Sonic Youth: Sonic Nurse
These aging, New York hipster noisemakers become friendlier than ever on their 13th studio album, managing to sound more dangerous, progressive and unbearably cool than nearly any of the latest generation of angry, young rock and roll pretty boys. The bombastic distortion and controlled noise of the Youth’s signature sound is toned down slightly in favor of intensely cerebral jamming, particularly on standout tracks “Unmade Bed” and “Stones.” Hardcore followers can be reassured that the detuned guitars and carefully orchestrated shredding upon which the band built its name are still the driving force behind the unique sound of this album. Bassist Kim Gordon’s contributions are more abrasive than ever, thanks in large part to her increasingly tobacco-ravaged voice. Frontman Thurston Moore remains a strong songwriter, while his trademark aesthetic continues to resemble classical and jazz composition more than traditional rock song structure. The result is some of the most palatable avant-garde music being made today: an underground rock album that even the Dave-Matthews-and-Phish set can appreciate. -Chris J. Norton
Wilco: A Ghost is Born
This fifth album from alt-country’s greatest innovators pushes the boundaries of the genre, continuing the progression of 2002’s masterpiece Yankee Hotel Foxtrot by straying further from traditionalist Americana and experimenting with accomplished lead guitar, droning ambience and white noise, frontman mastermind Jeff Tweedy, fresh out of rehab, continues to deliver new ideas and experienced songwriting that is fleshed out and humanized by the rest of the band. Opening track “At Least That’s What You Said” moves from ominously quiet tones into excellent solos, while “Theologians” is a reminder of the more country-influenced sound for which the band gained its reputation. Meanwhile, Tweedy’s lyrics are as brilliant as ever, especially on “Handshake Drugs” and “Company in my Back.” While the continued experimentation can grow tedious on massive tracks like the plodding “Spiders: Kidsmoke,” as a whole, Ghost is another triumph in a string of both brilliant and distinct albums. Although we can still hope for better from Wilco in the future, Ghost builds on Wilco’s established legacy. -C.J.N.
A.C. Newman: The Slow Wonder
A.C. Newman has made a name for himself as one of the finest pop composers and songwriters of the last decade, and his solo debut The Slow Wonder, while not as hook-packed as much of his previous work with The New Pornographers, doesn’t disappoint. The leisurely “Drink to Me, Babe, Then” provides a counterpoint to the retro drum kick of “Miracle Drug.” Even more impressive is the attack cello arrangement on “The Town Halo,” which puts it strong in the running for song of the year. As usual with a Newman album, even the weakest track would make a convincing single. -P.S. Hepburn
Les Savy Fav: Inches
Seven years in the making, Inches could well be the crowning achievement of indie-rockers Les Savy Fav. In a bizarre and intricately worked out plan, the band released a series of nine singles on nine different record labels, with artwork meant to eventually mesh into what is now seen on the cover of Inches. That the album maintains a true sense of continuity and purpose is a testament to the planning that went into the project. The triple threat of “We’ll Make a Lover of You,” “Fading Vibes” and “The Sweat Descends” guarantees the quality of the album’s first half. Despite the unfortunate spoken-word track “Reformat,” “Yawn, Yawn, Yawn” and “Our Coastal Hymn” finish out this behemoth album strongly. Make sure to see these guys when they come through the Black Cat on September 9. -P.S.H.
Various Artists: Old Enough 2 Know Better: 15 Years of Merge
Chapel Hill’s indie rock ringleaders at Merge Records have released this compilation in honor of the label’s 15th birthday. The first two discs form a greatest-hits retrospective, featuring excellent tracks from underground favorites like Superchunk, Spoon, Neutral Milk Hotel and Trail of Dead. Many lesser-known artists in the label’s repertoire are also highlighted with selections that, with some major exceptions, can pleasantly surprise casual listeners and diehard indie rockers alike. For the latter category, the compilation includes a third disc of demos, b-sides and other rare tracks from most well-known bands, but the real quality resides firmly on the first two discs. Like most label compilations, Old Enough suffers from weak inclusions that plug the worst bands on Merge in the interest of publicity, but the legendary label has more than enough great releases under its belt to make this release a veritable survey course in Nineties Indie Rock 101. And unlike all the other courses you’ll take this fall, the price for this one won’t leave you doubled over in pain. -C.J.N.
Black Eyes: Cough
After announcing its imminent disbanding, Black Eyes kicked off the summer album frenzy with its phenomenal sophomore album, Cough. An annoying listen at times, the spazzed out drum-punk approach that Black Eyes developed on its self-titled debut is tempered here by a more free-jazz approach to the music. This progression is evident as the album develops: “Eternal Life” and “False Positive” are an immediate blast of extremely rhythmic punk, while later tracks, especially the terrific “Scrapes and Scratches,” rely more on a new horn section. Continuing its reliance on literary themes Cough is influenced by the New Testament, giving it a vicious sense of righteous anger. The album comes off as cooler than dance-punk, very-nearly Afrobeat in its polyrhythms and far more hard-core than anything in mainstream punk. One of the best albums all year, and, as a D.C.-based Dischord release, certainly a strong contender for best local music. -P.S.H.
The Streets: A Grand Don’t Come For Free
The Streets’ Mike Skinner neither sounds nor thinks like your average rapper. First, he’s British, which plays out in accent and cockney slang, both of which make him intermittently incomprehensible to most of us Yanks. Second, in an age in which rappers are judged by whether their single features Kanye West, Skinner not only decided to focus on crafting an entire album on his own, but also a concept album at that. A Grand Don’t Come For Free intertwines stories about finding and losing 1,000 pounds sterling, and finding and losing love, with an obscene amount of drug references along the way. While the territory has been covered before, Skinner’s mesh of rap, punk, new wave and garage combined with keen observation presents the topics from a refreshing perspective. Standout tracks include the deliciously rude, guitar-driven single, “Fit But You Know It” and the New Order meets Massive Attack inspired “Blinded By The Lights.” Like fellow Brit Dizzee Rascal, Skinner’s originality and fresh sound has put him on the U.S. hip-hop radar. But while Dizzee relies on harsh beats and a slick flow to carry his songs, Skinner does not have the tongue-twisting talent to hang with complicated rhythms. Indeed, A Grand Don’t Come For Free’s low points, such as “What Is He Thinking” and “Such A Twat” occur when Skinner tries to ape Dizzee’s sound. Instead Skinner should stick with his strength, genre-bending introspection, and not let a silly little thing like a mediocre flow stand in the way of making innovative music. – Liam Dillon
