20. Javelin, No Mas
It comes as no surprise that a band signed to David Byrne's label (the appropriately strangely named Luaka Bop) would be creative and bizarre -- and this offering, from Brooklyn DJs Javelin -- is among the year's weirdest. In a good way! Opener "Vibrationz" is hazy, summer-fueled electro-pop perfect for chilling out to, while "Oh! Centra" sounds like Mickey Mouse started a rap career singing about kangaroos. No, really.
(See also: "Seriously, the wackiest thing I've listened to in some time"; "What I'm listening to: Javelin")
19. Tunng, ...And Then We Saw Land
An understated autumn record full of hand-plucked strings and wistful folk melodies that sometimes grow big and cathartic -- Land was inspired by a tour with Malian desert band Tinariwen, whose emphasis on mood and feeling led to this warm, earth-y song collection. Think music for the morning, or late afternoon in front of the fireplace, clothing mused from jumping in the leaves all day.
(See also: "A Happy Tunng Thanksgiving"; "Best New Music: Tunng"; "What I'm listening to: Tunng")
18. Free Energy, Stuck on Nothing
The first time I saw Free Energy -- opening for The Harlem Shakes, I believe, back in summer '09 -- I was sort of unimpressed. Their tunes seemed catchy enough, to be sure -- but the band itself seemed more concerned with acting like they didn't give a fuck -- strumming their instruments lackadaisically and smirking -- as if they were more interested in creating something ironic than sincere. And I get that. Their songs definitely have a sort of old school, fist-pumpin', arena rock vibe that's different from what most indie kids are used to, and is often best viewed through a kitsch-y lens. Whatevs. But the reason this album -- produced by DFA's James Murphy (aka, the coolest kid in show biz) -- totally rules is because it DOESN'T smirk at itself. It's a straightforward, straight rocking record of bouyant guitars and rollicking beats that for me, recollects driving around Jersey in high school, blasting classic rock and stopping at Friendlies for ice cream sodas. It's big, loud, friendly, and accessible -- welcoming you with open arms and challenging you NOT to dance along. Not to mention, it's probably my favorite record to come out of the City O.B.L. all year long.
(See also: "Free Energy pump up the club")
17. Rafter, Animal Feelings
Rafter Roberts -- the man behind rambunctious pop act Rafter -- got his start writing commercials. This talent serves him very well on Animal Feelings, a brassy, exuberant collection of pop meets R&B meets playful electronic jamz. Tunes like "Fruit" are sexy, sultry provocations -- while "Loves makes you happy (when it's not making you sad)" is effective and tongue-in-cheek all at the same time. "No fucking around" and "Paper" show off a mischievous side -- which, coupled with a love of expletives (this album should probably come with a parental advisory) -- results in an unexpected fun, sweaty listen.
(See also: "Best New Music: Rafter"; "What I'm listening to: Rafter")
16. Wavves, King of the Beach
Oh what a year it's been for Wavves! In 2009, I dubbed them one of the most overrated acts of the year -- thanks mostly to front man Nathan Williams' poor attitude and behavior. But being thrust into the spotlight so quickly (he's only 24, give the man a break!) is tough for anyone, and this year, Wavves cleaned up their act to release this glorious record of sunny beach jams, which declares, from its opening lines (You're never gonna stop me/ You're never gonna stop me) -- that Wavves are back, and better than ever. This album sees Williams coming into his own and fleshing out his sound -- juxtaposing classic, '90s-esque skate punk ("Post acid"; "Idiot") with lush, Brian Wilson flourishes ("Baseball cards") and helium-fueled '70s grooves ("Convertible balloon") -- for a record that reels you in quickly, then keeps surprising you with its nuance and range.
(See also: "Phoenix get creative at Tower Theatre" (with Wavves opening!))
15. Of Montreal, False Priest
Of Montreal front man Kevin Barnes has always struck me as one of the most freaky and inventive (not to mention literary!) song writers today, and this record is probably my favorite since The Sunlandic Twins. The second overtly sexy album on this list (See also #17, Rafter) -- Barnes imagines sexuality as something dark, dangerous, and possibly disturbing (for proof, check out this video for first single "Coquet Coquette") -- but revels in it still: with funky, bass-y grooves and beats that flow into each other effortlessly. Seeing the band perform Priest live was a fabulous and bizarre affront to the senses (think gyrating dancers; Chinese dragons; fish heads; Barnes not wearing pants) and proved that Of Montreal never operate without a vision. Also noteworthy: the 2 tracks featuring R&B wunderkind Janelle Monae ("Our riotous defects"; "Enemy gene") and 1 featuring Solange Knowles ("Sex karma") -- 2 in-control chicas whose strong stylings compliment Barnes' nasal-y vocals nicely.
(See also: "Music Video Mondays: Of Montreal"; "Haiku Review: Of Montreal"; "Of Montreal's wacky, wonderful world")
14. Dum Dum Girls, I Will Be
If I were to form a band (not likely, given my lack of musical prowess), I would want it to sound like Dum Dum Girls. An all-girl Cali foursome with roots in the '60s (mostly girl groups -- with a little Grace Slick 'tude thrown in on top) -- Dum Dum Girls write bedroom versions of sunny, harmonious, charmers -- except for instead of going to the chapel to get marrrrrrrrrrried, they're headed to jail (Someone tell my baby, or else he won't know I need saving, croons front woman Dee Dee Gundred) or declaring they're burnt out. And then -- just when you think they're too punk for their own good -- they thrown in a track like "Baby don't go," a Sonny & Cher cover that sounds even better the second time around.
(See also: "Best New Music: Dum Dum Girls"; "What I'm listening to: Dum Dum Girls")
13. Dinosaur Feathers, Fantasy Memorial
A Brooklyn breakout band who compose sunny Afro-pop in the style of Vampire Weekend -- Dinosaur Feathers' greatest claim to fame is that -- unlike their Colubmia breathen -- lead singer Greg Sullo actually logged some time in Mali, where he wrote a portion of the album 2 years back. Ok, so maybe this isn't their greatest claim to fame. Their greatest claim to fame is probably their ability to write lively, sunny, pop-rock charmers that combine lush vocal harmonies with tribal beats and elements of tropicalia, '60s pop, funk, and more.
(See also: "Best New Music: Dinosaur Feathers"; "What I'm listening to: Dinosaur Feathers")
12. Yeasayer, Odd Blood
The great thing about Yeasayer is that they never sound like they're trying to write a hit indie album -- they just sound like they're being themselves. And "themselves" just so happens to be a extraordinary band (literally!) with a trove of unique influences. That being said -- Odd Blood is a strange yet accessible record of glistening dance hits, equally inspired by '70s disco and '80s synth pop as world music and new settings on their keyboard (which they tinker with considerably on tracks like "The children" and "Love me girl.") Others, like "ONE" are pure club gold -- while first single "Ampling alp" is boisterous, free-wheeling ear candy.
(See also: "Best New Music: Yeasayer"; "What I'm listening to: Yeasayer")
11. The School, Loveless Unbeliever
Whenever I listen to this album, I always have 2 thoughts: 1) when is it going to be summer again? and 2) why don't more people make music like this anymore? -- by which I mean: bright, breezy, vintage pop that sounds EVEN MORE like a forgotten Shangri-Las album than Dum Dum Girls, and sweeps you away with instantly memorable melodies, tender harmonies and achingly sincere love songs that make you want to sing along. Front woman Liz Hunt has one of those voices in pop, and this record plays like a car ride with the windows down, sun beating on your shoulders as you revel in good-natured twee.
Just 10 more to go! Stay tuned next week to check out my very fave albums of the year!
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