Top Albums of 2013: Honorable Mentions

January 14, 2014

Honorable Mentions

Let’s get things started with my Honorable Mentions for 2013. These are not necessarily albums 26-30, but rather just some albums that I think deserve extra attention for one reason or another. I’m also doing things a bit differently this year, by including my most underrated album of 2013 (that doesn’t appear in my top 25), as well as taking a look at a reemerging genre.

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Waxahatchee – Cerulean Salt

3c24b9685631433837babfca419e440a-98The second album from Birmingham, AL native Katie Crutchfield as Waxahatchee is an exquisite collection of alt-folk songs showing off Crutchfield’s impressive songwriting abilities. The songs are intimate like the Mountain Goats, sweetly charming as Kimya Dawson, beautifully sweeping as Cat Power, yet retain some of the feminine angst of a Liz Phair. It’s a pretty impressive fusion of influences that ushers in a new engaging voice in indie rock.

[“Lips and Limbs” – Cerulean Salt]

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Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

3887635acea0431a8617fb6354203c89-98And then on the flipside, you have an established voice, and boy do I mean voice, with her latest collection of folk songs, this time as honest and personal as anything she’s ever penned. Neko Case’s mouthful of a 6th album (now Grammy nominated) is Case at her most confident with her voice impeccable as always and musically the tightest she’s ever been, but this time there’s a darkness to her songs that give a glimpse of the enigmatic psyche within.

[“Man” – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You]

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Foxygen – We Are The 21st Century Ambassadors of Peace & Magic

3b90bb271731f035c6ec9d133ad33b15-98One of 2013’s breakout acts was the L.A. psych-rock duo Foxygen, due in large part to their sophomore album, We Are the 21st Century Ambassadors of Peace & Magic, as well as their notoriously crazed live shows. It’s a retro album, full of psychedelic songs that retain enough pop sensibility to never veer towards druggy jam band tropes. It’s a pleasant listen that while not doing anything revolutionary, is an example of a band coming into their own as fine songwriters.

[“No Destruction” – We Are The 21st Century Ambassadors of Peace & Magic]

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Rhye – Woman

d443d6ed8c22a1cdb65df6fe69a750bd-98The debut album from Mike Milosh and Robin Hannibal is a supergroup album of sorts, as both members were busy with their own work before initially meeting in 2010 and reconnecting after they each moved to L.A. separately. Woman is a lush group of sexy R&B songs highlighted by an opening trio of tracks as strong as any to open an album all year. The rest of the album doesn’t quite reach those heights, but it’s still a mesmerizing listen thanks to Milosh’s entrancing vocals and Hannibal’s minimalistic instrumentation.

[“Open” – Woman]

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Washed Out – Paracosm

0f0f08e76758a7b1f5b149f4aaa0531d-98Considered one of the founding fathers of the chillwave genre, Perry GA’s Earnest Greene is now one of its lone remaining members holding strong to the sound as his musical peers veer in other directions. Paracosm is the follow up to his fine 2011 debut and continues down the path of Within and Without and its proceeding EPs. Greene’s patented dreamy soundscapes are in full force here complete with melodies that show off Greene’s songwriting abilities serving as an example of Greene’s progression from producer to full-fledged musician and singer/songwriter status.

[“All I Know” – Paracosm]

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Most Underrated Album: Cults – Static

563abd4537d4e777d7d4ef16d26560db-98Now, my actual most underrated album is probably up in my top 25 somewhere, but I’d be remiss if I didn’t at least give a shout out to the sophomore effort from Brooklyn pop duo Cults. This album came and went with barely a whimper and coming off their very successful self-titled debut (my #9 album of 2011), that was a bit surprising to me, because it’s a very solid follow up. It’s not quite as immediate as their debut and doesn’t really have a standout track, but much of this album is centered around the breakup of Madeline Follin and Brian Oblivion making for an immensely personal album that I have a hell of a lot of respect for. It’s a wonder these two were able to remain professional enough to write and perform these songs side by side, and listening to the album can almost be an uncomfortable experience, but it’s hard to deny its honesty.

[“I Can Hardly Make You Mine” – Static]

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Emo Revival

An interesting development in 2013 was the reemergence of emo as a viable genre of music. Now, when I say emo I’m not talking about the Fall Out Boys or My Chemical Romances who co-opted the genre when it gained mainstream attention about a decade ago. Before that dark time, emo was a subset of indie rock, and really was what started me on my musical journey in my late high school days. In those days, emo was evolving into what became known as the Midwestern Emo sound featuring bands like The Promise Ring, American Football, Mineral, Braid and even early Jimmy Eat World and Death Cab For Cutie among many many others. This grew out of the early D.C. underground hardcore scene which is considered the birthplace of emo and really it’s 1st wave.

In the last few years, there’s been bands trying to rekindle the Midwestern Emo sound with varying success in what is now considered the 4th wave (or 5th depending on who you talk to). Top Shelf Records came along as a home to many of these groups and is largely responsible for the attention the genre has garnered. In 2013 many of these bands have surfaced from the underground by releasing some damn good albums that feature the sounds of emo’s glory years, and many more bands have albums on the horizon. It’s something I’m looking forward to in 2014. Below, I’m featuring three of the groups who released albums in 2013 that helped legitimize this new wave’s emergence.

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The World Is A Beautiful Place & I Am No Longer Afraid To Die – Whenever, If Ever

homepage_large.96864cf2The best of these emo-revivalists is Connecticut band The World Is A Beautiful Place & I Am No Longer Afraid To Die (often shortened to TWIABP), whose debut album Whenever, If Ever is a collection of passionate and tight songs filled to the brim with melody reminiscent of some of the best emo bands of the 90s. The first thing that jumps out about this group is of course that ridiculous name, which is taken from the lyrics of excellent album closer “Getting Sodas”, but if you’re able to get past how off-putting that is you’ll find some exhilarating tunes that evoke musicianship as deep as Explosions in the Sky while capturing the youthful exuberance similar to that of a Los Campesinos!, all in a nice emo package.

[“Heartbeat In The Brain” – Whenever, If Ever]

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Into It. Over It. – Intersections

4ff529203402e94abcdf6a3c784e972a-98Now here’s an album that probably has the most emo feel for those casual listeners of the genre dating back to right before bands started finding mainstream success. Into It. Over It. is the brainchild of Evan Weiss who is one of the forebears to this emo revival having been a part of numerous Midwestern emo bands the last few years, but with Intersections he’s put together his best group of songs which at times harkens back to Death Cab For Cutie or Hey Mercedes. Lyrically, this is certainly the most emo of the bands I’m featuring here, which isn’t necessarily a good thing, as it highlights the juvenile characteristics of the genre, which is one of its worst tendencies. But the songs are good enough that those lyrics can be overlooked, and heck for some people, it might actually strike that perfect balance. (Note: Into It. Over It. and TWIABP are heading out on tour this Winter along with fellow emo revivalist, A Great Big Pile of Leaves.)

[“A Curse Worth Believing” – Intersections]

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Crash of Rhinos – Knots

homepage_large.3f050240By far the best example of how Midwestern Emo isn’t really a regional identifier comes from British band Crash of Rhinos. The Derby, UK five-piece has created a very American sounding album touching on the more abrasive side of the genre; think Fugazi or Braid. If there’s an example among these revivalist of the emotional hardcore aspect of emo that actually spawned the genre, Knots is it. It’s more on the screamo side of the genre, but more Thursday than Touché Amoré (who released an excellent album this year, but can’t quite be called emo).  For longtime fans of emo, this may actually be the most nostalgic listening experience, but should be enjoyable enough for those with no preexisting knowledge of the genre.

[“Luck Has A Name” – Knots]

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Dishonorable Mentions

For this year’s dishonorable mentions, I’ve added a Most Overrated Album, which shouldn’t really be called dishonorable, but I didn’t have anywhere else to put it. However, the other two albums mentioned fit this section quite well.

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Most Overrated Album: Disclosure – Settle

4709b4817a40933d9e45a9e6131df12b-98Now I’m no expert on dance music, so perhaps I’m not the best judge, but I really just don’t get what’s so special about this album, the debut from English duo/brothers Disclosure. Maybe it’ll eventually click with me, but I listened to Settle a good bit, and save a song here or there, nothing really jumped out at me. It seems like very generic electronic music, that isn’t really doing anything particularly original or interesting. The beats come across rather formulaic and bland to form an enjoyable, but mediocre listen, one not worthy of the critical praise it’s getting.

[“Latch” – Settle]

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Yuck – Glow & Behold

0e8aa118ea3d223b63f1e7dda9888f3c-98Oh my, what a massive disappointment this album was. Part of me wants to give them a pass due to the ugly departure of frontman Daniel Blumberg right before recording of this album, but no. I feel like many bands have survived similar situations, but Yuck just couldn’t recapture what it had on that self-titled album in 2011 (a top 15 album for me then), and regressed mightily on Glow & Behold. Rather than find a new lead vocalist, the group decided to promote from within, and Max Bloom just doesn’t have what’s required of a frontman. He seems so disinterested in these songs, creating a passionless and just plain boring listen. And it’s not all his fault; the songs themselves are uninspired and devoid of any ambition. It’s a purposeless album with no direction that seems to have no reason for existing.  In a year of numerous disappointing follow ups to breakout albums (Smith Westerns, Surfer Blood, Free Energy, Christopher Owen’s post-Girls solo debut) this one makes those look like masterpieces.

[“Middle Sea” – Glow & Behold]

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The Avett Brothers – Magpie and the Dandelion

b2c00a93b39c87b129fbeff41a56677d-98When Rick Rubin teamed up with The Avett Brothers to produce their 2009 breakout album I And Love And You, I thought the results were actually quite good. Sure, it was polished to a mirror sheen, but the songs showed maturation and an improved songwriting that made the album a success, while still retaining the energy that gave the songs so much of their charm.  The returns weren’t quite as successful on 2012 follow up, The Carpenter, as Rubin’s style started to rob the band of that patented energy, and on Magpie and the Dandelion, the band’s 8th studio album, that energy is completely gone.

Now, part of the problem with this release is that these songs are essentially b-sides that have no business being on a proper album. These tracks were recorded during the same studio session that spawned The Carpenter, and while I’m not against using such songs to build another album (Heck, Timberlake did it this year, and Radiohead did it very successfully with Kid A & Amnesiac), when they feel so much like leftovers, it comes across a rather large miscalculation. Yes, these are songs that have been part of The Avett Brothers’ setlists at live shows over the years, and I’m sure hardcore fans of the band are excited to have these recorded, but there’s just not enough heft to warrant a brand new album. Make it a b-side or rarities release for those fans to complete their collection, but it’s pretty insulting to the casual fan to package these songs and call it a new LP.

However, what really cements this album as the worst I heard in 2013 is the inexplicable inclusion of a live version of “Souls Like The Wheels”, a song that already appeared on The Second Gleam EP back in 2008. Make it a bonus track, and that’s perfectly fine. Heck, I could maybe even forgive it if it was the final track on the album, but to place this song in the middle of its second half is as jarring and bizarre a moment I can remember on any album in quite some time. It has absolutely no place on this album, or any album that a band is trying to bill as their latest studio release and renders what was already a failure, an absolute disaster.

[“Another Is Waiting” – Magpie and the Dandelion]

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Posted by Hawkins

Top Albums of 2013: Eligible Albums

January 13, 2014

SONY DSC

To start off this year, I wanted to take a quick moment to talk about exactly what this list is. You’ll notice I call this, and always have, my “Top Albums” of the year, not my “favorite” or “best” albums. This is done intentionally, as I find it a very important distinction. Calling something “the best” is very hard to do, especially when it comes to something as subjective as music, and even moreso when there’s so much of it out there. However, I do think there are characteristics that can place a song or album ahead of others in an objective manner, such as songwriting, musicianship and innovation.  On the flip side, calling something “favorite” is pretty much subjective, and comes across as more of an enjoyment factor while perhaps ignoring aspects of an album that make it a more artistic achievement. So my list has always been a hybrid of the two, and calling it “Top Albums” is the best I could come up with. I’m not necessarily telling you the albums I enjoyed the most in 2013, just as I’m not telling you the albums that were critically thought of as the best releases of the year. Rather, this is a look at the albums I came across in 2013, that I enjoyed immensely which also have value in ways that should set them above others as a fantastic works of art. I suppose that’s my intro for this year’s list, so let’s get to it.

This past year I purchased, in some form, 84 albums…all of which are eligible. I do not include EPs, Reissues, Soundtracks, Live Albums, Holiday Albums, or B-Side/Rarity type releases as albums eligible for my list, but this year I don’t have any of those. As always, there’s plenty of albums that I never got around to procuring, so yes, there’s going to be very worthy albums that don’t make my list. So if you have a question as to why your favorite album isn’t on my list, well it’s because I either didn’t get it, or just plain didn’t care for it as much as you…simple as that. After the jump, you can see the list of all albums I purchased, in order of release date. Also, over to the right, you can see the schedule over the next few days as I continue the countdown.

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Top Albums of 2012: #1 thru #5

January 19, 2013

#5) Cloud Nothings – Attack on Memory [Carpark Records; released 1/24/2012]

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“I thought I would be more than this.”

“Wasted Days”

Remember emo? And I mean early 90’s emo, when it was an abrasive almost post-punk genre and before the likes of Dashboard Confessional co-opted it into their own brand of ooey gooey breakup songs. No? Well, considering Dylan Baldi, lead singer of the Cleveland Ohio four-piece Cloud Nothings, is only 20 years old, chances are he doesn’t either. But with Attack on Memory, his sophomore album, he could’ve fooled me. In a year when indie-rock got a nice kick in the ass from noisy, guitar drenched rock, Cloud Nothings started it all off in January when Attack On Memory was released to jaw dropping acclaim with its raw, youthful exuberance and intense darkness. But Attack On Memory isn’t just noisy, it’s damn catchy too, filled to the brim with hooks and melodies that channel some of those early 90’s emo/indie-rock acts like Fugazi, Braid, and Sunny Day Real Estate just to name a few. 90’s revivalism is something we’ve seen a good bit of in the last couple years, and whether intentional or not, Cloud Nothings have created an album that might be the flag bearer for that movement.

[“Wasted Days” – Attack on Memory]

#4) Fiona Apple – The Idler Wheel… [Epic; released 6/19/2012]

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“How can I ask anyone to love me when all I do is beg to be alone?”

“Left Alone”

Seven years in the making, Apple’s fourth album, The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do (so yeah, let’s just go with The Idler Wheel…) might be her most striking album yet. The completely acoustic album is full of stripped down tension filled songs which serve her well by conveying a feeling of intimacy almost like she’s playing them just for you. These 10 tracks are a cathartic release for Apple, delving into her psyche in ways that has always characterized her music to this point, but on The Idler Wheel… she’s managed to expose herself in an even greater light by crafting such personal and poetic songs enhanced by idiosyncratic production techniques but certainly not devoid of melody. Apple’s albums are such an emotional release for her that you can understand the amount of time that lapses between releases and while it would be nice to get more Fiona Apple songs on a regular basis, we are all better off by waiting for what her catharsis dictates.

[“Werewolf” – The Idler Wheel]

#3) Japandroids – Celebration Rock [Polyvinyl; released 6/5/2012]

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“When they love you (and they will), tell them all they’ll love in my shadow. And if they try to slow you down, tell them all to go to hell.”

“The House That Heaven Built”

The power of rock ‘n roll, man, that’s what this album is about. In a year searching for music that reaffirms the saving grace of rock music, Celebration Rock is it. And to think, this album almost didn’t even happen. In 2008, after a couple EP releases, Japandroids had just about given up and decided to release their debut LP Post Nothing and call it quits. What they didn’t expect was the amount of critical acclaim that album would garner (including a spot in my top 25 in 2009) which in turn lead to a renewed enthusiasm which is evident all throughout Celebration Rock. The Canadian duo produces in your face rock anthems with a celebratory spirit so palpable, you’d be hard pressed not to fistpump and sing-along to every “whoa ohhh ohhhh!” even at your most mundane moments. This is such a powerful and affecting listen with lyrics that in other hands might come across cheesy (“We don’t cry for those nights to arrive / We yell like hell to the heavens!”), but with these guys come across as inspirational. Celebration Rock, indeed.

[“The House That Heaven Built” – Celebration Rock]

#2) Grizzly Bear – Shields [Warp; released 9/18/2012]

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“But I can’t help myself.”

“Sleeping Ute”

A few months ago a friend of mine asked me for some music recommendations and I told her about the new Grizzly Bear album. She made the point that she gets nervous when a great band releases a new album because she’s worried of a let down. I reassured her that in this case, she had nothing to worry about. With Shields, not only has Grizzly Bear wonderfully followed up their magnificent album Veckatimest (my 2009 album of the year), but they have one-upped it by crafting the best album of their career. There’s just something to be said for a band on top of their game, and right now I don’t know if there is another band on the level of this Brooklyn four-piece. Every single member contributes in ways we haven’t really seen before, and it’s in that synergy that Shields excels in its cohesiveness and sheer compositional beauty. Songwriters Ed Droste and Daniel Rossen seem to have peaked in a way that compliments each other perfectly, and at times Christopher Bear absolutely steals the show with his percussion (See “Sleeping Ute” and “Yet Again”), but at no time does any of this sound like it’s all thrown together, a testament to producer (and bassist) Chris Taylor. This is exquisite chamber pop produced in meticulous detail but completely natural, a remarkable album that shows Grizzly Bear has become the kind of band where you shouldn’t be nervous about a let down, but rather anxious for what they can accomplish next.

[“Yet Again” – Shields]

#1) Frank Ocean – Channel Orange [Def Jam; released 7/17/2012]

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“Do you not think so far ahead? Cause I been thinkin bout forever.”

“Thinkin Bout You”

A few weeks prior to the release of his first proper album, Frank Ocean posted the liner notes of Channel Orange on his tumlbr, including a letter detailing his first love, which just happened to be an unrequited relationship with a man. This was a way to get out in front of all the questions that would undoubtedly surface once Channel Orange dropped and the lyrical analysis would begin. (Most specifically on emotional juggernaut “Bad Religion”, which details the aforementioned unrequited love in stunning fashion.) Keeping in mind Frank Ocean is part of a hip-hop community unfortunately known for its homophobia, his declaration of sexual preference was as significant as any moment that happened in the music industry in 2012. It’s in this intimacy and bravery that takes Channel Orange from a very good R&B album to a timeless classic.

The personal nature of Ocean’s songwriting is seen throughout all of Channel Orange in songs that capture his honesty, but are also some of the finest examples of alternative R&B, with their smooth yet unconventional structures. One of my favorite moments on any album this year comes not during a song, but during the transition between tracks. After a surprisingly bearable John Mayer solo that closes out my song of the year “Pyramids”, we’ve just been put through the ringer by the album’s 10-minute centerpiece, but not to be left off the hook, we’re directly led into the catchy beats of “Lost” and immediately re-immersed in this world Ocean has created. The wittiness and pure talent is in no short supply on Channel Orange (his voice on “Thinkin Bout You” is an absolute revelation), and while for the most part these are complex tunes not really built for radio play, their heart and power is something that can’t be ignored. Channel Orange feels like more than just an album, it feels like a groundbreaking moment in music history, not only a career defining masterpiece for Frank Ocean, but a genre defining work of art.

[“Pyramids” – Channel Orange]

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Top Albums of 2012: #6 thru #10

January 18, 2013

#10) Passion Pit – Gossamer [Columbia; released 7/24/2012]

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“I won’t let you go unless I’ll be alright.”

“I’ll Be Alright”

What sets Passion Pit apart from their electro-pop peers is their ability to create seemingly superficial songs that when unpacked reveal so much more about its authors. This is no more evident than on Gossamer, the Massachusetts band’s sophomore album, which is chock full of songs that can be easily enjoyed on the surface, but when delved deeper into become the revelations of a man battling his own personal demons. Once you get past opener “Take A Walk” which is a pretty straightforward radio pop song with some pretty weak lyrics, the journey inside lead singer Michael Angelakos’s mind begins and the true soul of Gossamer comes to the forefront. Angelakos is currently battling a severe bipolar disorder, something he has been struggling with since the age of 18, and his interview with Pitchfork is an eye opening look into his depression which puts this album in a new light. It’s a wonder Gossamer was even made at all, but when listened to in the context of what a painstaking process it must’ve been, we can enjoy this album (and band) for the elegance of its voice and not just music.

[“I’ll Be Alright” – Gossamer]

#9) Dirty Projectors – Swing Lo Magellan [Domino; released 7/10/2012]

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“I haven’t found it, but I will keep dancing until I do.”

“Dance For You”

Here’s a fun fact: Ferdinand Magellan himself never actually circumnavigated the Earth, yet he is still given credit for being the first to accomplish the feat. (His expedition made it, but he was killed prior to making it back to Spain.) It’s still an important moment in our world’s history and one that deserves accolades, but also something that we can only fully appreciate once we dig deeper into finding the whole story. With Swing Lo Magellan, Dave Longstreth’s brand of avant-garde rock is getting credit for being his most accessible album to date, which is probably true, but I’m here to tell you, this is still a very complex and weird album, one that doesn’t require deeper listening to enjoy, but can be appreciated all the more when doing so.

[“Gun Has No Trigger” – Swing Lo Magellan]

#8) Tame Impala – Lonerism [Modular; released 10/9/2012]

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“I just don’t know where the hell I belong.”

“Mind Mischief”

You know Australia, all tucked away down there? That’s where Tame Impala, the psych-rock project of Kevin Parker, calls home – Perth, more specifically. And judging by the themes of loneliness seen throughout his fantastic sophomore release, the aptly titled Lonerism, Australia’s isolation to the rest of the world is wearing a bit on Parker as his introspective thoughts serve as a perfect backdrop to an album that so perfectly captures a sense of alienation and what it really entails. Appropriately enough, Lonerism is a headphones album, one to be enjoyed in the joy of your own solitude and not really in the car with windows down and hair blowing in the wind. However, this is still an accessible album, full of rich melodies channeling 70’s pop with too many influences to name, best exemplified in “Feels Like We Only Go Backwards” and “Elephant”.  Whereas a song like “Mind Mischief” creates an almost atmospheric listen thanks to the hypnotic grooves that close out the track. Introversion has never been more mesmerizing.

[“Feels Like We Only Go Backwards” – Lonerism]

#7) The Men – Open Your Heart [Sacred Bones; released 3/6/2012]

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“I wanna see you write a love song. I wanna see you going down. I wanna see you when you try so hard. I wanna see you when you turn it around.”

“Turn It Around”

The Men are a quartet out of Brooklyn, which is part of what makes Open Your Heart so refreshing, because it absolutely rocks – a quality that’s been missing from the Brooklyn music scene, which churns out band after band of innovative indie-rock groups. These songs are loud, heavy, full of hooks, and completely lacking pretention, something that can’t be said of many of The Men’s Brooklyn counterparts. In a year where I found myself bored by much of the same, Open Your Heart was an album necessary to reinvigorate a genre in need of a jolt.

[“Open Your Heart” – Open Your Heart]

#6) Kendrick Lamar – good kid, m.A.A.d. city [Aftermath; released 10/22/2012]

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“I am a sinner who’s probably gonna sin again.”

“Bitch, Don’t Kill My Vibe”

This is the highest I’ve ever had a rap album place on my albums of the year list, which should give you an idea of the quality of good kid, m.A.A.d. city, Kendrick Lamar’s sophomore album and major label debut on Dr Dre’s Aftermath Entertainment. Lamar subtitled this album “A Short Film By Kendrick Lamar” and it’s in that narrative where it really gains its power, not just the subtle, down-tempo beats and restrained production. This is a semi-autobiographical story of Lamar’s upbringing in Compton, CA and it offers a fascinating look at how family, religion, gangs, drugs, and even hip-hop can all tug a kid in different directions growing up in the streets. This album is a tour de force in creating a concept album and having it remain grounded in its own reality. It’s an album best appreciated as a true album, as the songs lose some of their power when not listened within the context of the story Lamar is developing. Case in point is “Backseat Freestyle” which taken on its own falls into the typical hip-hop tropes of money, power and misogyny, but in the context of the narrative, it becomes a satirical look at hip-hop and the dreams it promises young kids hoping to break into the industry. Kendrick Lamar has created as remarkable of an achievement I can ever recall hearing out of a concept album and one whose significance in the rap community really shouldn’t be understated, ya bish?

[“Backseat Freestyle” – good kid, m.A.A.d. city]

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Top Albums of 2012: #11 thru #25

January 17, 2013

The Countdown can now begin with my 15 albums that make up #11 through #25. There’s really no logic governing which albums I chose to do a write up for here. I didn’t want to write something about all of them, but felt like a few deserved a little blurb.

#25) Titus Andronicus – Local Business

eae5070571451cddb5c329015b50278d-98Titus Andronicus’s previous album was my 2010 album of the year and quite possibly my favorite album of the last half-decade, so a let down was to be expected on their follow up release. Local Business certainly doesn’t reach the heights of The Monitor but there’s no shame in that, especially when Patrick Sickles and crew continue to pump out punk-rock anthems few bands can match. With a smaller cast of musicians, Titus has tightened up a good bit musically leading to maybe the most radio friendly track they’ve produced in “In A Big City” and a focused set of songs without sacrificing their spontaneity. The album opens with the line “I think by now we’ve established everything is inherently worthless / and there’s nothing in the universe with any kind of objective purpose”, so their nihilistic world view remains in full force, but there probably isn’t a better example of a band today who believes rock ‘n roll might just be powerful enough to reverse that thinking.

[“In A Big City” – Local Business]

#24) Animal Collective – Centipede HZ

#23) Chairlift – Something

b605c2a1baabe4637d99fb89effb3e74-98The second album from the Brooklyn duo is a polished set of synth laden indie-pop songs which could be used as a shining example of how to create such music. This is just plain an enjoyable album full of exquisite pop songs carried by the voice of Caroline Polacheck but built around catchy melodies and an 80’s nostalgic vibe. In no song is this more evident than in the glorious “I Belong In Your Arms” which feels ripped directly from a John Hughes teen flick. Something is accessible enough to get immediately immersed in, but complex enough to not come across superficial. It’s a confident and elegant release that announces Chairlift as a pop band not to be forgotten.

[“I Belong In Your Arms” – Something]

#22) Alabama Shakes – Boys & Girls

#21) Jessie Ware – Devotion

#20) Allo Darlin’ – Europe

017c2a1d8bcdec7f9a34702762b7b034-98London-based Allo Darlin’s second album of sophisticated indie-pop is a step forward for the Elizabeth Morris fronted group. On Europe, Morris has penned songs more maudlin than twee which serves her well as it gives these songs a depth that puts Allo Darlin’ in the same breadth as Belle & Sebastian or better yet, Camera Obscura. The songs are instantly memorable but have a heartfelt sensibility allowing for a stunning ukulele soliloquy “Tallulah” to stop the listener dead in his or her tracks. “Tallulah” is the kind of song that can completely overshadow an album, and as one of the best songs of the year, it does that to an extent. But that’s more a testament to its greatness and not the quality of the other songs on Europe. Start to finish, this is an album of infectious brit-pop overflowing with warmth and richness.

[“Tallulah” – Europe]

#19) The Mountain Goats – Transcendental Youth

#18) Twin Shadow – Confess

e62c73680f3113671c13421ccc1dadfe-98Another notch in the bedpost of 80’s pop revivalism, Brooklyn’s Twin Shadow has created another nostalgic album channeling 80’s pop mainstays from The Police to Prince. The brainchild behind Twin Shadow is Dominican born George Lewis Jr, and for Confess, Lewis fully embraced his 80’s persona churning out song after song of new wave synth-pop that instantly conjures images an era he clearly reveres. Whether it’s the power ballad of “Be Mine Tonight” or the driving rhythm and guitar hooks of “Five Seconds”, Lewis unabashed esteem for 80’s pop is clearly on display, but in no way ironic.   Sure, the stylization may be a little on the nose and contrived (I mean, just look at that album cover), but who cares when the music is crafted so masterfully.

[“Five Seconds” – Confess]

#17) Father John Misty – Fear Fun

#16) Grimes – Visions

cd6c7ecff0f8b5302dacd5d2c17e7425-98The eccentricities of Claire Boucher really can’t be discussed without first mentioning her failed attempt to house-boat down the Mississippi River, an example of her ambitious confidence that is scattered all throughout her breakthrough album Visions. Listening to this hodgepodge of an album, it’s hard to nail down a specific genre Grimes is conveying as the tunes are an eclectic mix of influences yet somehow incredibly cohesive. But when she’s writing more straightforward electro-pop songs, the results are breathtaking, as seen on “Genesis” and “Oblivion”, a couple early album stunners that showcase her knack for melody and sweetness with an underlying darkness, intensity, and well, feminism. Visions is one of the most original albums of the year from an artist allowing us a peek inside the workings of her idiosyncratic mind.

[“Genesis” – Visions]

#15) Beach House – Bloom

#14) The Walkmen – Heaven

#13) Spiritualized – Sweet Heart Sweet Light

#12) Swans – The Seer

f3d822edd38a6921d494028168f65f1c-98Adjectives that can be used to Swans monumental, career defining album: Dark. Heavy. Intense. Powerful. Terrifying. Progressive. Experimental. Challenging. Demanding. Exhausting. Ambitious. Beautiful. Atmospheric. Brutal. Bleak. Immense. Bold. Epic. Triumphant. Brilliant. I could go on…

[“Lunacy” – The Seer]

#11) Sharon Van Etten – Tramp

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The third album from Van Etten is her best work yet featuring guest spots from Wye Oak’s Jenn Wasner, Beirut’s Zach Condon, and The Walkmen’s Matt Barrick, to name a few, but the smartest move she made was in recruiting The National’s Aaron Dessner to produce these 12 tracks. (Dessner’s brother, Bryce, also appears on lead single “Serpents”.) Dessner takes Van Etten’s folk tunes to new levels of significance fully realizing her songwriting potential as well as emphasizing her voice and emotional depth of her music.

[“Serpents” – Tramp]

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Top Albums of 2012: Honorable Mentions

January 16, 2013

Honorable Mentions:

Let’s get things started with my Honorable Mentions for 2012. These are not necessarily albums 26-30, but rather just some albums that I think deserve extra attention to for one reason or another.

———-

Purity Ring – Shrines

Purity Ring - ShrinesThe highly anticipated debut from Purity Ring is a form of synth-pop that is hard to find equal comparisons to in the electronic world. It’s dark, yet remains undeniably sweet thanks to the vocals of Megan James. The beats of Corin Roddick tend toward hip-hop club jams yet create a dreamy ambiance leading to a rather mesmerizing listen. The Montreal duo could use a little more variation in their tunes as the songs are quite samey and run together when listened as an album, but as interesting as these songs are, it’s quite forgivable on such an arresting debut.

[“Fineshrine” – Shrines]

———-

The Menzingers – On The Impossible Past

d853ea0c96c9887711eebb7e789d9be7-98The third album from the Pennsylvania punk band was not even close to being on my radar when I decided to give it a go based on its Metacritic score of 93 (!), and even though I had my reservations, I was pleasantly surprised by the depth of the songs that this group features throughout On The Impossible Past. There’s no denying the catchiness of the songs, but lyrically this is some heavy, introspective stuff that truly sets The Menzingers apart from their pop-punk peers. The substance behind these songs is very refreshing to see in this genre. Normally hearing a line such as “I will fuck this up / I fucking know it” rings hollow, but with these guys, in this context, it meaningful and earnest.

[“The Obituaries” – On The Impossible Past]

———-

Jens Lekman – I Know What Love Isn’t

43c6ad96ca82e7b517fb595212b668fa-98I Know What Love Isn’t is the long awaited follow up LP to the excellent Night Falls Over Kortedala (one of my favorite albums of 2007), and while it lacks the immediacy of it’s predecessor, this is still a testament to Lekman’s honest and literate songwriting. Known for the personal and humorous essence of his lyrics, Lekman doesn’t hold back on these tunes crafting a break-up album full of his precious charm that has always characterized his music to this point in his career.  The heart put into his tunes has never been more evident than on the title track, a song about a sham marriage that Lekman couldn’t go through because he knew he wouldn’t be able to help himself from writing about it. It that kind of the auto-biographical inspiration that makes his music such a rewarding listen.

[“I Know What Love Isn’t” – I Know What Love Isn’t]

———-

David Byrne & St. Vincent – Love This Giant

Love This GiantThe collaboration between David Byrne and St Vincent is a partnership that just makes sense. The two share eccentric song writing techniques but do enough different to be able to compliment each other in a way that the songs will sound natural in their production while still feeling like something new. Love This Giant succeeds in doing just that. The poppy funkiness of Byrne meshes quite well with St Vincent’s patented anxiousness creating an album of weird but inviting songs that while predictable in their execution are no less inspired and enjoyable.

[“Who” – Love This Giant]

———-

Cat Power – Sun

7cd6f41c8cb70f275204a152629cc8ed-98 Chan Marshall’s first album since 2006’s fantastic The Greatest sees the artist infuse electronic influences in some of the most confident music of her career. Self-recorded, Sun may be best remembered more for bankrupting Marshall, rather than the 11 pop gems strewn throughout. It’s a beautifully produced album showcasing just enough of Marshall’s quirks (the squawk of an eagle on “Cherokee” is one of the highlights) while remaining fully in control of her craft. It all comes together in the 10 minute track “Nothin’ But time”, an epic, uplifting, David Bowie tinged (and Iggy Pop featuring) masterpiece which will go down as one of the finest songs of her career.

[“Nothin’ But Time” – Sun]

Dishonorable Mentions:

The past few years, I’ve struggled calling the albums I place here dishonorable mentions, as calling them bad was kind of harsh. This year, however, I have no qualms calling these three albums Dishonorable mentions with a capital D.

Best Coast – The Only Place

Best Coast - The Only PlaceIn 2010, Best Coast released their debut album featuring lo-fi beach pop, filled with catchy melodies which helped it garner an honorable mention from me. The issue with Best Coast has always been Bethany Cosentino’s juvenile lyrics but the music had just enough charm that it was easy to give them a pass. However, on The Only Place, Cosentino has decided to polish her sound and change gears into a more alt-country vibe in the vein of Neko Case or Jenny Lewis. Problem is, she has no where near the songwriting chops of her peers (or the pipes) to make this type of music interesting at all. And with that, her horrid lyrics come to the forefront, no longer shielded by good tunes. The Only Place is a rather large miscalculation and one that I don’t really even care if she recovers from.

[“The Only Place” – The Only Place]

———-

Band of Horses – Mirage Rock

76651e64d57f364e18637a429ef4adf4-98When Band of Horses first broke onto the scene in 2006 with their stunning debut Everything All The Time, Ben Bridwell and company were a Seattle based band with southern roots. This allowed for an intriguing sound which fused northwest indie-rock with southern rock all the while transcending both genres.  Prior to recording the band’s second album, the very good Cease to Begin, Bridwell relocated the group to South Carolina and the southern rock influences started to take over. The band’s lineup changed (Bridwell is the only remaining original member), and in 2010 the group released Infinite Arms which signaled a shift to easy listening southern rock. Its follow up, Mirage Rock, is the culmination of the post-Everything All The time efforts. It does not work. At. All. This music is so bland, inconsequential and unmemorable that it leaves absolutely no lasting mark on the listener, unless you count “Dumpster World” which is one of the worst songs I heard all year. The quality of music has diminished with every release of Band of Horses, and now that this is essentially Bridwell’s middling southern rock band, I don’t see it getting any better. For the record, of the 71 albums I got this year, this one ranked dead last on my list.

[“Knock Knock” – Mirage Rock]

———-

Mumford & Sons – Babel

Mumford and Sons - BabelWhen Mumford & Sons released their debut album Sigh No More in 2010, I voiced concerns over songs that I felt were formulaic and inauthentic. It wasn’t enough to completely turn me off to the group, but it was enough to raise some red flags. However, on their follow up album Babel, the band doubled down on everything that made Sigh No More worrisome, thus validating all of my concerns. The songs remain generic in their structure, and there is a faux-earnesty that I just can’t shake when listening to the tunes. Strumming harder and singing louder in the midst of a hoedown isn’t the only way to convey passion and when you do it on practically EVERY SINGLE SONG it loses all meaning and displays a forced emotion that comes across fake and insincere.

One of my least favorite parts of Sigh No More comes in “Little Lion Man” when Mumford self-righteously moans “I really fucked it up this time” as if admitting what an asshole he is deserves a pat on the back and admonishes him of all guilt.  So when we come to “Broken Crown” on Babel, and Mumford declares “I took the road and I fucked it all away”, I can’t help but let out an eye roll Liz Lemon would be proud of.  It’s disingenuous and just plain pandering to a fanbase he knows will eat this shit up. And pandering is possibly the best way to describe Babel. The band tested many of these songs in their shows, all coming on the heels of stating they were going a different direction with their music on this follow up album. But, of course, the success of Sigh No More wouldn’t allow such a thing, and so we’re left with an album full of the same indulgent drivel that not only fails on its own merits, but also retroactively makes their debut an increasingly grating listen.

[“I Will Wait” – Babel]

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Top Albums of 2012: Eligible Albums

January 15, 2013

SONY DSC

2012 has come and gone, and as I look back on the year in music my main thought is “meh”. That’s not to say there weren’t some good albums, there were quite a few actually. There just weren’t a high number of albums I could call great. All in all, I consider it a solid, but not spectacular year in music. Part of this thinking may come from my own personal preferences, as I found myself just plain bored by many releases this year. That’s the reason you may find this list a bit more eclectic than usual, which in the long run is probably a good thing for my musical evolution.

This past year I purchased, in some form, 77 albums…71 of which are eligible. I do not include EPs, Reissues, Soundtracks, Live Albums, Holiday Albums, or B-Side/Rarity type releases as albums eligible for my list. As always, there’s plenty of albums that I never got around to procuring, so yes, there’s going to be very worthy albums that don’t make my list. So if you have a question as to why your favorite album isn’t on my list, well it’s because I either didn’t get it, or just plain didn’t like it as much as you…simple as that. After the jump, you can see the list of all albums I purchased, in order of release date. Also, over to the right, you can see the schedule over the next few days as I continue the countdown.

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#1 Album of 2011

January 23, 2012

Girls – Father, Son, Holy Ghost

[True Panther Sounds; released 9/13/2011]

“Come into my heart.”

“Vomit”

What’s my combination for a great album you ask? Well, it’s simple really: engaging and innovative songwriting, meaningful lyrics, and the sense that the artist is truly passionate about his or her creation. Or to put it another way, just listen to Girls’ sophomore album Father, Son, Holy Ghost. The jump this San Francisco duo made from their rather generic surf-pop debut in 2009 to this masterpiece is pretty remarkable. I found their first release to be a fine album, but was missing something I couldn’t quite put my finger on. It still managed an honorable mention nod from me, but left me so uninterested that I decided to pass on their EP last year. Well, whatever it was that was missing from that debut, they undeniably found on their follow up LP, enough to make Father, Son, Holy Ghost my Top Album of 2011. (Giving hope to all honorable mentions everywhere!)

The opening track (“Honey Bunny”)  from Father, Son, Holy Ghost harkens back to their debut with a fantastic little Beach Boys-esque pop song (but better than any of the surf-pop they tried on their debut), and then departs from that sound into a variety of influences; from a psychedelic glam rocker (“Die”) to Guns N’ Roses tinged anthems (“My Ma”, “Vomit”). All of these departures make this disc the standard bearer for retro albums released in 2011, which for whatever reason seemed to be an ongoing theme for the year. Lead singer/songwriter Chris Owens still exudes his damaged vocals for this release, but they are a huge improvement from the debut as he seems to have made a discernible effort to come off more restrained here, and well, less annoying. Oh, but does the damage in his voice, and honesty in his lyrics, still remain.

His story is a rather tragic one having been raised in the Children of God cult and just as it did on the debut, those experiences have shaped the art he creates. As Owens sings about the girls in the aforementioned “Honey Bunny” who  “don’t like my bony body” (preach it brother) he comes across confident while at the same time somehow conveying a sense of self-pity that make this such an affecting listen. However, it’s in his anthems like album centerpiece, but unfortunately titled, “Vomit” that the album’s heart truly shines through, as Owens employs a backing gospel choir during the song’s final coda. It’s a moment that truly punches you in the gut and displays what this album does best; entertain with moments of fantastic musicianship while remaining soulful. Because despite all the influences scattered throughout, Father, Son, Holy Ghost is best described as a soul album, and it’s Owens who has allowed us a glimpse of that soul.

[“Honey Bunny” – Father, Son, Holy Ghost]

BONUS: I also recommend clicking this link for a live version of “Vomit” (and other Father, Son, Holy Ghost tracks) they did for Pitchfork.tv. It’s pretty life-changing and chills inducing.

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Top Albums of 2011: #2 thru #5

January 23, 2012

#5) Real Estate – Days [Domino; released 10/18/2011]

“All those wasted miles. All those aimless drives through green aisles. Our careless lifestyle, it was not so unwise.”

“Green Aisles”

I wasn’t a huge fan of Real Estate’s self-titled debut album back in 2009. For whatever reason, that album bored me and I just didn’t find much of it very memorable. However, with Days, this Brooklyn based band seems to have mastered their version of dreamy pop-rock without really changing their formula from before, but rather just by improving it in every way. What’s great about Days is that its ideas aren’t big, and that’s what makes it such a relatable album. As Martin Courtney sings about drives through green aisles, its easy to picture yourself with windows rolled down driving through the countryside on a road trip with friends or perhaps a family vacation as a child. It’s in that simplicity and nostalgia that Days finds it’s joy, but by no means does the music match that simplicity. The harmonies are complex, as are the choruses, but it’s still a mellow surf-pop album at it’s core. There’s a lot to Days that is highly enjoyable as a background album, but in those same songs there’s plenty to get lost in with more effort, which I would highly recommend giving a try.

[“Easy” – Days]

#4) PJ Harvey – Let England Shake [Vagrant; 2/15/2011]

“What is the glorious fruit of our land? The fruit is deformed children.”

“The Glorious Land”

“Soldiers fall like lumps of meat” is just one of the many disturbing lines that show up on Let England Shake, the 8th album from English singer-songwriter Polly Jean Harvey. If that’s not an image that causes you some sort of visceral reaction, then you may be the exact audience she’s targeting and perhaps who could benefit the most from a spin of this record. Let England Shake is Harvey’s anti-war album and while that may seem like a rather easy target considering the world’s current condition, Let England Shake is a timeless album discussing the horrors of war long before Iraq. (There’s only one song here that directly references the Iraq War.) It’s safe to say that the current turmoil in the mid-east is what put Harvey over the edge here, but lets not forget her home continent went through two horrible world wars that is still feeling its effects today. But to overlook the musicianship of Harvey would be a shame as she has fused her imagery with wonderful songs full of her guitar/piano driven rock while also employing some unique production techniques. Let England shake is a stunningly poignant protest album first, but one that can be enjoyed for its melodies as much as its poetry.

[“The Last Living Rose” – Let England Shake]

#3) Bon Iver – Bon Iver [Jagjaguwar; released; 6/21/2011]

“At once I knew I was not magnificent.”

“Holocene”

At this point, the story of Justin Vernon is well documented: man’s band breaks up; man’s relationship ends; man retreats into the woods for months to create a cathartic masterpiece album. It’s not like Vernon is the first person to draw inspiration from such things and to create something so beautifully inspired by his isolation. But For Emma, Forever Ago captured that alienation in such an arresting and intimate way that it became maybe the shining example of how to do it best. And it was because of that, that For Emma Forever Ago was my album of the year in 2008 upon it’s re-release. Now here we are with the highly anticipated follow up and Vernon has blown up as an artist with his work in his experimental side project Volcano Choir, his inclusion in soft-rock band Gayngs, numerous compilations, and his budding friendship with Kanye West of all people. (And now a Grammy nomination.) With his sophomore album as Bon Iver, Vernon has expanded from his stripped down folk tunes to something much more ambitious using influences from all his side-projects. But the thing is, even with his expanded scope, Bon Iver is just as intimate, just as arresting, and just as stunning as his debut. He’s moving on from the album that will most likely over-shadow his entire career, and I don’t think it’s a coincidence that he chose to self-title this release. This is Justin Vernon’s Bon Iver, one that can stand on its own merit and not just a romanticized backstory.

[“Calgary” – Bon Iver]

#2) M83 – Hurry Up, We’re Dreaming [Mute; released 10/18/2011]

“The city is my church.”

“Midnight City”

I’ve never been to space, and I’m pretty confident that it’s a trip I’ll never be taking in my lifetime. But I’m also pretty confident that there’s few artists that do such a good job of transporting me to the outer reaches of our universe than Anthony Gonzalez does with his album Hurry Up, We’re Dreaming. When Gonzalez announced this new album he promised it would be “very, very, very epic” and upon listening to it, I think he could’ve thrown another “very” into his description. Hurry Up, We’re Dreaming is a double album filled with 22 tracks sitting at 74 minutes, but what makes it so inviting is that despite it’s scope and length, it is hardly an exhausting listen. That is partly thanks to a collection songs that can stand on their own as well as being part of something greater. In no track is this more evident than my song of the year, “Midnight City”, complete with instantly catchy synth-pop and subtly powerful sing along verses climaxing in a freakin’ saxophone solo, all capturing the nostalgic, yet futuristic vibe Gonzalez has mastered with his version of electronic-rock.  The album is such a remarkable accomplishment, something so exhilarating and as close as we’ll get to zipping around in a spaceship throughout the same M83 galaxy for which Gonzalez’s band is named.

[“Midnight City” – Hurry Up, We’re Dreaming]

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Top Albums of 2011: #6 thru #10

January 21, 2012

#10) The Antlers – Burst Apart [Frenchkiss; released 5/10/2011]

“I’m not gonna die alone…I don’t think so.”

“Putting The Dog To Sleep”

It’s impossible to discuss Burst Apart without first mentioning this album’s predecessor Hospice, my #2 Album of 2009. Perhaps that’s a bit unfair, but when you release an album as stunning as Hospice, there’s bound to be some call backs, and well, concerns as to if a follow up release can vindicate all the praise lavished upon this young group. With Burst Apart, The Antlers have proven their music can be just as emotionally resonant without the help of heavy subject matter in highly conceptual form. Part of that is due to Peter Silberman’s falsetto which is still as fragile as ever while remaining inviting. The songs on Burst Apart are more standard in their song structure making this disc an easier listen than Hospice, but it doesn’t give up the haunting atmospherics that makes their music so striking. Now a fully realized band, Burst Apart is their first album written as a whole, not just Silberman, and it’s easy to see how this group has gelled together to form a band that can now stand on their own merits as musicians and not just kings of sorrow.

[“I Don’t Want Love” – Burst Apart]

#9) Cults – Cults [Sony; released 6/7/2011]

“I think I want to live my life and you’re just in my way.”

“Go Outside”

The concern with bands who land a major label deal due to an internet hit in their infancy is pretty obvious. Does this band really have the songwriting chops to produce an entire album of this stuff? Or will they just be another one-hit internet wonder that’s all too common these days? (We’ll soon get that answer about Lana Del Rey.) It’s a question that unfairly sets a band up for failure, with seeming loads of criticism heading their way from the start due to all the skepticism. For Cults, they put any of those concerns to bed immediately on their debut album with opening track “Abducted”, one of the best songs of the year, and followed it up with an album full of potential singles that can all stand right up there with “Go Outside”, the song that catapulted them to the forefront of indie-pop. Cults is an album that displays all the catchiness and hooks of a band sure of themselves, and well, extremely good pop songwriters. Are the songs derivative? Sure. But the use of 60’s girl-pop influences do convey a sense of nostalgia on this record that makes it so charming and deeper than what you hear on the surface. There’s a bit of tragedy and heartbreak in the lyrics and a sense of vulnerability in Madeline Follin’s vocals, but she doesn’t beat you over the head with it like some of her genre peers can’t help but do. Cults is a mature and masterful album, the year’s best debut, from a band that still has a lot of room to go. They’re here to stay.

[“Abducted” – Cults]

#8) Fleet Foxes – Helplessness Blues [Sub Pop; released 5/3/2011]

“So now I am older than my mother and father when they had their daughter. Now what does that say about me?”

“Montezuma”

The sophomore album from these woodsy harmonizers is one that overcame quite the obstacles to even see the light of day. After their highly successful debut album in 2008 (my #3 album that year), Fleet Foxes began work on their follow up, but a bout with writers block from lead man Robin Pecknold didn’t help things along. Neither did the scrapping of every song after the initial recording, which meant starting from scratch in the studio. This well-documented recording process for Helplessness Blues is a testament to the painstaking efforts put forth by Fleet Foxes in creating their art. But when released, the final product is an album full of lush folk songs that sonically expands on everything these guys were doing with their debut, creating a truly beautiful album. The songs on Helplessness Blues have been polished to perfection, while not sacrificing their intimacy and contain all the majesty that made these guys so endearing in the first place.

[“Grown Ocean” – Helplessness Blues]

#7) St. Vincent – Strange Mercy [4AD; released 9/13/2011]

“Best, finest surgeon, come cut me open.”

“Surgeon”

I’ve always wondered what it would be like if a successful but relatively non-mainstream artist showed up on American Idol in front of the audition panel.  It would kind of be a dream of mine to see the panel have no idea who the artist was, get on their high horse and criticize in their usual condescending way, unaware the whole time that the musician in front of them has already seen loads of success and contains more talent in his or her pinky finger than any of American Idol’s winners in its run. The thing is though, this isn’t what would happen with with Annie Clark, aka St. Vincent. Clark has a gorgeous face, a killer voice, and can absolutely whale on the guitar, all of which is pretty evident right away. That’s why it’s so refreshing to hear such complex yet accessible tunes coming from an artist like St. Vincent. Strange Mercy is her third full-length and contains all her usual sweet yet anxiety filled songs that make her one of the most sophisticated songwriters going today. The formula remains the same on most her songs here: a tender verse/chorus buildup into a freak-out of sorts all the while capturing the introspection of a songstress at the top of her lyrical game. With all due respect to Adele (and others), there isn’t a female artist creating more interesting music in the world today. And it’s getting time that we need to start thinking about dropping the female qualifier.

[“Surgeon” – Strange Mercy]

#6) tUnE-yArDs – w h o k i l l [4AD; released 4/19/2011]

“There’s a freedom in violence that I don’t understand, and like I’ve never felt before.”

“Riotriot”

Let’s get this out of the way: this is a weird album and Merril Garbus is a strange woman. But that’s what makes her tUnE-yArDs project so appealing and intriguing. This is the second album from Garbus following up her breakout debut BiRd-BrAiNs in 2009 which announced her presence as an experimental-pop artist, but limiting her to just a pop musician doesn’t do nearly enough justice to the type of music Garbus is creating here. What she’s done on w h o k i l l is create an “everything but the kitchen sink” album, blending so many genres that it’s really too many to even list. She has a clear knack for songwriting and despite all the bizarre tunes, they really are some damn good pop songs. Garbus carries a confidence on w h o k i l l that is evident throughout, but never once hints at self-indulgence, and dismissing Garbus as another freak-folk musician is to dismiss her talent in some of the simplest ways, most notably her voice. All you have to do is listen to a track like “Powa” with it’s lo-fi production and numerous musical techniques throughout which all leads to an fantastic vocal breakdown where Garbus hits a note that can only be described as Mariah Carey-esque. Weird yes, but when it’s this fascinating, it’s a welcome oddity.

[“Powa” – w h o k i l l]

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