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:
- Bad As Me Tom Waits — An excellent piece of music, though I can’t say more excellent than anything released in the last decade.
- Hurry Up, We’re Dreaming M83 — Over 70 minutes long, much of which can be considered music.
- Burst Apart The Antlers
- Wit’s End & Humor Risk Cass McCombs — Both of these records were released this year and each features songs that I believe are among McCombs best (such as ‘County Line’ and ‘Buried Alive’ from Wit’s End and ‘To Every Man his Chimera’, but ‘Love Thine Enemy’ from Humor Risk) it’s a bit scattered.
- The Last of the Country Gentlemen Josh T Pearson — Raw emotion in the form of heavenly songs, but they are gut-wrenching and tend to be quite lengthy.
- Degeneration Street The Dears
- Days Real Estate — While I truly enjoy this record, I believe it’s a wee bit hyped, but that’s just one man’s opinion.
- Best of Gloucester County Danielson
- Strange Negotiations David Bazan
- The King of Limbs Radiohead — Has some amazing tracks (see ‘Lotus Flower’ and ‘Codex’), though ultimately it felt like an EP.
- 100 Lovers DeVotchKa
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.
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
18. The Kinks [UPDATE: moved to number 13.]
The Kinks were an unstoppable force during the British Invasion of America in the mid-60s, popping out hits like ‘You Really Got Me‘, ‘All Day and All of the Night‘, ‘Tired of Waiting for You‘, etc. While these are surely classic tunes, their excessive familiarity to me (through being forced to listen to oldies radio stations as a child) gave me a great aversion to The Kinks. But like my aversion to The Beatles and The Beach Boys, I have grown out of this distaste for The Kinks (thanks to initial interest years ago via Rushmore and the watering of the seed by the Greg, the Band Evangelist) – and I even love their hits now too! It’s probably a shame to some people that The Kinks are down here at number 18 in my top 20, but I’m not especially familiar with their work after 1970’s Lola Versus Powerman and the Moneygoround, Part One and I’ve only been really listening them for some four years now. Give me more time to wise up. Their album The Village Green Preservation Society (1968) can be found among my Top 50 Albums.
‘Sunny Afternoon’ single promo, later included 1966’s Face to Face:
‘Apeman’, featuring a creepy and massive-haired Ray Davies, from 1970’s Lola Versus Powerman and the Moneygoround:
17. Danielson/Daniel Smith
Whether it is through a band consisting primarily of his siblings (Danielson Famile), through a solo project consisting of the man in a gigantic tree costume (Brother Danielson) or his most recent incarnation as just plain Danielson, Daniel Smith has been consistently producing honest, unusual and compelling art over the last two decades. Danielson appeared on my radar soon after my conversion to Christianity in the beginning of high school and I have grown more in love with them/him ever since. Interesting note: Through his association with Danielson I first gave Sufjan Stevens a shot. Read more about Daniel in this post. His/their second record, Tell Another Joke at the Ol’ Choppin’ Block (1997), is featured on my Top 50 Albums list.
‘Things Against Stuff’, live from 2004’s Brother Is to Son from Brother Danielson:
‘Did I Step on Your Trumpet?’ from 2006’s Ships by Danielson (one of the best music videos of all time):
The other day my friend Erin Hennessy saw you on the F train in NYC, but she couldn’t get up the nerve to say anything to you. That got me thinking of what I would say to you if I ran into you (even though I never would, as I live on the other side of the country). The first thing that came to mind was to talk to you about your 50 states project, which you began so beautifully with Greetings from Michigan: The Great Lakes State and Illinois/The Avalanche.
Now back in the day (the early two thousands or so), I took your proclamation to make an album (or EP, maybe?) for each one of the 50 states seriously, even though some of my more cynical friends would mock me saying it was impossible for you to do in your lifetime (they would start with some calculations, ask your age, etc. PS We share the same birthday!). The reason I believed you was because I saw this limitless sort of creative genius in you, and even beyond that, it was as if you were the Emersonian “Poet” for this generation of Americans–seeing and showing us the beauty and agony and the divine in the everyday, transforming the mundane into the sublime, telling us stories full of wonder and longing and brilliant details from towns like Ypsilanti and Holland and Romulus.
You made me suddenly attentive to the people and places of America: you imbued them with a magical luster simply by naming them in the midst of your deeply moving, melancholic, and rich melodies and arrangements, or by inserting them amongst such evocative mystical lines of verse:
When the revenant came down
We couldn’t imagine what it was
In the spirit of three stars
The alien thing that took its form
Then to Lebanon, oh God!
The flashing at night, the sirens grow and grow
(Oh, history involved itself)
Mysterious shade that took its form
(Or what it was!), incarnation, three stars
Delivering signs and dusting from their eyes
-“Concerning the UFO Sighting Near Highland, Illinois”
All that to say that I really, really wish the 50 states project would continue–I think it could become one of the national treasures of our country for centuries to come, a Leaves of Grass for the 21st century that American kids would listen to to understand where they’ve come from and what kind of people we are. I heard at one point that you said the 50 states project was “such a joke,” but I would challenge you in earnest, if only for the sake of those future little kids, to reconsider abandoning this momentous endeavor.
Realizing that it might very well be impossible for you to write and record all of the albums yourself, what if you instead became the director of the project–you have set the standard quite high with your first two albums–and with the profound respect you have from your artistic peers, I honestly believe you could rally together the best artists from each state to collaborate with to make this happen, creating a kind of ark of American culture.
Here are some suggestions to begin with (I admit some may be wishful thinking) & I call on any reader to add to/better the selection of songwriters for any state (I have put brackets around bands with whom I have only a cursory familiarity & some states I have absolutely no idea about):
- Alabama = The Snake the Cross the Crown
- Alaska = Portugal The Man
- Arizona = Calexico
- Arkansas = ???
- California = Elijah Wade Smith, Beck, Stephen Malkmus
- Colorado = DeVotchKa, The Apples in Stereo
- Connecticut = Rivers Cuomo?
- Delaware = The Spinto Band
- Florida = Iron & Wine, Aaron Marsh
- Georgia = Deerhunter, Of Montreal, Bill Mallonee
- Hawaii = Mason Jennings
- Idaho = Built to Spill, Finn Riggins
- Illinois = Sufjan Stevens
- Indiana = Mock Orange
- Iowa = Caleb Engstrom
- Kansas = Drakkar Sauna, Mates of State, The New Amsterdams, The Appleseed Cast
- Kentucky = Bonnie “Prince” Billy, My Morning Jacket
- Louisiana = Jeff Mangum, Mutemath
- Maine = [Phantom Buffalo]
- Maryland = John Vanderslice, Wye Oak
- Massachusetts = Lou Barlow, Winterpills
- Michigan = Sufjan Stevens
- Minnesota = Low, Cloud Cult, Lucky Wilbur
- Mississippi = ???
- Missouri = [Someone Still Loves You Boris Yeltsin]
- Montana = Colin Meloy
- Nebraska = Cursive, Bright Eyes
- Nevada = The Killers?
- New Hampshire = [Wild Light]
- New Jersey = Sufjan Stevens (?), Danielson, Yo La Tango
- New Mexico = The Shins, Beirut
- New York = The Magnetic Fields, Sonic Youth, Interpol, The Walkmen
- North Carolina = The Mountain Goats
- North Dakota = [The White Foliage]
- Ohio = Robert Pollard, Over the Rhine, The National, Mark Kozelek
- Oklahoma = The Flaming Lips, Kings of Leon
- Oregon = Laura Veirs, M. Ward, Miles Benjamin Anthony Robinson, The Decemberists
- Pennsylvania = The Innocence Mission, Denison Witmer, Matt Pond PA
- Rhode Island = The Low Anthem, Death Vessel
- South Carolina = Band of Horses
- South Dakota = Haley Bonar
- Tennessee = Derek Webb
- Texas = Josh T. Pearson, Ramesh Srivastava (formerly of Voxtrot), The Polyphonic Spree, Okkervil River, Devendra Banhart
- Utah = [Joshua James]
- Vermont = Anais Mitchell
- Virginia = Thao Nguyen, Hush Arbors
- Washington = David Bazan, Damien Jurado, Jeremy Enigk, Fleet Foxes
- West Virginia = ???
- Wisconsin = Bon Iver, Marla Hansen
- Wyoming = ???
With the deepest respect & admiration,
In my lifetime I have been blessed with the opportunity to know or at least to be exposed to various people that have a magic in them that necessitate a portion of my devotion – my heroes. Among them are people like my father, who taught me the meaning of selflessness, hard work, and patience, my grandfather, who taught me what it truly means to be a servant of God, Greg, who has impacted the way I relate to God, myself, others and to art more than any other single person, and people that I don’t know personally – people like Bob Dylan, John Gardner and Elliott Smith. Among those people at the top of my list of heroes, Daniel Smith stands out as the most inspiring and influential.
Daniel Smith is truly a unique character. It’s difficult to be indifferent toward him, that is to say he is a polarizing person. There’s a quality to his personality and the way he expresses himself that will either turn you on or turn you off, but will never leave you indifferent. The process and product of his imagination are not something I can easily express in one post. In 2006 a documentary was released, ‘Danielson, a Family Movie (or, Make a Joyful Noise Here)‘ documenting the progress of Daniel Smith’s artistic expression since the founding of the “Danielson Famile,” a band literally consisting of Daniel and his siblings. Daniel was an art student at Rutgers and his professors insisted that the visual and performing arts were to be kept in their respective galleries and conservatories. Daniel wouldn’t have it, and since 1994 he hasn’t had it. He’s continued to press forward even after fifteen years of mediocre (at best) success. The sincerity and devotion with which he creates is what captures me most.
I could go on and on about Daniel and the opportunities I’ve had to meet him/see him perform, but I’d rather introduce you to the man. And if you’ve already been introduced you ought to watch anyway. This video, which was posted on the Danielson site yesterday, is a great summation of much of what Daniel Smith stands for. Take a look:
One of my greatest secret interests is the music video. I would tend to shy away from such an admission in light of the sheer wretchedness of what we often see on MTV, VH1, or countless other music television stations that have arisen over the years. Music videos have become so uninspired, oftentimes more interested in conveying an image that builds up the artist as a superhero, a martyr, or a sex icon. And when a video does employ any sort of storytelling, it is all-too-often meaningless, narcissistic, and void of any substance.
I always keep my eyes open for the artist who can capture a profound image, a profound concept, and a profound sound. I am obsessed with engaging art in exhaustive ways (using as many senses as possible, and let’s consider the mind a sense for the time being), and it wasn’t until recently that I realized some of my favorite recent music videos have been directed by one person. I’m talking about music videos that make you fall more in love with the sound because of what the images and ideas passed to you though the music video medium enrich the individual song with, enhancing your experience.
Even if you’ve not heard of Patrick Daughters it is possible that you have seen one of his very uniquely styled and directed music videos. Some of my favorites are below. Please enjoy.
Greg has done an excellent job of raking in this year’s best (at least in his highly-informed opinion) albums. That’s great stuff (I’m only speaking generally because I think Coldplay’s Viva La Vida is mostly rubbish), but how much of it will we be listening to in two years? Because music is in-and-out so frequently I’ve composed what I consider the best albums of 2008, though none of them were released this year. Lend me your ear eye.
If you or I were to look at a list of our favorite albums from two years ago it would probably be different than the list we would make today. I’m suspecting a lot of the albums that I considered my favorite from two years ago have lost ground in my personal rating and that is not to say that the latest albums have replaced them. What I’ve found is that through recycling the music I listen to I sit with an album longer and it really grows on me. For instance, I first heard Elliott Smith’s Figure 8 in 2001. Since then this album has been climbing its way up my list and I considered it my favorite album of 2005 (even better than Come on Feel the Illinoise!, the quintessential indie-folk hit that year). If Greg’s picks were subjective, mine will likely be hyper-subjective. This whole thing also has to do with the fact that the music I listen to usually gets to my ears one of three ways: by way of NPR/KCRW, by way of associated acts (i.e. I heard of Sufjan Stevens because he once played in Danielson, an earlier favorite of mine), or by way of a highly sophisticated (and elitist) filtration system consisting largely of Greg Stump.
With all of that said, I must also add that I have not purchased much new music from this year. In fact, as I look at my computer the only albums I see in my iTunes library from 2008 are Ratatat’s LP3, Danielson’s Danielson Alive EP (free online), and Danielson’s Trying Hartz. I’m not against new music, but I suppose that after sampling I wasn’t compelled to buy many new full albums this year. That is not to say that I’ve not grown in my musical breadth: according to my “date added” information in my iTunes library I’ve added more than forty albums to my iTunes this year (and it’s not over), thus I’ve purchased more than forty albums this year (buying used music on Amazon is incredible). So out of the albums that I’ve purchased this year here are my top ten.