Neon Musical Insight

2009 was undoubtedly a big year in music. Animal Collective kicked off the year with Merriweather Post Pavilion, which was questionably their most accessible album to date. They ventured more into the world of dance and electronics, and created what can only be best described as a sort of “Postmodern Pop”. Dirty Projectors released the widely celebrated Bitte Orca – another album that featured a Brooklyn band delving into the world of pop and catchy melodies — while newcomers the Antlers (also from Brooklyn) chronicled the sad and tragic play out of events that ultimately led to the death of a close one that would make even Plath proud.

For the past decade, Brooklyn has proven to be the epicenter of cultural trendsetting musical outlets, but in 2009, Brooklyn bands made it look like they were the only one’s that mattered.

2009 also seemed like the first year where indie acts were absorbed, and nearly uncontrollably obsessed with the world of hooks and harmonies (at least on a much larger scale), as opposed to shunning them away with post-punk rebellion. Indie music was now being significantly acknowledged by the mainstream world, especially once Jay-Z was sighted at Grizzly Bear show in Brooklyn — with his lovely arm candy Beyoncé close by — in which he afterwards stated:

“What the indie-rock movement is doing right now is very inspiring. It felt like us in the beginning. These concerts, they’re not on the radio, no one hears about them, and there’s 12,000 people in attendance. And the music that they’re making and the connection they’re making to people is really inspiring.”

It felt like 2009 was truly the first year where admiration wasn’t limited to a performers specific genre, and that really, anything were possibile… at least in terms of music. Everything eventually overlaps. Maybe the crash of the music industry won’t turn ot to be so bad after all…

Neon Musical Insight present’s it’s 25 Finest Albums of 2009:

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