Dear faithful LITC readers,
Our favourite post of the year is here! We apologise that it’s taken so long, but think of it as a late Christmas gift. As with previous years, we’ve included our respective Top 10 Albums of the year as well as some honourable mentions and some not so honourable ones. Feel free to share your favourite records of the year in the comments section. Maybe you’ll even discover some unknown treasures within our lists. Take care, readers. See you in 2013.
Elijah & Greg
Elijah’s Top 10 Albums of 2012
10. Valtari Sigur Rós — Whilst I loved 2005’s Takk…, I found that 2008’s Með suð í eyrum við spilum endalaust left much to be desired. Valtari leans more toward Sigur Rós’ earlier style, a more ambient and reflective record although I’d hesitate before calling it ‘samey’. Incredible tracks like ‘Varúð’ and ‘Varðeldur’, some of the finest I’ve ever heard from the Iceland post-rock legends kept me from pushing this record out of the top ten. For this record the band also came up with they’ve called the ‘Valtari Mystery Film Experiment‘ in which they employed twelve filmmakers to make music videos for the album based upon what the song brought to their minds and without the final approval from Sigur Rós. See ‘Varúð’ below, created by Inga Birgisdóttir, who designed the album cover and also directed the video for ‘Ekki Múkk':
9. Gentle Stream The Amazing — This was the first record of 2012 that really caught me by surprise. Released in Sweden in 2011, Gentle Stream proves to be just that, a gentle yet wide stream of quality, what I would describe as a subtle mixture between Simon & Garfunkel and Dinosaur Jr. Like their previous releases, The Amazing and Wait for Light to Come, there are still hints of psych rock (influenced by the presence of various members of Dungen) and classic rock and the finished product it is most satisfying.
8. All We Love We Leave Behind Converge — Before I listened to this record, I didn’t want to include Converge in this list because it’s starting to look like whenever a few of my favourite artists make a new album they inevitably end up on my ‘Best Albums’ list. For those who know how I rate music, it’s unlikely that the top four will come as any surprise this year. But give me some credit; I can betray bands I love when they make subpar records – like Animal Collective’s Centipede Hz or my ‘dishonourable mentions’ below. Or last year when I resisted We Were Promised Jetpacks’ In the Pit of the Stomach, Atlas Sound’s Parallax, David Bazan’s Strange Negotiations, DeVotchKa’s 100 Lovers, Danielson’s Best of Gloucester County, etc. See, so when I include one of my favourite bands in my top ten I really mean it!
All that being said, I didn’t want to include Converge this year, so when I heard the first track, ‘Aimless Arrow’, I was relieved and heartbroken simultaneously. I would consider the track their weakest opener to date (especially compared to their last record’s first track, ‘Darkhorse‘), and with its hints of ‘screamo’ and melodic hardcore (don’t worry, there’s no ‘singing’ on this track), I was fearful of listening to the rest of the record. But the eight tracks to follow are all heavy, quality tunes! The rest of the record features some spoken word, which works on top of the slow, thoughtful guitar work by Kurt Ballou. But my heart was nearly torn in two upon listening to the tenth track, ‘Coral Blue’. It’s not all that frightening until the chorus, which isn’t quite ‘screamo annoying’, but more confusing for those who listen to Converge. Thankfully, that’s the extent of this ‘singing’ charade on All We Love We Leave Behind. It closes out with the sufficiently epic title track and sufficiently heavy ‘Predatory Glow’. No, on the whole this was no serious transition for Converge, but I wouldn’t have it any other way. They tried that on You Fail Me and they failed me indeed.
7. Sweet Heart Sweet Light Spiritualized — I know, great cover, right? OK, it’s probably one of the worst album covers this year, but don’t let that put you off! This here is an excellent record. Jason Pierce, also known as J. Spaceman, the creative force behind all of Spiritualized’s incarnations over the last 22 years, wrote the album whilst undergoing serious medical treatment for his liver, which was left in a sore state as a result of many years of drug use, both prescribed and recreational. But unlike 2008’s Songs in A&E, which was also inspired by a serious medical emergency (aspiration pneumonia and periorbital cellulitis), Sweet Heart Sweet Light is a much more hopeful, inspiring record, somewhat in the vein of 1997’s Ladies and Gentlemen We are Floating in Space.
6. ‘Allelujah! Don’t Bend! Ascend! Godspeed You! Black Emperor — This is the Canadian post-rockers’ first record since 2002’s Yanqui U.X.O., and whilst I found Yanqui rather uninspiring after 2000’s masterpiece Lift Your Skinny Fists Like Antennas to Heaven, ‘Allelujah! is a return to form and then some. Godspeed has a rare skill (shared with Sufjan Stevens) for making 20+ minute songs engaging throughout. The tracks are engrossing and become, as the album title suggests, transcendent objets d’art, ushering the listener into heavy aural ascension.
5. America Dan Deacon — I appreciated Dan Deacon’s music before (his 2009 release, Bromst was among my honourable mentions that year), but this record caught me by surprise. The opener, ‘Guilford Avenue Bridge’, is a buzzy digital number, which flows into the two subsequent tracks until Deacon decided to change the pace with ‘Prettyboy’, which seems to ruin the rhythm of the album, that is until we’re brought back into the jam with ‘Crash Jam’. The highlight of the album is the four-part ‘USA’ opus below:
4. Lonerism Tame Impala — Tame Impala’s last record, Innerspeaker, which came to me as such a surprise thanks to Greg’s preaching of the gospel, ranked 6th on my Best Albums of 2010 list, so in my desire to not be let down, I was suspecting that the follow-up wouldn’t be as good. As with their previous material, Lonerism draws much from the past (‘Feels Like We Only Go Backwards‘ could’ve been part of Magical Mystery Tour, right between ‘Blue Jay Way‘ and ‘Your Mother Should Know‘, or it could’ve totally replaced the latter and I wouldn’t have minded), but always with a sense of artistic integrity and completeness. Thank you, Tame Impala, for defying the awfulness of your band name yet again and coming up with another excellent piece of psychadelic groove rock! Oh and isn’t it groovy!
3. Bloom Beach House — After their excellent third album, Teen Dream (which ranked 8th in my Top 10 Albums of 2010), I expected Beach House to lose steam. Every subsequent record was getting better and no band can keep that up. Well, this loss of steam will have to wait until their next record, because I’d say that Bloom might very well be their best record to date. Whilst their sound remains distinctively ‘Beach House’ (those keyboard and guitar-driven dream pop soundscapes and that husky female voice), the songwriting in Bloom has taken a step forward. And even though this record demands more time and attention than their previous releases, the payoff is tenfold. And how amazing is this Ghostbusters-inspired video for ‘Lazuli’?
2. Dept. of Disappearance Jason Lytle — This was an exciting year for us Grandaddy fans: the band reunited after six years apart! And very fortunately for us, the excitement didn’t end there. Grandaddy principal songwriter, lead singer and guitarist, Jason Lytle, has kept busy since the break up in 2006. In fact, Grandaddy’s final record, 2005’s Just Like the Fambly Cat, was written and recorded entirely by Lytle. After the break up, a move inspired by lack of commercial success, Lytle relocated from California to Montana and toured with Rusty Miller in support of Just Like the Fambly Cat. In 2009, Lytle released his first solo record, Yours Truly the Commuter and followed that with an EP, Merry X-mas. Lytle and former drummer of Grandaddy, Aaron Burtch, joined with members of Earlimart to form the band Admiral Radley, who released their debut record, I Heart California, in 2010. Each of these incarnations were superb (I Heart California was an honourable mention in my Best Albums of 2010 list), but none seemed to capture the magic that Lytle’s earlier work possessed in great measure. Until now. It’s safe to say that Dept. of Disappearance is a grower, but there was enough of pure goodness present from the first listen to keep me going. Each track is excellent, and some are among the best Lytle’s ever written, such as the title track, ‘Matterhorn’, ‘Last Problem of the Alps’, ‘Somewhere There’s a Someone’ (below), ‘Gimme Click Gimme Grid’ and ‘Elko in the Rain’.
1. Shields Grizzly Bear — I won’t make excuses or defend my pick despite the fact that Grizzly Bear’s previous record was my number one album of 2009. Shields is just that good. Still present are the Grizzly Bear trademarks we know and love, but this record is the band’s most aggressive and coherent to date. At times it is far darker than their previous material (‘Speak in Rounds’), yet it still takes the listener into the clouds (‘Half Gate’). In the midst of this more aggressive direction, Grizzly Bear also ventures into the realm of more accessible pop music, music that isn’t as dissonant as their previous releases yet retains its creative bearings. On top of all of their unique qualities as proficient musicians and songwriters, Grizzly Bear demonstrate a continuing process of maturation, one that solidifies them as—in this listener’s opinion—one of the best bands of their generation.
Elijah’s honourable mentions
- Silver & Gold Sufjan Stevens — A massive five-disc, 58-song, 2.7-hour Christmas feast!
- Shrines Purity Ring
- Fear Fun Father John Misty
- Information Retrieved Pinback
- Cancer 4 Cure El-P
- Love This Giant David Byrne & St Vincent
- Tramp Sharon Van Etten
- The Seer Swans
- Tempest Bob Dylan
- Coexist The xx
Elijah’s dishonourable mentions
- Mirage Rock Band of Horses
- Silver Age Bob Mould
Greg’s Top 10 Albums of 2012
Another conflicted year of listening for me: some of my favorite bands put out albums I thought were shite (Animal Collective, Sigur Rós) and other bands that I expected more from turned out mediocre fare (Passion Pit, The Avett Brothers). Then there were the albums that had real moments of brilliance on them…but which couldn’t sustain that level of greatness throughout the entire record. The following albums didn’t break into my top ten, but you should definitely check out the songs indicated:
- Bloom Beach House — ‘Myth’, ‘The Hours’, ‘Irene’
- Charmer Aimee Mann — ‘Labrador’, ‘Soon Enough’, ‘Slip and Roll’
- Confess Twin Shadow — ‘Golden Light’, ‘Five Seconds’, ‘Be Mine Tonight’
- Lonerism Tame Impala — ‘Feels Like We Only Go Backwards’, ‘Elephant’, ‘Sun’s Coming Up’
- Shields Grizzly Bear — ‘Yet Again’, ‘Gun-Shy’, ‘Half Gate’
- Time Capsules II Oberhofer — ‘HEART’, ‘I Could Go’, ‘oOoO'; also did a great cover of Kanye West’s ‘Runaway‘
10. Young Man Follow Future of Forestry — I don’t mind if I lose all indie credibility for putting a Christian, anthem rock band on my top ten. This album falls somewhere in between Delirious?/Phil Wickham and post-Pop U2/Snow Patrol (right now, Elijah is raising his eyebrows/giving me a look of consternation/experiencing a slight taste of bile in the mouth). I know that there’s a strong hint of songwriting formulae, mixed with sentimental emotionalism, strategic falsetto insertion, and derivative production sleight-of-hand, but I can’t help it…I eat it up. This is my sonic Kryptonite. It moves me and I can’t help loving it. So there you go.
9. Milk Famous White Rabbits — This was a late addition to the list. I had loved the track “Everyone Can’t Be Confused” earlier in the year, but never got around to purchasing the whole album. Two weeks ago, I finally got it and have enjoyed the carefully orchestrated arrangement and production of each song immensely. As I began reading reviews, many of which were not kind, there was some talk about the band selling out and transforming into Spoon-lite (one of that band’s members produced the album). I actually can’t stand Spoon, but I love these guys!
8. The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do Fiona Apple — I’ll be honest, I’m not such a fan of the craziness that exists inside this woman’s head, but her startlingly stark songwriting, passionate confessionalism, and uncompromising originality make this album a work of undeniable greatness.
7. Port of Morrow The Shins — There may be some measure of sentiment and nostalgia in this pick. The 2001 album Oh, Inverted World was a life-changer for me (a moment captured and corrupted in Zach Braff’s film Garden State) and I can hear echoes of those glorious times in songs like “It’s Only Life,” “No Way Down,” and “For a Fool.” For those purists who find this a shameless exploitation of The Shins brand (being that only one member of the original band plays on this album), a stance which I myself initially considered, I respectfully disagree. The magic is still here…
6. Adventures in Your Own Backyard Patrick Watson — Watson is one of those artists whose voice alone puts him into a category of talent and beauty that should earn accolades–but he is also a brilliant songwriter and musician whose idiosyncratic vision comes into its own on this release. If you’ve never listened to his work before, his catalog is well worth exploring, including his work with The Cinematic Orchestra.
5. Heaven The Walkmen — This band has been loitering in the periphery of my musical tastes for a while–a great song here or there, but no album that absolutely blew me away. Until now…you MUST listen to this record.
4. Tramp Sharon Van Etten — Such fine, delicate songwriting; beautiful, haunting, and frequently spare instrumentation to accompany her striking, melancholy voice; and brilliant production & instrumental assistance from The National’s Aaron Dessner (who better be working on a new album himself!). I love so many of these songs with an affection that is reserved for a select few artists. Listen to the song belong and try not to simultaneously smile AND ache:
3. Break It Yourself Andrew Bird — I wrote about this album earlier in the year, wondering if it would grow on me more and more. Boy, did it ever. As I said before, Andrew Bird cannot make a bad album, but here, he’s certainly made a great one. I think it really comes alive after the first 1/3 of the album is over, so don’t give up on it if you don’t immediately sense the genius.
2. Silver and Gold Sufjan Stevens — I’m considering this a 2013 release, even though it is a collection of EP’s that Sufjan had privately given out to friends and family over the last five or six years. Of course I love it—I’m a Sufjanite through and through. But beyond my dedication to the man, this really is a beautiful collection of 58 songs that I think transcend the holiday season itself and act as a meditation on the human condition as a whole, refracted through the hopes and disappointments that we connect to a particular time of year and experience of faith, family, community, and tradition. There are haunting covers of Christmas & holiday classics (“I’ll Be Home for Christmas,” “Joy to the World,” “Let It Snow!” and “Silent Night”), worshipful church hymns simply arranged and devoutly performed (“Ah Holy Jesus,” “Lift Up Your Heads Ye Mighty Gates,” and “Break Forth O Beauteous Heavenly Light”), and Sufjan originals or adaptations that stand up to any of his other records (“Justice Delivers Its Death,” “Christmas in the Room,” “The Midnight Clear,” “Angels We Have Heard on High,” and “The Child with the Star on His Head”) along with a myriad of lovely instrumental meditations (my favorites include “Make Haste to See the Baby,” “Go Nightly Cares,” and “Even the Earth Will Perish and the Universe Give Way”), crazy experimental electronica (not my favorite genre but occasionally delightful), and simple fun communal musical merry-making. It’s also fun to view the collection in tandem with the albums he was working on during these years (The BQE and The Age of Adz). You can actually download some of the best tracks for free on Sufjan’s Noisetrade page—and that is a truly wonderful gift from the greatest artist of our age.
1. Fear Fun Father John Misty — One day this year, I was listening to an unbelievably compelling live set of songs on KCRW by a band whose name I somehow kept missing. I finally went onto the station website and discovered that it was Father John Misty. This is the first release under this band name by J. Tillman, former drummer from Fleet Foxes. I had some of his previous solo releases post-FF, which were pretty average folkish meanderings. But this! On this album, Tillman discovers some kind of alchemy that turns his melancholy into the rarest kind of beauty and wonder. His songs sound like they were written 40 or 30 or 20 years ago—any age but now, yet they simultaneously capture the hidden spirit of some mystical contemporary world surrounding us that we may not perceive. Even the songs I don’t absolutely “like” have a tangible genius to them. I didn’t want to like this album—the creepy cover, the hipster pedigree, the critical darlingness of it. But, for me, in 2012, this was it.
Greg’s honourable mentions (albums)
- Among the Leaves Sun Kil Moon — Such lovely instrumentation and melodies; such bothersome narcissistic lyrics
- Born to Die Lana Del Rey — I think one is not supposed to like this album due to its contrivances, over-production, other myriad reasons—nevertheless, I found it strangely compelling in a fashion from start to finish
- Lonesome Dreams Lord Huron — Quality folk/Americana
- Strange Land Yellow Ostrich — This ended up on exactly no one’s top ten—yet really quite a solid indie rock record!
- Who’s Feeling Young Now Punch Brothers — Not enough substance to crack the top 10, but some real winning songwriting here, with a eminently listenable sound throughout
Greg’s honourable mentions (EPs)
Sometime in late 2004 or early 2005, a girl whom I barely knew (Annabelle Feeney anyone?) made a mix for me that included a song called “Who Could Win a Rabbit” from a band called Animal Collective. There have been few times in my life when I’ve been as startled, baffled, intrigued, and delighted by a song as I was upon listening to this collage of idiosyncratically rhythmic acoustic guitars, punctuated by driving tribal percussion and entwined with whimsical vocals and found audio samples. I knew straightaway that I had discovered one of the greatest and most indelible indie bands of the 21st century.
Of the 8 Animal Collective albums that I have, at least 3 of them would rank on my top 100 albums of all time. Though the band has moved into a more electronic mode on their last few albums, their experimental songcraft, eclectic instrumentation, earnest, impressionistic lyrics, and the alternately child-like and ecstatic vocals have rarely faltered to produce incredible albums. That is, until now.
On September 4, 2012, Animal Collective’s latest album, Centipede Hz, was released. Earlier in the year, the band had issued a double A-side single “Honeycomb/Gotham” that did not bode well for the album with its weak vocal lines and repetitive lyrics. So as it came closer to the album’s release, my expectations were lowered from the height of anticipation built upon their last album from three years ago, the melodically rich and propulsive Merriweather Post Pavilion.
As I listened to Centipede Hz, the first few songs gave me some hope—there were new sounds (thick, metal guitar chording; layers of bleeps and bloops) combined with some familiar ingredients (Avey Tare’s distinctive vocal tics; hypnotic synth lines reminiscent of Philip Glass scores), but as the album wore on, it became clear that this was going to be a miss. After I listened to the album 10 or so times, I then ranked the songs: the first 4 songs were three stars each, then 1 star for the fifth, and two stars for the rest. My favorites would probably be “Today’s Supernatural” and “Applesauce,” followed by the opener, “Moonjock.”
It breaks my heart to say this, but there were times that I thought I was listening to a more indie version of the rap/alternative rock band 311 (“Amber is the color of your energy”…[shudder]), especially on the song “Rosie Oh.” It truly is quite sad for me to give this album a negative review, considering how much I’ve loved the work of Animal Collective, but I honestly have to say that it’s not worth adding to your record collection.
After making my assessment of Centipede Hz, I looked up some online reviews and found that the album is actually faring rather well with a variety of critics—I think Pitchfork even gave it an 8 out of 10! However, I can only credit this to an “emperor’s new clothes” phenomenon: when a band as talented and with as much indie cred as Animal Collective puts something out, it’s hard to believe that it could be this bad, so you praise it so that you don’t find yourself the only naysayer among the sycophants. I think that Panda Bear, one of the founders of Animal Collective, also had this phenomenon occur with his last two solo works—they were highly praised, but seemed pretty minor works to my ears (his album Young Prayer, however, is one of the most earnest and poignant albums I’ve heard).
In any case, here is my nearly comprehensive ranking of Animal Collectives albums:
- Merriweather Post Pavilion (2009): Just because this was their most popular album doesn’t mean that it isn’t their best. It has its share of flaws (“Guys Eyes”) but the first four songs are beautiful bliss and the rest are consistently strong. “In the Flowers” has practically become my life motto; even after being tragically overplayed, “My Girls” remains the apotheosis of AC songs. Cloud Rank = MUST OWN WHOLE ALBUM
- Strawberry Jam (2007): This album has actually grown on me quite a lot over the years (at first listen, I put it beneath Sung Tongs). Seeing them perform songs from this release at a show was one of the most transcendent experiences I’ve ever had (if you ever have the chance to see them live, you really must go), so that may have added to its lustre. The first five songs are genius (a trend that’s become obvious to me is their tendency to frontload their albums with the strongest material), but overall, it is aging terrifically. Cloud Rank: MUST OWN WHOLE ALBUM
- Sung Tongs (2004): This album represents the heights of joyful creativity and experimentation, not only for this band but in the history of humankind. Again, first five songs are absolute delight, but the sonic flops here are worse, making for a lesser album altogether. “We Tigers” and “Leaf House” never fail to make me smile with crazy delight. Cloud Rank: MUST OWN WHOLE ALBUM
- Feels (2005): My favorite AC song (and among my favorites ever) “Banshee Beat” is found here; other classics include “Did You See the Words” and “Grass” but there’s some real unpalatable music on here as well. Cloud Rank: MUST OWN CERTAIN SONGS
- Centipede Hz (2012): See above. Cloud Rank: SHOULD LISTEN TO, PERHAPS DOWNLOAD CERTAIN SONGS
- Campfire Songs (2003): A lo-fi recording from a front porch, this captures some beautiful moments of creativity, youthful exuberance, and natural talent. Cloud Rank: MUST OWN FOR FANS ONLY
- Hollinndagain (2002): Pretty experimental and frequently minimalist with some crazy loud crescendos (one of which startled awake my friend Jess on a plane ride to Honduras!). “Forest Gospel” may give you a heart attack. Cloud Rank: SHOULD LISTEN TO, FOR FANS ONLY
- Here Comes the Indian (2003): I don’t like this album. Cloud Rank: SHOULD AVOID UNLESS A COMPLETIST
Albums I’ve Never Heard/Questionable Whether They are Truly Animal Collective Albums or Just Attempts to Cash In on Later Popularity:
- Spirit They’re Gone, Spirit They’ve Vanished (2000)
- Danse Manatee (2001)
- Fall Be Kind (2009): Two strong songs, “Graze” and “What Would I Want? Sky” with some ok b-side worthy material
- Water Curses (2008): Mostly screwing around, but occasionally of interest
- Prospect Hummer (w/ Vashti Bunyan) (2005): I like “I Remember Learning How To Drive,” but otherwise, her voice was grating on my cochlea
- People (2006): The title song had me for a bit, then lost me. The rest is painful.
- Honeycomb/Gotham (2012): Avoid.
Thank you Annabelle Feeney, wherever you are. Thank you Josh, Jess, and Erin for the shared experience of a live show (remember Wizard Prison? Josh: Oh, what a prison it was.). Thank you Elijah, because I always must thank you.
Last night I had the pleasure of viewing Tony Kaye’s third and most recent ‘talkie’, Detachment. The film was shot beautifully and acted brilliantly, and for those qualities alone it is worth seeing. But the content is yet more intriguing. Detachment follows a few weeks in the life of a substitute teacher Henry Barthes (Adrien Brody) as he takes up a temporary post at a New York state school in decline. But the film could take place in any school. In the New York Times review of the film from 15 March 2012, the film is ‘about the failing public-education system [in the United States].’ I would agree with this claim in part – yes, prominent in the film is this portrayal of the dysfunctional education system. But it’s so much more than that. I’d argue that the entirety of the film represents a microcosm of society at large.
This isn’t me dropping a shameful reference to my doctoral research, but I think a strong case could be made that Detachment is actually a parable. By this I mean that the film is using the raw material of every day life to tell a bigger, more disturbing yet more hopeful story. Just as Christ told parables the audience in the Gospels, the film is tied together by a loose narration from our Henry Barthes, with close-ups of his unkept face in a dark room (perhaps during a counselling session). We’ve got representatives from various levels of society and various levels of engagement with and detachment from their current situations. At the very heart of this parable is not ‘education’, for education is merely an outflowing of the deeper social illness. The parable takes society back to the most basic social framework, a framework we all encounter by virtue of being born – family.
To quote the oft-quoted Larkin poem, ‘This Be The Verse’, They fuck you up, your mum and dad. Most of the great conflicts in the film are rooted in family and parenting, just to name a few:
SPOILERS TO FOLLOW, SKIP TO THE NEXT SECTION TO AVOID THEM
a girl is expelled from the school after she threatened and spat upon Ms Madison (Christian Hendricks) and her similarly-tempered mother storms into the school hurling yet more abuse at the harmless Ms Madison.
Mr Wiatt (Tim Blake Nelson) takes up an odd stance at a school fence every afternoon hoping to be noticed by anyone as a result of being ignored constantly by his family members when he returns home from work every day.
Meredith (Betty Kaye, daughter of the director) is discouraged in her artistic endeavours and told that she ought to lose weight and conform to social norms by her father and ultimately decides to kill herself as a result of her extreme sense of rejection and isolation.
Erica’s (Sami Gayle) lifestyle as a teenage prostitute and her great distress when she is removed from Henry’s care by social workers.
During ‘parents’ night’ at the high school, virtually no parents show up, demonstrating a lack of both the parents’ concern for their children’s education and appreciation of the teachers.
And ultimately, Henry’s sense of detachment from being abandoned by his father as a toddler, losing his mother to a lethal combination of drugs and alcohol when he was a small child and caring for his dementia-stricken grandfather, whose abuse of Henry’s mother led to her substance abuse.
END OF SPOILERS
Like a parable, the characters are universal (as opposed to cliché) in order to open the eyes and ears of the audience to the deeper level of meaning. In addition to his ‘counselling session’ narrative, at different points in the film Henry also tells the audience (by way of telling his students) the root of these social ills, calling on his students to avoid the ‘ubiquitous assimilation’ of oppressive values being shoved down their throats by a constant barrage of bull shit that has not only broken into media and culture, but has also infiltrated the very fabric of their family lives.
During the opening sequence we are given a quotation from Camus’ The Stranger, concluding with ‘And never have I felt so deeply at one and the same time so detached from myself and so present in the world.’ Throughout the film Henry is challenged to break down his wall of ‘compassionate detachment’. The blurb from the official website states, ‘Kaye has molded a contemporary vision of people who become increasingly distant from others while still feeling the need to connect.’ Does that wall ever break down? Well I’m not going to include any more spoilers – you should see it for yourself.
The aforementioned New York Times review concludes with, ‘Is it really this bad? Or is “Detachment” a flashy educational horror movie masquerading as nightmarish reality?’ No, it’s not really this bad – it’s worse. As I mentioned before, I believe that the film is using the façade of the educational system (severely broken as a result of the deeper problem) to tell a bigger, more disturbing yet more hopeful story. In a recent Guardian interview, Kaye states, ‘We live, we go through these realms, we learn, we figure out where we went wrong. That’s what living is.’ Detachment won’t be tearing down the power structures built up in our society to control, but perhaps it can help inspire us to fight harder with all that we have in hopes that we might chip away at the foundations of such oppression.
As is obvious from several posts (mainly from Greg), we here at LITC are huge fans of the musical emanation of the trashy Texan Josh T. Pearson. Only two years ago Greg happened upon Pearson’s 2001 album (as a member of the band Lift to Experience), The Texas-Jerusalem Crossroads. Soon thereafter the Band Evangelist passed the Gospel of JTP to his disciple Elijah and Crossroads became a mainstay for us two Pearson late-bloomers. But we’ve determined to never fall behind again!
March marked the release of Pearson’s first record since Crossroads, The Last of the Country Gentlemen (which Greg was evangelising leading up to its release).
On 25 March 2011, Pearson’s ‘Last of the Country Gentlemen Tour’ made its way through Glasgow. Fortunately for us here at LITC, we were in Glasgow at the time. In fact, we had booked our tickets well in advance and Greg had travelled thousands of miles from America to meet Elijah at his home in Scotland for a week of adventure leading up to the gig.
Stereo, Glasgow, 25 March 2011
At the show Pearson was selling an eleven-track live CD (seven of which are actual songs, while the rest are exclusively stage banter, all on a classy Imation-brand CD-R with a carefully photocopied portrait of Pearson, shown below), To Hull and Back.
The show’s opener, a British solo act whose name will remain unmentioned here, was dreadful: faux Americana, interminable roots/’blues’ compositions with lyrics that tried to conjure up images of railroad tracks and the devil at crossroads and all manner of rough & tumble, down-on-their-luck outlaw clichés. Let us just say that it was ultimately a Bizarro World version of Josh T. Pearson…
The sick taste of that experience was immediately washed away when Pearson shambled onto the small stage in Stereo’s basement, looking like a heartbroken Jesus on methadone and whiskey, nodding and uttering a low ‘How y’all doin’?’ When a local yelled out, ‘Welcome back, Josh!’ Pearson replied, ‘I hope your years were better than mine…’ During his sound check, he told the audience that they’d need to ‘be super quiet or they’re going to go upstairs [to the restaurant]’ which he reinforced during the show by stopping a song in the middle when some idiots started to talk and only resuming when there was absolute silence. Though this may seem like pedantry, Pearson’s songs often fell to a bare whisper and light strum, so an absolutely quiet environment was the only way we would actually be able to hear the songs as they were meant to be experienced.
Pearson began his set with what he said was a cover of a song by Boney M (we’d never heard of them, but apparently they were a reggae/disco group from the late 70s put together by Frank Farian, who would later go on to create Milli Vanilli), but Pearson made the song beautifully his own. At the last second, Greg took out his iPhone and recorded the song, ‘Rivers of Babylon’ onto the voice memos app—here is a link to the recording, which turned out surprisingly polished:
‘Rivers of Babylon‘ (Boney M cover) – Josh T. Pearson
In this song, Pearson sang, ‘Let the words of my mouth and the meditations of my heart be acceptable in your eyes tonight’ as he gazed up soulfully. It was as if he was dedicating the set to God, offering the pain and brokenness and loss that his songs contained not ultimately to us, the concertgoers, but to a divine audience. Many of his songs speak about God or Jesus: in ‘Country Dumb,’ he says that his kind of people are ‘failures each and every one, we’re the kind who will always need a savior’ and and in ‘Sweetheart, I Ain’t Your Christ,’ he sings to his woman: ‘you don’t need a lover or a friend, you need a God and not a mortal man. Woman, you need born again, again–you need a savior and I just am not him.’ Yet many of his songs also speak of his own inability to control outbursts of anger or drinking (‘Woman, When I’ve Raised Hell’) or rein in his adulterous desire (‘Honeymoon Is Great, I Wish You Were Her’). Pearson is the quintessential sinner looking for redemption while laying drunk in the gutter–if only more Christians could see their own moral failure and need for salvation as clearly as he does…
During his performance, despite several awkward false starts in reaction to the audience’s noise level (space which was occupied with Pearson telling some pretty wretched jokes), Pearson proved incredibly moving. Indeed, his lengthy and intensely personal tunes demanded the full attention of the audience. We here at LITC have come to the consensus that Pearson’s performance was in fact the best solo performance we had ever seen (at one point, I [Greg] even found myself choking up and with watery eyes in a mixture of joy and sadness at the beauty and despair of his set). You really ought to pick up his record from your local record store and catch him live if he ever comes your way.
Music has been very close to my heart since I took up violin and heard Weezer’s first record both at age 8. And my list–making obsession dates back just as far. In this post (which may become a series if Greg wouldn’t mind sharing his 2001 ‘Time Capsule’), I’d like to reflect upon some of the music I loved according to a list from 2001, embarrassing admissions and all.
The Beta Band’s Hot Shots II, Bonnie ‘Prince’ Billy’s Ease Down the Road, Andrew Bird’s The Swimming Hour, Björk’s Vespertine, Bob Dylan’s “Love and Theft”, Fugazi’s The Argument, Lift to Experience’s The Texas-Jerusalem Crossroads, Mogwai’s Rock Music, Pinback’s Blue Screen Life, Spiritualized’s Let It Come Down and Spoon’s Girls Can Tell are just some of the many great records released in 2001 that I was completely unaware of at the time. I will say that I frankly disliked The Strokes, Modest Mouse and the Yeah Yeah Yeahs at the time and I still wouldn’t consider myself a fan. Sorry.
Alien Ant Farm ANThology — Since I’m listing these in alphabetical order, I suppose it’s good that I can get the most pathetic pick out of the way immediately. Fourteen was a fortunate age for me: I had outgrown Blink-182’s Enema of the State and Incubus’ Make Yourself, and had not yet given myself entirely over to ‘screamo’ (let alone ‘Christian screamo’). But I was unable to escape a love for Alien Ant Farm. This record made sense to me at age fourteen for the following reasons:
- I loved the album’s packaging – great designs and Photoshopped images of the band members in various historical settings, like a historical ANThology!
- The single ‘Movies‘ captivated my adolescent mind with its catchy chorus and entertaining music video: so many amazing film references (Ghostbusters, Willy Wonka and the Chocolate Factory, The Karate Kid and Edward Scissorhands) and a cameo with Mr Myagi!
- Singer Dryden Mitchell (whose name I always romantically associated with NASA’s Dryden Flight Research Center) had an INVERTED MOHAWK. HOW COULD I RESIST AN INVERTED MOHAWK???
- I was in love with guitarist Terry Corso’s custom Schecter 006 guitar.
Despite all of these excellent reasons, I do not listen to them now.
Converge Jane Doe — 2001 had its lows, but it also had its highs! Converge’s Jane Doe represents one of the highest of the highs. This record revolutionised music for me and remains one of my absolute favourite albums.
Perhaps I found Jane Doe so palatable as a result of conditioning via hardcore and metal bands I was already listening to such as Black Flag, Minor Threat, Black Sabbath, Iron Maiden and Slayer listener. Along with being my gateway to Converge (who is among my Top 20 Bands), Jane Doe spurned my interest in many other great metal/metalcore acts such as Botch, Coalesce, Curl Up & Die, Unearth, Cave In and Daughters. Do I listen to them now? Yes.
The Hives Veni Vidi Vicious — ‘Hate to Say I Told You So’ was the first Hives song I ever heard. It’s simplicity and raw energy enlivened my spirit. Upon further inspection I discovered Veni Vidi Vicious, as well as The Hives’ previous record, Barely Legal.
The Hives were able to channel something primal about rock-and-roll while giving us something accessible and new, and they did it with exquisite pomp and style, complete with matching wardrobes and an excellent stage presence. Their 2004 record Tyrannosaurus Hives demonstrated a great progression, and while 2007’s The Black and While Album proved less strong, it is still a highly enjoyable record. Do I listen to them now? Yes.
Jimmy Eat World Bleed American — ‘Bleed American’ was the first track I heard from this record, and after purchasing the record I found every track to be incredibly enjoyable (especially ‘Sweetness’ and it’s quiet/loud alternation).
After this record (and after seeing the band open for Weezer that year) I developed a great appreciation for their previous records: Jimmy Eat World (1994), Static Prevails (1996) and Clarity (1999). But alas, by the time of their 2004 release, Futures, I had lost interest. Do I listen to them now? No.
Ozma Rock and Roll Part Three — On the coattails of Weezer I happened upon Ozma, a band named after L. Frank Baum’s Princess Ozma from his children’s fantasy novels. Ozma captialised on Weezer’s pioneering geek-rock style and added some Casio, musical complexity and yet-more-wicked guitar licks (compare Rock and Roll with Weezer’s self-titled record from the same year [also known as The Green Album] and you’ll hear a striking difference).
They have since retained a special place in my heart due to their persistence as a pop-rock goldmine with the release of The Double Donkey Disc (2001/2002), Spending Time on the Borderline (2003) and (after a brief hiatus) Pasadena (2007). Do I listen to them now? Yes.
Radiohead Kid A/Amnesiac — For everyone who reached adolescence in the late 90s, ‘Karma Police’ from 1997’s OK Computer was the pinnacle of song, yet Kid A somehow managed to blow that all out of the water. I remember when I first heard ‘Optimistic’ on the radio, which compelled me to buy the record.
I had no idea what I was in store for, considering ‘Optimistic’ would prove to be one of the weaker (though still incredible) tracks on the record. Radiohead’s production had become more complex and experimental and Kid A would come to completely change the way I appreciate, experience and create music from thereon out. This record is still a frequent listen and certainly one of my all-time favourites.
Saves the Day Stay What You Are — As with most other albums on this list, my purchase of Stay What You Are was inspired by the single ‘At Your Funeral’.
Saves the Day’s previous record, Through Being Cool, appealed to my emo and pop-punk tendencies, so it seemed like a good idea to investigate their new record. Upon my first listen I wasn’t very pleased with half of the record, but over time it grew on me and became one of my high school favourites. Their follow-up to Stay What You Are, In Reverie, proved to be more poppy less ambitious and I began to fall out of love with the band before their return to a more pop-punk sound. Do I listen to them now? Occasionally.
Thrice Identity Crisis — Unlike many other albums on this list (the only exceptions being the Converge and Ozma records), I did not learn about Identity Crisis from the radio. In 2001 Thrice was still very much a local act, and fortunately for me, some of my friends had recently seen Thrice in concert. I was told that they were ‘melodic hardcore’, and when I purchased this record I fell deeply in love with their music.
My love for Thrice was only intensified with the 2002 release of Illusion of Safety, which I considered a massive step forward for the band. Unfortunately it was only a matter of time before Thrice would gain radio play, and in 2003 they released The Artist in the Ambulance and my heart was broken upon hearing the single ‘All That’s Left’ on a popular radio station. Thrice had lost their edge and sounded like a dull rock band (though I want to take care not to lower them to the ranks of acts like Nickelback). After Illusion of Safety I never bought another Thrice record and have had a difficult time ‘getting into’ their latest records. While Identity Crisis was groundbreaking to me at the time (and along with Illusion of Safety has a few tracks that I still consider quite good), I no longer consider myself a fan and I do not recall the last time I was hankerin’ for a listen.
Thursday Full Collapse — Ah Full Collapse…thus began my high school interest in ‘screamo’. What could be better than combining the genres of hardcore and emo? Well, many things, and while I was an avid listener to ‘cultured’ bands like Radiohead, screamo occupied another place in my heart and mind. Thursday was at the top of the screamo food chain, and there was certainly something special to me about hearing the screams from ‘Cross Out the Eyes’ playing on MTV in the morning before school.
My fascination with Thursday and screamo didn’t end at Full Collapse. It wasn’t until some point between 2003’s War All the Time (which I loved) and 2006’s A City by the Light Divided (which I had no interest in) that the genre had totally dropped out of my listening queue. Do I listen to them now? No.
The White Stripes White Blood Cells — I recall hearing the track ‘Hello Operator’ from the White Stripes album De Stijl at some point in 2000, but it wasn’t until I heard ‘Fell in Love with a Girl’ that I felt this great compulsion to buy a White Stripes record.
White Blood Cells proved to be an excellent investment, with all of its garage-rock-revival sloppiness (and what Meg White lacked in percussive skill she made up for in keeping time). Every record they produced (as they have officially announced their breakup this year) contained a bit of this genius, the sort of quality that can give us hope in the future of popular music. Do I listen to them now? Yes.
I stand by 60% of these albums now – I wonder whether that is a good or bad sign.
What were your favourite bands/albums in 2001? How have they fared a decade later?
I have made a commitment/resolution not to buy any non-required books in 2011, being that the number of volumes I bought in the last quarter of 2010 ought to provide me with enough reading material for this entire year (you may find my current reading list here) and I was finding that my ongoing Amazon book purchases were becoming a sort of addictive behavior (experiencing a little dopamine hit at the click of “Add to Cart”.)
However, I am going to break my vow for one book that is coming out in June of this year, entitled God Behaving Badly by David Lamb. I took a course with David this past summer at Fuller Seminary on the book of Genesis that somewhat revolutionized my view of “the God of the Old Testament” and even my approach to Scripture as a whole. David has a contagious passion to help people understand Scripture (from his days on staff with InterVarsity), but also open-mindedly engages critical issues and theological tensions in the Bible (from his time at a little school across the pond called Oxford University).
In the course I had with David, we were able to read some of the early chapters from this work and the content is outstanding. You may check out the many endorsements at the IVP page on the book, including ones from Scot McKnight (who is making this required reading for undergrads), John Goldingay, and Alan Hirsch. I’ve included a brochure for the book below that has a pre-order code for 40% off which can be used from now until April 30, 2011. If anyone wants to do a reading group on the book, I’m game! Here’s to breaking my vow!!