Review: Polar Bear Club, "Chasing Hamburg"

Polar Bear Club
"Chasing Hamburg"
(B9)

At this point in their career, Polar Bear Club probably hates being compared to Hot Water Music and Small Brown Bike. In fact, other than singer Jimmy Stadt’s gruff vocals, the upstart band shares little else with those other bands. I would liken Polar Bear Club more to Seattle’s defunct Waxwing, the post-hardcore slash emo band fronted by Rocky Votolato and flanked by guys who would go on to form Blood Brothers and Gatsby’s American Dream. With that comparison in mind, it’s pretty much a no brainer that PBC would recruit former Minus the Bear keyboard player and renowned knob twister Matt Bayles to production for their second full-length, first for Bridge Nine, “Chasing Hamburg.”

Lyrically, what I enjoy about all of the band’s recordings, and it’s something that is very apparent on “Hamburg,” is how transparent the words are. The topics on this particular record reflect that of a growing band, which is what Polar Bear Club is.

In “Boxes,” Stadt sings “You don’t have to be an asshole to be an artist.” A similar criticism is explored on “Song to Persona,” where Stadt mulls over the schism between a band, their music and the people who love them. As far as the music itself goes, it’s a natural progression from their last album, “Sometimes Things Just Disappear.” My biggest misconception about the album, based on the teaser 7” “The Summer of George,” was that the band was going to be poppier. But it’s quite the opposite. There are harder parts across the album and Stadt sings much better.

Having just got off a support tour with Set Your Goals and Four Year Strong and an upcoming tour with Crime in Stereo and Strike Anywhere, Polar Bear Club is definitely going to be a band to watch in the coming months and the proof is all over “Chasing Hamburg”

Recommendation: Buy it

Listen to: “Boxes,” “Chasing Hamburg,” “Drifting Thing”

Review: Raekwon, "Only Built 4 Cuban Linx II"

Raekwon
“Only Built 4 Cuban Linx II”
(Icewater)

It’s funny that when people who are held in high regard and hit a bit of a stumble are forced to go back to the well. Unfortunately, Wu-Tang’s gulliest member, Raekwon, has had to be that guy. Arguably, Rae has the strong solo album under his name, 1995’s “Only Built 4 Cuban Linx…” Featuring strong guest appearances from all the members of the Wu, as well as Nas, the street-dubbed Purple Tape is heralded as a hip-hop classics.

In subsequent years, Raekwon’s been chasing the strength of “Cuban Linx” and oftentimes with underwhelming results, as is such on “Immobility” and “The Lex Diamonds Story.” While Rae’s partner, Ghostface Killah, has become the most popular solo member of the Wu (Method Man notwithstanding), the Chef has toiled away regaining relevancy with a string of YouTube covers and signing with Dre’s Aftermath imprint.

Unsurprisingly, Dre dropped Raekwon (like he did with Rakim and Lord knows who else); undaunted, Raekwon formed his own label (Icewater) and put out the sequel to “Cuban Linx” himself.

Since 2006, tracks have slowly leaked online and many of them do not appear on this album, which is probably why “Cuban Linx II” sounds so fresh.

The album’s full opener, “House of Flying Daggers” is a return to form for the hungry Wu rappers going over a Dilla beat. The Pete Rock-produced “Sonny’s Missing” is complimented with Marley Marl’s interlude, “Pyrex Visions.”

The dreary Motown vibe of “Cold Outside” is one of the album’s strongest tracks with Suga Bang singing the hook. In fact, I would go as far to say that it’s the definitive moment of the record – Raekwon and Ghostface trading narrative barbs while the horns recall early RZA production techniques.

It’s too early to tell if “Cuban Linx II” will match the popularity and success of its predecessor, but it’s definitely one of the best hip-hop records that’s come out in sometime, as well one of the most gratifying Wu albums in general.

Review: Ace Enders & a Million Different People, "When I Hit the Ground"

Ace Enders & a Million Different People
“When I Hit the Ground”
(Vagrant)

First of all, has Drive Thru rendered themselves to the point where they have do these joint releases with Vagrant? What did the Reines siblings do (or not do) exactly? In either case, bravo for Rich Egan.

Through the albums he’s done with the Early November and I Can Make a Mess Like Nobody’s Business, Ace Enders has proved himself to be a rather a prolific and eclectic songwriter. If you’re in the mood for some pop-punk or some country-tinged indie rock, Enders has probably written a song that you’ve liked at one time or another. Personally, I thought he was going to continue the folk-y feel of “I Can Make a Mess…” with his latest solo release, “When I Hit the Ground.”

Taking a cue from 90’s balladeers like Goo Goo Dolls and Third Eye Blind, “When I Hit the Ground” is a more radio-ready pop-friendly rock record. Not to take anything away from Enders and company. In fact, this might be his most consistent work to date.

Through songs like “Sweeter Light,” “Bring Back Love,” and “When I Hit the Ground,” Enders captures modern heartbreak in a way that this album should resonate with teeny bopper kids who are graduating from Plain White T’s to sardonic hipsters.

Review: Fireworks, "All I Have to Offer is my Own Confusion"

Fireworks
"All I Have to Offer is my Own Confusion"
(Triple Crown/WMG)

The first entry in the "best pop-punk album" category 2009. This is almost all hits.

Review: Lil Wayne, "Prom Queen"

I guess this Lil’ Wang song wasn’t as terrible as I thought, but it’s still pretty bad. I feel like somewhere out there, Papa Roach should be readying a lawsuit of some sort. Between the vocoder usage and the fake guitar playing, Lil’ Wayne should seriously consider giving Mannie Fresh a call to hook him up with some circa-98 beats. In these trying days of terrible hip-hop, they would come off on some Pete Rock shit.

Review: Two Tongues, “Two Tongues”

Two Tongues
“Self-Titled”
(Vagrant)

On paper the combination of Say Anything maestro Max Bemis and genre stalwart/Saves the Day frontman Chris Conley is a great idea. Recently, the pair collaborated for a project called Two Tongues (along for the ride, Bemis and Conley are jointed by S.A. drummer Coby Linder and STD guitarist Dave Soloway taking the bass duties).

For the most part, “Two Tongues” is enjoyable. The album starts off pretty strong with Bemis and Conley trading much of the vocal duties. The first two tracks, “Crawl” and “If I Could Make you Do Things” are remarkably good and could be very big radio hits. Midway, however, the album falters and the novelty of a Say Anything-meets-Saves the Day superband gets rather stale.

At the end of the day, there’s really only about an EPs worth of excellent material, but if this project is ever sequelized, it will be interesting to see where Bemis and Conley will go with it.

Review: Fall Out Boy, "Folie a Deux"

Fall Out Boy

“Folie a Deux”

(Island Def Jam)

I think it’s safe to write off any hope that the FOBs will ever return to their brash pop-punk roots of “Take This to Your Grave.” With each and every album, from the imitable farce “Evening Out with Your Girlfriend” to this new monolith, “Folie a Deux,” Fall Out Boy grows leaps and bounds, which is oftentimes too distracting to suggest any consistency in regards to songwriting.

With this new record, Patrick Stump and company continue on their journey of becoming a larger-than-life pop band; dare I say, the Beatles for the Hot Topic set. This isn’t hyperbole, either; it’s fucking fact. That being said, I believe that I may be too cynical to accept “Folie a Deux” and its aggressive online marketing campaign (see: Citizens For Our Betterment) as anything else but a publicity stunt in the form of a pop record.

The album’s lead single, “I Don’t Care,” is a direct descendent of Rihanna’s “S.O.S.,” which in itself benefited from a well-placed Soft Cell sample. The rest of the record is typical overproduced fanfare and is a natural extension of “Infinity On High.”

If anything, “Folie a Deux,” is pleasurable for fans who discovered the FOBs within the last three years and do not suffer from living life in a sardonic manner. For the rest of us who like to “up the punx,” as it were, we’ll stick to waiting around for a much better Chicago band called the Lawrence Arms.

Review: Kevin Devine & the Goddamn Band, "I Could Be with Anyone"

Kevin Devine and the Goddamn Band
“I Could Be with Anyone”
(Self-Released)

Right now, this four-track Extended Player is available through Mr. Devine himself on his tour and through iTunes. Whether you believe in the service that Steve Jobs provides for people to download single tracks at a low price, there’s something to be said about the quality of the EP that’s presented, namely that it’s kind of awesome.

To be frank, Kevin Devine could fart over power chords and I’d still buy it. I have all of his records dating back from the early Miracle of 86 records all the way up to 2006’s “Put Your Ghost to Rest.” Serving as a bridge between the last full-length and his upcoming record, “Brothers Blood.”

Anyway, “I Could Be with Anyone” contains three great new studio tracks and a really bittersweet demo called “She Stayed as Steam.” This is probably one of my favorite recordings that has come out in the last year and I really can’t wait for Devine and Goddamn merry band to come out with that new record.

[Related Video]


Kevin Devine, "She Stayed as Steam"

Review: Kanye West, "808s and Heartbreak"

Taking a page from Roger Troutman (R.I.P.), Teddy Riley and Snoop, Kanye "Ye" West's newest album, "808s and Heartbreak" recalls the pinnacle of 80s and 90s R&B, utilizing the titular 808 drum sounds that was perfected by the likes of Riley, Jimmy Jam and Terry Lewis and Al B. Sure. That being said, this is probably the worst Kanye West record of all time.

I'm not sure how he went from being an underground sensation, producing for the likes of the Molemen to putting out a shit taco of an album. Now to be fair, the songs aren't terrible, but I think they would be better suited for dudes like Ne-Yo or Chris Brown, you know, guys who can actually sing.

West's voice is masked by autotune and a fucking vocoder so much that he totally sounds like a robot. I asked for an album, not "Wall-E," dude. Given the nature of the album and West's tepid attempt to be a hip-hop/R&B star (like R. Kelly), this album pretty much sucks. I don't give a shit what Pitchfork, EW or Newsweek or whoever says. From a hip-hop fan's perspective, this is on some "Blood Money" level of terrible. A turd with a bow tied around it is still a turd, guys.

Review: Twilight (Movie)

Review: Nas, "Untitled"

Nas
“The Unmentionable N-Word Album aka Untitled”
(Def Jam)

Nas hasn’t been a fresh voice for at least 14 years, but nonetheless, when you hear his slight raspy vocals, you know you’re in for a treat. As I was commenting to a friend last night, even Nas’ terrible records, would be a mediocre record for another rapper. I think it’s safe to say that there will never be another “Illmatic.” It doesn’t matter if he titles his next album “Nas-matic” or “Killmatic” or “I Need to Milk Nostalgia to Feed my Kids-matic.” The idea that a 30-something Nas will sound just as hungry as a 19 year old version of himself is absolutely silly.

Because of this notion, the litmus test on grading Nas has shifted the last five years; it’s become less about whether he can recreate the magic of an early 90’s hip-hop opus, and whether he’s still relevant and topical. That being said, “Untitled” might be one of the best of Nas’ recent releases.

The album’s proper starter, “You Can’t Stop Us Now,” is pretty much what you’re going to get throughout the record – thought provoking lyrics, crushing samples and the addition of great guest artists (in this case it was Eban Thomas of the Stylistics and the Last Poets). The generic production on “Breathe” makes it trite enough for radio airplay and the incendiary “Sly Fox” will have you asking for INS to deport Rupert Murdoch.

The legend of Nas is not only cemented in the fact that he’s the only lasting heir apparent to Rakim, but that his career changing approach to becoming a commentator to rile up Americans everywhere allows him to avoid becoming a shell of his former self. Unlike his contemporary, Jay-Z, Nas hasn’t concentrated on backdoor corporate deals (FILA sponsorship notwithstanding) or tried to crafted a boring concept album based on a movie that nobody saw – he wants people to know that he’s pissed, and that THEY should be pissed, too.

Overall, the production on “Untitled” is uneven – at times there’s a lot of promise and other times, it falls pretty flat. But Nas has steered himself to the point where it’s not really about the production, but rather about what he’s saying over those jumbled samples and drum loops that makes all the difference. Nas may be one of the few rappers who could get away with rapping over the most terrible beat in the entire universe and still walk out with his career intact.

“Untitled” is not “Illmatic” or even “It Was Written,” but it’s still worth a listen, particularly if you’re seeking a soundtrack for these turbulent political times.

Bonus Video:

Be a (Dreaded N-Word), Too [Unreleased]

Review: Alkaline Trio, "Agony & Irony"

Alkaline Trio
“Agony & Irony”
(Epic)

Highlighted by their recent appearance by everyone’s favorite fictitious reality sitcom, “The Hills,” the Alkaline Trio backlash couldn’t be any stronger. How many Orgcore kids could this band lose with the following atrocities:

Signing to a major
Showing up on a vapid television show
Getting a signature Nike sneaker

Yet for all that bullshit, it really comes down to the music and Alkaline Trio have made another solid record. The thing about these (mostly) Chicago natives is that they’re pretty consistent when it comes to making albums. They seldom disappoint because they’re notorious for essentially writing the same songs over again.

That’s not to take anything away from Matt Skiba, Dan Andriano or Derek Grant as songwriters; shit, Lagwagon, 7 Seconds and The Ramones were made to be legends off of writing the same tunes for every record.

“Agony & Irony” is extremely catchy and just as grand as their last studio effort, “Crimson.” “Calling All Skeletons” and “Love Love, Kiss Kiss” are going to be the summer’s best pop-punk songs.

There’s nothing spectacular about this album, but it is comforting that no matter how hard kids think these dudes are selling out, they can still manage to piece together a listenable album.

Bonus Vid: Ak3's Shoe Commercial

Review: Spark is a Diamond, "Try This On For Size"

Spark is a Diamond

"Try This On For Size"

(Pluto/East West)

Former Come Widdit band, Spark is a Diamond's new debut album, "Try This On For Size," is one of those few records that rides the thin line of really great and mediocre. For bands who chronically suffer from this (such as Comeback Kid and Rise Against) all it takes is one song and for Spark is a Diamond that song is "____ ____ Has a Deathwish."

Early on in their 24 minute debut, Spark is a Diamond comes running out at the gates. The band's well constructed and well produced tracks like "Check Your Lease, You're In Fuck City" and "Try This On For Size" are exciting and fresh enough to make anyone a believer. The steam tends to run out by the time you hit their cover of Salt-N-Pepa's "Push It," but make no mistake, this is still a very solid album.

For all the trappings that could turn them into another run-of-the-mill hipster hardcore band, Spark is a Diamond is great at writing songs and it shows all over "Try This On For Size." The vocal back-and-forth between singer Alison Bellavance and guitarist Matt Boylan are often well-timed and band's inclusion of electronic effects makes you forget that there is no bass player [1]. All in all "Try This On For Size" is a strong record and I'm interested in seeing what the band has up their sleeves in the future.

[1] Probably because I'm a bass player, but I have issues with most bass-less bands, except for these kids; they actually work better without one.

Review: Death Cab for Cutie, "Narrow Stairs"

Death Cab for Cutie

"Narrow Stairs"

(Atlantic)

I make it no secret that I've watched these four dudes grow into a monolith of a rock band for the last 10 years. I'm pretty fortunate to hail from the city that is their current homebase, to have been able to watch their organic change from small-town openers to arena rock monsters. Even some of their misses, like the last half of "Plans," are still highly respectable records. So what else can Death Cab for Cutie do? Probably make the best record in their career.

There's no hyperbole in that statement: "Narrow Stairs" is the best Death Cab record.

Before I continue on, I'll say that a) my favorite record of theirs will probably always be "We Have the Facts, and We're Voting Yes" and b) nothing will change that. But the overall earnest aesthetic of "Stairs" is hard to shake. Whereas the band's first two albums were really esoteric and pretentious and "The Photo Album" lingered in a sort of a pop-music limbo, "Transatlanticism" marked an era of Death Cab that had Ben Gibbard spilling his guts all over Chris Walla's cache of 2" tape. As the band has aged, their albums have become more personal -- and though some people can call it a regression, I'll side with the band and offer it as quite the opposite.

The thing is, as we get older, we tend to get better at hiding our feelings and we get better at speaking in metaphors and vague phrases. "Transatlanticism" and "Plans" were, to me, Gibbard saying, "Fuck that," and making the most non-punk punk rock records. "Narrow Stairs" is an evolution of this progression. Lyrically, Gibbard seems to have fallen back to writing some vague songs, but for the most part, the record as a whole comes off as earnest. The best part of the record is Walla's impeccable production. Walla has always been a so-so producer, but, as exemplifed on Tegan and Sara's "The Con," his overproducing and addiction to textures really fleshes out these songs and molds them into living organisms.

Like I said, "Narrow Stairs" is the best Death Cab album thus far. It was so great, I don't even need to write about the individual tracks.

New Found Glory/International Superheroes of Hardcore, "Tip of the Iceberg/Takin' It Ova"

New Found Glory/International Superheroes of Hardcore

"Tip of the Iceberg/Takin' It Ova" (Double Split EP)

(Bridge 9)

I rarely inhabit the B9 message board these days, though I imagine it must have been quite the shitstorm when the label announced they were going to release a New Found Glory EP. Still, we shouldn't forget these Floridians got their start in the HxC scene thanks to guitarist Chad Gilbert's role as a one-time vocalist for Shai Hulud.

This "split" EP is really an extended NFG record of outtakes. The International Superheroes of Hardcore is NFG doing goofy hardcore songs, not unlike Good Clean Fun. With that said, I can't really talk too much trash about this record.

Unlike their last studio album, "Coming Home," New Found Glory goes back to basics with three new songs and three covers. Their new songs are an attempt at their "It's All About the Girls/Nothing Gold Can Stay"-era tracks that are more punk than pop. Unlike MxPx's attempt to recapture the "Punk Rawk Show" proverbial lightning in a bottle, NFG's are a little bit more earnest. Though over the last few years, they've explored their pop side, there have always been a strong presence of their punk side, so it's not really a major change, outside of the fact that huge hooks are missing. The cover songs, on the other hand, are okay. I don't think Shelter, Gorilla Biscuit or Lifetime fans will be too pissed, but they are easily forgettable.

For the International Superheroes of Hardcore side, I will say that these songs are ridiculous...and in a good way, of course. Unabashedly tongue-in-cheek, "Takin' It Ova," is the real treat on this double disc EP. In "Fashion Show," Gilbert belts out in the intro, "There's no wardrobe in hardcore, despite what you think/I mean look at us, we wear capes." The mental image alone makes this a worthwhile purchase. Luckily songs like "Screamo's Gotta Go" and "Hardcore Hokey Pokey" could probably fool a couple dudes in Bane shirts into taking these tracks seriously.

This is a pretty solid release, overall, though I'd recommend it for kids who are really into New Found Glory or Good Clean Fun, otherwise, the joke will pretty much just go over your head and you'll be beating yourself up for spending $12 on a glorified parody album. I wonder how long it will take before this review ends up on a thread?

Reviews: Portishead, "Third"

Portishead
"Third"
(Some Major Label)

Beth Gibbons, that one DJ guy and the guitarist who looked like Joe Strummer's (R.I.P.) illegitimate love child have abandoned their hiatus in favor of bringing us another album full of Gibbons' impeccable range of singing and the group's collective love of drug-den music.

Personally, I love "Portishead," "Dummy," and the "Glory Box EP." When music writers talk about encapsulating a moment of time within the context of audio recordings (see also: Bob Dylan, The Beatles/Beach Boys, Woody Guthrie), Portishead's albums from the 1990s fit snugly into that category. But for their first foray back into the new century, there's a considerable tumble that Beth Gibbons and gang face: the passing of time.

Unlike the likeminded Morcheeba and Supreme Beings of Leisure, Portishead's absence from the music scene only served as a detriment. While the afforementioned Morcheeba and SBoL were able to grow and implode in their own right, Portishead's vanishing act made them a "Hey remember that band staple" instead of cultivating a cult status like someone like Bjork or Eddie and the Cruisers.

This sentiment is reflected in Portishead's "Third" which acts more like a continuation of their beaten-to-death contribution to the trip-hop genre. "Third" would have worked really well in 1999 to 2001. But in 2008, it sounds dated and doesn't even harken back to nostalgic days. If anything, it seems like a really sad cash-in.

What I'm most disappointed is that the album sounds like one, long song. It could be argued that Portishead's previous efforts also rang of a similar continuity, but "Dummy" and "Self-Titled" seem to be more geniune. The songs are really difficult to distinguish from another and honestly, I would've preferred another Beth Gibbons solo album, rather than this sad ghost of an album from an equally sad group of musicians.

Dashboard Confessional Covers "Pretty Pathetic"; Smoking Popes to Drop Christianity to Beat Up Carrabba

[Douchebag Confessional]

So I copped Dashboard Confessional's "The Wire Tapes Vol.1" last week and I wasn't really expecting much from it. Despite what others may think, I don't think that Chris Carrabba is as bad as, let's say, the Jonas Brothers, but man did he ever manage to slaughter the Smoking Popes classic, "Pretty Pathetic."

For one thing, Kris Roe of the Ataris did a much more passable cover on the Popes tribute album and this Dashboard rehash pales in comparison -- though in all honesty, both versions suck when measured up to the original.

Carrabba's inability to capture Josh Caterer's monotone style takes away from the songs morose mood and makes it sound like a peppy number best suited for a Gap or Volkswagen ad.

Ugh.

So while I didn't hate Dashboard Confessional before, I can publicly state that Chris Carrabba is on my shitlist.

Bonus Video:

Smoking Popes, "Need You Around/Pretty Pathetic"

Red Panda, "Life In Fuzzy"

Red Panda
"Life in Fuzzy"
(Yellowrock)

I'm a little late to the party on this one because the last couple Home Grown recordings weren't all that appealing. Don't get me wrong: I loved Home Grown, particularly when I was in high school, but they were still putting out records as I was well into my 20's and there are only so many songs about juvenile relationships that I could hear about before enough was enough.

Eventually the band broke up and John Tran joined forces with Bill Uechi formerly of Save Ferris and started the Asian-American superband, Red Panda.

Red Panda in itself isn't too stylistically different from either Home Grown or Save Ferris, they rely heavily on really melodic hooks and it's pretty much steeped in pop-punk, though of the keyboard driven variety. That being said, their debut, "Life in Fuzzy," is pretty good.

The record gets off to a rough start with the high school anthem, "Barely Survived," but segues into "Stay the Night," a jam that would've been a much better way to start the album. Other great standout songs include "Desperate and Lonely," "Hospitals," and "In Your Sleep."

There are a lot of comparisons to be drawn between Red Panda and Drive Thru mainstays, Hellogoodbye, though the Reds seem to be steeped more into the pop-punk side of things versus Hellogoodbye's pension for making generic dance tunes.

If you have a chance to pick up "Life In Fuzzy," pick it up; it'll be worth your $13.

Leeni, "8-Bit Heart"

Leeni
"8-Bit Heart"
(Self-Released)

It's been a long time since I graced the internets with my cackles and shameless quest to talk smack upon those who deserve it. I spend so much time writing throughout my day, that all I ever really feel like writing is the bits and pieces that I dispense either on stayoffthecrack or moviescenester.com. Pop culture-wise, there hasn't been enough activity that's worth writing about, save the following factoids:

1. I finally got "30 Rock" Season 1 (Thanks, James!)
2. "Cloverfield" will be out on Friday (Wikipedia has the full movie summary and I'm sure it'll pop up in a pirated format soon enough).
3. I was going to go see the Finch reunion show tonight, but I'm staying in Olympia to mingle with my co-workers; also, I'm broke.

With that said, two weeks ago, I had the pleasure of seeing this girl named Leeni play the Rendezvous in Seattle. She sang over a keyboard and beats provided by an old school Gameboy (and not the Advance or DS Lite for you youngsters). At the time, I didn't have enough cash to pony up in order to buy her CD, but I managed to buy one anyway [1] once I had a paycheck come through.

"8-Bit Heart" is this amazing album. To spare this review of any hyperbole, let me say that all the songs sound the same, Leeni more-or-less uses the same melody throughout the record, and it works better as a gimmick record.

Except for the fact that it also works as an actualized project.

If you get past the whole "oooh cute girl makes songs with Gameboy" schtick, "8-Bit Heart" is actually quite clever, particularly in the lyrics department. Leeni's words are, at times, self-deprecating and, at other times, viciously critical of whoever broke her heart. On the album's highlight, "Perfection Interrupted," the hook is so catchy and so emotionally tugging, I dare not rewrite them; you just have to listen to it.

While most people could also dismiss this album because the songs rely heavily on using the same programmed drums, to me, it runs more as a cohesive thought; a characteristic that most albums lack nowadays since it's mostly about singles. And really, concept albums rarely work as a whole anyway.

There's a reason why I actually bought "8-Bit Heart" versus downloading or burning it from one of my friends. If you're going to spend money on something, it might as be something worthwhile, which Leeni happens to be.

[1] See, RIAA, people still buy stuff.

2007 Rewind Selecta: The Hits

I don't care if it's still early December, I'm going to write one of these arbitrary lists now and get it over with, that way, when other blogs are just straight blasting motherfuckers with the same Matador/Def Jux/Barsuk releases, I'll seem that much more of a trailblazer. Believe that.

Best Records of 07 (in no particular order):

Dawhud, "Basement Sessions" (Self-Released)
This fucking jam has been the most heavily rotated hip-hop record of the year...and I've only had it since the summer time. Even if I didn't know Dawhud, I'd still go out and buy this CD. Seriously. That's how good it is. The last time I heard a hip-hop album this cohesive and well put together? Maybe "Supreme Clientele." Maybe.

Broadway Calls, "Broadway Calls" (State of Mind)
These dudes get a lot of comparisons to Jawbreaker, but I'd say they're more like a non-shittier version of Green Day; maybe "Kerrplunk"-era.

Tegan & Sara, "The Con" (Sire/Vapor)
I think I wrote more about this band than I really needed to, but whatever. The record is better than that Paramore shite.

DJ Babu, "The Beat Tape Vol.1" (Nature Sounds)
Though each song is roughly a minute and a half long, Babu's instrumental album was pretty thorough and an easy listen from start to end. I know he didn't win the Big Tune Beat Battle, but I'd seriously like to see Sabzi come correct with a full-on wordless album and see how it fairs compared to this legend's run at it.

Alicia Keys, "As I Am" (J)
I just reviewed this shit last week.

Say Anything, "In Defense of the Genre" (J)
I'm hesistantly putting this up on the list. I've heard it a few times and while I'll venture out and say that the first disc is stronger than the second, I think that as a songwriter, Max Bemis is getting better and better. He's lyrically more interesting than half the bands that get featured on message board sites and I'm curious to see what comes out of his mouth on the next record.

Boys Night Out, "Boys Night Out" (Ferret)
Just a fun pop record to listen to.

Scott Storch featuring Nox, "Built Like That" (Self-Released)
Probably the worst diss record of all time, it's still halfway entertaining to hear Scotty Storch rap. It's the same carwreck reaction that people had that made William Hung one of the best selling "American Idol" contestants.

Amy Winehouse, "Back To Black" (Universal)
I know, I know. She's coked up as fuck and "Rehab" is probably the most played out song since "In da Club," but dude, have you heard the record in its entirity? That shit is amazing.

Crime In Stereo, "Crime In Stereo Is Dead" (Bridge Nine)
I also reviewed this last week, but I actually made the effort to buy it from a store. That's how much I liked it.

Deejay Om, "Reheated Naan and Curry" (G4)
This is a few months old but it's still fire.

Little Brother, "Getback" (ABB)
I was a little reluctant to hear Phonte and Pooh without 9th Wonder, but you know what? This new record actually bangs harder than "The Minstrel Show." No disrespect to 9th, but damn. Maybe they should've cut homedude from the roster years ago.

Manchester Orchestra, "I'm Like a Virgin Losing a Child" (Red Ink)
A breathtaking album that openly criticizes organized religion from a band that is neither from Manchester, nor an orchestra.