Best of ‘09

Louise Burns’ Best of ‘09

5. Cass McCombs – Catacombs
My bestie got me into this, and I find it so bizarre that more people don’t know about Cass McCombs. I am in LOVE with this nomadic gentleman (who has apparently been a gypsy for most of his adult life) and his reverb soaked charm. His music is reminiscent of late Eighties/early Nineties alt-country (early Blue Rodeo included), and even hints of the classics, like Ricky Nelson. It’s quite hard to compare his music, however, as he is entirely his own mystic cowboy type. He is truly the “songwriter’s songwriter” with “Dreams Come True Girl” being the kind of ditty that makes us humble: so simple, so brilliant. We are not worthy!

4. Dirty Projectors – Bitte Orca
Pitchfork approved, Brooklyn based, blah blah blahhhh. None of this would matter if I didn’t love this album so much. Wearing both Beyonce AND Talking Heads influences in the most tasteful fashion, this album is a guilt-free guilty pleasure. Fun to sing! Fabulous beats! I am jealous of this band.

3. Makeout Videotape – Heat Wave
These little creeps know how to write a song. I’m not going to kiss their ass anymore than I already have this year. So here is my cheers to you, fine humans, for mastering low-fi pop music like its 1969, ok?

2. Fever Ray – S/T
Every time I listen to this, I feel like I’m on some kind of Swedish drug or coming down from one, rather. Dark ambiance, sometimes hinting at Brian Eno circa Another Green World, other times Angelo Badalamenti’s Twin Peaks, but still remaining entirely its own. I loved the Knife, but I think there is something truly magical about Fever Ray – black magic, of course. Without the driving backbeat of The Knife, Fever Ray bears a sort of intensity, yet containing lyrics like “I’m very good with plants when my friends are away”. Karin Dreijer Andersson paints a rather psychotic character that you can’t help but want to befriend. Zone-out record of the year!

1. Timber Timbre
I was first introduced to the spooky southern swagger of Timber Timbre at one very late night social gathering, which ended up being highly appropriate: this is the kind of album best listened to in a state of half-consciousness. Woodsy night folk creates a haunting soundscape with striking tremolo and tasty reverb, accented by Taylor Kirks cavernous vocals. Makes me want to drink whiskey in a forest.