Leading Tone: Dream Job

So, good news! I got a job for Christmas! In all fairness, I was hired a few weeks prior to Christmas, but hey- when Jesus/Santa sends blessings/gifts, you don't question the timing.

A little backstory: Ever since quitting Guitar Center back in October, I'd been posting ads to the Seattle Craigslist site, offering myself as a private guitar tech for hire. My rates were affordable, and so I picked up a few jobs here and there. I've got one really great repeat customer, Gregg, who is thrilled with my work and quick turnaround. He's a great guy.

After two months of C-listing it, I received an E-mail from John Fromel, founder of Fromel Electronics
, which produces some great high-end, boutique effects pedals. Seriously, they're sweet little instruments unto themselves. The E-mail went something like, "I've just opened a small shop in the Seattle area, and we're looking for someone to outsource some repair work. Why don't you come down and meet with us."

I called John, set up a time to meet, and folded my hands in earnest, hoping that something good might come of this. I mean, who gets a job through Craigslist? Plenty of people, I'm sure, but most of them posted resumes! John wrote me out of the blue, based on the candor and veracity of my posting! Unbelievable!

I took a trip down to Leading Tone that Friday, and upon walking in, was greeted by a familiar face. My good friend, Mike Ball, also works for John. "What the heck are you doing here?!", he asked incredulously. Before I could answer, he was hot on the logic trail. "Oh... you're the guy that... with the... ah!" He turned around and took me straight to the back of the shop, which sounds like a longer walk than it is.

"John, this is the guy I've been telling you to hire", Mike announced. I blushed, thanked him, and met John for the first time. We spoke of my experience, of the hopes he had for his little store, and the organic nature in which he'd like to grow his business. Everything he said, I couldn't have agreed with more. I knew I wanted to work here. Little did I know, my qualifications would have nothing to do with my being hired. Evidently, all it took was knowing that I buy things from Stewart-Macdonald, a fine purveyor of instrument-related tools.

"Do you have tools?"
"I've some tools, but I'm expecting the Stew-Mac Nut Making Kit in the mail any day."
"HOLY CRAP! THE KIT?!"
"Yep. My In-Laws bought that for me for Christmas, but I'm getting it early because I've got work that depends upon my having it."
(Long pause)
"We've gotta get you a bench here."

And lo, I was hired. It's been great. John and Mike are the co-workers I've always wanted, each with a great sense of humor and humanity. Both are great musicians, and John even attends the same Church as me! I never imagined I'd look forward to work, but here I am, loving it.

So far, I've restored and repaired numerous instruments, and many with a certain prestige to them. For instance, this 1961 Guild Starfire came in looking dingy, with the headstock veneer separated at the edges. After some serious time spent lovingly cleaning and polishing the body with some special chemical agents, she looks quite the business, and sold for a handsome sum indeed. I also re-glued the headstock veneer with the aid of a well-placed heat gun, and it fell back into place with ease.

Another gorgeous addition to the flock was this 1977 Gibson ES-350T, which was recovered from a storage unit here in town. Most people, when trying to sell an instrument, will tell you it's "virtually unplayed". Well, this one looks as if it's actually unplayed. No wear on the gold hardware, original and unmolested frets with characteristic "nibs", and an although the finish was slightly cloudy from age, a light cleaning revealed the only scratches on her were from the polishing wheel at the factory. The only problem this sweetheart had was, after being kept in its case at varying temps for years, and at full string tension, the neck really didn't want to stay in its pocket; it didn't need a reset, though, and only required a small amount of hide glue in an equally small separation to return to true action and playability. And the sound? As if the heavenly host itself had taken up residence within its entirely hollow frame. Mmmm! She's currently on Ebay, and you can find the listing here.

I have to be honest, though. While the above examples are exceptional both in terms of condition and rarity, the next one is worthy of as much adulation as one would give a Faberge Egg:

My latest restoration project has been this incredible and sonorous 1934 Gibson L-12, complete with the original case, original bill of sale, and a couple of unused, equally old Black Diamond Strings, still sealed in their protective pouches. I have to tell you, this thing is unbelievable. When we received the guitar, it was showing its age with a worn, murky finish, a fingerboard replete with tarnish on the frets and grime covering the fingerboard. Still, one could easily see past all of the dirt of decades passed, envisioning the potential beauty underneath. I deep-cleaned the body, lightly polished the frets (in order to retain some of its elderly patina), and with a razor blade and much care, slowly scraped away at ages of build-up concealing the intricate inlays of bone and pearl. There was, additionally, an area of binding that had separated from the back of the guitar, and so, I glued and clamped the offending section to much success.

Having just re-strung the guitar, I've discovered the serial number intact beneath the ebony bridge, and it's also scratched onto the back side of the surprisingly un-deteriorated pick-guard. With strings tuned to pitch and stretched accordingly, this instrument resonates with a depth and voice which bespeaks of its age and pedigree; an instrument in the hand that one cannot help but feel the passage of time more palpably with each passing tone. Every chord rings true and warm, and the large, soft "V" neck feels as comfortable as the hand of a lover. Stunning in every respect, this guitar has survived the years with a grace and nobility reserved for instruments preceding WW2; I think it will be quite difficult to find instruments from our present era that age even partially as well as this.

*SIGH*

In conclusion, here's to the new year; may it lead to many more blessings for both you and I, and may we all find joy everlasting in unexpected places, at times inconceivable.

Cheers!

ZEBRA HAS TEETH

Kick
Snare
Kick, Kick
Snare

The zebra has teeth to bite you.

Why does the zebra have teeth?
I don't know.
But don't get too close or he'll bite you
And don't take his sandwiches
because he likes to eat the roast beef with his teeth

I screwed up the lyrics at the talky-warning part, but for the most part I feel like I really captured the essence of the original, which you can find here.

More to come; there is much art to be made.

Good Stuff

COMING SOON.
NEWS!
THRILLS!
LISTS!
OF MUSIC!
INTRIGUE!
SUSPENSE!
WEDDING!
GIRL!
DETAILS!
INANITIES!
INSANITIES!
INFINITIES!
INSENSITIVITIES!
PROFANITIES!

ALL OF THIS AND MORE!
(INCLUDING UNNECESSARY CAPS!)
COMING SOON

I am so dry.

I do this sometimes, where instead of writing something, I'll post something I've already written, sometimes to someone specifically. I don't want you to feel like you're eavesdropping, but I've finally been able to put words to what I've been feeling. I wrote this morning to my team leader in Prague, Phil Davis. He's the man, and is well-aware of how much I ramble. He's a saint, the guy!
***

Hey, Phil. Here's some free-range honesty, farm raised for your delight. I am so, so sorry in advance. I hope you have time. Yeargh.

It's been a hell of a year, eh? Going from full-fledged, 'on his way' missionary to 'rethinking' the relationship. I think, honestly, I picked the worst time to have tried to fund raise, but in all truth, I still don't have connections, and I really really really really really suck at keeping up with things. Having a support coach should have done some good, but Dave and I just didn't see eye-to-eye, not that that's anyone's fault. We had some run-ins, and I know I could have been a better pupil, could have spoken up about what my needs were, been honest with myself that things weren't working... all of that.

If I'm honest, I recognize that when things have really gone well for me is when I'm supervised, as in, up-close supervision. I look back at any real progress- at least, when I feel I've made the most- it's been in structure, in a place where my peers held me accountable to my face. The most change in my life was made at the school in Fresno, in the community in Prague. These were times that I felt much more at peace, at home, in process and alive. It's not just the experiences, not just the callings... it's the people and community that really drive me. I crave structure.

I said all of that to say this: I love what Ward is thinking. I love tent-making. It's all I've ever felt good about to begin with. But, again in honesty, I know well that I'm not making progress still. I know that I probably won't make too much progress in the future without something rigid to go with. That wonderfully detailed personality profile even confirmed this.

The analysts told me, "You're operating at levels of high intelligence. [The I.Q. test you mentioned that you once took] told you you're in the 130 range. If we're honest, you're probably a lot higher than that- we're taking 160-190. You may even be a certified genius. The problem is, with all you are, you aren't organized. Your lack of rigidity hinders you, and holds you back from your true potential." I remember this so clearly because, not only was it surprising- and a huge ego boost- it was something true that I've thought about a lot lately. Sure, I gave it consideration back then, but really, I focused a whole lot more on the "U might be a genius, Ur so sm4rt!" part of the conversation. I know. I'm as susceptible to fits of prideful behaviour as any. More so, even.

So i'm realizing and thinking about all of this, and while I'm doing that, I'm thinking of Prague. Questioning why I'm so lazy anymore. Wondering not only if I'm really going, but also if I'm meant to go. Prague is still in the front of my mind, and even though there's so much to distract me here, I still hope. Nothing gets done, but I hope. While I'm hoping, I'm working at a job that I love but don't, doing things that satisfy me but don't, in a family that tries to relate to me but can't, which I try to love but fail miserably. So I try to act all tough, but it's a bust because i mean, look at me. Tough? It's a stretch. I try to get all intellectual and cool, but am really robbing myself of real interaction and inspiration and most importantly, love.

In the midst of all of this, I'm avoiding God. I really am. On purpose. I know, right?

I recently described my relationship with God to my Junior High Small Group leader. I told Melissa, "God and Me? We're like roommates. But we're roommates that don't talk much any more. Yeah, we're there, and we're always in each other's presence, but it's like He's got more important things to do than clean up his clothes." (He DOES have more important things to do, and I know that, but I'm petty and so I'm getting mad. He's not doing what I want Him to, and He's not doing it for me, right now. I know. This is a good analogy.)

"So, God and I aren't seeing each other as much, because I'm a jerk. Inevitably, we pass in the hall, but I'm a jerk, right? He says, 'Sup' and I give him that male recognition nod, and for a moment things are really tense. Awkward. He's just standing there like He knows I have something to say. He wants me to say it, real bad. I can tell."

"So, do you say it?"

"Yeah, but not what we both want me to say. See, He and I both want tears and snot and tissues and 'I'm sorry's' all around. But I'm a jerk, remember? So I point at the laundary room floor, and I ask, trying to be civil, 'You gonna get that?' God says, 'Oh, yeah, I got that. Don't worry'. Then I make something up about having to clean the fridge or something and I nod and walk out."

So why am I really avoiding God? It has nothing to do with the jeans and shirts all over the floor. (That is metaphorical, by the way, the clothing. For what? It's coming.) In actuality, all of that stuff, it's insignificant. I mean, really. What do I care? I don't. I don't need to, at least. It's His stuff. It's ALL HIS STUFF, right? So I should leave it be, and trust that He's capable of tidying up on His own, in His own way.

No, the reason I'm avoiding God is that I have no idea what He's doing. I don't know what He's spending all His time on. I don't know what He's doing or where it's being done, and all the while HIS CLOTHES ARE EVERYWHERE. All I can see, in all of my finite amazement, is this mess on my floor. This ridiculous pile here, right in front of me, that I can't possibly begin to sort out. And what's more is God wears all kinds of exotic fabrics because He's all eco-friendly and world-conscious, so I have no idea what temperature or cycle to use. I'm afraid to mess it up, so I'm useless to fix my situation. I'm rambling, too, which is a terrible habit.

So what I'm getting at, is it's nothing to do with clothes or cycles... It's that I need Him to help and I feel like He's, I don't know... out. I'm a mess. I'm tangled, balled up and tossed in a corner. I am the pile.

I resent God right now because I don't know anything. See, I've never had much direction. Ever. When I felt called to the Mission CA in Fresno, it was great and beautiful and full of hope and joy because I knew something. God pulled back the page so I could see a corner of the picture from the next chapter. Same thing with Prague. When God spoke and said, "Go to Prague and make friends.", it was electric. It wasn't a huge, verbose revelation. It was enough.

I've been home 3 years. I've been a confirmed Missionary for 1. All this time, I've been of the mindset that, yes, I'm going back. Can't get too comfy, folks. I'm in transition. Never settled down. Never learned to be. Just always looking ahead. Never in front of me. I've lost sight of Him, of His will, all because I held too tightly to the little bit I knew.

I'm not saying that I'm not meant to be a missionary. I still feel peace about Prague, about living in that city with this community. I still WANT to be there, which is huge given my attention span. I still wish, hope, dream, pray... all for Prague and Her people.

I'm saying that I don't have a clue what He's up to. I need that clue, Phil. That's why I'm avoiding Him. I'm afraid of not knowing.

I want to know What. How and Why, too.

So, yes. I want to do this fall trip. I want to see how things can come together. I want to pray and fast over it. I would love to make it happen!

That's it. That's who I am at the moment- A confusing, smelly heap.

How are you?

Signed, Heap.

***
Look at this guy. How could I avoid Him?! I'm thinking it's about time we had that talk...

"Come all who are weary..."

Radiohead, Recording, Prayers and Dentists.

Today, I got the best compliment of my year. I won't say what it was or who said it, but I'll announce my thanks and confess that it had something to do with Thom Yorke of Radiohead. Suffice it to say, it's been quite the good day. So, THANK YOU. That was "All I Need[ed]"







Good week, actually. Last Saturday, I spent many, many hours in the Lebanon Valley Arts and Music Centre recording a demo with the boys in an as-yet unnamed project. I'm hoping the name "Remedios" sticks, but we'll just see. The process took some time, but we're pretty happy with the results. To be honest, the whole project is really a big experiment, which is exciting. We're not conforming to any type of genre, and we aren't saying no to anything. Ideas come to each of us, and songwriting is more or less democratic. Brent, Brandt, Dan or myself will have an idea, and we'll spend our practices building upon it, hopefully churning out some good rockin' while we're at it. And, I've gotta say that I'm really impressed with how far we've come in the space of a few practices. I think that, counting the time spent in the studio, that makes 6 whole practices. We're not wasting any time.

And really, there aren't that many people I'd be so glad to work with. These guys are serious musicians, and they're seriously good. The compositions we're coming up with take interesting twists and rabbit trails, and the more we play together the more I can sense the four of us gelling, meshing together in heart and focus. I'm excited.

We went in around 6:30 PM, and didn't leave until 2:30 AM. And what did we accomplish? Some pretty darn good drum tracks. Overdubs next week! Can't wait. It's good to create again. The hardest part: Lyrics. See, none of us were the chief songwriters in our respective bands, so while our music's great, we're finding the challenge in crafting relatable melodies and lyrics.

Also, I've some other news in the musical realm. Marketa Liskova, a good friend of mine from Prague, has contacted me about some opportunities. She's a Czech singer/songwriter, and she's got a really powerful voice and keen sense of direction when it comes to writing. When I was last in Prague (Feb 2008), I recorded some guitar tracks for her forthcoming record, which drops this summer. Marketa wondered aloud at the possibility of my returning to CZ, even if for a few weeks, just to finish her record. Then she spoke of the possibility of shows, hinting at a tour...

The thing I'm praying about is this: In my limited capacity, I cannot think of a way this would work out. I couldn't balance work and Church and all the millions of other things that go on during the day here. Then there's the question of God's will. Would this be something HE even wants? Because it's something I would want. I mean, heck! I get to be back in the city I love, doing what I love with people I love. How much better could it get?

Remember me? Thanks. I owe you!


Changing gears, I found this on Fark.com today, which is a news aggregate site that i frequent. I guffawed. Here's hoping you do, too. And all I'll say: This kid should never, ever do drugs.

Nothing Spoken, Nothing Lost

Last week, I turned a respectable 27. Most people rail on me for getting older, citing the fact that my bones will start creaking and my knees won't bend in certain ways and once you hit a certain age it's "all downhill from here" and your back kills you and you've got a mortgage and kids and a loveless marriage and there's that young thing at the super market check-out counter that makes you think to yourself, "If I were 20 years younger...", which you try to wipe from your mind, because WHAT KIND OF PERSON AM I, I CAN'T BELIEVE I'M THINKING THAT but wow is she a looker. They say, "Wow. 27. Wish you could stay young forever, eh?"

To which I reply, "No."

See, it's not that I'm impervious to the common woes of aging; I do sometimes think I've got these ever-increasing numbers and nothing to show for them; that I've missed some extravagant boat ride to the shining city of success; that maybe it's about time I give up on all of my boyish fantasies (of which there are a waning few) and put on a tie and get a desk job. And perhaps there's merit to some of those thoughts, though if I let them in for too long, they tend to set up a camp on the outskirts of my good mood, threatening to overrun when the moment's ripe.

I'm a bit different from my other far-from-ancient friends in that I actually don't mind getting old; in fact, I relish the thought. Why the blank would I WANT to get older? Glad you asked. Because. There. Deal with it. 's what I think.

But really, it's all about me getting older and in turn getting away with things that young bucks never hear the end of. I can remember being at my Gramma's place where a pretty serious card game was going down, and everyone's there. Pap, Nan, Gram, Mom, Dad... the whole clan. Somehow, someone brought up church, and why Pap didn't go. (I'm a little fuzzy on the details) He answered for his actions, or lack thereof, with "Pastor's an ass!" And everyone laughed a little laugh, and Gram slapped Pap in that loving, yet incredulous way she did so often. It was, in that moment, when I envied everyone over the age of 58.

I mean, who could say that?! AND not get ex-communicated from life? NO ONE. EXCEPT our elders. Just brilliant.

Good news: this is a phenomena that you can experience for yourself, in your own community- possibly even in the safety of your own home.

Of course, I'm joking around. But only so. What I'm really after is wisdom. Not just the conventional kind, but that kind that comes only in story form. That's what makes me marvel. Story. I think I've got some pretty good ones so far, but man! There's so many stories yet to come! Stories to share with my kids, my grandkids... Stories like this one:

Today, a woman called in to Menchey Music to ask about Yamaha Clavinovas. I told her some rough prices, and she announced that she'd be there in 15 or so minutes. I told her, "Well, in that case can I get your name and I'll just keep an eye out for you?"

"Oh, you'll know me", she quipped, "I'm Asian."

Some people have senses of humor, don't take themselves too seriously, and love to joke around. There's always the one that makes the day go by quicker. She was so fun!

***

I'm done waxing philosophic on age. I wanted to explain the photos for this post. It's a burning guitar.

Before there's public outcry, let me make a point: 2 huge top cracks, unplayable action and the sheer fact that it's barely made of what you'd call "wood" makes this okay. Really, no one was gonna be able to play this, and it would have cost more to repair it than to just buy another. No hope.

It did, however, make the perfect kindling for a killer birthday celebration. Lucky for us, Josh Smith has a nice little fire pit just outside his home, and even though temperatures were far below comfortable, we toughed it 'till we had a kickin' fire on our hands. I've always wanted to do this, and I'm glad to have the mementos of the first moments of my 27th year. May this year be a defining one.

Music's already been a huge part of this year, with some good results coming out of three of my friends and I getting together and just working with whatever ideas come. I've been writing more, too. So there's that. The song I'm currently writing is about my adoption, and it's called "Nothing Spoken, Nothing Lost". I think. And, with my birthday/ Christmas money, I finally bought a HUGE pedal board to mount my EFX units to. Oh! And my manager, Chris, came in to work with his mandolin, telling me that if I replaced the nut, I get to 'borrow it indefinitely'. YEAH! I've spent the whole last two weeks re-learning what I've forgotten and trying to wrap my mind around these tiny, tiny frets. Best week ever!

***
The last subject I've just got to talk about is Danielle. She's incredible.


Wow. I heard about her from a post on Fark.com, my daily news site, and I've been watching her videos and talking about her music to the point of stalker-status. Favourites of mine include, "Things We Have In Common", "On the Planet Earth", and "We are Hot Dogs". I know that last one sounds silly, but just trust me. It's a beautiful tune, and you're not gonna believe how well what some barely acknowledge as food can be used to further one's understanding of a relationship. She crafts these ingenious, simple melodies that get stuck in me like so many Girl Scout Peanut Butter Patties.

Most of her videos start out with some kind of humor, and one that I love to show people is the one that starts the song "Born in the Wrong Body".

Give this girl some time to sweep you up in her disarming voice and charming wit. Why are there not more girls like this in the world? And hey, if you live in NY, go see one of her shows. And tell her I said, "Sup?"

Four words: Danielle Ate The Sandwich. I'm gonna order both her records next paycheck. I'm very excite!

2008's Top Ten (and then some!)

Benjamin Michael once asked me, "Michael, is there going to be a top ten list this year?" Not a split second passed when I cried out, "Hell, yes!", then realized I was in Church. I blamed Tourette's because, hey, my special-circumstances gift card expires if I don't use it at least once a year. I kid.

2008 started out lookin' pretty good. While my eyes were fixed squarely on that summer release of Sigur Rós' latest, my ears' interest piqued when rumors of an M.Ward/Zooey Deschanel collaboration loomed. What's that I see? A new Death Cab! I'm sorry, did you say Copeland has a new one coming out? No, way. All in all, things were shaping up well enough.

Then the disappointment crept in. The Death Cab For Cutie was good, but not crucial. Elvis Costello, I love you, but apparently not enough. Actually, it wasn't you at all- i blame the keyboards. And Coldplay! Coldplay! COOOOOOLDPLAAAAAAAY!!!! Three out of ten? I liked so three out of ten? Viva just wasn't the crescendo I had looked forward to, but then again, neither was X & Y. I should have known.

There were plenty of diamonds in the proverbial rough- even a few that wanted to stay coal, as Tom Waits put it- and those worthy good eggs will listed in orderly fashion below. Since I've become keenly aware of the pop bandwagon, I'm going to try to reflect music I actually listened to this year instead of that which is super cool these days. Invariably, the two camps will cross lines, so I hope not to come off as an elitist, my-music-is-WAY-more-obscure-than-yours. In all actuality, there's little obscurity in most of my picks this year. Go find 'em!

13. Thrice, The Alchemy Index Vol. III & IV, Air & Earth
Yeah, there's gonna be 13? Why? Because I live in America, where the credo of such an enlightened people is, "Everyone has the right to sue and everyone gets a trophy!" Yay!

But really, if I were a farrier of fine novelty awards, I would first-class one straight to the door of Dustin Kensrue & Co with a plaque reading, "Most Changed, 1998-2008". They've come a long way, baby.

I have to say, I loved Thrice the first time I heard them in 2002. A friend from a band shoved The Illusion of Safety in my CD deck and I was floored. So much angst, such great guitar riffs! How could it get better?

Looking back through this band's career, the meandering route they've hewn through musical genres makes perfect sense. They've gone from their punk/metal/hardcore roots and re-invented their sound numerous times, from country to digital and now, to a softer brand of rock. Volumes I & II, Fire & Water, packaged together like this latest installment, took cues from their previous, Vhiessu, but showed us a band becoming more and more versatile. They've honed their craft, and though they've still got all of the requisite thrice elements in play, there, peering over the edge of maturity, are digital drums, synths, atmospherics that just make sense. On Air & Earth, we see even more brilliance in melody, harmony, instrumentation and a total mastery of the loud/quite dynamic so utterly lost on today's self-described 'heavy' artists. (I'm looking at you, Underoath! You know there's a clean channel, right?!) And what's better is they pull all of this off, and have done so consistently, without ever sounding whiny, deprived, and screamo-centric as most of their contemporaries. Dustin's vocals are better than ever, easily putting him in the same pretty/ugly school as Billy Corgan, minus the carnivality of it all.This is a huge sounding record, and though it's in volumes it really is one big conceptual effort. Each final song of these discs are in different keys, but deals with the same lyrical themes of man's relationship to the prescribed element, using the same melodic and chordal ideas. If you're looking for something that has some seriously inventive songwriting, thoughtful lyrics wrought with biblical and telluric imagery and feels honest, just go get all four volumes.


12. She & Him, Volume One
Ever see Elf? That blonde-ish chick with the deep, entrancing voice? Or Winter Passing, the Will-Ferrell vehicle that wasn't like the rest that starred that brunette? Okay, okay, but what about the short-lived Sci-Fi Channel re-imagining of L. Frank Baum's Wizard of Oz , Tin Man? Or the only good thing about Matthew McConaughey's Failure to Launch? That would be She.

Ever bought Nora Jones' Not Too Late, and listened to the background vocals and guitar on "Sinkin' Soon? Like Bright Eyes' recent stuff? Him is all over that.

1940's and '50's influenced M. Ward (check out his last release, Post-War, you'll thank yourself) and actress Zooey Deschanel teamed up in 2008 to bring us one of the most sweet and surprising releases since Once won an Oscar. Still hingeing on themes of love and contentment, as well as being hopelessly, sentimentally ruined by someone, there's still a good bit more innocence on this release than on any of the music released by the ginger one and his Czech arm candy. Less of a heartbroken, defeated memoir and more like how Sandy Dumbrowski and Danny Zuko would sound today, minus the car racing and, ugh, Rizzo. There's hope here, and it's relentlessly fun as new love should be. With moments of mouth-only imitations of horn parts, Zooey's forlorn-country-gal vocals, and M. Ward's echoey, sometimes Hawaiian, historic signature sound, this record easily outshines many of the year's others. Really, it's one of my favourites. Mostly uptempo (but never a low point) and shamelessly reminiscent of the best 50's love songs, this record is just brilliant. It's hard to imagine Ms. Deschanel being more desirable than she already is, with that deadpan wit and fair skin. But, welp, there you go.

Congrats to Zooey for becoming engaged to Death Cab's Ben Gibbard!

My deepest condolences to Death Cab's remaining members for the imminent, somewhat tragic loss of their lead singer.

11. Retribution Gospel Choir, Retribution Gospel Choir

At times reminding me of Low and Pedro the Lion, and some of the best rock from better days, RGC has a hunger and ferocity in their mid-tempo compositions that really puts me at ease. I could listen to this all day. But I don't because, of This Will Destroy You, who sadly haven't put out anything in 2008, but deserve mention anyway.

Though there's rarely a moment in this disc that breaks the Guitar-Bass-Drums-Vocals formula, the brainchild of Low singer Alan Sparhawk (interesting that it reminded me of Low, eh?) is described on the Caldo Verde site like this: "Low visionary Alan Sparhawk cranks the amps for a radical stylistic departure. Crude, mangy guitars collide with trudging stoner-rock rhythms and some catchy melodies -- for modern-day spirituals that defy all preconceptions"

It's low-fi all the way, in the same sort of tradition of early Guided By Voices, Sebadoh, Pavement and The Mountain Goats. Anymore, I tire easily of bands who put anything but the song first, and RGC definitely, decidedly makes song structure King, although it's a less ornate title than with other groups. Simplicity reigns, but they are finished-feeling songs. There's nothing lacking, and it perfectly fills the void left by Low and Mogwai and the heavier moments of Starflyer 59. It's a void that needs filling.

10. The Weepies, Hideaway

As much as I enjoy this record, there's not a lot I can say for it. It's not a huge change in cover art, that's for sure. It's not necessarily brand-new sounding, though there's a slickness and freshness to some of the production that's been lacking to previous efforts. The songs are catchy as H, but hey, they've always been, right?

I guess what I'm telling you could be taken as damning, but that's not the case here. It's more of the same, which with the Weepies, it's not a bad thing at all. I really enjoy this band. I find myself stuck on a melody not remembering where I'd picked it up, like gum on the sole. Only this gum is clean, and it's still good. I chew it and chew it, still unsure of its origin but enjoying it purely. All of a sudden, it hits me- and I know it comes from a source of good repute. Seriously, just about every song hooks you like a Sea Kitten. (i meant to write about that a long time ago. Just visit the link and you'll know. Jessica Simpson's gonna be so confused! Oh, and read the story books. Seriously. You guys. Seriously.) Really addictive, folky, poppy, easy music. Hey, these guys made Mandy Moore sound good (she usually just looks good) on Wild Hope, so give 'em a chance. And, much like another die-hard favourite of mine The National, who were #2 on last year's fine list, they've been featured in Barack Obama's Campaign.

Take a listen to "All Good Things", "Can't Go Back Now", "Just Blue", and "Orbiting" and you'll see why these guys could kick all of the a**es of all of the Sixpence None The Richers and any other generic folk-poppers you can name.

9. Ray La Montagne, Gossip In The Grain

In an year full of folk for folk's sake, Ray-with-the-nigh-unpronounceable-last-name (does anyone else feel like they're wrong every time, no matter how you say it?) humbly holds out at arm's length one of the great treasures of the year . It's so good, I gleefully ran straight home from the record store, clutching this disc in my throbbing arms all Charlie Bucket-style, then threw it in a bowl and poured milk over it in order to fully digest it's grainy, wheaty goodness.

Here you'll find deep folk trappings, 1960's good rockin', R&B cues, and that buttery/syrupy, heartbreaking voice that goes just as well with pancakes and toast as an iPod. Where She & Him expresses the heights of new love with excitement, Ray's Gossip is a serious, steadfast take on the subject. It's a record that says to the listener, "You and I are on a journey, and I'm in it for the long haul, baby." It's a picture-perfect rendition of commitment through hard times, with lyrical passages like that in "Let It Be Me".

"Feels like you always coming up last/Pockets full of nothin' and you got no cash/No matter where you turn you ain't got no place to stand/ Reach out for something and they slap your hand/ Now i remember it all too well/ just how it feels to be all alone/ You feel like you'd give anything/ For just a little place you can call your own/ That's when you need someone, someone that you can call/ and when all your faith is gone/ Feels like you can't go on/ Let it be me" This is serious stuff, folks. He's an incredible creative force to be reckoned with. I can't decide... this one or Till the Sun Turns Black? Let's not decide.

L... La... La MonTANE.

08. Russian Red, I Love Your Glasses

This is one of Debbie's favourites this year. She told me I'd love it, and where others have claimed that very thing and scared the bejeezus out of me, she is completely trustworthy. Was she right? It's in the list, isn't it?

Lourdes Hernandez, who hails from Madrid, Spain, knits together some of the most intimate little folk songs you're likely to hear. Shimmering voice and quaint instrumentation go a long way in this release, making for just pretty, pretty music. She's a diminutive girl, with a chirpy voice and the most alluring of accents. Words like 'situation' and 'smoked' and 'outside' get special treatment, which is more than okay with me. I'm even impressed with her cover of Cyndi Lauper's "Girls Just Wanna Have Fun"!


07. Lykke Li, Youth Novels

The album's first track, "Melodies & Desires" starts off in hardly less than epic terms. Spoken-word instructions set the mood for the Swedish pop star's debut, and sets it in a big way. Like so many other records on this list, themes are love-based, but this one forgoes the foreplay, and dives straight into a more sensual take.

"Love is the harmony/Desire is the key/ Love is a symphony/ Now play it with me/ You be the rhythm and I'll be the beat/ You be the rhythm and I'll be the beat/ Then I'll be the rhythm and you'll be the beat/ and love, the shoreline, where you and I meet"

Later gems include "And for you I keep my legs apart/ and forget about my tainted heart/ and I will never be the first to say it but still I, yes you know I... I... I..." But even with the sensuality, it lacks the smarmy glow so quickly added to the sum total of American pop stars' releases. Yes, there is a sexual element, but it's in no way as tasteless as the latest Pussycat Dolls' or Spears' track. And it's in the context of some truly interesting music. You can certainly distinguish the influence of Bjorn of Peter Bjorn and John. Some might not enjoy it, but I do. On a drive to visit Meredith in Philly early in December, I popped this in as i was just entering the city and was astounded by how perfect a fit the two were. It's a fun, memorable record that you can't help but appreciate, if only for the play between innocence and deviousness.

06. Dr. Dog, Fate

How fitting, then, that the next consecutive record actually came from Philly? Dr. Dog draws comparisons to 1960's groups like The Band, and rightly so. They sit firmly in that space and own it. Although there's not a bevy of information available about the band, it seems that they all have, or at least had, real jobs including one member being a certified lawyer. Touring with the likes of The Raconteurs and Clap Your Hands Say Yeah can't help that much, though. Nor can putting out a solid slice of Americana. Fate is good to the last drop, psychedelia intact. It is worth every minute of your time.

Tracks of note include "Hang On", "The Old Days", "The Ark" and "From".

And where does one find the blankets that all these album covers exist upon? There's nothing I'd love more than to wrap myself up with these inexplicable images, curling up in some Bright Eyes and Fate, which is Nice and Nicely Done, sitting hot cocoa on Denison Witmer's hand-towel-cum-coaster. Snuggled under my Do Make Say Think and Cinder paintings, the wall paper catches my eye and I think to myself, "Let's Get Out of This Country". Just outside the window, looking past the Ohio tree, I can see mountains of Lekman- far beyond Occupanther forest- and it's about to turn Melody A.M. I drift off now, my mind retracing the Stars at Noon, while Rain Dogs play and snarl. As I finally get ...A Better View of the Rising Moon, I regret that don't have any Umbrellas, as I'm likely to catch Pneumonia. Or some sort of Wesley Willis Fiasco.

Lord, I'm tired. Did you catch any of that? Bonus points if you did.

05. Ryan Adams & The Cardinals, Cardinology



I'm a huge fan of this guy. He's prolific as songwriters come, and he's a killer musician to boot. Problem is, he's got no filter. He puts out an album at least every year, sometimes 3, but sometimes there's only a handful of tracks on each that are really impressive. You get the feeling that he'd be better off just releasing one or two every few years. His last record, Easy Tiger, for example, didn't really stand out at all to me, which as a fan, saddens me. I wasn't sure what to expect with this one.

Lucky me, then, to have had all of my fears assuaged. It's brilliant! A masterpiece! Every song, every one, is great. From the first acoustic guitar line to the last piano refrain is singable, memorable, lovable. Songs like "Go Easy" and "Magick" showcase Ryan's country rock roots, while "Fix It" and "Let Us Down Easy" give us a glimpse of the soul that lurks deep within. "Cobwebs" is just huge, while "Crossed-Out Name" is subdued. It's a great sounding record, rife with Fender amps and Fender and Gibson instruments going for absolutely vintage tones. Heck, the guy was a huge part of my last decision over what guitar to go for.

The only song I would leave or take would be "Natural Ghost", and that's only because my withered ears still can't quite fall for the chorus line. Sounds squished. Still, good song, even though it's not my fave.

It's true; this one surprised me, and it was only the most pleasant of surprises. I love it. It's one of the few CDs that stay in the case it came in, kind of an elite group of things I like to listen to and look at. If loved songs like "La Cienga Just Smiled", "Cry On Demand", "When the Stars Go Blue", even songs from the Whiskeytown days, you owe it to yourself to pick this one up.


04. Colm Mac Con Iomaire, The Hare's Corner

This is the first solo release from the violinist of Irish band The Frames and also The Swell Season which both include Glen Hansard of the film Once. Though he tours relentlessly with both acts, Colm is very much a talented musician and composer in his own right. From multi-instrumental songs to a few with Colm looping violin over violin, live, this record has more to it than meets the eye.

Colm himself explained the title of this year's best instrumental album, which I will paraphrase. A hare's corner was a spot on a large piece of farm land left as a refuge for the rabbits to run to when equipment came out and farmers got tired of having crops destroyed. They would leave a little patch untouched, vegetation free for the taking and land left for burrowing. It was almost an unspoken agreement between the farmers and they; "If you stay out of my way, I'll stay out of yours" sums it up.

What does this mean for Colm's release? His album, though purely instrumental, has much to do with preserving heritage, and more specifically, his language. You see, Gaelic, like many other languages, is in danger of fading away completely because of the widespread acceptance of English. In Ireland, there are still strongholds known as 'Gaeltachtaí', meaning 'Irish speaking regions' that have mostly been spared from the harvester's sicle. Still, danger still looms.

Another meaning to the metaphor comes directly from Colm's Hare's Corner Site:

"The Hare has long been associated in Ireland with the Superstitious and the Supernatural and was considered to be the 'Shape-Shifter', the traveller between worlds.
I was captivated by the metaphor of the "Hare's Corner"..
It represents for me the wild and mysterious source of the many rivers of music and imagination..
The music here on this record are the strange gifts I returned with from my many walks in the long grass!"

That says it all. I encourage you to seek out this music and really, buy it. Not only is it a great listen, Colm is really one of the most stand-up guys I've ever had the pleasure of meeting. Much more stand-up than an other certain Irishman.

Click the link above for his awesome dual-language site.


03. Fleet Foxes, Fleet Foxes

This has been the year of dual album covers. It seems that a few of my favourites from this year have come in two forms: the widely-released version and the hey-where-did-that-come-from version with the cover only I have. I'm confused not only because there are two different covers, of which i prefer the simpler, colored box version, but because there happens to be a different title associated with the one I like. Strangely enough, there exist all of the same tracks on either version, so either my iTunes has crapped on itself, or I'm just that cool.


No matter which cover you prefer, this one is for keeps. The vocal harmonies are stright out of How to Sound Like The Beach Boys book 1 and they do the job well. They take it further from the car and girl obsessed days of yore, instead writing about squirrels, snow, tigers, strawberries, and my name. Really, you could call this one close to Animal Collective, the Zombies, and others in the vein, but these guys stand out as something uniquely entertaining, and eminently listenable.



02. Delta Spirit, Ode To Sunshine

Benjamin Michael told me, "It's like drinking songs. You'll love it." He is another that I trust, so I gave it a spin, but only after I worked up the nerve. See, that description, though accurate, didn't prepare me for how good this really was going to be. I thought, 'oh, it's just a bunch of drunks singing.' What Ben meant is that you grab a lager, and you listen. Piano and guitars surround the hooks in these songs like the kid with the most lunch money. I couldn't help but be taken back to early Ben Folds, but there's more group fun here. Lots of gang vocals, lots of spindly little nuances to be had.

And again, it really does feel like songs to drink to. Not to forget, but to remember. Imagine at a big family gathering, you all start telling stories, and your dad gets up, sits at the piano, and starts singing songs connected to that time you fell off the swing set, and your Aunt Mildred fell off the wagon... again. Think the opening sequence of "All in the Family", but without the racism.

I LOVE THIS RECORD. It's fun, it's singable, the back-beats make it danceable, and it's better if you put your arms around those to your right and left. Ugh. Spill your drink, then get this.

01. Sigur Rós, Með suð í eyrum við spilum endalaust

You knew it. It had to be this band. Of all of the bands it could've been, this was the only one that takes the coveted #1 spot. Why? Because they're one of the few bands that make art anymore. Sure, there's a ton of bands who throw guitars down stairs and call it art, but when it comes down to it, how much can you listen to it?

That's where Iceland's favorite band comes in. (for realsies, in a survey, Icelanders identify with this band more than any other. Sigur Rós has become a source of national pride.)
Their sound has been called all kinds of things- enigmatic, atmospheric, etherial, cinematic, epic (me, various times)- and still, others scratch their heads at the boys' lengthy compositions, many of which are sung in a made-up language known as Hopelandic. Yes, most of the time it's just the same sounds repeated over the course of a whole song, but I happen to adore it. Georg Holm, the band's bassist, once told an interviewer that it's "interactive music", meaning that they aren't trying to directly say anything with their music- the point is for the listener to get out of it what they will.

Many people first hear Sigur Rós and ask two questions, the first being "Is that a girl singing?", the other being "Really? That's a guy?" Jonsi sings in a pained falsetto that's only added to the mystery of their creations, and balances perfectly with his guitar technique. What technique? The technique of using a Cello bow to play the electric guitar. The sound can be described as a "cello on steroids" (me, all the time) and is huge. Like a moan or a wail that keeps going, the droning notes he plays mix perfectly with the low-toned bass and pulsing drums, the wiry keyboards.

They use all kinds of other instruments to craft their songs, including marimba, guitar, many, many drums, pianos, the all femal string quartet that travels with them, Amiina, and various toys to add to the mood. At times, they use an entire marching band.

Each of their records mark great strides in developing their sound, and you get the feeling that the band really does intend to make the greatest music they can. Each record has gotten bigger and better, and this last one is no exception.

Almost altogether, they leave behind the bowed guitar and instead focus on Grandpa's Guitars- there's lots of acoustic instruments here, and what's that? Real words? Lyrics for this record were written in both Icelandic and English, marking the first time that any of the West-Germanic tongue creeping into their compositions. Even though it's hard to decipher, the words on the album's final track, "All Alright" fit perfectly. But what does it all mean?

Með suð í eyrum við spilum endalaust means, roughly, "With a buzz in our ears, we play endlessly" evoking a love of the craft that's sometimes hard to find in today's commercial music. Music really is their mission, and from the first beats of track 1, Gobbledigook, they hit the mark. Gobbledigook marks what will end up being their happiest record to date. Tribal and heartbeat stabilizing, it's hard to listen without feeling like you're part of some secret club of people who enjoy life, dancing, and simply being. Check out their performance of the song with Bjork at Nattura to get a feel for just how mob-like this song can get. With two strings on his guitar, and at least 4 times as many drums involved, it's hard not to clap, get happy, and sing along with what little you can understand. It's FUN.

The album looses no steam from track 2 (Inní mér syngur vitleysingur, in case you were wondering) on, with that one containing one of the most uplifting bridge sections I've ever heard. It all leads up to an explosive, joyful outpouring and leaves warm fuzzies in the stomach of all around. Things stay pretty throughout, but a personal favourite is the 6th song, Með suð í eyrum. Piano ornamentation ranging from simple to complex provide the basis of a truly beautiful song. You don't need to know what the words mean to get it. As big a language problem could exist here, the chills that come at the eruptive finale make things as overt as they need to be.

This has got to be one of my top records, ever. Yes, I did order the special edition as soon as they announced it, complete with my name in the back along with all of the other enslaved thousands that ordered it as well. It came in a beautifully bound, 200 page book replete with tourphotos and special edition DVD chronicling the making of the record. It even came with an actual strip of film from the video for Gobbledigook! I've got a naked lady on 16mm! Was it work the $100? Yes. And it's the most amount of money I've ever spent on a band, ever. Unless you count the $3000 on a guitar that I bought this year that was kinda influenced by hearing and seeing Ryan Adams', but that's only indirect. So i don't.

This record perfectly encapsulates the year for me. A year full of surprises, both good and bad, and being able to stay afloat no matter what came along. This band is the band of all bands. The number one on my top 5. That's why I know almost every word. Now if I can just see them live...

I suppose another thing I'm happy about as far as music goes this year is just how good the cover art has been this year. As i looked over my choices, I was sad that some wouldn't make it in because they just look so good together. Thank you, iTunes coverflow!

So that's it. That' s my list.
Merry New Year!
Hope 2009 turns out some equally wonderful tunes. Later!

Honorable mentions:

Underoath, Lost in the Sound of Separation. I'm not mad, guys, and I don't mean to poke. When the pendulum swung from the sing-along-sensibility of parts of They're Only Chasing Safety to the raucous, purely metallic fury of Define the Great Line, i was ecstatic. I only hoped the pendulum would keep on swinging. It didn't.

Death Cab for Cutie, Narrow Stairs. You took Zooey from us. Yer off the list! Really, this one was good- good enough for me to actually learn both the guitar and bass parts, but where it excels as being lesson fodder, it fails in being entirely memorable. I love the song "I Will Posess Your Heart", but I just can't take 4 minutes and 32 seconds of heady build-up. Killer bass line, just too long.

Weezer, Red Album. This one was better... It's no Pinkerton.

Vampire Weekend, Vampire Weekend. I like it. I just don't adore it.

R.E.M., Accelerate. Slow it down, there, Chuck.

Sun Kil Moon, April. Just narrowly edged out by just how much i loved that Russian Red, someone had to be sacrificed and it was you. I loved it. Really, really great, though. Except in the context of a numerical list, i'd say this one was indispensable.

MGMT, MGMT. I know, i know, i just haven't given you enough of a chance. I'm gonna.

M.83, Saturdays = Youth- equal parts catchy and longwinded.

Noah and the Whale, Peaceful, the World Lays Me Down. Quirky and fun.

Foxy Shazam, Introducing Foxy Shazam. Foxy, oh Foxy. You're such a darling. A friend shoved this onto my harddrive declaring, "This will rock your ******* face off!" It's hardcore music, with all the screaming and buzzing riffs -but get this- it's piano driven. Interesting. Ultimately, a novelty listen. Still good.

Notes of interest:
If only Dethklok would put out a second.
And for those that may be concerned: I didn't yet get My Morning Jacket's latest, nor did I have a chance to get Portishead's Third, or Elbow's Seldom Seen Kid. I will, though.
And Mr. Tom Waits, I'm waiting as well. take your time, it will be worth it.