Top 5 titles Article

A while ago, I wrote two short articles that I submitted to the local paper, as they were looking for a local music writer. They decided to "go in another direction," so I present them here.

Top 5 Albums that have been criminally overlooked

Citizen King Mobile Estates (1999) – Released at a time when rap-rock hybrids and boy bands ruled the musical landscape, Citizen King’s Mobile Estates stands out as a refreshing alternative. Despite having modest radio success with the single “Better Days (and the Bottom Drops Out),” the Milwaukee band never seemed to catch on nationally. Listening to the album today, it sounds like two very different bands have crossed paths. Elements of those rap/rock groups pop up, but are supplemented by the turntable wizardry of Malcolm Michiles and the genuine songwriting skills of keyboardist Dave Cooley and vocalist/bassist Matt Sims. The songs on Mobile Estates are equally at home in the club or at a backyard barbeque. “Under The Influence,” with its weaving synths and disorienting mixing, makes you feel as much. “Basement Show” sounds like you are in the basement where it was probably recorded. It’s Citizen King’s brand of easy-going funk that fits perfectly on a laid-back summer day. This is the kind of music the Black Eyed Peas have been trying to make ever since they went commercial. This is what the Damon Albarn/Danger Mouse collabo The Good, the Bad, & the Queen could have been with a little more tweaking. This is an album worth finding for yourself.

Hallelujah the Hills Collective Psychosis Begone (2007) – A ramshackle collection of tunes with an everything-and-the-kitchen-sink vibe, Collective Psychosis Begone frequently sounds like each band member—there are between five and ten—decided to bring their own stuff to the table. Fortunately, all these sounds coincide to form sculpted, literate stories of love, fights, growing up, going out and everything in between. The album opens with “Sleeper Agent (Just Waking Up),” a six-minute epic that introduces the band slowly, both musically and thematically. “Wave Backwards to Massachusetts” and the title track ramp up the excitement with poppier beats and clever lyrics, before the subtle “The House is All Lit Up” takes things down a notch once again. The range of musical tempos and styles echoes the range of emotions expressed in the lyrics, which frequently read like post-modern poetry. Hallelujah the Hills have vowed to make 30 albums before they hang it up. Based on the 1^st one, let’s hope they can actually pull it off.

k-os Joyful Rebellion (2004) – Much has been made of the mashing up of seemingly disparate genres to create something new and interesting. Artists such as Gnarls Barkley’s Danger Mouse and Greg Gilles (Girl Talk) have become household names in this new category. Yet something can be said for an artist who crosses genres without losing his own style in the process. Such is the case with k-os, a Toronto native and the creative force behind Joyful Rebellion. From the Ray Charles bassline of “Crabbuckit” to the Michael Jackson-esque falsetto on “Man I Used to Be” to the Mariachi feel of “Commandante,” the album plays like a musical world tour, taking listeners through k-os’ wide range of influences. Despite being labeled a hip-hop artist, k-os exhibits strong songwriting skills and his attitude throughout Rebellion is indeed joyful, something markedly missing from most hip-hop albums out there. Listening to this album (and his others), it becomes obvious that k-os revels in making music. Go ahead. Listen to “Crabbuckit” and just try not to bob your head or tap your foot.

Immaculate Machine Fables (2007) – Kathryn Calder may be best known as the niece of Carl Newman and the keyboardist/singer with the New Pornographers. But before joining them on a full-time basis, she was part of Immaculate Machine, another Canadian power-pop group. Fables finds the trio expanding on their earlier work and fine-tuning their beautiful harmonies and understated accompaniments. Sounding like a band that has played together far longer than their three years, the male-female harmonies and tight instrumentation hint at 80s New wave, but with a decidedly folksy feel. Calder’s voice in particular radiates emotion and she is fast becoming a poor man’s Neko Case, without the poverty. Best enjoyed as an entire album, the highlight is “C’Mon Sea Legs,” a sweeping pinnacle of inspiration and fortitude. When the three-part harmony cries out, “c’mon sea legs, pull yourself together / You’re gonna have to learn to like / the rockin’ of the waves,” the plea is heartfelt and the album reaches its nadir, and a certain catharsis settles over the closing tracks. Ever graceful, Fables takes the listener up and over that emotional hill with plenty of help along the way.

Stellastarr* stellastarr* (2003) – With all the excitement over the revival of New Wave music in the past five years, it seems strange that Stellastarr* have received so little attention. Shawn Christensen sounds like he belongs on stage next to David Byrne and Neil Finn, to name a few. His blend of an earnest, brooding persona, a deep voice, and the intermittent yelps and freak-outs follows the template laid down in the 1980s by the aforementioned artists. That’s not say it’s a bad thing—Stellastarr* rise to the challenge, especially on the romping sing-a-long “My Coco” (check out the video on YouTube for proof) and the barely-contained energy of “Pulp Song.” Other tracks find the band slowing down and creating a more haunting atmosphere as Christensen’s voice wavers from dark & heavy to light & trippy over constant bass and drum pounding. All the variance and experimentation is in the vocals, never more evident than on “Somewhere Across Forever” which starts quietly, but builds to three band members singing in rounds (when probably brings to mind memories of elementary school music class for some of you). The dissonance swells until all the parts reunite in a driving, climactic finish. Hopefully, the same can eventually be said for the band itself.