‘The Besnard Lakes’ – “The Besnard Lakes Are The Roaring Night”

It’s been a while since I’ve posted a general review about a band that I thought was making some kind of headway for 2010 – late last year, 2009 saw a drought of decent reviews due to exam-related circumstances. As University for both myself and my reviewing partner comes steadily into focus, it seems our minds are wandering; with Michael Hodder’s desktop out of action – virus or some such – we don’t know when to expect a review on his end. Hopefully we don’t have to wait too long, so until then, I’ll hold the fort in anticipation for his return…

With last week’s Gig post, I wrote a review/short-story on ‘The Mars Volta’ and their performance at Festival Hall: to much delight, the night went down well. So for more details on that eventful-evening, check it out here. I find that I’m starting to lose track of all concepts of time. Weeks, days, hours, minutes, seconds – I’m at a loss for the date without my trusty comp-clock. I know Thursday’s not the usual day for posts, but I thought that while I had the time on [I should say, slipping through] my hands, I’d take a break from all my reading and write something for a change, spread these fingers of mine out on a keyboard and put something together; for better or worse.

Hailing from Montreal, Quebec, Canada, ‘The Besnard Lakes’ mash together some of the indie/progressive/alternative/shoegaze influences that seem to have inundated North America at current. Their debut album, titled “Volume 1″ in its limited-1000-copies edition, made its appearance in ‘03, and was later introduced again in ‘07. Following, the release of their ’sophomore album’: “The Besnard Lakes Are The Dark Horse” in the same year. And I believe, unless there’s some detail I’ve overlooked, this is their second official studio album*, “The Besnard Lakes Are The Roaring Night”. They bring the picturesque quality of Canada’s unique, influential sound into sharp focus, and are sure to impress with this stunning return:

'The Besnard Lakes' - "The Besnard Lakes Are The Roaring Night"

On the whole, Highly Evolved has come to recognise Canada’s influential style over the past year, with some interesting bands and accompanying discussions; I’m lost for specifics, but they’re sure to be around here somewhere. All I can say is that Canadian bands like ‘Arcade Fire’ have set the standards higher and higher ever since their arrival on the scene, and ‘The Besnard Lakes’ combine ‘Arcade Fire’s’ uncanny compositional-standards with the elements of shoegaze and alternative. Although I commonly associate progressive-rock with such bands as ‘The Mars Volta’, ‘The Besnard Lakes’ seem to be exploring a different perspective as they take on this somewhat double-edged sword.

Band-comparison: I suppose I’ve already given you an impressive relative to go-on. ‘Arcade Fire’ is probably the best example I can give at current, because of their unique riffs. With ‘Arcade Fire’s’ highly-anticipated album-release due sometime early this year, and my respect for “Neon Bible”, I come to hold them in high regard, as does my partner. They have an innate ability to manipulate their music to such an extent where raw emotion becomes the sole driving force behind entire tracks: in case of their critically acclaimed debut, “Funeral”, I feel this is rightly so. ‘The Besnard Lakes’, in this respect, are like a sister-band, at the very least, a first or second cousin. Juxtaposition between piano and guitar, driving bass, and minimalisation of forceful percussion, share striking likeness to ‘Arcade Fire’, who also express some eloquently-strung riffs, both for guitar and bass. This works harmoniously with accompanying piano, and “Pink Floyd”-esque-synth. The simple flaunts of percussion, whether it be cymbals or otherwise, help conform crescendo and chorus alike.

A mix of male and female vocals makes for some very beautiful tracks, soy-perbly different from one and other in vocalisation, embodying the feelings of sorrow or elation in differing levels of expression. I believe – although I cannot entirely confirm – that each band member partakes in at least one or more tracks within the album [either as a solo, or as reinforcing-vocals]. A six-piece band, the husband-and-wife team of ‘Jace Lasek’ and ‘Olga Goreas’ are accompanied by ‘Kevin Laing’, ‘Steve Raegele’, ‘Nicole Lizee’ and ‘Richard White’.

Tracks themselves are intimately pieced together, different in some way from their counterparts. Although the shoegaze-synth does dominate a majority of the songs, creating some minor flow between tracks, generally they are individual, without much similarity unless otherwise purposely stated; the two opening tracks “Like The Ocean, Like The Innocent Part I: The Ocean/The Innocent”, for instance. And, need I reiterate the titles of the opening tracks, “… The Ocean” begins with helicopter-synth, darting from left to right. A moaning guitar echoes in the distance, growing in intensity as the sound of a radio/television broadcast cuts in and out of transmission. A bellowing organ shifts from note to note as we enter the realm of ‘The Besnard Lakes’. Seamlessly we move on to track to, because this lasts for the whole 1:39 of “… The Ocean” and becomes “… The Innocent”. With the arrival of piano and vocals twenty-five seconds in. 1:12 of “… The Innocent”, we see the introduction of percussion as the layers build and build. With the arrival of the lyrics:

“… Oooh, you’re like the ocean [Oooh, you're like the ocean]… Oooh, you’re like the innocent [Oooh, you're like the innocent]…”

The chorus appears and the nature of the song changes. With its finish, it reverts back. At 7:18, “… The Ocean” and “… The Innocent” are a gradual introduction to ‘The Besnard Lakes’. With their dual-vocalisation, this contrast between male/female vocals is a trait successfully used by ‘The XX’, not to mention ‘Arcade Fire’, and maintainins listener-interest, shaking it up enough to keep things different while at the same time pleasant.

“Chicago Train” follows on from “… The Innocent”, and we see the first usage of wind and string instrumentation, with a generous mix of violin and flute. Together with the chilling highness of its vocals, this slow-paced melodrama is hauntingly beautiful. The lyrics:

“… This is the last train to Chicago…”

In much the same way bring about a change in song, with guitar and percussion in place of violin and flute at the chorus, and standardised vocals in place of chilling highs. The riff here is absolutely fantastic, a must-listen; you’ll be air-guitaring…

I’m going to skip some tracks and jump all the way to the eighth, where I find another one of my favourites that I haven’t already discussed. Some driving percussion, western-clang! guitar [here comes Clint Eastwood...] together with solid riffs from the bass, minus the wavy-synth that has featured so prominently beforehand. Difficult to describe in words, so I’ll stop here.

“The Lonely Moan” is one of the best ‘finale’-tracks I’ve seen this year, with vocals reminiscent of Martina Topley-Bird, a sickly-sweet mix of synth, harp and Pink Floyd-esque guitar with electric organ. It is probably the mystery surrounding the vocals and the shifting synth that adds to the track’s overall ethereality, that and the floating lyrics:

“… Forgotten kisses…”

To go with the distant strum of electric guitar. A great ending for a great album, able to lull even the hardest of men and women to curl up in a ball and drift off to sleep. All in all, an album worth a listen, and a band that I will be watching in the future. If this release says anything about their début, then I expect it to be ten times as better. It has been an eye-opener, driftwood in an ocean of noise which I’ve been able to hold on to; a musical lifesaver, in this metaphoric instance. I recommend a buy, all tracks are sure to entertain, although as is to be expected, some aren’t as potent as others.

Reviewer’s Pick: “Light Up The Night”

Stand-out Tracks: “Like The Ocean, Like The Innocent Part I: The Innocent”, “Chicago Train”, “And This Is What We Call Progress”, “Light Up The Night”, “The Lonely Moan”

Rating: 4/5

Until when,

The Enantiomorphic God

Gig: ‘The Mars Volta’ – “Festival Hall”

There’s sunlight streaming in my eyes. Half-past-seven-sunset beckons from the great beyond, a pale gold evanescence – ethereal blue surrounds.

Its beams of light are warm; balmy, not a cloud in sight.

Machines rage past, up and over the bridge, baying from the street-sides and intersections. We’re caught midst the havoc of the dying peak hour, as day slowly turns to night by inner-city Melbourne. Etihad towers just beside, now new-age monolith to sport-fanatics, complete with false-idol worship and grandstands for prayer.

But tonight it’s just as dead as the sidewalk, and I’m reminded by The Doors track:

“… People Are Strange.”

All manner of folk creep out, up and over, piling on the concrete-asphalt cityscape. So by now we’re waiting by another set of lights, Southern Cross behind, as cars stream past aimlessly. From here we can already see the stubby tail of eager fans, piled by the doors unevenly as we’re left to stand for close to ten-minutes for the walking-green-man to appear. Not as many as we’d hoped, but an alright-crowd of 2-3-and-a-half-thousand, by-and-by; but it doesn’t seem that way from the exterior.

This is Festival Hall.

Externally, nothing particularly memorable: standard building design, square in shape with a smoky-black finish, seated comfortably by an under/overpass [who would’ve guessed?] The crowd says otherwise by its numbers, but the gig belongs to The Mars Volta. We’re bees drawn to honey, and the honey tastes so sweet – eighty-buck tickets, over-eighteen privileges, complete with bar, beer and centre-front access. Door 6 attracts the most attention, with a number of fans around its entrance; the early-bookers, the die-hards, who for them this is a must. Then there are the others: lingerers, the wanderers, the drifters – heard something was going down, the old:

“… Sure, I’m free Monday.”

… Situation. Legs-eleven seems small in comparison as I idle by the handrail, a three-metre drop below, cars pushing over-sixty-something as they fly past. And we’re waiting, counting down the minutes as the bouncers guard the entranceways, stern faces in day-glow yellow vests that look like street signs, or lampposts. It’s only five-minutes, but by then they’re hustling everyone inside, scanning tickets, faces – ID for the underage, the brats who want in on mosh-pit action, too young to realise the implications and eventual future-repercussions for such an experience. Better still to leave these so-called ‘wonders’ to their imagination, not yet spoilt by reality and its countless disappointments.

What you don’t breathe, you don’t see at your GP, and so forth – a standard rule-of-thumb: what you don’t see, you will never know, it won’t come back to bite you in the ass in the years to come.

Ignorance may be bliss, in this circumstance, for both parties.

Gig’s sweet: a balcony for the kiddies, a grandstand for the unlucky others, seating and the likes. But they’re too far to feel the fuzzy air, and their too far to smell it, and their too far to see anything worthwhile. I’m just about sorry for them, despite the hazardous experience I’m about to endeavour through. It’s the exhilaration, the burning feeling in your chest, the throbbing in your ears, and the almighty thrill that exerts itself upon you at the very peak of musical insanity. This is what drives, and is deep at the heart of all Volta-enthusiasts.

Speakers hang from the rooftop; there must be ten in a string, twenty in a group altogether: multiply by six, and you’ve got yourself enough amplitude to throw open the gates of hell, swing yourself in and dance until you’re deaf.

“… What a lovely way to burn.”

Teenagers and children alike have an innate ability to hear some of the highest sound frequencies possible, compared to the average adult who’s matured to such an extent where they’ve become totally inaudible; like hearing Bat-sonar or the squeals of Dolphins, it’s always the kids and never the parents. Inevitably, these are lost at some point in our lives, and for those attending in the pit; they were stolen pre-emptively one way or another during the course of the night.

We’re standing around for about an hour-and-a-half, chugging beer. Already the floor’s littered with cans and water bottles. Couples cling to one and other, arm in arm, wide-eyed and alert. A few stagehands scurry between instruments, flinging picks at each other during brief interludes where the band seems to delay, and delay, and delay. By now, my feet are killing me – those seats are looking might comfy. I’m three, maybe four metres from the stage, nice spot right in front of all the action. And at first there’s plenty of space, plenty of air, you can breathe, it’s all alright. Some mindless banter here, some merchandising there, and soon enough, around eight-thirty, nine, the band appears complete with all members: Cedric Bixler-Zavala as lead singer and Omar Rodriguez-Lopez, the infamous Hendrix-reincarnate on lead guitar, among their hired-guns.

“… So this is their new percussionist,”

“… Yes, Omar fired the other one,” Michael Hodder smiles.

They all appear, curly-haired, tall, skinny men with afros. They’re bean-poles in comparison to my broad-shouldered self, with my long wavy hair, full-face. I’m standing straight ahead, hands by my sides, hat on head, patiently waiting for my three-hour entertainment.

And so it begins…

A sudden sound: their bass buzzes in the air, the drums explode in all directions as Omar’s riffs are swallowed in the night. By now, the crowd is so tightly packed together, that there isn’t any room to move. You can only just raise your hands over your head, to applaud, to signal, to reach-out. Hot, sweaty bodies are packed against one-and-other, the temperature becomes unbearable. People sweat next to you; they jump up and down, led by some internal calling.

But I am standing, waiting…

It is so loud at first that all elements of music and song are lost in the wake of sound that springs forth and plunges into your ears. Banshees bury themselves beside your brain as their incessant screaming rings through the acclimatising sound; numbness ensues, a bubble forms, and after a few songs, it is perfect.

Sound ripples through the mass, you can feel it in your bones; hearts are beating in unison with the heavy thud of percussion, heads are thrashing from the metal-freaks and the ordinaries, now blood-brothers for the sake of music. The stage is enveloped by a tumour of bodies. Cigarettes, booze and else mix together, forming a potent cocktail of stimulation, depression, as the uninvited cousins angst and fury tag along for the bumpy ride.

A hot, riding body bounces next to me, another simple plebe caught up in the wave of hysteria and unnatural euphoria drawn out by the carton of cigarettes that make up the air, among other things. His sweat mixes with my own, I feel a sudden urge to push him away, but the crowd acts on my behalf. They nudge us backwards, and we hold them forwards. The music is driving us all insane, as the guitar squeals in the distance, and the drums beckon us onwards. Cedric comes between the rails and the people, he reaches out, like some forsaken angel teasing us mortals for sheer pleasure. At this, the crowd becomes dangerous – people push in front of each other, squeeze between the legs, as hands reach up, out, over, below, behind, all for famous-touch. The pigs circle us like hungry wolves, an extra fifty in the pay-check for each arrest.

The musicians themselves are calm, relaxed – they are in control and at the right times, have the bidding of the entire audience at their command, with potential to riot and overthrow authority. But suddenly their instruments become more than just their apparatus for display. We are given a glimpse into their minds – before us, they are flaunting the very voices in their head, the very riffs at the backbone of each song, the speed, the tempo, delivering us an awe-inspiring expression of soulful music, for we are their medium of its success and appreciation. Here, we see the birthplace of “Teflon” and the likes, the creators, gods in their own right.

The microphone becomes an extension of Cedric himself, as he whips it into submission, flailing it helplessly around his arms and legs, into the air, and around his wrist, words trapped in the loudening acoustics of the hall. Although his lips move, the lyrics are lost – nevertheless, for the chorus, we are his voice instead. Much the same, Omar’s guitar becomes a third arm, as the percussionist’s sticks are an extra set of hands.

Cedric is dancing about, shouting enthusiastically, and at one point as he speaks soulfully, he is looking out into the crowd…

… Eye-contact.

I see him, he sees me. Perhaps a person behind, perhaps a person ahead, or beside – I think to myself – but I am sure that for a brief three seconds, the words are directed at me, as he gives me the essence of his music and a part of its spirit. He is like a shaman, the first to be entranced, and we are his followers, waiting for divinity. I feel it wash over me. The music comes into perspective, and I find that my eyes deceive me, distract me from its beauty. I am closing them now, caught up in all the screeching. Through the chaos, this burning mind-fire, the complexity of riff and rhythm and space in-between has me in a daze, hypnotised, elsewhere, distant.

I cannot feel my body, my hands, my legs – no pain, no thought. There’s no room to think, to sing, to express, to see and to interpret, as we become simple vessels for The Mars Volta itself.

A quick dip out for a bottle of water and the pit is history. The crowd has thinned out closer to the exit. Despite, the music is still loud everywhere and I find myself drawn closer towards it, helplessly. By the rail and under the speakers, I slowly immerse myself in the growing climax of the gig’s ending, assimilating all its eccentricities, its foibles, its wonders and potential as I slowly but surely drown. A hazy, deep vibration pulses through my body – Omar and Cedric dip out for coffee, water, the likes as their bassist takes a solo for the record-books, captivating all for five-minutes or so.

And so it ends…

After a few more tracks, a distant wave from the band, they saunter off and out of view. The crowd is begging, on its knees wanting more. A few claps, to the growing chanting, demands an encore. But as the lights come on, and the noise is all but gone, we scamper like rats outside; it is over, and what a night to behold.

[Cheers to the band for such an awesome night - almost didn't get my hearing back, but it was well worth a night of deafness. If anyone can post pictures of the band, much obliged: our crappy little phone-camera wasn't good enough.]

“Heligoland” – ‘Massive Attack’ [Joint Review]

I’ve been regularly tracking the blog since its infancy early last year, and with my dutiful arrival and procession of albums and reviews, there has been a definite, steady increase of overall coverage throughout the net. Through sites like last.fm and Facebook – among others – we’ve also managed to draw attention indirectly through journal listings replete with links and encouragement towards the artists and their music: implementing Highly Evolved rather as a medium, a means to an end, to achieve this goal. Results have been spectacular.

Nevertheless, despite the fact that we adamantly aspire to become reviewing legends [you can never aim too high], the weeks have come and gone and the mercury sits at a comfortable 200+ hits a day. And, strangely, the same peaks and troughs that littered out statistics when reviews were coming out left, right and centre during the final months of ‘09, remain diligently set; I can only suspect that people are returning back to the site for more, because, uncharacteristically, our Home Page seems to be having more views than usual lately. Expectantly, hits peak over the weekend and sit casually lower during the weekdays – it seems everyone remembers I post reviews on Fridays and Sundays, although that time slot has flown out the window.

Onwards: music news seems such a trivial subject, minor bands pale in comparison to trip-hop pioneers, ‘Massive Attack’, and their recent release, “Heligoland”. Fans like myself are sure to be entertained with a myriad of ‘Massive’s…’ hypnotic-percussion overtures and ghostly-ethereal vocalisations. Standards remain high, and although by no means does “Heligoland” rival “Mezzanine”, it continues to set that bar even higher with the trip-hop genre in general.

Welcome to:

"Heligoland" - 'Massive Attack'

In July of ‘09, I reviewed a self-titled début by a band called ‘We Fell To Earth’, in the style of trip-hop. Though, by no means do they contend – or stand a chance – with ‘Massive Attack’, the post remains an interesting, despite a somewhat bastardised discussion, on the fundamental elements of trip-hop and what it takes for such a band to wield this instrument. It is as powerful as it is dangerous, an acquired taste, combining the characteristics of hip-hop and synthesised music to form a double-edged sword that can kill in more ways than one. Despite this allegorical representation of its elegantly-complex figure, I admire the outcome, yet abhor the basic principles of its creation, its grass-roots, and standpoint within the musical spectrum. Just the same, music of this calibre is hard to come by, so I have to enjoy it while it lasts…

I present “Heligoland”, featuring guest appearances from ‘Tunde Adebimpe’ - whom ‘TV On The Radio’ fans will recognise immediately - ‘Martina Topley-Bird’, who featured predominantly in trip-hop artist ‘Tricky’s’ work, ‘Horace Andy’ reggae-artist/singer-songwriter, with ‘Guy Garvey’ of the band ‘Elbow’, and ‘Damon Albarn’: frontman and primary songwriter for the britpop group ‘Blur’. These artists help distinguish tracks throughout the album, underlining some with great emphasis, while leaving others with a weaker execution. Fans can expect some tracks by the favourites, but predominantly, “Heligoland” is a somewhat mongrelisation of varying artists, compiled together despite many differing qualities and strengths. Although I greatly enjoy guest appearances from ‘Tunde Adebimpe’, and ‘Martina Topley-Bird’, I find that ‘Damon Albarn’s’ contribution remains a chink in the armour [maybe because of his affiliations with britpop, I've come to realise?] With my earlier opinions of “Mezzanine”, among other ‘Massive Attack’ albums, I believe that their unique trip-hop perspective favours deep baritones, while I find that tenors or equivalents, struggle somewhat. This is perhaps magnified with ‘Massive’s…’ fixation with subsonic synth among the various percussion influences taking place.

At just under an hour, “Heligoland’s” tracks float around the five-minute mark, with a total of ten. Nothing finishes below two, so listeners can expect full-fledged songs without ephemerals, transitions, or instrumentals. With each track somewhat self-contained, there is no definitive beginning or end, so I suppose this makes for seamless listening. “Heligoland” can best be measured next to one of its sister albums, “Mezzanine”, with strong, emphatic vocalisations, heart-felt lyrics, and a decent mixture of fantastical-elements which are at the core of ‘Massive Attack’ itself. Expect the constant exploitation of percussion; generally tracks have a fixed beat, while leading synthesised partners differ from track to track. As can be expected, not all tracks have the same potency as others, but on-the-whole, “Heligoland” remains an acquired taste like “Mezzanine”, and should, after a few playthroughs, grow on you.

Track-specifics: and I’ll draw your attention to the opener for “Heligoland”, which is perhaps the most powerful – and, I think, current, track. Meet the love-child of “Angel” and “Inertia Creeps”, from “Mezzanine”, and to make this love-triangle that much more believable: “Family Tree”, from ‘Tunde Adebimpe’s’ main band, ‘TV On The Radio”, and album, “Dear Science”. I give you “Pray For Rain”. Vocalisation of lyrics is clean, audible, and their poignancy is what I would expect from ‘Adebimpe’s’ repertoire. Perhaps more-so for Australian listeners rather than overseas, or in some cases, interstate, “Pray For Rain” features some very reflective lyrics of our country’s current water crisis, and the inability of our people to do something feasible about it. The consistent use of the phrase:

“… pray for rain…”

… Appears as is to be expected, but its accompaniment with sentences like:

“… And their necks crane, as they turn to pray for rain…”

or

“… A shattered cloud of swirling doves…”

… Still have me in awe of this songs overall construction.

“… Drops on rocks fall fast and fleeting…”

Is perhaps my favourite sentence. Together with this, a very strong, sombre piano – which also featured excessively in ‘TV On The Radio’s’ “Family Tree”. Where “Angel” and “Inertia Creeps” come in is the reinforcing percussion which exacerbates this tracks dramatisation, making it all that much better. Absolutely fantastic in my opinion…

I’ll break away from “Pray For Rain” – I could literally do an entire review on the track itself, but I’ll restrain myself. “Babel” featuring ‘Martina Topley-Birb’, follows, and unlike its predecessor, vocals are at a higher octave: although not as memorable as “Pray For Rain”, and interesting track nonetheless.

“Splitting The Atom”, featuring ‘Horace Andy’ is another powerful track that utilises those characteristic subsonic synth-beats running parallel a deep baritone voice: with the arrival of ‘Andy’, there’s some nice juxtaposition between high and soft. The up-down attitude of beat is slow and steady, so it’s not hard to like this track either. Following this, “Girl I Love You”, and it isn’t as deeply emphasised; and yet ‘Andy’s’ contribution to it gives it the qualities of a masculine “Teardrop”, or distant “Inertia Creeps”. Even so, not as likeable however.

So! Track-wise I’ll stop there. “Heligoland” is overall a general success – I have thoroughly enjoyed listening to it, and will continue to. It’s a definite must-buy for any true fan, though it’s best heard loud and alone I suppose. Perfect for an amplifier/speaker set-up, preferably with a sub-woofer for those extra inaudibles; when the air feels fuzzy and the ground begins to shake, you’re at the right amplitude. ‘Massive Attack’ never fails to deliver, and despite trip-hop being a touch-and-go genre, it’s worth a look now and then, especially if you can find someone to rival these geniuses.

[NEW!] Reviewer’s pick: “Pray For Rain”

Stand-out Tracks: “Pray For Rain”, “Babel”, “Splitting The Atom”, “Girl I Love You”, “Psyche”

Rating: 4.5/5

Until when,

The Enantiomorphic God

My Decade In Lists…

It’s taken forever to compile this list, but it was really fun to do. Discuss away and enjoy.

So, here it is:

100. The Bedlam In Goliath – The Mars Volta – 2008
99. Black Fingernails, Red Wine – Eskimo Joe – 2006
98. Dystopia – Midnight Juggernauts – 2007
97. Chimneys Afire – Josh Pyke – 2008
96. Solar Gambling – Omar Rodriguez-Lopez
95. No Balance Palace – Kashmir – 2005
94. Lungs – Florence + The Machine – 2009
93. Apocalypso – The Presets – 2008
92. Get Born – JET – 2003
91. A Crow Left of The Murder… – Incubus – 2003
90. Tea & Sympathy – Bernard Fanning – 2006
89. In The Future – Black Mountain – 2008
88. A Grand Don’t Come For Free – The Streets – 2004
87. Aha Shake Heartbreak – Kings of Leon – 2005
86. Is This It – The Strokes – 2001
85. Themata – Karnivool – 2005
84. Tonight Alright – Spiderbait – 2004
83. Transatlanticism – Death Cab For Cutie – 2003
82. Dig, Lazarus, Dig!!! – Nick Cave & The Bad Seeds – 2008
81. thickfreakness – The Black Keys – 2003
80. Gravity Won’t Get You High – The Grates – 2006
79. Them Crooked Vultures – Them Crooked Vultures – 2009
78. Manners – Passion Pit – 2009
77. Fever To Tell – Yeah Yeah Yeahs – 2003
76. Wolfgang Amadeus Phoenix – Phoenix – 2009
75. We Were Dead Before The Ship Even Sank – Modest Mouse – 2007
74. Show Your Bones – Yeah Yeah Yeahs – 2006
73. Humbug – Arctic Monkeys – 2009
72. Modern Guilt – Beck – 2008
71. Imago – The Butterfly Effect – 2006
70. A Rush of Blood To The Head – Coldplay – 2003
69. Day One – Bird of Tokyo – 2004
68. Devils Elbow – The Mess Hall – 2007
67. Get Behind Me Satan – The White Stripes – 2005
66. Neon Bible – Arcade Fire – 2007
65. De-Loused In The Comatorium – The Mars Volta – 2003
64. Black Market Music – Placebo – 2000
63. Sam’s Town – The Killers – 2006
62. Myths of The Near Future – Klaxons – 2007
61. Howl – Black Rebel Motorcycle Club – 2005
60. Black Rebel Motorcycle Club – Black Rebel Motorcycle Club – 2000
59. 10,000 Days – Tool – 2007
58. Havilah – The Drones – 2008
57. White Blood Cells – The White Stripes – 2001
56. Tonight: Franz Ferdinand – Franz Ferdinand – 2009
55. Oracular Spectacular – MGMT – 2008
54. Welcome To Monkey House – The Dandy Warhols – 2003
53. A Smile – Dapple Cities – 2004
52. Vespertine – Björk – 2001
51. Fleet Foxes – Fleet Foxes – 2008
50. Sound of Silver – LCD Soundsystem – 2007
49. Mirrored – Battles – 2007
48. Lateralus – Tool – 2001
47. Paradise – My Disco – 2008
46. Post-Nothing – Japandroids – 2009
45. Robbers & Cowards – Cold War Kids – 2006
44. Echolalia – Something For Kate – 2001
43. By The Way – Red Hot Chili Peppers – 2002
42. Elephant – The White Stripes – 2003
41. Primary Colours – Eddy Current Suppression Ring – 2008
40. Toxicity – System of a Down – 2001
39. We Are Beautiful, We Are Doomed – Los Campesinos! – 2008
38. Hospice – The Antlers – 2009
37. Vulture Street – Powderfinger – 2003
36. Franz Ferdinand – Franz Ferdinand – 2004
35. () – Sigur Ros – 2002
34. Gimme Fiction – Spoon – 2004
33. The Overture & The Underscore – Sarah Blasko – 2004
32. Because of the Times – Kings of Leon – 2007
31. Hot Fuss – The Killers – 2004
30. Whatever People Say I Am, That’s What I’m Not – Arctic Monkeys – 2006
29. Origin of Symmetry – Muse – 2001
28. A Book Like This – Angus & Julia Stone – 2007
27. The Good, The Bad & The Queen – The Good The Bad & The Queen – 2007
26. Year Zero – Nine In Nails – 2005 ________________________________________________________________________________

25. In Case We Die – Architecture In Helsinki – 2005

It’s dark indie-pop and it’s my kind of music. Despite it’s dark nature it’s actually quite bouncy and really feels like the bands having fun. It’s simplicity is commendable and I feel that this band has not gotten the recognition it deserves hear in Australia. It’s another band that should be on commercial radio and really shows where the public has skimmed over a great band. In Case We Die is the band’s second album and my favourite.

24. Kasabian – Kasabian – 2004

Combining electronica, psychedelia and rock, Kasabian’s self-titled debut album sets itself apart because it combines genres to create music that can be heard (and liked) by anyone. Starting off with the pounding Club Foot, Kasabian made and album that is relentless and is a must listen for anyone who hasn’t heard them before (unlikely I know). Another great debut album and is one that has a special quality to it.

23. Highly Evolved – The Vines – 2002

ah… The namesake of this blog. It’s probably the album that got Australian rock back onto the airwaves (in particular commercial radio) and has really set off a new wave of Australian rock bands. They are great live and have a great amount of energy in there music. Mastering the slower songs as well as the faster songs, The Vines are a complete rock band and are a credit to Australian music. Highly Evolved was their first and best album.

22. Sunrise Over Sea – John Butler Trio – 2004

While John Butlers second album, Three, is good. Sunrise Over Sea is his best work, and will probably never reproduce it. The album caught the attention of commercial stations in Australia and for a band like this to do that, you have to have some seriously good songs. But he not only made some great songs, he made a great album. Songs like What You Want and Bound To Ramble really set this apart from other albums and are what make this album become a really great Australian album.

21. Demon Days – Gorillaz – 2005

Demon Days is dark and that’s really rare in a album that was so intrenched in the pop market. Damon Albarn was the reason why Gorillaz was so successful, he made brilliantly catchy alternative songs that transcended genres and music scenes. While some may think Gorillaz is inferior to Blur, I believe that Gorillaz is a more complete and diverse piece of music and although in may not reach the heights that Blur did, Damon Albarn has made some amazingly written songs.

20. Wolfmother – Wolfmother – 2005

Okay, so it rips off Led Zepplin, Deep Purple, Black Sabbath and The White Stripes. Who cares! It’ s just that good. Wolfmother made an album that recreates rock music from the past 30 years, the songs are great and there isn’t a bad song on the album. White Unicorn is stunning but what really gets me is Mind’s Eye. The togetherness of the band is great and I’m still not tired of it after 5 years of listening intently to it.

19. Stories From The City, Stories From The Sea – PJ Harvey – 2000

It’s not all about her ability to sing, the album shows her songwriting skills along side her beautiful voice. Stories From The City, Stories From The Sea is a great album for those two reasons, it also includes a duet with Thom Yorke which is quite amazing. The thing about her voice is that it is unique and not always Disney perfect, it has personality and emotion in it and that is something few people can do.

18. Relationship of Command – At The Drive-In – 2000

Omar Rodriguez-Lopez made his name in this band and although I don’t think it has the musical prowess of The Mars Volta, it has something different. I like to say it’s Paramore with talent but really it goes beyond that genre and in the end you can’t really compare the two. Nonetheless it’s a good album that is brimming with energy and should be listened to. It also features Iggy Pop, which gives the album another reason for people to listen to it.

17. Return To Cookie Mountain – TV On The Radio – 2006

An excellent album that has some great songs. Wolf Like Me makes the album sound as good as it does and although different to the other TV On The Radio albums it sounds like a TVOTR album. The name deserves an award and so does the album, it is a must listen and anyone who hasn’t listened to it is most definitely missing out. When I saw them live the songs from this album stood out and I really do believe that they are best listened to live as it gives the songs energy.

16. Sea Change – Beck – 2002

A breakup album that is quite amazing when you listen to it. Beck was known for making some extremely weird and wacky music but seemingly out of nowhere he writes an album like this. It’s one of the best albums of the decade and while I don’t believe its his best album, some people would and this makes this album remarkable. The bass lines are great and ranging, also, the standout track in my opinion is Lonesome Tears.

15. New Detention – Grinspoon – 2002

Along with The Vines, Grinspoon got me into rock music. This album was a large reason why I have the music taste I have today. It’s a rock album but it has a lot of pop sensibility and with out it sounding like a pop album it gets that effect. Chemical Heart is amazing and one of my favourite songs of all time. If you’re not in Australia then you may not have heard of this band. If that is the case then you have got to listen to these guys.

14. Mr. Beast – Mogwai – 2006

Mr. Beast is instrumental but that doesn’t mean it’s all classical and ambient. It’s one of the heaviest albums I’ve heard and it proves that a song doesn’t need screaming for it to be heavy. Just listen to Glasgow Metal Snake and you’ll know what I mean. When you listen to the album, you get lost in the music and this is partly because all that you’re concentrating on is the music and not the lyrics. Folk Death 95 is my favourite track from the album and is a must listen.

13. Songs For The Deaf – Queens of the Stone Age – 2002

Hard rock doesn’t get better than Songs For The Deaf. It’s unrelenting and never really drops in quality or energy. It begins with the Desert Sessions song, Millionaire and then goes straight to the song with the best riff of the decade, No One Knows. For anyone who enjoys rock, this is beyond being a must listen, if you haven’t heard this album then you’re not a rock fan.

12. Amnesiac – Radiohead – 2001

Amnesiac is like one of those blank canvas paintings, they test what can be called art and how far they can manipulate peoples perceptions of it. Amnesiac was toying with what people called pop music. It’s not a blank canvas though, it has brilliant songs that some people would call Radiohead’s best work. Pyramid Song is one of these songs, it’s emotional and has a feeling of melancholy.

11. Like Drawing Blood – Gotye – 2006

Like Drawing Blood is an example of great songwriting, the fact that he uses samples doesn’t take away form the music at all. The Only Way and Hearts A Mess are the two standout tracks, The Only Way was covered by metal band Karnivool and this proved that the song had great compatibility with most genres of music. The second Australian band in this list and he thoroughly deserves a spot this high.

10. The Moon & Antarctica – Modest Mouse – 2000

The Moon & Antarctica is a great album start to finish, which is extremely rare with albums with as many track as The Moon & Antarctica has. It has a childlike quality, but it is definitely not childlike (kind of like “Where the Wild Things Are” in a sense). Lyrically it’s amazing (like all Modest Mouse albums) and it really forces you to listen intently to the lyrics, which has the effect of immersing you into the music fully.

9. Travels With Myself And Another – Future of the Left – 2009

It’s edgy, political and hard hitting. It was my favourite album in 2009, basically for it’s mix of clever lyrics and simple instrumentation. The members of this band have made a brilliant piece of music that should be remembered for years and or decades to come. I really love this album and I think it deserves a place in popular music, despite the fact that it probably never will.

8. Wait Long By the River and the Bodies of Your Enemies Will Float By – The Drones – 2005

The first Australian album in my top 100. It’s amazing both in it’s lyrics and in it’s music. Gareth Liddiard is the genius behind this album and lyrically, I would call him a genius. Shark Fin Blues is one of, if not the best Australian song ever written and it’s an album that should be listened to around the globe as well. Despite this though, the album has never really been played on commercial radio and seem destined to be eternally stuck in Triple J land.

7. Dear Science – TV On The Radio – 2008

Dear Science is brilliant in it’s seemingly simple writing. It sounds very simplified, but when you really listen to it it’s beautifully produced and has many complicated and intricate segments that are hiding under the song-writing. Dave Sitek is the man behind it, but its the band’s togetherness of the writing and the band that makes TV On The Radio and Dear Science great.

6. For Emma, Forever Ago – Bon Iver – 2008

There is something about For Emma that grounds you. It’s honest, soulful and also deeply personal, it’s recorded in a way that goes beyond lo-fi recording, but has that same amateur feeling. When you’re listening to it you get he feeling that he isn’t writing the music for money, but for a way to relinquish his inner demons and regrets throughout his life.

5. Frances The Mute – The Mars Volta – 2005

This album really sums up The Mars Volta, clocking in at an hour and having 5 songs on the album. But really, the reason I love Frances The Mute is because it shows a band that are pushing the boundaries of what we call modern music. It isn’t exactly new, the album is influenced heavily by 50’s jazz, but it does something that is very unique in this day and age. The 13 minute epic Cygnus… Vismund Cygnus is my favourite track from the album and really sets the pace for the rest of it.

4. Silent Alarm – Bloc Party – 2005

Silent Alarm is another album that is never going to be matched by the band. The follow up wasn’t half as good and it wasn’t really a surprise. With songs like “This Modern Love” and “Helicopter”, Silent Alarm somehow has achieved all songs having their own soul and are also unique and different to all others on the album. Despite this though, they mould together to become a brilliant piece of art.

3. Turn on the Bright Lights – Interpol – 2002

Interpol have yet to replicate the almost ethereal Turn on the Bright Lights. Carlos D provided bass lines that allowed the music to go beyond a single layer, but what really took this album the next level was Paul Banks. His voice gave the music personality and a real sense of emotion. It has an aura that makes this album special and different from all others.

2. Funeral – Arcade Fire – 2004

Funeral is by far the best “emo” album ever released. While some may yell at their computer screens saying I’m crazy, just hear me out first. The genre of “emo” has been taken out of context to the point where today “emo” is another word for pop-punk. “emo” is short for emotion/emotional, Funeral has raw emotion and that what makes the album so touching. While all these teenagers were listening to the “emo” Fallout Boy and Panic At The Disco!, they should have been listening to this.

1. Rated R – Queens of the Stone Age – 2000

Rated R is one of those album that just hits the spot. On top of the fact that it probably sparked the revival in rock music in the early years of the naughties, while The Strokes’ Is This It is often regarded as the said “spark”, I do believe Rated R was more important and was also a better constructed album. It starts with the brilliant Feel Good Hit of the Summer and never really drops in quality from that first riff that is infused in the rest of the album. It’s quirky, yet dark, pop attributes allow the album to “release the weird”.

100. The Bedlam In Goliath – The Mars Volta – 2008

99. Black Fingernails, Red Wine – Eskimo Joe – 2006

98. Dystopia – Midnight Juggernauts – 2007

97. Chimneys Afire – Josh Pyke – 2008

96. Solar Gambling – Omar Rodriguez-Lopez

95. No Balance Palace – Kashmir – 2005

94. Lungs – Florence + The Machine – 2009

93. Apocalypso – The Presets – 2008

92. Get Born – JET – 2003

91. A Crow Left of The Murder… – Incubus – 2003

90. Tea & Sympathy – Bernard Fanning – 2006

89. In The Future – Black Mountain – 2008

88. A Grand Don’t Come For Free – The Streets – 2004

87. Aha Shake Heartbreak – Kings of Leon – 2005

86. Is This It – The Strokes – 2001

85. Themata – Karnivool – 2005

84. Tonight Alright – Spiderbait – 2004

83. Transatlanticism – Death Cab For Cutie – 2003

82. Dig, Lazarus, Dig!!! – Nick Cave & The Bad Seeds – 2008

81. thickfreakness – The Black Keys – 2003

80. Gravity Won’t Get You High – The Grates – 2006

79. Them Crooked Vultures – Them Crooked Vultures – 2009

78. Manners – Passion Pit – 2009

77. Fever To Tell – Yeah Yeah Yeahs – 2003

76. Wolfgang Amadeus Phoenix – Phoenix – 2009
75. We Were Dead Before The Ship Even Sank – Modest Mouse – 2007

74. Show Your Bones – Yeah Yeah Yeahs – 2006

73. Humbug – Arctic Monkeys – 2009

72. Modern Guilt – Beck – 2008

71. Imago – The Butterfly Effect – 2006

70. A Rush of Blood To The Head – Coldplay – 2003

69. Day One – Bird of Tokyo – 2004

68. Devils Elbow – The Mess Hall – 2007

67. Get Behind Me Satan – The White Stripes – 2005

66. Neon Bible – Arcade Fire – 2007

65. De-Loused In The Comatorium – The Mars Volta – 2003

64. Black Market Music – Placebo – 2000

63. Sam’s Town – The Killers – 2006

62. Myths of The Near Future – Klaxons – 2007

61. Howl – Black Rebel Motorcycle Club – 2005

60. Black Rebel Motorcycle Club – Black Rebel Motorcycle Club – 2000

59. 10,000 Days – Tool – 2007

58. Havilah – The Drones – 2008

57. White Blood Cells – The White Stripes – 2001

56. Tonight: Franz Ferdinand – Franz Ferdinand – 2009

55. Oracular Spectacular – MGMT – 2008

54. Welcome To Monkey House – The Dandy Warhols – 2003

53. A Smile – Dapple Cities – 2004

52. Vespertine – Björk – 2001

51. Fleet Foxes – Fleet Foxes – 2008

50. Sound of Silver – LCD Soundsystem – 2007

49. Mirrored – Battles – 2007

48. Lateralus – Tool – 2001

47. Paradise – My Disco – 2008

46. Post-Nothing – Japandroids – 2009

45. Robbers & Cowards – Cold War Kids – 2006

44. Echolalia – Something For Kate – 2001

43. By The Way – Red Hot Chili Peppers – 2002

42. Elephant – The White Stripes – 2003

41. Primary Colours – Eddy Current Suppression Ring – 2008

40. Toxicity – System of a Down – 2001

39. We Are Beautiful, We Are Doomed – Los Campesinos! – 2008

38. Hospice – The Antlers – 2009

37. Vulture Street – Powderfinger – 2003

36. Franz Ferdinand – Franz Ferdinand – 2004

35. () – Sigur Ros – 2002

34. Gimme Fiction – Spoon – 2004

33. The Overture & The Underscore – Sarah Blasko – 2004

32. Because of the Times – Kings of Leon – 2007

31. Hot Fuss – The Killers – 2004

30. Whatever People Say I Am, That’s What I’m Not – Arctic Monkeys – 2006

29. Origin of Symmetry – Muse – 2001

28. A Book Like This – Angus & Julia Stone – 2007

27. The Good, The Bad & The Queen – The Good The Bad & The Queen – 2007

26. Year Zero – Nine In Nails – 2005

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25. In Case We Die – Architecture In Helsinki – 2005

It’s dark indie-pop and it’s my kind of music. Despite it’s dark nature it’s actually quite    bouncy and really feels like the bands having fun. It’s simplicity is commendable and I feel    that this band has not gotten the recognition it deserves hear in Australia. It’s another band    that should be on commercial radio and really shows where the public has skimmed over a             great band. In Case We Die is the band’s second album and my favourite.

24. Kasabian – Kasabian – 2004

Combining electronica, psychedelia and rock, Kasabian’s self-titled debut album sets itself         apart because it combines genres to create music that can be heard (and liked) by anyone.          Starting off with the pounding Club Foot, Kasabian made and album that is relentless and is          a must listen for anyone who hasn’t heard them before (unlikely I know). Another great    debut album and is one that has a special quality to it.

23. Highly Evolved – The Vines – 2002

ah… The namesake of this blog. It’s probably the album that got Australian rock back onto         the airwaves (in particular commercial radio) and has really set off a new wave of Australian       rock bands. They are great live and have a great amount of energy in there music. Mastering           the slower songs as well as the faster songs, The Vines are a complete rock band and are a   credit to Australian music. Highly Evolved was their first and best album.

22. Sunrise Over Sea – John Butler Trio – 2004

While John Butlers second album, Three, is good. Sunrise Over Sea is his best work, and         will probably never reproduce it. The album caught the attention of commercial stations in    Australia and for a band like this to do that, you have to have some seriously good songs.           But he not only made some great songs, he made a great album. Songs like What You Want            and Bound To Ramble really set this apart from other albums and are what make this album             become a really great Australian album.

21. Demon Days – Gorillaz – 2005

Demon Days is dark and that’s really rare in a album that was so intrenched in the pop market. Damon Albarn was the reason why Gorillaz was so successful, he made brilliantly    catchy alternative songs that transcended genres and music scenes. While some may think   Gorillaz is inferior to Blur, I believe that Gorillaz is a more complete and diverse piece of             music and although in may not reach the heights that Blur did, Damon Albarn has made some amazingly written songs.

20. Wolfmother – Wolfmother – 2005

Okay, so it rips off Led Zepplin, Deep Purple, Black Sabbath and The White Stripes. Who       cares! It’ s just that good. Wolfmother made an album that recreates rock music from the past         30 years, the songs are great and there isn’t a bad song on the album. White Unicorn is        stunning but what really gets me is Mind’s Eye. The togetherness of the band is great and I’m             still not tired of it after 5 years of listening intently to it.

19. Stories From The City, Stories From The Sea – PJ Harvey – 2000

It’s not all about her ability to sing, the album shows her songwriting skills along side her             beautiful voice. Stories From The City, Stories From The Sea is a great album for those two   reasons, it also includes a duet with Thom Yorke which is quite amazing. The thing about   her voice is that it is unique and not always Disney perfect, it has personality and emotion in it and that is something few people can do.

18. Relationship of Command – At The Drive-In – 2000

Omar Rodriguez-Lopez made his name in this band and although I don’t think it has the musical prowess of The Mars Volta, it has something different. I like to say it’s Paramore            with talent but really it goes beyond that genre and in the end you can’t really compare the      two. Nonetheless it’s a good album that is brimming with energy and should be listened to.        It also features Iggy Pop, which gives the album another reason for people to listen to it.

17. Return To Cookie Mountain – TV On The Radio – 2006

An excellent album that has some great songs. Wolf Like Me makes the album sound as            good as it does and although different to the other TV On The Radio albums it sounds like a             TVOTR album. The name deserves an award and so does the album, it is a must listen and       anyone who hasn’t listened to it is most definitely missing out. When I saw them live the        songs from this album stood out and I really do believe that they are best listened to live as it             gives the songs energy.

16. Sea Change – Beck – 2002

A breakup album that is quite amazing when you listen to it. Beck was known for making           some extremely weird and wacky music but seemingly out of nowhere he writes an album           like this. It’s one of the best albums of the decade and while I don’t believe its his best       album, some people would and this makes this album remarkable. The bass lines are great   and ranging, also, the standout track in my opinion is Lonesome Tears.

15. New Detention – Grinspoon – 2002

Along with The Vines, Grinspoon got me into rock music. This album was a large reason            why I have the music taste I have today. It’s a rock album but it has a lot of pop sensibility         and with out it sounding like a pop album it gets that effect. Chemical Heart is amazing and one of my favourite songs of all time. If you’re not in Australia then you may not have heard of this band. If that is the case then you have got to listen to these guys.

14. Mr. Beast – Mogwai – 2006

Mr. Beast is instrumental but that doesn’t mean it’s all classical and ambient. It’s one of the          heaviest albums I’ve heard and it proves that a song doesn’t need screaming for it to be         heavy. Just listen to Glasgow Metal Snake and you’ll know what I mean. When you listen to the album, you get lost in the music and this is partly because all that you’re concentrating    on is the music and not the lyrics. Folk Death 95 is my favourite track from the album and is       a must listen.

13. Songs For The Deaf – Queens of the Stone Age – 2002

Hard rock doesn’t get better than Songs For The Deaf. It’s unrelenting and never really             drops in quality or energy. It begins with the Desert Sessions song, Millionaire and then goes          straight to the song with the best riff of the decade, No One Knows. For anyone who enjoys         rock, this is beyond being a must listen, if you haven’t heard this album then you’re not a             rock fan.

12. Amnesiac – Radiohead – 2001

Amnesiac is like one of those blank canvas paintings, they test what can be called art and          how far they can manipulate peoples perceptions of it. Amnesiac was toying with what    people called pop music. It’s not a blank canvas though, it has brilliant songs that some    people would call Radiohead’s best work. Pyramid Song is one of these songs, it’s emotional          and has a feeling of melancholy.

11. Like Drawing Blood – Gotye – 2006

Like Drawing Blood is an example of great songwriting, the fact that he uses samples    doesn’t take away form the music at all. The Only Way and Hearts A Mess are the two        standout tracks, The Only Way was covered by metal band Karnivool and this proved that the song had great compatibility with most genres of music. The second Australian band in             this list and he thoroughly deserves a spot this high.

10. The Moon & Antarctica – Modest Mouse – 2000

The Moon & Antarctica is a great album start to finish, which is extremely rare with albums      with as many track as The Moon & Antarctica has. It has a childlike quality, but it is          definitely not childlike (kind of like “Where the Wild Things Are” in a sense). Lyrically           it’s        amazing (like all Modest Mouse albums) and it really forces you to listen intently to the    lyrics, which has the effect of immersing you into the music fully.

9. Travels With Myself And Another – Future of the Left – 2009

It’s edgy, political and hard hitting. It was my favourite album in 2009, basically for it’s mix          of clever lyrics and simple instrumentation. The members of this band have made a brilliant piece of music that should be remembered for years and or decades to come. I really love    this album and I think it deserves a place in popular music, despite the fact that it probably           never will.

8. Wait Long By the River and the Bodies of Your Enemies Will Float By – The Drones – 2005

The first Australian album in my top 100. It’s amazing both in it’s lyrics and in it’s music. Gareth Liddiard is the genius behind this album and lyrically, I would call him a genius.            Shark Fin Blues is one of, if not the best Australian song ever written and it’s an album that          should be listened to around the globe as well. Despite this though, the album has never    really been played on commercial radio and seem destined to be eternally stuck in Triple J          land.

7. Dear Science – TV On The Radio – 2008

Dear Science is brilliant in it’s seemingly simple writing. It sounds very simplified, but when         you really listen to it it’s beautifully produced and has many complicated and intricate             segments that are hiding under the song-writing. Dave Sitek is the man behind it, but its the         band’s togetherness of the writing and the band that makes TV On The Radio and Dear            Science great.

6. For Emma, Forever Ago – Bon Iver – 2008

There is something about For Emma that grounds you. It’s honest, soulful and also deeply         personal, it’s recorded in a way that goes beyond lo-fi recording, but has that same amateur   feeling. When you’re listening to it you get he feeling that he isn’t writing the music for money, but for a way to relinquish his inner demons and regrets throughout his life.

5. Frances The Mute – The Mars Volta – 2005

This album really sums up The Mars Volta, clocking in at an hour and having 5 songs on the album. But really, the reason I love Frances The Mute is because it shows a band that are pushing the boundaries of what we call modern music. It isn’t exactly new, the album is influenced heavily by 50’s jazz, but it does something that is very unique in this day and age. The 13 minute epic Cygnus… Vismund Cygnus is my favourite track from the album and really sets the pace for the rest of it.

4. Silent Alarm – Bloc Party – 2005

Silent Alarm is another album that is never going to be matched by the band. The follow up       wasn’t half as good and it wasn’t really a surprise. With songs like “This Modern Love” and             “Helicopter”, Silent Alarm somehow has achieved all songs having their own soul and are            also unique and different to all others on the album. Despite this though, they mould        together to become a brilliant piece of art.

3. Turn on the Bright Lights – Interpol – 2002

Interpol have yet to replicate the almost ethereal Turn on the Bright Lights. Carlos D   provided bass lines that allowed the music to go beyond a single layer, but what really took        this album the next level was Paul Banks. His voice gave the music personality and a real     sense of emotion. It has an aura that makes this album special and different from all others.

2. Funeral – Arcade Fire – 2004

Funeral is by far the best “emo” album ever released. While some may yell at their        computer screens saying I’m crazy, just hear me out first. The genre of “emo” has been taken             out of context to the point where today “emo” is another word for pop-punk. “emo” is short       for emotion/emotional, Funeral has raw emotion and that what makes the album so           touching. While all these teenagers were listening to the “emo” Fallout Boy and Panic At             The Disco!, they should have been listening to this.

1. Rated R – Queens of the Stone Age – 2000

Rated R is one of those album that just hits the spot. On top of the fact that it probably   sparked the revival in rock music in the early years of the naughties, while The Strokes’ Is   This It is often regarded as the said “spark”, I do believe Rated R was more important and          was also a better constructed album. It starts with the brilliant Feel Good Hit of the             Summer and never really drops in quality from that first riff that is infused in the rest of the          album. It’s quirky, yet dark, pop attributes allow the album to “release the weird”.

2009 In Lists…

Before I finish my Top 100 albums for the decade, I’ll take some time out to write about the best albums of 2009. Commercial radio again ignored good Australian music and as usual there were some great new Australian bands.

Well, here it goes, I hope you all enjoy reading…

.

Top Albums of 2009

25. To Lose My Life… – White Lies

24. Rain Machine – Rain Machine

23. Julian Plenti Is… Skyscraper – Julian Plenti

22. Kid Sam – Kid Sam

21. Crack The Skye – Mastadon

20. The Sunspot Letters – Leader Cheetah

19. Veckatimest – Grizzly Bear

18. Smoking Gun – Lady of the Sunshine

17. Octahedron – The Mars Volta

16. The xx - The xx

15. It’s Blitz! - Yeah Yeah Yeahs

14. A Woman A Man Walked By – PJ Harvey & John Parish

13. Conditions – The Temper Trap

12. Zounds -Dappled Cities

11. Swoon – Silversun Pickups

10. Humbug – Arctic Monkeys

9. The Peaceful Atom Is A Bomb – Regular John

8. Lungs – Florence + The Machine

7. Them Crooked Vultures – Them Crooked Vultures

6. Manners – Passion Pit

5. Solar Gambling – Omar Rodriguez-Lopez

4. Tonight: Franz Ferdinand – Franz Ferdinand

3. Post-Nothing – Japandroids

2. Hospice – The Antlers

1. Travels With Myself & Another – Future of the Left

Honourable Mentions

The Parallels Amongst Ourselves – Sugar Army

Far – Regina Spektor

Hope Is For Hopers – Philadelphia Grand Jury

Escape From The Sun – Operahouse

Further Complications – Jarvis Cocker

.

Top Tracks of 2009

25. While You Wait for the Others – Grizzly Bear

24. My Girls – Animal Collective

23. The Price – Dappled Cities

22. Escape From The Sun – Operahouse

21. Rabbit Heart (Raise It Up) – Florence + The Machine

20. Lucid Dreams – Franz Ferdinand

19. New Moon Rising – Wolfmother

18. Down To The Cemetery – Kid Sam

17. Lapsed Catholics – Future of the Left

16. 11^th Dimension – Julian Casablancas

15. Fire – Kasabian

14. All Is Love – Karen O

13. This Is The End of Everything – Toma

12. I Quit Girls – Japandroids

11. Laughing With – Regina Spektor

10. Tongues In Cheeks – Sugar Army

9. There Are Listed Buildings – Los Campesinos!

8. Carol Brown – Flight of the Conchords

7. Arrow – Tegan & Sara

6. The Royal We – Silversun Pickups

5. Here It Comes – I Heart Hiroshima

4. Cotopaxi –The Mars Volta

3. No One Loves Me & Neither Do I – Them Crooked Vultures

2. Blood – The Middle East

1. Crying Lightning – Arctic Monkeys

Honourable Mentions

Little Lion Man – Mumford & Sons

Exogenesis: Symphony - Muse

Useful Chambers – Dirty Projectors

Magnetic Arrest – Bridezilla

Dominoes – The Big Pink

.

Top EP’s of 2009

5. The Food Chain – Dragging Pianos

4. Ayrton Senna – Delorean

3. Art Vs. Science – Art Vs. Science

2. Blood Bank – Bon Iver

1. No One’s First And You’re Next – Modest Mouse

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Best Gig of 2009

Mammal @ Moonee Valley Youth Festival – April 5^th

Karen O

Highly Evolved Music Awards [2009] – Enantiomorphic God

These music awards are purely personalised – in no way do they, or should they, reflect upon the artist/s. I feel that these albums, tracks and lyrics, are to my own personal-liking. These may challenge my prior opinions of album-ratings within my reviews – but then again, these decisions have been made after much after-study, and devoted listenings.

If you don’t agree, feel free to disagree, you’re entitled to it. But that’s besides the point:

And now, I’m happy to announce my awards:

TOP TEN ALBUMS 2009:

1. Xenophanes – Omar Rodriguez-Lopez

2. The Bavarian Druglords – 205

3. Vib Gyor – We Are Not An Island

4. The XX – XX

5. Passion Pit – Manners

6. The Mars Volta – Octahedron

7. The American Dollar – Ambient One

8. Muse – The Resistance

9. Engineers – Three Fact Fader

10. The Middle East – The Recordings Of The Middle East

TOP TEN TRACKS 2009:

1. Desarraigo – Omar Rodriguez-Lopez [Xenophanes]

2. Wooden Ships – Dappled Cities [Zounds]

3. Sweet Disposition – The Temper Trap [Conditions]

4. Little Secrets – Passion Pit [Manners]

5. Tongues In Cheeks – Sugar Army [The Parallels Amongst Ourselves]

6. 37c Sniper – The Bavarian Druglords [205]

7. Infinity – The XX [XX]

8. Blood – The Middle East [The Recordings Of The Middle East]

9. Escape From The Sun – Operahouse [Escape From The Sun]

10. Vib Gyor – Scanners [We Are Not An Island]

TOP FIVE LYRICS 2009:

1. Russia – Ramona Falls [Intuit]

2. Two Dancers – Wild Beasts [Two Dancers]

3. Obscene Queen Bee – Flashy Python [Skin And Bones]

4. Drunk On Aluminium – Wintersleep [Welcome To The Night Sky]

5. Teflon – The Mars Volta [Octahedron]

WORST LYRICS AWARD 2009:

1. T-Shirts – Still Life Still [Girls Come Too]

“Solar Gambling” – ‘Omar Rodriguez-Lopez’ [Joint Review]

Coinciding with my recent purchase of “Xenophanes”, ‘Omar Rodriguez-Lopez’ never ceases to amaze me, with a refined – yet developing – calibre which remains unresolved in certain aspects. It has been some fair-few months since “Xenophanes”, and its awe-inspiring riffs mind-blew everyone within a close radius; still, those beyond its reach have yet to feel the aftershock. At the moment, ‘… Rodriguez-Lopez’ stands on the precipice, as we all hold our breath before the great plunge: I myself – not to mention my partner – have been eagerly awaiting the release of ‘… Rodriguez-Lopez’s’ official third studio-album “Solar Gambling”, and I feel we’ll both have some mixed opinions about its qualities.

Unofficially, ‘Highly Evolved’ has jumped straight back into the reviewing circuit, with “Solar Gambling” as our wind-up for the somewhat-successful Joint Review saga of ‘09. My partner and I share some common musical tastes, as the basic foundation for the blog itself, really; unequivocally necessary for the succession of each and every review. I suppose I proposed the idea to him some while into my arrival, to add some spice to the already growing cocktail of ideas:

“… So, I was thinking the other night; how about we do some Joint Reviews?”

“Uhuh…”

“Yeah, like – we review the same album, so readers have two different opinions to go on: could be good?”

“I suppose – yeah, we can do that.”

And off we went. I’ve reiterated time and time again, how the blog itself, and we as its reviewers and maintainers, have constantly developed over the past year. We have shared some interesting opinions through the Joint Reviews, which I find fascinating; and that’s a real understatement – arguments between us can continue on for days, or even weeks at a time, depending on the album, and our opinion of it. Readers of ‘Highly Evolved’ get a nice, round-edged review, replete with constructive criticism [if any], and commendation. Beyond the two-dimensional screen, and the confines of the published blog and internet-viewer-derision, our responses are usually quite blunt, one-sided, and generally lacking in reason.

‘Jarvis Cocker’ – “Further Complications” - need I say anymore [my friend?]

This album threw a wrench into the clockwork for a solid week – we continue to justify our reasons for liking/disliking its construction, its lyrics, its vocalisation, its composition. We are both firm in our opinion of it. Generally, however, albums have been great, and I’m usually open to anything [as is my partner], as long as it refrains from mainstream-pop, R&B, techno or trance.

Such as it is – nostalgic, directionless, purposeless – I feel that the finish of ’09’s Joint Reviews will leave a bitter aftertaste on my part. Without further distraction, I give you:

"Solar Gambling" - 'Omar Rodriguez-Lopez'

A few months ago, my favourable review of ‘… Rodriguez-Lopez’s’ prior album-release, “Xenophanes“, happened to draw some ‘interesting’ attention from ‘Omar Rodriguez-Lopez Productions” home-site on Twitter. To much surprise, readers seemed satisfied with my five-star rating – of this seemingly side-project-of-an-album [see "Julian Plent Is... Skyscraper" - 'Julian Plenti' for further details on my abhorrence of side-projects] – and my positive remarks on its overall-construction, with track after track of psychedelic fantasy and mind-bending electric guitar.

I don’t believe it’s necessary to go in-depth about ‘Omar Rodriguez-Lopez’ himself, because I would basically be paraphrasing my previous review of “Xenophanes”; suffice to say, newcomers should take note that ‘… Rodriguez-Lopez’s’ main affiliate band is ‘The Mars Volta’ and “Xenophanes” saw his first vocal-debut together with his girlfriend, ‘Ximena Sarinana’. With that said, I think it’s time I divulge my approach towards evaluating “Solar Gambling” – I’m taking it out of context with my previous opinions of “Xenophanes” [suffice to say, I will be using it as an example, however], because – although my partner will strongly disagree with this – I feel that “Solar Gambling” is a notch below what I expected it to be.

It’s not another ‘Jarvis Cocker’ – ladies and gentlemen – but I don’t think it marvels “Xenophanes” by any standard. It’s more appropriate to rate it next to ‘… Rodriguez-Lopez’s’ original debut, “Los Sueños De Un Higado” than “Xenophanes”, because I think I understand what the driving forces were behind “Xenophanes” now, then what I did before. “Los Sueños…“ maintained an elegant-complexity, a fusion of funk, jazz and progressive-rock, that I personally think was wonderfully-exuberant in “Xenophanes”: I’ll use this euphemism again, due to much appeal – it had the Hendrix-happy riffs, and more importantly, dual-vocals, which capped it off and were the icing on the cake, so to speak.

“Solar Gambling”, on the whole, drifts between “Xenophanes” and “Los Sueños…“, and lacks the consistency of “Xenophanes”. Take for example, “Xenophanes’” introductory-track “Azoemia”, pure instrumental genius: a recurring sound throughout the album, reappearing often enough to create this repetitive loop so the album never really ended, it continued from finish to start and finish again. “Solar Gambling” seems to take a heavy influence from “Los Sueños…” in that each track remains a stand-alone song – or at least, that’s how I feel it is – whereas “Xenophanes” remained continuous. In this regard, it is not a criticism, but merely a matter of difference. For whatever reason, also, ‘… Rodriguez-Lopez’ is sadly speechless, with ‘… Sarinana’ purely in his place: in this respect, it is why I have drawn similarities between this and “…Los Sueños“, where she is also dominant.

“Solar Gambling”, on the whole, is a nine-piece album with mixed instrumental and lyrical-vocalisation. Topped off at around the 35-minute mark, it is remarkably short in comparison to its counterparts; tracks average around three-minutes, there are only a handful of fives, mostly twos and threes. Progressive-rock influences are less obvious, although not entirely hidden and its riffs seem distracted with reinforcing vocals or maintaining rhythm instead of leading, or taking a solo. The album has a massive musical shift half-way through, and breaks away from ‘…Volta’ influenced guitar and composition, to progressive-rock-ambience reminiscent of ‘Sigur Ros’. Listeners will notice the predominant use of piano with its arrival, at around “Poincaré“, and following with the smoky, distant haze of “Los Tent áculos De La Libélula”. Instead of lead, we have this multi-layering of string and percussion, or percussion, or synth, and a quickly-fading ‘… Sarinana’. Again, on the whole, very different from “Xenophanes“.

It is a matter of opinion whether this difference is necessary, positive, or in fact negative – but ‘Omar Rodriguez-Lopez’ remains a compositional genius. This album, I believe, represents a willingness to break away from the expected and embrace the unexpected; he is putting out feelers in all directions – tasting the air if you wish – for the best possible quality of music. “Solar Gambling” is a mixed half-breed of ‘… Volta’ influences, ‘Sigur Ros’, “Bladerunner”-reminiscent ‘Vangelis’ and of course, ‘Omar Rodriguez-Lopez’ himself. In this respect, I admire the album, but it doesn’t fully agree with me, and in some aspects, the spark burns a little less brighter in some than in others.

“Locomocion Capilar” is “Solar Gambling’s” opening track, and it’s probably the last “Xenophanes”-sound-alike you’ll here for the rest of the album. It has the classic progressive-rock guitar, and it brings back the best that ‘… Rodriguez-Lopez” has to offer; I suppose I’m just missing ‘Omar’s…’ vocals, that’s all. Again, you already know what to expect, a mix of guitar, percussion, synth, and of course, ‘… Sarinana’. At 3:23, it’s unusually short.

“Las Flores Con Limón“ brings into focus the general intimacy of the album, between listener and “… Sarinana”, and its opening serenade between guitar and ‘… Sarinana’ is very elegant and withdrawn. The track bounces between explosive outbursts of progressive-rock and intimacy, demonstrating the elements to come.

I’ll skip straight to “Poincaré“, because I think it’s one of the strongest tracks on the album. It breaks away from that progressive-rut that the album initially clings to, and involves only ‘… Sarinana’ and a piano throughout the track. With some added distortion between the audio left/right channels, some wavy synth, and far-away echoes, it is hauntingly beautiful. Because of this focus, it is an unexpected delight – however short-lived it might be. “Los Tentáculos De La Libélula” follows, and it’s not at all what I would expect from “Solar Gambling”, or ‘… Rodriguez-Lopez’ himself. It is very dark, very despondent, and being an instrumental, somewhat intimate also. Another poignant track, sadly ephemeral, it is where I’ve made my connections to “Bladerunner” – it’s easy to imagine Rick Deckard flying towards Tyrell Corp; maybe I’m just being overly imaginative today?

I’ll stop right there, and finish by saying that “Solar Gambling” is more like a flaunt of potential than a rival-album between “Xenophanes” and “Los Sueños De Un Higado“. I do enjoy “Solar Gambling”, but I feel it isn’t at the standards of “Xenophanes”, and must be appreciated out of prior-album context, rather to be loved on its own, than with other ‘Omar Rodriguez-Lopez’s’ constructions. I know I cannot rate an album solely on the artist, I know I can only go by what I hear, and this is what I hear, and think, and feel. It is a difficult album to finish with, on the eve of the new year, and the Joint Review finale, but nonetheless, it has been a blast writing it; and that’s the important thing. You can criticise all you like…

Rating: 4/5

Stand-out Tracks: “Locomocion Capilar”, “Las Flores Con Limón“, “Poincaré“, “Los Tentáculos De La Libélula”

Until when,

The Enantiomorphic God

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“Xenophanes” – Omar Rodriguez-Lopez (Joint Review)

Omar Rodriguez-Lopez has released several albums in 2009, through both solo work and The Mars Volta. Xenophanes is a return to his “louder” work that was left behind with the release of The Mars Volta’s album Octahedron. It is also the first record where he has sung on many of the tracks, the record itself is sung in Mexican and it gives the album a very unique sound, compared to the somewhat generic music being released at the moment.

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"Xenophanes" - 'Omar A. Rodriguez-Lopez'

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His earlier solo work has been somewhat of a lottery, there have been some great albums but also some that were possibly too ambitious, Xenophanes is definitely one of his best works. His latest work Solar Gambling goes one step further and is, in my opinion, his best solo work to date (expect a review in the near future). This resurgence of seriously good and ground-breaking albums in the past few months has cemented in my mind that Omar Rodriguez-Lopez is the most innovative musician of the last ten years.

To Xenophanes itself, it’s edgy, groovy and leaves the listener wanting more. The drum tracks are especially notable, they give the tracks life beyond the guitar and help with the overall feel and balance of these tracks. The remarkable thing is that, compared to his guitar work on The Mars Volta, his playing seems more accurate and precise on Xenophanes, which gives the tracks and album a more focussed feeling and vibe.

Xenophanes is not an album of standout songs, it’s more of a standout album. While some may argue that there’s nothing on the record that catches their interest, you have to view this album as a whole and as a piece of music that is not trying to be a hit song, rather an album that is meant to take the listener on a journey through Omar Rodriguez-Lopez’s musical mind.

This is an album that will grab the attention of Mars Volta fans, as well as people that are looking for a type of music that is based around flow and feel more than expert songwriting, although it could be argued that writing music like that is a sign of brilliance in terms of songwriting.

As for a rating it’s an extremely solid album but I’m going to leave the supremely high rating for his latest work. Keeping that in mind, I think it deserves a extremely commendable 8/10. I really do urge people to grab this album, it will definitely not disappoint.

Standout Tracks: Azoemia, Desarraigo

Rating: 8/10

“The xx” – The xx (Joint Review)

To put it simply, The xx are an amazing band, they make beautiful and simple songs that have the innocence of Angus & Julia Stone, but with the backing of internet hype like that of Passion Pit. The Angus & Julia Stone comparison I pretty accurate in my opinion and although the two bands styles are different, they have the same innocent “vibe”.

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The xx - "The xx"

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2009 has witnessed a number of new and upcoming bands, The xx are one of, if not the best of this years crop of artists. Their rhythms and beats are hypnotic and almost draw you into the music, it’s something that few bands are able to achieve but The xx seem to achieve it without trying. What separates them from a lot of bands is their two singers who are extremely suited to each other’s voice. Without being over the top they sing with a nimble quality and sing what is required for the song to become something they intend it to be.

The album has no real bad songs and is pretty consistent, but if I had to pinpoint one standout song, it would have to be ‘Crystalised’. It’s simplicity is it’s strength and I found it to be extremely catchy, a sure bet for one of my favourite tracks for the year of 2009.

It’s a very weird album to listen to, because a lot of the time you don’t know whether you should be dancing or not. What this creates though is a intrigue in the album and I for one found it to be far more interesting and captivating for it. It’s different to a lot of albums in that way, while other bands are trying to master a popular genre, these guys (and girl) are trying to write music that suits their presumed personalities.

The xx have made an album that has a maturity to the song-writing that is rare in a band that is so early into their career. Their album is one of the best debuts of the decade let alone the year and I really look forward to hearing what the band release next in their career, that has no end in sight.

In terms of a rating, I am going to give it a 9/10. It’s almost to the standard of the very best modern albums and is sure to spark something on the music scene, if it already hasn’t. Go out and buy this album especially if you’re a fan of electronic music, as it may just open your eyes to another aspect of the genre.

Standout Tracks: Crystalised, VCR

Rating: 9/10

“The Phenomenal Handclap Band” – ‘The Phenomenal Handclap Band’

I must admit, it has been a long while since any of my reviews featured on Highly Evolved at all during these past few months. In all honesty, although the blog perseveres on without us, I feel that the initial spark it began with and the unnatural fervour with which we approached it, may be lost in the following months – and years, perhaps [we hope] – to come. Highly Evolved began as one of my best friend’s ideas back on MySpace; mind you, without much publicity, feedback or acknowledgement. And as a result: he moved out here to WordPress, where we have been assured now – at least – that a hundred eyes read our work daily.

For better or worse, we’re now left with the aftermath of the fruits of our labour. All in all, I think it’s been worth it. And my partner would admit that despite the finish of High School life, the time that’s been left on our hands will be put to musical use one way or another; blog or otherwise. We’re in that never ending spiral called adulthood, we’re stuck trying to find something in this near-hell limbo-space between High-School-closure and University/TAFE-invite. And during these weeks, or months [for time remains elusive] I’ve tried to get back in that same head space I was when I began – joyfully looking for albums and artists that deserved some recognition with an open mind and willing ears. My fingers have been eager to tap out some constructive criticism, and although my search for albums has been full of many uneventful tracks, ordinary lyrics, and only mildly tasteful bands, ‘The Phenomenal Handclap Band’ are a group which I’ve been trying to get my hands [no pun intended] on since their release early-to-mid this year. So, without a second more of your time well-spent, wasted:

"The Phenomenal Handclap Band" - 'The Phenomenal Handclap Band'

This self-titled debut brings together luminaries from the growing New York, Brooklyn scene quickly taking shape over in the good-ol’ US-of-A. For those Highly Evolved regulars, you’ll remember a distinctive band called ‘The Bavarian Druglords’, which debuted earlier this year with their smash-hit “205″, hailing from Brooklyn also; among others. So, for review details on those legends, click [here]. Distracted much – for you see, my head is swimming in unnecessary details – I’ll dig a little deeper into ‘… Handclap Band’, and some member-specifics. Centering the band are ‘Daniel Collás’ – also known as ‘The Witch Doctor’ – and ‘Sean Marquand’ – also known as ‘The Medicine Man’ – the original conspirators for the‘… Handclap Band’, who :

“… after years of searching and contemplation, through live performance and the manipulation of recorded music, have finally succeeded in the personification of their holy vision…” – Last.fm Summary

Together with these visionaries, members: ‘Patrick Wood’, ‘Nicholas Movshon’, ‘Luke O’Malley’, ‘Laura Marin’, ‘Quinn Luke’ and ‘Joan Tick’, further aided by the talents of ‘Aurelio Valle‘, ‘Carol C’, ‘Jaleel Bunton’, ‘Bart Davenport’, ‘Jon Spencer‘, and ‘Lady Tigra’, among others. This carefully constructed ensemble of characters, further enhancing the distinct and memorable aspects of the ‘… Handclap Band’, define the lengths and effort that this band includes within their music, compounding its musical qualities into some wierd and wonderful celestial being. Perhaps I’m a little over-exuberant, but it’s like reading a list full of potential crusaders who march under the banner of the almighty and omnipotent Handclap.

At around ninety-minutes in total length, “… Handclap Band” is more like a full-length feature film than an actual album, with tracks averaging out at around the six-to-seven-minute mark, with nothing under five. In this respect, some listeners might find that tracks become mired in overly drawn solos and repetitive choruses, but I was surprised to find that these tracks manage to shake it up enough to keep things interesting. Tracks are fresh, no-one is ever truly alike; all in all, the album shifts between the elements of psychedelica, electronica, rock and I can’t believe I’m writing this, but for some unknown reason, some aspects of “… Handclap Band” are nostalgically disco. I know, I know, what on Earth am I saying?

It’s the truth, I can’t help but feel drawn to this misunderstood genre, still lost somewhere in the underworld. Although occasionally withdrawn, its presence lingers in and out of the shadows. So, if this is a put-off, all I can suggest is: BE PATIENT. There’s enough psychedelica, rock, and electronica to keep that elephant in the room subdued with cattle prods and the likes. By all means:

“DON’T PANIC”

“The Phenomenal Handclap Band” truly exploit each and every aspect of musical composition, instrumentation and vocalisation, to the degree where individual instrument recognition becomes easily blurred in a myriad of bluesy, often jazzy, layers of brass, percussion, or otherwise. Conversely, there can be just as much use of electronic apparatus as there can be acoustic, either solely, or a mixture.  Of course, featuring predominantly in “… Handclap Band” are the consistencies we would expect from any emerging group present in the Naughties: electric guitar, or guitar instrumentation of some kind, and vocal/lyrical tandem. In this regard, you might already know what to expect from ‘… Handclap Band’, but I’ll dash those theories from your mind by saying that vocalisation of any chorus and affiliate lyrics are comfortably shared between multiple singers, with varying degrees of intimacy, strength, appeal, and listener satisfaction. So, expect both male and female vocals, from at least five or more different vocalists.

Although length-wise, I’ve only skimmed the surface of “… Handclap Band’s” tracks, it’s extraordinarily difficult to set some sort of summary-statement that represents them in some overall way. Suffice to say, I will go into a somewhat in-depth discussion on a small handful, but on the whole, leave a majority up to the listener’s discretion.

“The Journey To Serra da Estrel” is the opening legacy for “The Phenomenal Handclap Band”, and overall, it’s some instrumental-stimulus lacking lyrics, vocalisation, and chorus. Nearly eight-minutes of mind-bending material, you’ll find a mixture of typical electronica synth, elec. guitar, acou. percussion, and wavy, ambient-like layers as a wind blows in between the silence. Overall, it’s an interesting introduction to the album. It’s much like the warm-up an orchestra might utilise before the main feature, although this one is much more coordinated than simple tune-checking. Unlike a majority of the album, which predominantly contains lyrics and vocalisation of some kind, “The Journey To Serra da Estrel” is an odd-ball I can’t quite place my finger on. Not to say that I dislike this odd-ball, it is exceptionally strung – in album-context, it becomes fully appreciated: separately, it’s completely useless to interpret. So, accept that this eight-minute journey puts you on the multi-coloured-brick-road, rather, than thrusting you into a time-warping rollercoaster of unexpected bliss.

Following, and onto one of my personal favourites for the album, “All Of The Above”, which really contextualise the opener; here, we have reminiscent composition, backing guitar and percussion, and the all-powerful helicopter-synth – less emphatic, less beat orientated, more like eighties keyboard or disco lead. Complementing top-hat and percussion, together with lead-stealing elec. guitar helps drive the song into its chorus at 1:20, with the very disco-esque vocalisation and lyrics:

“You’ve been through a lot these days, I can tell by the look in your eyes…*”

[Oh, the irony!]

If at all, you’ll remember the sensual, thought-provocative promiscuity of:

“… A… B… C… D…”

Flitting between the stereo channels, left and right; just when you thought the first four letters of the alphabet couldn’t get any sexier – think again! Sesame Street, eat your heart out.

I’ll jump straight to the middle of this delectable album, because I bet all those Australian readers have been wondering who does the backing-track to that lingerie add for Target* [or was it Bonds*?]. Yes, the one with the girls in roller blades and bikinis. No, I’m not the only one who remembers that random, obscure advertisement. I’m sure the lyrics:

“five, ten, to fifteen, twenty, twenty-five, thirty, thirty-five, forty…”

Will spark that memory of yours? Together with an emphatic beat, this has to be the least ‘… Handclap Band’ orientated track to date. Out of album context, this track is definitely – if not already – mainstream making, and as a result, I would have never guessed it to belong to such a band with such a unique and definitive style. Nevertheless, here it is; the world is now smaller as a result.

“The Martyr” is probably the most nostalgic track that ‘The Phenomenal Handclap Band’ can deliver, and that’s because it brings with it the uncanny use of keyboard synth, high-pitched vocals, and laid-back elec. guitar. Somewhat lyric-orientated, despite some crazy – somewhat psychedelic – solos, it’s a fine track nonetheless.

Just like my review, the album’s lengthy – so it deserves a few playthroughs before any final, hasty judgements: it’s not something that will blow you away completely, but you’ll thoroughly enjoy “The Phenomenal Handclap Band” if you put your hands together long enough [pun intended]. It’s a fantastic album for my return to music reviewing on Highly Evolved, and although our Joint Reviews seem to be in a bit of jeopardy, I’m sure this will kick-start some action back into the blog. Just the same, some killer-potential happening here. I know it was a while back, and I apologise for reviewing it so late in the year.

Rating: 4/5

Stand-out Tracks: “The Journey To Serra da Estrel”, “All Of The Above”, “15 to 20″, “The Martyr”, “Baby”

Until when,

The Enantiomorphic God