I have always been drawn to music by women who know how to rock—and there have been some amazing female rockers through modern music history (Janis Joplin, Linda Perry, Johnette Napolitano, Joan Jett, Courtney Love, Grace Slick, Lita Ford, etc.) and even some whose biting words are every bit as heavy as any rock guitar riff (Fiona Apple, Shirley Manson, Emily Haines). The music isn’t always pretty, but it’s made to empower, inspire, and strike fear in the hearts of those who dare issue a challenge.

My original plan for this post was to review “Lungs” by Florence + The Machine. When I first heard “Kiss with a Fist” a few months ago on Sirius, I got chills of anticipation—finally, a powerful female artist with major garage vibe. So, I settled in with my iPod prepared for an onslaught of wit and rock. Instead, what I heard was a well-composed calculated (read boring) album with a few bright spots. Don’t get me wrong; it’s a decent album—just not what I was prepared for. I briefly found myself lamenting the lack of actual, hard-core female rock in today’s music.

Scrolling restlessly through my iPod about three-fourths of the way through “Lungs, I stumbled across a forgotten gem buried in the rough: Juliette and the Licks. Despite the band’s break-up in 2009, the albums (You’re Speaking My Language,” 2005 and “Four on the Floor,” 2006) and EP (…Like a Bolt of Lightning,” 2004) released by actress Juliette Lewis and her then-band kick major rock butt despite moderate commercial success of the four released singles.

With the Licks, Lewis was a force to be reckoned with, screaming, swearing, and ranting against everything from men, to corporations, to porn. And while her latest solo effort “Terra Incognita” (2009)–with new backing band the New Romantiques—takes on a darker, more melodic sound, Lewis remains the pinnacle to which every female rocker should aspire.

Although released in early 2009, I neglected to include the Yeah Yeah Yeahs’ “It’s Blitz” in my 2009 wrap-up. Or perhaps it was meant to be that the NY trio has a post to itself—it is the Yeah Yeah Yeahs after all.

The Yeah Yeah Yeahs released their third major-label album (fourth overall, five if you count the EP “Is Is”) in March 2009 to critical acclaim. Spin magazine called it “the alternative pop album of the decade,” later placing it second on its list of best albums of 2009. UK free music magazine The Fly called the album “an amazing return for [the] Yeah Yeah Yeahs” and “an instant classic,” while the BBC said “It’s Blitz” is “a triumphant return for New York’s finest.”

Some fans (myself among them) were more skeptical. Synthesizers seemingly replace much of Nick Zinners’ amazing guitar work, although on closer listen, it’s still there, as is Brian Chase’s accomplished beats. More appropriate for the dance floor than a punk show, I was sold on the new sound when the band pulled off an exhilarating performance of “Zero” on Saturday Night Live in April (sounding good on SNL is a feat in itself, but I digress). Needless to say, Karen O. is one of the most dynamic female singers of her generation.

Perhaps it took me some extra time to warm up to “It’s Blitz” because I was (and still am) completely enamored with the Yeah Yeah Yeah’s previous album “Show Your Bones.” All but shunned by critics who viewed it as a step backward from “Fever to Tell,” “Show Your Bones” has secured a seat on my personal top 100 albums of all time list.

“It’s Blitz” might not make my list, but it continues to position the Yeah Yeah Yeahs as a venerable presence in the world-wide music scene.

I am by no means an authority on music. In fact, I am guilty of listening to the tried and true music of my youth (grunge) rather than actively seeking new and upcoming artists. (It’s a personal New Year’s resolution of mine to do so.) That being said, there are a few new artists from 2009 that I feel are worthy of mention—most of which I discovered by accident—as well as many good albums released in 2009 (old and new). And while not a definitive list, here’s my humble take on this year in music.

New Artists of Note

Florence + the Machine

I first heard “Kiss with a Fist” while channel surfing through Sirius. Needles to say I was instantly hooked. I’m working my way through digesting the rest of the album “Lungs” right now.

Owl City

Okay, so this band isn’t really new in 2009, but close enough. I tried to flip the channel when Owl City came on…repeatedly…not wanting to invest my time in another alt band that will be gone by 2010. However, they won me over—and here we are.

Julian Casablancas

Obviously, I’m a fan of The Strokes. And if you read my review of “Phrazes for the Young” on Kismet Break, you know that I have mixed feelings about the CD as a whole. However, no one tops Casablancas lyrically. Look for great things from him with or without The Strokes (although I prefer with).

Cage the Elephant

Something about the rhythm and vocals of Cage the Elephant kept me listening. Following the November release of the “Back Against the Wall” single, I count myself as a fan.

2009 Albums of Note

Alice in Chains, “Black Gives Way to Blue”

Probably second on my personal list of all-time influential bands, Alice in Chains waited almost 10 years to release a new album sans Layne Stanley. The jury is still out, but if you take the album at face value and don’t compare it to “Facelift” or “Dirt,” it’s very, very, very good. I have tickets to see Alice in March, where I hope to hear Jerry Cantrel sing lead vocals on “Rain When I Die,” which I heard is out of this world.

Green Day, “21st Century Breakdown”

How do you follow the Earth-shattering release of “American Idiot?” Quite frankly, you don’t.  Many fans expressed disappointment over Green Day’s latest effort. It’s not “American Idiot,” but it’s still really good. Green Day is the undeniable voice of a generation.

Pearl Jam, “Back Spacer”

Yes, I realize I’m breaking my own resolution by mentioning three albums by grunge-era bands. However, it’s pretty amazing that these artists are still releasing relevant music after 20 years. In my opinion, “Back Spacer” is reminiscent of Pearl Jam circa “Ten” (although nothing will EVER top “Ten”). It’s the best Pearl Jam release in a long time.

Soundtrack for “500 Days of Summer”

I’m rarely a fan of movie soundtracks (“Singles” and “Juno” being two exceptions). However, a soundtrack that combines Regina Spektor, The Smiths, Feist, and Simon & Garfunkel can’t go wrong. Best yet, the selections actually make sense in the context of the film. Bravo.

Regina Spektor, “Far”

Speaking of Regina Spektor, she just keeps getting better and better (although I still listen to all of her work, including the self-released “11:11”—love it!). Still working my way through digesting “Far” in full, but I love what I’ve heard so far.

Miscellaneous Thoughts

Other items of note from 2009 (in no particular order): Dave Grohl’s new project Them Crooked Vultures; Jason Mraz’s single “I’m Yours” (I unexpectedly love it); major airplay of Skillet’s “Monster;” Jay-Z partnering with Rihanna and Kanye, then with Alicia Keys; new releases from Train and Black Eyed Peas; re-emergence of Kelly Clarkson; Lady Gaga (I don’t quite get it, but I think it’s significant); breakthrough album from Kings of Leon (although WAY overplayed); Kris Allen’s cover of “Falling Slowly” from the soundtrack “Once;” Ben Folds’ single “You Don’t Know Me” featuring Regina Spektor; Glee; and last but certainly not least, Nine Inch Nails‘ Wave Goodbye tour (sobs silently…more on this at a later time).

I look forward to hearing others’ thoughts on the music of 2009. Comments and submissions welcome!

The first solo album from Strokes front man Julian Casablancas is certainly living up to its hype—because there wasn’t any.  In fact, he describes “Phrazes for the Young” as a way to “kill boredom” while The Strokes continue their indefinite hiatus. (Although, for the second consecutive year, Casablancas tells us that recording for the fourth Strokes album will begin in January…we’ll see.)

Though not anticipated, the release of “Phrazes for the Young” is not surprising, as it positions Casablancas as the fourth member of the band to embark on a solo or side project over the past three years. (The others include Albert Hammond Jr., “Yours to Keep,” 2006 and “Como Te Llama?” 2008; Nikolai Fraiture as Nickel Eye, “The Time of the Assassins,” 2009; and Fab Moretti with Little Joy, self-titled, 2009.)

Fans of The Strokes will not be disappointed by the album’s cutting, introspective and honest lyrics that manage to be dark yet hopeful at the same time—the bread and butter of The Strokes, with Casablancas as their main lyricist. Also expect occasional whirling guitars (think “12:51”) and instrumental tracks that overpower the vocal track (think the entire 2003 album “Room on Fire”).

For me, the album’s first two tracks, “Out of the Blue” and “Left & Right in the Dark” are the best. From the first chord of “Out of the Blue,” I experienced the same chills I felt the first time I heard “Is This It” (2001). It’s a weak-in-the-knees, butterflies-in-your-stomach, can’t-stop-listening-for-days kind of feeling, and it’s absolutely amazing.

And then, he lost me. Casablancas’ lyrics are still compelling—some of the best in alt rock today. And the music is still well-orchestrated, despite the fact that pop-snyth (“11th Dimension”) and country swagger (“Ludlow Street”) aren’t my thing. But somehow, much of the remaining album falls short (and dare I say is a little boring?) of my expectations.

“Phrazes for the Young” disappoints in much the same way as The Strokes’ third album “First Impressions of Earth” (2006). Both start off with a bang and then stop. Not literally, of course, but they stop being relevant as a whole and leave us wanting more.

However, much like The Strokes were heralded as the second coming of the Velvet Underground, Casablancas’ may very well be the second coming of Lou Reed. From a literary perspective, the words are sheer poetry.

“Penny Collection (2009, self-released),” the fifth album from Philly rockers Clashing Plaid, is a solid effort steeped in old school rock n’ roll with enough punk influence to delight fans of both genres. The album features nine new tracks that range from the upbeat punk-inspired “Penny Collection,” “Saying I Love You,” and “She Love Fire,” to the darker side of rock with “Remote Control Betty,” to the solid rock anthems “Johnny” and “Loud Box,” to the emotional eulogy of “Long Walk Home.”

The album features lyrics inspired by everyday life (think Social Distortion meets Bad Religion) intricately woven with melodic guitar riffs and cutting beats (think Rolling Stones meets Kiss)—evidence that Clashing Plaid has honed its synergy on the music scene for more than a decade. The guys (Steve Ackerman on drums and vocals, Kenny Leso on bass and vocals, Anthony Porter on lead vocals and guitar, and Andy Watts on lead guitar) also boast a devoted following of fans at venues throughout Philadelphia, its suburbs, and beyond. The availability of “Penny Collection” on CD Baby and iTunes will no doubt garner the band a broader following.

Five previously released bonus tracks–“Waiting for the Wrecker” and “Pretty Things” (“Play It Loud,” 2006), “Stick Around,” “Emotional Wreck,” and “Ghost on Main Street” (“Mix and Match,” 2003)—round out the release. The only notably missing fan-favorite is “31 of Those Days” off of “Play It Loud;” however, the 2006 release is solid in its own right and is worth the purchase price. Also not to be missed is the band’s 1999 holiday single “All I Got for Christmas Was Drunk,” available via download at www.clashingplaid.com.

Editor’s note: This review was originally published on 11/15/2009 at http://imaginehope.wordpress.com.