Neon Indian: Psychic Chasms

Artist: Neon Indian
Album: Psychic Chasms
Date Released: October 13, 2009
Genre: indie electronic, electronic, alt-rock
Rating: 7.9

Health: Get Color

Artist: Health
Album: Get Color
Date Released: September 8, 2009
Genre: noise rock, alt-rock, indie-rock
Rating: 7.1

Health is an American noise rock band from Los Angeles, California. The band has collaborated with Crystal Castles and toured with Nine Inch Nails -- and it's fair to say that their sound is firmly situated between the two. Health's dark, noisy and experimental flair is offset by its predilection for synthy, high-energy and upbeat music.

On Get Color, the band is once again loud, noisy and digitally distorted in surprisingly beautiful ways. The tracks are fun, inventive and highly listenable -- though you have to have the patience for this kind of music. Track highlights include "Die Slow," "Before Tigers," and "We Are Water."

Loney, Dear: Dear John

Artist: Loney, Dear
Album: Dear John
Date Released: January 27, 2009
Genre: alt-rock, indie-rock, indie-pop
Rating: 8.0

Loney, Dear is the pseudonym of Swedish singer-songwriter and multi-instrumentalist Emil Svanängen. Dear John is Loney, Dear's third full-length album and the follow-up to his critically acclaimed Loney, Noir (2007).

On Dear John, Svanängen often treads perilously close to music that could be considered quite glossy and flowery, but his richly detailed arrangements and gorgeous soundscapes never allow the music to reach that point. Svanängen manages to darken these tracks with delicate moments of minimalism, his (almost uncomfortably) intimate vocal delivery, and plenty of minors and fifths.

Take the track, "Under a Silent Sea." Svanängen starts off with an unassuming acoustic guitar, but the arrangement slowly builds into one of the most powerful and dramatic tracks put out this year by any artist. The comparisons to Sufjan Stevens are not out of place.

Dear John is a difficult album to categorize and its charms aren't immediately recognizable. Stick with this album, though -- it's a real beauty.

Lightning Dust: Infinite Light

Artist: Lightning Dust
Album: Infinite Light
Date Released: August 4, 2009
Genre: indie rock, alternative rock, indie folk, acid folk, sadcore
Rating: 8.1

Lightning Dust, a Canadian indie rock band from Vancouver, British Columbia, is a side project of Amber Webber and Joshua Wells, both members of Black Mountain. But unlike Black Mountain, Lightning Dust has a sound that's softer and more melodic. As Wells has noted, the band arose from a desire to "do something that was sparse and minimal, and with a lot of space around it." Webber, who performs vocal duties, described the band as an opportunity to "explore her goth side."

And it's clear from the opening track, "Antonia Jane," that this is not a Black Mountain album -- far from.

Infinite Light is a lyrical, gentle and atmospheric album. It's also very sad and dark -- a mood that's punctuated by some spacey sonic elements, and of course, Webber's lyrics and vocals. Indeed, Infinite Light is an acid-folk tour de force for Webber's singing and she clearly takes center stage. Her warbly and somber delivery is an indelible part of the Lightning Dust sound, a style that's reminiscent of a much more subdued Grace Slick.

Another solid release from a very talented and prolific duo.

Bear in Heaven: Beast Rest Forth Mouth

Artist: Bear in Heaven
Album: Beast Rest Forth Mouth
Date Released: October 13, 2009
Genre: indie rock, neo-psychedelia, progressive rock, alternative rock
Rating: 7.9

Beast Rest Forth Mouth is the sophomore release from Brooklyn's Bear in Heaven, a band that incorporates influences from prog, psychedelia, electronica and krautrock. Thanks to bands like Mew and Muse, prog-rock is no longer a dirty word -- but as far as Bear in Heaven goes they're much more like the former than the latter. Where Muse wears its pretension like a badge, Mew and Bear in Heaven take a more subdued and ethereal approach to their music.

Beast Rest Forth Mouth is a prime example. It's an album of steady and hypnotic beats, synthy and spacey rhythmic sequences and dreamy vocals. The tracks are paced and have a shoegaze element to them at times, while frequently coloured with power-chords and some very heavy synth pulses.

Sonically, the album is gorgeous from start to finish; but stronger tracks and a clearer commitment to melody would have propelled this album from good to great. Track highlights include "Beast in Peace," "You Do You," and "Lovesick Teenagers."

White Rabbits: It's Frightening

Artist: White Rabbits
Album: It's Frightening
Date Released: May 19, 2009
Genre: alt-rock, indie-rock
Rating: 7.2

It's Frightening is the sophomore release from White Rabbits, a sextet featuring two drummers and a piano player. Hailing from Columbus, MO, the White Rabbits refer to their music as "honky tonk calypso" -- a sound that isn't too far removed from other bands like The Walkmen and Spoon. In fact, for It's Frightening, the band recruited Spoon's Britt Daniel to produce.

The end result is undeniably Spoonesque and not nearly as fresh as their beloved debut, Fort Nightly, but it's a solid album nonetheless. The infectious and upbeat rhythms work beautifully with the ever-important White Rabbits piano, but this time around the band has refined their sound by adding the dynamism of improved guitar and vocal arrangements.

It's Frightening may not capture the spontaneity of their debut, but White Rabbits are quickly maturing as a band whose primary focus is in producing expertly arranged and well written songs. Track highlights include "Percussion Gun," "Rudie Fails," "They Done Wrong/We Done Wrong" and the Radiohead inspired "The Salesman (Tramp Life)."

Atlas Sound: Logos

Artist: Atlas Sound
Album: Logos
Date Released: October 20, 2009
Genre: post-rock, experimental, indie rock, alt-rock
Rating: 8.9

Atlas Sound is the solo project of Bradford James Cox, the lead singer of Atlanta four-piece Deerhunter. Logos is the follow-up to his debut, Let the Blind Lead Those Who Can See but Cannot Feel.

Often awash in ambient textures and post-rock zone-outs, Logos is a gorgeously produced and intricate album that pays as much attention to texture and sound design as it does to sheer track strength. Featuring guest appearances from Noah Lennox (Animal Collective, Panda Bear) and Laetitia Sadier (Stereolab) the album is blessed with some excellent talent. The Sadier track in particular, the epic and washy "Quick Canal," is emblematic of Cox's ability to intertwine atmosphere with melody.

Though Atlas Sound could be considered more experimental and daring than Deerhunter, closer inspection reveals a highly accessible album. Don't let the labels fool you: Logos will appeal to a wide cross section. Don't miss this one.

The Flaming Lips: Embryonic

Artist: The Flaming Lips
Album: Embryonic
Date Released: October 13, 2009
Genre: indie rock, alternative rock
Rating: 8.2

Embryonic is a surprising and welcome return to form for these beloved freak-rockers. And by return to form I'm not talking Yoshimi -- Wayne Coyne and company have taken inspiration from earlier periods in their storied history.

The Flaming Lips have put aside the glitter and sparkle for this one, replacing it with some lo-fi atmosphere, tons of reverb and many shades of grey. That's not to say the album is gloomy -- quite the contrary. The track "I Can Be a Frog" (which features Karen O of The Yeah Yeah Yeahs) should put a smile on anybody's face.

Sound design and acoustics have replaced melody and sheen; On Embryonic, The Flaming Lips are wild and rowdy -- and at times even a bit jazzy. Embryonic is complex, noisy and experimental, making repeated listens a rewarding experience.

The Most Serene Republic: ...And the Ever Expanding Universe

Artist: The Most Serene Republic
Album: ...And the Ever Expanding Universe
Date Released: July 14, 2009
Genre: indie-rock, alt-rock, post-rock, experimental
Rating: 7.5

Review: The Canadian music scene is alive and well -- it's arguably never been stronger. Now if only the rest of Canada would wake up to this fact. Case in point is The Most Serene Republic -- an outstanding and innovative 7-piece act from Toronto that's largely unknown in its home country. That being said, with ...And the Ever Expanding Universe, TMSR have released their most accessible album to date. There's no longer any excuse for ignoring this band.

The 2009 version of TMSR are a little less post-rock and bit more alt-rock, if not alt-pop. The tracks on ...And the Ever Expanding Universe are tighter and more constrained than before (take the Philip Glass inspired "Patternicity," a track that could have easily gone out of control), but they're no less daring and enjoyable. And as always, the band is high-energy and all about the fun factor (check out "Heavens to Purgatory" for a taste).

An excellent release from a very talented band.

The Veils: Sun Gangs

Artist: The Veils
Album: Sun Gangs
Date Released: April 7, 2009
Genre: indie-rock, alt-rock
Rating: 8.6

Review: Sun Gangs is the third album from The Veils, a band with members from New Zealand, Germany and Britain. This time around it's a break-up album that find Finn Andrews ruminating about relationships and all the associated angst and frustration that go along with them.

With that as the backdrop, Sun Gangs provides a platform for The Veils to showcase their immense songwriting and arranging talents -- and as an opportunity for Andrews to display his tremendous vocal abilities; the Veils is what Rufus Wainwright would sound like if he formed an indie-band with Jeff Buckley.

Track highlights include "The Letter," "It Hits Deep," and "Sit Down by the Fire."

The Fiery Furnaces: I'm Going Away

Artist: The Fiery Furnaces
Album: I'm Going Away
Date Released: July 21, 2009
Genre: indie-rock, alt-rock
Rating: 7.4

Review: After a string of messy and (supposedly) experimental albums, The Fiery Furnaces return with a surprisingly solid and coherent effort in I'm Going Away. Fans of Gallowsbird's Bark and Blueberry Boat will be very pleased. Eleanor Friedberger 's immense vocal talents are finally given the tracks they deserve. "Even in the Rain" is a stand-out among 11 other solid tracks.

The Dead Weather: Horehound

Artist: The Dead Weather
Album: Horehound
Date Released: July 14, 2009
Genre: alt-pop, alt-rock, garage rock revival, blues rock
Rating: 7.8

Review: The Dead Weather is an American supergroup composed of Alison Mosshart (The Kills), Jack White (The White Stripes and The Raconteurs), Dean Fertita (Queens of the Stone Age) and Jack Lawrence (The Raconteurs and The Greenhornes). The music on Horehound is raw and bluesy, and at times reminiscent of early Zeppelin (including plenty of sexual innuendo).

Mosshard and White trade vocal duties, while White also performs on the drums. But the real standouts on Horehound are the guitars and the most evil sounding organ work I've heard in quite some time (check out "Treat Me Like Your Mother" to get a sense of what I mean). This album has too much attitude and confidence to ignore.

Sonic Youth: The Eternal

Artist: Sonic Youth
Album: The Eternal
Date Released: June 9, 2009
Genre: indie rock, alternative rock, experimental rock
Rating: 8.2

Review: Veteran alt-rockers Sonic Youth return with The Eternal -- an album that features many of their hallmarks (including Kim Gordon's acerbic delivery, de-tuned guitars, and flirtations with dissonance), but also a characteristic new direction established by Thurston Moore on his recent solo album, Trees From Outside the Academy (e.g. "Antenna"). One of my favorite lyrics of the year comes in "Sacred Trickster": "What's it like to be a girl in a band?/I don't quite understand/That's so quaint to hear/I feel so faint my dear."

The Phantom Band: Checkmate Savage

Artist: The Phantom Band
Album: Checkmate Savage
Date Released: February 3, 2009
Genre: indie-rock, alternative rock
Rating: 7.8

Review: Hailing from Scotland, The Phantom Band's first studio release, Checkmate Savage, displays some very capable song-writing, but the arrangements could use some work. Musical influences on this album include Pavement and Stereolab. Track highlights include the extremely hooky "The Howling" and "Folksong Oblivion". Checkmate Savage sounds like an album that was produced by a veteran act -- definitely a band to keep an eye on.

Grizzly Bear: Veckatimest

Artist: Grizzly Bear
Album: Veckatimest
Date Released: May 26, 2009
Genre: alt-rock, indie-rock
Rating: 8.6

Review: Brooklyn-based Grizzly Bear's fourth studio album may be its finest yet. Veckatimest features complex arrangements and harmonies, a strong melodic sensibility, and some stellar sound design. Overall, however, it's lacking in song strength and track-by-track dynamics.

Phoenix: Wolfgang Amadeus Phoenix

Artist: Phoenix
Album: Wolfgang Amadeus Phoenix
Date Released: May 26, 2009
Genre: alt-rock, indie-rock
Rating: 7.7

Review: Well-crafted, upbeat and danceable indie-rock. Fans of MGMT and Of Montreal will be at home with this album.

St. Vincent: Actor

Artist: St. Vincent
Album: Actor
Date Released: May 5, 2009
Genre: alt-rock, singer-songwriter, indie-pop
Rating: 7.8

Review:

Nearly two years after her debut album, Marry Me, Annie Clark (aka St. Vincent) has released Actor, an effort she wrote entirely herself and co-produced with John Congleton of The Paper Chase. Clark plays guitar, bass and keys on the record, but brought in some extra help in the form of Hideaki Aomori (Sufjan Stevens) and Alex Sopp (Bjork).

"The Neighbors" sets in with an unpredictable tempo, and throughout the track synthesizers shimmer and build to create a breathing, shaking sound, feeding the album with a fresh and unique potential.

The slow dancing violin introduction of "Black Rainbow" is seductive and fresh, with a lovely accompanying synth looping throughout the track. The vocals from Clark resoundingly carry while remaining mellow and calm. Towards the end of the track the synth becomes heavier, with the violins raising dramatically, becoming higher and higher as the swift change in sound changes the dimension of the album.

Just under the minute mark, "Marrow" bolts into a stark and uplifting beat, which catches you off guard and naturally makes your whole body jive to the rhythm; it's an excellent example of music changing direction to make you listen. "Party" helps Clark to build on one of her strengths in the shape of her addictive vocals, as a smiling piano twinkles to add solid foundation to the song.

A sumptuous beginning to the final track "The Sequel" involves brass and woodwind instruments which diffuse into acoustic guitar and Clark’s now familiar voice.

Actor cements itself as entrancingly listenable. But for all its moments of joyous unpredictability there are too many average expanses within the tracks, often leading to glorious climaxes cut short. Despite this, however, the album as a whole is a fine piece of work which many will find both soothing and embracing.

Reviewed by Asa Masters.

Yeah Yeah Yeahs: It's Blitz!

Artist: Yeah Yeah Yeahs
Album: It's Blitz!
Date Released: March 10, 2009
Genre: alt-rock, garage punk, indie-rock
Initial rating: 8.1

Review: Every great band goes through changes from album to album, but it's the best bands who can do so and still blaze a successful trail into the future. On the Yeah Yeah Yeah's new CD, they have broken new sonic ground, but they haven't lost what made them great. It's Blitz dives headfirst into the electronic-pop scene that's been coming out of Brooklyn lately; the album is dripping in string synths and machine beats -- and it does so in a way that's better than most.

It's Blitz may be different from their garage-rock albums of the past, but it marks a significant expansion of YYY's sound. It takes a lot of courage to set off in a new direction, risking the alienation of old die-hard fans. But the results are both fantastic and necessary. This is exactly where the band needed to go. Another "garage-rock" album would have likely typecast the band, sending them to the place of the soon-to-be-forgotten (Black Rebel Motorcycle Club, anyone?).

It's Blitz starts out with a quick 1-2-3 punch of “Zero”, the catchy as hell “Heads Will Roll” and “Soft Shock”. “Heads Will Roll” goes deep into dance-floor territory -- but Karen O's voice floats right over the beats with ease. Her voice shines bright on all the tracks and the new sound gives her room to showcase her vocal talents. Towards the end of the album, with songs like “Hysteric”, the band returns to more familiar territory, but the tone of this album is consistent. Karen O's voice is gorgeous on the slower tracks, a powerful instrument that works in tandem with the abundance of catchy hooks.

It's always refreshing when a band decides to push off in a new direction and at the same time hold onto what made them so great in the first place. It's Blitz is a great new sound for YYY's and it will be exciting to see where they go from here.

Reviewed by Ryan Konop.

Cymbals Eat Guitars: Why There Are Mountains

Artist: Cymbals Eat Guitars
Album: Why There Are Mountains
Date Released: January 25, 2009
Genre: indie-rock, alt-rock
Rating: 8.7