The 20 Best Albums of 2007 - Deerhunter: "Cryptograms" & "Fluorescent Grey" EP

1.  I know it may not seem fair to give the top spot on the list to two records from the same band. Aside from the fact that Fluorescent Grey is included in the vinyl release for Cryptograms (a big hint that both are meant to be enjoyed in tandem), it's difficult for me to determine which of the two is better. Rather than choose one, I decided it would be best to reward Deerhunter for making two excellent works that are a cut above most everything else that was released this year.

Cryptograms, perhaps more than any other album I heard all year, makes a strong case for the vitality of the album format. In an age where digital distribution has impacted the way albums take form, it's becoming more and more rare to hear something that sounds like it should only be played in sequence and in its entirety. The reliance on ambient soundscapes and white noise to form bridges between songs (that is, those tracks that  include vocals and at least a vague allusion to lyrics) is reminiscent of 70's Krautrock, especially of the Neu! and Can variety (hold your horses, I am not putting them in THAT category just yet).

What's more, the order of the songs makes a statement about the album format, specifically the LP. Because most of the "accessible" tracks reside on the record's second half, it lends itself to maximum enjoyment if you listen to it on a turntable. The dichotomy between side one and side two cannot be be understated with experimental moments of hazy textures on the former and flirtations with, dare I say, pop ("Hazel St.", "Strange Lights") on the latter. It's almost like they were going for the inverse of Low here. Whatever the motivation, the result is a satisfying journey from free-form noise to noise pop.

The journey continues and ultimately climaxes on Fluorescent Grey, where we hear Deerhunter more focused than ever before. The title opening track begins with an ominous piano and a beat that signals to the listener that a big payoff is on the horizon. The buildup continues to grow as Bradford Cox murmurs "patiently patiently" until a wave of drowned guitars and delay-cloaked vocals bring the song to a triumphant close. On "Like New" we hear the band at their absolute best (at least, to date), as they basically take everything good about Cryptograms and condense it into a tiny, easy-to-swallow 2:13 pill. While on "Wash Off" they end the party with sonic outburst that recalls some of the aggression of their ear-splitting debut album.

In the end it is nearly impossible for me to think of Cryptograms and Fluorescent Grey as anything other than one cohesive piece of art divided into three acts. In order to fully enjoy and understand the climax/resolution you must first witness the setup and confrontation. In the case of these two records, I wouldn't have it any other way. 

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The 20 Best Albums of 2007 - A Place to Bury Strangers: "A Place to Bury Strangers"

3.  Making noise isn't the hardest thing to do. Any schmuck with an effects pedal can fashion themselves some grimey guitar sludge and call it "noise rock" or whatever suits their fancy, but only the most meticulous craftsmen have the talent to make real melodies from such cacophonous elements (please refer to Sheilds, Kevin in your textbooks for more information). One such savant is Oliver Ackerman, the frontman for New York trio A Place to Bury Strangers, who spends his days creating custom hand-wired effects pedals for many notable bands, including: Wilco, Spoon, TV on the Radio and Serena-Maneesh. Thankfully, Ackerman doesn't waste all his talent helping other bands sound good, as his band's self-titled debut proves the man is more than capable of producing his own flirtations with greatness.

In the typical parlance of our time it is easy to describe APTBS's music as "shoegaze", since much of it owes a great debt to the Jesus and Mary Chain, My Bloody Valentine and Slowdive, but such an arbitrary label would miss the entire picture. While the opener "Missing You", "Don't Think Lover" and "Breathe" all perfectly capture the sound of those aforementioned artists, APTBS also manages to incorporate influences from other pioneering noisemakers. On "She Dies" Ackerman and drummer Jay Space create a sound reminiscent of Pornography-era Cure, while on album closer "The Ocean" the resemblance to New Order circa Movement is uncanny. There's even a hint of pre-industrial Ministry found in their use of drum machines sprinkled throughout the album.

But these musical signatures would mean nothing if APTBS couldn't write a good song; which, it turns out, they can with quite aplomb.  "To Fix the Gash in Your Head" and "I Know I'll See You" might be two of the catchier songs you'll find on the same album all year. Both confirm what the rest of the album suggests, which is that ear-splitting noise is just as capable of producing beautiful melodies as anything else.

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Song of the Day - A Place to Bury Strangers: "To Fix the Gash in Your Head"

For all the flack that so many people give Pitchfork, it is hard to argue with how valuable their exposure is to a struggling indie band. While many (including myself) may take issue with the artists they chose to shine their bright light on, or the self-important overwrought tone of much of their reviews, they do tend to have an eye for hidden gems every now and then. Last week I was reminded of that fact when I downloaded the debut album from Brooklyn's A Place to Bury Strangers based solely on the glowing review it received from the indie tastemakers at P4K.

As usual, I merely glanced at the rating and didn't read the review until after I had listened to the album myself (so as to not fill my head with any preconceived notions). Three days and roughly eight or nine listens later I can honestly say A Place to Bury Strangers' self-titled debut is an exceptional work of noise-pop and shoegaze soundscapes.

"To Fix the Gash in Your Head" is simply one of many gems found this record, but definitely a great place to start if you are looking for a four minute primer on APTBS. Beginning with a Blue Monday-esque drum machine and a swirling wind of guitar distortion (Kevin Shields fans would be proud) as its foundation, the song races out of the gate and never slows down. As lead vocalist/guitarist and audio geek (he makes custom effects pedals with names like Interstellar Overdriver, Supersonic Fuzz Gun and Total Sonic Annihilation...enough said) Oliver Ackermann sings "I want to get you drunk/I don't care/I won't feel sorry" in his industrial-pop drone, I feel as though he is making an unapologetic declaration about his music in general. As if to say, my music is supposed to give you a gash in your head, deal with it or else I will "kick your face in." If you're like me, just put on a helmet and get on board.

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