Bon Iver - For Emma, Forever Ago

Okay, so maybe I missed the boat on this one. Bon Iver has lit up the blogosphere before, but I just have to write about them, just so that you know. Better late than never.

Bon Iver is a group headed by Justin Vernon, who wrote the material for their first album, For Emma, Forever Ago in Eau Claire, Wisconsin, of all places, cloistered in a secluded cabin. That loneliness, that air of a distant nature's arena, is definitely conveyed in the album. Vernon has a very melancholy, unfiltered voice. The first time I heard him sing, the song "Skinny Love", was almost startling, not from strangeness, but from a kind of honest, regretful timbre to his singing. Stark is a word that fits. You've got guitar, and you've got voice, and not too much else. The reason it works is his unique approach to melodic shape, utilizing effortless cadence and syncopation. I don't say this about very many albums, and I mean it: For Emma, Forever Ago is downright pleasurable listening.

There's not much I can say here that hasn't already been said, by other, more noteworthy people. All I can add is that I hope you listen to this music. I think it's important that you do so.

Shad - The Old Prince

As far as white people go, I'm pretty white. I own a messenger bag. I live in Missouri. I play perhaps the whitest instrument in music: the mandolin. But I'd like to think I can appreciate good rap. I've taken it upon myself to become familiar with all types of music, and in doing that I've found out that I actually like most types of music, rap definitely included.

A nice thing about hip hop is that there's really not that much to it, as far as requirements for comprehension. Sure, there's a certain vernacular to become familiar with (women are sho'ty's, hos, etc.), most of which requires a sense of leniency toward grammar, legality, and women's rights, but besides that there are relatively few barriers to appreciation of the genre. Basically, there are two intrinsic elements to rap: rhymes and beats. The more satisfying the beat and the more obscure or unlikely the samples used, the better the song. Lyrics are judged based on vocabulary, difficulty, imagery, or even just the level of insult if the rapper is dissing someone. A particularly good flow should make you think "Oh snap!" or something like that.

Now, I'm not a huge fan of Soulja Boy and his ilk, and if you listen to Shad you'll know why. Shad is a Canadian rapper (yes, he's black), which is rare in itself, but even rarer is his talent. Listen to his flows and you witness true lyrical genius. I was playing his album The Old Prince when I started this post and I had to turn it off after a few minutes because I would stop writing and just listen in awe. The things he can do with words are just sick. Absolutely engrossing. And it can be about anything. Many of his songs have a playful streak to them, like the title track "The Old Prince Still Lives At Home". I was first introduced to Shad by the music video for it, which takes most of its imagery from the Fresh Prince of Bel-Air. Definitely worth a watch.

Shad's also got his serious side, and his songs frequently discuss "the issues". He's gifted with an eloquence, however, that negates the usually blunt nature of political rap songs. His song "Brother Watching" is a fantastic call to action. The entire album is clean. Shad even mentions Jesus. If you're looking for the next Fiddy, Shad will definitely disappoint. But if you want truly skillful hip hop without all the annoying lines about sex, violence, and civil disobedience, this might be as good as it gets.

The Greencards - Fascination

You may not know this about me, but I love bluegrass music. I play the mandolin, and I was basically raised on the stuff. Well, like any other genre of music you have the traditional on one hand and the groundbreaking on the other. Bluegrass has always been stuck in the past, some would say, and for the most part I agree; there's too large a constituent of genre fans still clamoring for the same exact Bill Monroe sound, fifty years after its heyday. But there are alternatives. Newgrass Revival started bringing rock and jazz elements into the genre in the seventies. Chris Thile and Nickel Creek brought bluegrass into the pop/country and, later, alternative segments. Bela Fleck has, through utter mastery of the banjo, created a subgenre of intelligent, aware, new acoustic jazz.

Despite this, bluegrass seems destined, and content, to stay obscure. As the audience ages and shrinks, the relatively small and feeble bluegrass-focused record companies are becoming less and less willing to take risks, leading to streams of well-meaning but derivative bands that can't hope to expand their demographics. It's incredibly frustrating, as a musician, to see this vicious circle play out.

But there is an alternative: The Greencards, a group of young, virtuosic artists taking the bluegrass world by storm. The Greencards have completed their transformation from envelope-pushing traditionalists in their sophomore project, Weather and Water, to groundbreaking acoustic alternative rockers with this fourth project, Fascination. Made up of mandolin, violin, and electric bass, the trio can still claim their folk moniker, lacking drums, but are otherwise left free to experiment. Where other bluegrass bands would most likely fall back into traditional mores, The Greencards all but eschew the genre's overused chord progressions, soloing conventions, and melodies, instead developing a more modern sensibility.

The group hasn't left behind everything, however. Bluegrass has always required a high degree of musicianship, mostly owing to the hurtling speeds at which some songs are played and the skill to play with many different musical instruments in one ensemble coherently. As if it weren't already evident from seeing one of their shows, I've gotten the opportunity to jam with these guys (or "have a pick", as they call it), and I was totally awed by their mad skillz.

With Fascination, The Greencards have become what I hoped they would be from the beginning: a band incorporating bluegrass instruments to stray past the boundaries of the traditional music those elements have been mired in, but doing so in such a way as to garner merit in their own right. The album is by no means perfect, but if songs like "Davey Jones" and "Fascination" are any indication, the group is straying into very delicious territory. Carol Young's vocals are extremely potent, channeling equal parts Krauss and Krall in some instances. The songs just feel new, which is more than I can say for a lot of bands.

Perhaps bluegrass will never "break out" in the pop field, but The Greencards have proven that, at least musically, it already has.

Silversun Pickups - Swoon

Gosh, I must be just terrible. I found out about these guys by watching David Letterman. I didn't even stay up to see them perform. I just Youtubed them the next day. Isn't that nuts? What a way to live, man. Maybe if radio wasn't complete crap I could hear some new artists once in a while instead of seeing them being mentioned on TV.

I know, I know: "last.fm! last.fm!" But I don't like that website. Pandora, Last.fm, etc. are the Google Ads of the music world. It almost makes me want to check "music" as my only interest on Stumbleupon and see what I come across.

Anyway, back to this band. Like lots and lots of bands, once I started listening to them I realized I had heard them before but could never figure out what the group was called. It took me months to realize that Lady Gaga sang not only "Pokerface" but "Just Dance". I still attribute every rock song I hear with a raspy male vocalist to Nickelback. But then again, no one should give a crap about Nickelback.

I always try to listen to a band's latest work when I first get into them. Silversun's 2009 release Swoon convinced me to keep digging. It wasn't until hearing their 2006 album, Carnavas, specifically "Lazy Eye", that I realized I had heard them somewhere before. I like having that kind of vague familiarity with a band. It's like finally getting to talk to someone you've seen only glimpses of. Satisfying.

I've always been meaning to get into heavier stuff, and I guess this is a step in that direction. Heaven forbid I say that I have a "high-brow" taste in music (I listen to Futuresex/Lovesounds every weekend), but anything harder than alt rock usually starts to sound a little banal in my opinion (see Linkin Park for an example of what I usually stay away from). I listen to Dragonforce once in a while for the lulz, but still.

However, Silversun Pickups are kind of becoming a favorite of mine. Maybe there really is better hard rock out there, and maybe someday I'll find it, but for now I really like these guys. It might be the fact that I've been listening to a lot of Pablo Honey recently, but the guitar tone here is scratching an itch I didn't know I'd been trying to scratch. The atmosphere is a little darker, a little more intense than what I usually put on, but I like it. What I really appreciate, though, is that there are some awesome melodies here. Like, awesome. There are orchestral elements, but they're not overused, which is nice. The vocals, while not exactly amazing, are as good as they need to be. No shrieking or screaming.

These guys are a bit outside my capacity to write about musically, but I felt I had to share my opinion here. It's important to not become rooted behind genre lines, e.g. "I like everything except country and rap." You've got to try everything.

Alexi Murdoch - Time Without Consequence

If you've seen the movie Away We Go, then you're already familiar with Alexi Murdoch's music. The songs "All My Days" and "Wait" are both featured in the film. My first priority after getting home from the theatre was looking up the artist who did those songs, so I checked it out on IMDB and then fired up the old Youtube. Turns out his music has been used in quite a few TV shows before and his album was on the Billboard Heatseekers chart.

Time Without Consequence, Murdoch's first full album, is a touching, emotional work that subtly glides around folk boundaries. Songs like "All My Days" evoke a more polished Bob Dylan, while other songs, especially the moody "12", are reminiscent of early Coldplay. In fact, the entire album feels like an even mellower Parachutes, if that's possible.

The thing that sets Murdoch apart is his voice. He has a kind of raw strength and honesty that is so rare nowadays. His delivery is effortlessly smooth and powerful, but has a conversational openness. There's just the slightest hint of a Scottish accent.

Accompaniment on the album is understated without feeling empty. Surging, at times, and absolutely flying when it needs to be. Pacing is a big aspect of it. There are plenty of details to keep you interested. Listening to the album all the way through is very satisfying.

I'm sure I'll be listening to this man for a long time. At the very least, do yourself the favor of listening to "All My Days". There's a great live video of it on Youtube.

Joanna Newsom - Ys

Joanna Newsom is not your average singer. First of all, her voice is...unique. There's really no one else quite like it. My sister says she sounds like she's twelve years old, and I'll admit she doesn't exactly sound like most grown women, but the effect isn't as jarring as someone like Lady Sovereign(who I'm convinced is secretly a tween). In any case, she's a terrifically talented singer. You really have to listen for yourself, but I think her voice is a welcome change from the Natasha Bedingfields and P!NKs and Taylor Swifts (bleh!). I really am extremely picky when it comes to female vocalists. And male vocalists, for that matter.

The thing is, though, this show isn't all about Joanna's voice. Her album Ys is a collection of five lengthy fairytale ballads and songs, each a gem of musical and lyrical craftsmanship. This isn't an EP, though. No, this is a gosh darn full album; the whole thing runs a little over an hour. Each song is filled with vibrant and seldom-heard words(define jerkin, if you can), which combined with harp and orchestral accompaniment further the fantastical quality of the album(what does Ys mean, anyway?).

When listening to this stuff I feel like I should be sitting in a wingback armchair in some mansion filled with books. There's a regalness here, kind of. It's the type of music you wouldn't listen to every day--only when you're feeling particularly ponderous and wonderful. I think the harp has a lot to do with that. It's a highly underrated instrument, and Newsom is pretty spectacular at it. I wouldn't mind if her work inspired other artists to use the instrument more often.

Wikipedia says she's psych folk, whatever that is, but one thing I really like about Newsom is that she doesn't snuggle into any real genre(I found Ys in the Pop/Rock section of my library, haha). That gets you pretty far in my book. Anyway, if you want something high-quality and different, please do give this a listen.

The Decemberists - The Hazards of Love

Back when I didn't care very much about finding good music, I would hear about The Decemberists and think, "With a name as cool as that, those guys must be pretty good." Basically, I was right.

Lead singer and songwriter Colin Meloy has become modern music's go-to ballad boy with the band's recent album The Hazards of Love. The seventeen-song epic throttles along with a vengeance the tale of, well, I'll let you figure that out for yourself. Suffice to say there's a slew of characters and all of the songs flow together. It's quite beautiful, really.

But even if you ignore the underlying stories, you're still left with a brilliant sound. The album's instrumentation is at times immense and grandiose, but just as easily shifts to sparse and chilling or just plain intense. Then there's the vocals, oh my God. Of course Meloy is instantly lovable. But then you've got Shara Worden, a guest vocalist from My Brightest Diamond. Just listen to "The Wanting Comes in Waves", if you want to hear what that's all about. It opens with Colin accompanied by harpsichord, quickly moving to a soaring chorus with drum, bass, and backup singers, then morphing into a bluesy, hard-driving verse with Worden's unmistakable voice over top, only to cycle through all three again, all with a searing narrative in the background. I defy you to find another band capable of making a song like this.

If you're looking for an accessible piecemeal album, this is not for you. But for someone tired of the everyday drivel of formulaic pop album structure this may be just what the doctor ordered.