Cougar Microbes

1. The Decemberists- The King is Dead

Made the Cougar Microbes Top Albums of 2011 list here

2. Beirut- The Rip Tide

Made the Cougar Microbes Top Albums of 2011 list here

3. Death Cab for Cutie- Codes and Keys

I have been a Death Cab super fan since about 2001. ‘We Have the Facts and We’re Voting Yes’ is one of those albums that stopped me in my tracks, and ‘The Photo Album’ will always be one of my favourite albums of all time. However, whilst Death Cab’s quirky under the radar indie sensibilities may have been what won me over in the first place, I am unashamed in saying that indie rock pop songs (such as 2005’s ‘Plans’) are often when they’re at their strongest. Which is exactly why ‘Codes and Keys’ is so fantastic- tracks such as ‘Stay young, go dancing’ and ‘Portable Television’ are perfect indie pop for the Portland generation.‘Codes and Keys’ basically solidified it for me: Death Cab For Cutie are most definitely the band that I will never fall out of love with.

4. Bon Iver- Bon Iver

Made the Cougar Microbes Top Albums of 2011 list here

5. Braid- Closer to Closed

Okay, so it was only an EP, but if 2011 can be remembered for only one thing, it has to be the welcome return of Braid and their melodic pop accompanied by Bob Nanna’s distinctive vocals. This 4 track EP is hopefully the shape of what’s to come from a full length in 2012- Kinsella-core style tunes with heartbreaking lyrics. Roll on that 2001-era emo comeback..

6. Surfer Blood- Tarot Classics

Another EP, but one that is too good not to mention. Surfer Blood’s follow up to their 2010 debut ‘Astro Coast’, is all kinds of wonderful. ‘Tarot Classics’ is 4 brilliantly upbeat Beach Boys-esque tracks- the kind of songs that make you want to do spontaneous handclaps as you listen along. Main single ‘Miranda’ is Surfer Blood showing they can take the sound they encapsulated on their debut to the next level- polished hyperactivity if you will. With their second full length due next year, Surfer Blood well and truly remain ones to watch.

6. The Horrible Crowes- Elsie

Filling this year’s Hold Steady/Gaslight Anthem void in my life, The Horrible Crowes debut album oozes Jersey and Springsteen sensibilities. This is the kind of record that is made for dive bar jukeboxes, soundtracking ill advised all night whiskey drinking (the above may or may not have been based on personal experience). Brian Fallon’s vocals sound just as affecting as they do on Gaslight Anthem records, but yet benefit from the stripped down simplicity of The Horrible Crowes’ recording style. It’s a rare thing when side projects contain enough good songs to stand along, but ‘Elsie’ most definitely slots into that elusive category

7. Fleet Foxes- Helplessness Blues

Made the Cougar Microbes Top Albums of 2011 list here

8. Bright Eyes- The People’s Key

Made the Cougar Microbes Top Albums of 2011 list here

9. Mister Heavenly- Out of Love

An indie-rock supergroup comprising of members of Modest Mouse, Unicorns, Man Man with Michael Cera on touring bass, Mister Heavenly had pretty good odds in producing one of the albums of 2011. Bursting full of upbeat style indie-pop, accompanied by 1950s influences, ‘Out of Love’ is a must listen for anyone who has a remote leaning towards catchy indie rock that doesn’t take itself too seriously. And if that’s not enough, their biography states that Mister Heavenly are ‘very excited by the prospect of their music being used in a big-screen, teen romantic comedy’, which is pretty much all I could ever want from a band’s press release. Instant scene points? Yeah, I think so.

10. Alex Turner – Submarine (Original Movie Soundtrack)

Movie soundtracks aren’t often strong contenders for albums of the year, but Alex Turner’s self composed soundtrack to Richard Ayoade’s ‘Submarine’ is more than worthy of a place in the list. As a huge fan of the book, the songs that Turner produced for the film managed to perfectly encapsulate the melancholy and quirkiness of the story, whilst also showing that there is more to his musical repertoire than just the Arctic Monkeys. All haunting vocals, slow beats and acoustic guitars,especially on stand out track ‘Stuck On The Puzzle’, this a mini album that is most definitely one of the best things to emerge in 2011.

TRACKS:

The Decemberists – This Is Why We Fight by IndieRockReviews

Beirut – Santa Fe by Revolver USA

Death Cab for Cutie – You Are A Tourist by mownoislam

Calgary by boniver

Braid – “Universe or Worse” by AwkwardSound

Surfer Blood – Miranda by SPEAKIMGE8

Behold the Hurricane by SideOneDummy

Fleet Foxes – Bedouin Dress by magic.arrows.blog

Bright Eyes- Shell Games (k-noble booty folk remix) by K_noble

Mister Heavenly “Hold My Hand” Live at KDHX 11/12/11 by KDHX

Alex Turner – Stuck on a Puzzle (2011) by EmergencyBroadcastSongs

Alex Ebert‘s dedication to writing music showed no signs of slowing down in 2011. Having wowed us with THAT Magnetic Zeros album and resurrected Ima Robot recently he also found time to release his solo album named simply ‘Alexander‘.

Recorded in his off time from touring this album sounds like the stripped down extension of his Edward Sharpe persona. Ebert dips into and mixes different influences from Dylan to Springsteen in what is a spontaneous mix of ideas all loosely linked under the folk umbrella.

Cougar writer Thom said “although Alexander Eberts solo effort didn’t quite match the epic ‘Up From Below‘ of his dayjob, what it did deliver was painfully pretty and haunting concise pop songs. It is modest, timeless and irresistible“.

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ALEXANDER – Truth

I was extremely saddened to discover that legendary E Street Band founder Clarence Clemons passed away over this weekend following a stroke 2 weeks ago.

I have been fortunate enough to catch Springsteen and the full E-Street Band on a few occasions in recent years, and whilst my adulation was largely focussed on The Boss, there was a feeling that, together with Steve Van Zandt, Clemons represented part of the dream ticket; a unique blend of musicianship, showmanship and cool.

Back in 2008 I took Cougar collaborator Mario to see a second consecutive sell out night at Emirates Stadium. As the Big Man soared into action delivering the last of his huge solo moments we remarked that over just three or four songs Clemons left more of an impression than most musicians do in a lifetime.

That sentiment remains and I have been fishing out all my favourite “huge solo moments” and savouring them this week.

RIP Big Man!

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It takes a cold heart and a degree of self-importance to dismiss Matt & Kim offhand as childish and naïve. There is no doubt that many do. There is undeniably an air of youthful enthusiasm to their made-for-radio, synth-pop – with emphasis on the ‘pop’. But scratch beneath the surface and you unearth a real craft for imaginative song structuring. And, as the Brooklyn art-school duo hone their talent, a degree of – wait for it – enlightened lyricism is even starting to prevail.

Their third album ‘Sidewalks’ was released at the end of 2010 in the US but for the well-behaved non-file-sharers out there it officially hits UK shelves at the end of March. Like its 2009 predecessor ‘Plans’ the new full-length is incredibly polished, yet producers Ben Allen and Oliver Straus preserve some of the lo-fi urgency that shot the outfit into the billboard charts.

‘Sidewalks’ is very much an album of two halves. Die-hard fans of Matt & Kim’s previous work will be comforted to hear the familiar upbeat innocence which, musically at least, dominates the first half of the album. Kim Schifino’s exuberant percussion is prominent as ever yet this is far from being ‘more of the same’ with quasi hip-hop rhythms lending a new ‘freshness’ to their work.

Midway through this ten-track slice of pop, proceedings take a slightly more minimalist turn on ‘Where You’re Coming From’. Low on instrumentation and simple in structure the track shows a new level of maturity from this likable duo. It is a pattern that peppers the rest of the album, most notably on ‘Northeast’ which would be unlikely to appear on either of the outfit’s previous releases.

There is, however much in Matt Johnson’s lyrics which point to compromise. On the whole the music may be uplifting but the message is more contemplative and at times regretful. Themes focus heavily on strained relationships and resentment towards life on the road. On ‘AM/FM’ the lines “meet after dark and just follow me, treads been worn away, wrong side of the street” wouldn’t feel out of place in a Springsteen notebook. Though the pace and delivery remains urgent and vivid, the words reveal undoubted melancholy – “we tore the walls out, in this old bedroom of your house,” says Johnson on ‘Where You’re Coming From’, “to make room for dreams”.

There are the obligatory sure-fire hits and they are undoubtedly good – ‘Camera’s’ is a stand-out track which in a sense captures the essence of the entire album in three lines: “pound my steering wheel, we yell to the windshield, I’m finally home”. Yet it isn’t all deep and serious, ‘Good for Great’ could slot easily into any of the acts previous collections with lines like: “we sing along though the notes are wrong, we sing along through night and dawn”. It is, however, the understated tracks that triumph, making this the New Yorkers’ strongest release to date.

Overall ‘Sidewalks’ is an unexpectedly honest and personal affair. Sadly it is hard to shake the feeling that the chirpy duo have cheated themselves slightly – the desire to keep things low-key almost wiped out by the fear of upsetting the core support. You feel that anybody who really gets the outfit must surely appreciate each piece of work for its own merits. The result is that the album feels disjointed in places but equally whets the appetite for an exciting new direction. Matt & Kim are growing up. That is not necessarily a good or a bad thing.

‘Sidewalks’ is out in the UK on 28th of March via Different Records and is available in all the very best record stores. Take your pick.

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Post by Kenny the elder statesman.

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Compiling this list has proven to be harder than my album break down last year (and is that because there were fewer or more “great” releases in 2010?) but there was absolutely no doubt in my mind who would steal the top spot. After trying to avoid the fanfare surrounding the release of ‘The Suburbs‘ I was eventually seduced by Arcade Fire like never before.

In the past I felt the Canadian outfit almost had too many good ideas to cram into their records reminiscent of a young boxer coming out in the early rounds and throwing as many punches as possible. Though I have often appreciated (and sometimes loved) the band’s songs I couldn’t quite understand the level of adoration they were afforded. It took the release of their third studio album to turn me into a true believer.

From the opening tripple-whammy of the majestic title track, the blistering ‘Ready To Start‘ and the contemplative Springsteen-esque ‘Modern Man‘, it is clear this is going to be a treat. Boasting the initial rush of ‘Funeral‘ with the ambitious instrumentation ‘Neon Bible‘ there’s a feeling that this collective are at the very top of their game.

It would be a hard ask them to match this sort of intensity throughout but more than anything ‘The Suburbs‘ is frighteningly consistent. It represents a perfect snapshot of where the band stand today to the point where when Win Butler proclaims, “2009, 2010, wanna make a record of how I felt then“, it is entirely believable. This latest incarnation of Arcade Fire is akin to a seasoned champion carefully picking their blows to maximum effect.

Accordingly, songs like the seemingly straightforward ‘City With No Children’ and ‘Month Of May’ still have plenty of hooks and charisma to easily push past the finish line. Elsewhere the Régine Chassagne fronted ‘Empty Room’ and ‘Half Light I’ are particular show stealers with the former dealing a euphoric rush to contrast the sombre orchestration of its counterpart and all this before even half of the album is through.

In the hands of lesser bands, a concept album about the changing faces of The Suburbs might come across as pretentious, but Butler and co. are able to make sharp observations without condescending “the kids” they are singing about and more importantly to.

It comes back to that aforementioned “frightening consistency” because despite going on and on about the album so far I still feel its highest peaks are still to come. Tracks like the magnificent ‘Suburban Wars’ with its bombastic climax, the Cold War taunting ‘Deep Blue’ and the masterpiece ‘We Used To Wait’ possess sufficient magic to carry any album all on their own.

Intelligently the band employs tempo change throughout to reaffirm their undeniable hold. So there is still time for the sharp contrast of the brooding ‘Sprawl I (Flatland)’ and its tale of lost youthful innocence before Régine steals the show once again with the deceivingly upbeat ‘Sprawl II (Mountains Beyond Mountains); coming across like The Knife covering Blondie’s ‘Heart Of Glass’.

This album is so irresistible because its tracks work collectively just as well as they do individually. There is an undoubtable rush associated with their first impact but it is when heard from end to end that their true qualities become acutely apparent. This a classic album where repeat listens will be rewarded by the uncovering of constant themes and reoccurring lyrical musing.

By the time the familiar refrain of ‘The Suburbs (Continued)’ plays out the final moments of the album you will be longing for the whole adventure again. Ultimately, ‘The Suburbs‘ demands repeat visits because each time you go you will come back with a different rewarding experience.

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PREVIOUS: #02 Cougar Microbes Top Albums of 2010: Kanye West – My Beautiful Dark Twisted Fantasy

I first head Emanuel and the Fear when a video for first single ‘Jimmie’s Song’ was sent in to Cougar HQ in early 2010. The  track, with its forlorn whistling and ‘meant for the masses’ appeal, was fundamental in prompting my interest in the 11-piece band but I was in for a surprise with the rest of the ‘Listen’.

You certainly can’t berate the band for compromising their artistic vision on their full length debut which clocks in at just under 70 minutes featuring a mammoth 19 tracks. Instead they deliver their ambitious vision tackling a whole range of multifaceted musical landscapes.

So whilst there are a bunch of tracks that follow ‘Jimmie’s Song‘s’ stripped down Springsteen-esque charm this album has loads more to offer. In fact much of this album, with its sweeping orchestral movements, sits in an odd territory somewhere between Led Zeppelin‘s ‘Kashmir‘, Andrew Lloyd Webber ‘Phantom Of The Opera‘ and Disney‘s ‘Aladin’.  It actually works wonders lending dramatic quality to these compositions and, coupled with a constant lyrical theme, adding a continual thread.

‘Listen’ is an ambitious album that is an anomaly in comparison with other albums on this list. Though it may not suit those looking for a quick pop fix it is a highly rewarding experience.

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NEXT: #06 Cougar Microbes Top Albums of 2010: Kick Up The Fire – Kick Up The Fire

PREVIOUS: #08 Cougar Microbes Top Albums of 2010: Maps & Atlases – Perch Patchwork

Yoni Gordon and The Good‘s impressive 2009 album ‘Turning Chaos Into A Career‘ merited a spot in our end of year top albums list.

The troubadour was back this year with the album ‘Country For The Timid‘ offering a completely different angle. Temporarily parking The Goods in favour of a guitar and voice combo makes this is very much a back to basics album.

Yoni Gordon trades hooks and upbeat melodies for a far more sombre sound channeling Springsteen and Dylan interlinked with the great travelling bluesmen.

In his own words:

“These are tough times we are living through. Tougher than that. It won’t do to put on a party record right now. Country for the Timid is an album for these times”.

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I’m one of those people who really appreciate the traditional idea of a pop album. The well thought structure of a record that flows well and can be seen as a complete body of work. Not with just a strong opener, a couple of singles and a strong ender, but with all the things in between. This may be an old fashioned idea nowadays but every now and again I come across a record that I can listen to in its entirety and not feel like I have been given a raw deal.

I sat at my desk with my big headphones and pack of cigarettes and was very quickly taken in by The Attika State’s ‘Measures‘; A well controlled, slick, and in places very beautiful rock album that I listened to in happily in one sitting.

My hopes of the great opener was met immediately by the stadium worthy ‘5 Strings, No Wins‘, nodding it’s head to ‘Born To Run‘-era Springsteen, before crashing into the irresistible chanting of ‘The Horton Shuffle‘.

Beautiful harmonies and calculated instrumentation are the veins of this body of work whilst the wall of guitars and busy drums are a thick skin encasing its complex interior. This is greatly abundant in ‘Sons Of Sons‘.

Yossi‘, with its multi-layered epic bringing to mind latter day Jimmy Eat World, sincere and thick with sounds. “Turn the switch on this new invention, it baffles the eyes and grabs your attention”, is the elegant line that begins both verses continuing the theme threaded through this album of struggle and of pride. ’Flesh (Interlude)‘ simply proves in under a minute, that this band are as much musicians as they are rockers.

‘Measures‘’ restores my faith in the idea of an album to be listened to as a single piece of work encompassing exciting ideas, diverse songwriting, and mature musicianship.  the fact that The Attika State recorded ‘Measures‘ live just makes me respect and enjoy it more.

‘Measures‘ is out now on Alcopop! Records

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Post written by the birthday celebrating Thom

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