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
Since Greg shared his more finalised version of the ‘Best Albums of 2009’ I figured it was as good a time as any to revisit my list. I would have simply updated the original post, but there have been some significant changes to my ‘Best Albums of 2009 (thus far)‘ list due to the release of several amazing records since I left America. I have therefore removed the following from my previous list:
- Cass McCombs—Catacombs
- Andrew Bird—Noble Beast
- Sunset Rubdown—Dragonslayer
- The Pains of Being Pure at Heart—The Pains of Being Pure at Heart
I must say that the four records above are worth buying, but in narrowing my list down to ten with the inclusion of a larger canon of new albums in 2009 (my previous list was posted nearly three months ago) I needed to revise my list. Therefore I give you my more official and updated ‘Best Albums of 2009‘.
10. We Were Promised Jetpacks—These Four Walls
I still stand by the excellence of this record, but it has slipped three slots (from seven to ten). Enjoy the incredible Scottish sincerity and steady flow of energy.
9. Atlas Sound—Logos
Bradford Cox (of Deerhunter) really did an excellent job on this record (released 19 October in the UK) with a little help from Noah Lennox (aka ‘Panda Bear’) and Lætitia Sadier (of Stereolab). Cox demonstrates his exceptional and deeply personal writing abilities and leaves room for many more excellent Atlas Sound records to come.
8. Times New Viking—Born Again Revisited
I first heard Times New Viking last year when they released Rip it Off. That album proved to be a great surprise (which was enhanced by the energy and precision of their live shows). This next record (released 21 September in the UK) proves to employ the same techniques – simple pop songs performed by a three piece band (drums, guitar, keys) and production that is intentionally downgraded for an extremely primitive and lo-fi sound. But the songwriting on this album represents a broader stylistic spectrum than their previous work which makes this record more accessible and even more listenable (for someone who usually enjoys what others have sometimes deemed ‘unlistenable’).
As I mentioned previously, this album was very surprising, and it has proven more surprising as I’ve listened on, securing it a rank of number seven (previously eight). At this point one might ask, “Wait, with this subjective switch aren’t your reviews worth the computer screens they are illuminated on?” Correct, the albums I deem worthy of listen are based upon my dynamic personal preferences. But in the end, we must wait for NME’s ‘Top Albums of the Decade’ instead of taking their top album from each year of the decade because of developing musical trends and tastes, so I don’t feel so guilty. This album deserves this spot and maybe even a higher one. This album possesses a near-perfect amount of creativity, innovation, skills and utter fun! A great improvement from Chris Cohen’s previous work on Asthmatic Kitty (Curtains).
I first heard the track “Hellhole Ratrace” back in August. It was raved about by Pitchfork and Stereogum and I found the track very enjoyable, but not as incredible as the reviews were claiming. I bought the record soon after its release on 22 September and gave it a listen. By the second listen I was hooked. Think of a more nihilistic and energetic Elvis Costello circa 1977, with a hint of Buddy Holly.
5. Camera Obscura—My Maudlin Career
This record (along with Cursive’s new record) slipped a slot entirely due to the release of my new number three record of the year. As I’ve mentioned previously, this is probably my favorite release from Camera Obscura. The more I’ve listened the more I appreciate the record and also the more sure I am that I didn’t simply “love it so much because Belle & Sebastian hasn’t released an LP since 2006.” Well orchestrated and executed indie-pop, with plenty of Scottish wit. Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity.
4. Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number [four] slot, but I will always have a soft spot for Cursive. This is not to say that this album is undeserving of praise. Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors). They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow. It reminds me of Domestica even. Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred. Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature. I don’t buy it (but not because it’s not packaged well). I say we drop the Enlightenment and read more Kierkegaard and Barth.
3. Converge—Axe to Fall
After all these years Converge is still bringing ‘it.’ What is ‘it?’ ‘It’ is unrelenting energy. Of all of the bands on this top ten album list, Converge is by far my favorite. This album (released 20 October) is both extremely heavy and true to Converge’s metal roots while remaining very accessible (like 2001’s Jane Doe). Axe to Fall has also made its way into my top three all-time Converge records.
2. Animal Collective—Merriweather Post Pavilion
Retaining its number two slot, Merriweather Post Pavilion – though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense) – is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album. The songs don’t leave you asking, “When is this going to end/how does that even fit?”
1. Grizzly Bear—Veckatimest
I raved about their performance in Glasgow earlier this month and I stand by this pick as the ‘Best Album of 2009.’ My first listen of this record was a positive, but not profound experience. Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.” I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year). I sat with the album for another month and at that point it hit me. This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record. By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree. This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something.
It’s late August and I’ve already got a top ten list for the best albums of the year. As I pointed out in an entry last year, it isn’t really my thing to jump on ‘new’ music per se. I am typically balancing myself between ‘new’ music and ‘old’ music that’s ‘new’ to me. This year I wanted to challenge myself to listen to more “new” music (i.e. music that has been/will be released in 2009).
With the trusty aid of music blogs, Lala, random databases, and Greg I’ve been able to become exposed to a larger body of ‘new’ music this year and I decided that before I leave to Scotland and my postgraduate occupation with a large number of books, I would compile a list of my top ten albums of the year. Who knows, maybe this will be my final top ten list for the year (though it has been altered a bit even in the last 24 hours).
10. Cass McCombs—Catacombs
Cass McCombs reminds me of T Bone Burnett and Neil Young more than ever. He remains very unpretentious and sincere, perhaps on this album more than his previous records. Two tracks to reel you in: “You Saved My Life,” & “Lionkiller Got Married.”
9. Andrew Bird—Noble Beast
I really thought I would hate this album. I’m not much of a fan of Andrew Bird’s music. I’ve never enjoyed his voice. Perhaps Noble Beast’s inclusion on this list is a response to how much I tolerated it as opposed to how much I loved it. But I am leaning more toward its inclusion because I thoroughly enjoy listening to this album. Two tracks to reel you in: “Masterswarm,” & “Not a Robot, But a Ghost.”
This album was very surprising. I hadn’t been very impressed with Chris Cohen’s work with Curtains on Asthmatic Kitty, so I didn’t expect a lot. I saw Cryptasize for the first time with Danielson last November and they didn’t leave a very strong impression, but this album really brings out their strengths. It has a great mood—unpredictable but not irritating (like the Dirty Projectors’ new album…). Two tracks to reel you in: “Blue Tears,” & “Gotta Get Into That Feeling.”
7. We Were Promised Jetpacks—These Four Walls
Thanks to Sgt. Grumbles for this suggestion a couple months back. It reminds me of high school, in the best way possible. Enjoy the lovely accent, the token glockenspiel, and the incredible sincerity—one of the most important qualities I look for in an artist. Two tracks to reel you in: “It’s Thunder And It’s Lightning,” & “An Almighty Thud.”
6. The Pains of Being Pure at Heart—The Pains of Being Pure at Heart
American faux-Brit pop never felt so great! It’s delightfully reminiscent of The Smiths, Jesus & Mary Chain, and My Bloody Valentine. Two tracks to reel you in: “Young Adult Friction,” & “A Teenager In Love.” Note: the album cover bears a ridiculously close resemblance to Belle & Sebastian’s 2006 album, The Life Pursuit:
5. Sunset Rubdown—Dragonslayer
This album is a great step forward for Sunset Rubdown. It’s not obnoxiously poppy like Shut Up I Am Dreaming tended to be. There’s a lot going on musically, yet no component is overpowered by another within a song. Two tracks to reel you in: “Silver Moons,” & “Idiot Heart.”
4. Camera Obscura—My Maudlin Career
Let’s face it, I’m a sucker for Scotch indie-pop. This is probably my favorite release from Camera Obscura. Maybe I love it so much because Belle & Sebastian hasn’t released an LP since 2006. Even if there is a hint of my love for B & S in this pick, the album (and the band) stands on its own through musical precision and artistic maturity. Thank you Tracyanne Campbell for your exceptional wit. Two tracks to reel you in: “French Navy,” & “My Maudlin Career.”
3. Cursive—Mama, I’m Swollen
Mama, I’m Swollen probably seems to be an odd pick for this number three slot, but I will always have a soft spot for Cursive. This is not to say that this album is undeserving of praise. Cursive is not interested in being another experimental freak-folk-electro-post-rock-cross-genre-remixed piece of overproduced crap like so many other groups are becoming (namely Dirty Projectors). They are faithful to their expressive indie roots, this album being far less poppy than Happy Hollow. It reminds me of Domestica even. Tim Kasher is still obsessed with refuting a theistic/morally superior worldview, but he does it with so much passion and angst I can’t help but be stirred. Cursive encourages us to realize the failure of our Enlightenment/modern ideals and to accept our animalistic/primitive nature. I don’t buy it but not because it’s not packaged well. Two tracks to reel you in: “From the Hips,” & “Let Me Up.”
2. Animal Collective—Merriweather Post Pavilion
Though it is more accessible (think Pet Sounds) than their entire repertoire (a bad start in my odd musical sense), this album is very unique, big (to the point of breathtaking at times), and yet more cohesive with itself than any other Animal Collective album. The songs don’t leave you asking, “When is this going to end/how does that even fit?” Two tracks to reel you in: “My Girls,” & “Summertime Clothes.”
1. Grizzly Bear—Veckatimest
My first listen of this record was a positive, but not profound experience. Only two tracks really stuck out to me: “Two Weeks,” and “While You Wait for the Others.” I was even a little disappointed with the album version of “While You Wait for the Others,” at first (compared to their incredible live performance I saw on Morning Becomes Eclectic last year). I sat with the album for another month and at that point it hit me. This is by far (maybe I’ll get harassed for saying that) Grizzly Bear’s best record. By best I mean that they demonstrate great maturity and excellence both in writing and execution, two points that have always seemed to miss one another by an ever-so-slight degree. This record is certain to remain among my favorites unless I fully give myself over to jazz-fusion or something. Two tracks to reel you in: “Two Weeks,” & “I Live With You.”
Compilations worth mentioning
Let It Roll: Songs by George Harrison – a compilation of George Harrison’s solo music spanning his entire post-Beatle career.
Dark Was the Night – a compilation release benefiting the Red Hot Organization.
Royal City – a Royal City B-side compilation released by Asthmatic Kitty.
God Help the Girl – a music/film project written Stuart Murdoch, the singer of Belle & Sebastian. Members of Belle & Sebastian with guest vocalists. CD Booklet features a short story that goes with the music.
Lou Barlow—Goodnight Unknown
David Bazan—Curse Your Branches
Castanets—Texas Rose, the Beasts, and the Thaw
The Decemberists (primarily because of Shara Worden’s contribution)—The Hazards of Love
Wye Oak—The Knot
Look out for
Converge—Axe to Fall (20 October)
Atlas Sound—Logos (20 October)
Why does anyone like
Dirty Projectors—Bitte Orca – It could’ve been so great, but it’s incredibly obnoxious.