Tyvek – Fast Metabolism (What’s Your Rupture, 2007)
These Detroit natives at some points forget that there’s supposed to be melodicism inherent in rock songs. Not always, but even when it seems as if Tyvek is faltering, its not. And that’s why the group has been able to consistently maintain its footing in the ever evolving underground music community. The fervor with which these guys play the wrong notes at the right times seems otherworldly. It is. But despite all that, “Frustration Rock” might be the best song released during the last decade. That’s no joke.
Ty Segall – Self Titled (Castle Face, 2008)
Even if the Bay’s Ty Segall worked on some disgusting teen show at some point, his music more than amply makes up for his cultural contributions prior to shifting gears from acting to garage based music. This first disc, released on John Dwyer’s imprint, finds Segall recording the entire thing alone. The results are far more convincing than latter works that couple the guitarist, drummer and singer with any number of unwitting foils. His Ramones cover here might even be in the same league as the original. Seriously.
Thee Oh Sees – Help! (In the Red Records, 2009)
Picking the best release from Thee Oh Sees is like picking a favorite child. You love them all – even their faults. So deferring to one is difficult. And while The Master's Bedroom Is Worth Spending a Night In includes highlights like “Block of Ice,” Help! retains the supremely adept song writing and marries it all to interesting instrumentation and a more fully integrated group dynamic. If nothing else, the flute jam that closes out a track mid set should convince anyone skeptical of the Bay’s current domination of garage related stuffs.
The Hunches – Exit Dreams (In the Red Records, 2009)
The fact that Portland’s the Hunches have been dissolved subsequent to its touring on the basis of this release shouldn’t deter folks from considering Exit Dreams a monumental slab of weirdo rock music. This effort might well be considered a departure for the group even as its noisiest tendencies are still reflected. But since the ensemble ostensibly knew that this was the end, there’s a bizarre urgency reflected in the work. The sense of impending doom isn’t what makes this a good release, but it no doubt contributed to the fact that the Hunches decided to include a wider pop palette on this disc.
Jay Reatard – Watch Me Fall (Matador Records, 2009)
Yeah, it seems like a cop to have included two albums from a single personage in this list. But you know what? The anti-social, downer songs that populate this newest full length from Memphis’ Jay Reatard are every bit as strong as its predecessor. Even with a more pop-centric approach to assembling songs, the bile that so defined his earlier work is still maintained. What’s here is as catchy as anything from Blood Visions, but in a more sunshiny form. Reatard won’t soon find himself at the top of the pops, but Watch Me Fall is certainly going to rally a bigger fan base around him.
These Detroit natives at some points forget that there’s supposed to be melodicism inherent in rock songs. Not always, but even when it seems as if Tyvek is faltering, its not. And that’s why the group has been able to consistently maintain its footing in the ever evolving underground music community. The fervor with which these guys play the wrong notes at the right times seems otherworldly. It is. But despite all that, “Frustration Rock” might be the best song released during the last decade. That’s no joke.
Ty Segall – Self Titled (Castle Face, 2008)
Even if the Bay’s Ty Segall worked on some disgusting teen show at some point, his music more than amply makes up for his cultural contributions prior to shifting gears from acting to garage based music. This first disc, released on John Dwyer’s imprint, finds Segall recording the entire thing alone. The results are far more convincing than latter works that couple the guitarist, drummer and singer with any number of unwitting foils. His Ramones cover here might even be in the same league as the original. Seriously.
Thee Oh Sees – Help! (In the Red Records, 2009)
Picking the best release from Thee Oh Sees is like picking a favorite child. You love them all – even their faults. So deferring to one is difficult. And while The Master's Bedroom Is Worth Spending a Night In includes highlights like “Block of Ice,” Help! retains the supremely adept song writing and marries it all to interesting instrumentation and a more fully integrated group dynamic. If nothing else, the flute jam that closes out a track mid set should convince anyone skeptical of the Bay’s current domination of garage related stuffs.
The Hunches – Exit Dreams (In the Red Records, 2009)
The fact that Portland’s the Hunches have been dissolved subsequent to its touring on the basis of this release shouldn’t deter folks from considering Exit Dreams a monumental slab of weirdo rock music. This effort might well be considered a departure for the group even as its noisiest tendencies are still reflected. But since the ensemble ostensibly knew that this was the end, there’s a bizarre urgency reflected in the work. The sense of impending doom isn’t what makes this a good release, but it no doubt contributed to the fact that the Hunches decided to include a wider pop palette on this disc.
Jay Reatard – Watch Me Fall (Matador Records, 2009)
Yeah, it seems like a cop to have included two albums from a single personage in this list. But you know what? The anti-social, downer songs that populate this newest full length from Memphis’ Jay Reatard are every bit as strong as its predecessor. Even with a more pop-centric approach to assembling songs, the bile that so defined his earlier work is still maintained. What’s here is as catchy as anything from Blood Visions, but in a more sunshiny form. Reatard won’t soon find himself at the top of the pops, but Watch Me Fall is certainly going to rally a bigger fan base around him.