Sigur Rós / "Ágætis Byrjun"

It was Henry Wadsworth Longfellow who wrote "music is the language spoken by angels." Such a statement, while beautiful, rings of hyperbole. After all, music, in particular pop music, is written, composed, and performed by people little different than anyone else. The differences among all humans are seemingly minimal, with genetic variation of less than 1%. How incredible, though, the difference one percent can make.

Sigur Rós must lie a nearly impossible number of standard deviations from the mean. Sure, this is certainly music made by humans, able to release and create the most human of emotions. However, it transcends humanity, despite the limitations created by it. When the first key is struck on "Svefn-G-Englar", though it is as simple of a musical action as one can think of, it races up your spine and immediately makes entrance into your mind. As Jónsi Birgisson slowly glides his bow across the string of his electric guitar while the sound gradually swells to a crescendo, it obliterates your conscious. There is only one thing, the music, and it is beautiful and all-encompassing. You close your eyes, and in that moment, the angels begin to speak to you. Birgisson's falsetto rises up and he coos words which, outside this context, mean nothing. They are in a fantasy language, Hopelandic, resembling any real language by coincidence only. However, within the environment created by this album, they paint a picture of magnificence and devastation. They carry you through a quiet Utopia, a world you inhabit internally.

Just as the soothing melodies bring you to the paragon of tranquility, Birgisson changes front. The cool relaxation of his vocals is supplanted by one of power and urgency, lowering his tone and bellowing out a siren cry, throwing you off while commanding the entirety of your attention. It's a blunt reminder of the ephemeral nature of this state, that Utopia will never permanently exist. The brief interlude slowly bleeds out, returning you to the arcadia you arrived from. The band imperceptibly fades out to a quiet static. In ten minutes, your mind has been opened, explored, and returned with an increased awareness of the world around you. This is just the first song. That eight more tracks remain carrying similar, but never repetitive, voyages makes this an album that is comprised of songs in name only. These aren't "songs", they're epiphanies and moments of self-realization. A reminder of all that is glorious in this world.

Surely Jónsi Birgisson is one of the most fortunate beings on this planet. After all, as Eileen Elias Freeman wrote, "how wonderful it must be to speak the language of the angels."

Rating: 10.0

Velvet Underground / "The Very Best of the Velvet Underground"

In my opinion, the five most important artists in the history of pop music are The Beatles, Bob Dylan, The Velvet Underground, Elvis Presley, and Jimi Hendrix, in that order. Of the five, I think only Elvis can have his career summed up within the context of a greatest hits compilation. He was never really an album artist as much as a singles artist. The others all are much better explored by hearing the entirety of their best albums. In the case of the VU, that would be their first three LPs: "The Velvet Underground and Nico", "White Light / White Heat", and "The Velvet Underground". Those three albums are extremely different, in sound, lyrical content, and experimentation. That this collection was even issued to begin with is its first mistake. (In addition, there are already numerous greatest hits albums for the band prior to this collection's 2006 release.)

While the quality of the sixteen tracks is without debate, as everything released by this band is among the finest work in American rock history, the song selection does little justice to the band's albums. Essential works from each album, which defined the albums themselves, is omitted. While omitting anything from their debut would be a tall task in creating this album, one has to think there would be a place for "Run Run Run" and "There She Goes" as they are among the band's most famous work.

The most obvious omission from "White Light / White Heat" (and the most essential track missing) is that album's closing track "Sister Ray", which was the heart of that album in both length and quality. The compilation does a decent job handling the tracks from the band's more subdued self-titled third release, though an appearance of either "Candy Says" or the album's most ambitious track, "The Murder Mystery", would seem appropriate.

Somehow it manages to miss "Sweet Jane" and "Rock and Roll" from "Loaded", even though they were the band's biggest hits, and does a horrible job handling the album overall. Now when I look back, some of these mistakes were either unavoidable or else understandable. Every track from their debut (with the possible exception of "The Black Angel's Death Song") is absolutely essential in understanding and embracing the band. "Sister Ray", with a running time of over twenty minutes, would take up far too much time on a best of album, especially with as much great material as the VU had. Similarly, while "The Gift" is an outstanding track and one of the ban'd most interesting songs ever released, it doesn't lend itself to a collection like this. The same problem with "The Velvet Underground" is that it is so different than anything else in their catalogue, because of the band's quieter sound resulting from John Cale's departure prior to its recording. While the omissions from "Loaded" are unforgiveable, the album's importance as a whole pales in comparison to their previous releases. At least they had the sense to not include any tracks from "Squeeze", which was a VU album in name only, with Doug Yule (the band's least important member in the creative process throughout their prime years) the only remaining member.

This all begs the question, why release the disc? The answer is that their is not a reasonable answer for this, except to try and make money off the band's recognition. No fan of the band would step near it, only those who have heard them mentioned and were perhaps curious, or else listeners who only want to try and gain a vague understanding of the band to pose as fans. This is a document for posers and non-fans only. If you want to understand the band, go online and either purchase or download their three initial albums. All of them are available online for under $10. The content that is on the disc is 10.0 material, make no mistake about it. However, the crafting of the disc and its existence at all warrant a dubious 0.0. Which leaves me with a...

Rating: 5.0

Bonnie "Prince" Billy / "The Daytrotter Sessions"

Will Oldham is the best singer/songwriter alive not named Bob Dylan. I can write that over and over again with confidence. His recordings as Palace Music (or Palace Brothers), in particular "Viva Last Blues", are Appalachian alt-country of the highest possible caliber. Since moving on to a new name, Bonnie "Prince" Billy, his stature has only grown. His initial recording under the BPB moniker, "I See A Darkness", was a masterwork. It's the sound of music that's so human, it's as though he wrote it only for you. Yet it's so haunting, it couldn't have possibly been made by a mortal man. He hasn't captured that zenith yet since, but "The Daytrotter Sessions," a four song session available for free (legally!) online, is the closest he's come yet. Every one of the songs is a classic in his catalogue. He re-records three songs from his past ("The Seedling", "The Sun Highlights the Lack in Each", and "New Partner") and one new track (which he had previously performed in shows, but never recorded) "Goodbye Dear Old Stepstone".

The new version of "The Seedling" is jaw-dropping! The tension and slight quiver in Oldham's voice gives more force to the lyrics than they ever possessed on their original spot on "The Letting Go". It's actually a great way to be introduced to Oldham's style and delivery, as it is an extraordinary example of both. "The Sun Highlights the Lack in Each" is a mellow, effective track. With the only backing as a lightly strummed guitar, Oldham again pens a beauty. It's minimalism allows Oldham's voice to take the lead. It doesn't come up short. His always exceptional ability to sound human is seen in its truest form. Close your eyes and it's as though he's singing it right in front of you in a sleazy bar, presenting you his entire soul to you in exchange for four minutes of your time. The final re-recorded track, "New Partner", is a love song as only Oldham could do it. The passion and need displayed as he cries "you were always on my mind" in the refrain (again over delicate guitar) is touching. He sings of how he now has a new partner, but yet cannot remove himself from the love of his past. When he claims he has "a new partner now", his attitude is not one of pride and happiness, but rather is bittersweet. He appreciates a new person being so involved in his life, but knows he can't give her his heart. His expression conveys this perfectly. The only completely new track, "Goodbye Dear Old Stepstone", is the most traditional folk song on the set. It could've been written by a young Bob Dylan (think "Freewheelin' Bob Dylan" era) and you'd never know the difference. He tells of how fondly he'll look back at all those who helped him along his way as he prepares to take on new adventures and new places in his life. It's the fourth consecutive perfect song.

"The Daytrotter Sessions" is a great way to introduce yourself to Oldham. Not only is it free to anyone with an internet connection, but it's also four of the finest works of his illustrious career. I couldn't recommend it highly enough to those who are either new to Oldham or longtime fans.

Rating: 9.8

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All apologies for the lack of a "Mix of the Month" for August. I'll get back to the feature at the end of September.

Viktor Vaughn / "Vaudeville Villain"

To pass the time until I can receive and review the new Okkervil River album, here's a look back at one of my favorite hip-hop albums featuring one of my favorite emcees (MF Doom). 2003 was a great year for Daniel Dumile (aka MF Doom, aka King Geedorah, aka Madvillain, aka Danger Doom, aka...). His recording "Take Me to Your Leader" under the alias King Geedorah was one of the most bizarre yet compelling hip-hop albums of the decade; he was just finishing up "Madvillainy" as Madvillain, which would go on to be one of the most acclaimed albums of 2004. But the real highlight was his debut under the alias Viktor Vaughn: "Vaudeville Villain."

Unlike most of Doom's recordings up to this point, he did very little of the production work on this album. He instead handed those duties over to legendary underground hip-hop producer RJD2 and an accompanying group of little known producers (King Honey, Heat Sensor, Max Bill). The aim is clear: Dumile wanted this album/alias to be distinct and separate from his previous work. Instead of his production being the focus (he famously used made a beat using the theme song to "Scooby-Doo" on his landmark album "Operartion Doomsday" under MF Doom) of the album, his delivery is front, center, and drawing all possible attention. He drops more classic lines on each track than most rappers can pull off on an entire album or more.

"V bring the beef like a trucker to Fuddrucker / Delivery to all y'all motherfuckers and bloodsuckers."

"Holy Moses, my old earth know me closest / On how I played it back and stayed bent like scoliosis."

"It's like a barbecue all swine cookout / To fuck up they plans like a blind man look out."

Dumile has long-stood as one of rap's finest (yet most bizarre) lyricists, and he takes both to another level on "VV." He even takes a rare serious turn on tracks like "Let Me Watch," which deals with a young girl (young enough that her mom thinks she's "too young to date") falling quickly in love with Vik, only to find out that he isn't the man she thinks he is and that his maturity is actually substantially lower than her's. The guest spots, particularly on the two "Open Mic Night" tracks are generally hits though there are admittedly a miss or two. As an added bonus, the skits are kept to a minimum, always a pleasant surprise on a hip-hop album.

"Vaudeville Villain" is the highest point in the consistently great catalogue of Daniel Dumile and I cannot recommend it strongly enough. Whether you are a strong hip-hop fan, a casual listener, or even mostly indifferent to the genre, this album will have you listening to it many many times, with each listen trying to catch yet another swift and intelligent wordplay you'd missed the time before.

Rating: 9.3