The biggest reason for this lack of praise is that Mitchfork does not bow to the altars of the following:
Animal Collective
Grizzly Bear
Dirty Projectors
We'll admit to liking Grizzly Bear, tolerating Animal Collective, and not giving Dirty Projectors much of a chance because of the vocals. But we didn't have to change underwear when these albums hit the scene in 2009. In fact, we never change underwear period.
Lacking these three lauded bands, 2009 doesn't seem quite as impressive. However, there were still 10 fine albums (and an honorable mention) worthy of attention. These are those 10(11), plus Mitchfork's Music Video of the Year.
MUSIC VIDEO OF THE YEAR:
Grizzly Bear, "Ready, Able"
Mitchfork's favorite track off of Veckatimest gets the royal treatment video-wise. Like, wow. Long a fan of claymation, we'd never seen it utilized in such a jaw dropping way. Works perfectly with the song too (sorry Jeff, who fails to comprehend MOOD and focused just on the connection to the lyrics). Don't believe us? Watch for yourself:
Onto the list!
Honorable Mention:
Dead Man's Bones, Dead Man's Bones
Every October from now on the debut from Zach Shields and FAMOUS ACTOR Ryan Gosling is Mitchfork's #1. The perfectly spooky album for Halloween lovers everywhere, it features traces of everything from doo-wop to 80's new wave. Despite its Halloween themed nature, it isn't the slightest bit kitschy (if anything, the backing choir of children really add a haunting, urgent quality to the music). These are songs about ghosts, death, zombies and werewolves done right.
#10:
The Twilight Sad, Forget The Night Ahead
This here is the second album from The Twilight Sad and, despite the accolades their debut received, Mitchfork thought it dragged a bit. A lot of the same. Not so with Forget The Night Ahead-- These songs sizzle, propelling forward leaner and meaner than anything previous. Mitchfork is convinced this album showcases a band honing their skills for even bigger things in the future. And we're not quite sure what it is about the Scottish accent that allows it to contain such angst, but it always makes us think of Ewan Mcgregor's "It's SHITE being Scottish!" speech from Trainspotting. Good Shite, that.
#9:
Ramona Falls, Intuit
Do like Menomena? Mitchfork does. Mitchfork also likes Ramona Falls (perhaps even more), and that's no coincidence. Definitely the same guy (Brent Knopf), as well as the same gorgeous soaring songs featuring a ton of different instruments blending together in a wonderous cacophony. "Diamond Shovel", the closer, is our favorite-- there is a beautiful resignation to it we find strangely arresting. If we ever get a chance to watch the famed lemming death march, we want this playing in the background.
#8:
The xx, xx
Surprise hit of 2009 brought to you by a bunch of British teenagers. It's a slow burn, a nuanced and mature effort that meshes together post-punk with some dancey grooves. And the dueling male/female vocals makes us think of Stars, which isn't a bad thing. Architecture in Helsinki in their quieter moments-- they remind Mitchfork of that too. Finally, they make Mitchfork think of sexy things, because (listen up all you players out there) this is a perfect record to get that special someone in the mood. Right before you fork the bejesus out of them.
#7:
Japandroids, Post-Nothing
Unlike our #8, there is nothing subdued about Japandroids. They make the music you'd expect teenagers to make, brazen lo-fi anthems about growing up, leaving home and not giving a shit what happens next. "You can keep tomorrow/after tonight gonna need it!" is hollered in "Young Hearts Spark Fire" (what a perfect name for this song), and it sums up the reckless passion pouring out of this album. We at Mitchfork are listening to this album at the moment, and it's making us want to leave home tonight and start driving. Just jump in a car and leave it all behind. But we have bills to pay and laundry to do, so we'll just turn it up a little louder (until the wife tells us to turn it down). Ahhhh, to be young.
#6:
Sunset Rubdown, Dragonslayer
Man, we never thought Wolf Parade could top Apologies to the Queen Mary. And they didn't. We also didn't think Spencer Krug's own band could best their previous opus, Random Spirit Lover. They also didn't. But Sunset Rubdown still delivers a healthy dose of the Krugian quirk, spinning wild tales matched by even wilder music. There is so much spastic awesome going on here, but it still manages to be catchy and relatively accessible. These songs jerk from left to right, shooting off in unpredictable directions that the listener can't help but find exhilarating. As exhilarating as dragonslaying? No, but that's why all the dragons are dead. It was too much fun.
#5:
Passion Pit, Manners
Unrelentingly chipper, the boys from Passion Pit followed up their breakthrough EP Chunk of Change with the equally sugary Manners. Sometimes it can get to be a little much, Michael Angelakos's delicate (and occasionally shrill) voice thrown in with all these happy go lucky beats. But then they break it down and you're bobbing your head, feeling carefree and thinking "hey summer isn't so far away". Plus, there's "Sleepyhead", the best track on Manners just as it was on Chunk of Change. Man, what a song-- they can put it on every album they ever release and Mitchfork won't hold it against them.
#4:
The Rural Alberta Advantage Hometowns
Mitchfork had never considered taking a trip to Alberta-- it just didn't seem to have much recommending it. Saskatchewan, now that's a different story. However, we had never had the advantages of living in Alberta framed in such a compelling way. In this band we see elements of Arcade Fire's debut, a raw yearning for lost innocence, but both musically and vocally there are moments that recall Neutral Milk Hotel. When these names are being tossed out you're doing something right and, while they're still rough around the edges, the RAA have crafted an album that leaves a powerful emotional imprint. Pack your bags honey, we're off to the prairies of western Canada to see what all the fuss is about.
#3:
Longwave, Secrets are Sinister
After a huge letdown of a third album, Longwave delivered on the promise of their major label debut five years later (it came out at the end of 2008 but we didn't get into it until 2009). This is a controversial pick, because Secrets are Sinister is not a groundbreaking album and we didn't expect it to earn high praise from the other fork. Regardless, it is right in Mitchfork's wheelhouse. From the lofty guitar work in "I Don't Dare", to the ferocious rocker "No Direction" (great song to jog to), this album delivers the stadium anthems and lush, layered atmospherics that make our spine tingle. Others have done it before, and done it better, but this doesn't make this album any less satisfying.
#2:
We Were Promised Jetpacks, These Four Walls
Mitchfork had been anticipating the debut from these Scots (tourmates of Frightened Rabbit and The Twilight Sad) for quite some time, ever since we heard "Quiet Little Voices" repeatedly played by John in the Morning (DJ at 91.3 KEXP Seattle, pretty much the man) in 2008. The same Scottish torment exists here as in Forget The Night Ahead, but These Four Walls possesses a more distinct loud/soft dynamic (which, as diehard Modest Mouse fans, we just adore). There's a desperate energy that inhabits every song on the album, a tension always in danger of exploding forth like it does on the opener "It's Thunder and It's Lightning". It's infectious, containing the same kind of raw power that drew us to Japandroids, and Mitchfork is eager to see how these fellows can harness it in future efforts.
#1:
Phoenix,Wolfgang Amadeus Phoenix
There was no debate here-- Phoenix's breakthrough to the mainstream was a painless choice for album of the year. These Frenchies were everywhere in 2009-- late night shows, Cadillac commercials, you name it. Mitchfork listened to "1901" until our ears bled, and then after we cleaned up the mess we listened some more. And the fun doesn't stop there-- the whole album is tight, bouncy pop that breezes on by like that summer day you wished would never end. In a year filled with lo-fi acts that critics fell over themselves to praise, Wolfgang Amadeus Phoenix showed how gifted musicians, confident in their sound, could create a superior album free of unnecessary fuzz. Phoenix put their melodies out in front where they belong, and it resulted in the best music of 2009.
