Fifty states = fifty albums.  This is the goal of singer/songwriter Sufjan Stevens. With the release of Illinois, Stevens has 48 more to go.  The uniqueness of the project lies in Stevens' craft.  Anyone can write an album about Abraham Lincoln, the Cubs or The Great Chicago Fire.  Stevens steers clear of these hackneyed topics and encapsulates the true essence of The Land of Lincoln.  Through the use of a mandolin, an accordion, a Chicago gospel choir and various other instruments he delivers an album that unapologetically celebrates the triumphs and debacles of Illinois.

At over 74 minutes, the album is a lot to take in.  Stevens had so many songs written for this album that he has another due out later this year.  Like its predecessors, nearly half of the tracks on Illinois are instrumentals; the other thirteen are flawless.  He covers a wide variety of subjects from The Black Hawks War to UFO sightings to Pullman.  The album also features a beautifully written, pensive song about death "Casmir Pulaski Day" and a frighteningly brutal song about Illinois' most notorious serial killer John Wayne Gacy, Jr.  Pleasantly arranged instrumentals and intelligent songwriting make Illinois one of the best releases of 2005.

Come on and Feel the Illinoise is not just an album about Illinois but rather a window into the soul of an Illinoisan.  Stevens not only captures the strong mid-western work ethic and pride of having one of tallest buildings but also the WASP movement and other elements that make the state unique.   Stevens' title is dead on; he invites his audience to feel the Illinoise.

Any successful band has to deal with the downside of knowing when they are past their prime.  Lately, there have been a lot of albums that have turned out to be major disappointments.  This is not one of them.

When Green Day released "American Idiot" two years ago, there was a huge sigh of relief among their fans.  They proved that they still had it.  The Chili Peppers have done the exact same thing with their release "Stadium Arcadium."  On this double disc album, the Chili Peppers showcase everything that puts them among rocks greatest.  If you were to make a mix of songs taken from all of their albums the result would be "Stadium Aracadium."  It has tracks that sound as hard as their early material along with songs that sound as if they could be b-sides from "Blood Sugar Sex Magik."  They even have a couple of songs that sound more like the refined tracks on "Californication" and "By the Way."  The album is a sweet sigh or relief for longtime fans; newbie's may not be as enamored with it. The album lacks the radio friendliness of their previous releases.  This is not necessarily a bad thing though.

"Stadium Arcadium" is a must have for any die hard Chili Peppers fan.  The most refreshing thing about this disc is that Anthony Kiedis's vocals are just as fresh and vibrant as they were on their first release in 1984.  Cheers to the Chili Peppers.

In 1996 Nada Surf was on top of the world.  Their hit single, "Popular" was an anthem for depressed high school students.  The song served as a painstaking guide book to teenage popularity.  They had a major label record contract and were destined for greatness.  Fast-forward 9 years and the mainstream music scene had basically written them off.  They were a one hit wonder.  With four albums to their name, Nada Surf released "The Weight is a Gift" at the end of 2005 on Barsuk Records.  The album serves as a beacon of hope for anyone who enjoys indy-geek-rock.

The beauty of the album lies in its simplicity.  Nada Surf does not try to do too much.  The album is 11 tracks in total.  All of the songs are fairly concise.  They do not waste the listener's time by turning a 3 minute gem into a repetitive 5 minute ditty.  There is an art to writing short catchy songs that Nada Surf has mastered.  The lyrics are direct and creative.  They allow the listener to formulate their own opinions and avoid spelling everything out.  One of my favorite lines is in the song "Blankest Year" year when they say "time don't move, we're the only ones who do."  I have not heard an album this refreshing in a long time.

Nada Surf has done what so many others have failed to do, they did not allow a label like "one hit wonder" to define them.  "The Weight is a Gift" is a very well crafted album.  It will not gain them the same fanfare that their earlier work did but who wants to be popular anyways. 

Noteworthy Tracks: Concrete Bed, Always Love, Blankest Year & Imaginary Friends

Sound: Indy-Pop

Have you ever been to the Taste of Chicago? All in all it is a fantastic experience, one not to be missed but there are always headaches that go along with attending, ie the heat and humidity, long lines and traffic. Every year even if it is just for a moment you ponder how nice it would be not to have to deal with the headache. This is the best way I can describe the Death Cab for Cutie show at Red Rocks in Morrison, CO on July 14th 2009.

Death Cab for Cutie was on my short list of bands I absolutely had to see before I die. I have liked the band since I first heard, "We Have the Facts and We're Voting Yes" but knew I would have to make some compromises. The first being that TicketMaster charged an exorbitant amount for its service fee. There was also the issue of the crowd. I had avoided last year's show of theirs at Red Rocks due to their commercial success for their album, "Plans." I secretly hoped that their popularity would wane a bit and they would play at a smaller club this year. It did not happen but I am glad I decided to suck it up and deal with the minor annoyances.

Death Cab was fantastic. They played a nice mix of old and new. Opening with Employment Pages was a brilliant move. The best thing about their set was that you could tell that they really enjoy playing live together. They chatted a little with the crowd and were appreciative of the big turnout. I was amazed with how crisp Ben Gibbard's voice sounded. Death Cab really knows how to make its fans feel special. The set ended with Transatlanticism and Ben Gibbard saying goodnight with the band's signature, "We're Death Cab for Cutie from Seattle Washington."

Ra Ra Riot and Andrew Bird were also very good. It has to be hard playing at a large venue where so many people are not paying attention. I felt bad. Ra Ra Riot and Bird are both incredible musicians and the majority of the crowd did not seem to care. The crowd was the most difficult part of the show. I have never been to a show where the crowd cheers louder for the newer material than the old classics. The crowd appeared to be lost when Death Cab played anything earlier than Transatlanticism. In short, I would highly recommend seeing Death Cab but understand that in a large stadium setting the crowd leaves a little more to be desired.

I realize I sound like a music snob but a good crowd can make or break a show. Still, the opportunity to see 3 bands that are as musically talented as these are well worth the minor annoyances. Dealing with headaches that are out of your control is just apart of being a good fan.

There have been very few bands that have impressed me lately in the musical landscape. In an effort to avoid sounding like a music snob, I partly blame myself. My styles have changed and I am not as obsessed with music as I once was. Still, there is a side of me that blames the artists, media and record labels for stealing a little bit of thunder from something I once cherished.

When a friend advised me to give a listen to The Rhumb Line by Ra Ra Riot, I did not have high expectations. The band pleasantly surprised me. The best way to describe this album is fantastic. Ra Ra Riot's sound is crisp and energizing. There are very few pop/rock (I hate classification) bands that utilize a cello and violin in their music. The added instruments give their music a very dense feel without sounding overproduced. It is refreshing to hear a band that does not simply blend into the background like so many others do.

Have you ever been in the situation where you go to the music store for a particular album and you end up buying something you never intended? It seems like a foolish question, everyone has been there right? I have been in this situation countless times, I am looking for something and I find that one of my favorite artists has new material out as well. What makes my purchase of New Tide by Gomez more remarkable is that I did not know anything about the band before I walked into the store. The album drew me in while I was listening to something else far less inspiring. I realized I needed to buy the album when I found myself turning down what I was previewing to hear what was being played over the store speakers.

New Tide is a special album. It is one of those that has grown on me with every listen. Every time I pick up something new. Gomez sound on this album is folk rock. The lyrics are punchy and smart to the point where I hear myself inadvertently mumbling them. What really makes this a fantastic album is the subtlety of the sound. Do not get me wrong there is a lot going on here but it does not hit the listener over the head and sound overproduced. The different instruments and sounds meld together to create one of the best albums I have heard this year.

Notable Tracks: Mix, Win Park Slope & Airstream Driver

Gomez plays at the Fox Theatre in Boulder on August 4th. http://www.foxtheatre.com/Store/ChooseTicket.aspx

My feelings towards Modest Mouse have always been lukewarm. They are one of the few bands whose albums I cannot listen to from start to finish. To be perfectly honest, I usually only like a couple of the tracks on their albums and then find the other songs pretty unlistenable. When I heard they had a new EP, I was pretty indifferent.

No One’s First, and You’re Next was a pleasant surprise. I never expected for their latest release to be one of my favorites. Even though the EP is mostly b-sides from Good News for People who Love Bad News and We Were Dead Before the Ship Ever Sank, the album sounds fresh. It has a classic rock feel mixed with an ambient tone and a hint of folk rock. As with most Modest Mouse, it is difficult to classify this album. The first track Satellite Skin sounds like it could be a Rolling Stones song where as track 2, Guilty Cocker Spaniels, made me think of bluegrass. Modest Mouse has a varied fan base so I am certain this EP will not be for everyone but I really enjoy it. I may not like all of their material but appreciate Modest Mouse’s constantly evolving sound. I am eagerly anticipating their next LP.

Say hello to the crowd, tell some stories, play a few songs, crack a couple of jokes and say goodnight. The format for a live concert is fairly predictable, even for those who have not attended very many. The Gaslight Anthem's ability to take this simple formula and turn it into something memorable is what separates them from many of the others bands I have seen. The band exuded confidence, charisma and lightheartedness as they tore through their set. It was evident that they thoroughly enjoy playing live together. What impressed me the most was the way they connected with the crowd. They were genuine. I was not just seeing another band go through the motions. This was a band that cared and was real. They laughed and joked around with each other. It was like watching a group of my friends play. It was refreshing to see a band that does not take their fans or popularity for granted.

It is rare that I go to a show and not have any complains. The crowd was electric, the setlist fantastic and the band sounded perfectly gritty. I felt a bit nostalgic as the show reminded me of the hardcore shows of my youth. All in all, The Gaslight Anthem puts on a show that is not to be missed. This is their final tour before the release of their next album, hopefully in early 2010.

Pete Yorn is back...well almost. The title back and forth is very appropriate for his latest offering. It feels as though Yorn has spent a good part of his music career trying to figure out his sound. His first two albums MusicfortheMorningAfter and Day I Forgot were very similar. Both played to Yorn's strong songwriting abilities. Yorn went a bit off course with his third album Night Crawler. Do not get me wrong, Night Crawler has its moments but it is incredibly overproduced to the point that it drowns out Yorn's vocals.

Back and Forth is a bit more back to the basics. The album goes back to strong songwriting and simplistic guitar riffs. The album is by no means stripped down. Various instrumentals are added to tracks but it is not over the top as with Night Crawler. All around Yorn does what he does best. He has created an album that is very well written with tracks that have staying power. If there is anything the album lacks it is one or two faster tracks. I cannot fault Yorn though, you write what you feel and I respect that. I am just happy to have Pete Yorn back.

Any Questions?  If you have not been to a David Bazan show, you might be caught a little off guard when he solicits questions from the audience. His show with Say Hi at the Hi-Dive was reminiscent of the times I have seen him in the past. He answered questions, joked around and eliminated any barrier that traditionally exists between musicians and their fans.

The show opened with Seattle based Say Hi, formerly known as Say Hi to Your Mom. They played a set that offered a good variety of songs from all of their albums.  For the most part, it was an upbeat set. Bazan could not have chosen a better band to accompany him on tour. They were equally engaging with the crowd. Front man, Eric Elbogen told jokes and spoke about vampires. Elbogen and the other two touring members, Andy Fitts and Alex Westcoat, have strong stage camaraderie. Half way through the set someone in the audience dropped a drink on the floor. Elbogen gave the audience member a drink ticket to go get another one. When the same audience member clumsily spilled again Fitts gave him one of his drink tickets. You do not find many bands that go out of their way like this for their fans.

David Bazan's set primarily focused on his latest release Curse Your Branches. He also played tracks from his EP Fewer Moving Parts. There were a couple Pedro the Lion songs worked into the set as well. The strongest part of the set was his new material. He toured with a band which gave the material the necessary depth. Bazan seemed to be in good spirits. During the question and answer sessions he disclosed the meaning behind some of the song lyrics, what he would do if he were attacked by a zombie, his favorite brown liquor and turned down a dinner invitation. What I have always enjoyed about seeing David Bazan is his genuine personality. I have never had the opportunity to meet him, but feel as though I know a little about him based on his stage demeanor.

The show closed per status quo without an encore and the house lights illuminating the cozy bar. Bazan and his band mates said goodnight. The impromptu moments during the concert proved that seeing a great show is about more than hearing talented musicians perform.

Denver is a Broncos town.  When they play everything else takes a backseat. With the Broncos playing on Monday night, I did not expect Holiday Shores to draw much of a crowd for their show. Deservedly so, they had a bigger crowd than I anticipated. By the end of the night, they were far more interesting to watch than the Broncos.

What makes Holiday Shores unique is their sound. There is a glut of vintage influenced indie bands these days. These guys are different. They seem to draw more from surf rock rather than new wave.  This influence, even if it is slight, gives them a more distinguishable sound than many of their contemporaries. While listening to them play, I could not help but think of The Walkmen. What is also striking about this band is their confidence. The band looked at ease as they rolled through their set. Their sound was polished and they managed to successfully create good audio layering. As front man Nathan Pemberton shared with me after the set, “there are a couple of songs we are having trouble with live because we have not had the time to sit down and break them apart. The record is so dense that it is hard to assign four people all of those parts (when touring).”

Interviewing Pemberton was interesting. It gave me a chance to see another side of Holiday Shores. All too often I see a band perform well on stage and take for granted the amount of work that goes into having a successful tour.  It became clear during the interview that they are more or less feeling things out as their tour progresses. Pemberton revealed to me that they did not make set lists for their shows, instead opting to play what naturally came to them on stage.  “We don't have a set list. We have the first two or three and go from there. It makes for more breaks between songs but it is fun having no set pattern.” Pemberton's laid back demeanor can be deceiving. If there is one thing I took away from the interview it is that he is very driven. It was refreshing to see and interview a band that has seemingly found a balance between musically being taken seriously and their youthful inexperience (not a bad thing). On stage, they make it look so effortless. I did not see an up and coming band that just recently released their first LP Columbus'd the Whim. I saw a band that was focused and looks bound for bigger things.

I have listened to a lot of music. Over the past few years, I have come to accept that there is very little that musically surprises me anymore. I am not saying that there is nothing good out there, to the contrary there has been a lot of good music lately, it is simply that the music I have listened to recently lacks staying power. When I say staying power, I mean that I can play the album a week, month, year or years later and not be embarrassed. The Rural Alberta Advantage debut album Hometowns caught me off guard.

Hometowns is a well crafted album. The Rural Alberta Advantage’s sound can best be described as back to the basics. The guitar uses very little, if any, distortion and the bass and drums sound crisp as well. They prove that you do not need added effects to make a lot of noise. What separates Hometowns from other albums is that all of the instruments are front and center. You can hear and feel them. They are not muted or soft, as is the case with so many others. The band harmonizes well with their instruments too.  Their voices add depth to the sound.

The other element that works perfectly on this album is the blending of melancholy homesick lyrics with faster tempo songs. It gives the songs more of an it-is-what-it-is feel rather than a completely lost tone. It sounds as if the songwriter has come to terms with not being completely satisfied with their life. This is a way everyone can relate to feeling at one point or another in their life. It is the true to life qualities in the lyrics that makes this a fantastic album. When the lyrics and instruments all come together, The Rural Alberta Advantage have put out one of the best albums I have heard in years.

Score: 6.9 (there is one track I skip over, it is not my favorite. Otherwise, I can listen from top to bottom.)

Scale

1 –3: I was impaired in some way when I bought this album (it’s embarrassing)

4: A few decent tracks, nothing memorable. Selling it back to the record store

5: Some great tracks, a solid album

6: One of the better albums I have listed to

7: These are very few and far between. Flawless from top to bottom

I will preface this review by saying; I grew up on The Blue Album and Pinkerton. They were classics and set a very high standard for Weezer albums to come. Raditude, like every other Weezer album following their first two, does not evoke the same magic feeling that The Blue Album and Pinkerton do. To Weezer’s credit the musical landscape has vastly changed since The Blue Album. Their garage rock sound has become more of the norm in the mainstream music scene.

Raditude is a middle of the road album. There are some very catchy pop songs here but nothing to write home about. I give Weezer credit. Their songs still have characteristics that make them uniquely Weezer. They are a bit more subtle on Raditude.  Weezer’s sound is very polished on this album. This works for some bands, Weezer is not one of them. With the exception of a few tracks, you lose the endearing raw garage rock sound that was a staple of their older albums.

My biggest issue with the album is that it blends in rather than stands out.  The songs on Raditude sound like they are desperately trying to fit in with a younger audience. It is like when that strange older uncle added you as a friend on Facebook to prove he was with it. It just doesn’t work. I grew up listening to Weezer and was hoping for something a bit more grown up.

Score:  4

Scale

1 –3: I was impaired in some way when I bought this album (it’s embarrassing)

4: A few decent tracks, nothing memorable. Selling it back to the record store

5: Some great tracks, a solid album

6: One of the better albums I have listed to

7: These are very few and far between. Flawless from top to bottom

Ah yes it is that time of year again. It is the time of year when critics put out their best of lists. There will be more lists this year with the new decade thing going on (shameless plug for my next article).  Here is what I came up with for this year, enjoy.

Top 5 Albums that I listened to in 2009

1. Rural Alberta Advantage –  Hometowns

2. Modest Mouse – No One is First and You’re Next

3. Peter Bjorn and John – Living Things

4. Gomez – A New Tide

5. Why? – Eskimo Snow

5 Albums I Wish I Had Listened to in 2009

1. Jay-Z - The Blueprint 3

2. Andrew Bird – Noble Beast

3. Rodrigo Y Gabriela – 11:11

4. Yeah Yeah Yeahs – It’s Blitz

5. Tegan and Sara - Sainthood

There have been a number of fantastic albums over the past decade. Take this list at face value. The title sums it up perfectly. Here are simply 10 of the many albums I have enjoyed over the past 10 years. I have not bothered to number them. That would be foolish. I hate sources that number their lists. They are too absolute and definitive. If you have not had a chance to listen to these, I cannot urge you enough to go to your local record store and check them out.

Enjoy,

---

Sufjan Stevens – Come on Feel the Illinoise

Ben Folds – Rockin’ the Suburbs

Ted Leo and the Pharmacists  - The Tyranny of Distance

Jay-Z – The Blueprint

Death Cab For Cutie – Transatlanticism

Something Corporate – Leaving Through a Window

Jurassic 5 – Power in Numbers

Talib Kweli – Quality

The Strokes – Is This It

Elliott Smith – Figure 8

When I first heard the word remix I was a bit skeptical. Many of the remixes I have listed to over the years have been nothing more than a cheap and easy way for the record companies to make money. Throw down some new backgrounds and you have yourself a remix. My Brightest Diamond’s Shark Remixes are the furthest thing from sounding budget.

Shark Remixes is a textbook example of the elements that go into creating a high quality remix. You take strong vocals and pair them with a new accompanying sound to create an entirely new song. What makes this remix unique is that the listener gets four remixes by four separate artists. Each artist has their own volume. The four artists are Alfred Brown, DM Stith, Son Lux and Roberto Carlos Lange. Although the remixes are different, they work well together in a set. The common element in all of them is Shara Worden’s strong vocals are pushed to front on all of the tracks. Her voice jumps out of the speakers. All four remixers were good at creating a sound that complements her vocals.

If you are a fan of My Brightest Diamond, I would say this set is a must have. All four volumes offer a little something different. Volume 1 (Brown) has Worden’s vocals paired with a classical orchestral arrangement. Volume 2 (DM Stith), my personal favorite, has more of a dance background with elements of funk laced through it. Volumes 3 (Lux) and 4 (Lange) sound a bit softer with random ambient sounds creating a complex layered background. In the end, the strength of this album is evident when considering all 4 volumes are incredibly well crafted.

Score: 5

Scale

1 –3: I was impaired in some way when I bought this album (it’s embarrassing)

4: A few decent tracks, nothing memorable. Selling it back to the record store

5: Some great tracks, a solid album

6: One of the better albums I have listed to

7: These are very few and far between. Flawless from top to bottom

With vintage sounding indie bands being a flavor of the year, many bands are relying too heavily on their influences and failing to create something new. In contrast, The Mynabirds create a lively musical synergy on their debut album, What We Lose in the Fire We Gain in the Flood. They do not bash the listener over the head with their influences. Instead, they subtly incorporate soul and R & B arrangements into their pop rock sound. The outcome of this is an album that puts a fresh spin on a classic sound. It gets better with every listen.

What consistently stands out is lead singer Laura Burhenn’s diverse vocal range. On certain songs her voice sounds very similar to Fiona Apple and Norah Jones. There are even a couple of tracks where she could be mistaken for Amy Winehouse. Burhenn’s strong vocals are what make the album’s soul qualities work. As the album progresses the soul and R & B sound give way to more of the slower pop rock tone. I wish the soul would have stayed for the entire album. Still, The Mynabirds hit their mark with What We Lose in the Fire We Gain in the Flood.

Score: 5.5

Scale

1 –3: I was impaired in some way when I bought this album (it’s embarrassing)

4: A few decent tracks, nothing memorable. Selling it back to the record store

5: Some great tracks, a solid album

6: One of the better albums I have listed to

7: These are very few and far between. Flawless from top to bottom