Top Live #2 – LCD Soundsystem – Koolhaus – May 25

Ed's Note - This is the one review on this list that I wrote directly after the concert, so I've decided to publish the original.

There's something incredibly comforting about watching James Murphy at work. For a man who is called a musical genius by so many critics, he's so humble on stage that it's almost unsettling. Whether in front of the mic or when he picks up a pair of drumsticks, he just seems at home on stage. That's where the debate about going out at the top of your game really comes out. Why deprive the world of such an alarming level of talent? If the rumors really are true and his latest LCD Soundsystem outing is in fact his last, then this show will really be one to remember.

Coming out with a bang and forcing everyone to dance, Murphy shows how he’s mastered the game he perfected. The gig was as tight as tight can be. To take a noise pit like the Koolhaus, which often ruins the most talented bands, and to excel in it is nothing short of a triumph. 

Murphy almost floats about the stage without a shred of pretension. You really get the sense that he is a perfectionist through-and-through. At one point he unhitched his mic and wandered over to band-mate Nancy Whang’s sound board to tweak one of her levels. Whang almost immediately changed it back. But Murphy casually wandered over and changed it again. Looking a little closer, you could almost see him justifying the original change to her.

It's actions like that that show you he really loves the experience of live music. Not just as a performer, but as an extended member of the audience on the stage. In the middle of playing Losing my Edge, the band stopped mid-song to wait out a fight in the audience. While encouraging them to settle calm down, Murphy mused that he felt a bit like Mick Jagger at Altamont telling people to play it cool...while in reality having no power and reducing himself to look like a wimp. 

It's that kind of authenticity that really makes the lyrics of LCD transcend what so many others have tried to do before them: to be real. Where younger bands simply bring the bouncy mix of guitars and synth, Murphy has the life experience to make it work. It may be that sole fact why he's packing it in after This is Happening. As he said himself during the gig "maybe I'm just old." If that's what being old does, I would frankly like to see a little more of it. 

At show’s end, there was an air of melancholic happiness drifting through the audience. If this really was it, you couldn’t tell by James Murphy’s demeanor. True to form, after a fitting finale of New York I Love You But You're Bringing Me Down, he left the stage with a relaxed wave. 

Top Live #3 – The National – Massey Hall – June 8

While many people associate Toronto with iconic structures like the CN Tower and Skydome*, I think the city's most majestic structure lies on Shuter Street with Massey Hall. If I get just one concert a year there, I am set. Last year my Massey experience that kept me smiling into the winter was Fleet Foxes. This time around it was the National.

Much like my previous entry, the National took more than one performance to satisfy me. Again like Deerhunter, a venue was in part to blame for an incredibly poor performance. That time it was the Koolhaus that warped the National into an experience easily forgotten. The other factor was that the band was piss drunk**, so much so that lead singer Matt Berninger dropped his mic at one point. A year later, I was extremely hesitant to see them again. Luckily for me, a friend treated me to some tickets.

Seats have always struck me kind of funny when I encounter them at a rock concert. Do you sit down and stay sitting? What happens if you want to stand up during your favourite song? Luckily this problem was settled by the band. After the first song or so, Matt Berninger hopped off the stage and began physically standing people up until everyone was on their feet. While I may have lost my visual advantage over the people sitting further back from me, I definitely felt a lot more comfortable.

The remaining memories I have of that Koolhaus performance were punted from my mind within the first quarter of this show. Their back catalogue was wall represented with my favourite songs from Boxer, Sad Songs for Dirty Lovers, and the more memorable ones off of Alligator. Sprinkled throughout, High Violet made its Toronto debut. I had wavered on the fact if I actually liked Terrible Love before the show. Seeing it live convinced me that I in fact did. The moodier songs like like Anyone's Ghost, Conversation 16, and Afraid of Everyone were enhanced by the simple backdrop of a curtain and single-coloured spotlights.

The thing that pleased me the most during the night was the fact that the National had showed up to play. I'll be bold enough to presume that Massey Hall had inspired them to bring a performance worthy of those who had played there in the past. One of the Devendorf brothers (I can't tell them apart) told a story between songs about sending a picture that he had taken of The Band to his father. His dad had responded by saying something like “The Band played there? Why are you allowed to?”

That kind of humour played a huge part in the night. When it wasn't Berninger making some sardonic crack about himself, there was always a tale to be told by the Devendorfs. Some self-deprecating jokes, a few cracks at the expense of other bands, even a tale about how someone's mom had wanted them to ditch Berninger because she wanted them to sing “nice songs.” I spent about as much time laughing as I did drumming my hands on the sides of my legs. For a man who loves humour as much as music, it really doesn't get much better than that.

The only concert I really got to enjoy before a long hiatus from live music over the summer, this gig stands out as one of the brightest points of the season. The friend who got me tickets got a huge hug at concert's end. I hope that made up for the fact that Matt Berninger left his high-five hanging while climbing through the audience. In hindsight, I'm sure it didn't.

* Fuck off Rogers, just because you buy a stadium does not mean I have to abandon childhood memories so you can have another billboard. 

** I'm not judging, I might as well have been drinking with them before the gig.

Top Live #4 – Deerhunter – The Opera House – October 19

If at first one of your favourite bands does not succeed live, then try, try again. It took me two times seeing Deerhunter this year for me to get what I wanted. The first wasn't bad by any means, just not what my heart had yearned for. Half a year later, I got the Deerhunter experience I desired.

There are a number of key ingredients that made this show a winner over the last one. The first was the setting. Without getting into why the Sound Academy should be razed, let me instead extend my praises to the Opera House. I could probably watch someone play a hand saw with a violin bow and enjoy it there. It simply brings out the best in whoever is on stage. The second difference was that this evening Deerhunter were in the headlining slot. It shouldn't make a difference what time a band plays, but for some reason it did.

The one constant element during both performances was the incredibly unique persona of front man Bradford Cox. Some may call it eccentric, others may say he's just weird. Let's just say he has a presence to him and regardless of what you call it, it's fun to watch. Often responding to something ridiculous shouted at him from the audience, Cox would give back something equally as silly. Yes, a bit goofy; but between that banter he and his bandmates spin a fantasy for your ears. So let them have their fun.

I like it when a band recognizes the great work in its back catalogue and decides to use it to its advantage. Deerhunter have just that in the album Microcastles*. Pairing up the obvious songs like Cover Me Slowly with Agoraphobia so that they're heard they way they're meant to. Every song was in its right place, Deerhunter showed that they knew it.

Deciding to go in fresh to new music, tonight was the first night I actually heard anything from Halcyon Digest. The surprise I got from hearing it was not unlike that on Christmas morning. I can always tell how much I love new material when I'm itching to go buy a new record in a middle of a set. Luckily I have a shred of self-restraint still because they played all of their new stuff and it sounded great. Songs like Helicopter and Desire Lines really stood out at the end of the night.

Musically the band did everything right. They did their fair share of distortion-fuelled interludes in between songs, but to the bands credit it never became annoying. Vocally, Cox took liberties on the way he sings some of his songs. Changing up the chorus a bit on songs like Never Stops gives just one more reason to see them live. There's always a different way you can see your favourite songs performed, if you wanted to hear them exactly like they were recorded you could stay home.

I was extremely lucky to take in this concert at all. I'll be the first to admit that I can be extremely stubborn when it comes to music. There are some moves bands have made that I will never forgive them for. Maybe I should take this experience as proof that I should give them another try. For now I'll just be happy that I made a little progress on one night this year and enjoyed one of my favourite bands the way I wanted to.

*To this day, Microcastles has my favourite critical blurb on it: “a desperate plea for auto-erotic asphyxiation.”

Top Live #5 – Timber Timbre + Dan Mangan – The Great Hall – March 11

Sometimes an undiscovered venue can really set the stage for an evening of music. Tucked into what may be the most boring facade on Queen West is the Great Hall. A fantastic old concert hall that much like the Opera House and Massey Hall, has a rich history of performance within its old walls.

First, let me set the scene for this gig with an crap situation: the night was double booked. Months in advance I had seen that RJD2, my favourite DJ, was playing at the Mod Club. When I bought my ticket, I was in for a dilemma. Unbeknownst to me, my best friend had bought us tickets for Timber Timbre and Dan Mangan on the SAME NIGHT. Now that's a tough decision. Three bands that I have equal love for plus a friendship to maintain. Grumpily, I gave in and Ramble John would have to wait for another night*.

The night then became about small steps to improve the sense of loss. Just north of me, an amazing show was about to play out on College Street. I put it out of mind and surrendered to the Hall. Surprise number one: on looking at the merch table, I realized that the opener Sally Seltmann, once went by the moniker New Buffalo. Without a single chord played, things were already looking up.

Seltmann put on an extremely charming performance. From my perch overlooking her on the balcony I got the full effect of her lighthearted quips about love. My biggest disappointment with her set was the fact that she not only abandoned her old name, but her old material as well. I guess I can't blame her, the lyrics in her new songs are far removed from the heart-wrenching material on the Last Beautiful Day. That's not to say I didn't mind hearing the cheery stuff. After all, she is the songstress that provided Feist with 1-2-3-4.

Up next was the much buzzed about Dan Mangan. He had recently played an in-store concert at my record shop and the guys there could not stop talking about him. At the gig you could see why. The same crisp voice that comes out of your speakers while listening to Nice, Nice, Very Nice is the same voice you hear on stage. That means a lot to me when it comes to singers with voices like Mangan's.

Outside the vocals, was a high level of showmanship. In between songs, he has a touch of the same vulnerability that comes through in his lyrics. That shy smile disappears completely when he plays, as if nothing can touch him. Backing him up is a hell of a band – my favourite of which to watch was his bassist. All of them clearly draw on each other for energy and that came through when they played Sold. Wrap it all up with Mangan wandering through the audience while singing the chorus for Robots and you have a folk-rock act that can't be beat. When the set was done, the nicest guy** in Canadian music joined the crowd.

By this point, I had completely forgotten RJD2 and all was forgiven to the gig gods for putting two concerts on the same night. And the best was still to come.

I'll admit that the change in atmosphere after Dan Mangan's cheery and upbeat set was the equivalent of a being woken by cold bucket of water, but Timber Timbre gave me everything I had hoped they would. Illuminated by a steady stream of blood-red light, Taylor Kirk delivered the moodiest blues-folk I heard all year. Perched in front of a bass drum, he provided a steady beat to the ominous music he sang. Timber Timbre has a comforting way about it that is hard to describe.While the setting and music were both dark, when they played songs like Demon Host, that darkness is the furthest thing from your mind. 

Chit-chat between songs was kept to a minimum, because let's face it, when you could be listening to them play there really isn't much to talk about. While I was fine with that approach, you could tell that some of the audience members who didn't quite get Timber Timbre were a little on edge. All of those murmurs that rose from the crowd were quickly silenced when they realized exactly what they were hearing.

One year before this concert, a friend told me why I should listen to Timber Timbre. He described the way that Kirk closed his show with this: “He made a forest in the room.” I was a little taken aback while he described a loop pedal, whistling, and a lot of reverb until the entire room became wild. It was that description that made me listen to Timber Timbre and what I was hoping for during this concert. I wasn't let down, because that night in the Great Hall, a forest grew.

* The things we do for love, right? Still, RJD2 had better come back.

** I've already talked about how much I think Dan is a good guy (see best albums of 2010), but tonight was the night when he proved it to me. Before his set he sat on the far balcony watching Sally Seltmann play. After he left the stage, he and his bassist joined the crowd to mingle and watch Timber Timbre. All smiles all the time, no ego whatsoever; just pure class. 

Top Live #6 – The Wilderness of Manitoba + Leif Vollebekk + Olenka and the Autumn Lovers – The Horseshoe Tavern – November 25

With a long tour across Canada and England under them, the Wilderness of Manitoba came home. After running what has become an extended music collective out of their home, the band has made a lot of friends. Whether it's a fabled Delaware House show in their majestic backyard or in the basement* when it's too cold, chances are they've introduced you to some great music. True to form the band brought some of those friends along for support as they headlined their first show at the Shoe.

Up first was Olenka minus her Autumn Lovers. This girl has that kind of presence on a stage where it takes you a while to realize she's standing there alone. It helps that she has a beautiful voice that reminds you of Joni and a real talent at songwriting. It was a short set, but sweet. Olenka also gave us a nice full band sound by inviting some of the WOM to the stage for a couple of songs.

Next, the soulful songs of Leif Vollebekk charmed the room. How Leif hasn't exploded with popularity yet is a wonder**. Like Olenka, he doesn't need anyone around him on stage to hold your attention. All he needs is a guitar and that voice of his. I've seen him a bunch of times now and I never get bored hearing him sing about love. While it sucks that it sounds like he was screwed over a couple of time, that experience just makes for a better song. I think I've heard him croon the Cairo Blues about five times now, it never fails to get some sort of emotional response the crowd. It also helps that Leif is a charmer on the stage. One of my favourite things to do while he's playing is to look at the women in the audience swoon. There were a couple of crushes formed that night. Lucky Leif. 

When the Wilderness of Manitoba took to the stage, there was something different about them. While I've seen them play countless times, I have never seen them play a set with their drummer. One of the drawbacks to playing summer concerts in their backyard means that they have to sideline drummer Sean Lancaric. Luckily the Horseshoe doesn't have problems with noise bylaws so they let him out of his cage. That carefree attitude revealed one more thing about the band: they can rock. While the WOM can evoke the most CSNY-like moments with their aptitude for four-part harmonies, remove their restraints and they join the ranks of the best folk-rock bands.

One thing became quickly clear during this gig; all that time spent on the road has clearly paid off. Over the years the band has not only grown better in terms of the songs they write, but they have also become tighter and tighter as a live act. It helps that four out of five of them live together, meaning they can constantly bounce ideas off of each other. It also helps that they can sneak in a performance while hosting a Delaware House concert. What helps the most is their clear love of music and the individual talents that each of them bring to the table.

It's not just the audience who loves what they do on and off the stage. Look at either Now or Eye Magazine's top ten local albums of the year and you'll see that the critics are responding big time to their latest album When You Left The Fire. 

This November night was not only a homecoming for the Wilderness of Manitoba, but a coming out for the rest of Toronto. Whether you go to see them at a bigger venue like the Horseshoe or somewhere far cozier, you'll understand why this band gets so much love wherever they go. 

* I once sat on their basement steps and watched the Rural Alberta Advantage play an acoustic set.

**Seriously folks, if you haven't listened to Leif yet go to his Myspace page and check him out right now.

Top Live #7 - Land of Talk with Suuns - Lee’s Palace - September 16

Within the first three songs of Cloak and Cipher, I immediately went online and bought a ticket to see Land of Talk. That seemingly implusive move paid off big time. Going into the show I thought it was too bad I couldn’t find someone to go with me. After leaving I knew it was everyone else’s lack of fortune for not coming.

I was lucky enough to arrive early enough for opening band Suuns. Good thing for me because this may have been their last appearance in Toronto before becoming one of the most buzzworthy local bands of the year. I spent the first couple of minutes into their set just in awe of the sound coming at me. These guys can almost put you into a trance.

It’s no wonder that their song Arena crept so steadily to the top of CBC’s R3 playlist. Heard live, the song forbids you to sit still. Starting off with a steady pulse, it grew to fill the room making it impossible to not bob your head along with them. All of the songs following it had that same appeal. I tried my best to classify Suuns and the best I could come up with was a more musical version of Battles with a dash of Muse and a sprinkle of something else I couldn’t quite put my finger on. Unclassifiable or not, this was a welcome introduction to Suuns. I expect big things for these guys into the new year.

When Land of Talk took to the stage, I don’t think any of them were quite ready for the welcome they received. Lead singer Lizzie Powell would stand back and gush at the crowd’s response every few songs. It may have been the most modest response I saw from a musician all year. That reception paid off for the audience as well; every bit of love given to the band was paid back tenfold during their performance. 

Moving through Cloak and Cipher and a lot of older material as well, the entire set gave something for everyone. To put things into the epic category, about half of the Suuns team played almost the entire concert as extended members of the band. What each band had to offer on their own, was multiplied when they came together. Multiply that by another thousand times or so and you’ll figure out how much I enjoyed watching them play together. 

The only disappointment I had was that I forgot my glasses. While most of the stage was a blur, the one thing I could make out was Lizzie Powell really giving it to her guitar. As much as I love a woman who can belt out some really well written lyrics - which Powell clearly can and did - I find nothing more attractive than a woman who can play a hell of a guitar. Every time I listen to Land of Talk either live or on my record player, I think I fall in love with their music a little more. Lizzie Powell plays a big part in that. 

Top Live #8 - Easy Star All Stars - The Opera House -May 8

The Opera House security detail must have taken the night off, because the air was so thick with the smell of marijuana it made your head swim. Through that caliginous haze, the reggae reimaginations of some of my favorite albums were performed. 

I got my first taste of the All Stars while DJ-ing in New Brunswick. Back then they tickled my ear drums with their reggae dub version of Pink Folyd’s Darkside of the Moon. As time passed they took on another one of my all time favorites with Radiohead’s OK Computer. On this dreary May night, I got to hear their take on the Beatles. Luckily Sgt. Pepper’s Lonely Hearts Club Band translates well into the dubscape. 

There’s always a sense of anxiety on your way to watch a group you’ve anticipated seeing for years. Will the music translate well live? Will they play the right mix of their material? Most importantly, will the female vocals on Dark Side be strong enough. Leave it to reggae music to put your mind at ease. 

To have the audacity to perform music this famous and to change it as you see fit requires a talented band to pull it off. Anything less would just be insulting to the originals. I was almost taken aback at just how tight they actually were. Drums, horns, guitars; everyone on stage had an effortless expertise to their craft. 

It’s a concert like this that really makes you appreciate a skilled bass player. On the heavier Pink Floyd grooves like the ones year hear on Time, you could feel the music inside you. When they made the switch to Radiohead and the Beatles, it was right there feeling its way through the crowd making them bounce along with it.  

The defining feature of this concert for me was the female vocals during the Dark Side portion. They were about as spot on as you could get without listening to the original. I closed my eyes briefly while they were playing Brain Damage and thought “this is about the closest I will ever get to hearing this album live.”** Normally that thought would depress me - but reggae or not - Floyd played this well, is still Floyd done right. The seventies are gone and mourn them if you must; just know that there are still ways you can listen to your favorite music from that era live.  

The All Stars also played a great mix of Radiodread along with Sgt. Pepper’s Lonely Heart’s Dub Band, but the Dub Side of the Moon portions of the gig were the defining feature of the night.  

One of the best parts of this evening came when I got home from the gig. On opening my copy of Dub Side of the Moon, there before me was a bright green record. It’s the silly little things in this obsession I have with music that really do make me smile. 

**Yes I’m aware of the reunion tours here and there. I’m also aware that I miss them every single time. 

Not on the list, but still on my record player

As someone who pays a little too much attention to music, my end of year lists often lead to a lot of anxiety. After agonizing over what to include, it almost hurts to leave some albums off. While it was tough, I just think it speaks to how much good music 2010 had to offer. Here are a few of the albums that I loved but just missed out on making my top ten list.




  Best Coast -
       Crazy For You









        
                               Owen Pallett -
                                           Heartland


              





 The New Pornographers -
                   Together







      
       Kanye West -
               My Beautiful Dark Twisted Fantasy
                







PS I Love You -
          Meet Me At The Muster Station







                   Broken Social Scene -
                               Forgiveness Rock Record




  


    Joanna Newsom -
             Have One On Me







                             LCD Soundsystem -
                                      This Is Happening
                                  






      Sleigh Bells -
               Treats







                            Belle and Sebastian -
                                       Write About Love


                            





    The Wilderness of Manitoba -
               When You Left The Fire






                                               Interpol -
                                                    Self Titled



                                                            



             Shad -
                 TSOL

Top Albums #1 - Black Keys – Brothers

I think the reason I love this album so much is because the Black Keys did it their way.

I read an interview this summer with the Keys’ Dan Auerbach where he felt he needed to defend the usage of the band’s songs in commercials. He argued that if radio stations weren’t playing them, why shouldn’t their music be heard on television instead? Well that approach seems to have worked out because after year of working their asses, the most underappreciated blues-rock band has finally cracked into mainstream music.

The thing that I respect most about the Black Keys’ rise to fame is that they did it by staying true to their music. Yes it’s evolved since the days of Rubber Factory and yes, Danger Mouse did give them a cleaner sound on Attack and Release. But their evolution still has all of its roots there for all to hear. Listen to Brothers and you can still hear the charm that made you fall in love with the Black Keys in the first place.

The only difference this time is that the pair were comfortable to take more risks. Six years ago would you ever think that you would hear Dan Auerbach sing in a falsetto? Odds are it didn’t even cross your mind, but he does just that on Everlasting Light and it works in a big way. It’s that sort of experimentation that takes you on a tour with this album.

The brothers also know when to keep it simple. Auerbach and Carney know the right moment to stick to what they're known for before switching it up completely. They use Black Mud as the perfect instrumental interlude to break up the first third of the album. What follows is a switch onto a moody (and kind of sexy) song like the Only One. That signature Auerbach falsetto makes another appearance and once again you wonder why it took this long to hear it. 

Brothers also manages to show an evolution that keeps the band relevant. Sure they could have kept going with their usual antics, but I’m afraid that would run the risk of getting stale after this many albums. Instead you they give us a song like Tighten Up which begins with whistling before heading into a blues standard. It’s the Keys’ ability to push blues-rock forward that continues to show off their talents.

The album’s name just speaks to how the two compliment each other. Every step of the way they react to one another like a pair of siblings. Patrick Carney’s drumming is flawless and as always, provides the perfect beat to every guitar lick. Dan Auerbach’s voice has some of the grit returned to the tracks after being noticeably absent from Attack and Release. As far as their respective talents as a band, the sheer level of musicianship found on Brothers was unmatched this year.

Having listened to these guys since their debut album, I have always had a deep respect for what they do. In fact, the very first gig review I ever wrote was a Keys concert in Nottingham, England. Back then I wrote that you didn’t have to lament the untimely deaths of blues rockers because these two young men from Ohio were picking up the slack. Now years later, my love for the Black Keys hasn’t waned. Instead it grows stronger with every song they put out.

Top Tracks: This is a whole album one folks. Listen to the whole thing and take solace in knowing that there are still bands that have a love of music this deep. 

Top Albums #2 - Deerhunter – Halcyon Digest

From the moment Halcyon Digest begins, you’re swept inside Deerhunter’s dream. The Atlanta band have an unbelievable knack at submersing you within their world. But this is an incredibly dark fantasy.

At the center of the record’s sleeve accompanying the song Helicopter, is a story written by Dennis Cooper about a Russian boy named Dimitry Marakov or Dima. Dima was born in 1986 and had aspirations of getting into the fashion industry. Due to financial and parental restrictions, he leaves his family to go live with an older fashion photographer. As time passes he becomes the man’s lover while continuing his dream to go to college. Dima eventually falls into pornography and eventually male prostitution, his story becoming shrouded in mystery as he is sold into organized crime as a sex slave. It’s revealed later that he was likely murdered some time in 2005 after being pushed out of a helicopter.

While influencing at least one song, I have a hard time ignoring the way that Dima’s tale pervades the entire album. Halcyon begins with lyrics full of hope and ambition. As it continues, the theme of aging and lost youth are around every corner. 

Even if I’m wrong about the whole album containing a touch of Cooper’s story, the one song where it is clearly told is Helicopter. It’s here where Dima’s journey reaches a calamitous end. But while the subject matter is incredibly sad, it’s anything but bleak. Instead Cox manages to transform it into a melancholy lullaby where the character woefully laments that the devil has come to collect him. The tragedy is compounded with this heavy lyric:  “No one cares for me. I keep no company. I have minimal needs. And now they are through with me.” 

While this may sound like the world’s most depressing album, it’s far from it. The music is beautiful and immersing. Topped off with the pristine vocals of lead singer Bradford Cox, the album demands multiple listens. 

Like Microcastles, Halcyon Digest is incredibly moody while having the ability to never become stale. I often come home late at night and listen to it before drifting off. Deerhunter sing me my bedtime story and surprisingly, I  somehow manage to not have nightmares.

Top Tracks: Desire Lines, Helicopter, Coronado  

Top Albums #3 – Caribou – Swim

It’s funny how this is one of my top albums of the year, yet I’ve had the hardest time writing about it.

As if it was bursting with energy trying to escape, Swim kicks off with an explosion at the beginning of the first song Odessa. From that moment on it’s impossible to not move with it. I challenge anyone listening to this album to keep themselves from dancing. It’s impossible. Dan Snaith just knows what it takes to get people moving.

A huge departure from Andorra, Swim ups the tempo in a big way. In fact I'm listening to it right now and its really quite difficult to sit still. This is one of those albums that has the ability to actually screw with your pulse and to make your heart beat along with it.

I almost feel that sticking this album in the electronic genre is too simplistic. It's so much more than what one genre can offer and comes off as one of the most musical albums of the year. Go listen to crap nightclub and you'll hear the difference with what they play, and what Caribou offers in return.

While it relying heavily on the use of synth, Swim uses an expansive use of instruments and its where the album really shines. A simple flute beat provides the backbone for Leave House. As the progresses it is slowly covered up with layers of other instruments, before one-by-one being stripped away reuniting the listener with that flute. On other songs like Kaili it’s the use of saxaphones and clarinets that really make the song stand out.

Also it comes down to the different sounds and instruments usually unheard of in popular music, that set this apart from any other album. On the instrumental Bowls, the song uses what I can only presume are bells to create a solid beat in the background. It comes down to that indescribable element that really makes you stand back and take note of what you’re hearing.

Snaith’s vocal work is spot on as well. Drifting through songs like Kaili while on others like Found Out, it's doubled up to give the song a little more substance. Midway through the album the lyrics begin to resemble those on his previous work. But while they’re rich and deep, they match the beat Snaith has set them up around them. The final song Jamela is the closest Caribous comes to his roots. But that resemblance is soon gone as the song builds to a massive climax before dropping away almost as abruptly as that explosion that kicked off the album.

I feel that I am in no way coming close to giving Swim the justice that it deserves, but it’s one of those albums that you have to hear for yourself. All I can say is that I have put this album on almost every time I have gotten ready to go out. It always leaves me energized and ready for what the night will throw my way.

Top tracks: Odessa, Found Out, Bowls, Leave House, Jamelia

Top Albums #4 - Arcade Fire – The Suburbs

This is an album that sees its victory in the transitions between songs. The way each song moves into the next one always makes perfect sense. Combined with the albums theme, it often gives the songs room to breathe so the band can tell one big story. 

While the first and title track eases seamlessly into Ready to Start, the band takes different approaches on others. Rococo for example starts with pretty jarring squeal as if to say “Listen up! Now we’re doing this.” Empty Room takes a similar approach starting with a flourish of strings taking the tempo somewhere else, then it slides right into City With No Children with the same repose you hear at the beginning.

It’s this careful planning and execution of their songs that sees the Suburbs pushed into so-called “masterpiece” territory that they’ve grown accustomed to. While I won’t go as far as to say that myself, I will say that every aspect of it is lovable. Even the album art is beautiful coming through more on the vinyl. The lyrics are hand written on the sleeves in a way that shows the scribbles and changes on the way. One more little attention to detail that takes the listener along the same path that the band travelled to get here.

While I’ve loved their previous albums from first listen, I often felt that the Arcade Fire never had a chance to really enjoy their rise to fame in the same ways many other bands do. I like to compare it with an established adult that missed out on their childhood. They shot up so far and fast with Funeral that you wondered if they could sustain it. Luckily on this album you can hear that they can and that they still have room to grow. I think the area where that comes through the most is in the vocals. Win Butler’s voice is the strongest I have ever heard it, while still maintaining the vulnerability I loved about it in the first place.

Anyone that tells you that the three years between Neon Bible and the Suburbs wasn’t worth the wait is either a liar or just needs to sit still and listen to it again. This time around, the Arcade Fire had me wanting more after each listen. This summer that feeling bordered on obsessive when I got a taste of the album in the form of an early release, two-song ten inch. I found myself listening to the title track on a slower RPM so I could get another song out of it. If you think that sounds ridiculous…well you’re completely right.

Maybe if I had seen them live this summer this album would be higher on my list. But unfortunate circumstances saw me miss that show and as a result the Arcade Fire continue to be my musical Polkeroo. That doesn’t mean I don’t love this album, I really do. When you see what they’re up against further down the list I hope you’ll understand!

Top Tracks: The Suburbs, Rococo, Half Light Sprawl II. It's really best when you take the time and listen to all of it.