It's time to take a look at some up-and-comers, seasoned veterans, and underexposed artists who deserve more attention just because they are their lovely, creative selves. A few may not have scheduled new releases for 2011, but deserve a closer look nonetheless.
Some trends I think will be happening in 2011: psychedelic rock via Beach Boys summers; 50s clangy-jangly guitars mixed with 60s Wall of Sound vocals; irreverent noise rock channeling the Replacements by way of Ween; the return (and recognition) of socially-conscious rap, and enchanting big-voiced female vocalists shimmering under the surface of rock. And Balkan music. Let's begin, shall we?
Fractal Farm
Genre: Math Rock
I discovered Fractal Farm while trawling LastFM's psychedelic rock channels, and it was quite a happy accident. Fractal Farm are a trio from Wilmington, NC who play an intriguing blend of folk and math rock, a genre that employs unusual time signatures and often has a quiet beauty. Fractal Farm reports that they're in the studio, with an album coming out this year. If the EP is any indication, some stunning music should be the result.
www.last.fm/music/Fractal+Farm
Deerhoof
Genre: Psychedelic Rock
Deerhoof are the elder statesmen of experimental noise rock, and with good cause. Putting out music since 1992, this San Fransisco outfit has never sacrificed art for commercial success, but the upcoming Deerhoof vs. Evil may be their most accessible album yet. The innovative band takes their unusual approach to the web, releasing a song a month across the continents for the past year. No doubt about it: this is going to be the Year of the Deerhoof. Album due to drop January 25th.
http://deerhoofvsevil.com/
Rat. vs. Possum
Genre: Lo-fi, Pyschedelic Pop
Melbourne based Rat vs. Possum currently open for Sleigh Bells on the Australian leg of their world tour. Daughter of Sunshine was released last year in April, but Rat. vs. Possum is a very new, largely unknown entity. On tracks such as "Binti Jua," jungle sounds intermingle with delicate beats, or collapse into polyphonic cacophony on "Pills." Their lo-fi, meandering approach seems in danger of lapsing into chaos any time, but is brought back from the brink with some tribal beats that only Australians could produce.
www.throwshapes.com.au/2010/04/22/album-review-rat-vs-possums-daughter-of-sunshine/
Mountain Man
Genre: Folk
Mountain Man are a haunting female trio from Bennington, Vermont who keep the spirit of Appalachian-style harmonizing alive in their mesmerizing vocals. The album Made the Harbor dropped last year, but Mountain Man show no signs of retreating. A sweet listen to escape the nastier troubles of the world. As an aside--I love the apartment in the video.
http://www.amazon.com/Made-Harbor-Mountain-Man/dp/B003LNENOM
Cloud Nothings
Genre: Indie Rock
Cloud Nothings is an infectious post-punk band from Cleveland, Ohio who generated some buzz in 2010 with their debut album Didn't You. Sadly, There is already a Glee tie-in. :/ (Glee being the Borg TV show that assimilates all music into one big Autotuned dance number.) Nonetheless, the stripped-down sound of Cloud Nothings is jangly peppy ear candy, and isn't so much post-punk as amped-up Buddy Holly, and we could all use more of that.
http://www.last.fm/music/Cloud+Nothings
Keepaway
Genre: Techno Grime
Brooklyn-based Keepaway lets the sunshine in. I dig this band. They go a bit heavier than the typical synth-pop rock group, but the psychedelia never strays far from the summery side of things. They show an impressive ability to mix the synth sensibility of Animal Collective (a band I never got into) with the tweaky indie rock of Modest Mouse, which earns ducats from me. The EP Baby Style was released last year; I hope to see more of the same in 2011.
http://www.myspace.com/keepaway
My Disco
Genre: Minimalist Rock, Math Rock
Young Australian rockers My Disco keep things clean and simple on the released tracks from their upcoming album Little Joy. They aren't afraid to be minimalist and hold a note in much the same way Seth McFarlane holds a long pause on Family Guy. I like that My Disco knows the power of the pause and aren't afraid to use it. When they do shred, listeners pay attention. Album drops in US on January 25th 2011.
http://www.amazon.com/Little-Joy-My-Disco/dp/B004DTQ29W
Talib Kweli
Genre: Rap
Talib Kweli's and elder statemen of the politcal rap movement--his raps have a social conscious and a sense of place and community that he's been highlighting for two decades. Much as I appreciate Kayne's bombast, I wish he would follow the lead of someone like Talib and sing less about monsters and more about real-life hob-goblins like cyclical, endemic poverty and social injustice. Art doesn't have to have a political message, but Pitchfork, are you listening? Gutter Rainbows--out January 25th on Duck Down. Download a free track from the upcoming album at the link below.
http://rcrdlbl.com/2011/01/03/download_talib_kweli_cold_rain_prod_ski_beatz_
Ringo Deathstarr
Genre: Shoegaze pop
Ringo Deathstarr are a power pop trio out of Austin, Texas who channel Jesus and Mary Chain and My Bloody Valentine in all their fuzzy, distorted glory. They bring back that early 90s Curve feel that's been noticeably missing from the alt-pop scene for some time. Album Colour Trip drops Feb. 14 2011 in the UK, where they've already built quite a following. Listen to song samples at the link below.
http://www.amazon.co.uk/Colour-Trip/dp/B004H59Z1Y
Zola Jesus
Genre: Gothic, Avant Industrial
Zola Jesus was a slow burner for me in 2010. Her heavy vibrato takes a bit of getting used to, but now I find her dark visions sweetly, insidiously addictive. A latter-day Diamonda Galas with a more alluring tone to her voice, Zola Jesus is actually Nika Roza Danilova, a classically-trained singer from New York City. Quicking gaining a buzz off three EP releases from last year, I expect Zola to do quite well this year and gain a large following. Given her prolific output the past two years, I'd say no new albums are needed right now, but she's already recording. Bookmark her Last.fm page if the spirit moves you.
http://www.last.fm/music/Zola+Jesus
Marina and the Diamonds
Genre: New Wave, Pop
Marina Lambrini Diamandis, of Greek and Welsh descent, is already a relatively well-known pop singer in her native England in the vein of Florence + the Machine. With her unusual vocal stylings, Marina is a quirky, talented girl with a tendency towards light pop--I would love for her to shed some of that fluff so we can hear her stunning voice more clearly. I think the challenge with Marina is to appeal to an American audience, as female British pop artists don't generally take root here. Still, I'm intrigued to see what this young pop chanteuse does in 2011, and can't deny her remarkably big voice and charisma. Touring the States though January and February.
http://www.myspace.com/marinaandthediamonds
Beruit
Genre: Indie Folk, Balkan Folk
Last but not least we have Beirut. Beirut is largely the brainchild of Santa Fe, New Mexico native Zachary Francis Condon, an inquisitive musician who spent his teen years in Eastern Europe absorbing Balkan music and brought its world-music flavor back to the States. What's notable about Beirut is its ever-expanding nonlinear musical structure, instead of merely a predictable album-tour-rest cycle. Straightforward guitars rarely feature on a Beirut track: rather, horns, mandolins, and a string section figure prominently in their work. An album is tentatively scheduled for 2011, but regardless, Beirut is a band worth exploring in the coming months no matter the time frame.
A remarkable side development of Beirut is their massive following in Brazil, and subsequent project Beirutando. From Wiki: "Inspired musicians across the country formed tribute bands in an event called "Beirutando na Praça" which translates to "Beiruting in the Square" which occurred on August 30, 2009. The event involved seven bands in São Paulo, Rio de Janeiro, Belo Horizonte, Recife, Salvador, Curitiba, and Lima performing adapted covers of Beirut songs in the streets. Beirutando groups have adapted the songs in order to connect them to Brazilian culture by changing rhythms. As well as altering the songs, different instruments have been used, such as the "cavacolele", a cavaquinho modified with nylon strings tuned to G-C-E-A (standard ukulele tuning); this instrument was thought up because of the absence of ukuleles in Brazil. Other instruments used by Beirutando bands are the cajón and the melodica."
http://en.wikipedia.org/wiki/Beirut_(band)
There you have it folks. Next time round we'll be examining some unsung guitar heroes who deserve more attention. Peace out. :)
Sunday, January 9, 2011
Sunday, December 26, 2010
Top 25 albums of 2010
2010 will be known as the year I started following Idol, the year I got on Twitter, and the year I composed my first year-end "Best Albums of 2010" list. So let's get to it!
2010 was a year of musical near-hits and almost-misses. A retro sensibility returned to some genres (roots revival in country, 60s Wall of Sound in indie pop), while electonic music gained an even surer foothold in the US. Techno subgenres such as witch house and dubstep came to the forefront, while rock traditionalists bemoaned losing the heavier guitar sounds of Kings of Leon and Black Keys to the dominance of "beats" and simplified, cleaner riffs. There was a lot of clever musical alchemy in 2010 that produced some interesting, albeit mixed results. Here's my personal best of that strange brew.
25. Robert Plant: Band of Joy
Genre: Roots music, Americana
Robert Plant has it going on. Not content to continually rehash the Zeppelin songbook (which would no doubt keep Zep purists blissfully happy), Plant forages bravely on his musical journey. 2007 was bluegrass with Allison Krauss; this year is Americana roots music with Band of Joy (referencing his own 1960s band). Plant and company, including Patty Griffin, Buddy Miller on mandolin and Darryl Scott on steel petal, traverse old country roads with earthy homegrown sounds on songs such as Central Two-O-Nine and Gospel-tinged Satan Your Kingdom Must Come Down, before closing out the album with funk-soaked Even This Shall Pass Away.
Of special interest is Plant's detour into indie lo-fi territory with Silver Rider and Monkey, songs written by slowcore band Low (Minnesota rockers and favs of mine), proving once again that Robert Plant is not only still a viable musician, but continually full of surprises.
24. Sufjan Stevens, Age of Adz,
Genre: Experimental Folk
It genuinely pains me to put Sufjan Stevens Age of Adz so far down the list. A concept album based on the work of artist Royal Robertson, Stevens creates a collage of techno bleeps, blaring trombones, fluttering Wizard of Oz sound effects, and his own angelic voice to convey a postmodern choir of heavenly hosts. It's entirely possible that I don't fully understand this album, but I appreciate Stevens massive, unquestioning creativity. There is a sense that Stevens is the enfant terrible of prog rock, a former indie folk poster boy who's ascended to some next-level awesome laser-light gig in the sky. I'll glean what I can from Age of Adz flashes of brilliance, on display here on the title track, and hope for something a bit more accessible next time around.
23. Spoon, Transference
Genre: Indie Rock
Texas indie rock veterans Spoon have cornered the marketed on tight, technically sparse albums that convey a tense sense of urgency, with lyrics delivered in Britt Daniel's wry, raspy voice. There are moments of perfection on Transference, especially on tracks I Saw the Light, Written in Reverse, and Who Makes Your Money. I find myself wanting Spoon to become less formalists and more emotive when the tracks get too sparse and dry. But in even the most cryptic Spoon love song, it's still unmistakably Spoon, and there's no doubt that they care.
22. Swans: My Father Will Guide Me Up a Rope to the Sky
Genre: Post Punk, Experimental
The Swans do not want to be your friend. The unrelenting dark vision of Micheal Gera has its own internal logic, and if you're lucky to visit his intense world, its on the condition you leave things exactly as you found them. In an age of lighter rock tropes that seek to please, the Swans are unapologetically heavy in riffs and funeral-dirge tones. The last track, Little Mouth, has the tone of a Negro spiritual, and conveys the feeling that sometimes freedom is its own oppression. Fourteen years is too long between albums. Let's hope the Swans come up for air sooner next time.
21. Balam Acab: See Birds EP
Genre: Witch House, Electronica
Pitchfork media's blurb covers the background info best:" "Balam Acab is Alec Koone, a 19-year-old college kid studying music education in upstate New York. Unlike some of his peers, he doesn't sing or play instruments on tracks, but builds them instead with samples collected from the Internet. He isolates and distorts bits of source material (say, vocal loops or beat fragments) and smears them together in new arrangements."
Balam Acab is probably most well-known for being the seminal entry in the "witch house" subgenre of dub--a hotly-contested moniker that makes people argue heatedly on the internet for no good reason. Whatever. This kid creates beautiful soundscapes that remind me of Brian Eno's dreamiest work. Here's a thought: Why not call it ambient and get it over with? Alec Koone is one to watch in 2011, as there are a lot of new voices in the electronica game, but Balam Acab's is one of the most captivating, resonant, and haunting.
20. Deerhunter: Halycon Digest
Genre: Indie Rock, Dream Pop
2010 was Deerhunter's year, as they came into their own on Halycon Digest with a cohesive album of chill beats and 50's reverb. Halycon Digest signaled a return to Beach Boys feel-good vibes that was seen all over indie pop in 2010, from The Drums to Cloud Nothings to Cults. The album itself is smooth from track to dreamy track, my personal favorites being Revival, Helicopter, and He Would Have Laughed. My only criticism is that I wouldn't want them to get any more pop, as they verge on being too light and mainstream on this album for me.
19. Joy Formidable: A Balloon Called Moaning
Genre: Indie Rock, Noise Pop
Nothing got me going more that Joy Formidable in the early days of summer 2010. This infectious indie trio from North Wales brings the power pop in overblown sonic riffs that touch on surf rock and Pixies-esque vocals while never losing their distinct flavor. The Greatest Light is the Greatest Shade and Whirring are exceptional tracks off the album. From all reports they are excellent live--and they are cute as little Welsh buttons on Twitter. Expecting great things from Joy Formidable in 2011 and even bigger buzz.
18. Black Mountain, Wilderness Heart
Matthew Dear is a Detroit DJ entrenched deep in the techno scene, and a core member of Ghostly International, taste-making music label extroidinaire. More importantly, he's a genius. The first time I heard Black City I was entranced by Dear's dark urban visions. I don't think anything else out there sounds quite like it, and I don't think any other album in 2010 has such unity. He brings the synthetic sounds of modern life together with tribal chanting of yore, and in short, I think he's tapped into some deep Altered States shit on this album. Gem, Monkey, Shortwave, Innh Dahh, and You Put a Smell on Me are stand-out tracks. I'm new to the Matthew Dear-Ghostly thing, so I'm a bit of an outsider critiquing Black City, but I hope my admiration shines through the fumbling prose. I can't wait to see what Matthew Dear does next year.
Thanks to everyone who read my very first music blog post. It was quite a bit more work than expected! Next blog post is going to address bands to watch in 2011. Cheers!
2010 was a year of musical near-hits and almost-misses. A retro sensibility returned to some genres (roots revival in country, 60s Wall of Sound in indie pop), while electonic music gained an even surer foothold in the US. Techno subgenres such as witch house and dubstep came to the forefront, while rock traditionalists bemoaned losing the heavier guitar sounds of Kings of Leon and Black Keys to the dominance of "beats" and simplified, cleaner riffs. There was a lot of clever musical alchemy in 2010 that produced some interesting, albeit mixed results. Here's my personal best of that strange brew.
25. Robert Plant: Band of Joy
Genre: Roots music, Americana
Robert Plant has it going on. Not content to continually rehash the Zeppelin songbook (which would no doubt keep Zep purists blissfully happy), Plant forages bravely on his musical journey. 2007 was bluegrass with Allison Krauss; this year is Americana roots music with Band of Joy (referencing his own 1960s band). Plant and company, including Patty Griffin, Buddy Miller on mandolin and Darryl Scott on steel petal, traverse old country roads with earthy homegrown sounds on songs such as Central Two-O-Nine and Gospel-tinged Satan Your Kingdom Must Come Down, before closing out the album with funk-soaked Even This Shall Pass Away.
Of special interest is Plant's detour into indie lo-fi territory with Silver Rider and Monkey, songs written by slowcore band Low (Minnesota rockers and favs of mine), proving once again that Robert Plant is not only still a viable musician, but continually full of surprises.
24. Sufjan Stevens, Age of Adz,
Genre: Experimental Folk
It genuinely pains me to put Sufjan Stevens Age of Adz so far down the list. A concept album based on the work of artist Royal Robertson, Stevens creates a collage of techno bleeps, blaring trombones, fluttering Wizard of Oz sound effects, and his own angelic voice to convey a postmodern choir of heavenly hosts. It's entirely possible that I don't fully understand this album, but I appreciate Stevens massive, unquestioning creativity. There is a sense that Stevens is the enfant terrible of prog rock, a former indie folk poster boy who's ascended to some next-level awesome laser-light gig in the sky. I'll glean what I can from Age of Adz flashes of brilliance, on display here on the title track, and hope for something a bit more accessible next time around.
23. Spoon, Transference
Genre: Indie Rock
Texas indie rock veterans Spoon have cornered the marketed on tight, technically sparse albums that convey a tense sense of urgency, with lyrics delivered in Britt Daniel's wry, raspy voice. There are moments of perfection on Transference, especially on tracks I Saw the Light, Written in Reverse, and Who Makes Your Money. I find myself wanting Spoon to become less formalists and more emotive when the tracks get too sparse and dry. But in even the most cryptic Spoon love song, it's still unmistakably Spoon, and there's no doubt that they care.
22. Swans: My Father Will Guide Me Up a Rope to the Sky
Genre: Post Punk, Experimental
The Swans do not want to be your friend. The unrelenting dark vision of Micheal Gera has its own internal logic, and if you're lucky to visit his intense world, its on the condition you leave things exactly as you found them. In an age of lighter rock tropes that seek to please, the Swans are unapologetically heavy in riffs and funeral-dirge tones. The last track, Little Mouth, has the tone of a Negro spiritual, and conveys the feeling that sometimes freedom is its own oppression. Fourteen years is too long between albums. Let's hope the Swans come up for air sooner next time.
21. Balam Acab: See Birds EP
Genre: Witch House, Electronica
Pitchfork media's blurb covers the background info best:" "Balam Acab is Alec Koone, a 19-year-old college kid studying music education in upstate New York. Unlike some of his peers, he doesn't sing or play instruments on tracks, but builds them instead with samples collected from the Internet. He isolates and distorts bits of source material (say, vocal loops or beat fragments) and smears them together in new arrangements."
Balam Acab is probably most well-known for being the seminal entry in the "witch house" subgenre of dub--a hotly-contested moniker that makes people argue heatedly on the internet for no good reason. Whatever. This kid creates beautiful soundscapes that remind me of Brian Eno's dreamiest work. Here's a thought: Why not call it ambient and get it over with? Alec Koone is one to watch in 2011, as there are a lot of new voices in the electronica game, but Balam Acab's is one of the most captivating, resonant, and haunting.
20. Deerhunter: Halycon Digest
Genre: Indie Rock, Dream Pop
2010 was Deerhunter's year, as they came into their own on Halycon Digest with a cohesive album of chill beats and 50's reverb. Halycon Digest signaled a return to Beach Boys feel-good vibes that was seen all over indie pop in 2010, from The Drums to Cloud Nothings to Cults. The album itself is smooth from track to dreamy track, my personal favorites being Revival, Helicopter, and He Would Have Laughed. My only criticism is that I wouldn't want them to get any more pop, as they verge on being too light and mainstream on this album for me.
19. Joy Formidable: A Balloon Called Moaning
Genre: Indie Rock, Noise Pop
Nothing got me going more that Joy Formidable in the early days of summer 2010. This infectious indie trio from North Wales brings the power pop in overblown sonic riffs that touch on surf rock and Pixies-esque vocals while never losing their distinct flavor. The Greatest Light is the Greatest Shade and Whirring are exceptional tracks off the album. From all reports they are excellent live--and they are cute as little Welsh buttons on Twitter. Expecting great things from Joy Formidable in 2011 and even bigger buzz.
18. Black Mountain, Wilderness Heart
Genre: Hard Rock, Blues Rock, Heavy Metal
The progression of listening to Vancouver's Black Mountain: "These guys are ok." "Hey, these guys are pretty good.".....(pause.)"These guys are freakin' awesome." Black Mountain is straightforward headbangin guitar rock, blues-hewn and sunshine-sprayed. The Hair Song kicks off the album and I can attest to the fact that you can play it 10 times in a row and not get tired of it. Rollercoaster gets heavy and dark, recalling Black Sabbath, with Amber Webber's vocals quivering over the proceedings. The Space of Your Mind is a slow jam that brings to mind southern rock at its most melancholy. Guitar God J Mascis of Dinosaur Jr. fame shreds on a bonus remix of The Hair Song. Buy this album, you won't regret it. It hits the sweet spot you forgot you had.
17. First Aid Kit: The Big the Black and the Blue
The progression of listening to Vancouver's Black Mountain: "These guys are ok." "Hey, these guys are pretty good.".....(pause.)"These guys are freakin' awesome." Black Mountain is straightforward headbangin guitar rock, blues-hewn and sunshine-sprayed. The Hair Song kicks off the album and I can attest to the fact that you can play it 10 times in a row and not get tired of it. Rollercoaster gets heavy and dark, recalling Black Sabbath, with Amber Webber's vocals quivering over the proceedings. The Space of Your Mind is a slow jam that brings to mind southern rock at its most melancholy. Guitar God J Mascis of Dinosaur Jr. fame shreds on a bonus remix of The Hair Song. Buy this album, you won't regret it. It hits the sweet spot you forgot you had.
17. First Aid Kit: The Big the Black and the Blue
Genre: Folk
Swedish teenagers Klara and Johanna Söderberg have been quietly gaining an international following the past few years, and this release should bring them further to the forefront of contemporary folk music. The Big the Black and the Blue is written and composed entirely by the Söderberg sisters; they show an impressive songwriting ability and simple yet alluring melodic harmonies. There is something of the wild untouched forest about them, with songs that seemingly spring from secret shady groves. Tracks such as In the Morning, Wills of the River, and I Met Up with the King feature their compelling harmonies and bewitching halcyon visions. A fascinating duo to watch in the coming years.
16. Punch Brothers, Antifogmatic
Genre: Progressive Bluegrass
Don't let the neo-country leanings fool you: Chris Thile (formerly of Nickel Creek) and company are making some of the most experimental music out there. Hearing this sumpremely talented bluegrass band warm up is like hearing an orchestra before the lights dim. (Thile composed a concerto for the mandolin in 2009.) The Punch Brothers featured heavily on this year's more well-known Dierks Bentley album Up on the Ridge. While Up on the Ridge was more radio-friendly, Antifogmatic features difficult time changes and a more contemplative tone. The Woman and the Bell is a more melancholy, Next to the Trash is a more traditional bluegrass standard, while This is the Song is a ballad. With Thile, we're seeing a musician in his prime with a deep understanding of bluegrass and pushing the form to its limits.
15. Das Racist: Sit Down, Man; Shut Up, Dude
Genre: Alternative Hip Hop
Das Racist are Brooklyn-based rappers Himanshu Suri, Victor Vazquez, and hype man Ashok Kondabolu, a trio who met at Wesleyan University in "Students of Color for Social Justice" theme dormitory. These boys know their postmodern memes, but avoid the heavy head trips in favor of absurdest rhymes that interlace pot references and Spike Lee in the same breath. Two mixed tapes were released this year--Shut Up, Man, and Sit Down Dude, to great reception. The thing I like about Das Racist is they are chill without being smarmy, and smart without being preachy. The beats aren't have bad either. I'm still processing the double mixed tapes, so will get back to you with individual recs.
14. Houses: All Night
Genre: Ambient
Dexter Tortoriello and Megan Messina are Houses, a couple out of Chicago who've had meteoric success considering they started so small and isolated. This is some the chilliest chill-out music you'll ever hear; it seems to reverberate with their Hawaiian environs during taping. This is a group concerned with detail: The master was recorded on vinyl to capture every scratch and blip. Ambient indeed. Tracks such as Soak It Up, All Night, and Endless Spring have captured indie media attention and radio play on XM Chill. I predict even bigger things in the horizon for this talented duo.
In their own words: "My girlfriend and I moved out to a little cabin in Papaikou, Hawaii. It's a pretty remote place (i.e no plumbing/electricity/gas). We worked for meals during the day cultivating microorganisms and learning the basics of sustainable living. We drank, showered and cooked with rain water.[...]The music comes from a place of love and ease. The music was sketched out loosely over the course of a few months. We just kind of melted into one person. I put together all the arrangements and field recordings, and that became All Night."
13. Tame Impala: Innerspeaker
Genre: Pyschedelic Rock
Australian band Team Impala keeps things mellow on their debut album, Innerspeaker. To me, Tame Impala never stray far from a Beatles-eque sensibility with a Robert Fripp muse, which can be a strength or weakness depending on your point of view. I kept wanting them to get a bit more heavy. Otherwise, excellent sound and instincts from a band with an already substantial following. Not surprisingly I liked the heavier tracks such as Lucidity, Island Walking, and the Bold Arrow of Time; Runway Houses City Clouds is a nice slow jam. Jeremy's Storm showcases some of the better progressive rock out there and remind me of King Crimson on a moody day.
12. Sufjan Stevens, All Delighted People EP
Genre: Progressive Folk
Sujan Stevens EP gave fans a taste of the old Sufjan, before he went all lazer-light gig in the sky on Age of Adz. On display here is Steven's inventive composing and genre-challenging folk. All Delighted People is a opus dedicated to classic-rock memes of yore--but it's really all about the trombones for me. The Owl and Tanger is Stevens at his folk best--letting his angelic voice explore fanciful terrains. Heirloom features some beautiful acoustic playing with lovely vocal interludes. Sufjan's army are a faithful bunch. We'll wait out the squalls of his unpredictable artistic temperament to see what oddball gems he comes up with in the coming years.
11. Nicki Minaj: Pink Friday
Genre: Rap
I don't know what it is about Nicki Minaj. She's the baddest bitch in rap right now, and I think every inch of it is deserved. She's fresh and unapologetic, her beats are infectious, and her Trinidad accent (put on or otherwise) brings flava to her flow. I'd say Pink Friday is a guilty pleasure, but that would imply there's something shameful in liking Roman's Revenge, Blow You Mind, and Muny. There's not. She's a bad bitch and I believe it. Sadly the radio has been spammed with Your Love, my least favorite track, but check out the bonus tracks on itunes.
10. The Secret Sisters, The Secret Sisters
Genre: Alt country, Traditional Country
The Secret Sisters are Alabama siblings Lydia and Laura Rogers, who channel Patsy Cline style-vocals via Carter Family harmonizing to beautiful effect. T-bone Burnett was so taken with the duo he started the label Beladroit to release their debut. The Secret Sisters write their own songs, but also cover Hank Williams on Why Don't you Love Me and George Jones, Buck Owens, and Bill Monroe on other tracks. Hardly just a stroll down memory lane, the Roger sisters infuse these old standards with new life and not a small amount of talent.
9. Sleigh Bells: Treats
Genre: Indie Rock, Noise Pop
Sleigh Bells became a sensation in 2010, in no small part to their super-sonic sound via Derek E. Miller with alluring powder pastel vocals by Alexis Krauss. The marriage of a hardcore metal guitarist from Poison the Well and a member of former teen girl group, this is the kind of music magic that could only happen in Brooklyn (gotta represent!). Stand out tracks are Rill Rill, Crown on the Ground, and Kids. Best if listened to loud and the windows rolled down.
8. Gorillaz: Plastic Beach
Genre: Rap
Gorillaz keep pushing the boundaries of rap and marching to their own drummer, and I have to admit that I like this better than their earlier stuff. Plastic Beach has a more electronic feel to it, as on Rhinestone Eyes and Stylo. Being a longtime fan of De La Soul, I was happy to see them guest on Superfast Jellyfish. My favorite track thus for pure chill is the title track, Plastic Beach, and enjoy the symphonic Pirate's Progress, which almost has a Gershwin feel. I need to give this record a few more listens, but there's plenty here to explore from a band that knows no limits.
7. John Legend and the Roots: Wake Up!
Genre: Soul, R&B
John Legend and the Roots started working on Wake Up! during Obama's 2008 presidential campaign, and in 2010, it reminds you of that progressive spirit we already seem to have lost a short two years later. The album consists of remakes of 1960s protest songs and infuses a healthy dose of soul and funk in what has become a very chilly musical terrain. Stand out tracks are I Can't Write Left-Handed, Ghetto Boy, and Try to Keep it Real. I wish Wake Up had gotten more acclaim, because these are voices that need to be heard, lest we forget how to fight the political powers that be in the years to come.
6. New Pornographers: Together
Genre: Power Pop
New Pornographers are a Vancouver band who have been around for a while, who put out exceptional, well-crafted power pop records, and who almost no one has heard of outside of some "best of" lists from 2006. Core member Neko Case has had more success as a solo artist in the alt-country genre, and well-deserved. While Together may be slightly more mainstream that previous records, the multilayered approach is still there on tracks such as Up in the Dark and Valykrie in the Roller Disco, and a distinctly Scottish sound on A Bite of My Bed. An excellent band I'd love to see get more mainstream recognition. Grammys, please pay attention.
5. The Melvins: The Bride Screamed Murder
Genre: Sludge Metal, Punk Metal
The Melvins have been churning out their heavy sludge for nigh on 25 years and show no sign of lightening up. Longtime fans wouldn't want it any other way. Sadly, the Melvins are best known for being Kurt Cobain's favorite band--he would haul equipment around for them as a fanboy teenager--but they rightly deserve a firmer place in the rock-and-roll pantheon. The pathetic little five reviews on iTunes make me sad. I hope Buzzo and the boys make some money for God's sake.
There is always a sense of melody under Melvins heaviest drudge, as evidenced on Finish You Off. Electric Flower runs through the power chords and leaves you wanting more. Hospital Up is a personal favorite. A seven-and-a-half minute cover of the Who's My generation turns into a funeral dirge. The Melvins leave you nostalgic for the likes of Judas Priest and heavy metal of yore--and they don't cheese it up. A stellar band if there ever was one. Guys, can I haul your equipment on your next gig?
4. The National: High Violet
Genre: Indie Rock
Ohio-spawned, Brooklyn-based The National had a great year near the top of the charts in several countries, quite a feat for a band that barely charted last year. On High Violet, Matt Berninger's world-weary baritone levels his "man of a certain age" angst at the world, and it's far from depressing; in fact, High Violet verges on the sublime. The National was dubbed with the unfortunate moniker "Dad rock" from Pitchfork media, but a seasoned voice in indie rock is a nice change of pace from all barely-twenty cool kids. The National made an exceedingly elegant and well-crafted album and compromised nothing. I just love that this band made it big. Stand out tracks include Little Faith, the excellent Sorrow, Vanderlyle Crybaby Geeks, and bonus track Walk Off.
3. Arcade Fire: The Suburbs
Genre: Indie Rock, Baroque Pop
2010 was Arcade Fire's year, as their innate bombast and cultural critique of the leisured middle class culminated in The Suburbs, a quietly distubing album that seems to tap into the malaise of modern life. We're here, but not quite satisfied. Gems such as Sprawl II, Half Light II, Suburban War, and Empty Room pull togeither classical elements with Arcade Fire's typical sense of urgency. Great stuff. Hope they win the Grammy.
2. Phantogram: Eyelid Movies
Genre: Trip Hop
Phantogram's Eyelid Movies somehow escaped a number of year-end "Best of" lists but it's one of the best albums I've heard all year. Phantogram has lured me into complete submission. I.love.this.band. Their upstate New York upbringing in Saratoga Springs. Dark siren Sarah Bethel and her doe-brown eyes. Josh Carter's infectious guitar hooks and covert intellectualism. Phantogram are forgotten streams in underground caverns mumuring ancient secrets--with a sick beat. I love this band enough to spout incoherent poetry and embarrass myself. Standouts are When I'm Small, Running From the Cops, You are the Ocean, and Futuristic Casket. Hoping for great things from Phantogram, as I expect their sound to only deepen and mature in 2011.
1. Matthew Dear: Black City
Genre: Techno Glitch Pop
Swedish teenagers Klara and Johanna Söderberg have been quietly gaining an international following the past few years, and this release should bring them further to the forefront of contemporary folk music. The Big the Black and the Blue is written and composed entirely by the Söderberg sisters; they show an impressive songwriting ability and simple yet alluring melodic harmonies. There is something of the wild untouched forest about them, with songs that seemingly spring from secret shady groves. Tracks such as In the Morning, Wills of the River, and I Met Up with the King feature their compelling harmonies and bewitching halcyon visions. A fascinating duo to watch in the coming years.
16. Punch Brothers, Antifogmatic
Genre: Progressive Bluegrass
Don't let the neo-country leanings fool you: Chris Thile (formerly of Nickel Creek) and company are making some of the most experimental music out there. Hearing this sumpremely talented bluegrass band warm up is like hearing an orchestra before the lights dim. (Thile composed a concerto for the mandolin in 2009.) The Punch Brothers featured heavily on this year's more well-known Dierks Bentley album Up on the Ridge. While Up on the Ridge was more radio-friendly, Antifogmatic features difficult time changes and a more contemplative tone. The Woman and the Bell is a more melancholy, Next to the Trash is a more traditional bluegrass standard, while This is the Song is a ballad. With Thile, we're seeing a musician in his prime with a deep understanding of bluegrass and pushing the form to its limits.
15. Das Racist: Sit Down, Man; Shut Up, Dude
Genre: Alternative Hip Hop
Das Racist are Brooklyn-based rappers Himanshu Suri, Victor Vazquez, and hype man Ashok Kondabolu, a trio who met at Wesleyan University in "Students of Color for Social Justice" theme dormitory. These boys know their postmodern memes, but avoid the heavy head trips in favor of absurdest rhymes that interlace pot references and Spike Lee in the same breath. Two mixed tapes were released this year--Shut Up, Man, and Sit Down Dude, to great reception. The thing I like about Das Racist is they are chill without being smarmy, and smart without being preachy. The beats aren't have bad either. I'm still processing the double mixed tapes, so will get back to you with individual recs.
14. Houses: All Night
Genre: Ambient
Dexter Tortoriello and Megan Messina are Houses, a couple out of Chicago who've had meteoric success considering they started so small and isolated. This is some the chilliest chill-out music you'll ever hear; it seems to reverberate with their Hawaiian environs during taping. This is a group concerned with detail: The master was recorded on vinyl to capture every scratch and blip. Ambient indeed. Tracks such as Soak It Up, All Night, and Endless Spring have captured indie media attention and radio play on XM Chill. I predict even bigger things in the horizon for this talented duo.
In their own words: "My girlfriend and I moved out to a little cabin in Papaikou, Hawaii. It's a pretty remote place (i.e no plumbing/electricity/gas). We worked for meals during the day cultivating microorganisms and learning the basics of sustainable living. We drank, showered and cooked with rain water.[...]The music comes from a place of love and ease. The music was sketched out loosely over the course of a few months. We just kind of melted into one person. I put together all the arrangements and field recordings, and that became All Night."
13. Tame Impala: Innerspeaker
Genre: Pyschedelic Rock
Australian band Team Impala keeps things mellow on their debut album, Innerspeaker. To me, Tame Impala never stray far from a Beatles-eque sensibility with a Robert Fripp muse, which can be a strength or weakness depending on your point of view. I kept wanting them to get a bit more heavy. Otherwise, excellent sound and instincts from a band with an already substantial following. Not surprisingly I liked the heavier tracks such as Lucidity, Island Walking, and the Bold Arrow of Time; Runway Houses City Clouds is a nice slow jam. Jeremy's Storm showcases some of the better progressive rock out there and remind me of King Crimson on a moody day.
12. Sufjan Stevens, All Delighted People EP
Genre: Progressive Folk
Sujan Stevens EP gave fans a taste of the old Sufjan, before he went all lazer-light gig in the sky on Age of Adz. On display here is Steven's inventive composing and genre-challenging folk. All Delighted People is a opus dedicated to classic-rock memes of yore--but it's really all about the trombones for me. The Owl and Tanger is Stevens at his folk best--letting his angelic voice explore fanciful terrains. Heirloom features some beautiful acoustic playing with lovely vocal interludes. Sufjan's army are a faithful bunch. We'll wait out the squalls of his unpredictable artistic temperament to see what oddball gems he comes up with in the coming years.
11. Nicki Minaj: Pink Friday
Genre: Rap
I don't know what it is about Nicki Minaj. She's the baddest bitch in rap right now, and I think every inch of it is deserved. She's fresh and unapologetic, her beats are infectious, and her Trinidad accent (put on or otherwise) brings flava to her flow. I'd say Pink Friday is a guilty pleasure, but that would imply there's something shameful in liking Roman's Revenge, Blow You Mind, and Muny. There's not. She's a bad bitch and I believe it. Sadly the radio has been spammed with Your Love, my least favorite track, but check out the bonus tracks on itunes.
10. The Secret Sisters, The Secret Sisters
Genre: Alt country, Traditional Country
The Secret Sisters are Alabama siblings Lydia and Laura Rogers, who channel Patsy Cline style-vocals via Carter Family harmonizing to beautiful effect. T-bone Burnett was so taken with the duo he started the label Beladroit to release their debut. The Secret Sisters write their own songs, but also cover Hank Williams on Why Don't you Love Me and George Jones, Buck Owens, and Bill Monroe on other tracks. Hardly just a stroll down memory lane, the Roger sisters infuse these old standards with new life and not a small amount of talent.
9. Sleigh Bells: Treats
Genre: Indie Rock, Noise Pop
Sleigh Bells became a sensation in 2010, in no small part to their super-sonic sound via Derek E. Miller with alluring powder pastel vocals by Alexis Krauss. The marriage of a hardcore metal guitarist from Poison the Well and a member of former teen girl group, this is the kind of music magic that could only happen in Brooklyn (gotta represent!). Stand out tracks are Rill Rill, Crown on the Ground, and Kids. Best if listened to loud and the windows rolled down.
8. Gorillaz: Plastic Beach
Genre: Rap
Gorillaz keep pushing the boundaries of rap and marching to their own drummer, and I have to admit that I like this better than their earlier stuff. Plastic Beach has a more electronic feel to it, as on Rhinestone Eyes and Stylo. Being a longtime fan of De La Soul, I was happy to see them guest on Superfast Jellyfish. My favorite track thus for pure chill is the title track, Plastic Beach, and enjoy the symphonic Pirate's Progress, which almost has a Gershwin feel. I need to give this record a few more listens, but there's plenty here to explore from a band that knows no limits.
7. John Legend and the Roots: Wake Up!
Genre: Soul, R&B
John Legend and the Roots started working on Wake Up! during Obama's 2008 presidential campaign, and in 2010, it reminds you of that progressive spirit we already seem to have lost a short two years later. The album consists of remakes of 1960s protest songs and infuses a healthy dose of soul and funk in what has become a very chilly musical terrain. Stand out tracks are I Can't Write Left-Handed, Ghetto Boy, and Try to Keep it Real. I wish Wake Up had gotten more acclaim, because these are voices that need to be heard, lest we forget how to fight the political powers that be in the years to come.
6. New Pornographers: Together
Genre: Power Pop
New Pornographers are a Vancouver band who have been around for a while, who put out exceptional, well-crafted power pop records, and who almost no one has heard of outside of some "best of" lists from 2006. Core member Neko Case has had more success as a solo artist in the alt-country genre, and well-deserved. While Together may be slightly more mainstream that previous records, the multilayered approach is still there on tracks such as Up in the Dark and Valykrie in the Roller Disco, and a distinctly Scottish sound on A Bite of My Bed. An excellent band I'd love to see get more mainstream recognition. Grammys, please pay attention.
5. The Melvins: The Bride Screamed Murder
Genre: Sludge Metal, Punk Metal
The Melvins have been churning out their heavy sludge for nigh on 25 years and show no sign of lightening up. Longtime fans wouldn't want it any other way. Sadly, the Melvins are best known for being Kurt Cobain's favorite band--he would haul equipment around for them as a fanboy teenager--but they rightly deserve a firmer place in the rock-and-roll pantheon. The pathetic little five reviews on iTunes make me sad. I hope Buzzo and the boys make some money for God's sake.
There is always a sense of melody under Melvins heaviest drudge, as evidenced on Finish You Off. Electric Flower runs through the power chords and leaves you wanting more. Hospital Up is a personal favorite. A seven-and-a-half minute cover of the Who's My generation turns into a funeral dirge. The Melvins leave you nostalgic for the likes of Judas Priest and heavy metal of yore--and they don't cheese it up. A stellar band if there ever was one. Guys, can I haul your equipment on your next gig?
4. The National: High Violet
Genre: Indie Rock
Ohio-spawned, Brooklyn-based The National had a great year near the top of the charts in several countries, quite a feat for a band that barely charted last year. On High Violet, Matt Berninger's world-weary baritone levels his "man of a certain age" angst at the world, and it's far from depressing; in fact, High Violet verges on the sublime. The National was dubbed with the unfortunate moniker "Dad rock" from Pitchfork media, but a seasoned voice in indie rock is a nice change of pace from all barely-twenty cool kids. The National made an exceedingly elegant and well-crafted album and compromised nothing. I just love that this band made it big. Stand out tracks include Little Faith, the excellent Sorrow, Vanderlyle Crybaby Geeks, and bonus track Walk Off.
3. Arcade Fire: The Suburbs
Genre: Indie Rock, Baroque Pop
2010 was Arcade Fire's year, as their innate bombast and cultural critique of the leisured middle class culminated in The Suburbs, a quietly distubing album that seems to tap into the malaise of modern life. We're here, but not quite satisfied. Gems such as Sprawl II, Half Light II, Suburban War, and Empty Room pull togeither classical elements with Arcade Fire's typical sense of urgency. Great stuff. Hope they win the Grammy.
2. Phantogram: Eyelid Movies
Genre: Trip Hop
Phantogram's Eyelid Movies somehow escaped a number of year-end "Best of" lists but it's one of the best albums I've heard all year. Phantogram has lured me into complete submission. I.love.this.band. Their upstate New York upbringing in Saratoga Springs. Dark siren Sarah Bethel and her doe-brown eyes. Josh Carter's infectious guitar hooks and covert intellectualism. Phantogram are forgotten streams in underground caverns mumuring ancient secrets--with a sick beat. I love this band enough to spout incoherent poetry and embarrass myself. Standouts are When I'm Small, Running From the Cops, You are the Ocean, and Futuristic Casket. Hoping for great things from Phantogram, as I expect their sound to only deepen and mature in 2011.
1. Matthew Dear: Black City
Genre: Techno Glitch Pop
Matthew Dear is a Detroit DJ entrenched deep in the techno scene, and a core member of Ghostly International, taste-making music label extroidinaire. More importantly, he's a genius. The first time I heard Black City I was entranced by Dear's dark urban visions. I don't think anything else out there sounds quite like it, and I don't think any other album in 2010 has such unity. He brings the synthetic sounds of modern life together with tribal chanting of yore, and in short, I think he's tapped into some deep Altered States shit on this album. Gem, Monkey, Shortwave, Innh Dahh, and You Put a Smell on Me are stand-out tracks. I'm new to the Matthew Dear-Ghostly thing, so I'm a bit of an outsider critiquing Black City, but I hope my admiration shines through the fumbling prose. I can't wait to see what Matthew Dear does next year.
Thanks to everyone who read my very first music blog post. It was quite a bit more work than expected! Next blog post is going to address bands to watch in 2011. Cheers!
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