completely different than this. It focused on us, as performers, in a live setting. We recorded with only two mics onstage at the Georgia Theatre. We recorded it totally analog (although it should be noted that we have recorded all of our albums on tape!), using only 1/4″ mixdown tape. Two track! Basically, when a take was done, it was done, besides some mastering at the end. It was Georgia Theatre owner Wilmot Greene’s idea, based loosely on the Cowboy Junkies’ Trinity Session stuff, but ours is a lot louder and more rocking than theirs…dare I say more dynamic? Take that, Cowboy Junkies! Beef!

But, yeah, the process was this strange mixture of live and studio, and you were really out there, really vulnerable, in this kind of setup. If one person really goofs, you had to rewind and start over. If someone was too loud, You had to move their amp and their instrument away from the mic. We mixed things by moving people around onstage. It was stressful, and we had to practice at the Theatre for a few months to get our chops up for it. It was very nearly the opposite of the AZAR recording process, wherein one musician went in isolated to work on stuff. This is the sound of Venice is Sinking as a unit playing together (with help from pals, of course).

Fense: Was the ideation and inspiration processes behind these songs different than that on your last two records?

I don’t want to call these songs orphans or suggest that they weren’t good, but a number of them had been lurking around for a few years. I’d like to think that we’ve made cohesive, thematically consistent albums thus far, and some of the songs–like “Sidelights” and “Lucky Lad”–had been in our live shows for years, but never really felt at home on either Sorry About the Flowers or AZAR. Same goes for the cover versions of “Jolene” and “Tugboat”. Other songs were very new, and we had to scramble to get them up to snuff for the recording process. Remember that we were just finishing AZAR. All of a sudden, we had to have a whole new record…and fast. It was fish or cut bait time for a lot of these, which had only existed as tiny puffs of ideas beforehand. Daniel, Karolyn, and I worked pretty hard to get the, and then the whole band arranged a lot of these on the Georgia Theatre stage in the rehearsals leading up to the record. It was perhaps the most collaborative and democratic record we’ve done, and that aspect of it really invested everybody in the record, I think. With the first album, Daniel brought in songs, we learned them, and then added our on individual spins on them where we could. With AZAR, things got a lot more collaborative, and Sand & Lines is even more so. AZAR had pretty specific song themes, like transportation and moving and human events played out against geography (I think…haha). Sand & Lines picks up a lot of these, for sure, and continues along these lines. I guess it’s just what we like writing about. There are songs on there about failures of urban planning and Augusta, Georgia, though I won’t tell you which ones!

Fense: On top of dire economic woes, Athens seemed to have a rough year in 2009 which I am sure affected each of you personally. Was it an immediate collective response to decide to donate all funds acquired from Sand & Lines to the Georgia Theater after the fire or was it more a gradual decision to do something to benefit your hometown?

We started raising money to put out Sand & Lines the week before the Theatre burned down, so we had to reconfigure the project and make it about raising money for the Theatre. It was something someone proposed to everybody else, and everyone said “yes” pretty quickly. Honestly, we probably won’t make enough money off this record to affect much change, but we felt like the Theatre had given us this record, so we needed to give back to its rebuilding. Athens had a terrible 2009, what with Randy Bewley, Jerry Fuchs, Jon Guthrie, and Vic Chesnutt dying, not to mention the tragic Zinkhan murders and the fire at the Georgia Theatre…just awful. It felt like a series of gut punches. Even if you didn’t know these people personally (I really only knew Randy), you knew someone who knew them very well, and we take our music scene in Athens very seriously. Music is the central beating cultural heart of this town, and the Georgia Theatre was right in the middle of it.

Fense: I’ll attest to Sand & Lines being a great album. That proceeds go toward rebuilding Georgia Theater merely solidifies the fact that the album should be added to any listener’s collection. Being all the way on the other side of the country, I’m curious to hear if there’s been much movement in the rebuilding of the theater?

You know, I’d have to refer you to Wil Greene on this one, but I know that there are some great plans drawn up and rebuilding should start by next year. And thanks for saying the album’s great! Glad you like it.

Fense: I’m always interested to hear what musicians do outside of their respective bands. The typical answers seem to lean toward teaching and working at record stores. What do you do outside of Venice is Sinking?

Honestly, it’s fun for me to update Twitter and Facebook and Tumblr, but it can be a bit of a challenge, keeping track of everything. And just when you think you’re really “with it,” along comes some new thing that you’ve gotta create a login for and a new password and add your bio information, etc. etc. etc. Sure, we’ve got a greater connection with out with our fans, but sometimes I feel like I’m preaching to a 1000 person choir and just annoying other potential fans with my constant haranguing. Christopher Weingarten said, in a recent speech, that bands now have to be digital hustlers these days, and that’s just so, so true. I feel like I’m a guy in a stereotypical Middle Eastern bazaar yelling about how great my product is while tons of other equally loud vendors are selling the same thing around me.

Fense: So I have to ask — what’s next on the horizon for Venice Is Sinking?

We’re jamming a lot, writing new songs, working to get back up to snuff on the Sand & Lines stuff (we had to tour behind AZAR, so we lost all of our “chops”), playing Black-Eyed Peas songs. You know, the usual. I really, really, really hope we can get on an album a year schedule. We’ve got a lot of ideas right now, and we’ve gotta sit down and make them happen. We really wanted to try to make a reggaeton-inspired album, without all of the homophobia stuff. That hasn’t gone as planned.

Fense: We’ll that would certainly be an interesting concept if it does come to fruition. Well, that’s all I got. Thanks for sitting down and taking the time to “chat” with the ‘Post.

For more things Venice Is Sinking, head over to One Percent Press or check out more coverage right here at FensePost.

Tonight I hit the kitchen to compile the second FensePost podcast, or FenseCast, while cooking up one of my signature dishes: spicy steak enchiladas with homemade sauce. For desert, a delicious slice of gluten free cake courtesy Andi (the girlfriend), whose cake photo you can see in this post. Unlike the first podcast, this one had a range of bands that stemmed into several genres rather than focusing on garage rock and pop. Within I reminisce on one of my favorite bands of all time, occasionally hover around bedroom pop, and pass along one imperative ingredient in my homemade enchilada sauce.

Download: FenseCast Volume #1 Issue #2: Cooking With Fense

Here’s the track list:

1. “All For Me” by Furcast from Together EP
2. “Western Hospitality” by Club 8 from The People’s Record
3. “Elinor With The Golden Hair” by Grand Hallway from Promenade
4. “All Apologies And Smiles, Yours Truly, Ugly Valentine” by Carissa’s Wierd from You Should Be At Home Here
5. “Falls City” by Venice Is Sinking from Sand & Lines
6. “Modern Drift” by Efterklang from Magic Chairs
7. “Vendela Vida” by Dinosaur Feathers from Fantasy Memorial
8. “Disappear” by Crayon Fields from All The Pleasures Of The World
9. “Night Train” by Brown Recluse from The Soft Skin
10. “The Winter Stories” by World Atlas from Bonaventure EP
11. “Paper Crane” by Fireflies from Autumn Almanac
12. “That’s A… Jellyfish!” by Fishboy from Little D
13. “Giver’s Reply” by Ramona Córdova from The Boy Who Floated Freely
14. “23 Oktober” by Musette from Datum
15. “Afraid Of Hands” by Suturee from Suturee
16. “Third Of Life” by A Weather from Everyday Balloons
17. “One Hundred” by Cock And Swan from Unrecognize

Dark and dreamy, “Falls City” is the first track available from the new Venice Is Sinking album, Sand & Lines. The song is a testament to this band’s versatility and ability to create a diverse set of music. Recorded using only two microphones in Athens’ Georgia Theatre, which burned down a few months after it was recorded, the album is set for a June 2010 release — one year after a fire destroyed the building. All proceeds from the album will go to the theater.

“Falls City” is a beautiful, captivating song that, thanks to the minimal recording elements is taken over by the echoing sound of a large, open space. The music reverberates, washing over the listener with immense power. It’s not as clear or heavy as last year’s gem AZAR, which earned the top honor on my best of 2009 list. Still, it fits the music Venice Is Sinking creates; intricate but a singular, well-constructed unit. Brilliant are the subtle, soft harmony vocals. Excellent are the deep organ chords and epic electric guitar. I can’t wait to hear more!

Like AZAR, Sand & Lines will be released by One Percent Press.

Venice Is Sinking: Falls City [mp3]

2009 is a tough year to judge. I’ve checked out more albums this year than any year in the past. Well over 1,000. And there have been quite a few great ones as well. When this list began, it had 110 albums. I abandoned my top 33 and 1/3 for 45, and then said “screw it” and upped the number to an even 50. These are the top notch albums of the year, all worthy of praise.

Despite trouble all around, 2009 wasn’t all that bad. It forced us to hold our wallets a little closer, and by doing so allowed us to enjoy some simpler things in life. Living briefly in Edison before buying a house, I’d take walks around town with my camera in hand and my iPod in ear. The above photo was from one of those journeys.

It was the year of fuzzy pop, so it’s no surprise that the biggest standout label from the year would have to be Slumberland, who gave us a slew of phenomenal singles, a few great albums, and a number of excellent EPs. Hometapes also finds their artists sprinkled throughout the list. As usual, there are some local favorites, as well as a few obscurities.

Off we go…

* * * * *

50. Postcard by Elin Palmer

From Devotchka fame comes Elin Palmer, whose Denver by way of Sweden sounds blend multi-instrumental orchestral folk with angelic vocals. Title track “Postcard” is a mystic song that hits all the right notes, from beautiful echoing vocals to soft accordion and masterful strings.

Elin Palmer: Postcard [mp3]

* * * * *

49. Cosmic Clancy by The Nightgowns

The Nightgowns turned some heads in the Pacific Northwest this year, gaining momentum with their synth-based pop. It’s simple and catchy, but a dark base and vocal pairing keeps it from being overly twee.

The Nightgowns: Cosmic Clancy [mp3]

* * * * *

48. The Mountain by Heartless Bastards

Title track “The Mountain” is truly an epic, and it’s hard not to say the same about at least half the songs on Heartless Bastards’ latest LP. These songs are pure rock and hint at a greater 70s theme yet find themselves entirely modern. And the female-fronted vocal styling is deep and filled with a verbose vibrato, making Erika Wennerstrom one of the more unique vocalists around.

Heartless Bastards: The Mountain [mp3]

* * * * *

47. Letting Up Despite Great Faults by Letting Up Despite Great Faults

Letting Up Despite Great Faults wears their influences on their sleeves. Listening to electronic beats and fuzzy keys and guitars, fronted by dreamy reverb-filled vocals, one can hear hints of The Radio Dept. in nearly every song on this album. That is far from a bad thing, as Letting Up Despite Great Faults picks up precisely where Lesser Matters left off.

Letting Up Despite Great Faults: In Steps [mp3]

* * * * *

46. Promenade by Grand Hallway

Combining Japanese classical sensibilities with orchestral pop isn’t all that common. Promenade, Grand Hallway’s second album, is much stronger than their debut and it finds the group gaining confidence in their songwriting abilities, both from an instrumentation and a vocal standpoint.

Grand Hallway: Blessed Be, Honey Bee [mp3]

* * * * *

45. Gather Form & Fly by Megafaun

An experimental style of folk, freak folk, and blend of fully orchestrated folk with minimalist folk, Megafaun does a great job infusing various styles of folk for an entirely unique sound that is fun, crazy, and beautiful all at the same time.

Megafaun: Kaufman’s Ballad [mp3]

* * * * *

44. Första Brevet Till Amerika by The Hartmans

Riding the fuzz pop train is Sweden’s The Hartmans, who remain underground but whose songs are absolutely worth checking out for fans of this year’s favorite sub-genre. Första Brevet Till Amerika is technically the US release of an album from one, possibly two years ago, but because Series II dropped it in ’09, I’ll consider it. The Hartmans focus is harmony backed by massive distorted harmony.

The Hartmans: Neptuni Orden [mp3]

* * * * *

43. March Of The Zapotec / Holland by Beirut

Beirut’s so-called third LP, March Of The Zapotec / Holland is technically a double EP. One half finds the balkan-influenced band matching their early sounds while the other sees Condon et. al adding in electronic beats.

Beirut: My Night With The Prostitute From Marseille [mp3]

* * * * *

42. My Maudlin Career by Camera Obscura
“French Navy” is one of my favorite singles of 2009, and title track “My Maudlin Career” is pretty damn close to being an album favorite. This album nears the influence set forth in Let’s Get Out Of This Country.

Camera Obscura: My Maudlin Career [mp3]

* * * * *

41. Fan The Flames by Golden Bloom

With infectious pop songs like “Doomsday Devices” and “The Flight At The End Of The Tunnel”, Golden Bloom takes contemporary pop to a whole new level. Sure, this stuff is more than nerdy, but you can’t help falling in love with these songs.

Golden Bloom: Doomsday Devices [mp3]

* * * * *

40. Sunset / Sunrise by The Dutchess & The Duke
Aside from an overall higher production value, The Dutchess & The Duke exudes a greater level of comfort and confidence in the music they create. Sure, this album lacks that gritty lo-fi element so beloved in their debut, but it’s made up with this band’s new-found certainty in their abilities.

The Dutchess & The Duke: Hands [mp3]

* * * * *

39. Post-Nothing by Japandroids

Japandroids made waves this year with their album Post-Nothing. Many consider “Young Hearts Spark Fire” one of the best songs of the year. Sure, I’ll give them that, but my favorites are “Heart Sweats” and “I Quit Girls”.

Japandroids: Young Hearts Spark Fire [mp3]

* * * * *

38. Logos by Atlas Sound

I haven’t fully absorbed Logos yet. There are a few albums that haven’t quite fully garnered my attention, and these are the ones that are likely to see big movement when it comes time to compile my 2009 A Retrospective. I rather enjoy what I have digested quite a bit more than Atlas Sound’s last album. In particular is “Walkabout” which features Noah Lennox of Animal Collective/Panda Bear.

Atlas Sound: Walkabout [mp3]

* * * * *

37. Reservoir by Fanfarlo

Quite like Beirut, but with less emphasis on the obscure and a bit more on greater accessibility to a wider audience, Fanfarlo’s Reservoir is hailed by many as one of the top albums of the year. It’s a bit too much like Beirut at times, but there’s no question that these guys can create a pretty powerful tune. “The Walls Are Coming Down” and “Luna” are instant favorites, songs that aren’t likely to wane any time soon.

Fanfarlo: Luna [mp3]

* * * * *

36. Welcome Joy by The Cave Singers

Oh man, “At The Cut” rocked. Invitation Songs was pretty damn solid, and placed the band in a unique folk-rock place, hinting at a folk sound from an entirely different era. But Welcome Joy finds The Cave Singers blowing up that earlier sound, injecting some powerful riffs (as if they weren’t there to begin with), and pumping up volume levels a bit. Sure, not all songs are like this, but the right ones are, and that’s all that matters.

The Cave Singers: At The Cut [mp3]

* * * * *

35. In The Dream Of The Sea Life by Candy Claws

Thanks to a clever mixing in of lapping waves, In The Dream Of The Sea Life nears concept album greatness. Candy Claws mixes highly experimental electro-pop with folky traits common to artists like Animal Collective, but a thousand times dreamier. This music is pleasant and hypnotic.

Candy Claws: Catamaran [mp3]

* * * * *

34. Intuit by Ramona Falls

After Menomena’s Friend And Foe, I’ve been dying to hear more from the band. While we have yet to receive a follow-up, Intuit is pretty damn close. From Menomena’s Brent Knopf comes Ramona Falls and the music has a pretty strong similarity to one of Portland’s best groups. In the coming months, I’ll probably regret keeping this one so low on the list.

Ramona Falls: I Say Fever [mp3]

* * * * *

33. Vekatimest by Grizzly Bear

Vekatimest has made more of an impact on me than both Yellow House and Horn Of Plenty alike. “Two Weeks”, in fact, is one of my favorite singles of the year. As a whole, this album is more than solid and propels Grizzly Bear into a unique position; out there far enough to warrant lauding by supreme pretentious indie nerds and a more mainstream crowd as well.

Grizzly Bear: Cheerleader [mp3]

* * * * *

32. Waking Heat by Tempo No Tempo

It’s been a while since I’ve really been into a dub band, but that all changed in 2009. Tempo No Tempo became an instant favorite thanks to a hefty bass/drum part in songs like “The Rat (Part One)” and “Medicines”. Unsigned, I wouldn’t be surprised if this band doesn’t stay that way long.

Tempo No Tempo: Medicines [mp3]

* * * * *

31. We Bet Our Money On You by Daniel Francis Doyle

Math rock has always been a bit crazy, with pointed beats and riffs and wild lyrics. Daniel Francis Doyle is the most promising artist to fit the genre in a very long time. His abilities extend far, from erratic in-your-face experimental and fully math oriented tracks (“Old Lives”, for example, is quite wonderful, reaching a point between Don Cab and Dismemberment Plan) and soft melodic piano tracks (“Your Baby Is Speaking” is the best representation of that sound). Perfect.

Daniel Francis Doyle: Learning Things In School [mp3]

* * * * *

30. Keep In Mind Frankenstein by Grand Archives

The harmonies remain, both from an instrumental and vocal standpoint. In Keep In Mind Frankenstein, Grand Archives take it down a notch at times. While there isn’t that immense climax (“The Crime Window” off Grand Archives took that slot), these songs are still quite amazing. Grand Archives’ music is filled with pleasant folk-pop that truly sets this band apart from the crowd.

Grand Archives: Silver Among The Gold [mp3]

* * * * *

29. Everybody Come Outside by Pomegranates

With their sophomore LP, Everybody Come Outside, Pomegranates have soidified their station as the best creators of upbeat pop songs around. And I’m not just talking songs that will make you nod your head. Even their sadder, less happy songs are entirely bouncy. Prime example: “This Land Used To Be…”

Pomegranates: Corriander [mp3]

* * * * *

28. Family by Le Loup

The Throne, Le Loup’s debut, was an album wrought with strife; it was a tormented display of a mind torn between good and evil. And it leaned quite substantially toward the darkness. With their follow-up, Family, Simkoff seems to have found a pleasant peace among friends. This album lacks some of the minimalistic traits of its predecessor. There are still forays into that wild sound, but now it’s more tribal, connected to individuals outside Simkoff himself. And you can hear it in the music: it’s a positive progression.

Le Loup: Beach Town [mp3]

* * * * *

27. Tarpits & Canyonlands by Bombadil

Mixing a sound that can only be described as a folky rendition of Slaraffenland (or Efterklang) fronted by a Cat Stevens-ish character, Bombadil has produced an entirely unique album that is one of 2009′s must-hears.

* * * * *

26. Setting The Paces by BOAT

Setting The Paces, BOAT’s third album, sees the band progressing as a whole. Songs are more complex, yet they all maintain a fair share of those good ol’ traits that us fans fell in love with upon hearing their debut. D. Crane still has that overly joyous, sarcastic self-deprecating lyrics and that grinning throaty vocal style. These songs rock, and they rock harder than BOAT ever has before.

BOAT: Lately [mp3]

* * * * *

25. Psychic Chasms by Neon Indian

Take Animal Collective, drop in a notable and dark 80s influence. Then ship the whole package over to Europe and shove it into one of their electro thingies. An image should be forming, and the result is probably something along the lines of Neon Indian. By the way, this album cover speaks to this music more than practically all others in 2009.

Neon Indian: Deadbeat Summer [mp3]

* * * * *

24. Telekinesis! by Telekinesis

You wouldn’t expect this album from Telekinesis brain-child Michael Lerner, who is soft spoken and quite kind. Then again, this album isn’t hard hitting, nor is it pretentious. It hits the right pop hooks and injects the perfect amount of rock to achieve something better, more pure. One listen to “Great Lakes” and you’ll be saying Move over Death Cab – there’s a new boy in town!

Telekinesis: Coast Of Carolina [mp3]

* * * * *

23. Parade by Afternoon Naps

When it comes down to it, there is little I love more than a good indie pop album, and Parade by Afternoon Naps is just that. The band’s smokey and mysterious vocals are dark and seductive. There are plenty of somber pop hooks here, but this band isn’t beyond throwing a wrench in that – there’s also a lot of bouncy melodies.

Afternoon Naps: Beach Bums [mp3]

* * * * *

22. Summer Of Hate by Crocodiles

Summer Of Hate brought Crocodiles quite a bit of hype in the indie world upon its release. It took me a while to get around to checking these guys out but I’m very glad I did. The title track remains my favorite, but in truth this album is filled with favorites.

Crocodiles: Summer Of Hate [mp3]

* * * * *

21. Declaration Of Dependence by Kings Of Convenience

“Boat Behind” is one of my favorite videos of the year. It’s perfectly sunny and more than fitting. The title of this album is honest and revealing, and it fits the music this duo creates. Kings Of Convenience is back and I’ll probably kick myself later for not sticking this higher on the list. Oh well.

Kings Of Convenience: Boat Behind [mp3]

* * * * *

20. Beast Rest Forth Mouth by Bear In Heaven

From the dissonance of Red Bloom Of The Boom to the harmonious Beast Rest Forth Mouth, Bear In Heaven continues to be a gripping band despite a substantial progression. The first one emphasized space; this one creates the matter that fills space.

Bear In Heaven: Lovesick Teenagers [mp3]

* * * * *

19. Up From Below by Edward Sharpe & The Magnetic Zeros

Epic folk comes in many forms and while Up From Below may not necessarily be a concept album in the true concept album form, it possesses the traits (albeit externally for the most part). As they continue to put out videos from the album, which will ultimately form a near feature-length film, this album’s brilliance will radiate brighter than ever.

Edward Sharpe And The Magnetic Zeros: 40 Day Dream [mp3]

* * * * *

18. We’re On Your Side by Slaraffenland

Few bands have the efficacy of uniqueness than that produced by Slaraffenland. Their plush orchestral instrumentation, bordering on experimental pop, is simultaneously minimal and monumental. And the vocals that coincide with it are expansive. Beauty has nothing on Slaraffenland.

Slaraffenland: Meet And Greet [mp3]

* * * * *

17. Merriweather Post Pavilion by Animal Collective

In my opinion, Merriweather Post Pavilion is Animal Collective’s initial leaning toward becoming more accessible to a wider audience. Fall Be Kind is an even further progression into that realm, but when compared to that which came before, MPP has more songs that fit that classification. A favorite, you can totally hear Noah Lennox’s influence on “Guys Eyes”.

* * * * *

16. Over And Over by The Legends

At first glance, it may appear that The Legends have returned to their roots with Over And Over, the overly fuzzy basement pop distinct on Up Against The Legends. But in reality, they’ve merely combined many of the sounds over their past three quite distinct albums. This band continues to impress – again, it should be no surprise as to why I regard Johan Angergård as one of today’s most talented musicians.

The Legends: Always The Same [mp3]

* * * * *

15. You Can Have What You Want by Papercuts

Sometimes you’ll find that certain albums sound better on vinyl. On one hand, it’s the experience of sliding that beautiful piece of wax out of its sleeve and placing it gently on a record player, then watching the needle as it drops in the precise location for optimal listening. You Can Have What You Want by Papercuts is one such album. The good news: this album nears perfection no matter how you take it in.

Papercuts: Future Primitive [mp3]

* * * * *

14. There Is No Enemy by Built To Spill

This is, without question, my favorite Built To Spill album since Perfect From Now On. Filled with more radio-friendly hits, like “Hindsight” and epic rockers alike, this album nears their prior pinnacle of greatness. “Oh Yeah”, both lyrically and instrumentally, could have been on that earlier album. It has become an easy album favorite.

Built To Spill: Hindsight [mp3]

* * * * *

13. Mt. St. Helens Vietnam Band by Mt. St. Helens Vietnam Band

Mt. St. Helens Vietnam Band took a while to catch on for me, but eventually I came around. “Albatross, Albatross, Albatross” was one of my favorite videos of the year, and the album is packed with songs just as powerful. At times these songs hint at metal guitars, but the music is far from the genre – it’s entirely rock, with minor pop sensibilities.

Mt. St. Helens Vietnam Band: Cheer For Fate [mp3]

* * * * *

12. Album by Girls

At first, Girls didn’t do much for me. Call it a youthful childish shun; a fear of cooties. But like most young boys, I quickly grew up and started to notice Girls in a way I never thought possible. At first it was subtle – the soft songs like “Hellhole Ratrace”. Eventually the “they’re OK” became a bit more of an intense desire, a longing, an infatuation. The harder songs like “Lust For Life”, “Laura” and “Summertime” all became favorites. Two months ago, I wouldn’t have thought it possible for Album to crack the top 20. Now it sits at #12.

Girls: Hellhole Ratrace [mp3]

* * * * *

11. The Banyans by The Banyans

Ask anyone about any band within the top, oh 15, and the one that the fewest people will know is The Banyans. This self titled album was self-released by this Seattle band, and done so not as a physical release but as a free download. “Grenade On Course” and “Neon Heat” are some of my favorite songs of 2009. As a whole, this album fits together quite nicely; not something you’d expect from a brand new band.

The Banyans: Grenade On Course [mp3]

* * * * *

10. Heavy Days by Jeff The Brotherhood

Not since The White Stripes’ early days has a lo-fi punk duo created such an impact (on me, at least). What you get: noisy distorted riffs and sloppy percussion fronted by grungy lyrics. This album might not strike you as anything fancy from the get-go, but give it time and the songs on Heavy Days will blow your fucking mind.

Jeff The Brotherhood: Bone Jam [mp3]

* * * * *

9. Rules by The Whitest Boy Alive

OK, if you thought Dreams was good, wait until you hear Rules. This album has everything you loved off The Whitest Boy Alive’s debut LP yet does exactly what you expect from a follow-up: it takes it to the next level. Seriously: it does so in every way possible. “High On The Heels” is the shining star here, but “Keep A Secret”, “Courage”, and “Timebomb” are right behind.

* * * * *

8. Clangour by Sin Fang Bous

In 2008, Sin Fang Bous gave us a teaser off their then forthcoming album, the Clangour 7″ single; both songs fit the experimental electro-pop Sin Fang Bous would come to be known by. Despite that being more than one year ago, the two songs, “Advert In Ives Garden” and “Clangour And Flutes”, are just as mesmerizing as the day I first heard them. Add to them ten additional songs that are just as powerful, and the result is astonishing.

Sin Fang Bous: Catch The Light [mp3]

* * * * *

7. Eskimo Snow by Why?

With lyrics that flow 1) like poetry, and 2) better than the best gangster rap, Why? has finally caught my attention by demonstrating they are one of today’s best bands thanks to lyrical prowess and masterful wordsmith-ery backed by an impeccable ability to instrumentally craft a great tune.

Why? – This Blackest Purse [mp3]

* * * * *

6. Yeah I Know by Darlings

Basement pop has never been as upbeat and party-centric as it is with Darlings. As we heard just the other day, “Eviction Party” is an entirely true story, packed with insane antics of the overly imbibed. I associate this album with summer (thanks to being released then, and also having an upbeat sound). “Teenage Girl” will have you falling in love with the young punk chick a few seats away on the bus, while “If This Is Love” is perfect for the moment that summer fling comes to an abrupt halt.

Darlings: If This Is Love [mp3]

* * * * *

5. Tree House Whispers by Anois

Louder than bedroom pop but not quite fit for the basement, Anois is left with the title King of Living Room Pop. The title, at least in my opinion, is one they are more than worthy of keeping. Tree House Whispers adds in experimental elements, drone, and rounds it all out with sexy foreign accents and all the beauty in the world.

Anois: Happy Holiday [mp3]

* * * * *

4. Reservoir by Ah Holly Fam’ly

The smokey, nasally vocals of Jeremy Faulkner are about as unique as vocals can get. When backed by the pop-tinged folk of Ah Holly Fam’ly, the result is one of the best albums of the year. Listening to the band’s old stuff, they’ve come a long way from their home-made CD-R days (when we both resided in the Palouse, them in Moscow and me in Pullman. Whatever this band is doing, they should absolutely keep it up. Reservoir is brilliant!

Ah Holly Fam’ly: All Unfolding [mp3]

* * * * *

3. Wind’s Poem by Mount Eerie

Until Wind’s Poem the two Mount Eerie albums I was most familiar with were Lost Wisdom and Dawn, both of which find Phil Elverum at his more minimal. Not once does he pick up an electric guitar on either album. Thus, Wind’s Poem was a bit of a change – much more in line with the stuff from Microphones – and, overall, this album is phenomenal.

* * * * *

2. The Pains Of Being Pure At Heart by The Pains Of Being Pure At Heart

I would say my #1 song this year is “Young Adult Friction” by The Pains Of Being Pure At Heart. This song and the album as a whole are both excellent. “Contender” and “Everything With You” are right up there thanks to massive distorted pop and seemingly insurmountable vocal pop hooks.

The Pains Of Being Pure At Heart: Everything With You [mp3]

* * * * *

1. AZAR by Venice Is Sinking

The difference between the first and eighth album on this list is, in fact, quite miniscule. These eight albums are truly very close in terms of the power they’ve held on me throughout the year, and their ability to be mainstays on my playlist in the years to come. Still, the decision to put AZAR at #1 wasn’t all that difficult. Venice Is Sinking possesses not only the ability to put out a great record, they are also very forward-thinking from an industry standpoint. I’m very excited to hear what their 3rd LP has in store for us.

Venice Is Sinking: Okay [mp3]

Not surprisingly, this list is filled with EPs by quite a few bands you know and quite a few you probably don’t. Of the ones you don’t know, many are likely from Washington; a quick count leaves me with five bands, or 1/4 of this list. Many of these bands I consider among the most promising artists to surface in 2009. All are worth checking out, and you’ll want to keep an eye on them as we head into 2010.

I titled the above image of my cousin Danny “Over It: 2009″, which is a pretty good summation of the year. It’s been a rough one all around thanks to a shoddy economy, a poor real estate market, and rampant unemployment. But looking back, 2009 was jam-packed with great tunes. And I bought a house, which has been pretty sweet. So, when it comes down to it, 2009 wasn’t half bad.

Here it is, my top 20 EPs of 2009.

* * * * *

20. The Age Of Anxiety by Virgin Islands

The newest of the EPs on this list is The Age Of Anxiety by Virgin Islands. Following the path of Mike Jaworski’s prior group The Cops, this Seattle band is one to keep an eye on in 2010. They are sure to quickly become a local favorite. Also, this release is a limited print one on 12-inches of vinyl, so snatch it up before it’s too late!

Virgin Islands: The Age Of Anxiety [mp3]

* * * * *

19. Eering, Creaky EP by The Smile Brigade

With Eering, Creaky EP, Seattle’s The Smile Brigade began to redefine their folk-y sound with pop sensibilities and clever lyrical twists. As they have yet to give us a full LP, The Smile Brigade remains a powerful underground force waiting to be heard beyond the borders of the Pacific Northwest.

The Smile Brigade: Smile And Smile [mp3]

* * * * *

18. Cathedral With No Eyes EP by Railcars

In the vein of Jamie Stewart’s Xiu Xiu, San Francisco’s Railcars is experimental noise pop at its most eccentric and ferocious. Cathedral With No Eyes is the band’s second EP and it finds them solidifying their now signature freak-out noise-pop sound.

Railcars: Castles [mp3]

* * * * *

17. Blood Bank EP by Bon Iver

Bon Iver continues Justin Vernon’s pleasantly falsetto folk-pop. A brief four songs, Blood Bank (in my opinion) surpasses For Emma, Forever Ago as the group’s strongest work yet. This EP is a must-have for any collection.

Bon Iver: Blood Bank [mp3]

* * * * *

16. Early Morning Risers EP by Dinosaur Feathers

Unique harmonies often in falsetto with a front-man that sounds like an early Rivers Cuomo and backed by an electro-freak-folk sound not entirely unlike a mellow Animal Collective, Dinosaur Feathers are easily one of today’s most promising new acts.

Dinosaur Feathers: Cold Arabella [mp3]

* * * * *

15. Tiny Dots by Yarn Owl

Yarn Owl continues to impress with Tiny Dots, featuring an early favorite “Yarn Blues” and introducing some new ones like “This Old Yarn” and “Without You”. 2010 promises more great things from this Pullman-based band; an EP dubbed Stay Warm. If you missed it, we featured an exclusive track from that forthcoming EP and it’s pretty damn good. To demonstrate this band’s greatness, this cassette release of (I believe) 300 recently sold out.

Yarn Owl: Yarn Blues [mp3]

* * * * *

14. Higher Than The Stars EP by The Pains Of Being Pure At Heart

The Pains Of Being Pure At Heart released one of my favorite albums of the year, so it only makes sense that their follow-up EP also be worthy of high praise. “Higher Than The Stars” lacked some of the fuzzy greatness of their self-titled LP, but that title track is just as sweet and sensual as “Young Adult Friction” or “Come Saturday”.

The Pains Of Being Pure At Heart: Higher Than The Stars [mp3]

* * * * *

13. Rainwater Cassette Exchange EP by Deerhunter

As usual, Deerhunter delivers. Five songs of immense impacting delight. This album picks up where Microcastle/Weird Era Cont. left off, or joins in just before it starts (I cannot decide which is more appropriate). Noise is the new pop and noise pop, for Deerhunter, reigns supreme.

Deerhunter: Rainwater Cassette Exchange [mp3]

* * * * *

12. Exquisite Corpse EP by Warpaint

These three ladies know how to create a good tune. “Stars” is my favorite shoegaze-y track from 2009, and “Billie Holiday” is close behind. The video for “Stars” is one of my favorites of the year and, with sole exception to “Beetles”, this EP is flawless. Anticipate great things in 2010 from Warpaint.

Warpaint: Elephants [mp3]

* * * * *

11. Phantogram EP by Phantogram

Phantogram’s debut EP hits all the right notes. After being discovered this year, the group was signed to Barsuk. Keep an eye out for Phantogram’s debut EP, Eyelid Movies early next year. Think Ratatat (they hail from the same small New York town) with lyrics.

Phantogram: When I’m Small [mp3]

* * * * *

10. OKAY by Venice Is Sinking

This extended single includes the two of the most appreciated tracks off Venice Is Sinking’s AZAR. “OKAY” is one of my favorite tracks of 2009, and they revisit it and “Ryan’s Song” in the Henslee Sessions. Along with the album version of the title track, the band rounds out the EP with “Compass” and “Give Up”, both covers of the band OKAY.

Venice Is Sinking: Okay [mp3]

* * * * *

9. Dear Furies by Virgin Of The Birds

It had been a few years since Virgin Of The Birds gave us Mixed Choir, but 2009 saw them putting out two EPs. Both are outstanding, but Dear Furies took the cake for me. Jon Rooney’s tracks “Spanish Accusations”, “Baby Let Me Trace You” and “Magic & Sincere” were what did it, though Every Rival has some great tunes as well (“I Loved John” and “Ilona, You Should Still Be My Vampire Attendant”).

Virgin Of The Birds: Spanish Accusations [mp3]

* * * * *

8. Fall Be Kind EP by Animal Collective

Fall Be Kind finds Animal Collective again becoming more accessible to a wider audience. Without the dissonance and grating shrieks of their early work, Animal Collective has tamed and matured, but still carries a ferocious bite.

Animal Collective: What Would I Want? Sky [Stream]

* * * * *

7. Life Of Leisure EP by Washed Out

A single session of songs as a band, and that may just be all we get from Washed Out due to settling down. The primary man behind this quite mesmerizing group set out to make music a bit different from what he had before, and the result was one of the year’s best EPs.

Washed Out: Feel It All Around [mp3]

* * * * *

6. Survival Strategies In A Modern World EP by Liechtenstein

There was a void in music after the demise of the short-lived Vancouver, BC group The Organ; that being a Smiths/Morrissey influenced indie pop girl group. Liechtenstein fills that gap (kinda) and includes lead vocals as deep as those of Katie Sketch. Liechtenstein’s music isn’t nearly as pointed as that by The Organ, but it’s just as good (if not better).

Liechtenstein: Roses In The Park [mp3]

* * * * *

5. EP by Air Waves

They may be from New York, but Air Waves has that sunny California sound. Their acoustic pop made waves (heh) this year and it’s easy to hear why – these songs are pure and fun and easy to love. “Keys” is a quick favorite, but given time you’ll find a special place in your heart for every song on this EP.

Air Waves: Keys [mp3]

* * * * *

4. Hollow Home EP by Bagheera

Listening to Hollow Home, I’m reminded of Grizzly Bear. But where it took Grizzly Bear three albums to really make an impact on me (outside a track here and there), Bagheera does it with a single four-song EP. This is an absolute must-hear.

Bagheera: Skeleton Leaf [mp3]

* * * * *

3. Unfaithful by Charles Leo Gebhardt IV

Like me, this dude sports a big red mustache. Charles Leo Gebhardt IV is, along with The Banyans, Seattle’s best underground artist. Unfaithful proves it with powerful tracks like “Look Out, Look In”, the title track, and “Lake Serene”. Hopefully 2010 will see Gebhardt giving us his debut LP, because I for one cannot wait to hear more.

Charles Leo Gebhardt IV: Unfaithful [mp3]

* * * * *

2. Heatwave EP by Total Babe

What a great new band! Total Babe gets my vote as one of the most promising bands of the year. These kids are young and filled with promise. For their seemingly super young age, their musical abilities and lyrical crafts are par none. Every song on this EP gets an A+++.

Total Babe: Bearbones [mp3]

* * * * *

1. We Swim You Jump EP by We Swim You Jump

This is an easy pick for EP of the year – We Swim You Jump has dominated my playlist since I discovered the band many months ago. There’s not much more to say about this band that I haven’t already. I’ll reiterate: perfect pitches, passionate harmonies, and some of the most mellow yet moving pop you’ll hear from 2009.

We Swim You Jump: Sharks [mp3]

“Okay” by Venice Is Sinking is easily one of my favorite tracks of 2009 and the album on which it can be found, AZAR, will be a tough contender to beat for the best album of the year. In support of their new maxi-single for “Okay”, they’ve now given us a most excellent video to accompany its promotion. The video itself is a joyous montage dubbed “How to Achieve Musical Greatness.” It’s a testament to how great this band truly is; “Okay” as a song is absolutely brilliant, but combined with the video… well, I just can’t think of many things that can top this.

This video was put together by Eikon Productions.

Both AZAR and the OKAY maxi-single are out now on One Percent Press. I’ve included “Okay” below, along with a cover of the band Okay’s “Compass” as found on Okay. Seriously, buy their records… okay?

Venice Is Sinking: Okay [mp3]

Venice Is Sinking: Compass [mp3]

“Okay” by Athens, GA’s Venice Is Sinking, was released earlier this year on their album AZAR; the band is finally giving it due diligence in their extended single Okay, out this fall. Naturally, the EP begins with “Okay” before diverting into a few new tracks, “Compass” and “Give Up”. They then round out Okay with alternate versions of the two key hits off AZAR, “Okay” and “Ryan’s Song”, both recorded as Henslee Sessions.

“Okay” is a homage to the band Okay (Okay’s Huggable Dust earned my #20 spot on last year’s Best of 2008 list), and Venice Is Sinking follows the AZAR version of the track with two covers of that band. “Compass” begins with cello and a soft drum beat. The slow nature of the song gives it a laid back, romantic feel that would ultimately have given it a welcome home on AZAR. But it works well as a b-side here. “Give Up”, on the other hand, is a true b-side. A viable and excellent song, it just doesn’t have the orchestrated quality of AZAR at the onset. When it does enter, the vocals give the song the sound of early The Arcade Fire.

The “Henslee Session” tracks are perfect. While “Ryan’s Song” maintains much of the original’s fervor, “Okay” has unique elements that give the song an acoustic tenor. What makes this song stand out is the nontraditional usage of percussion. Rather than the brushed sticks found on the original, it begins with what sounds like a typewriter before drums enter partway through. Adding to the differences is an emphasis on orchestration, beginning with an organ and finding its way into violin.

Okay is a beautiful follow-up and outstanding accompaniment to this year’s AZAR, again proving Venice Is Sinking as one of the most impressive artists of 2009.

Venice Is Sinking: Okay [mp3]

[CDEP, 2009]

1. Okay (AZAR Version)
2. Compass (Okay Cover)
3. Give Up (Okay Cover)
4. Ryan’s Song (Henslee Session)
5. Okay (Henslee Session)

We’re now half way through 2009, so I figured it was about time to collect a few favorites from the year thus far. I’ve put together 10 must-hear albums from the first half of 2009. To alleviate any bias, and because I’m totally obsessed with this style of categorization, I’m putting them alphabetically.

A few albums are missing from this list and deserve bonus recognition. I’ve chosen five artists I find absolutely amazing to list as honorable mentions. Why? In some cases, I haven’t had the chance to listen to the album in its entirety. In a few other cases, I simply ran out of room.

1. Tom Brosseau: Posthumous Success
2. God Help The Girl: God Help The Girl
3. The Legends: Over And Over
4. Pree: A Chopping Block
5. Virgin Of The Birds: Every Rival

Enough. On to my 10 Must-Hear Albums From The First Half Of 2009…

* * * * *

Tree House Whispers by Anois

Easily one of the greater underground discoveries of the year is Anois, whose latest release, Tree House Whispers comes from netlabel Aerotone Records. It is, perhaps, my favorite release Aerotone Records has given us to date. Read my review of Anois’s Tree House Whispers.

Anois: Beds And Dishes [mp3]

* * * * *

The Banyans by The Banyans

These things are all about surprises, and it wouldn’t be fulfilled without a self-released album from a brand new hometown band. The Banyans are from Seattle and their style of northwest folk is absolutely wonderful. Read my feature on The Banyans.

The Banyans: Grenade On Course [mp3]

* * * * *

Tentacles by Crystal Antlers

Last year’s self-titled EP by Crystal Antlers became one of my favorites of the year and their LP follow-up with Tentacles is poised to follow suit. While slightly less eccentric experimental noise than Crystal Antlers, it makes up more than tenfold with drone-y experimental psychedelia. Tentacles can be found on Touch & Go. Read my review of Tentacles.

Crystal Antlers: Andrew [mp3]

* * * * *

Spooky EP by The Golden Hours

With the buzz around fuzz — fuzzed out guitars, that is — and my history of loving the sound dating back to the debut release by The Legends, you’re sure to hear a few such artists on this list. The Golden Hours is the first and their music sides a bit more on the cute and twee end. Spooky EP is a must-have for fans of fuzzed-out pop. Read my Spooky EP review.

The Golden Hours: Baked Brown [mp3]

* * * * *

Golden Triangle by Golden Triangle

Where The Golden Hours were on the twee end of of the spectrum, Golden Triangle is most definitely somewhere else. Their music is loud, raucous, and angst-filled, but boy is it fun! Golden Triangle is an in-your-face garage punk release. Golden Triangle was released on Mexican Summer, but is now sold out. Read my review of Golden Triangle.

Golden Triangle: Red Coats [mp3]

* * * * *

The Pains Of Being Pure At Heart by The Pains Of Being Pure At Heart

I must say that I am absolutely ecstatic that The Pains Of Being Pure At Heart released “Young Adult Friction” as a single. It is, after all, one of my top three songs of the year so far. What’s amazing is that the rest of their self-titled LP is not far behind. No wonder TPOBPAH is one of the biggest hype bands of the year! This album can be found on several record labels throughout the world, including Slumberland, Fortuna Pop and Lost And Lonesome. Check out my coverage of a TPOBPAH video.

The Pains Of Being Pure At Heart: Everything With You [mp3]

* * * * *

Everybody Come Outside by Pomegranates

Pomegranates were one of last year’s surprises, ultimately achieving a top ten spot in my Top 33 and 1/3 Albums of 2008 list. Well they’re back with Everybody Come Outside and it tops last year’s phenomenal release. This album was released on Lujo Records. Read my review of Everybody Come Outside.

Pomegranates: Everybody Come Outside [mp3]

* * * * *

Clangour by Sin Fang Bous

Beautifully electronic, masterfully erratic, Sin Fang Bous is one of Iceland’s most promising artists, as heard throughout Clangour, as seen in the Sin Fang Bous videos for “Advent In Ives Garden” and “Clangour And Flutes”, and as seen in the outstanding cover art design. Clangour is on Morr Music. Check out my video review on Sin Fang Bous.

Sin Fang Bous: Advent In Ives Garden [mp3]

* * * * *

AZAR by Venice Is Sinking

AZAR may be one of the earliest released in this group of outstanding albums, but throughout it has maintained not only a high ranking as one of my favorite albums of the year, it has also dominated my playlist. I fully expect the second half of 2009 to continue the trend. One Percent Press released AZAR. Check out my coverage of Venice Is Sinking.

Venice Is Sinking: Okay [mp3]

* * * * *

We Swim You Jump by We Swim You Jump

We Swim You Jump is the international surprise of 2009, coming from the Netherlands. This group creates highly infectious indie pop that far outstretches their humble beginning. They also introduced me to a new label, Subroutine Records. Read my album review of We Swim You Jump.

We Swim You Jump: Sharks [mp3]

It’s only the first of March and I can already tell that 2009 is going to be an amazing year in music. Let’s do a quick list. Top releases by artist this year so far: Animal Collective, Beirut, Camera Obscura, The Pains of Being Pure at Heart, Pree, and Venice Is Sinking (MySpace). And I know I’m missing quite a bit here already. The last on the list is slated to give us their sophomore release, AZAR, (reviewed by Fense here) on March 31.

Last week the group released a video of “Ryan’s Song”, embedded below courtesy Stereogum and I just couldn’t pass up the chance to once again relay just the greatness of AZAR. And yet again, they deliver with this video; easily one of the more interesting and entertaining of 2009 thus far. My favorite part is the end. Watch it. I think you’ll see why.

Venice Is Sinking: Ryan’s Song [mp3]

Athens, GA is a hotspot for new talent, and one of the most promising acts in quite some time is the sometimes experimental, sometimes shoegaze greatness that is Venice Is Sinking (MySpace). AZAR is the quintet’s second; it’s an album packed with connotations like sometimes and conceptual and maybe even dreamy.

AZAR is a lot of things. It flickers back and forth between them continually. The title tracks, “AZAR One” through “AZAR Four”, are perfect examples, acting as transitions throughout the album, though the songs, to begin with, flow flawlessly from one to the next. In that regard, they also act as intermissions, breaks between greatness – a greatness that includes virtually every song on AZAR.

Beautifully crafted orchestration gives AZAR its dreamy nature. “Wetlands Dancehall” concludes with a pleasant string breakdown that leads into a guitar/string duet in “Young Master Sunshine”, which later champions trumpet. In these softer moments, hints of bedroom pop can be heard; but Venice Is Sinking also includes heavier hitters, like the powerful favorite, “Okay”, and the first single, “Ryan’s Song”.

To say Venice Is Sinking is at their best in the louder songs or during the softer ones would be to disgrace what they’ve created. Yes, this album is at times conceptual and the songs transition from one to the next very well, but each song has unique elements not found in those it accompanies. Likewise, the songs that feature dual male/female vocals are just as good as those that feature just male or just female. And the melodic and mesmerizing songs, like “Iron Range” are just as amazing as the more epic and powerful.

It’s quite apparent that much thought and planning and knowledge went into this album. And it all comes together is the closing tune, “Charm City”, the perfect blend of dreaminess, experimentation, emotion, instrumentation, orchestration… the list goes on. The song grows during its epic seven-and-a-half minutes, slowing building in volume until its conclusion. It is AZAR‘s anthem.

This all leads to one thing: AZAR will be a great contender for many Best of 2009 lists.

Venice Is Sinking: Ryan’s Song [mp3]

One Percent Press [CD, 2009]

1. AZAR One
2. Ryan’s Song
3. Okay
4. AZAR Two
5. Wetlands Dancehall
6. Young Master Sunshine
7. AZAR Three
8. Sunbelt
9. Iron Range
10. AZAR Four
11. Charm City