Listenings To...

Time and again, without fail, I find myself bombarded with claims that this year, more so than any other year, is the worst year in music. It's always around the midpoint, it seems, rather than the end of the year, which has always struck me as particularly asinine.

First of all, despite what anyone tries to tell me or you, 2008, like 2007 before it, is not the worst year in music. The people who try to convince you that there are more terrible bands making more terrible music than there were in, say, 1998, are dreadfully wrong. There were just as many. The difference between then and ten years ago is that mass communication technology caught up with what the underground kids at the time were doing. Meaning, thanks to the internet becoming a viable, living breath fixture in our culture over the last decade, more bands of varying quality are more immediately available to even the most casual listener than ever before.

Example: AbsolutePunk.Net currently has a feature for up and comers/unsigned bands. Sort of a 100 bands you should get to know type deal. Each small description is accompanied by a streaming song you can chose to click should the write-up interest you. This is being done for 100 bands. Theoretically, I could sound test 100 bands in less than two hours at the click of a button. And this is something any and everyone who visits the site could do at any given time. Not something the common person could accomplish 10 years ago.

Just needed to get that out. As you can tell, I'm bouncing about the webs for new music. Given my freelance profession, it's something I do on a regular basis to get paid, but finding new artists is something I enjoy doing. My calls for suggestions are generally met with a numbing silence. So…thanks for nothing.

Anywho, here's some stuff in 2008 I've had the time to really get into and found noteworthy so far.

Volume One by She and Him: This is why it's not always a good idea to use superlatives before the year is out. At the time of the release, Zooey Deschanel's stunning musical debut seemed like candidate for album of the year. The throwback to 60's girl groups mixed with some Carole King came off honest and ironically refreshing, especially since the new Rilo Kiley was so disappointing. However, now that the album's been out for six months, I've found a few of the tracks aren't quite as memorable and/or don't have much staying power. Not to say it's not a solid album, it's very, very good. Deschanel's an extremely charming vocalist with a very enchanting presence. Just not album of the year material.

Stop, Drop, And Roll!! By Foxboro Hot Tubs (or, The Foxboro Hottubs): Last December, I spazzed out about Green Day's (at the time) "secret" project that found the band brandishing a less produced, more garage rock influenced sound. The 60's influences Kinks meets Iggy Pop style was a complete 180 from the band's American Idiot material, feeling very much like the party after the protest. Well, they took the 6 songs they gave away in December, added 6 more to create the full LP released in May. Nothing heavy handed nor does the band churn out more-of the same. Everything comes off as kinetic from beginning to end. Now, I understand my bias plays a part here. Green Day can do no wrong in mine eyes. Still, I've heard from many people who aren't particularly into Green Day (or didn't realize who it was) that they thoroughly enjoyed this fun little record.

Who Killed Amanda Palmer? by Amanda Palmer: Now this might be a contender for album of the year. I've been a passing fan of the Dresden Dolls for a while now. Loved the self-titled, but their two subsequent releases just didn't do too much for me. Palmer's solo album, on the other hand, finds her unburdened by the niche she found herself with the Dolls. Here, she's clearly more confident, stretching out to experimenting with more instruments and structures. Furthermore, she's just a very solid lyricist with a unique theatrical way of representing herself. Definitely a must for fans of Tori Amos, Ani DiFrano, and Regina Spektor. It's excellent from open to finish and doesn't run together as her other band has been subject to doing occasionally.

Bug Sessions Volumes Two and Three by Saves The Day: Another one of my favorite bands. These two releases are compilations taken from the band's Fall 2007 acoustic tour. There's no new material, per say, rather, acoustic offerings from every era of the band's career. Probably not of too much interest to anyone except fans of the band, I prefer some of these versions to the studio originals. A notable favorite is the acoustic version of A Drag In D Flat, which finally offers what the hell Chris was singing in the background in the original b-side off Vagrant Records' Another Year On The Streets compilation 7 or 8 years ago. Just a damn fun release and I hope the band continues this semi-annual project.

Narrow Stairs by Death Cab For Cutie: I love Narrow Stairs. It seems to ferment and grow even better in my mind with each listen. I assume this chia-like growth (thanks, Max Bemis!) will eventually sprout into a full formed unashamed love for the album. I love "Long Division." That, Bixby Canyon Bridge, and "No Sunlight" rank among some of my fave DCFC tracks. I have yet to stop loving virtually everything Death Cab For Cutie and/or Ben Gibbard records. Also, if you haven't heard Ben Gibbard's acoustic cover to Michael Jackson's "Thriller," you have not lived.

Pretty.Odd. by Panic(!) At The Disco: Fuck. Did these kids ever prove me wrong. People have been quick to call it a faux attempt at maturity or other such things primarily because they want to continue to dislike Panic At The Disco. I can get that, somewhat. However, this effort really shouldn't be overlooked. While lyrically silly at times, this throwback rock record really steps it up a notch for a band I had completely written off.

Raise The Dead by Phantom Planet: Another band I had written off after that atrocious self-titled album a few years back. I'm happy to announce Phantom Planet is back in full form, finally achieving the promise of their earlier material. Alex Greenwald's vocals are distinctly more confident this time around and the band comes off as much more genuine instead of that wretched attempt at indie-rock chic. The choruses are often epic and the band planned many turns along the way to keep the album from getting stale.

That's all for now. More to come later…