A couple years ago I briefly mentioned the Swedish band Loney, Dear on my site. You probably don’t remember this because the few sentences I wrote about them were pretty pathetic. I’d just discovered their album Loney, Noir and didn’t yet know what to think of it.

As it turns out, I never really made up my mind. That didn’t stop me from downloading their previous album Sologne. But after nearly a dozen listens, I still couldn’t decide whether I liked it or not.

So when Loney, Dear released Dear John earlier this year, I didn’t rush out to buy it. In fact, it sat on my “Save For Later” list on eMusic for several months. Then one random day I decided to give it a try. I don’t remember what prompted me to do it, but it was a fantastic decision.

Darker and more complex than its two predecessors, Dear John is an incredible album. Its shiny pop veneer masks feelings of loneliness, regret, and melancholy. I’ve never heard an album that bounces around so effortlessly between happy and sad. It might take a few spins before the album’s greatness hits you, but when it finally does, you won’t want to listen to anything else. For these reasons, Dear John has undoubtedly secured a spot on my year-end list.

I’ve posted three tracks below. The first two (”Summers” and “Distant Lights”) are my favorites from Dear John. The last one (”Sinister In a State of Hope”) is the song that got me into Loney, Dear in the first place.

[mp3] Loney, Dear :: Summers
[mp3] Loney, Dear :: Distant Lights
[mp3] Loney, Dear :: Sinister In a State of Hope

As you may have noticed, I’ve been updating my Twitter page on a fairly regular basis. Sadly, the same cannot be said for my actual site. Despite listening to lots of new music lately, I haven’t come across anything worth writing about.

So once again I find myself digging through the archives. Except not really. Two months ago, I wrote about The Antlers. In that post (which can be read here), I gushed about the song “Two.” Now I want to gush about the album Hospice. Especially now that I’ve had some time to digest it. But before I start, I must disclose something: I’m completely obsessed with Hospice. With a fair amount of confidence, I can say it will top my year-end list. I realize 2009 is only half over, but it’s that good. Here’s why.

Much like Blind Pilot’s 3 Rounds and a Sounds, Hospice is a complete album. As much as I love “Two,” the other nine songs on the album are just as good. “Kettering” sounds ethereal, “Sylvia” soars to ridiculous heights, and “Epilogue” features some of the most gorgeous vocals I’ve ever heard. With the exception of the opening track (which is ambient), there is no filler.

And much like Frightened Rabbit’s Midnight Organ Fight, Hospice has many layers. Most tracks reveal their beauty only after repeated listens. The album is packed with so much emotion it’s almost overwhelming. I can’t imagine the events or experiences that inspired some of these songs (nor do I want to). But while there is an abundance of sadness and heartbreak, the album also contains moments of inspiration and joy. In short, Hospice is a roller coaster of emotion.

Below I’ve posted my two favorite songs from Hospice (”Kettering” and “Two”), though it was difficult narrowing it down to only two. I’ve also included the title track from The Antler’s debut album Uprooted, which clearly hints at the band’s enormous potential. Potential that has been fully realized with Hospice.

[mp3] The Antlers :: Kettering
[mp3] The Antlers :: Two
[mp3] The Antlers :: Uprooted

By the way, you can download the iTunes bonus tracks “Sylvia, An Introduction” and “Nothing Matters When We’re Dancing” for free here.

As I sit here thinking about the angle I want to take in writing about my latest obsession, a million thoughts race through my head. How do bands come up with their names? Can I finish this article in the next few days? What will I write about next? Have I run out of good ideas for my site? Will I eventually lose interest in music? Why am I never satisfied with the music I have?

I forgot to mention that when I’m stressed out, my mind refuses to shut off. It bounces randomly from thought to thought, unable to focus on anything. As a result, I worry a lot and accomplish very little. So if the previous paragraph hasn’t already given it away, I’m a little overwhelmed with life right now (which, coincidentally, explains the recent lack of activity on my site). But at least it has given me an angle: during stressful times, I rely on music more than ever. Especially relaxing music.

Luckily, a few weeks ago I stumbled upon Hurray For the Riff Raff, an amazing little band from New Orleans. Their debut album, It Don’t Mean I Don’t Love You, is the perfect escape from a stressful world. It sounds timeless — like what music from the south must’ve sounded like at the turn of the 20th century.

After listening to the gorgeous intro of “Daniella” for the first time, I knew I had found my next obsession. The song, which starts with a simple banjo riff and beautiful vocal harmony, melts away all my problems (at least for a few minutes). “Junebug Waltz,” another one of my favorites, plods along at a snail’s pace, reminding me of a hot, muggy summer afternoon.

Both songs are posted below for your enjoyment. If you like what you hear, I highly recommend purchasing the entire album — it’s fantastic. I’ll definitely have it on repeat over the next few weeks as school continues to bear down on me. With that said, I’ll try my best to post again relatively soon, but can’t promise anything.

[mp3] Hurray For the Riff Raff :: Daniella
[mp3] Hurray For the Riff Raff :: Junebug Waltz

Despite listening to an insane amount of music, I have yet to encounter the “perfect” album. To be clear, I define the “perfect” album as one containing absolutely no filler, sounding best when played in its entirety.

This honestly surprises me. With all the music I listen to, I thought there’d be at least one album in my collection that fits the bill. But no. Even my all-time favorites contain a few tracks I could live without. In 2008, Frightened Rabbit came pretty close with The Midnight Organ Fight. And in 2007, Menomena’s Friend and Foe flirted with perfection. But as good as these albums are, I still skip a few songs on each.

I’m starting to think I should lower my expectations. With the music industry fully embracing the internet, focus has shifted from albums to singles. Pretty soon, I envision some musicians abandoning the album format altogether. After all, if most people download only one or two tracks, why waste time and money recording the entire album?

Maybe I shouldn’t be so cynical. Every now and then I stumble upon an album or band that renews my faith in the music business. This time it’s 3 Rounds and a Sound, the stellar debut album from Blind Pilot, a tiny band from Portland, Oregon that apparently only tours via bicycle.

Musically speaking, 3 Rounds and a Sound breaks little new ground. I’d describe the album as a straightforward mix of rock, pop, and folk. But what it lacks in complexity it makes up for with raw emotion, beauty, and catchiness. Further proof that the best music is simple and direct.

And while 3 Rounds and a Sound still isn’t perfect, it’s damn close. I can’t remember the last time I heard such a confident, effortless debut. Maybe Bon Iver’s For Emma, Forever Ago. Anyways, I’ve posted two tracks from the album below: “Oviedo” (the opener) and “3 Rounds and a Sound” (the closer). Pick up the rest of the album to find out what happens in between. You won’t be disappointed.

[mp3] Blind Pilot :: Oviedo
[mp3] Blind Pilot :: 3 Rounds and a Sound

PS — I want “3 Rounds and a Sound” played at my wedding, along with Beirut’s “Postcards From Italy.” So romantic.

I usually try to avoid comparing bands or musicians, but I feel like there’s no way I can talk about Will Johnson without mentioning Jason Molina. The similarities are just too overwhelming.

First, both men are prolific singer-songwriters. Each front or have fronted multiple bands: Will Johnson currently heads both Centro-matic and South San Gabriel while Jason Molina led Songs: Ohia before morphing it into Magnolia Electric Co. In addition, both men have released several solo records. All told, Johnson has around 14 albums to his name while Molina has over 16 (all released over the span of about 10 years). I don’t know about you, but I’m impressed.

And second, both men write remarkably diverse music. Johnson uses Centro-matic to pump out straightforward indie rock and South San Gabriel to explore more down-tempo material. Molina wrote somber, bluesy numbers under the Songs: Ohia moniker before heading in a more “alt-country” direction with Magnolia Electric Co. Both musicians’ solo albums are sparse, haunting affairs.

Despite these overwhelming similarities, Will Johnson and his two bands aren’t as well known as Molina’s. Which is a true shame because Johnson is immensely talented. I especially like his output under South San Gabriel: it’s perfect late night music. Random weird sounds and plodding beats from drum machines complement Johnson’s odd delivery and gorgeous melodies. It all sums to create a lonely, yet strangely comforting landscape.

I’ve posted my favorite track from each of South San Gabriel’s three albums: “New Brookland” from Welcome, Convalescence, “Stupid Is As Stupid Does” from The Carlton Chronicles: Not Until the Operation’s Through, and “The Arc and the Cusp” from Dual Hawks.

[mp3] South San Gabriel :: New Brookland
[mp3] South San Gabriel :: Stupid Is As Stupid Does
[mp3] South San Gabriel :: The Arc and the Cusp

After five months of constantly listening to Frightened Rabbit’s Midnight Organ Fight, I still find myself untangling its contradictions and unraveling its many layers. Which is quite amazing considering my hyperactive listening habits.

I’ve finally figured out why I like the album so much: it is, more or less, the soundtrack to my life. It simultaneously encompasses the good times and the bad, the highs and lows. Despite this contradiction, or maybe because of it, Midnight Organ Fight always inspires. It’s a strange phenomenon: the louder I play it, the better I feel.

Like most great albums, Midnight Organ Fight reveals itself in layers. It took nearly a dozen listens before I could distinguish individual songs. Had I written this review back then, my favorite tracks probably would’ve been “Good Arms vs. Bad Arms” and “Poke.” Now I can’t decide. My favorite songs seem to change every time I listen to the album.

Frightened Rabbit hails from Scotland, a fact immediately confirmed by Scott Hutchison’s vocals. Thankfully, his accent is noticeable but not overwhelming. In fact, it often adds an extra dimension to the music. I love the way he stretches out random words and phrases. At times, his voice nearly buckles under the weight of emotion.

The lyrics inhabit the gray area between breaking up and getting back together (which helps explain all the contradiction). On “The Twist” Hutchison sings, “It’s the night, I can be who you like / And I’ll quietly leave before it gets light.” Later, he asserts, “I need company / I need human heat.” But then on “Keep Yourself Warm” he belts out, “It takes more than fucking someone you don’t know to keep warm.” So which is it? Anyone who’s ever inhabited this gray area knows it’s actually both.

Last but certainly not least is the music. The wailing guitars in “Good Arms vs. Bad Arms,” the hypnotic piano melody at the end of “The Twist,” the slow steady build in “Backwards Walk,” and the simpleness of “Poke.” It’s overwhelming at first, but with repeated listens the layers start peeling apart. Soon, you will find yourself coming back for even more of exactly the same.

[mp3] Frightened Rabbit :: The Twist
[mp3] Frightened Rabbit :: Backwards Walk

Download three more Frightened Rabbit songs for free here. I highly recommend “The Modern Leper” and “Head Rolls Off.”

Are we in the midst of a singer-songwriter revival? Knee-jerk reaction tells me it’s not possible: a pervasive hatred of the genre has always existed among certain circles of critics. Never mind the fact that both singing and songwriting are inextricably connected to performing and recording, well, music.

So then why all the hatred? I think it has something to do with the format of the genre itself. To be considered a singer-songwriter you need: (1) a guitar and (2) a decent voice. Unfortunately, simplicity often (and erroneously) equates to stagnation. In circles of critics obsessed with finding the next genre-bending flavor of the month, genuinely good yet straight-forward music gets kicked to the curb. Honestly, when was the last time you listened to Clap Your Hands Say Yeah?

It’s interesting to note the large number of popular indie artists that could be labeled singer-songwriter but aren’t. Sufjan Stevens, Andrew Bird, The Mountain Goats, Cat Power. There’s almost a stigma associated with the genre.

Which brings me to my true problem. Because of this critical marginalization, I am only now starting to appreciate the music of Josh Ritter, the quintessential “singer-songwriter.” Hailing from Idaho, Ritter’s style reflects his mountainous surroundings. From hushed acoustic ballads to rollicking barnstormers, he embodies both dark, secluded ravines and vast, wind-swept praires.

The four tracks posted below sample several albums. “Wings” is a haunting lament; “Idaho” a gorgeous a capella hymn; “The Temptation of Adam” an apocalyptic love story; and “Still Beating” a bittersweet tribute to rejection (Happy VD everybody!).

If we are in the midst of a singer-songwriter revival, Josh Ritter is without a doubt the standard-bearer.

[mp3] Josh Ritter :: Wings
[mp3] Josh Ritter :: Idaho
[mp3] Josh Ritter :: The Temptation of Adam
[mp3] Josh Ritter :: Still Beating

Not included in the list above are the incredible “Girl In the War,” the epic “Thin Blue Flame,” and the gorgeous “Baby That’s Not All.” The reason for this is simple: I’ve already posted these songs on my site here and here.

Cat Power’s Chan Marshall is like fine wine. Not so much that she gets better with age (which is certainly true – each consecutive Cat Power album has garnered her more and more critical praise). Instead, I argue that the older her material gets, the better it sounds.

I think working backwards through her catalog has lead me to this conclusion. The dark, moody music of Moon Pix, Myra Lee, What Would the Community Think, and Dear Sir is truly mesmerizing.

Interesting story: A few weeks ago, California got hammered by a monster storm. It brought 11 feet of snow to parts of the Sierra and packed winds in excess of 75 mph. One thing I really miss about the Midwest is lightning and thunder, which Pacific storms don’t frequently produce. The last time I’ve heard thunder in California was back in 2001.

As I sat that morning in my apartment marveling at the storm, I listened to Moon Pix, a great rainy day album. The song “Say” (posted below) even features a recording of rain and thunder.

What happened next was hard to believe. As I sat listening to “Say” the heavens above slowly split open with a bellowing crack of thunder. It had nearly the same tone and length as the recording in the song. At first I thought it was the song, but I soon realized it was out of place. Needless to say, it was a great way to start the day.

So in honor of that amazing coincidence, and her forthcoming album Jukebox (January 22 – tomorrow!), I’ve decided to feature Cat Power in this month’s Artist Spotlight. The six tracks posted below sample Myra Lee and Moon Pix and are all somber, bluesy, electric gems. Enjoy with a glass of wine?

[mp3] Cat Power :: Top Expert
[mp3] Cat Power :: Ice Water
[mp3] Cat Power :: Still In Love
[mp3] Cat Power :: Rockets
[mp3] Cat Power :: Say
[mp3] Cat Power :: Metal Heart

I’m afraid my “Southern Twang” Regional Mix failed to convey just how obsessed I am with The Acorn. Despite hailing from Canada, the band made the mix because their music transports me to a simpler time. You know, the whole thing about sitting on the front porch watching the sunset.

I stumbled upon The Acorn thanks to cokemachineglow’s often spectacular “No Big Hair” review section, which spotlights lesser known bands and serves up several mp3’s for consumption (this is also how I found out about Deer Tick).

Working backwards through The Acorn’s catalog has actually benefited me; over the course of two albums (The Pink Ghosts and Glory Hope Mountain) and two EPs (Blankets! and Tin Fist), the band grew exponentially. The songs posted below sample each recording (except Blankets!), with emphasis on their recent pinnacle Glory Hope Mountain.

The band’s music has an organic quality that makes it immediately engaging. The intros to “Glory” and “Heirlooms” alone inspire a sense of warmth and comfort. And then there are the actual songs, which feature gorgeous acoustics, innovative (almost tribal) percussion, and Rolf Klausener’s mesmerizing vocals.

Expect to hear about this band again at the end of the year.

[mp3] The Acorn :: Blue Light
[mp3] The Acorn :: Heirlooms
[mp3] The Acorn :: Glory
[mp3] The Acorn :: Oh Napoleon

Consider this the calm before the storm. As in I’ve been listening to tons of great new music and have lots to post about. I’m not quite sure how I’m going to distribute it all: mp3s take less effort than a podcast, but I’d have to post at least 5 articles to clear out the backlog.

I’m also working on a new post category, which for the time being I will keep secret. I want to make sure I can actually deliver it first.

With all that said, it’s time to introduce this month’s (you choose which month, August or September) Artist Spotlight. The band is Deer Tick, a project of 21-year-old singer/songwriter John McCauley.

His debut LP War Elephant is slated for release on September 4th, yet I inexplicably picked up a used copy of it a few days ago. So for the first time ever, I am posting about something that has yet to be released. Which should tell you something about the quality of Deer Tick.

On the band’s website, McCauley writes, “The music of Deer Tick is something that should speak for itself. Otherwise, I’m not doing my job very well.” After several listens to War Elephant, I can honestly say that McCauley is doing his job extremely well.

If I must speak for his music, I’d say it sounds like a raspy Dylan on vocals with The Cardinals backing him up. The lyrics are exceptional and the melodies infectious. Since I’m lazy, I’ll classify it as alt-country, but it’s so much more. Just give it a listen and see for yourself.

[mp3] Deer Tick :: Standing At the Threshold
[mp3] Deer Tick :: Dirty Dishes
[mp3] Deer Tick :: Nevada