The World Unchained

DjangoUnchained

WARNING: Contains spoilers

This article was originally published in the February 2013 newsletter for Govan & Linthouse Parish Church, Glasgow.

Last week I had the opportunity to go to a screening of the latest Quentin Tarantino film, Django Unchained.  If you’ve never seen a Tarantino film, they are known for their excessive violence, brutality and coarse language.  Django Unchained is no different.  I’m not suggesting you see the film, that is, unless you’re willing to endure 165 minutes of brutality (but it’s brutality with a point).  If you are planning on seeing the film, I warn you that this article will contain some spoilers.

The film is made out to be a western epic.  It takes place in the pre-Civil War United States.  The main protagonists are Dr King Schultz (played by Academy Award winner Christoph Waltz), a German immigrant and former dentist who works as a bounty hunter, collecting rewards for the bodies of federal outlaws, and Django (played by another Academy Award winner, Jamie Foxx), a black slave who has been separated from his wife, another slave called Broomhilda (played by Kerry Washington).  Schultz first ‘unchains’ Django as he is being transported by slave drivers through Texas.  Previously, Django had been a slave on a plantation where three murderous outlaws, the Brittle Brothers, had worked as farmhands.  Schultz wishes for Django to assist him in identifying the Brittle Brothers so that he may collect the reward for their bodies.  Schultz, who throughout the film demonstrates his utter distaste for the institution of slavery, offers Django his freedom, $75 and a horse in exchange for his assistance (and feels awful for not simply giving Django his freedom straight away).  After the slaying of the Brittle Brothers, Schultz asks Django, who demonstrates great skill in the ‘art’ of bounty hunting, if he would join him as his business partner for the winter and Django accepts his proposition.  Django reveals that once he is finished with their winter’s work, he is going to try to find his wife and rescue her from slavery.  Schultz, who has developed a very close friendship with Django, insists that he helps Django, as they discover that Broomhilda is a slave on a large plantation outside of Greenville, Mississippi, a particularly dangerous part of the States for a black man, free or not.

After the winter they come up with and carry out a complicated plan to reunite Django and his beloved Broomhilda.  But after their plan is uncovered, Schultz and Django are given an ultimatum: either they pay the exorbitant amount of $12,000 to purchase Broomhilda or she will be killed by her owner, the ruthless and bigoted plantation owner, Calvin Candie (played by Leonardo DiCaprio).  After they comply, Candie proposes that the transaction is not official until Schultz shakes his hand.  Schultz, who has been having flashbacks of an event during which Candie ordered a runaway slave to be torn apart by dogs, refuses to shake hands.  This is the point in the film which I believe carries the most moral weight.  As we, the audience, have been battered with the injustice and brutality of racism and the institution of slavery throughout the film, we feel something of that same moral weight.  Ultimately, Schultz’ refusal ends up costing him his life.

The film continues from there, but it’s at this point that I want to ask a question: what does Django Unchained have to teach Christians?  Our two main protagonists exhibit many Christ-like qualities throughout the film, but the one which I think is most profound, as a result of the build-up of the film, is Schultz refusal.  On principle, Schultz sees shaking Candie’s hand as some sort of approval of Candie, his vicious treatment of slaves and the whole of institutionalised racism that still, even in the age of a black President, finds expression in some parts of American culture.  Although some Americans, particularly the Quakers in the North, were opposed to slavery during the first half of the 19th century, the institution was still regarded as rather normal for most Americans.  Still, Schultz refuses to betray his strong sense of justice, even a sense of justice perhaps rather clouded by his recent career as a bounty hunter.  He demonstrates this passion in his last great speech immediately preceding his refusal to shake Candie’s hand.  After completing the paperwork for Broomhilda, Candie offers Schultz some rhubarb pie, but Schultz declines.

Candie   ‘Are you brooding ‘bout me getting the best of ya?’

Schultz   ‘Actually, I was thinking of that poor devil you fed to the dogs today, D’Artagnan.  And I was wondering what Dumas would make of all this.’

Candie   ‘Dumas…?’

Schultz   ‘Alexander Dumas.  He wrote The Three Musketeers.  I figured you must be an admirer.  You named your slave after that novel’s lead character.  If Alexander Dumas had been there today, I wonder what he would of made of it?’

Candie   ‘You doubt he’d approve?’

Schultz   ‘Yes, his approval would be a dubious proposition at best.’

Candie   ‘Soft hearted Frenchy?’

Schultz   ‘Alexander Dumas is black.’

The weight of the tone of the speech can only be captured if you see the film, but written out here, we can see that Schultz is able to undermine Candie’s ignorant racism with his poignant and authoritative presentation.  Candie, a self-professed Francophile who, although he does not know the language, insists on being called Monsieur Candie, is left stunned and confused.

Schultz’ words here remind me of the Parables of Christ.  Taking something trivial such as the raw materials of everyday life and turning it on its head in order to shift the worldview of his listeners toward that of the truths and values of the kingdom of God.  Unfortunately, Candie did not have ‘ears to hear’ the truth that Schultz uttered.  Do we?

Of course, our context is quite different.  The context of slavery-era Southern United States is a far cry from present day Govan and Linthouse.  I’ll even say that we live in a fortunate part of Scotland with a long heritage of fighting for social justice.  But have we grown complacent?  Perhaps we don’t have slaves in our context, but throughout our congregation and parish there are new battles to be fought.  Among others, the people who suffer in poverty, the people who struggle with addiction, the people who have immigrated from other countries, the people who seek asylum – they all suffer under various institutions of injustice here.  Maybe we’re responsible for some of that with our behaviour.  In Django Unchained, white people are appalled at the scandal of a black man on a horse.  I’ve heard people express their shock about the scandal of a recent immigrant with a bankcard or a mobile phone.

No matter how much we try—and we do try—justice is not the way of Scotland, the United Kingdom or any other nation.  Nations are made up of all kinds of people with very different ideals, some of which propagate institutionalised oppression.  In reality, the Church looks very much the same, and while I am grateful to God that the Church of Scotland and that Govan and Linthouse Parish Church are very much composed of a diverse body of people, I think we can unite in discipleship under the leadership of one man, our Lord and Saviour Jesus Christ.

The words found within our Gospel readings for the month of February have a great deal to teach us about the way that being a Christian turns the institutions of this world on its head:

He came down with them and stood on a level place, with a great crowd of his disciples and a great multitude of people from all Judea, Jerusalem, and the coast of Tyre and Sidon.  They had come to hear him and to be healed of their diseases; and those who were troubled with unclean spirits were cured.  And all in the crowd were trying to touch him, for power came out from him and healed all of them.

Then he looked up at his disciples and said:

‘Blessed are you who are poor,

for yours is the kingdom of God.

‘Blessed are you who are hungry now,

for you will be filled.

‘Blessed are you who weep now,

for you will laugh…

‘But I say to you that listen, Love your enemies, do good to those who hate you, bless those who curse you, pray for those who abuse you.  If anyone strikes you on the cheek, offer the other also; and from anyone who takes away your coat do not withhold even your shirt.  Give to everyone who begs from you; and if anyone takes away your goods, do not ask for them again.  Do to others as you would have them do to you.

Luke 6:17-21, 27-31

As Christians, it is our daily challenge, not just in the month of February, but for the rest of our lives, to seek the values of the kingdom of God.  And we are not called to do this simply because we are good people or we think we will get a box of treasure in the future.  We are called to love because God loves this world.  God desires that we ‘unchain’ the world from oppression — what an unworthy honour for us!

May we be inspired by the love and grace of God and empowered by the Holy Spirit to do the works of the kingdom and fight with great conviction, as Dr King Schultz fought, the injustices in our community and beyond its boundaries.  It’s no simple task, but maybe we could keep each other accountable.  Next time you see me, I’d appreciate it if you reminded me to be more like Jesus and Dr King Schultz.

Many blessings,

Elijah

Best Albums of 2012

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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.

Love,

Elijah & Greg

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Elijah’s Top 10 Albums of 2012

Valtari

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’:

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Gentle Stream

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.

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All We Love

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.

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Sweet Heart

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.

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Don't Bend,  Ascend!

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.

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America

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:

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Lonerism

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!

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Bloom

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’?

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Dept of Disapearance

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’.

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Shields

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 2009Shields 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.

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Elijah’s honourable mentions

Elijah’s dishonourable mentions

  • Mirage Rock  Band of Horses
  • Silver Age  Bob Mould

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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

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Young Man Follow

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.

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White Rabbits

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!

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Fiona Apple

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.

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Port of Morrow

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…

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Adventures in Your Own Backyard

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.

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Heaven

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.

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Tramp

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:

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Break it Yourself

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.

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Silver & Gold

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.

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Fear Fun

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.

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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)

In this post a pacifist proposes a rivalry

This afternoon the Detroit Tigers will take on the New York Yankees at Comerica Park in Downtown Detroit.  I know that some of you are thinking, ‘Oh no, another baseball post…’  But hear me out.  A Tigers win in today’s game [UPDATE: The Tigers won!], which was originally scheduled for last night but was postponed due to adverse weather conditions, would seal a few things:

  1. The Tigers have stopped the Yankees in each of Detroit’s last three postseason appearances (2006, 2011 and 2012).
  2. The Yankees have been swept (losing a series with no wins) in a seven-game postseason series for the first time since their 1976 loss to the Cincinnati Reds in the World Series.
  3. The Motor City Kitties have won their eleventh American League pennant. (*For those of you who are not baseball fans, Major League Baseball is divided into two historic leagues: the American League [AL] and the National League [NL].  When a club wins the championship in either league they receive what is called ‘the pennant’.)
  4. The Tigs will compete in their eleventh World Series, hoping to earn their fifth World Series victory (1935, 1945, 1968, 1984 and 2012?).

Five out of eleven?  Even if the Tigers make it to the World Series and even if they win they will still only have a 5/11 (.455) record when it comes to World Series appearances.  The individual games (out of ten World Series) breaks down to 26 wins and 29 loses, or .473:

  • 1907L 0-4 (Chicago Cubs)
  • 1908L 1-4 (Chicago Cubs)
  • 1909L 3-4 (Pittsburgh Pirates)
  • 1934L 3-4 (St Louis Cardinals)
  • 1935W 4-2 (Chicago Cubs)
  • 1940L 3-4 (Cincinnati Reds)
  • 1945W 4-3 (Chicago Cubs)
  • 1968W 4-3 (St Louis Cardinals)
  • 1984W 4-1 (San Diego Padres)
  • 2006L 1-4 (St Louis Cardinals)

So the Tigers aren’t the strongest club as far as World Series victories are concerned.  After a quick glance at their World Series opponents two stand out: the Chicago Cubs and the St Louis Cardinals.  As can be seen above, the Tigers have faced the Cubs in four World Series, splitting their crowns 2-2 (although the Cubs have won more games in the four: 13 Cubs wins vs 9 Tigers wins).  Unfortunately for Chicago, in their ten World Series appearances they have only won two: their 1907 and 1908 victories against the Tigers.  In fact, the Cubs haven’t even been to a World Series since 1945.  Poor lads.

So if we’re looking for an exciting, historical, cross-league rivalry for the Tigers (since AL clubs very seldom face NL clubs outwith the World Series), which is what I’ve decided that we’re doing now, then the Cards are a better candidate than the Cubbies.  [Oddly enough, I referenced this rivalry in this tribute to Steve Jobs last October.]  The Cardinals have only played the Tigers in three World Series, but we’re talking about a range from 1934 until 2006 – 72 years!  And the Tigers are the underdogs, having only beaten the Cards once in three World Series.  The Cards are the reigning World Series champions and rank number two (behind the Yankees) in most World Series appearances (18) and victories (11).  AND there is a decent chance that 2012 will give us another Tigers-Cards World Series.

Of course, in baseball there’s no telling who will be going to the World Series until both leagues have awarded their pennants [UPDATE: The 2012 AL pennant belongs to the Tigers!].  The Tigers had a mediocre season, finishing with a .543 record, the lowest of any team in the postseason, even the wild card clubs!  They’ve turned things around in the postseason, especially during this series against New York.  But the Yankees have their southpaw ace CC Sabathia on the mound tonight.  That being said, it should be a good match-up between CC and the Tigers’ ‘other ace’ (the ‘ace’ title being given to the venerable Justin Verlander), Max Scherzer.  Scherzer has had a great season and a great postseason, so I have high hopes.  [UPDATE: Scherzer and the Tigers defeated Sabathia and the Yankees 8-1.]

Whilst trying to avoid sounding like the Kitties have this one in the bag (OMG, TIGERS GONNAE GO TAE THE WORLD SERIES THIS YEAR!!! [UPDATE: Seriously.]), it will be a great challenge for the Yanks to pull out of this 0-3 deficit given the poor state of their would-be power hitters like Teixiera, Cano, Swisher, A-Rod and Granderson (the latter three will sit out today’s game) and without their injured captain Derek Jeter.  (*On a side note, these four players have receive a combined $93.075 million salary this year, which accounts for nearly half of the entire Yankees payroll and is a higher figure than the entire payroll of 16 of the 30 Major League Baseball clubs.)

The Cardinals’ fight to clinch the NL pennant looks a wee bit more difficult.  The Cards finished their season with the same mediocre Tigers record, .543.  Unfortunately for the Cards, the NL Central Division also featured the Cincinnati Reds, who boasted the second-highest record in all of baseball this season.  But the Cards won the wild card playoff game against the Atlanta Braves and went on to defeat the winningest team in baseball, the Washington Nationals (.605), in the best-of-five National League Division Series.

They’ve done well in their uphill battle, but the National League Championship Series between the Cards and the San Francisco Giants is looking even more competitive.  The Cards are up two games to one, but who knows what will happen…

As far as any true rivalries go, it’s fair to say that the Cards have a much stronger World Series history than the Tigers.  The Yankees seem like the natural cross-league rivals for the Cardinals (or any club, for that matter).  As mentioned before, the Cards are second both in World Series appearances and victories to the Yankees.  In addition to this, the Cards have played the Yanks in five of their 18 World Series appearances (1926, 1928, 1942, 1943 and 1964).  Like the Tigers, the Boston Red Sox have faced the Cards in three World Series (1946, 1967 and 2004).  But both the Yank and Sox rivalries with the Cards lack the longevity of the rivalry I’m proposing.

If both the Tigers and the Cardinals make it to the World Series we’ll be looking at their fourth meeting and an opportunity for the Tigers to level the score (2-2) in what would then be a World Series rivalry spanning 78 years.  That would be a match-up for the ages.  A less gentle man might propose that the Tigers rip the throats out of the Cardinals and make their children weep for generations.  But that wouldn’t be very nice of me to write.  So let’s go Tigers and let’s go Cardinals!  (But mostly, let’s go Tigers!)  [UPDATE: The San Francisco Giants beat the St Louis Cardinals in seven games to clinch the National League title and reach the World Series.  This will be the first ever Tigers-Giants World Series meeting.]

Image

[Updated on 24 October 2012.]

The Cloud Rank: ANIMAL COLLECTIVE

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.

More like Centipede Zzzzz

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:

  1. 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
  2. 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
  3. 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
  4. 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
  5. Centipede Hz (2012):  See above.  Cloud Rank:  SHOULD LISTEN TO, PERHAPS DOWNLOAD CERTAIN SONGS
  6. 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
  7. 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
  8. 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)

EP/Single’s Rank:

  1. Fall Be Kind (2009): Two strong songs, “Graze” and “What Would I Want? Sky” with some ok b-side worthy material
  2. Water Curses (2008):  Mostly screwing around, but occasionally of interest
  3. Prospect Hummer (w/ Vashti Bunyan) (2005):  I like “I Remember Learning How To Drive,” but otherwise, her voice was grating on my cochlea
  4. People (2006):  The title song had me for a bit, then lost me.  The rest is painful.
  5. 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.

Some thoughts on Detachment (Tony Kaye, 2011)

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.

Band Evangelist, ch. 4

I have neglected my musical prophetic calling as of late, but LO, I have returned to separate the melodic wheat from the chaff and to baptize you in the tuneful rivers of new music (the evangelist metaphor is wearing thin, I know). I have put together a mix of some of the latest songs to catch my ear–cleverly entitled “2012: My Own Apocalypse”–but since sharing music online is a dangerous pastime, I will simply offer to send you a link to the songs  (if you know me, shoot me an email; if you don’t know me, post in the comments section and I should be able to see your email…AND make sure you are not an undercover agent of the RIAA!).  Most of the following artists I’ve highlighted have a track on this mix…

To begin with, two years ago, in my first “Band Evangelist” post, I lamented the break-up of a band that I believed had great potential to be among the indie greats:  The XYZ Affair.  Well, the singer of that band has just released a free 5-song EP under the moniker Leonard Friend.  It’s a bit more quasi-ironic 80’s electronic poppy than I might wish, but this singer/songwriter’s talent cannot be hidden under a bush & heck, it’s FREE!

Another singer/songwriter–Ramesh Srivastava–from a similarly lamented & potentially epic indie band that broke up several years ago–Voxtrot–has just released a few new songs as well, which can be heard for now at his website (the song “The King” was on my best of 2010 mix).  I think Ramesh may someday rise again like the phoenix to the heights he reached with Voxtrot (whose must-have songs include “The Start of Something,” “Fast Asleep,” “Firecracker;” their self-titled album from 2007 is worth a purchase, though not essential), but for now, these few songs are all we have to remind us of what could’ve been.

Some of the kings & queens of indie-dom from years past also have new albums out/coming out that must be reckoned with:

  • Andrew Bird/Break It Yourself (out now):  I did buy it & I do like it thus far.  I’m sure it will grow on me even more (straightaway, I was taken with the penultimate 3 tracks quite a bit).  The man is so multi-talented (composing melancholic melodies, playing guitar/violin/violin like a guitar/whistling, etc.), he cannot make a “bad album,” but to be honest, I think he could stand to have a producer other than himself (it lacks a sonic fullness and critical perspective that a talented outsider could have brought), he should focus his lyrical impressionism just a bit, and, this sounds harsh, but he needs to drop his brushes/soft kick drum percussionist Martin Dosh, who, while an incredibly talented musician himself, I think, brings out a soft-rock mildness and self-indulgence in the Bird that keeps him from attaining his full greatness on record (when they play live together, as a two-piece, they are able to create an entire symphony of sounds through looping).
  • The Shins/Port of Morrow (out now):  After a few listens, I am uncertain what I will ultimately think of these 10 tracks.  Having loved the early Shins, it is hard to see this new line-up, sans any other original member than singer/songwriter James Mercer, as anything more than just Mercer resurrecting a “brand” that’s proven to sell records.  But his voice & lyrics are so great to hear again (though the instrumentation on this album may have been a bit OVER-produced) and the old sparkle does emerge in some of the attempts to recapture the old Shins magic (much more glimmer than I found in the Mercer/Dangermouse collaboration, Broken Bells).
  • Daniel Rossen/Silent Hour/Golden Mile (out now):  This lovely throated & absurdly brilliant songwriter from Grizzly Bear and Department of Eagles has released a five-song EP that I have found wonderfully enchanting, lovely to the bones, and all other kinds of goodness.  Yep, you should buy it!
  • Sigur Rós/Valtari (May 29):  Now I have to admit that I am getting my hopes up ionospherically high for this forthcoming album–to the point that I do not want to hear any tracks until I have the album in my hands.  I was personally disappointed with singer/composer Jonsi‘s recent solo release, so I’m hopelandic (or Vonlenska, if you prefer) for a aural reconciliation between my fey Nordic friend and me.
  • Regina Spektor/What We Saw from the Cheap Seats (May 29):  I’m not totally sure what to think of this quirkstress any more.  I did love so much of her last album, Far, but the initial single for this album, “All the Rowboats,” is cloyingly precious (oh, poor paintings that want to escape from their museum prisons) and I fear the worst.  Still, she does have heaps of talent, a golden ear for melodies (until she kills them with an intentionally dissonant note to the throat), and a certain sweet naivete, so I’m certain I will give it a listen.
  • Other releases of note to check out or watch for include:  White Rabbits/Milk Famous (out now)–I don’t know much about them, but I love the song “Everyone Can’t Be Confused,” Damien Jurado/Maraqopa (out now)–“Museum of Flight” is pretty as all get out, Rufus Wainwright/Out of the Game (April 23), Silversun Pickups/Neck of the Woods (May 8), Beach House/Bloom (May 15)–the song “Myth” from this album is soaringly lovely, Best Coast/The Only Place (May 15)–get a free song off the album here, The Walkmen/Heaven (June 5), and a new Passion Pit album in June.  Post in the comments about any albums I missed!

SO those are releases from the KNOWN bands…but let me list out a few NEW (to me & perhaps you?) acts that I’d like to commend to you all:

  1. Sharon Van Etten/Tramp:  This singer-songwriter caught my ear with “Serpents” before I’d heard that The National‘s Aaron Dessner had played on/produced her album (which is reason enough to take note). Her voice is a mix between Cat Power, Kathleen Edwards, and Sarah Jaffe (who also shares a similar composing style & sound). This woman has an incredible future ahead of her.  I’ve been playing this album non-stop of late.
  2. Yellow Ostrich/Strange Land:  This LP is the apotheosis of indie-songsmithery.  Haunting at points (“Up in the Mountains,” “Wear Suits”), darkly epic at others (“Marathon Runner”) and hopping off walls at yet many other points.
  3. Pandercakes/Paint By Numbers EP:  I don’t quite remember how I heard about this band, but you can download some songs here.  Read this music blog to find out more about their sound, which I like immensely–densely layered & yet fun and catchy at the same time.
  4. Oberhofer/Time Capsules II:  I have only listened to one song of of this album (“Heart”) but it has set expectations quite high.  This song is a mix of Animal Collective, Explosions in the Sky, Page France, and Muse (the piano parts)–to my ears at least.  This kid is the next generation of indie genius.
  5. Dry the River/Shallow Bed:  A friend with impeccable taste just turned me on to this band via a set on KCRW.  Check out this quote from their online bio:

“This five-piece band has all the hallmarks of the latest folk sensation: elemental name, beards, acoustic guitars, even a violinist. But what sets Dry the River apart is a background in hardcore and post-punk bands, hence the tattoos, lyrics that read like a Steinbeck novel and a sonic palette that sweeps from gentle to giant like an incoming storm.”

Well, that should keep your ears busy for a short while…until our next gathering at the edge of the river, let the “Glory Hallelujah’s” roll!

Two Years of Lost in the Cloud

Dear readers,

Today, Elijah and Greg celebrate two years of writing on our collaborative blog, Lost in the Cloud.  Though we had transferred over some older posts from the previous blog we had created with Greg’s younger brother, Criticism As Inspiration (which still features the header that Greg designed on Microsoft Word!), our first official post on Lost in the Cloud was published on 23 January, 2010.

The background and theme was different, but you get the idea…

Since that initial post, we’ve had over 200,000 unique visits to the blog (and to those 200 GRAND readers, may we offer our sincere thanks and warm regards to you).  As a way of looking back on these past two years, we thought we would highlight some of our posts that have had the most hits over the past two years, along with drawing attention to a few series that we have produced and other special posts.

ELIJAH’S TOP HITS:

  1. Helicopter Megaphone“: A post about the heartbreaking back story of the song “Helicopter” from Deerhunter’s album Halcyon Digest.
  2. Will tomorrow be the ‘end of the world‘”: A helpful explanation of the differences between various Christian views of “the last days” written at the time of the Harold Camping rapture predictions.
  3. Lost in the Sewer: Steve Duncan, Urban Explorer“:  A look at urban exploration in the underground of New York City.
  4. Top 20 Bands: 1“:  Elijah talks about his favorite musical artist in the climax of his series (see below) on his top 20 bands.

ELIJAH’S SERIES:

  • Imaging the Kingdom (Parts One, Two, Three, Four, and Five):  A series of posts dedicated to exploring the nature of the kingdom of God and its implications in the universe, and therefore in our world and in the lives of all Christians.
  • Top 20 Bands:  If you visit the link for Elijah’s number 1 post, you will have links to all 20 of the other bands.

****************

GREG’S TOP HITS:

  1. John Stump, composer of Faerie’s Aire and Death Waltz“:  This piece about Greg’s uncle has become the singular most viewed post on LITC.  While John’s comical music compositions have been viewed around the globe, the post on our site is the one place where people can find out  actual information about the composer.
  2. Moby Books: Illustrated Classics Editions“:  This post is also a unique resource on the web on a little documented topic, about a series of abridged and illustrated versions of classic books published in the 70’s and 80’s that were Greg’s “gateway drug” into literature.
  3. ‘Hipster’ ‘Christianity’: a ‘review’“:  Not Greg’s most charitable work, this post takes some below the belt potshots at the book Hipster Christianity.
  4. A Portrait of the Artist in The Age of Adz“:  An early review and speculative analysis of Sufjan Steven’s 2010 album, The Age of Adz.

GREG’S SERIES:

  • Band Evangelist (Chapters One, Two, and Three):  A periodic update on upcoming and new releases from various albums and bands.  (Elijah even posted a “Disciple of the Band Evangelist” piece in the same vein.)
  • The Mirror and the Telescope (Parts One, Two, Three, and Four):  An original essay on an evangelical view of Scripture that proposes that there are truly two subjects of special revelation: God and humanity.
  • Reformed and Always Reforming (Parts One, Two, and Three):  A summary and analysis of the initial chapters of Roger Olson’s book Reformed and Always Reforming.

GREG’S SPECIAL POSTS:

  • John Wenham: An Appreciation“:  This was a brief review of the autobiography of a British evangelical biblical scholar who also held to the annihilationist view of hell/divine judgment.  As a result of this post, Greg received an email from Wenham’s grandson thanking him for his positive evaluation of his grandfather’s legacy.  This post also provided Greg with a number of opportunities to engage with readers on the annihilationist view.
  • A modest proposal for Sufjan Stevens regarding the completion of his 50 states project“:  This was an open letter to the single greatest contemporary American artist (in Greg’s opinion) with an idea of how to continue with the creative endeavor of recording an album for each one of the 50 American states.
  • A review of Josh T. Pearson live in Glasgow“:  This post captured some highlights from an opportunity that Elijah and Greg had to see a one-of-a-kind singer/songwriter in concert whilst Greg was visiting Elijah in Scotland, including a live track from the show.

Working on this blog together has been full of delight, insight, and catharsis, and we are deeply grateful for those who subscribe, read, and comment on our posts at LITC.

This has been one of the ways that Elijah and Greg have stayed connected over the past few years that Elijah has been working on a PhD at the University of St Andrews and so the blog often captures some of the profound affection, encouragement, and willingness to learn from one another that characterizes our friendship.  We look forward to continuing our collaboration into the near future, with the potential of someday even creating a print edition of Lost in the Cloud.  Keep your eyes open for forthcoming information and thanks again for joining us these last two years!

Death Waltz Day

Six years ago today, my uncle, John Stump died.  Shortly thereafter, I discovered that he had been the author of a number of pieces of sheet music, including “FAERIE’S AIRE and DEATH WALTZ,” which had a kind of legendary status online and a cult following among fans of musical absurdity.  Almost two years ago, I wrote a post about John here on Lost in the Cloud in order to provide some actual information about him, being that he was somewhat of a mystery to the world (my younger brother created a Wikipedia page, which was up for a while, but the powers that be at that reputedly free and open encyclopedia closed down the entry for not having enough verifiable outside sources!).  In the less than 2 years since I wrote that post, it has had 164,631 views.  That number may not seem tremendously high for some websites, but Elijah and I are regularly astounded at the weekly average of 5,000 people who are interested in finding out more about John.

So, being that today is the anniversary of John’s death, I would like to celebrate my eccentric genius uncle by officially declaring January 20 to be Death Waltz Day and posting some random information and images from John’s life, beginning with his death certificate.

Some might think it in poor taste to post a copy of this document, but I disagree.  For one, there have been some people who’ve claimed that John is an invented person and that this all is a hoax, so a legal document demonstrating the fact of his existence by acknowledging the END of his existence seems appropriately absurd, given John’s sense of humor (this is a man who once sent me, in lieu of a Christmas letter, a sympathy card using a fake name–for both the recipient and sender).  Secondly, I’ve had a number of requests for information about John and his death from small magazines or blogs, so I thought I’d just put this out there as part of the public data about John.  Finally, I’m commemorating his DEATH on DEATH WALTZ DAY, so a DEATH certificate seems apropos.  There’s no need for us to be so tetchy about the end of life, my friends!  (Ironically, one of the only musical compositions of John’s known to have been performed was called “And Death Shall Have No Dominion” so John was clearly comfortable with the topic!)

I’m also including a scan of the program cover and inside content from John’s memorial service, which was held at The Vedanta Society of Southern California, where my other uncle lives and works.

Having the coda from “Hey Jude” as your funeral recessional is about the coolest thing imaginable.  I wish I had been there to experience this first hand–I honestly cannot even remember the trivial matter that kept me from attending his service.

Reflecting the other end of John’s life, I wanted to post the actual hospital bill for his birth (total cost = $64.8o!) & a photo of a precious young John, probably around two or three years old.

(Where can you get a $2 circumcision these days?)

I thought I’d also share some rather funny promotional material that John used to sell his works, which he referred to as “musical novelties” and “gag sheet music,” along with John’s business card from his days as a music engraver.

My father has been digging up some other treasures of John’s, including a short story that he wrote in 1978 called “Harold Blott and the Christmas Pumpkin” which I will post at some point, and I’m asking my dad to look for this absolutely droll booklet that John made for him for his birthday that was an illustrated story in the manner of Edward Gorey.  I will try to post these in time for John’s birthday in March…

Finally, I thought I would use the occasion of Death Waltz Day to clear up some confusion about a video on YouTube that claims to be the “Death Waltz.”  What seems to have happened is that someone took the music of another composer and simply put the title of John’s work on it, as if it were a representation of what the Death Waltz would sound like put to music.  One of the comments from my original post on John, by a reader called Will K., revealed what the actual song in the video was:

The correct name of this song is “U.N. Owen was Her”, remix by Cool&Create, piano version. The original author is Japanese composer Junya Ota, who goes by the alias of ZUN. He is known for his Touhou series computer games, from where the music comes from, which are extremely popular in Japan. More specifically, this bgm is from the game Touhou6: Embodiment of the Scarlet Devil. He is a very exceptional case because he is famous for single-handedly designing and programming his games AND composing all of the soundtracks, including this one.

Hope that helps clear that all up!  However, in honor of Death Waltz Day, I would like to issue a challenge to any music programmers out there to actually input John’s composition “Faerie’s Aire and Death Waltz” into some musical software program and send us the results of what it would sound like.  It will probably sound like absolute cacophony and chaos, given that the composition was designed more for it’s visual and humorous flair and not for musical coherence, but we’ll never know unless we hear it for ourselves!

Thanks to all those who have shown an interest in John’s works over the years and hopefully this post will provide some additional enjoyment for his fans around the world!  I end this commemoration of Uncle John with some lyrics of George Harrison, which were printed on the back of John’s memorial service program:

All things must pass/none of life’s strings can last/
so I must be on my way/and face another day…

Best Albums of 2011

2012 is nearly upon us, which means it’s time for our Best Albums of 2011 list here at Lost in the Cloud!  We’ve been conscientiously consuming music to both nourish our culturally gluttonous souls and to deliver a collection of what we consider to be the finest music released this year.  Last month we proudly presented our Best Songs of 2011 list and now we have painstakingly selected our top ten albums each.  In 2010, we (Greg & Elijah) shared five albums in common on our Best Albums list.  This year we have discovered that we only share one album in common, which may be an indication of our decomposing friendship (we’re only joking, of course!), but this means that while last year we shared 15 ‘best’ albums between the two of us, this year we are presenting you with a 19-album smörgåsbord!

Elijah’s Top 10 Albums of ’11

10.  Bon Iver Bon Iver — Concerning Bon Iver’s 2008 release of For Emma, Forever Ago, a friend once commented, ‘Take the reverb away and there’s nothing there.’  I couldn’t help but agree at the time.  This is my confession: I wasn’t a huge Bon Iver fan, in fact, I wasn’t a Bon Iver fan before this record.  [I can already feel the rage boiling up inside many LITC readers…]  But Bon Iver captured me in its move beyond the self-wallowing, isolated cabin chat of For Emma.  This new record is a beautiful collection of multilayered sound and place names (some real, some fictitious), standing on its own without some self-indulgent backstory (though this is not attack on Justin Vernon, who is a lovely, lovely man).  I think it could’ve done without ‘Beth/Rest’…  SONGS TO CHECK OUT: ‘Towers’, ‘Wash.’ and ‘Calgary’.

9.   Demolished Thoughts Thurston Moore — When I first heard that Beck was producing a Thurston Moore solo album I was ecstatic, but I immediately began to feed myself a significant amount of scepticism leading up to its release.  Could the actualisation of such a record truly be as great as it sounds?  Probably not.  With this dose of low expectation I found myself pleasantly taken aback by Demolished Thoughts, and my appreciation only grew with additional listens.  This album plays on Moore’s Sonic Youth strengths and—like Lou Barlow—makes me feel like it’s the mid-90s in all the best ways while not sounding like ‘that guy from Sonic Youth’s side project’.  And perhaps the early stages of Moore’s separation from his wife of 27 years, SY singer/bassist/guitarist Kim Gordon, contributed to the depth of his sometimes heartbreaking songwriting.  SONGS TO CHECK OUT: ‘Benediction’, ‘Circulation’ and ‘Mina Loy’.

8.   Dancer Equired Times New Viking — I love lo-fi and the grittiness of Born Again Revisited, number eight on my Best Albums of 2009 list, was a significant part of its ranking alone.  While this record isn’t ‘clean’ by contemporary production standards, it is far less mucky than TNV’s previous releases.  But the lo-fi onslaught isn’t the only reason why I love TNV.  Their beautifully lazy harmonies and their catchy, shoegazy simplicity are what really attract me.  I’d even say that Dancer Equired is their catchiest record to date, though I don’t suspect these songs will be employed in any television adverts any time soon.  SONGS TO CHECK OUT: ‘No Room to Live’, ‘Downtown Eastern Bloc’ and ‘Fuck Her Tears’.

7.   Helplessness Blues Fleet Foxes — Fleet Foxes once again demonstrate their command of the Americana genre.  While I was not entirely blown away by their debut record, I was able to recognise their talent and potential.  I was eager to pick up Helplessness Blues and it did not disappoint.  Principal songwriter Robin Pecknold taps into the soul of a man twice his age and delivers timeless lyrics with a well-groomed musical backbone.  SONGS TO CHECK OUT: ‘Battery Kinzie’, ‘Helplessness Blues’ and ‘Grown Ocean’.

6.   Strange Mercy St Vincent — Annie Clark takes a step in the right direction with Strange Mercy.  Building upon her previous efforts, Clark explores both the cheery and dark on Strange Mercy (I find ‘Cruel’ and its accompanying video especially haunting).  As a whole, and perhaps because of this ‘darker’ element, the album is more engaging than her previous material.  While more sonically stripped-down than Actor (an honourable mention from 2009’s list), Strange Mercy somehow feels fuller and more mature.  SONGS TO CHECK OUT: ‘Chloe in the Afternoon’, ‘Surgeon’ and ‘Dilettante’ (not picked merely because of the ‘Elijah’ mentioned…).

5.   Father, Son, Holy Ghost Girls — About Father, Son, Holy Ghost, I will first say that I found this record a bit of a disappointment, but disappointment is a relative word.  Unlike most other sophomore records in which I prepared myself for disappointment with low expectations, I actually suspected that this new Girls record would be my number one pick before even listening to it.  Upon further listens I only grew more fond of their previous record, Album, ranked number six on my Best Albums of 2009 list, and last year’s EP, Broken Dreams Club, was equally impressive.  But generally speaking, Father, Son, Holy Ghost is an excellent record.  While I wouldn’t consider it a significant improvement on Album I also wouldn’t consider it any sort of regression.  Unlike the front-heavy Album, Father, Son, Holy Ghost builds up into its eight-minute ‘Forgiveness’ before bringing us back down for the final two tracks.  Like Album, this record does a fine job of holding in tension both the child and adult that is singer/guitar Christopher Owens, and it is certainly worth its place on this Best of 2011 list.  SONGS TO CHECK OUT: ‘Honey Bunny’, ‘My Ma’ and ‘Forgiveness’.

4.   The Year of Hibernation Youth Lagoon — For me, The Year of Hibernation was 2011’s most striking discovery.  Having heard the album without having previously known anything about its creator I was shocked to find that Youth Lagoon is just one person, Idaho-based Trevor Powers, and that Mr Powers is only 22 years old (which causes me to ask the question, ‘Elijah, what are you doing with your life‽’).  The Year of Hibernation, recorded for next to nothing by a 22-year-old in his bedroom in Idaho, offers far more than the sum of its parts.  SONGS TO CHECK OUT: ‘Posters’, ’17’ and ‘Montana’.

3.   Let England Shake PJ Harvey — PJ Harvey has released some excellent records – Dry, Rid of Me, Is This Desire?, etc.  But Let England Shake—which earned Harvey her second Mercury Award—may very well be her strongest.  While neither as dark nor necessarily as ‘personal’ as some of her previous efforts, this album is brimming with creativity.  Harvey did her homework for this record, which explores some contemporary conflicts in British history, ranging from the Gallipoli campaign to the more recent wars in Afghanistan and Iraq.  Without coming across as a ‘topical’ or ‘protest’ album, Harvey paints a critical and sober picture of Western military domination and its consequences both domestically and abroad.  The music’s excellent too (Harvey picks up an autoharp for this record!).  SONGS TO CHECK OUT: ‘Let England Shake’, ‘The Last Living Rose’ and ‘Hanging in the Wire’.

2.   Dye It Blonde Smith Westerns — What can I say, I’m a fan of good pop music.  This record is just one of several that caught me entirely by surprise this year.  While I had heard and enjoyed Smith Westerns’ first release, The Smith Westerns, it did not strike me in a way that would compel me to consider it one of my favourite records of 2009.  But this record demonstrates significant pop songwriting maturation, songwriting the vein of—dare I say—The Beatles (specifically King George).  SONGS TO CHECK OUT: ‘Weekend’, ‘All Die Young’ and ‘Smile’.

1.   Belong The Pains of Being Pure at Heart — After their debut record (which was an honourable mention on my Best Albums of 2009 list) I had no idea where PoBPaH (some acronym is necessary with such an obnoxiously long name) might go.  They had successfully composed an album in the style of 1980s Brit-pop with their first record.  I expected any subsequent releases to merely replicate that formula with varied success.  But this record is a witness to PoBPaH’s evolution into a true force to be reckoned with.  If we’re grouping the sound by decade, Belong showcases more of a 90s alt-rock feel than its predecessor.  While it’s unlikely to be found in the top spot on many other ‘Best Albums of 2011’ lists, I’ve only grown more fond of this record over the course of 2011 and can safely say that as a whole it is my favourite.  SONGS TO CHECK OUT: ‘Belong’, ‘Anne with an E’ and ‘My Terrible Friend’.

Elijah’s Honourable mentions

Because there were so many great albums this year (though I must confess, none quite as great as last year’s Age of Adz), I’ve taken the liberty of sharing an additional 15 albums that I believe are worth owning:

Elijah’s Biggest Disappointments of ’11

  • Parallax Atlas Sound — I am a huge fan of Bradford Cox and his band, Deerhunter, and solo project, Atlas Sound.  Cox’s first Atlas Sound release, Logos, placed ninth on my Best Albums of 2009 list and Deerhunter’s excellent Halcyon Digest placed third on my Best Albums of 2010 list.  While Parallax has received a fair amount of praise from critics I find that it only has a few songs that rise to the high standard set by Cox’s other efforts: ‘Mona Lisa’, ‘Angel is Broken’ and ‘Lightworks’.
  • Noel Gallagher’s High Flying Birds Noel Gallagher’s High Flying Birds — I bought this record on a whim with the hope that Noel would offer something better than Liam’s Beady Eye project.  Unfortunately my foray into bestselling music was a tremendous let down.  Noel was the musical brains behind Oasis, but he’s capable of so much more than this record.

+++++

Greg’s Top 10 Albums of ’11

This has been a strange year in music for me.  A while back, I wrote a post about a number of albums coming out this year by bands whom I loved—four of which have ended up on this list.  Yet, due to a phenomenon that I am calling “the tragedy of unanticipated mediocrity,” a number of the other albums were crushing disappointments: boring, lifeless, and one-dimensional.  Even the ones that made the list (or almost made it—Low‘s C’mon) were a mixed bag, in which the album was only saved because the highs were so high that they overshadowed the lows.  This type of confounded expectations from bands that I dearly adore, like Bright Eyes, Radiohead, Cass McCombs (who had TWO swings for the fence, yet almost completely struck out), Panda Bear and, to a lesser extent (in terms of my adoration), DeVotchKa, We Were Promised Jetpacks, and Norman Blake’s new band, Jonny, elicited a certain measure of disorientation and disillusionment–if I couldn’t trust Radiohead to make even a passably good album (which I felt The King of Limbs wasn’t–not even a strong EP’s worth of songs) and the Bright Eyes “comeback” LP (which some critics called their definitive work) turned out to be a messy collection of B-side material strung together with clips of some bizarre, deluded pseudo-preacher, then what sense was there in the world at all? This was my year of losing faith in the old (indie) gods…

Another surprising feature of my picks for this year was the number that reflected some subgenre of electronic music, a style for which I have never had any great affection but which I have been developing a taste for due to albums from Passion Pit, the last few Animal Collective releases, and especially Twin Shadow, whose album was on last year’s Best Albums post.  I guess an old dog can learn to appreciate some new high-pitched whistles!

10.   12 Desperate Straight Lines Telekinesis — This album could end up much higher upon my favorites of the year, but to be completely honest, I just downloaded the full album today (this bumped off Low’s C’mon for the last spot on the list here…sad, but what can be done with a half-great album).  This is super duper INDIE-POP/ROCK, but it’s so well crafted, exhilarating, and above all KOOL AS ALL GET OUT!  This is this year’s Fang Island for my money.  A jolt of propulsive rhythms (the singer is the drummer!), thick driving bass lines, and Jeff Tweedy-esque vocals.  SONGS TO CHECK OUT: “You Turn Clear in the Sun,” “Dirty Thing,” “Car Crash,” and “Country Lane.”

9.   Burst Apart The Antlers — The Antlers and Bon Iver have a few things in common, to my mind.  First, the falsetto.  Second, the emergence of both bands in the last few years with epic debut albums (though there were apparently a few prior albums for The Antlers, Hospice was what put them on the aural map) that reflected a profound life-change quite beautifully.  Third, second albums that are much richer tonally, more diverse and layered, and resemble a flower opening up.  That being said, in the contest between the two albums this year, The Antlers’ Burst Apart win hands down (though Bon Iver is a strong honourable mention).  SONGS TO CHECK OUT: “I Don’t Want Love,” “Parentheses,” and “No Widows.”

8.   Rapprocher Class Actress — Some of the appeal of this album has to be found in the way that the synthesizer settings, drum tracks, and melodic pop songwriting takes me on a nostalgia trip back to another time: the mid-1980’s.  Seriously, we’re talking ABC, Pet Shop Boys, early Madonna, and some synthpop artists that are buried so deep in my subconscious that I am afraid to call them up, lest I find myself swept back into that age of longing, confusion, and heartache.  This album is half irresistible loveliness and the other half, resistible attempts at the former.  Still, if you skip some of the tracks in the middle, you will have a nearly quintessential example of the sythnaissance that is happening in music today.  SONGS TO CHECK OUT: “Keep You” (which is PERFECT!), “Love Me Like You Used To,” “Weekend,” and “Missed.”

7.   Build a Rocket Boys! Elbow — I wanted to love this album so much.  Yet it took a while to grow on me and still hasn’t completely won me over.  Still, Guy Garvey is the king of melancholic nostalgia & lyrical subversion and the band are in top form musically in the more mellow of their modes.  SONGS TO CHECK OUT: “Lippy Kids” (another eternally perfect song), “The Night Will Always Win,” and “Open Arms.”  (PS. Am I the only one who hears the intro theme from PRI’s program “The World” in the track “With Love” on this album?)

6.   Last of the Country Gentlemen Josh T. Pearson — Sorry about that girl’s lack of a shirt.  Josh T. Pearson is a strange and incredible man, about whom Elijah and I have written here so I need not say more.  SONGS TO CHECK OUT: It’s only 7 songs…pretty much all of them.

5.   Strange Negotiations David Bazan — Wrote about this album in detail here, including best tracks.  (And sorry for that girl’s lack of pants.)

4.   Helplessness Blues Fleet Foxes — Finally, no nudity on the cover.  I’m with Elijah on this, so you may see his write-up above.

3.   The Devil’s Walk Apparat — The fact that this album has not received any more attention this year makes me want to cry like a man at a Twilight screening.  It is simply amazing, so lovely, so hauntingly textured, the very best kind of electronic music and with a voice sweet as a mature Jeff Buckley.  I don’t really know anything about this band—which I think may actually be only one person, but you really owe it to yourself, and to the entire human race, to check the first few tracks out and see if you don’t buy it.

2.   Degeneration Street The Dears — Oh how I wanted this to be my number one album.  I am such a tremendous fan of songwriter/singer Murray Lightburn, but The Dears last album was deeply underwhelming and I feared that the bands best days were behind them (I’ve said it many times here, but their Gang of Losers is one of the best albums in existence).  And then, Degeneration Street appeared and I saw that they were back in every possible way (well, maybe some of the lyrics don’t quite meet the very highest standards).  I love this album—so very much.  I hope you would too.  Give it a chance.  They deserve to be topping lists all over the world, yet have been absent for all I can ascertain.  Tragic.

1.   Making Mirrors Gotye — I did NOT want for this to be my top album.  I actually resisted it quite vociferously.  “Gotye”—what kind of name is that?—and he looks like he would be a percussionist in Phish and he’s playing with all of these genres that I don’t even like—soul, electro-reggae, a kind of Peter Gabriel-esque “world pop” or something—and I think that this album is actually kind of…popular in some places in the world (imagine a pair of hipster glasses on Brando’s Col. Kurtz as he mutters, “The horror…the horror!”).  Yet, in the end, the singular talent of this guy (and his accomplices, particularly whomever is playing drums) broke through all of my resistance.  You may entirely disagree with me.  Heck, part of ME disagrees with me.  Yet, the other part won and convinced my fingers that the only place to put this album was at the very top.  You may listen to it here and decide for yourself.  (Also, I think the last song is about a cat dying, and it makes me tear up.)

Greg’s Honourable mentions

  • 100 Lovers DeVotchKa There are a number of quite good songs here.
  • Bon Iver Bon Iver
  • C’mon Low
  • Portamento The Drums — Another singer/drummer act with some great tracks.

Best Songs of 2011

In anticipation of our favourite annual post here at LITC—Best Albums of such-and-such year—we are proud to share fifty tracks that we think are the best released this year.  Trust us, there was so much good music released this year that we found picking our fifty favourite tracks to be a rather excruciating process. We’d also love to hear about any songs that you feel should not have been left off of this list in the comments section! So without further ado, here are our fifty favourite tracks from 2011 (in alphabetical order):

  1. All the Sand in All the Sea’   DeVotchKa   100 Lovers
  2. Angel Is Broken’   Atlas Sound   Parallax
  3. Animal’   Neon Trees   Habits   
  4. Ash/Black Veil’   Apparat   The Devil’s Walk  
  5. Battery Kinzie’   Fleet Foxes   Helplessness Blues
  6. Belong’   The Pains of Being Pure at Heart   Belong
  7. Circulation’   Thurston Moore   Demolished Thoughts
  8. Codex’   Radiohead   The King Of Limbs
  9. Country Dumb’   Josh T. Pearson   Last of the Country Gentlemen
  10. Cruel’   St Vincent   Strange Mercy
  11. Days’   The Drums   Portamento
  12. Degeneration Street’   The Dears   Degeneration Street
  13. Don’t Move’   Phantogram   Nightlife EP
  14. Downtown Eastern Bloc’   Times New Viking   Dancer Equired
  15. 5 Chords’   The Dears   Degeneration Street
  16. Fuck This Place’   Frightened Rabbit   A Frightened Rabbit EP 
  17. Galactic Tides’   The Dears   Degeneration Street
  18. Heaven’s Gonna Happen Now’   The Pains of Being Pure at Heart   Belong
  19. Helplessness Blues’   Fleet Foxes   Helplessness Blues
  20. Honey Bunny’   Girls   Father, Son, Holy Ghost
  21. I Don’t Want Love’   The Antlers   Burst Apart   
  22. Keep You’   Class Actress   Rapprocher     
  23. The King’   RAMESH   The King
  24. The Last Living Rose’   PJ Harvey   Let England Shake
  25. Lippy Kids’   Elbow   Build A Rocket Boys!
  26. Montana’   Youth Lagoon   Youth Lagoon
  27. Municipality’   Real Estate   Days
  28. No Room to Live’   Times New Viking   Dancer Equired
  29. No Widows’   The Antlers   Burst Apart
  30. People’   David Bazan   Strange Negotiations
  31. Save Me’   Gotye   Making Mirrors
  32. Scottish Winds’   Frightened Rabbit   A Frightened Rabbit EP
  33. 17’   Youth Lagoon   Youth Lagoon
  34. Smile’   Smith Westerns   Dye It Blonde
  35. Somebody That I Used to Know’   Gotye (ft. Kimbra)   Making Mirrors
  36. Song Of Los’   Apparat   The Devil’s Walk  
  37. Steve McQueen’   M83   Hurry Up, We’re Dreaming
  38. Strange Negotiations’   David Bazan   Strange Negotiations
  39. Sweetheart I Aint Your Christ’   Josh T. Pearson   Last of the Country Gentlemen
  40. Tatooine’   Jeremy Messersmith   Tatooine Single
  41. To Every Man His Chimera’   Cass McCombs   Humor Risk
  42. Trembling Hands’   Explosions in the Sky   Take Care, Take Care, Take Care
  43. Try to Sleep’   Low   C’mon
  44. Under My Nose’   Fucked Up   David Comes to Life
  45. Video Games’   Lana Del Rey   Video Games
  46. Wait’  Alberta Cross   The Rolling Thunder EP 
  47. Wash’   Bon Iver   Bon Iver
  48. Weekend’   Class Actress   Rapprocher  
  49. Weekend’   Smith Westerns   Dye It Blonde
  50. Your Eyes’   Bombay Bicycle Club   A Different Kind of Fix

If you’d like to check out these tracks for temporary review before you go out and buy the single or the record, you may click here to have a listen.

Keep a lookout for our upcoming Best Albums of 2011 post!