YouTube Rodeo: A Weather's "Untitled"

We've been posting a lot of videos this week, haven't we? We're streaky like that. Here we have a new, unrecorded A Weather tune as performed during the waning days of the Portland, 0re.-based slowcore outfit's recent tour supporting its sophomore set Everyday Balloons. The song was one of many highlights of the band's intimate set at P.A.'s Lounge in Somerville, MA last month. The performance above is from A Weather's April 28 show at Off Broadway in St. Louis, and the song gets a little lost among the crowd noise of the larger venue. But we can assure you the performance at P.A.'s was riveting [review here], although we were completely unfamiliar with the track when we heard it. We got in touch with singer and guitarist Aaron Gerber a few days after the P.A.'s show, and he told us the band has been working on the track for a few months, and also that he wrote the song around the time of the recording sessions for Everyday Balloons, but it wasn't ready in time for those sessions. So for the time being, this video is the only way you can hear this beautiful, affecting new song. Team Love released Everyday Balloons March 2; we reviewed it here. Readers will recall we published an interview with Mr. Gerber here last month just prior to the show in Somerville.

That Was The Show That Was: A Weather at P.A.'s Lounge

It's rare that we see an act struggle with deficient live sound because it is too quiet. But despite a rough start mapping the shortcomings of the house sound system, A Weather's show at P.A.'s Lounge last night was uplifting, mesmerizing and poignant all at once. The Portland, Ore.-based quintet was touring as a trio using freshly hatched live arrangements situated around guitarist Aaron Gerber and drummer Sarah Winchester's murmured harmonies and Mr. Gerber's finger-picked guitar arpeggiation. Its hour-long set passed without any sense that the band was lacking component parts. If anything, playing as a lean, taut three-piece reigned in the relatively lush arrangements from A Weather's excellent, recently released sophomore record such that the songs were more in line with the sparse, haunting music from its 2008 debut Cove. The new collection Everyday Balloons was released by Team Love March 2 [review here].

The set largely drew from Everyday Balloons, and opened with the song "Giant Stairs." Highlights included the stunning closer "Lay Me Down," which dramatically heaved and sighed as the song collected and dispelled tension. The re-arranged "Midday Moon" was absolutely spine-tingling. The performance featured Ms. Winchester standing behind her spartan drum kit clutching her hands as if in prayer while Gerber and bassist Lou Thomas laced together accompaniment that on the record is solely piano. A Weather also played "Spiders, Snakes," the opening cut from Cove, the Codeine-esque "Seven Blankets" and "Happiness," among other tracks. One beautiful song caught our attention because it was unfamiliar with us, and featured a line something like "if this is going to make me stronger, I'd rather stay weak a little longer." We look forward to discovering what that is.

A Weather's tour continues through April 30; all of the remaining dates are posted below the interview with Gerber we posted here last week. A final word about the show: we think it is safe to say you know you have proverbially arrived in the Boston scene when scene-maker Billy Ruane interrupts your set to offer some comments and make an announcement. Welcome to the scene, A Weather. We very much look forward to seeing you again.

A Weather: Internerds | MySpace | YouTube | Flickr

Previous A Weather Coverage:
Today's Hotness: Calories, William, Lali Puna, A Weather
Be Prepared: A Weather | Everyday Balloons | 2 March
Clicky Clicky Music Blog's Top Albums 2000-2009
Clicky Clicky's Top Albums Of 2008
Review: A Weather | Cove [MP3]

Even When You're Bent Like A Swan: The A Weather Interview

Portland, Ore.-based A Weather are presently waist-deep into their second U.S. tour, which is supporting the release of the slow-core revivalists superlative sophomore set Everyday Balloons [review here]. Everyday Balloons seems mildly obsessed with sleep, and the narratives all seem as if they could have been written solely about what can be seen from a bed by a window. The new collection is lusher, denser and even relatively kaleidoscopic compared to the stunning, quieter debut album Cove, which we named one of the best of the last decade right here. A Weather plays P.A.'s Lounge this coming Monday, and so we thought we'd check in with fronter Aaron Gerber for insight into the new record and the band's prior experience touring. Mr. Gerber very graciously met our cascade of questions, and our exchange appears in lightly edited form below.

CC: You mentioned that growing up as a young person in Maine you'd travel down to Boston for rock shows. What was the first show you saw here? See any heroes?

AG: I believe the first show I saw in Boston was Ida and Low playing at the Middle East. I was probably 16 or so at the time and there was some difficulty in actually getting into the show as it was 18 and over. The owner drew huge x's on my hands with permanent marker and made me stand by the door the whole performance. After the show we took a big group picture with both the bands. Somewhere there still exists a black and white photo of myself as a 16 year old posing with the members of Low and Ida. Other memorable [shows] include: Sunny Day Real Estate, Arab Strap, Wheat and of course Bedhead.

CC: You must have been terribly excited to do those 2008 tour dates with The New Year after having been a fan of Bedhead. As I think that was the first A Weather tour, did you learn anything from the Kadanes about life on the road?

AG: Yeah, that was our first tour outside of the Northwest. We were so fortunate to be asked to join them. It was a little surreal at first. We quickly discovered that, aside from making really great music, they were also really great people. You're always hoping that your heros will be decent people and it makes everything that much nicer when they are. All of the guys in that band were unbelievably supportive of A Weather and actually seemed to be legitimately into our songs as well. I remember after one particularly difficult show we had in Arizona Matt Kadane gave Sarah and I an encouraging back stage pep talk. They all kind of took us under their collective wing. As you are probably aware, in one song off of Cove we mention Bedhead. On Everyday Balloons I managed to sneak "the new year" into a lyric. The Kadane brothers better start another band before we record our third album.

CC: Moreso than with Cove, we continue to grapple with what certain of the new songs are communicating. Compositionally and musically, Everyday Balloons is a little more accessible and less stylistically restricted than the quiet music of Cove. But lyrically things seem even more open to interpretation. When you were writing these songs, did you think you were taking a new or different approach to the lyrics than you had previously?

AG: As a songwriter I'm never quite sure what will stick and what will sort of slide down the wall. One of the more interesting aspects of reading reviews of the record is seeing how listeners interpret the lyrics and attempt to summarize a given song. A lot of people think I'm writing exclusively relationship or break-up songs, and though I can see why they might say that, I do think Everyday Balloons covers more diverse thematic ground. I don't intentionally try to obscure my lyrics; if they are perceived as cryptic it might be due to my disinterest in linear narrative and my inability to stay with one idea or theme for more than a few lines. My favorite writing always hints at rather than completely reveals. I find it more fun to leave some of the work to the listener to draw his or her own connections between images and statements. That said, I do strangely feel like Everyday Balloons is more coherent and planned in terms of themes and motifs than Cove was.

CC: So what about all the guitars on Everyday Balloons, anyway? Not that it is like a Metallica record, or anything (far from it!). But was there a specific revelation or occurrence that made you think, "this next record is going to have more guitars, it's going to be louder."

AG: I made the switch from electric to acoustic a couple years ago before our tour with The New Year. Since our other guitar player Aaron Krenkel wasn't able to accompany us on most of the trip, we adapted the arrangements to play as a three piece. It made sense to play an electric guitar if there was only to be one guitar in the band (a bit fuller sounding with more dynamic possibilities). I also never had a really good pick-up for the acoustic and it was always a pain to get it loud enough without feeding back. It just seemed easier to play through an amp and have more control of the sound. When we started working on the songs for Everyday Balloons it was a progression of how we'd been performing live for the past six months or so. A lot of the songs came out of that slightly dirty guitar tone (that spot between clean and distorted) where there is the potential to go both quiet and loud. I've always been a fan of melodic feedback and ebows too, so playing electric allowed me to indulge in those sounds and explore some new textures that aren't on Cove. But also a lot of the songs on Everyday Balloons are based around the piano, too.

CC: So what is the touring line-up for A Weather this go-around? Will Mr. Krenkel be making all the dates?

AG: Unfortunately not. Aaron K. has some real life commitments to attend to, namely a new baby. It will just be Sarah, Lou and I again on this tour.

CC: What was the process like writing arrangements for this tour? Was it frustrating to have less at your disposal, or perhaps liberating because of the opportunities few moving parts may present? Were there some things that you tried to make work that just wouldn't?

AG: It has been fun to reinterpret these songs for a more minimal set up. The songs on Everyday Balloons have more layers to them than then ones on Cove, so it's been interesting to strip away the layers and see how little we can get away with while still maintaining the essence of the songs. At some points I'm trying to approximate the parts of two guitars with one and that has been challenging, trying to play both the chords and the melody simultaneously, but at other points you just have to embrace the limitations, go with the sparseness and not worry about trying to fill in all the negative space. Often the negative space is pretty useful as a gradation of the dynamics.

CC: What can we expect to hear in your live set? Will you will be doing material from Cove as well as Everyday Balloons? Are you hauling around a piano so Sarah can do "Midday Moon?"

AG: We are playing mostly songs from Everyday Balloons, but maybe one or two from Cove. No piano and not even bringing the Rhodes this time around. It's just electric guitar, bass and drums. It's funny you mention "Midday Moon," as earlier today we worked out an arrangement for guitar and bass. Though it would be cool to ride into a city with an upright piano strapped to the roof of our mini-van we decided to travel light this tour. A toy piano will make some appearances as well.

A Weather play P.A.'s Lounge in Somerville, Mass. Monday April 19; they are joined by Drew O'Doherty, The Acre and Bell And The Bees. All remaining tour dates are listed below.

A Weather -- "Giant Stairs" -- Everyday Balloons
A Weather -- "Third Of Life" -- Everyday Balloons
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[buy Everyday Balloons from Team Love right here]

04.15 -- Vaudeville Mews -- Des Moines, IA
04.16 -- 400 Bar -- Minneapolis, MN
04.19 -- P.A.'s Lounge -- Somerville, MA
04.20 -- Apohadion -- Portland, ME
04.21 -- The Lamb Abbey -- Montpelier, VT
04.22 -- AS220 -- Providence, RI
04.23 -- Union Hall -- Brooklyn, NY
04.25 -- Galaxy Hut -- Washington DC
04.26 -- Joe Squared -- Baltimore, MD
04.28 -- Off Broadway -- St. Louis, MO
04.29 -- The Czar Bar -- Kansas City, MO
04.30 -- Jackpot -- Lawrence, KS

A Weather: Internerds | MySpace | YouTube | Flickr

Previous A Weather Coverage:
Today's Hotness: Calories, William, Lali Puna, A Weather
Be Prepared: A Weather | Everyday Balloons | 2 March
Clicky Clicky Music Blog's Top Albums 2000-2009
Clicky Clicky's Top Albums Of 2008
Review: A Weather | Cove [MP3]

Review: A Weather | Everyday Balloons [MP3s]

Perhaps the greatest challenge for thoughtful songwriters is to write compelling songs about relationships that don't bluntly reiterate the trite tropes of unrequited love, failed love or the teen ideal of infinite love. Yes, we know your baby done you wrong, up and left you, and/or won't text you back. But what about songs that address living in love, what people in relationships do to fill their days, ward off the doubt? Some songwriters can do it well, once in a while. Only the best songwriters can do it consistently and make those efforts sound effortless. Slow-core upstarts A Weather, led by singer and guitarist Aaron Gerber, did it across its entire 2008 debut record Cove. The set, which we named one of the best of the last decade here, is a quiet, beautiful and intense recitation of sweetly whispered secrets.

The Portland, Ore.-based quintet return this month with the charming Everyday Balloons. In contrast to its debut, the music on the new collection is relatively (relatively) cacaphonous. Gerber and his cohort -- while still nodding in the sonically disciplined direction of one-time tourmates The New Year and, on "Seven Blankets," to the long-gone Codeine -- have filled out the compositions on Everyday Balloons and expanded their dynamic range by deploying piano, more electric guitars and more assertive drumming. There is even (thrilling) guitar feedback in certain places. While the new collection is louder -- the album shudders to a close with the stirring climax of "Lay Me Down" -- it remains characteristically mesmerizing, paralleling the fevered state Gerber references in the exhilarating album opener "Third Of Life" ("and I thought I was hot stuff/but it's just that I was burning up...").

That said, the changes do alter the tone we had grown accustomed to from A Weather. The broader instrumentation and increased volume more fully illuminate on Everyday Balloons what was obscured in the dark corners of Cove. Beyond tone, the new set addresses broader themes with a sort of natural realism we associate with writers like Sherwood Anderson. Everyday Balloons focuses tightly on elevating the mundane and holding it up as a thing of beauty. Its songs limn in crisp detail quiet, unremarkable domestic moments and diurnal ephemera that in aggregate comprise a wide-eyed, brighter -- but still troubled and questioning -- outlook. The aforementioned "Third Of Life," in the midst of its observations about the fleeting nature of time, describes positioning a bed pillow, brushing teeth. The piano-led ballad "Midday Moon" sung by percussionist Sarah Winchester (whose enchanting vocals, we should note, provide counterpoint to Gerber's on nearly every A Weather track) begins with a rumination about cleaning a bathroom. The brilliant album closer "Lay Me Down" rides a melodic spiral of picked guitar and chimes, but makes time to analyze the act of "tucking back your hair/right behind your ear."

A Weather embarks on a North American tour to support the release of Everyday Balloons April 10. The band plays Somerville, Mass.'s P.A.'s Lounge April 19 with Drew O'Doherty supporting.

A Weather -- "Giant Stairs" -- Everyday Balloons
A Weather -- "Third Of Life" -- Everyday Balloons
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[buy Everyday Balloons from Team Love right here]

04.10 -- The Woods -- Portland, OR
04.12 -- Kilby Court -- Salt Lake City, UT
04.13 -- Hi Dive -- Denver, CO
04.15 -- Vaudeville Mews -- Des Moines, IA
04.16 -- 400 Bar -- Minneapolis, MN
04.19 -- P.A.'s Lounge -- Somerville, MA
04.20 -- Apohadion -- Portland, ME
04.21 -- The Lamb Abbey -- Montpelier, VT
04.22 -- AS220 -- Providence, RI
04.23 -- Union Hall -- Brooklyn, NY
04.25 -- Galaxy Hut -- Washington DC
04.26 -- Joe Squared -- Baltimore, MD
04.28 -- Off Broadway -- St. Louis, MO
04.29 -- The Czar Bar -- Kansas City, MO
04.30 -- Jackpot -- Lawrence, KS

A Weather: Internerds | MySpace | YouTube | Flickr

Previous A Weather Coverage:
Today's Hotness: Calories, William, Lali Puna, A Weather
Be Prepared: A Weather | Everyday Balloons | 2 March
Clicky Clicky Music Blog's Top Albums 2000-2009
Clicky Clicky's Top Albums Of 2008
Review: A Weather | Cove [MP3]

Today's Hotness: Tadoma, PODS, A Weather

>> Tadoma. You don't remember them. It's OK, it's been a couple years. The Philadelphia-based ambient electronic concern helmed by former Diagram principal Joe Patitucci resurfaced this week with the digital release of the first in a series of EPs. The new, evenly blissed-out collection is titled Field Notes, and after spending time with it we can report that our 2008 assessment of the band, "Boards Of Canada meets More-era Pink Floyd," still holds true. Tadoma's Field Notes is both generous -- at 10 tracks -- and expedient -- it clocks in at a little more than 25 minutes. The spooky, pastoral songs are constructed from e-bowed and acoustic guitars, vintage synths and Fender Rhodes electric piano, and -- unsurprisingly given the title of the EP -- field recordings. From the sleepy opening drone of "Recovery Operations" through the closer "Reconstruction" you will feel as if you are channel surfing through sedate, early '70s BBC sci-fi programming. It's decidedly wintry, overnight sound. Tadoma fetes the release of Field Notes Saturday night at Johnny Brenda's in Philadelphia, on a hot bill supporting Philly shoegaze standouts Arc In Round. Full show details are right here. A physical CD version of Field Notes will be available next week.

Tadoma -- "Red Raleigh" -- Field Notes
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[buy Field Notes from Secret Station Records right here]

>> Regular readers are aware that we follow closely the carefree antics and horseplay of Cambridge, Mass.-based pop-punk enterprise Varsity Drag. The band, of course, is a vehicle primarily driven by former Lemonhead co-fronter Ben Deily. While we had sussed out in recent years that Mr. Deily had a band in the early '90s called PODS, that band's musical output has been largely a mystery to us beyond the comically titled It's A Bummer About Bourbie EP from 1992 (which we most likely turned up here). All of this changed earlier this month when the PODS discography -- and now, a number of rarities -- was uploaded to Bandcamp. All of the tracks can be freely streamed or downloaded for a nominal fee. Certain titles will jump out at Varsity Drag fans as being part of the band's current repertoire, which is interesting (such as "Blackout," "New Strings"). Anyway, if like us you've been wanting to fill that Deily-shaped hole in your mid-'90s music library, the Internet once again provides the answer. We're embedding a stream of the hot rocker "Name In Vain" below to tease you along. Dig it.



>> Oh, A Weather, how we've waited and waited for the follow-up to your best-of-the-decade debut Cove. Our patience has finally been rewarded with the delivery of the Portland, Ore.-based slow-core unit's forthcoming sophomore set Everyday Balloons. The record is fantastic, and we'll have substantial thoughts to relay about it in the coming weeks. But for now, get familiar with the pre-release promo track "Giant Stairs." Team Love releases Everyday Balloons March 2.

A Weather -- "Giant Stairs" -- Everyday Balloons
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[pre-order Everyday Balloons from Team Love right here]

Today's Hotness: Calories, William, Lali Puna, A Weather

>> Readers will recall that earlier this month we expressed excitement at the prospect of a forthcoming Tough Love Records split single featuring Calories and William. Well, DrownedInSound got the hook-up from the label and is hosting streams and downloads of two of the four tracks on the single, namely Calories' "The Mortal Boys" and William's "Lustreless." Unsurprisingly, these tracks are awesome. "The Mortal Boys" is a typically anthemic shout-along with Birmingham, England-based Calories, and while the band has yet to alter its formula too much we can't see ourselves tiring of it soon. William, as we stated in the earlier post, is new to us, and while we don't necessarily find the referential equation (D. Boon + straightedge + Stinsons) completely accurate, we still like very much what William is doing here (clattering drums, splayed out guitar squawl, desperate vocals). Due once again to the magic of SoundCloud, we are posting the streams below. And in case you are not familiar with the SoundCloud interface, you are able to download the tracks as MP3s if you click on the downward-pointing arrow icon at right. The split single will be released Feb. 15 (and ship two weeks prior) in a hand-numbered, limited edition of 500 in white vinyl packaged with a 'zine and download codes. You want this. It wants you. Buy Buy Buy.

Calories -- "The Mortal Boys"

William -- "Lustreless"

>> Another follow-up to an earlier item: after anticipating it for more than a year, perhaps more than two years, we were thrilled to see the news of Lali Puna's next record. Our Inventions is out April 6 on Morr Music, and we've been digesting the record for a couple weeks already. The set is something of a return to the band's minimal and electronic roots, as the foregrounded guitars of Faking The Books are largely whack-a-moled back into the mix for the new collection. The first promo track from Our Inventions evidences this, and now that we think about it most of the guitar therein is actually bass. The midtempo toe-tapper pairs fronter Valerie Trebeljahr's voice with partner Micha Acher's, but it is largely electronics in the fore that drive the track. Fans will find that Lali Puna's skill at crafting pretty and affecting electropop has not diminished during the band's five year absence. Dig the MP3.

Lali Puna -- "Remember" -- Our Inventions
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[buy Lali Puna records from Morr Music right here]

>> Word from Portland, Ore.-based slow-core standouts A Weather is that Magnet Magazine will debut an MP3 from the band's forthcoming sophomore set tomorrow Tuesday. The quintet is slated to released Everyday Balloons March 2 on Team Love, as we reported here in December. A Weather's debut Cove has been lauded in this publication a number of times; most recently we named it one of the best albums of the last decade here.

Be Prepared: A Weather | Everyday Balloons | 2 March

According to this recent item at Williamette Week's Local Cut blog, superlative slowcore combo A Weather will issue its sophomore set Everyday Balloons March 2 on the Team Love label. The set -- 11 tracks deep -- is apparently more guitar-heavy, which sounds like a good thing, although the tension and restraint of the band's first set was one of its strongest features. We know that "Lay Me Down" in the track listing posted below is not a cover of Grateful Dead's "To Lay Me Down," although we think it would be amazing if A Weather decided to take that on (as we've said before). The Portland, Ore-based quintet has continued a tradition of releasing a holiday track, and this year it offers at its MySpace cabin and on Williamette Week's Another Grey Christmas 3 comp a version of the standard "Baby, It's Cold Outside." Last year's track was "Winter Wonderland," which we are posting below. We reviewed A Weather's 2008 debut Cove here, and named it one of the best records of the rapidly waning decade here.

A Weather -- "Winter Wonderland" -- 2008 Williamette Week holiday compilation
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[buy A Weather music from Newbury Comics right here]

Everyday Balloons:

1. Third of Life
2. Winded
3. Ducks
4. Seven Blankets
5. Midday Moon
6. Newfallen
7. No Big Hope
8. Fond
9. Happiness
10. Giant Stairs
11. Lay Me Down

Clicky Clicky Music Blog's Top Albums 2000-2009

The span of years roughly book-ended by the launches of Napster and Spotify -- a decade during which many perpetually proclaimed the album format dead -- was crammed with crates and crates and crates and crates of compelling music. And why wouldn't it be? Ones and zeroes do not obviate humanity's innate need to rock. But that is a subject for another day. Today, as part of Deckfight's ongoing Albums Of The Decade Blog Tour, we force ourselves to choose the 10 best of the last 10 years. For weeks we've debated how to weigh the best versus the most representative versus the most influential and so on. It's difficult stuff to parse, but we think ultimately what it came down to was giving respect where respect was due for songcraft, innovation and gusto. While we offer our picks for 10 best records below, we are not ranking them, as simply making the cut is the honor here. What is below is listed alphabetically.

In case you are just catching up, yesterday's Albums Of The Decade Blog Tourist was Eric from Can You See The Sunset From The Southside, and you can read his list right here; Monday you can check out Brendan from Count Me Out's list right here. And for those of you who want more in depth discussion of our favorite songs and records of the last 10 years should listen to our four-part appearance on Jay Kumar's Completely Conspicuous podcast [part 1, part 2, part 3, part 4].

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1. The Books -- Lost And Safe -- Tomlab (2005)
The Books: Internerds | MySpace | YouTube | Flickr | Buy

No matter whether you are gauging by songcraft or innovation, The Books deserve recognition for writing some of the most amusing, compelling and beautiful compositions of the decade. In particular we find Lost And Safe's closer "Twelve Fold Chain" incredibly moving. Here's a digested version of what we said in our review May 10, 2005:

Even on this, their third album, The Books sound like they've got secrets to tell. But the most solid clues they offer on Lost And Safe are fragments of dreams, stream-of-consciousness queries and allusions to spiritual questing. An intricate mix of serene vocals, spoken word samples, understated clattering percussion, guitar and cello, the duo's music is enchanting and hypnotic. "A Little Longing Goes Away" opens the record with soft vocals swathed in reverse reverb, making lines like "our minds are empty / like we're too young to know to smile" sound like prayer.

All musical elements are expertly but gently balanced like a series of birds on a wire. Although not overtly apparent, the band's lyrics, in addition to being spiritually inquisitive, can be quite funny. This is most apparent during the act's current live show, during which video accompaniment emphasizes the graduate school-level word play that characterizes songs like "Smells Like Content" and "An Animated Description of Mr. Maps." No matter the context or what you call it, The Books are in relatively uncharted territory with bountiful potential in every direction. Although Lost And Safe would be a crowning achievement for any band, The Books show no sign of running out of beautiful musical ideas to convey.

Twelve Fold Chain - The Books

2. Destroyer -- Destroyer's Rubies -- Merge (2006)
Destroyer: Internerds | MySpace | YouTube | Flickr | Buy

We didn't review this record upon its release (or ever). As with songwriter Dan Bejar's finest efforts, the record is self-referential, inscrutable, beautiful and biting. Destroyer's Rubies in particular seems like a record ripe for academic examination. But no matter how layered or diffracted the narratives, the songs themselves are hook-filled, generously melodic and wholly rewarding. Bejar's smarter-than-you lyrics, singular vocal delivery, and attention to production detail make all of his records great -- Destroyer's Rubies is exceptional. What else is there to say? We recently saw Bejar perform solo in Boston, and for much of the performance we were thinking how we wished he was performing with a full band. But even performing solo with a weather red acoustic under spare spotlights the songs were completely arresting.

Rubies - Destroyer

3. The Hold Steady -- Separation Sunday -- French Kiss (2005)
The Hold Steady: Internerds | MySpace | YouTube | Flickr | Buy

This list is not really about success stories, but The Hold Steady's sophomore set certainly qualifies as one, and -- of course -- one of the biggest of the decade. The burgeoning blogosphere was alight with praise when this was issued, and although our first inclination was to ignore the band because of the bountiful praise from seemingly every corner (we're contrarian like that), we were an embarrasingly ready convert when we finally stopped to listen to Separation Sunday. And what's not to like? As Mr. Kumar states, The Hold Steady is like Jim Carroll fronting Thin Lizzy playing Bruce Springsteen songs. Like the aforementioned Mr. Bejar, Hold Steady fronter Craig Finn is an amazing lyricist and he crafts on this record an amazing, conceptual collection that follows the rise and fall and rise again of certain gutter-frequenting, drug-gobbling drifters. Mr. Finn and his cohort take these losers and wring from them incredible tales of spine-tingling desperation and redemption. Also, there's a whole hell of a lot of rock music on this record, including the highlights "Your Little Hoodrat Friend" and "Stevie Nix." Ground-breaking? No. Awesome? Yes.

Stevie Nix - The Hold Steady

4. Johnny Foreigner -- Grace And The Bigger Picture (2009)
Johnny Foreigner: Internerds | MySpace | YouTube | Flickr | Buy

Did you think a guy who co-operates the Johnny Foreigner fan site Keeping Some Dark Secrets wasn't going to pick a Johnny Foreigner record for his list? There are so many reasons why this record is awesome, front to back, but here is just one: on the rare mornings where we walk to the subway, ride the subway, and then walk to our office, it takes exactly one run through the entire record to get us from door to desk. Wonderful. Here's a digested version of our review from Sept. 28, 2009:

Grace And The Bigger Picture is pointedly heartfelt, jubilantly aggressive, road-weary and resigned all at once. The record is populated with wistful ideals of home ("we'll throw parties in the yard") and amazing letdowns ("all we have is miles and wires and all I am is calls tomorrow"), but there are also wonderfully carefree moments, as in the almost blindingly brief "Kingston Called, They Want Their Lost Youth Back." [The record] is painstakingly crafted, deeply layered, and hangs together as a collection more firmly than even its ambitious predecessor. The narratives sparkle like dizzying mosaics comprised of thousands of digital snapshots. Themes appear and re-appear, e.g. the clarion call "some summers!" in "Feels Like Summer" resurfaces in "The Coast Was Always Clear;" "More Heart, Less Tongue" is transmogrified into "More Tongue, Less Heart;" the breakdown to "Custom Scenes And The Parties That Make Them" even repurposes the breakdown from the band's break-out single "Eyes Wide Terrified;" and keen ears seem to hear the familiar cry of "Amateur! Historian! shouted in the closing moments of the squalling anthem "Dark Harbourzz." But even more impressive than the whole are the parts, as there is a remarkable compositional cleverness in certain of the songs that points to an ever sharpening songcraft among Berrow and company. This is no more apparent than within the almost linear, structure-flouting gem "Custom Scenes And The Parties That Make Them." Best Before Records releases the record 26 Oct. in the U.K.

Criminals - Johnny Foreigner

5. The Mendoza Line -- We're All In This Alone -- Bar/None (2000)
The Mendoza Line: Internerds | MySpace | YouTube | Flickr | Buy

After it had exhausted a Superchunk fixation, a record label and Athens, Georgia, and before its late embrace of a rootsier sound enamored a major rock critic or two, this always-at-the-brink-of-destruction collective created this wondrous, sweet full-length. A slapdash concoction of literate, lo-fi balladry and everyman indie rock channeled through three songwriters is remarkable perhaps mostly because, like the band itself, We're All In This Alone somehow manages to hang together. All at the same time the proceedings sound like the end of the '90s, point toward the ascendency of the band's adopted hometown of Brooklyn and presage a decade that once more embraced folk rock. It's a weird record, but it's a fantastic record, held aloft by great songs including the devastating "I Hope That You Remember To Forget." Of course, The Mendoza Line did not survive this decade, but part of the magic of We're All In This Alone is that the record sounds like a band with a world of possibilities in front of it, which was fairly accurate in the year 2000.

6. Meneguar -- I Was Born At Night -- Troubleman Unlimited (2006)
Meneguar: Internerds | MySpace | YouTube | Flickr | Buy

With the ascendancy of the related, more psych-leaning project Woods, and with silence from the band going on uninterrupted, we are starting to believe we may have seen the last of our beloved Meneguar. Which is a shame because the Brooklyn-based quartet's brand of desperate, shouty, smart and guitar-driven indie rock pushes all the right buttons for us, and we see no American successor really taking up the banner for the style. I Was Born At Night, so good it was issued twice, is seven anthems brimming with brawling attitude, splendid guitar interplay and heavy dynamics pounding home hooks galore. And it all comes down to the "The Temp," a fist-banging shouter about dead-end employment (or something -- who knows?) with a killer chorus that out-Slack Motherfuckers Superchunk's renowned "Slack Motherfucker." We recall that at one point Troubleman Unlimited had posted the MP3 for "The Temp" as a promo track, so here it is in all of its glory. Actually, this is the mix from the original Magic Bullet release -- retro!

Meneguar -- "The Temp" - I Was Born At Night
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7. The Notwist -- Neon Golden -- City Slang (2003)
The Notwist: Internerds | MySpace | YouTube | Flickr | Buy

When we mentioned innovation supra, The Books weren't even the first band to come to mind. Instead we thought of The Notwist, and how in the wake of this landmark release that melded laptop electropop and indie guitar music suddenly, for at least a year, every one tried to replicate the Weilheim, Germany-based quartet's sound. Only by watching the amazing "On | Off The Record" DVD does one develop an appreciation for just how difficult an undertaking such replication would be (the opening seconds of the album were incredibly difficult, actually impossible, to perform), which is why -- despite seemingly providing the formula for an aesthetic perpetuated by labels like Morr Music for years afterwards -- so few acts came close to The Notwist. Even more amazing? The band's astonishing, dub-injected, Wii-dazzled live show, which we caught for the second time a year ago, makes Neon Golden and it's excellent successor The Devil, You & Me seem pale in comparison. But at the warm, digitally-pulsing heart of Neon Golden are 10 incredible, catchy songs delivered in Markus Acher's emotive deadpan murmur.

One With The Freaks - The Notw...

8. Spoon -- Ga Ga Ga Ga Ga -- Merge (2007)
Spoon: Internerds | MySpace | YouTube | Flickr | Buy

Flawless, every song, from a songwriting and a production standpoint. Endlessly listenable. As we said here in our Best Records of 2007 wrap-up:

We listened to this record over and over and over: in the car; in the office; in the kitchen. It's exceptional. Taut, glistening pop-rock, touches of spacey, warts-and-all production, and hooks galore. The songs all flow with an ease, an internal logic that is so finite that each tune seems representative of what indie rock is, at its core. If (when?) space aliens come to the United States asking about indie rock, perhaps the most obvious example to hand them is Ga Ga Ga Ga Ga.

Finer Feelings - Spoon

9. A Weather -- Cove -- Team Love (2008)
A Weather: Internerds | MySpace | YouTube | Flickr | Buy

Digested from our review posted Feb. 10, 2008 right here:

Portland, Ore.-based A Weather's beautiful full-length debut has a persistent but slippery allure. Populated almost entirely with murmured bedroom ballads driven by brushed drums, guitar and electric piano, the set somehow succeeds in not repeating the same tricks over and over again.

Is there a voyeuristic attraction inherent in pretty songs delivered in hushed tones simultaneously by male and female singers? Or is there something universal -- an inverse of voyeurism, in a way -- conveyed by these intimate, poignant tracks that make them so arresting. What we are certain of is that sping-tingling moments are frequent on Cove: when the ride cymbal pulses louder and louder during "Shirley Road Shirley" as fronter Aaron Gerber and drummer Sarah Winchester desperately assure "I swear, you won't even know I'm there;" when the duo stingingly confesses during "Oh My Stars" that "sometimes it's hard thinking about how the plans we make won't happen;" when the pair utters during "Spiders, Snakes" the unfathomably sweet sentiment (for those of us of a certain age, anyway) "I want to have you again, listening to Bedhead."

Shirley Road Shirley - A Weath...

10. Yo La Tengo -- And Then Nothing Turned Itself Inside Out -- Matador (2000)
Yo La Tengo: Internerds | MySpace | YouTube | Flickr | Buy

When your band puts out what is arguably the best record of 1997, what is the likelihood that only three years later it will release one of the best, if not THE best, records of 2000? This doubt is why we were quite ready for Yo La Tengo's And Then Nothing Turned Itself Inside Out to be a disappointment. But it was nothing of the sort. Opening with the Mogwai-toned spook droner "Everyday" and closing with the 17-minute spectral masterpiece "Night Falls On Hoboken," the record provides easy exuses for lapsing into over-the-top praise. This is simply a perfect record, and we'd argue it is downright better than the admittedly fine records that the trio has released since. In addition to the droners we already named, And Then Nothing Turned Itself Inside Out also carried the sugary, caffeinated rocker "Cherry Chapstick," the marvelously affecting ballad "Tears Are In Your Eyes" and some bossa-tinted toe-tappers "Let's Save Tony Orlando's House" and "You Can Have It All." For the rest of the decade Yo La Tengo delved into murky sounds, garage rock and shiny pop, but when we think of the band, we think of And Then Nothing Turned Itself Inside Out.

Tears Are In Your Eyes - Yo La...

A Weather Recording Follow-Up To 2008 Standout Cove

[A note to readers: with our new family commitments we will institute some changes here. One of these is the shelving of the Today's Hotness feature, which collected newsworthy items into an amalgamated post. Instead we will run more shorter items as we are able to churn them out. Here is the first. -- Ed.]

Portland, OR-based slowcore stars A Weather have spent recent weeks recording a new set that may see release before year-end. The quintet has laid down tracks in its home town at the studio Type Foundry, and as recently as Friday fronter Aaron Gerber tweeted that he was working on vocals for the planned set. There are few details to be had about the new set at this point, but it will include the track "Lay Me Down," according to another tweet. We can only hope this is a cover of Grateful Dead's "To Lay Me Down." Come to think of it, we recall Cowboy Junkies doing a very good cover of that track for the Deadicated comp in the '90s. We'll have to track that down again. The new A Weather set is unlikely to be ready for public consumption before fall or winter, so in the meantime continue to play the excellent Cove to death. That record, in case you don't recall, was one of our favorites of 2008. Read our review here.

Something we've had on our list of things to write about for months and months is three A Weather demos submitted to and made available to the Interwebs by Fat Cat Records. The tracks, which we believe were recorded by Mr. Gerber whilst he was still at Hampshire College in Western Massachusetts, include two versions of "Still Talk" -- one digitally sliced, diced and Animal Collective-ized and the other acoustic -- and "Tonight I Am Letting You Drive." The tracks are memorable, but the digitally tweaked version of the former is sufficiently different from the material on Cove to imbue it with distinctive intrigue. The three tunes are alternately attributed to A. Sweater and Sweater Weather, monikers that are certainly early ruminations on the name that ultimately framed the quintet. Here's "Tonight I Am Letting You Drive."

A. Sweater -- "Tonight I Am Letting You Drive" -- Music For Six Twilights
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[buy A Weather music from the band here]

06/27 -- The Doug Fir -- Portland, OR
07/12 -- The Backstage Lounge -- Vancouver, BC

Review: Exploration Team | We Are Birds, We Are Trees [MP3]

Not long after embarking on our investigation of A Weather scene-mates Point Juncture, WA, we received an email from a bona fide A Weather side project, Exploration Team. The Portland, Ore.-based quintet is led by A Weather guitarist Aaron Krenkel (not to be confused with fronter Aaron Gerber -- apparently every third indie rocker in Portland is named Aaron). Mr. Krenkel's wife Alynn (we assume Alynn Nelson, also of the A Weather cohort) sings and plays keys on some if not all of the tracks on the act's recently self-released We Are Birds, We Are Trees, a fine collection that twinkles and rocks and whispers. The quintet trades in low-key and patient indie rock that carries a veneer of '70s AM pop: it's something in the easy, optimistic delivery of the lyrics and the pastoral sounds of acoustic guitar and chimes. Exploration Team may not rock as much as The Partridge Family, and it isn't as creepy as The Carpenters, but it is hard not to conjure thoughts of those combos when bopping along to "Basin And Range."

Elsewhere, Krenkel occasionally sounds like Belle & Sebastian's Stuart Murdoch. In fact, the throbbing album highlight "The Ocean Will Rise" begins with some rising guitar that echoes the opening of the Scottish act's "If You're Feeling Sinister." Krenkel reports that "The Ocean Will Rise" had been considered as an album opener, but ultimately it was deemed too long -- it's more than six minutes -- for an opening salvo. "Safe And Sound" soars to its conclusion before folding itself up into a quietly shuddering delay and guitar figure; the track is perhaps the most obvious single from the set, were one to be selected. The slightly darker "Just Beneath" more closely follows the A Weather template, but that doesn't diminish it in the least. There is a particularly remarkable degree of tension as the song passes the three-minute mark and leverages a quiet snare tattoo to mount a crescendo. The album ends particularly strongly, as the romantic thriller "Something To Lose" is perhaps the most dynamic track of the collection, but is tucked away in the penultimate slot. There is some discussion concerning Team Love digitally distributing We Are Birds, We Are Trees; we'll keep you posted. In the mean time you buy the collection by messaging the band at its MySpace domicile.

Exploration Team -- "The Ocean Will Rise" -- We Are Birds, We Are Trees
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[buy We Are Birds, We Are Trees from Exploration Team right here]

Exploration Team: Internerds | MySpace | YouTube | Flickr

Review: Point Juncture, WA | Heart To Elk [MP3]

It's no surprise to anybody minding indie rock in recent years that things are happening in Portland, Ore. What's notable is that for the second year running our first big surprise of the year has sprung from that city. In 2008 it was slow-core dreamers A Weather, and in 2009 it is A Weather scene peers and sometime tourmates Point Juncture, WA. The five-year-old, self-described quartet (which curiously boasts five players in the splash photo at its web site) self-released its third record, Heart To Elk, last fall, but Seattle-based indie label Mt. Fuji will give the set wider release next month.

Point Juncture, WA's music uses many of the same tools as A Weather's, but generally these are more forcefully and energetically applied. The sum total calls to mind Stereolab or My Brightest Diamond -- or, more accurately, a hybrid of same. "Melon Bird" boasts the former act's motorik beat, while the chamber pop opener "Rocks And Sand" channels the latter with appointments of horn, some droning, woodwind-ish low-end, synth and tasteful, coctail set drumming. "The Easy Winners" proffers something like a quiet bossa nova re-imagining of Joy Division's "Transmission" (which we suppose makes it more like Low's stirring rendering of the track). Co-fronter Victor Nash's vocals on "New Machine" are as detached and serene as those of The Notwist's Micha Acher, and the song's noisy, feedback-filled dénouement suggests certain older work by that Bavarian foursome. The Amanda Spring-sung "Biathalon" is an almost-fierce rocker, but it is the uplifting, uptempo head-nodder "Sick On Sugar" -- also sung by Ms. Spring, posted for download below, great video here -- that may be the biggest song on the record. Heart To Elk will be released on CD and vinyl Feb. 19; Point Juncture, WA previously issued the Juxtapony EP in 2004 and the full-length Mama Auto Boss in 2005.

Point Juncture, WA -- "Sick On Sugar" -- Return To Elk
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[pre-order Return To Elk from Mt. Fuji right here]

Point Juncture, WA: Internerds | MySpace | YouTube | Flickr

02/13 2009 -- Aladdin Theater -- Portland, Oregon

Clicky Clicky's Top Albums Of 2008

It was a lot more work than we anticipated getting this list together, but fortunately we've been hammering away at it for about a month. Even so we didn't finalize our picks until Friday, which led to some extra writing, but so it goes. Along the way we deepened our relationship with and appreciation for these 10 records, which in our humble opinion represent the best that 2008 had to offer. We hope you'll find some things here that had escaped your attention heretofore, and that you derive as much enjoyment from listening to them as we do. For those who are curious, here are links to some of our prior annual lists [2007, 2006, 2005, 2002]. Thanks for reading Clicky Clicky in 2008.

1. Johnny Foreigner -- Waited Up Til It Was Light -- Best Before/Nettwerk

If you thought we were going to rave about Waited Up Til It Was Light all year and then not name it our favorite album, well, you were wrong. But if it makes you feel better, we were wrong, too. A year ago we declared that Johnny Foreigner's Arcs Across The City EP was the new gold standard in indie rock, and that choice now smacks of being obviously premature, as the band's monstrous full-length debut eclipses it on every level. It shudders with adolescent confusion and crackles with stumbling euphoria, one bottle of gin too many and guitars potted way, way up. There's feedback and in-jokes and sweat and disappointment. As we quipped in June, Waited Up Til It Was Light "is thronged with careening guitar anthems, its 13 tracks shot through with typewriter ribbon-lengths of lyrics that collectively present a contemporary mythology of the band's beloved city." The set will have spawned four singles by the time the double a-sided "DJs Get Doubts" b/w "Lea Room" streets Jan. 12 in the UK. Johnny Foreigner reportedly begin recording a follow-up, and we hope that at this time next year Alexei, Kelly and Junior Foreigner have us once again amending our assessment of what the gold standard is in indie rock. [review] [listen]

2. A Weather -- Cove -- Team Love

In a perfect world, A Weather's understated yet confident debut would launch a thousand indie rock vessels, each one charting a course to illuminate new, obscure and quiet frontiers of a slowcore revival. But as this record seems to have been the most slept-on of all our 2008 picks, this is quite unlikely. One of the revelations of Cove -- which we named the first big surprise of 2008 back in February -- is that the set is filled with love songs, but not necessarily heartache. Yet there is still remarkable tension and mystery that courses through the nine tracks. Quoting again from our review, "[t]he band's beautiful full-length debut has a persistent but slippery allure. Populated almost entirely with murmured bedroom ballads driven by brushed drums, guitar and electric piano, the set somehow succeeds in not repeating the same tricks over and over again." [review] [listen]

3. Frightened Rabbit -- The Midnight Organ Fight -- Fat Cat

Last spring we spoke briefly -- albeit loudly, above the rock club din -- with Frightened Rabbit fronter Scott Hutchison about the growing distance between the songs on this collection and the events they reflect. Certain of the songs on The Midnight Organ Fight were about five years old at the time and reflected events growing increasingly smaller in Frightened Rabbit's rearview. Which makes the tunes' emotional impact -- particularly when performed during one of the quartet's usually incendiary live sets -- all the more impressive. But the live spectacle aside, The Midnight Organ Fight is still a remarkable collection of songs, as lush and atmospheric as Sing The Greys was stark and in-your-face. We pegged the band's "Extrasupervery" as indicative of the potential for Disintegration-esque genius, so we are eager to hear what comes next from the lads. [review] [listen]

4. The Notwist -- The Devil, You + Me -- Domino

Germany's The Notwist had been absent so long prior to the release of The Devil, You + Me -- as we remarked here in our review of the wonderful DVD "The Notwist On|Off The Record" two years ago -- that we were afraid the indie rock world might not take them back, and even more afraid that the band might not want to come back. Finally The Notwist broke its (near) silence with the promo track "Good Lies." The song raised hopes for a stellar album and the band delivered with a set as subtle and beautifully orchestrated as Neon Golden. And while the material is exceptional, it is hard to ignore that The Notwist also gave a wholly stunning performance when it appeared at The Roxy in Boston in October. "The band was alternately mesmerizing and astonishing, depending on whether it was locking into a heavy, digitally augmented groove or blasting through a crescendo of guitars," to quote our review. Compared to Neon Golden, The Devil, You + Me is a more reserved affair, reflecting perhaps the changes of life (fatherhood and the like) that the members of The Notwist have experienced in recent years. Even so, their songwriting chops and imaginations have not subsided in the least, and we're hopeful that it won't be another five years before its next record. [live review] [listen]

5. Destroyer -- Trouble In Dreams -- Merge

We recall reading comments from Destroyer mastermind Dan Bejar sometime during the year in which he states that Trouble In Dreams was a difficult, meaning we think inscrutable, record for fans, particularly compared to the prior set, Destroyer's Rubies. For the record, we think both collections are stellar, and we question just how "difficult" the music is. Musically, things are fairly straightforward on every Destroyer record we've heard (which is damn near all of them -- Damon Che Mr. Bejar is not), so we have to presume Bejar is referring to his lyrics. These are often impressionistic, deeply layered, and, of course, when coming out of Bejar's mouth are often the true highlight of Destroyer's recordings. Trouble In Dreams is no exception, and with some of the year's most winning melodies, the record easily made our list. [listen]

6. Julie Ocean -- Long Gone And Nearly There -- Transit Of Venus

Long Gone And Nearly There now seems a prescient album title for this upbeat collection of irresistable indie pop confections from an already broken-up quartet fronted by the cable newser best known for having himself tasered on television. How could it not be among our favorite records of the year? The collection captures 10 tunes touting broad, bright melodies delivered with an irresistible guitar-jangle and fizz. From a historical standpoint, Long Gone And Nearly There is a distillation of several strands of the D.C. underground, the apparent mean value of Velocity Girl, Glo-Worm and Swiz. And while the band's demise seems to neatly underscore the ephemeral nature of perfect pop, the band's borrowing from '60s AM sounds limns Long Gone And Nearly There with a classic pop sense that makes it stand out among contemporary indie releases. [review] [listen]

Julie Ocean -- "Here Comes Danny" -- Long Gone And Nearly There
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[buy Long Gone And Nearly There from Transit Of Venus here]

7. The War On Drugs -- Wagonwheel Blues -- Secretly Canadian

A beguiling set that offers jaunty singles candidates ("Arms Like Boulders," "Taking The Farm"), lo-fi balladry ("Barrel Of Batteries") and kaleidoscopic drone ("Show Me The Coast") is a special record indeed. The more we listen to it, the more we are convinced that band fronter Adam Granduciel is at the cusp of the sort of acclaim that follows Destroyer's Dan Bejar. There is a frank poeticism in his nasal proclamations buried within stoned repetitions that accumulate like sediment into enticing songs that succeed wonderfully at going nowhere. Wagonwheel Blues will make converts of us all; this video of a live set drives home the greatness of the band. [listen]

8. Love Is All -- A Hundred Things Keep Me Up At Night -- What's Your Rupture?

This was a late-year surprise. Our old housemate Tony B championed the Gothenburg, Sweden-based quintet and its boxy recordings early on, which got us turned on to the single for "Make Out Fall Out Make Up." And while we've listened to the band's 2005 set 9 Times That Same Song maybe a dozen times, we were taken by surprise by how much more A Hundred Things Keep Me Up At Night resonated with us. The set -- shrouded like its precursor in almost obfuscating amounts of slap-back reverb -- contains a perfect, grooving blend of dancey rock that sounds like a bizarre marriage of The Cramps and Haircut 100 fronted by a roughly rendered facsimile of Cyndi Lauper. "Give It Back" is a relentless torrent of hooks and energy, and the rest of the set follows suit. [listen]

9. Superman Revenge Squad -- This Is My Own Personal Way Of Dealing With It All -- My Best Unbeaten Brother

Ben Parker, sole proprietor of the acoustic enterprise Superman Revenge Squad, was the subject of the only feature interview we did in 2008, a reflection of the esteem in which we hold this very gifted songwriter based in Croydon, England. From a lyrical standpoint no one can touch him, not only in terms of sheer volume (the man is loquacious in song) but also in his ability to express discontent in colorful ways (we love the line "the sun's too hot and there's nothing on the telly" from the digital single "Idiot Food"). His music -- whether it is harrowingly urgent, morose and emotional or tongue-in-cheek and geeky -- transmits as deeply personal, despite the fact that often when Parker sounds like he is baring his soul he is actually making an obscure pop culture reference. This Is My Own Way Of Dealing With It All is filled with escape fantasies, dark resignation and still darker humor. And it is brilliant. We're posting the lead track below. [interview] [listen]

Superman Revenge Squad -- "Idiot Food" -- This Is My Own Personal Way Of Dealing With It All
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[buy the record from Superman Revenge Squad right here]

10. The Swimmers -- Fighting Trees -- Mad Dragon

We suppose it is a toss-up as to whether this was more slept-on than the A Weather record, although the label Team Love has more brand recognition than the Drexel University-backed Mad Dragon imprint. Philadelphia's Swimmers had been treading water for quite a while as we waited for its debut to finally see release, but it finally delivered in a big way. Echoing first-wave Wilco and scene precursors The Bigger Lovers, Fighting Trees' rootsy, upbeat attack and hooks aplenty made this a constant go-to record for us this year. While "Pocket Full Of Gold" made our list of top songs of the year last week, the entire record is filled with eager winners, not the least of which is the piano-driven homage to Lancaster, PA "Heaven." Daytrotter recently posted a session featuring a few tracks from Fighting Trees from which we are posting a fantastic take on "St. Cecilia" below. [review] [listen]

The Swimmers -- "St. Cecilia" -- Daytrotter Session
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[download the whole session right here]
[buy Fighting Trees from Amazon here]

Clicky Clicky's Top Songs Of 2008

We humbly submit our list of 10 favorite tracks of the year. The typical caveats apply, mainly that an individual band could only chart once, no matter how awesome it may be. Meaning, for example, that despite three Johnny Foreigner songs being among our 10 most-listened-to tracks of 2008, only one is able to make the cut below. Of course, the tracks in question had to be released this year. And there's really not much else to it. We think these songs are the bee's knees, and we look forward to hearing much more from the bands who recorded them in the future. Our list of top albums of the year largely echoes this list of songs, but there are some notable differences, so be certain check in next Monday to read that one. Thanks for the rock.

1. Johnny Foreigner -- "Absolute Balance" -- Waited Up Til It Was Light
Stream it at Last.FM right here.

Bifurcated from the demo "Balance Comma Girl," expanded, stuffed with skyrocketing dynamics and draped with vapor trails of guitar feedback and delay, "Absolute Balance" puts the final (well, almost) exclamation point on Johnny Foreigner's stunning debut Waited Up 'Til It Was Light. The tail end reintroduces a familiar canned beat (it also drives the single "Salt, Peppa and Spinderella") and makes a miraculous ascent into a crescendo in which fronter Alexei Berrow unhinges his soul and lets fly a spine-tingling, entirely inscrutable 20-second rant. Watch the band perform "Absolute Balance" at the tail end of "Yr All Just Jealous Of My Von Dutch Hat" from T In The Park this past July right here at the YouTubes. The band will begin recording its second full length later this month, and intends to tour North America in 2009. We reviewed Waited Up Til It Was Light here in June.

2. A Weather -- "Shirley Road Shirley" -- Cove
Download "Shirley Road Shirley"
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The most intimate record of the year was released by the somewhat shadowy -- or at least reserved, perhaps press-shy -- group A Weather out of Portland, who somehow took the narcotic and stoney vibe of slowcore and imbued it with hopeful romance and mystery. Spurred by careful, boxy (and apparently no-footed) drumming and spare guitar, "Shirley Road Shirley" soars into its almost-chorus, the questionable vow "I won't try anything, I swear you won't even know I'm there." We reviewed A Weather's Cove right here in February. Thanks to the band for the permission to post this track.

3. Los Campesinos! -- "Death To Los Campesinos!" -- Hold On Now, Youngster...
Stream it at Last.FM right here.

Pepped up and ragged, shouted and layered, the lead track from the Cardiff, Wales septet's first release of 2008 is rife with sly lyrics and enthusiasm to spare. We actually think this song's mix flattens the dynamics a little too much, perhaps in order to make all the instruments audible. The following track, "Broken Heartbeats Sound Like Breakbeats," is much more explosive -- although it hurts our head to figure out why. But it is the dueling vocals and gang cheers that make "Death To Los Campesinos!" the gang's best track of the year. The fact that its video features a homicidal unicorn is just so much delicious icing on the technicolor cake.

4. The Notwist -- "Gloomy Planets" -- The Devil, You + Me
Watch the amazing video with Andromeda Express Orchestra at YouTube right here.

Fuzzier vocals and acoustic guitar would seem to herald a new, ever more reserved direction for the laconic German quartet The Notwist, best known for its 2002 electropop milestone Neon Golden. But halfway through "Gloomy Planets," as the song scales its sole chorus, looping tones overtake the mix, overlay the piano and guitars and build a crescendo that waxes on for almost two full, thrilling minutes. And suddenly, it is like the band's recent history has caught up with it. The Notwist's Oct. show at Boston's Roxy nightclub was among our favorites of the year. Hopefully it will not be another six years before The Notwist releases a new record.

5. Frightened Rabbit -- "Floating In The Forth" -- The Midnight Organ Fight
Stream it at Last.FM right here.

We had already considered Frightened Rabbit's Scott Hutchison a master of crafting the devastating lyric prior to the release of The Midnight Organ Fight, but when we reached the tail-end of the record and heard this track buzz up into its bottomlessly sorrowful first line our estimation was affirmed all over again. "So you just stepped out of the front of my house and I'll never see you again." A lot of bloggers have expended a lot of keystrokes talking about the emotional rawness of Frightened Rabbit's overdriven folk-rock, but this track is the only one for us that is almost unlistenable. While The Midnight Organ Fight's relatively glossy production is somewhat at odds with Frightened Rabbit's music -- particularly its high-octane live sets -- every song on the set is dynamite. "Floating In The Forth," with its lush sonic palette, harmonies and dreadful sense of finality, was the biggest surprise of the collection. The band returns to Boston's Great Scott next month. We reviewed The Midnight Organ Fight here in March.

6. The Raveonettes -- "Dead Sound" -- Lust, Lust, Lust
Stream it at Last.FM right here.

A wonderfully realized track that amalgamates spectral (and obviously Spector-al) harmonies, simple urgent programmed rhythm tracks, aggressive white-out guitar fuzz and reverby leads into an aural candy treat.

7. Destroyer -- "Foam Hands" -- Trouble In Dreams
Download "Foam Hands"
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When you stop to think about it, the chorus to this track is ridiculous. But elsewhere band leader Dan Bejar's relatively simple yet typically impressionist lyrics are as evocative as ever. Mr. Bejar's singing is perhaps the most singular of this decade, as it is as convincing when coyly elongating and wearily over-enunciating syllables as it is when the narrator turns against his narrative, and occasionally the listener. Miraculously, "Foam Hands" does a whole lot with fairly little, including boring itself hopelessly deep into your brain, all the while providing Bejar ample opportunity to bend expectations just slightly into a gothic tale of estrangement.

8. The War On Drugs -- "Show Me The Coast" -- Wagonwheel Blues
This track isn't available to hear on the Internet for free.
Stream a short sample at EMusic here.

Ten minutes of kaleidoscopic, blissful drone could have easily felt like five minutes too many, but something about the arpeggiated swells and Petty-esque declamations spiraling out over an F# seemingly into forever is entrancing. It also inspires the cartoonish feeling that somehow, somewhere this song is always being performed, like the black-and-white footage of an oncoming steam train hidden behind the door in a Bugs Bunny short. The War On Drugs were the best of the many great things that broke out of Philadelphia this year.

9. The Hold Steady -- "Constructive Summer" -- Stay Positive
Stream it at Last.FM right here.

The most rocking track from the Brooklyn quintet's 2008 release, which was the only CD we kept in the car in late July. Big guitars. Harmonics. So much possibility. Nothing can go wrong. We have to believe that the lyric concerning water towers references the same found in the alternate versions of The Replacements' "Can't Hardly Wait" packaged with the reissues of Tim and Pleased To Meet Me this year.

10. The Swimmers -- "Pocket Full Of Gold" -- Fighting Trees
Download "Pocket Full Of Gold"
Recorded live at Chicago's Hideout, March 22, 2008
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While "Heaven" continues to be the "hit" of the long-awaited debut from this Philadelphia act, at least in terms of the attention bestowed by the Internets (the band recently released this video for the track, as well), "Pocket Full Of Gold" is the most irresistable of the ten tunes on the band's Fighting Trees. Tweedy-esque vocal, the track would have been a good fit on the first Wilco record, before the Chicago act entered its baroque period. We reviewed Fighting Trees here in March.