ALBUMS 2005

Claudia Quintet - Semi-Formal Claudia Quintet is comprised of some of the most amazing, forward thinking jazz musicians/composers I've heard in the past couple years, including Chris Speed (winds), Drew Gress (bass), and John Hollenbeck (percussion). The album is full of unexpected turns and wonderful compositions, that seamlessly ooze from smoky club jazz (Susan) to minimal ambience (kord) and then over to progressive rock dirges (Two Teachers). Each track flows into the next with grace and pinpoint percision. Some highlights are the badass prog rock frakout on the accordian in "Two Teachers" and the shimmering vibraphone backbone of "They point... glance... whisper... then snicker..." It can be challanging at times, but if you like jazz, and progressive thinking music, this is something you cannot miss.

Boy in Static - Newborn This album shares a similar aesthetic to albums like My Bloody Valentine's Loveless, in that it can be fragile and gentle or soaring and powerful depending on how you adjust the dial on your cd player. It's one of the smartest, most unique debuts of the past year, and it was practically all created by 23 year-old Alexander Chen, who played every instrument on the record. One of the biggest reasons I had to put it on my list was for the sheer ammount of times I've had it running in my player, it's particularly useful in the winter, as its warm tones wrap you in its balmy strummed, fuzzy glow. One of the highlights would have to be the opener "Bellyfull" with its glitchy, sporadic structure that fades into a beautifully constructed organic outro that effortlessly settles into the next track, "Newborn." Also chck out "Epilogue" and "Stay Away"

The Bad Plus - Suspicious Activity I was introduced to The Bad Plus' energetic indie rock jazz, earlier this year from a couple of old friends, in Chicago. A fitting environment for such an intruduction. This drum/bass/piano trio is so agressive and potent, at first listen you might even think there are four or five musicians. These guys create a rock aesthetic and uniqueness you might even forget its jazz as you listen. I believe The Bad Plus caught alot of bad press because of their record label, Sony, enforcing DRM on the album, but I would never let the polotics speak louder than the music.You must catch "The Empire Strikes Backward" where dummer David King nearly reaches the godlike status of Jim Black, or the bouncy, epic cover of "(Theme From) Chariots of Fire."

Andrew Bird - The Mysterious Production of Eggs I first caught wind of Andrew Bird when he played for the glorious 90's Retro Swing band, The Squirrel Nut Zippers. I sort of lost track as he progressed into his solo material, which is really a shame because, if anything, he eventually furthered that sound into a beautiful culmination of several cultural influences that he brews in a large melting pot of modern alternative pop. I finally caught up with his 2003 release, Weather Systems. I enjoyed it enough, but Mysterious Production one upped his previous efforts. His lyrics are thoughfull and often brilliant punctuations of his sound. The production is pitch perfect, keeping alot of the electronic elements just slightly in the background, creating layers of texture without convoluting the smart, catchy melodies and etherial whistles. If you're interrested, check out "Soyvay" where Bird namedrops ride of the valkyries to illustrate the mindless gung-ho nature of certain authority, or the awesome "A Nervous Tick Motion of the Head to the Left."

13 & God - self titled 13 & God is a collaboration between Themselves and The Notwist. Now, I've been a fan of Adam Drucker (Doseone) for the past 4 years or so, and his vocal and lyrical styles are definately an aquired taste, that land somewhere between rap, alien croons and spitfire enigmatic R-Rated mothergoose poetry. I must admit it took me a while to appreciate it, but the more you listen, the more you come to understand his puzzle-like poetry. It gives me goosebumps to realize, after sitting and deconstructing it, the underlying meanings and purpose of this album. The Notwist add layers of subtlety and orchestral grace to this collage of music also, in songs such as "If" and "Men of Station" that sound similar to their other work on the wonderful album, Neon Golden. 13 & God are definately a real chore to categorize or label as a specific genre, which I think is a lofty and ever-advancing goal of the Anticon label. Be sure to give a listen to "Soft Atlas" featuring Why? and the anthem for the coming young generations, "Tin Strong."

The Shining - In the Kingdom of Kitsch you will be a Monster I feel sorry for you if the opening to The Shining's debut album, Gortex Weather Report, doesn't make you stand up and pump your fucking fists. It's Jazz Metal with a vengance. That might sound a little strange on paper, but this album is probably the most unique, original sound to emerge from anywhere in the past 5 years. Yeah, those are some strong words, but i stick by them. After the first track comes to an end, the second track, "Redrum" picks up and absolutely kicks your ass all over the place, with its jackhammer blasts of percussion and rolling, staccato sax stabs. By the third track, The Shining hand us a break from the ass kicking with some undulating choral melodies over a beautiful clarinet piece and sporadic, rollicking bassline in "Romani". The album picks back up in places, but by the end we wind down to some lovely experimental jazz pieces like "Where Death Comes to Cry," and the Radiohead alluded "You Can Try the Best You Can"

Alias and Ehren - Lillian Alias has intrigued me the past couple of years, but never struck such a chord inside me, as with this album he collaborated on with his younger brother. Ehren handles the winds with such delicate and minimal tones, it adds a new dimension to Alias' repertoire as a producer and beatmaker. Brothers always seem to pull of some of the most amazing results together, and this is definately a testament to that statement. At one moment the album can be so dense with caterwaul percussion and skittering programming, but the next moment, they flow from the waterfall to settle into a still pond in a rural forest of reverberation, and then back again. It is interresting and engaging music that can be played as background music while you work, or put in the forefront at a party, its versitile and defies genre and time. Check out the wonderful hand-clap foot-stomp percussion in "Netting Applause" or Ehren's beautifully subtle flute textures in "52nd and West." and the video for Back and Forth directed by Alias.

Resplendent - am i free / i am free I am free begins with the introspective "In My Quiet Car" a much welcomed change to Michael Lenzi's postpunk-like portfolio of work spreading over the past decade, from Number One Cup drummer to one half of the incredible Fireshow. This album is his biggest step in maturity, while still retainning his sideways vocal melodies and backward ass, experimental music. He dabbles in everything from hip-hop to dub, to cock rock, to just plain singer/songwriter style bits of beauty, but everything has his distinct touch and unique vision stamped on it. It's apparent his vocal patters are often steeped in rap and hip-hop culture even more so on this album than any of his other, though the music isn't exactly as beat heavy or produced as a standard hip-hop album. For instance listen to Lenzi's delivery in track 5, "I am Free" "Pre-owned feeling and a stateless night / everybodys into pickin fights but im not like tyson, mike" backed by gentle, layered acoustic picking. Or "Beer Muscles," where Lenzi belts "With my beer muscles im going out / ill get fucked up ill start a fight/ and ill fall in love tonight /... from neon to candle light / and ooh aint it grand?" Go to his website. Buy this album.

Icy Demons - Fight Back Drummer Chris Powell is really the only fair link you can connect this band to the also excellent, Need New Body. By comparison the only thing they share musically is the wild experimentation. The Icy Demons are less freak out and more subverted and interrested in complex structures. Some mantras pop up in the album that swoon from one song to the next, shifting context from Jazz to many different cultural influenced backdrops, such as Arabic (Desert Toll/Spirit Guide), Spanish (The Silent Hero) to many others. The Icy Demons explore some of the truly baffling and alternate universes of uniform pop music and original sound scapes. Fight Back! is an excrecise in benign cinematic beauty and often baffling mystery. It might be a bit slow for some, or a bit too curious for others, but theres no denying its pure originality. Listen to the awesome spoon percussion of "Wet Sweater" or the dark, off kilter, little jazz number,"Detachable Face."

Devendra Banhart - Cripple Crow This release is somewhat more produced than 2004's sparse, but blissfully beautiful and personal, Rejoycing in the Hands. Here, Banhart is backed by a full band, rounding out his sound and songwriting to a different level. I must say, I do love the stripped down acoustic sound more, but there is something to be said for Cripple Crow as well. Banhart's clever, dark humor absolutely shines in tracks like "Little Boys", which begins like an Otis Redding dirge as Banhart sings "Life is tough / and love is rough / for the man who just can't seem to ever get enough" he goes on decribing his character until about half way through the song the tone flips around, picking up the pace, as he jumps in his own characters shoes "I see so many little boys I wanna Marry / I see plenty of little kids I yet to have." Banhart absolutely glows in the lovable little rompers "Chinese Children," and "I Feel Like a Child." Cripple Crow is Banhart at his most buoyant and joyous in many areas, but don't let that sway your opinion of where he's heading. There are very important and passionate ideas circulating through the veins of this album that are represented in songs such as, "When they Come" and opener "Now that I Know."