Filed under: Best of 2009 Albums | Tags: Actor, Album, Animal Collective, Atlas Sound, best of 2009, Bitte Orca, Cymbals Eat Guitars, Dinosaur Jr., Dirty Projectors, Embryonic, Farm, Girls, Grizzly Bear, hometowns, it's blitz!, Jay-Z, Kid Cudi, Lady GaGa, Logos, Manners, merriweather post pavilion, muse, Passion Pit, Phoenix, Port O'Brien, self-titled, St. Vincent, The Blueprint 3, The Decemberists, The Fame Monster, The Flaming Lips, the hazards of love, the man on the moon: the end of day, The Pains of Being Pure at Heart, The Resistance, The Rural Alberta Advantage, threadbare, veckatimest, Why There Are Mountains, Wolfgang Amandeus Phoenix, Yeah Yeah Yeahs
So, the champagne’s out, the fireworks have stopped, the ball has dropped. The year 2009 may be long gone … But the music is still here — vibrant and waitng for masses who have yet to consume it! Naturally we want to help y’all out. Here’s 20 Watts’ list of the 20 best albums of 2009, from us to you! Enjoy!
- 20:: The Flaming Lips — Embryonic
- 19:: Atlas Sound — Logos
- 18:: Port O’Brien — Threadbare
- 17:: Girls — Album
- 16:: Muse — The Resistance
- 15:: The Decemberists — The Hazards of Love
- 14:: Cymbals Eat Guitars — Why There Are Mountains
- 13:: St. Vincent — Actor
- 12:: Lady Gaga — The Fame Monster
- 11:: The Rural Alberta Advantage — Hometowns
- 10:: Yeah Yeah Yeahs — It’s Blitz!
- 09:: Dinosaur Jr. — Farm
- 08:: Kid Cudi — The Man on the Moon: The End of Day
- 07:: The Pains of Being Pure at Heart — Self-Titled
- 06:: Passion Pit — Manners
- 05:: Dirty Projectors — Bitte Orca
- 04:: Phoenix — Wolfgang Amadeus Phoenix
- 03:: Jay-Z — The Blueprint 3
- 02:: Grizzly Bear — Veckatimest
- 01:: Animal Collective — Merriweather Post Pavilion
Love and stereo,
Filed under: Best of 2009 Albums | Tags: 3rd planet, best of 2009, built to spill, Cymbals Eat Guitars, merriweather post pavilion, Modest Mouse, pavement, Releases of the Week, the moon and antarctica, Why There Are Mountains
From the triumphant screaming that kicks off “And the Hazy Sea” to the subtle acoustic guitar line that closes “Like Blood Does,” Cymbals Eat Guitars channeled the best of ‘90s indie rock and infused it with a 21st century spin on their March 2009 full-length debut Why There Are Mountains.
Few straightforward ‘90s-influenced indie rockers today have the stamina to last more than a few songs without sounding like derivative pastiches of Modest Mouse, Built to Spill or Pavement. Cymbals Eat Guitars proved they could do more with songs like “Indiana,” which opens saturated with guitar reverb and transitions (in a way somewhat reminiscent of Merriweather Post Pavilion‘s song divisions) effortlessly into “cleaner” guitar sounds, synthesized electronic manipulation, and even a few fleeting horn segments.
Innovation in instrumentation isn’t the only thing they’ve got going for them though. Cymbals Eat Guitars have a knack for crafting both strident, solo-heavy marathons like “Wind Phoenix (Proper Name)” and “Cold Spring” as well as shorter, more accessible songs like “Indiana” or “Some Trees.”
Musically Why There Are Mountains covers all of the bases a great debut should cover, and then some, and thematically, it works in much the same way. The penetrating lyricism of “And the Hazy Sea” make it one of the most interpretably dense lead tracks since Modest Mouse’s “3rd Planet.” Ambiguous references to the George Washington Bridge and the year 1999 steep the song and the band in a mystery which only makes them even more appealing.
Cymbals Eat Guitars did good this year, so let’s hope they continue to do so.
— Eric Vilas-Boas
Filed under: Uncategorized | Tags: Brooklyn, concert coverage, Cymbals Eat Guitars, Joseph D'Agostino, Joseph Ferocious, Southpaw, Why There Are Mountains
When I first arrived at Southpaw, I instantly recognized Joseph Ferocious, though I was befuddled. His demeanor was quite reclusive, as he stood alone at the back of the venue, blending in completely with the crowd. I thought, “Ferocious….really?” I expected greatness from the band I was hooked on after only one listen of their debut album, Why There Are Mountains.
But as soon as Cymbals Eat Guitars took the stage, the change in Ferocious’ persona was so drastic it was as if those few moments alone facilitated this morph from Joseph D’Agostino to Joseph Ferocious. In fact, he shattered any and all inhibitions upon playing the first song, “And The Hazy Sea.” His entire body convulsed along with the guitar, as if there truly was no distinction between musician and instrument—and thankfully, this energy never left. The film of sweat that developed on Ferocious’ face only moments after taking the stage is a testament to his dedication and passion not only as a talented musician, but a captivating performer.