Wednesday, January 28, 2009

Lists are for chowderheads, totalitarianists of taste & LOVERS

The BEST RECORDS OF 2009 + 27 Days, Twenty Hours and Six Minutes (Or Any Other Time)

1. Flying Canyon - Flying Canyon (Soft Abuse, 2006)

A good friend of mine recently showed me a film called Off The Charts: The Song-Poem Story (2003), that completely charmed the pants off me. Turns out Flying Canyon's Cayce Lindner was an associate producer on the project. Apparently he was also involved with a film called Welcome to Nollywood (2007), about the Nigerian film scene. So, aside from leaving an incredible start of a recording career, he forfeited what looked like an intriguing beginning in film making. The Soft Abuse site has an informative and enlightening account of the man's life by Flying Canyon member Glenn Donaldson*. It seems to me he was an extraordinary guy, and I hope somebody re-releases some Golden Hotel (Lindner's old band with his brother). Flying Canyon is a space I don't much like to leave once I've entered. It's sad music, but it's fine. It's eloquently cinematic in atmosphere -- spacey as hell, but the unusual sharpness of Lindner's rough hewn, burnout intonations cut across true and open a nerve.Dammit, Cayce! You helped to make an album that truly sticks - and from the looks of it you were just getting started.

Soft Abuse says "Eagles on Robotusin". Shit. To be sick with a bad cold on the couch without being able to change off the Eagles was always one of my worst fears. But I buy it in a way. The songs on here are groggy desert vista ballads, but there's real wind in Lindner's sails, whereas The Don... well, I can't help but feel he's just lying on the bun. It's ironic in an infuriating way that Henley is still around and a uniquely soulful/talented Lindner was lost and way too early. I'll never hear "Down at The Sunset Grill" the same way again.

This is an album for 2009. For hindsight vs. don't look back knock down drag-out dog gone fights. For reflection, for today's reflection. For the moment's regret. For nodding in ascension, and "smiling as we all go down to summer."

2. Brightblack - Ala.Cali.Tucky (Galaxia, 2005)

These are not in any order. It's all slipshod. This is actually the intro to the whole list. Then I'll try to talk about another one of my favorite ultra-slow, dusty reverie rock albums ever. It's more one of my favorite albums ever.

So my Best of 2008 list** felt hollow. I rushed around the internet to see what I missed so I could put it off as much as possible. In the end, while I made some keen discoveries, I kept clambering for stuff like the albums on this list. I loved Mountain Battles. I saw The Breeders in Northampton, MA and they were great! But I knew it was on there just cause I'm partial to all things Kim Deal - not because their new album was great in the grand scheme of '08. I don't like how year-end lists force trendiness onto everything. I need very little perspective to appreciate a great record. And whether the sound on display is "in" or "out" is completely irrelevant for me. In other words, I have no business pretending to be serious music critic. Thank god! That business sounds impossibly depressing and boring.

Now about Brightblack. They go under Brightblack Morning Light now and evidently they are nomadic hippies who record with the use of solar panels. The two albums they released under the new name are pleasant enough, but they seem to have lost the qualities that made ACT such a start-to-finish dust bunny of perfection. It reminds me the quieter parts of My Own Private Idaho, especially when River Phoenix is wandering about on a desolate stretch of desert road, making it look like a "fucked-up face" when viewing it through his fingers. They've never been song-writers, but they've got a feel that's so precise as to make you feel as though time is stopped completely. The newer stuff is more spacey and silky, but they've yet to beat the call and response grandeur of "hold me... gently... golden waters" on "Wildshiney Stars" or the impossible stillness of closer "Ocean Blue". I have to say, it seems like they had more concrete musical ideas on their debut. The other two, while pretty recommendable, tend to sound like comparatively rudimentary drone country-soul nods. Sometimes first stab is the best one. This album's slow as molasses, yet traditional atmosphere suits me perfectly.

3. Pink Reason - Cleaning The Mirror (Siltbreeze, 2007)

Pink Reason were recommended to me through an acquaintance which led me to the great label: Siltbreeze. I'd certainly heard of Dead C, but I didn't know about their label. It has a character enriched, sometimes pugilistic, opinionated with a (well) wrought iron glove where I was led to other awesome bands like Sic Alps, Blank Dogs or Fabulous Diamonds . Alright -- I gotta admit Fabulous Diamonds aren't what they're cracked up to be. Not bad, but nothing too special either. Jury's still out on U.S. Girls...

But it's certain enough to me that Pink Reason's Cleaning The Mirror is a masterful work of art. It sounds better and bigger than solo Lanegan but taps into the same drug addled frustration and ballsy dirge entrancement. It's more in line with Swans, maybe, as far as sheer immensity. This guy's got a voice that's cutting and earnest, and he doesn't tax the mix unnecessarily with it, allowing his lines to linger exquisitely on the brain like so many grayed-out bonedust clouds. The atmosphere is one of terrible intimacy, as you get the keen sense that it's hiding blades in it's ratty cloaks. Impossible to pick a favorite here. This is one of those albums that strives for compositional stridency and brevity - for presentation - and is an entrancing and timeless feeling work as a result. I suppose if I had to pick a favorite it would be "Thrush". One owes it to themselves to listen to this song on headphones -- that velvety rich background noise! Intensely looking forward to Pink Reason's next release. On the strength of his last single, I'm sure there's more greatness to come. But there's so much in this album that if he never made another, he'd still have accomplished considerably more than most.

4. Glifted - Under and In
(Martians Go Home, 2002)

Like the dance music idea of "Soon" crossed with the densely processed, ginormous riffs of Hum with a touch of All Natural Lemon and Lime Flavors disorientation. There's your hybrid review bite. While this album touches on these things and more, it's not important really. What's crucial when approaching Under and In is that you go swimming. I know it sometimes takes some encouragement, so there you go. Dive in.

Under And In is simply psychedelic music evolved, like early Stereolab or The Sea and Cake, something for heads or people who just want to feel out of body. It's bracing and maddening and cacophonous as sixty hundred people skating and howling inside grand central, but hypnotic for all that too. It's unfairly maligned by the few Hum fans that've heard it. I do like Hum, but not as much as Glifted, who put out an industrial dance album as unique as you're ever likely to find. Do the "I'm running for my life from that earthquake avalanche back yonder"dance with your friends at your next party. Get Shakey, get spattered, get sent -- get Under and In and begin.

4.555555. GoGoGo Airheart - Love My Life, Hate My Friends (GSL, 2003)

Tempting to include the self-titled LP with "Golden Sundays" on it or Exitheuxa, but this one's definitely the most compelling record yet, all tracks accounted for. This the only dance punk band I need. I think the early Rapture stuff is great, but NOTHING they've done can touch the best of GGG Airheart's material. And much of it is on this album, which plays out like a dub fire drill mceed by a slurring, shrill shizophrenic waif. It's a carreening, chaotic mess that has a junky lo-fi new wave brilliance that's hookier and harder to predict than Times New Viking. There's a lot of other bands you could mention listening to this stuff (Japanther's Dump The Body in Rikki Lake, Suicide, Six Finger Satellite and Throbbing Gristle come to mind) yet it takes no time for it to settle in that they've got their own thing going with punk. Sometimes when there's a punk aesthetic, a clan develops around it. It's too bad really. Leaves no room for creativity -- which makes albums that last and not just bands that age. GoGoGo Airheart is to be commended for making an album as unusual as this one so consistently riveting. I can put this on whenever and it just cuts right to the quick. It's drearily groovy, mysterious and dangerous. The title could be a trashy but offbeat spy novel. A trip every time.

5. Mazzy Star - Among My Swan (Capitol, 1996)

Wanted to include Hope Sandoval on here in some fashion, but I'm stuck on which album is her best. I know a lot of people probably shrug off relegate this artist to the nineties and don't recall much besides "Fade Into You". And, though there's no shortage of crap featured on the show, I'm sure few were as moved as I when the last song on this album was used in the ending credits to a Sopranos episode. I'm sure some would find this music dull. Personally, I think its indelible. Nobody sings like her and nobody does sleepy psych-country better. This album is not better than the preceeding two or Hope Sandoval and The Warm Inventions, yet it stands out to me. It's got a warm sort of simplicity that feels timeless, like its something that should be on a jukebox in a lonely bar. I'd be loathe to tamper with the oldies already on it, but Trees Lounge is sorta what I had in mind. These are some tender navy blue ballads that, while they aren't particularly revelatory, slip on you like an worn old jacket. I'll always reach for this one as a start to finish soul-soothing wonder. Especially "Roseblood" - an exemplary exercise in crestfalling if there ever was one!

6. Polmo Polpo - Like Hearts Swelling (Constellation, 2003)

You know that trick where you can sync up Pink Floyd's "Echoes" with the Jupiter and Beyond The Infinite section of 2001? Well, the opening of the film matches pretty nicely with the impossibly vast lead-in from this album; "Romeo Heart". But this is an album that needs no visual aids. It soars and of its own maginificent accord and leaves little to no room for landing. This is a miraculous album, masterfully crafted by one Sandro Perri and it deserves to have a place in the pantheon of classic works. It's got that shivery sort of bracingness that only comes once in a great while. It's got pop, ambient and folk (something Perri later moved on to more fully embrace, whilst dropping the project title) touches, but really isn't like anything else I've ever heard. It's mesmerizing and massive and timeless. It's pleasant to the ear, while still having a lot of depth and imagination. It's like a warm overwhelm, borne on sea and sky and soul and all things unimaginable. It's a wonderful experience in instrumental grandeur and imagination that is at turns life-affirming and uncertain. It actually ends on this uncertain note with the softly droning title track, so I will too.

7. Bonnie "Prince" Billy - Master and Everyone (Drag City, 2003)

This guy is so ubiquitous and I love it. From John Sayles to Kanye West, Will OIdham seems to be the go-to guy. He's got a great sense of humor, despite the fact that his recordings are somber and melancholic, and none are quite as melancholic as this album. Despite the wondrous achievement that is I See A Darkness, this is the one I always come back to. Like the next entry on this list, its something of an anomaly for the artist. There's consistently sparse instrumentation - mostly just acoustic guitar, Oldham and the backing vocals of Marty Slayton. Chilling as the intimacy can be, considering the forlorn quality of the lyrics, this album is a very still and soothing listen. My favorite moment occurs with the ambient noise and wordless cooing that follows the first chorus of "Wolf Among Wolves". This is also easily my favorite song, but they're all superb. This is a modern folk masterpiece that easily trumps the striking, yet uneven BPB albums that have since followed (his 2005 collaboration with Matt Sweeney, Superwolf, being an exception). The songs have a grounded feel, even if the mood is occasionally ethereal and lulling. I can't think of a more succinct, pleasing little record 'cept this one:

8. Bob Dylan - Nashville Skyline (Columbia, 1969)

Ah! What a fool I was to loathe Dylan all those years! Although I'm not 100% sold on everything the man puts out, and I still think the fictional films about him are ridiculous. In my mind, the best non-doc filmic incarnation of Dylan is him reading off the canned vegetables at James Coburn's demand in Pat Garret and Billy The Kid. But I can find no fault in this gem of a record, graced with an uncharacteristically playful Dylan grinning down at us. This ramshackle affair (love that bit where Dylan starts to say "remember me" and Cash cuts him off with "please say hello") is fun and delicious and goes by way too fast. It's country enough, but mostly I just think of it as album of transcendent good humors and irresistibly infectious love songs. Closer "Tonight I'll Be Staying Here With You" is a good example of both and is likely one of my favorite songs of all time. It's interesting that his riskiest moves behind him, this is innocuous affair is his most startlingly wtf work. The only other album where he croons like this (sounds pretty good to me, nasally as it is) is Self-Portrait, and that one's even more cobbled sounding. I gotta say I really like it, and if you can find 'em - his outtakes with Johnny Cash are equally charming. "Love is all there is, it makes the world go round. Love and only love, it can't be denied. No matter what you think about it, you just won't do without it. Take a tip from one who's tried." I gotta say, these are some of the most profound, affecting lyrics I've heard from Dylan. I know that's blasphemy to some, but somehow the context of the lines makes them trump anything that Lennon's ever sung in that vein.

9. Ornette Coleman - Science Fiction (Columbia, 1972)

Charlie Haden! Is there a better jazz bassist out there? I think not. But then, I'm something of a tourist anyway. The number jazz artists I could name you probably wouldn't go much beyond twenty. All I know is when I hear Haden rocking it in that rubbery, rushing fashion of his, I get nothing but chills. The guy is pure magic and this album is the best work I've heard by Coleman or Haden or Don Cherry for that matter. It's got a ferocious, swarming free-form pace that is relentless yet imminently listenable. Like Lightning Bolt at times, it makes you want shout and undulate wildly. It's visceral and unpredictable and should be mandatory listening to anyone whose ever poo-pooed free jazz. Two of the three vocal tracks (sung by Asha Puthli) smooth out this chaos, while simultaneously deepening its impact. The other vocal track, which features heavily reverbed spoken word from David Henderson, has the opposite effect - giving the impression of trying to pray in the center of a tornado. The furious violin trilling and wah-wah bass on "Rock The Clock" has got to be one of the most gnarly, propulsive jazz-funk moments in music history. This is one hell of an album - ferociously soulful and limber as a pack of spiders. Undeniably classic and far-reaching jazz and undeniably rewarding for those, like me, that love to tread on the outer reaches of the genre.

10. Panda Bear - Person Pitch (Paw Tracks, 2007)

This album. Whoo-boy. I can't convey just how much I love this album. I want to live inside it desperately. It takes my breath away every time I listen to it. It even threatens to overshadow my beloved Animal Collective, whose Sung Tongs should most definitely be on this list. But it won't be because, as lists are arbitrary and this one is arguably one of the most arbitrary out there. This album is tightness itself. I wouldn't change a damned thing. I only hope there's more to come and that it can manage to at least match the greatness on display here. Panda Bear's blissful melodic sense makes me feel like I've died and gone to heaven. I've never heard a Beach Boys song that has ever made me feel like this. It's a heavenly cacophony that makes me want to cut my own heart out and eat it back in. It's hopeless to pick a favorite. "Comfy in Nautica" is my least favorite, but it's still great. It's like the album opening up shop and announcing its wares. "Ponytail" is the perfect closer. "Search For Delicious" is like a melding of The Disintegration Loops and the music of Tim Hecker with a touch of Animal Collective. Both "Bros" and "Carrots/Good Girl" are possibly the greatest long-form pop songs ever conceived. This record is untouchably brilliant and inviting and I'm positive that it will endure for a long, long time to come.

11. Can - Future Days (United Artists, 1974)

How I long to own this record. There's a repro on Amazon for $34.95, but I can't say that's jibing with Damo's insistence on the title track that I 'save my money for a rainy day'. While the cover doesn't thrill me, the four tracks contained therein are pure, uncut magic. It's trancey and delicate and organic and never fails to suck me in. Now, I must admit that there are times when I've found Damo Suzuki to be a little annoying. On the other hand, there's times when I've found him to be a vital presense. On Future Days he's never annoying but he lets himself fade into the free-floating mists of the record until "Moonshake" wherein he charms us with a funky little vocal ("whoah-whoah-whoah"). My annoyance with Damo has always been tempered with the epiphany that Can just wouldn't be Can without him. They have an alchemy that is purely their own, and if it is upset by occasional indulgence that lead singers can sometimes bring - it's likely there for good reason. I mentioned that the record has an organic sound, well that's in no small part due to Damo Suzuki's imperfect singing voice. A breezy psych record that intrigues as it entrances, Future Days is one of the great ones.

11.5999999. The Drones - The Miller's Daughter, Wait Long Enough By This River And The Bodies of Your Enemies Will Float By, Spaceland Presents: The Drones (live), Gala Mill, Havilah (2005 - 2008)

This Australian band is as bleak and black as pitch with a riotous, yet crisp hard rock punishment that I am an unwavering glutton for. From The Millers Daughter to Havilah, this band has scorched our new milennium and received rave reviews and rapturous reactions despite the fact that they make some of the most dreadful racket around. They're strictly rock though - no Goslings-type skree here. They're sorta like GnR if they decided to stop having fun. It's deadly serious and undeniably quality. Having seen them live three times I can safely say they are the saviors and redeemers of hard rock music. It is quite fun in a crash-a-bash climactic sense. At times it's mournful and at times angry but, thanks to Gareth Liddiard's choked and strained vocals its always raw as shredded iron. But it's so meteorically infectious! They have some of the sweetest, most unassailable hooks I've heard album "Six Ways To Sunday", "Millers Daughter" after album "Shark Fin Blues" , "Sitting on The Edge of the Bed Crying" after album "Dog Eared" , "I'm Here Now" after album "Nail it Down" , "I Am The Supercargo." And each album is a swamp of sullen majesty unto itself, with little respite (Gala Mill's Karen Dalton cover "Are You Leaving For The Country" and Havilah's "You're Acting Like It's The End of The World"). They tend to have a formula of dirges punctuated by jaunty rockers, but within that formula is a keen musicianship and innate poetic narrative sense that is tough to beat. I look forward to further absorbing all that they've given and will go on to give and hope to see them play again (perhaps with a more receptive audience - been some mixed reactions as two times I saw them they were opening for vastly different bands and at ATP 2008 the crowd streamed away like an open wound).

11.599999999. Beach House - Beach House (Carpark, 2006)

This album had me at hello. But not in a schmaltzy, stammering, unhingedly sensual Tom Cruise sense. This album is in a world of its own and managed to make me rediscover my love for plunky drum machine beats and maudlin tones. Perhaps its a bit regressive, but the melancholy of this album just channels that adolescent mopeyness that's probably better off left behind. Not that I'm gonna go digging out my Nine Inch Nails CDs or anything (Deerhunter has artfully reclaimed that spot). But this is unabashedly forlorn chamber pop for those of us that refuse to grow up despite ourselves and are unwilling to reconcile with the contradiction. Like Pink Reason, it's unapologetically, viscerally dreary. But it's a different confection. Bitter, but in a day-glo marzipan in a glinting golden dish fashion rather than Debroux's boiling puddles of rust. Victoria Legrand sings rich and seductive while Alex Scally butters you up with his massive, billowing slide guitar runs -- but the rest is somewhat sour and aloof. It's exactly the sort polarizing record that a reverb addict like myself would (and will) defend to the death. Last year's follow-up Devotion showed us a duo very comfortable in its soundtracks (resolute, but sore Leigh intersecting with eloquently garish Araki). Beach House is a band that, dig their vibe or not, has their very own world working for them. Songs like "Auburn and Ivory" and "Master of None" just sound so perfect and ready-made - like they were uniquely destined to happen in music. None of the comparisons I've read really hold any water. It's only like Mazzy Star in the most superficial of senses. This is the sound of a masterfully carved aesthetic - that continuously stirs the imagination as much as it lugubriously presses it's spooky drone-pop grace upon you.

11.599999999999. Sam Prekop - Sam Prekop (Thrill Jockey, 1999)

So Chavez - Ride The Fader should be on here some where. Zen Arcade. Leaves Turn Inside You. Soundtracks for the Blind Selenography. Landscape of Bone. Loveless is obvious but so what. It's nothing if not the sheer drop sexiest snow beast in all of rock and roll. Isn't Anything ain't too shabby eitherThen there's lots more jazz corkers like Izipho Zam. Standards. A Love Supreme. Dark Magus, In A Silent Way, really any '69-'75 Miles is hard to beat. Plastic Ono Band, You Are Free, Phaedra, Daydream Nation, Geogaddi...

The Sea and Cake's first four albums (especially Nassau) continue to entice as does singer Sam Prekop's debut solo effort. Since its come out, I don't think there's an album I've managed to get more folks into. There's something about it as a relaxing small-group party record, as an intoxicatingly evocative and meditative record and as a subtly tweaked experimental record that amounts to that record you always want handy (even if I don't have the record itself - YET). The closer is easily one of the best songs ever - thankfully the placid interlude "A Cloud To The Back" was used for a commercial (Tylenol or something)) and not "So Shy". It's one that should get used in the right way, if at all. This album is also awesome for leisure driving when the weather is finer. The impeccably assembled, orchestrated and performed musicianship on this record is just so on point-stately as to seduce the unsuspecting listener into sweet submission at first glimpsing.

12. Ghost Piss - Reggie Break Me Arm (Total Devices, 1994)

I can't believe i'm not including all the awesome Kinks albums. Lola vs. The Powerman, Muswell Hillbillies, Face To Face, Village Green. Perhaps a future article. Black Sabbath, Master of Reality. Houses of the Holy. Peng! -- I Can Hear The Heart Beating As One! Then there's new-found loves, like well, just about everything Grouper has put out, but especially Way Their Crept (show me a more miraculously apt title). Blues Control and The Caretaker's Persistent Repetition of Phrases album are rapidly becoming new favorites. Then there's more Panda Bear related fare like Spirit They've Gone, Spirit They've Vanished and Campfire Songs. Colleen's The Golden Morning Breaks. That awesome Grant Gee doc on Joy Division (kinda redeems so-so fictional efforts Closer and 24 Hour Party People) got me all pumped again about Closer and Unknown Pleasures - but mostly Closer thanks to brilliant application of one of my absolute favorite songs "The Eternal." That and it's just when Joy Division was hitting their stride/peak. It's a purely goring affair. It guts you and you relish it. Let's see.. then we've got Faust IV. Don't have any rap on here. Fear of A Black Planet is an obvious but essential one to mention. Dr. Octagynecologist. The Score. Illmatic. Paid In Full. The Cold Vein But you know what, much as I've listened to these albums in the past, I don't reach for them all that much these days. Then again, that live Roots album feels pretty timeless. I have a funk addiction sickness, so if it's Low End Theory or The Chronic, I'm always down. It seems that Sharon Jones and Her Dap Kings can do no wrong -- for into every record they put out (that's Dap Dippin', Naturally and 100 Days, 100 Nights without getting into the singles) is poured such above and beyond righteous soul power that one can only bust a move in reaction. Great soul music records never get old. Gotta get a vinyl copy of What's Goin On. Shake! Superfly is nothing to sneeze at. Guess I've left out some of the old psych chestnuts to some degree as well -- though when it comes to the more impeccable albums, psych is usually just an element rather than a categorization. Gotta say Meddle is one that never gets old. I recently found a raw, but playable copy of this and--

13. Neil Young - Everybody Knows This is Nowhere (Reprise, 1969)

--in the eye-stingin liter box storage cave/exercise area of the basement in my parents house. I found a bunch of others (for some reason my parents have a lot of Poco records) but I don't know if Fleetwood Mac's Rumours and Aqualung are really gonna cut it for me. I also found All Things Must Pass, and though the boxed double-album is dapper, it could've been boiled down to eight to ten songs if you ask me. But this Neil Young record -- down to the pixelated mellow moments cover and the cute, intimate photos of Young and band mates inside -- is just a perfect listen even if it is a bit scratchy. It's one that start's strong (ooh-wee! that triumphant, shamelessly air-guitar inspiring "Cinnamon Girl" just sends me - and its got to have one of the coolest slight outros ever!) and doesn't falter once. I love the thudding guitar solos on "Down By The River," taking a song with a similar subject matter to "Hey Joe" but imbuing the progression with a feel that's degraded rather than badass by a murderous crime of passion. Young is a fascinating songwriter, capable of feeling more grounded than anyone slinging a reverb-soaked axe and moaning and yet more bewildered naked and lost. Like there's something learned there yet something that could fall apart at any moment. "Round and Round" is a great example of such an impression. It's both a reassurance and a staid expression of burnt out exhaustion. "Cowgirl In The Sand" is perhaps a lot more interesting in its sparser vox/acoustic guitar arrangement on Live At Massey Hall 1971 (released a couple years ago), but its still an amazing closer. More amazing still is it's predecessor, "Running Dry (Requiem For Rockets)," which works like a hymn to redemption despite the reality of ruin with it's battleground aftermath-tinged loping dirge progression. I used to hate this guy, merely focusing on his flaws. Now I see the flaw - that childlike wonder combined with grim resignation that informs his consistently informal delivery. Sometimes, growing up is finding out that your parents are more savvy than yourself. It's only a matter of time before I get hip to Rumours, right? Meh, not likely. Sounds like The Eagles, and I can't effin stand them no matter what kind of day I'm having. Brings about those wallpapery AM Gold-type vibes. But hell, I won't be getting rid of it. That is, unless you want it. As with all these basement records, it's not in the best shape. But I'd be willing to make a trade if you're down.



1. Portishead - Third
2. Toumani Diabate - The Mande Variations
3. Magnetic Fields - Distortion
4. Nick Cave and the Bad Seeds - Dig!!! Lazarus, Dig!!!
5. Beach House - Devotion
6. Grouper - Dragging a Dead Deer Up a Hill
7. Excepter - Debt Dept.
8. The Drones - Havilah
9. The Breeders - Mountain Battles
10. Christina Carter - Original Darkness
11. Kieran Hebden & Steve Reid - NYC
12. The Music Tapes - For Clouds and Tornadoes
13. The Walkmen - You & Me
14. Fleet Foxes - Fleet Foxes
15. Auburn Lull - Begin Civil Twilight
16. Deerhoof - Offend Maggie
17. Atlas Sound - Let The Blind...
18. The Black Twig Pickers - Hobo Handshake
19. Growing - All The Way
20. Shit & Shine - Cherry
21. Sic Alps - U.S. EZ
22. Fennesz - Black Sea
23. The Oh Sees - The Master's Bedroom...
24. Hush Arbors - Hush Arbors
25. Times New Viking - Rip It Off

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