Twitter Review Session #1

For those of you not in the know: I started an Emotional Drumming Twitter account, and have been posting reviews of 2009 records that are under 140 characters long. Ridiculous, right? I love Twitter, I will be the first to tell you that.

Anyway, here is a collection of the first fifteen that I've tweeted:

(1) Set 'Em Wild, Set 'Em Free - Akron/Family (Dead Oceans)
Solid effort. Like the psychadelic stuff more than the folk. "River" is one of best songs of '09. (7/10)

(2) Faces Change - Alexander the Great (Crossroads of America)
Pretty good dynamic, poppy emo-ish stuff with passionate vocals, albeit a little too much so. (6.5/10)

(3) It's Not Me, It's You - Lily Allen (Capitol)
Overall better than Alright, Still, but where are the "LDN" and "Smile" caliber jams? NOWHERE. Mediocre at best. (5/10)

(4) Merriweather Post Pavillion - Animal Collective (Domino)
Best album of 2009 thus far. Still up for debate if it's AC's best, but easily their must accessible. (9/10)

(5) Hospice - The Antlers (Frenchkiss)
Dark, somewhat spacey, melodramatic indie rock. Boring in parts and a little too long, but very pretty. (6.5/10)

(6) The Crying Light - Antony and the Johnsons (Secretly Canadian)
Way over my head. Pretty, but much too slow, boring, sappy and dramatic. Stick with Hercules, Antony! (4/10)

(7) Sagarmatha - The Appleseed Cast (The Militia Group/Vagrant)
The least inspiring, most underwhelming, boring post-rock album from a band I LOVED in the early 2000s. (5/10)

(8) Hush - Asobi Seksu (Polyvinyl)
Ultra poppy shoegaze. There are nice parts, and "Glacial" is an awesome song, but otherwuse, nothing special at all. (6/10)

(9) Two Suns - Bat for Lashes (Astralwerks/Parlophone)
Very dark, slightly Bjork-esque pop. Slept on it at first, but I think I get it now. Eerie and gorgeous. (7/10)

(10) March of the Zapotec EP/Holland EP - Beirut/Realpeople (Pompeii)
As great as Condon's voice is, I dig his electro-pop better than the cultural baroque pop. Still a snoozer. (5.5/10)

(11) As Seen Through Windows - Bell Orchestre (Arts & Crafts)
There are some interesting sections on a few tracks, otherwise just your run-of-the-mill instrumental post-rock. (5/10)

(12) Noble Beast - Andrew Bird (Fat Possum)
Nowhere near as good as "Armchair Apocrypha," but it is another Andrew Bird album, and as you'd expect, quite nice. (7/10)

(13) Rayguns Are Not Just the Future - The Bird and the Bee (Blue Note)
Top-40 style pop music done the way it should be: fun, catchy AND interesting. (7/10)

(14) Grrr... - Bishop Allen (Dead Oceans)
Cutesy indie pop with solid production, two sweet songs and not much else. (6/10)

(15) 200 Million Thousand - Black Lips (Vice)
Sort of experimental, messy, lo-fi garage punk. The Clash-esque "Drugs" is great, but overall, I don't get it. (4/10)

New Favorite Song #2: Wake Up

After reading Pitchfork's obsessively flattering review and 9.7 rating of Arcade Fire's DEBUT full length, and then observing the aftermath, that was when I realized the grip that website has on the independent music scene. Sure, they had been responsible for dramatically inflating bands' popularity and critical acclaim before this (Broken Social Scene, probably Deerhoof, to name a few), but the hype for Funeral was taken to a whole new level.

I'm not going to argue with them about how amazing and important the album is. Obviously, it is quite an accomplishment. And I believe, critically, in the grand scheme of things (rock music-related, at least), Funeral is considered to be incredibly important amongst not only critics, but a nation-wide scene. What else is there that rivals the importance of Arcade Fire's DEBUT (emphasis on this because that is part of the reason why it's such a big deal) in this particular decade? And of course, I'm talking about the legitimacy of the music, not record sales and whatnot.

Here's a list of ten ten records (aside from Funeral) that a large population of critics might include in their decade-end best of lists that I thought of off the top of my head, listed chronologically by year:

- Radiohead's Kid A (2000)
- Wilco's Yankee Hotel Foxtrot (2002)
- The Flaming Lips' Yoshimi Battles the Pink Robots (2002)
- Interpol's Turn on the Bright Lights (2002)
- Broken Social Scene's You Forgot it in People (2002)
- The Shins' Chutes Too Narrow (2003)
- Brian Wilson's Smile (2004)
- Sufjan Stevens' Come On Feel the Illinoise! (2005)
- Radiohead's In Rainbows (2007)
- Animal Collective's Merriweather Post Pavillion (2009)

I know I'm probably missing a ton. Some comments: In my eyes, Kid A is the only album here that is obviously, without question, more important than Funeral. You know, the whole idea about them being this already huge and established band with an already respectable and important sound, completely doing a 540, and still being just as crucial if not even more so, and even ending up with a #1 hit record to boot. As for Yankee Hotel Foxtrot and In Rainbows, that they are not only incredible records but all the music businessy details that surrounding their releases are what launch them up there in importance. Yoshimi, Turn on the Bright Lights, You Forgot it in People, Chutes Too Narrow and Illinoise are all arguably just as good albums, but don't quite reach the level of importance as the others. Also, we'll have to wait five years to truly be able to assess Merriweather Post Pavillion against all these others, I think. And lastly, now that I think of it, Smile might be above Funeral here as well, thanks to the fact that it was supposed to be released in the late 60s, never happened (in spite of how badly fans of Brian Wilson wanted it), and then was completely rerecorded and released in 2004, and STILL sounded amazing.

ANYWAY, it is apparent to me that Funeral is seen in this higher pantheon of records of this decade, and it deserves it.

So, why do I rant and rave so much about all of this now? Because there was a span of two years where I thought Arcade Fire's sophomore album, Neon Bible, was better. When I initially compiled my top 20 albums of 2004 list, Funeral was ranked fourth. Now, I'd probably put it at #2 or #3. I believe I ranked Neon Bible eighth on my 2007 list, granted I think that year was a better one for music. And, these are FAVORITE records we're talking about here, not BEST. There is a difference (though let's face it, it is impossible to be objective, no matter how hard you try). To summarize my most recent thoughts on both records as simply as possible, they both sound incredible, have an equal amount of songs that I love and perfectly, but Funeral has the more affecting mood and feel to it, and that is what it comes down to, for me at least.

Alright, I'll get to the whole point of this post now, seeing as it is supposed to be about a single song. At the end of March or maybe very beginning of April, I viewed the trailer for the upcoming film version of Where the Wild Things Are. One of Funeral's most epic and sweeping tracks, "Wake Up", is featured as the soundtrack to said trailer. It is appriopriate, chilling and basically wonderful in every way. That following weekend, I decided to spend some time with the album on the way up to the Traverse City area with my parents. I hadn't listened to it in a really long time, I'm not sure exactly how long. But it blew me away. Again.

While I was listening, we were pretty close to our destination (an immediate family gathering at some cabins in the general viscinity), it was the beginning of April, and there was a supprising amount of snow everywhere. It was beautiful, and the album fit this mood perfectly. From what I know of the band's experience around this album, a few of their family members had died during this time, and virtually, that is what it is about, I think? Something like that. Anyway, here I was, with my family, about to spend an entire weekend with them in beautiful northern Michigan, and it just tugged at my heartstrings. Since graduating college almost three years ago, I have come to appreciate my family so much more, and have grown closer to them (well, there's one exception that is too personal to get into), and it is a wonderful feeling. Funeral and especially "Wake Up" will now be associated with the memory of one of the most enjoyable experiences I've ever had with my family probably for a very long time. So, there is my emotional attachment to it.

Musically, the song is simply badass. The dirty, distorted guitar opens things up, and then when all the other instruments and vocals leap in and open things up, it is unexpected and overwhelming in the best way. The verse melody is simple, but seems like it should be inspiring, and the entire first section of the song (which is most of it) is very anthemic. Then, things sound like they're coming to a close, and just when you're ready to cut ties with the song, this beautiful, poppy piano and glockenspeil-led tag at the end brings things home, and it is PERFECT.

Honestly, "Wake Up" is nowhere near my favorite song by Arcade Fire, but since April, it has been blowing my mind more than any tune I currently have access to. Enjoy.

Wake Up - The Arcade Fire