Someone left this apple, half-eaten, on a park bench on campus today. It couldn’t have been there long; no browning had developed. These are the kinds of things I would normally just walk by and chuckle at, but, you know, I’m trying to change that.
While 2010 had a plethora of new releases, 2011 is shaping up to have some great new releases (see below). On top of that, Rdio.com finally picked up the Merge/Matador libraries, so they’re worth the $5/month to try things out/pick up things I’ll only sort of like. I’ll definitely think about but probably won’t get to writing a solid review of the service.
So the new releases, courtesy of my records and Pitchfork:
British Sea Power: Valhalla Dancehall
Broken Records: Let Me Come Home
The Decemberists: The King Is Dead
Smith Westerns: Dye It Blonde
Soda Shop
Tennis: Cape Dory
– The first big week
Cloud Nothings: Cloud Nothings
Cold War Kids: Mine Is Yours
Destroyer: Kaputt
Fujiya & Miyagi: Ventriloquizzing
Get Up Kids: There Are Rules
I Was a King: Old Friends
Iron & Wine: We Kiss Each Other Clean
John Vanderslice: White Wilderness
…And You Will Know Us By the Trail of Dead: Tao of the Dead
Cut Copy: Zonoscope
– The next big week
Asobi Seksu: Fluorescence
Bright Eyes: The People’s Key
Mogwai: Hardcore Will Never Die But You Will
PJ Harvey: Let England Shake
Shugo Tokumaru: Port Entropy
Telekinesis: 12 Desperate Straight Lines
The Cave Singers: No Witch
Soft Province
Lykke Li: Wounded Rhymes
Papercuts: Fading Parade
The Rural Alberta Advantage: Departing
A Hawk and a Hacksaw: CERVANTINE
Dodos: Time to Die
Parts & Labor: Constant Future
R.E.M.: Collapse Into Now
Wye Oak: Civilian
The Joy Formidable: The Big Roar
Mountain Goats: All Eternals Deck
Peter Bjorn and John: Gimme Some
The Pains of Being Pure at Heart: Belong
Rained hard most/all day, so I didn’t go anywhere – just settled in with a day of music and football, the last such Sunday I’ll have for months.
This was the first year that I my attention to albums was limited by singles and specific songs. I guess, finally, the mp3 blog emphasis on individual songs that were offered fro free from the artists themselves finally had its impact on me. Nonetheless, there were still a number of albums that really really worked, either because they were great albums or because they just struck me at a specific point in my life.
On with the list:
I hated this album when I first heard it. I don’t know why – I just found the harmonies a bit too nasally for my tastes at first. And, really, I don’t think I was actually listening to it, because when I actually sat down and gave it time, I realized it was actually a series of really complex songs that are just dusted with a low-key 60s lo-fi vibe.
Broken Social Scene – Texico Bitches from Arts & Crafts on Vimeo.
Broken Social Scene, being an indie rock supergroup, rarely disappoint – at least when the full band is on the scene. The last couple albums, in their “Broken Social Scenes Presents…” series have fallen a bit short, so, of course, it was wonderful to see them back at full strength.
What can be said about the album itself? The music is always incredibly layered and interesting, with healthy, driving bass lines, energetic drumming, and incredible multi-gender harmonies. There are at least 10 standout tracks, including Texico Bitches, All To All, and Romance to the Grave.
Mini-mix of the entire album
It’s been 4 years since Bonobo’s last album, Days to Come. However, for me, Bonobo had almost completely slid off my radar since the phenomenal Dial M for Monkey. This was a triumphant return – every beat perfect, every song laidback and chill, but interesting enough that it deserves more attention. I’ve listened to this album while studying, with my attention diverted, and bike riding, when I focused on the songs themselves more, and it worked in both situations.
Few bands in recent years have forged a stronger connection to me than Shout Out Louds, largely because they were my main musica companion during a 3 week period in which, between work and a volunteer job, I was working 20 hours a day, everyday. They tap into my adolescent love of the Cure, add in a dash of Swedish earnestness, and manage to do so without sounding whiny. Their best songs, like Fall Hard or Walls, are incredibly catchy and end up stuck in your head for days.
How did a band from Jersey write such a phenomenal album about the Civil War that managed to simultaneously include the perspective of the broken man fighting at the boundaries of his limitations? The lyrics are both historical and modern, like a David Lynch movie that shifts between flashbacks and current scenes seamlessly. The song above, for example, ranges from gridlock on the Garden State Parkway to a soldier sobbing over a friend hanging from the sourapple tree. It seems to say that we’re still caught up in the useless battles that society has always faced.
Also, the guitar/violinist has an interesting tourblog.
A lot of singer-songwriters sound pretty similar – just a guitar and a singer. Sometimes a drum machine idles in the background to round out the rhythm. The sound can be full or delicate, but the focus is on the guitar and the voice. Villagers, a project of Irishman Conor O’Brien, isn’t afraid to alter that dynamic, at the same time adding new depth to the arrangements but stripping them down to the sparse essentials at the same time.
The above video is a good testament to Josh Ritter’s work – often brimming with emotion, but fragile at the same time. They can be metaphysical, tying you to their mast as they navigate through indelible melodies, tales, and soundscapes. There are a number of stunning songs on here – The Curse, Change of Time, Folk Bloodbath, The Remnant. Musically and lyrically this may be the most interesting album this year.
Really, Arcade Fire almost always win for me. Their epic anthems are always empowering, but songs like Sprawl II or The Suburbs were especially so. The album’s themes are worn on its sleeve, but that’s ok. Who doesn’t like some social commentary on the vapidness of the suburbs? They’re soul crushing, obesity inducing, the embodiment of sterility and lack of personality.
Also, the video/website for “We Used to Wait” is pretty awesome.
I’m getting tired of writing, to be perfectly honest. I think it’s sufficient to say that there is nothing The National could do that would be bad at this point.
I found this band a week after the end of a nearly 4 year relationship. The upbeat, charming twee was exactly what I needed. The summer was at its peak, I was driving a lot, and this made for perfect driving with the windows down in summer weather. It oozes with a silly, happy charm, as if all the world didn’t matter. And at that point, I needed to hear that, and a lot of it.
But more importantly, it had staying power. The hooks were still infectious in the winds of fall, waiting for a late bus and, surprisingly, not caring because of a toetapping song.
Plus, the video is a takeoff on The Breakfast Club. Instant win!
Best Coast – Crazy for You
Film School – Fission
Frightened Rabbit – The Winter of Mixed Drinks
Laura Marling – I Speak Because I can
Laura Veirs – July Flame
LCD Soundsystem – This is Happening
Mimicking Birds – s/t
Mumford & Sons – Sigh No More
New Pornographers – Together
Perfume Genius – Learning
Phantogram – Eyelid Movies
Radio Dept. – Clinging to a Scheme
Radical Face – Touch the Sky
She & Him – Volume 2
Summer Fiction – s/t
Tallest man on Earth – The Wild Hunt/Sometimes the Blues…
Vampire Weekend – Contra
The Walkmen – Lisbon
These kinds of lists are always a question of the difference between ‘best’ and ‘favorite’. Just because a song is a favorite doesn’t mean it actually qualifies as best, does it? And what does best actually mean, anyway? How do you measure it? I’m not an expert on music, just someone passionate about it.
So some of these songs may not be the best, but they’re definitely my favorites. These are the songs that ended up stuck in my head, or really affecting me in some way. Maybe I just listened to them a lot. Maybe they convinced me to buy the album. Maybe they were just damn good.
Of course, this is the most difficult type of list to produce, especially when you forget about it until 4 or 5 days after Christmas. The list was pared down from an initial cut of 144 to the 50 songs below. They’re presented in no specific order because it didn’t seem like I could figure out that ranking as well. Some have comments about why they’re important, but with 50 songs, not all garnered that level of attention.
I swear I’ll do this everyday. Probably won’t – I usually don’t – but it’s worth a shot, right?
I figured I’d start small, and local, with just my bedroom. We’ll see what tomorrow brings.
Still to come – my Best of 2010 posts.
For a variety of reasons, I’ve been driving back home late at night frequently the past few weeks from the LA region. And each time, as I’m hypnotized by the glowing white lane markers, I’m transported to the time the ex and I visited the college for the first time to ascertain its potential as a potential graduate school for both of us. It was a time filled with hope and promise, like the middle of any relationship, when the dark undercurrents haven’t yet pulled you to the depths. But more specifically, I remember being so tired, and just needing her help o get through the last 40 minutes, when the bright lights of LA’s sprawl dissipate and the darkness of the oceanside road envelops. And she gave it; commiserating over such trivialities as the number of State St exits Santa Barbara features on the 101; making up stories about what was out in the darkness and why there were no street lights on the freeway (we had no idea we were driving along the ocean).
And when we finally got to the hotel, sleepy driving crisis averted, we nestled together happily.
Those are the moments worth hanging onto even as the circumstances that created them slip out of grasp.
Fyfe Dangerfield – High on the Tide
I just got back from a weekend trip to San Francisco; the first of its kind even though I’ve been here for a year. I did fall for the city, like I do for almost every big city. Wandering through the forest of skyscrapers, I feel connected. It doesn’t really matter what city, I just am at peace, and I often feel an omnipresent smile tugging at the corners of my mouth.
The same thing happens in nature. While running at the beach today (my life is so hard), this song came on the iPod. It made me simultaneously feel in touch with the beauty of the ocean and my memories of the beauty of the city.
Jaill – She’s My Baby
Does anything go better with summer than power pop? Ok, many things, like beaches and friends, bbqs and summer ale. But power pop is the musical equivalent of the crackling 50s home movie – the dark lines surrounding each individual frame scrolling slowly up the screen over the frolicking in the waves, the sand castles, the beach volleyball. It’s the youthfulness of the film that makes it so poignant and which your brain returns to each time you see it.
Jaill (sic) is a band from Wisconsin, of all places, but they play good power pop, often with a surf rock vibe. They’re touring with The Hold Steady down the coast right now, but unfortunately, I’ll be out of town when they hit SB.
I’ve been on a summer kick lately; perhaps this has turned out to be one of the more invigorating ones in recent memory. I think I’ll have to make a power pop mix to accompany its slow fade.
I’ve had this sitting in my iTunes for a month – how in the world have I not yet listened to the new Menomena? I’m a moron. I think I started listening to it once, and it felt like it was going to be too intense, so I gave up. Leave it to an insomniatic night to solve that problem.
This one sounds like a dream you can’t wake from: typical pounding percussion, new storylines dancing at the edges of the consciousness and weaving themselves into the narrative just enough for it to seem otherworldly, abrupt and inexplicable shifts in tone and texture. But that’s what makes Menomena great, and propels the group effort above each member’s solo work.