Soundcheck Podcast

Clear Heart Full Eyes is the first solo effort from the Hold Steady's singer and lyricist Craig Finn. Is it an exercise in egoism? Is it a true departure from the successful Hold Steady form? We discuss!

Voyageur, the latest from Kathleen Edwards, shows the influence of a new producer (think Bon Iver). But how does this record stack up against her earlier, more alt-country efforts? We discuss.

Drop everything. This is the most kickass album you've heard all year. "Is That You In The Blue?" is the second record for the brother-sister duo, and it's clear here why Dex was a -- or the -- major influence on Jack White. Just drop everything, listen to the podcast and get yourselves at least 10 percent cooler.

The eponymous second full-length release from Wisconsin-based Justin Vernon, performing as Bon Iver, is a departure for the critically acclaimed rocker. Do we dig it? Yes, Meh, and Meh-Plus.

New Brigade is the first album from Iceage, a bunch of Danish kids from, surprisingly, Denmark. Is it punk? Some of us think so. Some of us, not so much. But regardless of label, is it worth a listen? Tune in and find out.

Burst Apart is the second full-length record from Brooklyn-based The Antlers, and it's on our short list of albums of the year. 

Amanda Shires, a Texas singer-songwriter with a flair for fiddle and ukulele, has us generally all a-swoon over Carrying Lightning, her most recent release. 

Helplessness Blues, the second full-length record from Fleet Foxes, is a smart and challenging blend of folk and pop, old and new. Whether you love it or not, you won't regret giving it a go.

Nine Types Of Light, the latest from Brooklyn's TV On The Radio, is a mix of beats, hooks and surprising emotional depth and complexity -- or so we would have you believe.

Civilian, the third effort from Baltimore duo Wye Oak, has us divided, and animated. It's a unique sound, to be sure -- not quite folk or rock but ... well, listen in as we try to describe it and devolve into name-calling.

Canadian indie rocker Dan Bejar has us all a-dazzle with Kaputt, the latest from his Destroyer project. While he's a member of the New Pornographers, we find similarities in this effort with those of bands such as Roxy Music and Prefab Sprout. Take a listen; you won't be disappointed.

It's a collaboration borne of Austin, Texas-based musicians -- Roky Erickson, a pioneer of psychedelic rock, and Okkervil River, critical darlings of the indie-rock set who have performed with The Decemberists, the New Pornographers, The National and others. The result? Listen up.

The King Is Dead, the latest from The Decemberists, features familiar themes and voices (and guitars, in the case of R.E.M.'s Peter Buck, who joins). Or is it a departure? And is it charming or repulsive? For such a great record, we really can't agree on much.

Your friends at Soundcheck have consulted and agree: 2010 has been one of the best years for music in at least a decade. From Frightened Rabbit and Beach House to The National and Rush, there's been something for just about everyone. Here, we give you our top 10 records of the year, and one added honorable mention that really put a ribbon on it. Thanks for listening!

Majesty Shredding, the long-awaited ninth album from old-schoolers Superchunk, rocks pretty hard. But is that a good thing? We shred through the cheese.

Swedish dance-pop phenom Robyn recently released Body Talk, actually a trilogy of EPs released during 2010. As far as electronic dance records go, we agree that Robyn is doing it better than anyone else these days -- including Lady Gaga. That's right. Oh, and she uses a lot of four-letter words, so, you know, fair warning.

Sure, F**k You is a terrific single -- but how does the rest of Cee Lo's latest record, The Lady Killer, measure up? How about among the best of 2010? You heard that right. 

Old-school punkers OFF! are releasing a collection of 16 songs in under 18 minutes that prove punk is alive and well. Or, is this just more evidence that punk died decades ago, despite this effort from former members of Black Flag, Circle Jerks, Burning Brides and others to reclaim their glory days? Fair warning about some colorful language here.

The Fool, the first full-length effort from the L.A. all-female quartet Warpaint, is a dreamy blend of texture and tone. We approve -- and not only because we, too, are a dreamy blend of texture and tone.

Grinderman is the band that succeeds Nick Cave and the Bad Seeds, in that it comprises Nick Cave and former members of the Bad Seeds. So is this just another Bad Seeds record, or something new? Check it out, dear listeners.

Radiohead drummer Philip Selway has offered a record of his own: Familial, a quiet and nearly percussion-free effort that is nuanced and introspective. Some of us may find it a wee bit boring, but there's a backstory to it that makes all the difference. 

Damien Jurado's solo album St. Bartlett was produced by Richard Swift, himself a successful independent singer-songwriter. The duo spent a few days together at the end of August and banged out another record of cover songs, written by acts as diverse as John Denver and Kraftwerk, and they make them completely their own. Confused? We unravel it all.

Crazy For You, the latest from Best Coast, is awash in good vibes and reverb. Is it too much, or too little, of a good thing? You podcast pals engage in a triumphant discussion.

You Are Not Alone, the latest from gospel legend Mavis Staples, adds just the right amount of Now to a whole good lotta Then.

Becoming A Jackal, the full-length debut from Villagers, is lyrically rich, thematically brilliant and musically delightful. Don't miss it -- or this equally rich, brilliant and delightful podcast about the record.

Infinite Arms, the follow-up to 2007's Cease To Begin, features Ben Bridwell's latest lineup as Band Of Horses. We like it, on the whole, but that doesn't stop us from picking some nits. We also welcome our colleague Jenna Carlesso to the podcast fold.

High Violet, the latest from The National, is getting crazy buzz, but how does it stack up to 2007's Boxer? And, regardless of that, is it worth listening to? We tell you!

Brooklyn duo Das Racist has released a mixtape called Shut Up, Dude. Dudes, it's awesome. It takes rap to a very smart place with wicked rhymes and devastating -- but wry and entertaining -- social commentary. What's not to love? Well, it's Regine's last podcast. That's not to love.

Congratulations, the latest from hipster-darlings MGMT, is a record that deserves nothing of the sort, according to at least two of us.

The latest from Ted Leo and The Pharmacists, The Brutalist Bricks, definitely qualifies as ass-kicking rock-and-roll. But how does it stack up to the band's previous efforts? 

The Winter Of Mixed Drinks, the latest record from Scottish band Frightened Rabbit, is one of the best records we've heard this year. Heck, it's one of the best records we've heard in a very long time.

The Jon Spencer Blues Explosion, led by the former Pussy Galore frontman, hit New York City in 1990. To celebrate its first 10 years, the Explosion has released a greatest hits record titled Dirty Shirt Rock and Roll. It's awesome sexy, or it's just terrible noise masquerading as art rock. We discuss -- and we might even use some totally appropriate dirty words.

Norah Jones' latest record, The Fall, released in -- uh, the fall, shows her development since 2002's knockout Come Away With Me. But how do they compare? Can they compare?

Joanna Newsom has blessed us with three records' worth of ... well, listen to the podcast and hear our take on exactly what these 18 songs are.

The Golden Archipelago, the latest record from Austin band Shearwater, is an epic trip through islands of the earth and of the mind. The drums pound, the voices soar, the music crescendos and we swoon.

IRM is a record from French actress Charlotte Gainsbourg. Or is it a Beck record sung by a French actress? In any event, is it worth a listen? At least one of us thinks so.

Teen Dream, the third album from Baltimore dream-pop duo Beach House, is going to be one of the best albums of the year. Can we say that in February? Oh yes.

Vampire Weekend's first record was all that. Is their second record all that too, or is it all this?

Her November album "Rated R" was one of the most anticipated releases in the waning months of 2009, but did Rihanna's latest live up to the hype? One of us thinks yes, one is more lukewarm and one didn't really care. But which is which?

Lady Gaga is huge and tremendous, and she proves it with Fame Monster. We are, to varying degrees, in awe.

It Feels So Good When I Stop is both a book and a record by Joe Pernice, but you don't have to dig one to get the other. They're both terrific.

Amanda Blank's latest, I Love You, pretty well summarizes how we feel about HER. How about that! And only some of us were drinking.

Bitte Orca, the latest from DaveLongstreth's Dirty Projectors project, is a remarkable effort -- in no small part for its dense arrangements, or its sparse arrangements, depending on your point of view. WNPR's Anthony Fantano joins us for a bacchanal of musical geekery.

The latest offering from the Black Eyed Peas has us on the same derisive and page. What a piece of junk.

Michael Jackson is dead -- what has he left behind? Your SoundCheck pals have a rather animated discussion.

Richard Swift's latest record is called The Atlantic Ocean. That's about what separates our opinions of it.

Sonic Youth has returned to an independent label for its latest record, The Eternal. But is it a return to the band's roots?

Green Day's latest, 21st Century Breakdown, begs the question: Is Green Day still punk?

Zach Condon is a man of many musical methods. His latest project(s) is (are) a double-EP comprising Beirut's March of the Zapotec and Realpeople's Holland. If you think that's confusing, wait until you hear the music.

There has been a lot of buzz surrounding The Pains Of Being Pure At Heart. Their self-titled album might inspire games of "spot the influence," but we agree that the buzz is well-earned.

 Franz Ferdinand is back with a strong follow up to their first two albums, but how does this one stack up? We decide, in a PG-13 kind of way.