I hope everyone had a wonderful Thanksgiving! And now that it’s the day after, it’s officially acceptable to talk about Christmas. So here it goes…

Apparently, it’s a tradition for musicians in the UK to pump out cheesy Christmas songs right before the holiday. The ridiculously-sappy Christmas movie Love Actually confirms this: part of the story revolves around a burned-out musician competing with a popular boy band for the top Christmas song. You can probably guess who grabs the No. 1 spot.

This tradition was further confirmed by the guys in Frightened Rabbit. Before their show at Bottom of the Hill a few weeks ago, I asked them about their Christmas song (”It’s Christmas So We’ll Stop”) and how it came to be. They joked about how they were just following tradition when they released it last Christmas.

If their song is a joke, it isn’t very funny — in fact, it’s actually a little depressing. On second thought, cynical might a better word to describe it. The song talks about how people are nice to each other only around Christmas time.

Like all good Frightened Rabbit Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street songs, “It’s Christmas So We’ll Stop” uses seemingly disjointed thoughts and images to convey a simple, yet powerful story or idea. When you add in a gorgeous melody that grabs you and refuses to let go, it’s easy to see why this is the greatest Christmas song ever.

[mp3] Frightened Rabbit - It’s Christmas So We’ll Stop

For the second greatest Christmas song ever, I highly recommend “Sister Winter” by Sufjan Stevens, which I wrote about last year. The original article can be found here.

In order to return my blog to its usual format, I need to clear out the backlog of music created by my summer hiatus. This post should bring you up to speed on some of my favorite albums released in the past few months. It won’t be poetic, but then again, housekeeping rarely is.

MY MORNING JACKET Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street

After the massive disappointment that was Z, I expected very little of My Morning Jacket’s latest album Evil Urges. After several months of listening, I can honestly say Evil Urges doesn’t suck. In fact, it’s pretty solid. The band continues to distance themselves from the sound they perfected on At Dawn, which, at least for me, is disappointing because that’s the sound I originally fell in love with.

I think, however, I’ve come to terms with their new direction. Seeing them live at the Greek two weeks ago definitely helped. These guys put on an amazing show. One of the many highlights that night was an incredible version of “Touch Me I’m Going to Scream Pt. 2,” the epic closing track on Evil Urges. The studio version of this song is posted below.

[mp3] My Morning Jacket - Touch Me I’m Going to Scream Pt. 2

THE WALKMEN Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street

On You & Me, The Walkmen not only perfect their sound but finally feel comfortable with it. And they sound as if they’ve just shaken off an epic hangover: their new album contains a sense of weariness and regret not present in previous albums. Maybe The Walkmen have grown up.

If so, it’s for the better. You & Me is their most consistent, and ultimately, their most rewarding album to date. Ironically, its consistency might also be its biggest turn-off. Songs sometimes bleed too much into each other. It takes repeated listens before tracks distinguish themselves. After nearly two dozen spins, I’m finally there. Right now, “On the Water” is my favorite track, but this will probably change on a weekly basis.

[mp3] The Walkmen - On the Water

SHEARWATER Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street

Similar to The Walkmen, Shearwater sounds like they’ve finally figured themselves out. With the release of Rook, Meiburg and his band fully step out of the shadow of Okkervil River. I’m only disappointed it took so long.

There is a lot going on under the surface of Rook. The shear gorgeousness of the music often masks a strong undercurrent of anger and frustration. Which is part of the reason I like Shearwater so much: their ability to combine beauty and violence is striking. The title track from Rook, which is posted below, captures this balance perfectly.

[mp3] Shearwater - Rooks

SIGUR RÓS Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street

Sigur Rós has yet to release a disappointing album. With every new CD, they manage to explore new territory while at the same time maintaining their core sound (My Morning Jacket should take a lesson from them). The first few tracks on Með Suð Í Eyrum Við Spilum Endalaust, for example, can almost be described as joyous, which is definitely new territory for the band.

This mood, however, doesn’t last long. Soon the band retreats to familiar ground, slowing the flow of music to that of a glacier. “Illgresi,” the track posted below, resides on the slower second half of Með Suð Í Eyrum Við Spilum Endalaust and features the band at its simplest: a pretty acoustic guitar riff, some violin flourishes, and Jónsi’s plaintive vocals.

[mp3] Sigur Rós - Illgresi

For the past year or so, I’ve felt the overwhelming desire to move up north for the winter and live by myself in a cabin. Kind of like Bon Iver, but not really (mostly because I doubt anything as beautiful as For Emma, Forever Ago would result). Also, I’d want to go somewhere more mountainous and snowy than Wisconsin. Probably either Alaska or western Canada.

The reasons for this are multiple. First, I want to experience the full intensity of winter (I love cold and snow). Second, I want to gaze upon the Northern Lights in all their glory. And third, I want to see how I respond to prolonged periods of darkness and isolation.

So when a good friend suggested I read North Into the Night, a story about a guy who spends a winter alone in the Arctic, I happily obliged. At the very least, it would be an entertaining read, and might even help me prepare for my adventure.

Without giving too much of the book away, the guy nearly goes crazy after spending over 5 months in complete darkness and isolation. He sleeps for days on end and often loses control of his temper and sanity. Even though my proposed adventure wouldn’t be as intense, his story filled me with apprehension. Could I really go 5 months without seeing another person?

All of this got me thinking about the nature of isolation. After some serious reflection, I’ve come up with two kinds (though I’m sure there’s more). The first type of isolation, as described in North Into the Night, is largely physical; the author (Alvah Simon) ventured to a part of the world that few inhabit, so quite naturally he was alone. The second kind of isolation is best illustrated by the story told in Justin Townes Earle’s heartbreaking song “Yuma.” The isolation he portrays is mostly psychological; the (hopefully) fictional character feels completely alone even when surrounded by scores of people in a city.

I think psychological isolation is easier to sympathize with and understand. Most of us live in populated areas. Yet somehow the constant presence of other people doesn’t always fight back feelings of isolation and loneliness. Especially with the rise in popularity of iPods and personal music players. Just pop in those little white ear buds and the surrounding world disappears!

Anyways, if you like the song posted below, I highly recommend listening to the rest of Justin Townes Earle’s Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street EP Yuma, as well as his LP The Good Life. He has an amazing voice and a knack for penning gorgeous songs that perfectly articulate those universal feelings of heartbreak and loneliness. Which, coincidentally, sound amazing through the ear buds of an iPod.

[mp3] Justin Townes Earle - Yuma

I’ve been struggling with this question for a while now. Is music a necessity or merely a luxury afforded those who have their most basic needs met?

I know how I would answer it. As someone who’s scrobbled over 40,000 tracks on last.fm in the past 18 months, music would appear to be a necessity to me. If you do the math, I spend around 20% of my time listening to music. This is staggering, especially when you consider that approximately 30% of my life is spent sleeping.

The percentage calculated above, however, is misleading: I often multi-task while listening to music. It makes routine chores like homework and commuting tolerable. In fact, music makes my life in general much more enjoyable, which itself is an argument supporting its necessity.

But do we really need music to survive? Clearly it does not provide the nutrition of food or the safety of shelter. There are lots of people out there who never listen to music, either because they lack the opportunity or because they get no enjoyment from it. I’d like to think I could continuing living without ever hearing another song again.

The key word in that last sentence is “think.” I get restless if I haven’t listened to music in a couple days. It calms and soothes, stirs and inspires. It is intensely personal, yet can unite large groups of diverse people. Music offers an escape from reality, taking me back to precise moments in my life or forward to moments I hope to experience. The Album Leaf’s “Twentytwofourteen” takes me back to the winter I spent living in Truckee, while I can imagine playing Beirut’s “Postcards From Italy” at my wedding.

I guess I’ve been pondering this question because I often dream about making music my profession. Whether critiquing or creating, I seem to have a passion for it that most people don’t understand. At the same time, however, I want to be a productive member of society. And if music isn’t necessary, how can I justify working in the industry?

Maybe one justification can be found in people like me. Music has profoundly shaped and altered my life, and for that reason it is valuable. Maybe not necessary, but important nonetheless.

[mp3] Bon Iver - For Emma

The song posted above, the title track from Bon Iver’s Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street exquisite For Emma, Forever Ago, only reinforces the value and power of music. Despite having been recorded in a cabin in northern Wisconsin during the winter, the song exudes warmth.

I’m a total sucker for epic (7+ minute) album closers. Actually, you might even say I’m a sucker for epic songs in general. Not, however, extended “stoner” jam sessions where every instrument under the sun gets its own two-minute solo. You know what I’m talking about.

There’s definitely a fine line: some songs need more time to evolve and expand while others just sound bloated and self-indulgent. Songs that fall into the former category include “Cortez the Killer” by Neil Young, “The Trapeze Swinger” by Iron & Wine, “Duk Koo Kim” by Sun Kil Moon, “Mogwai Fear Satan” by Mogwai (obviously), “Oh Comely” by Neutral Milk Hotel, “Desolation Row” by Bob Dylan, and, why not, “Stairway to Heaven” by Led Zeppelin. Just to name a few.

So how do you make an epic song even better? Put it at the end of an album. For example: My Morning Jacket’s “Strangulation!” and “Dondante,” Built to Spill’s “Broken Chairs,” and Gillian Welch’s “I Dream a Highway.”

You can add Robert Francis’ Official Website | MySpace | eMusic | Insound | Amazon | CD Baby | Amie Street epic “All of My Trains” to this list. Like Deer Tick, Francis is an insanely-talented young singer-songwriter (albeit with slightly less buzz). Hailing from Los Angeles, he sounds nothing like his surroundings. Actually, he doesn’t even sound like he’s from this century.

His music exudes both innocence and angst, hope and despair. His debut One By One is an earnest, introspective, timeless folk record that will undoubtedly be cherished by those lucky enough to stumble upon it.

[mp3] Robert Francis - All of My Trains

Let me start by saying that I can’t believe I haven’t posted on these guys yet. I’ve been listening to them almost continuously for the past 3 months. I honestly don’t know what happened.

Horse Feathers is two-man band from Portland, Oregon. Their music reminds me a lot of my (brief) visit to the city last summer: serenely beautiful, yet overcast and dreary most of the time. These are rainy day songs through and through.

Intense string pieces and delicate acoustic melodies create an interesting juxtaposition. The resulting music sounds passionately resigned. Lyrics like “It’s in our blood to watch each day go by” reinforce this feeling (and also resonate with me at this particular moment in my life).

Their debut album Words Are Dead (Amazon, eMusic, Lucky Madison), released back in 2006, hasn’t gotten much attention, which I can’t quite understand. It’s a remarkably solid release; I always listen to the album in its entirety. If I had to pick a favorite song, I’d ask for permission to choose several, it’s that good.

If you enjoy the two tracks posted below, I highly recommend checking out the entire album (you can preview it at last.fm before purchasing!). You won’t be disappointed.

[mp3] Horse Feathers - In Our Blood
[mp3] Horse Feathers - Like Lavender

I’m afraid no matter how hard I try, I simply can’t do this post justice. It has nothing to do with the quality of the song, in fact, it could be any song.

The problem lies in the backlog of music I need (and want) to clear out. I have enough material for at least two Artist Spotlights and two Regional Mixes. And as much as I want to share my latest obsessions as soon as possible, I’m still working on a good way to organize it all.

This wealth of material stems from my seemingly insatiable appetite for country/folk/bluegrass music. It all began with the Magnolia Electric Co box set Sojourner, which largely inspired my “Midwest Melancholy” Regional Mix. Then I discovered Deer Tick, The Acorn, Gillian Welch, and The Everybodyfields in quick succession. All of these artists have been covered (to varying degree) in previous articles; several more have popped up since then and deserve equal attention.

Needless to say, until I clear all this out, I’m going to feel slightly distracted and unfocused. As a result, the next few posts will likely be short on text (and justice), as evidenced below.

This week’s download features a song called “Late Blues” by Ida. I immediately fell in love with its somber, late night feel. Beautifully understated and achingly delicate, “Late Blues” is a near-perfect combination of electric guitar, bass, and drums. Check out Heart Like a River if you like what you hear.

[mp3] Ida - Late Blues

Lupe Fiasco has terrible timing. The Cool, his follow-up to the critically-acclaimed Food & Liquor, hit shelves on December 18, 2007. Released too late to make anyone’s “Best of 2007″ list, The Cool will also fail to make similar lists next year (as it was technically released in 2007).

I doubt Mr Fiasco really cares. Those familiar with his music will probably agree. In an industry fueled by shameless self-promotion and reckless excess, Fiasco is a rogue. He frequently raps about politics, history, and social injustice.

Which doesn’t mean he can’t hang in there with the big boys. On The Cool, Fiasco spits some of his fiercest verses while, at the same time, expanding his sound and vision. On the track “Put You On Game,” Fiasco sounds downright sinister, effectively silencing those who thought he was too soft.

For the most part Fiasco’s new album works. Food & Liquor is, after all, an extremely difficult act to follow. And while The Cool isn’t as immediately engaging, it’s a solid release that cements Fiasco as one of hip hop’s brightest stars.

[mp3] Lupe Fiasco - Put You On Game

I really tried to avoid relapsing into old habits, but as you can see I’ve failed spectacularly. I’d love to blame school for my latest absence, but it cannot bear full responsibility. I guess I’ve been waiting for inspiration to strike.

After a month of searching, I’ve finally found it. The song is “Car Windows” by The Main Drag, a band featured on cokemachineglow’s “No Big Hair” (surprise, surprise). Their latest album, Yours As Fast As Mine, reminds me in many ways of Okkervil River (download their free live EP here!). First, there is the album cover, which looks like a less scary version of Black Sheep Boy Appendix.

And then there is the music, which ranges from punk-rock anthems to soft sweet ballads. “Car Windows,” one of the slower tracks on the album, immediately steals your attention. The song starts with an acoustic guitar and the lyric “I think too much.” After about a minute, the song picks up some steam as drums and violins enter the mix. Near the two-minute mark, everything cuts out except the violins, which usher in a gorgeous crescendo.

The rest of the album isn’t as immediately engaging. Additional listens will hopefully reveal more favorites, similar to Devin Davis‘ Lonely People of the World, Unite! If not, at least I’ll have “Car Windows.”

[mp3] The Main Drag - Car Windows

If I could redo my “Southern Twang” Regional Mix, I would include this song. Simple, heartbreaking Americana.

[mp3] Gillian Welch - Revelator