That was a great two week vacation. Like every Holiday season, I spent a large chunk of that time reading year-end top ten lists and buying copious amounts of new music. Actually, I could not buy anything else for about 3 months and still have plenty of music to write about. That isn't going to happen though, since January brings us new albums by Bruce Springsteen (January 27), Franz Ferdinand (January 27), and Antony and the Johnsons (January 20). That's pretty amazing as far as January goes.
After seeing it show up on about a dozen year-end lists, I picked up the debut album by Santogold. I'm glad I bought it before I flew back home because it gave me a chance to give it a few listens before judging it. At first listen, its half M.I.A. ripoff and half Karen O ripoff. After several listens, that's still true, but at least the songs are catchy and memorable.
"L.E.S. Artistes" seems to be universally beloved, but it really isn't one of the high points here. The keyboard touches don't really vary it much from what the Yeah Yeah Yeahs have already done better. "You'll Find A Way" is more fun with its surf-punk guitars and shouted chorus. With "Shove It", she takes a sharp turn into reggae dancehall territory, which leads up to the M.I.A. mimicking "Creator". As far as first half of debuts go, the diversity here is outstanding.
Unfortunately, the album falters in quality after that. The new-wave pop of "Lights Out" is the exception - this one should hit the radio or at least be used in a corny love scene in a prime time show.
Not a great album, but a notable one and definitely an artist to watch in the future.
In a few days, I'll rant about how I love MGMT and how I'm an idiot for not buying that album six months ago. Happy New Year.
Monday, December 29, 2008
Saturday, December 13, 2008
20 Best Albums of the Year (Part 2)
10. Lil Wayne - Carter III: It's easy to call this album overexposed - it pretty much owned pop radio this year. Hip-hop has produced several creative and well-hyped records this decade, but something has to be said for selling a million CDs in a week even though CD sales are dying across the board. "A Milli" is a classic lesson in free-form word association and"Mrs. Officer" is the kind of mindless fun the radio used to play, but the album really shines when it moves into experimental territory such as "Dr. Carter" and "Phone Home". Even if you're worn out on him this year, this is a hip-hop album that people will be playing years from now.
9. Shearwater - Rook: Jonathan Meiburg's Shearwater is no longer an Okkervil River side project - it deserves to be its own band. Rook is an album that seems to celebrate desolation. It's best songs are not rock songs at all: "Leviathan Bound" and "The Snow Leopard" are based on spare pianos and harpsichords. But what really makes this album special is Meiburg's voice. his Buckley-esqe opera howl gives emotional weight to these songs that is unparalleled in most of this year's indie rock. Plus, it's nice to see an art-rock project last only 35 minutes.
8. Coldplay - Viva La Vida: Yes Chris Martin, smite the haters! Make an artsy world-beat tinged album and get it played day and night on the radio! Yes, there are parts that don't hold together, but there are also moments like "Lost?", a tribal organ-driven gospel rock track that makes spiritual emptiness sound beautiful. The lyrics are more pretentious than ever - Chris sings about meeting God in a cemetery and walking the streets he used to own - but is trying to be the next U2 really a bad thing? I still don't think they've made their masterpiece, but their status as the world's biggest band is safe for a few more years.
7. Q-Tip - The Renaissance: What title do we give him, "The King of Sophisticated Rap"? "The Underdog for Greatest Rapper Ever"? I'm not sure, but his return from an 8-year recording absence is everything we wanted: a smooth, relaxing rap record, which is something nobody makes anymore. "Gettin' Up" is a should-be hit and one of the greatest rap singles this decade, and even the Norah Jones cameo works! Everything goes right on this album, and if Q-Tip can work out his record label problems, his solo catalog can someday match or surpass Tribe Called Quest's amazing catalog.
6. Alejandro Escovedo - Real Animal: The year's best alt-country album in a great year for alt-country, this album evokes punk, soul, Texas rock, and country in equal measure. "Chelsea Hotel '78" is a brilliant recollection of the punk era, and rock-blues like "Smoke" show why he should be touring with Bruce Springsteen. For country ballads, nothing this year tops "Sister Lost Soul", "Sensitive Boys", and "The Swallows Of San Juan". Why isn't the radio playing any of these? This follow-up surpasses the already outstanding The Boxing Mirror, and he's peaking at his old age.
5. Portishead - Third: Would you expect a band that disappeared for over a decade to return with their strangest, most uncompromising album? Combine the Cure's Disintegration, Scott Walker's Drift, and Massive Attack's Blue Lines and you will be somewhere close to this. Dark and brooding (even by their standards), this album has unexpected turns into folk, acid jazz, club beats, and British rock. "Silence" is the most nervous, tense album opener since Joy Division's second album, and "Machine Gun" is the year's darkest, angriest single. Welcome back, Portishead.
4. Fleet Foxes - Fleet Foxes: While the idea of mixing Beach Boy's vocals with backwoods Americana is a great idea on paper, what's more amazing is how they pulled it off. The songwriting is catchy, complex, and unbelievably developed for a new band. "White Winter Hymnal" is a breath of fresh air and boasts some of the best male harmonies heard in indie rock. After buying this, you won't be able to resist hunting down the Sun Giant EP. This is the best debut record since the Arcade Fire's Funeral - let's just hope they stay on track and stick to this plan.
3. TV On The Radio - Dear Science,: This is how you should follow up a masterpiece: write catchier songs, add more layers, and don't forget what you were good at in the first place. For this band, the key has always been R&B singing and rhythm that sets them apart: they add sexuality and romance into songs that are typically about death and the end of the world. "Crying" and "Love Dog" work as slow jams as well as angry rock songs, and they finally make real ballads with "Stork & Owl" and "Family Tree". This album, along with Return To Cookie Mountain, make one of the best one-two punches ever, and this band might be just getting started. By the way, "Golden Age" is the song of the year.
2. Nick Cave & The Bad Seeds - Dig! Lazarus, Dig!: Yes, he is getting crazier with age. Imagine a deranged preacher ranting about sin while The Stooges make noise behind him: that's basically what you are getting here. However, he still shows off his songwriting chops that gave us albums like Boatman's Call on "Hold On To Yourself" and "Jesus Of The Moon". "We Call Upon The Author" and "More News From Nowhere" evoke Dylan for long apocalyptic rants, the former of which comes with Sonic Youth noise freakouts between every verse. The title track relies on sense of humor as much as it relies on guitars: what other songwriter could pull this idea off? Nick is still one of a kind and at the age of 50, he's far from done.
1. Bon Iver - For Emma, Forever Ago: I had few doubts about this being 2008's best album. Every person who bought this album felt like they found a hidden gem. Whereas Coldplay, Lil Wayne, and TV On The Radio made big-sounding records to be shouted along with by the masses, it feels like Bon Iver made this album just for you to hide in your room and reflect on. At its core, it's a voice and an acoustic guitar. Given the songwriting depth, that would have been enough, but then he handed it over to atmospherics: listen to the multi-tracked voices on "Lump Sum" or the raining snare drums on "The Wolves (Act I and II)". "Skinny Love" showcases his full-sounding voice and narrative-style lyrics. "For Emma" takes a conversation with a lost love and puts horns and traditional rhythm behind it.
What became my favorite part of this album is the closer. On "Re: Stacks", he sings his softest falsetto about "when your money's gone and you're drunk as hell" for over six minutes. It's a spare, undramatic closer that feels like a man coming to terms and moving on; you can almost hear him leaving the cabin where he wrote these songs ready to face life again and ready to leave isolation and self pity behind. This album isn't about self-loathing or anger, it's about reflection and renewal. I never would have believed that a man could go to a cabin in Wisconsin, isolate himself from all human contact for three months, and write one of the best albums of the decade, but here it is. Whether or now we ever hear another album from Bon Iver is irrelevant: this album is, simply, perfect.
9. Shearwater - Rook: Jonathan Meiburg's Shearwater is no longer an Okkervil River side project - it deserves to be its own band. Rook is an album that seems to celebrate desolation. It's best songs are not rock songs at all: "Leviathan Bound" and "The Snow Leopard" are based on spare pianos and harpsichords. But what really makes this album special is Meiburg's voice. his Buckley-esqe opera howl gives emotional weight to these songs that is unparalleled in most of this year's indie rock. Plus, it's nice to see an art-rock project last only 35 minutes.
8. Coldplay - Viva La Vida: Yes Chris Martin, smite the haters! Make an artsy world-beat tinged album and get it played day and night on the radio! Yes, there are parts that don't hold together, but there are also moments like "Lost?", a tribal organ-driven gospel rock track that makes spiritual emptiness sound beautiful. The lyrics are more pretentious than ever - Chris sings about meeting God in a cemetery and walking the streets he used to own - but is trying to be the next U2 really a bad thing? I still don't think they've made their masterpiece, but their status as the world's biggest band is safe for a few more years.
7. Q-Tip - The Renaissance: What title do we give him, "The King of Sophisticated Rap"? "The Underdog for Greatest Rapper Ever"? I'm not sure, but his return from an 8-year recording absence is everything we wanted: a smooth, relaxing rap record, which is something nobody makes anymore. "Gettin' Up" is a should-be hit and one of the greatest rap singles this decade, and even the Norah Jones cameo works! Everything goes right on this album, and if Q-Tip can work out his record label problems, his solo catalog can someday match or surpass Tribe Called Quest's amazing catalog.
6. Alejandro Escovedo - Real Animal: The year's best alt-country album in a great year for alt-country, this album evokes punk, soul, Texas rock, and country in equal measure. "Chelsea Hotel '78" is a brilliant recollection of the punk era, and rock-blues like "Smoke" show why he should be touring with Bruce Springsteen. For country ballads, nothing this year tops "Sister Lost Soul", "Sensitive Boys", and "The Swallows Of San Juan". Why isn't the radio playing any of these? This follow-up surpasses the already outstanding The Boxing Mirror, and he's peaking at his old age.
5. Portishead - Third: Would you expect a band that disappeared for over a decade to return with their strangest, most uncompromising album? Combine the Cure's Disintegration, Scott Walker's Drift, and Massive Attack's Blue Lines and you will be somewhere close to this. Dark and brooding (even by their standards), this album has unexpected turns into folk, acid jazz, club beats, and British rock. "Silence" is the most nervous, tense album opener since Joy Division's second album, and "Machine Gun" is the year's darkest, angriest single. Welcome back, Portishead.
4. Fleet Foxes - Fleet Foxes: While the idea of mixing Beach Boy's vocals with backwoods Americana is a great idea on paper, what's more amazing is how they pulled it off. The songwriting is catchy, complex, and unbelievably developed for a new band. "White Winter Hymnal" is a breath of fresh air and boasts some of the best male harmonies heard in indie rock. After buying this, you won't be able to resist hunting down the Sun Giant EP. This is the best debut record since the Arcade Fire's Funeral - let's just hope they stay on track and stick to this plan.
3. TV On The Radio - Dear Science,: This is how you should follow up a masterpiece: write catchier songs, add more layers, and don't forget what you were good at in the first place. For this band, the key has always been R&B singing and rhythm that sets them apart: they add sexuality and romance into songs that are typically about death and the end of the world. "Crying" and "Love Dog" work as slow jams as well as angry rock songs, and they finally make real ballads with "Stork & Owl" and "Family Tree". This album, along with Return To Cookie Mountain, make one of the best one-two punches ever, and this band might be just getting started. By the way, "Golden Age" is the song of the year.
2. Nick Cave & The Bad Seeds - Dig! Lazarus, Dig!: Yes, he is getting crazier with age. Imagine a deranged preacher ranting about sin while The Stooges make noise behind him: that's basically what you are getting here. However, he still shows off his songwriting chops that gave us albums like Boatman's Call on "Hold On To Yourself" and "Jesus Of The Moon". "We Call Upon The Author" and "More News From Nowhere" evoke Dylan for long apocalyptic rants, the former of which comes with Sonic Youth noise freakouts between every verse. The title track relies on sense of humor as much as it relies on guitars: what other songwriter could pull this idea off? Nick is still one of a kind and at the age of 50, he's far from done.
1. Bon Iver - For Emma, Forever Ago: I had few doubts about this being 2008's best album. Every person who bought this album felt like they found a hidden gem. Whereas Coldplay, Lil Wayne, and TV On The Radio made big-sounding records to be shouted along with by the masses, it feels like Bon Iver made this album just for you to hide in your room and reflect on. At its core, it's a voice and an acoustic guitar. Given the songwriting depth, that would have been enough, but then he handed it over to atmospherics: listen to the multi-tracked voices on "Lump Sum" or the raining snare drums on "The Wolves (Act I and II)". "Skinny Love" showcases his full-sounding voice and narrative-style lyrics. "For Emma" takes a conversation with a lost love and puts horns and traditional rhythm behind it.
What became my favorite part of this album is the closer. On "Re: Stacks", he sings his softest falsetto about "when your money's gone and you're drunk as hell" for over six minutes. It's a spare, undramatic closer that feels like a man coming to terms and moving on; you can almost hear him leaving the cabin where he wrote these songs ready to face life again and ready to leave isolation and self pity behind. This album isn't about self-loathing or anger, it's about reflection and renewal. I never would have believed that a man could go to a cabin in Wisconsin, isolate himself from all human contact for three months, and write one of the best albums of the decade, but here it is. Whether or now we ever hear another album from Bon Iver is irrelevant: this album is, simply, perfect.
Wednesday, December 10, 2008
20 Best Albums of the Year (Part 1)
It's mid-December and no more notable releases are coming out in 2008, so it's that time to review. Here are some of my favorite albums of 2008:
20. Drive-By Truckers - Brighter Than Creation's Dark: They add a female member and an electric piano, but you still know what you are getting: multiple songwriters, at least 15 songs per record, a few alt-country gems, and the rest are consistent (which I think is the best word to describe this band).
19. Ryan Adams - Cardinology: Speaking of consistent, Ryan delivers his best record since Heartbreaker. It was a good year for alt-country.
18. Walkmen - You & Me: Dark, haunting, and beautiful in a self-loathing romance kind of way, this is 2008's soundtrack for urban alienation.
17. Okkervil River - The Stand-Ins: Now adding Motown influences to the mix, they add another solid effort that proves that they are just getting started. "Lost Coastlines" is one of the year's most irresistible singles.
16. Wolf Parade - At Zoomer Mountain: Even better than their great debut album - they sound more like a band than a project now, and their songs are cheery and catchy while having psychotic vocals and lyrics. These guys are going to be around for a while.
15. REM - Accelerate: They're back! After a decade of daunting irrelevant records, REM deliver concise garage rock with punk riffs. I hope they stick to the plan for a few more years.
14. Vampire Weekend - Vampire Weekend: A solid debut that reminds me fondly of the Strokes debut (let's hope the comparisons end there). Although I hope the indie/world music trend doesn't catch on, it's nice to hear a band with some new ideas.
13. Gaslight Anthem - '59 Sound: How this catchy punk record escaped commercial success escapes me - think a cross between the Goo Goo Dolls and the louder end of Bruce Springsteen. Give it a try and it will grow on you.
12. Opeth - Watershed: Hasn't it been a few years since we've had a great prog-metal epic? Haunting, dynamic, and technically astounding (as is any Opeth album), this album is a new level for them, and an easy place to start for metal non-enthusiasts.
11. Jenny Lewis - Acid Tongue: Jenny finally delivers a consistently solid album and she does it without the help of Rilo Kiley. The title track is a gorgeous acoustic tale of drug use and "Jack Killed Mom" is a perfect White Stripes rip-off. Will Rilo Kiley match this one next year?
(I'll move on to the top ten in a few days.)
20. Drive-By Truckers - Brighter Than Creation's Dark: They add a female member and an electric piano, but you still know what you are getting: multiple songwriters, at least 15 songs per record, a few alt-country gems, and the rest are consistent (which I think is the best word to describe this band).
19. Ryan Adams - Cardinology: Speaking of consistent, Ryan delivers his best record since Heartbreaker. It was a good year for alt-country.
18. Walkmen - You & Me: Dark, haunting, and beautiful in a self-loathing romance kind of way, this is 2008's soundtrack for urban alienation.
17. Okkervil River - The Stand-Ins: Now adding Motown influences to the mix, they add another solid effort that proves that they are just getting started. "Lost Coastlines" is one of the year's most irresistible singles.
16. Wolf Parade - At Zoomer Mountain: Even better than their great debut album - they sound more like a band than a project now, and their songs are cheery and catchy while having psychotic vocals and lyrics. These guys are going to be around for a while.
15. REM - Accelerate: They're back! After a decade of daunting irrelevant records, REM deliver concise garage rock with punk riffs. I hope they stick to the plan for a few more years.
14. Vampire Weekend - Vampire Weekend: A solid debut that reminds me fondly of the Strokes debut (let's hope the comparisons end there). Although I hope the indie/world music trend doesn't catch on, it's nice to hear a band with some new ideas.
13. Gaslight Anthem - '59 Sound: How this catchy punk record escaped commercial success escapes me - think a cross between the Goo Goo Dolls and the louder end of Bruce Springsteen. Give it a try and it will grow on you.
12. Opeth - Watershed: Hasn't it been a few years since we've had a great prog-metal epic? Haunting, dynamic, and technically astounding (as is any Opeth album), this album is a new level for them, and an easy place to start for metal non-enthusiasts.
11. Jenny Lewis - Acid Tongue: Jenny finally delivers a consistently solid album and she does it without the help of Rilo Kiley. The title track is a gorgeous acoustic tale of drug use and "Jack Killed Mom" is a perfect White Stripes rip-off. Will Rilo Kiley match this one next year?
(I'll move on to the top ten in a few days.)
Sunday, December 7, 2008
Paste Magazine's Album of the Year
Last year, I fell in love with Paste magazine after they chose The National's Boxer for album of the year. This dark, brooding masterpiece was snubbed by almost everybody else, and for me it turned out to be one of the best records of the decade. Then they went one step further and gave them the front cover with the caption "Do you know who they are?". I swear I will never throw out that issue as long as I live.
This year, they gave She & Him's Volume 1 the same honors, and I had to at least give this record a try. Actress Zooey Deschanel performed an album of 60s California pop with M. Ward, tacked on a ridiculously uncreative band name and album name, and here you go. "Sentimental Heart" is a nice way to start, with piano, strings, and a female choir halfway through. Zooey's voice takes some getting used to; it's lovely at the lower octaves, but slightly strained on the higher end. Her voice might wear you down before this album is over.
The next two tracks are the highlights of the album, and show why she should sing more songs that rely on rhythm as opposed to naked vocals. "This Is Not A Test" has an amazing chorus harmony that Joni Mitchell would be proud of.
Now the bad news: they don't keep up this energy for an entire record. Late in the album, there are two lazy, unmemorable country ballads and a few lo-fi acoustic songs that could have been left out if this weren't a 36 minute album.
Even though this is a less exciting year for music than 2007, I can't see this being the best of the year by any measure. If you want a more convincing California pop tribute, check out Jenny Lewis' Acid Tongue. Volume 1 is an interesting and occasionally gorgeous album, but nothing more.
At least Paste has some balls and didn't pick Lil Wayne. Way to go Blender.
This year, they gave She & Him's Volume 1 the same honors, and I had to at least give this record a try. Actress Zooey Deschanel performed an album of 60s California pop with M. Ward, tacked on a ridiculously uncreative band name and album name, and here you go. "Sentimental Heart" is a nice way to start, with piano, strings, and a female choir halfway through. Zooey's voice takes some getting used to; it's lovely at the lower octaves, but slightly strained on the higher end. Her voice might wear you down before this album is over.
The next two tracks are the highlights of the album, and show why she should sing more songs that rely on rhythm as opposed to naked vocals. "This Is Not A Test" has an amazing chorus harmony that Joni Mitchell would be proud of.
Now the bad news: they don't keep up this energy for an entire record. Late in the album, there are two lazy, unmemorable country ballads and a few lo-fi acoustic songs that could have been left out if this weren't a 36 minute album.
Even though this is a less exciting year for music than 2007, I can't see this being the best of the year by any measure. If you want a more convincing California pop tribute, check out Jenny Lewis' Acid Tongue. Volume 1 is an interesting and occasionally gorgeous album, but nothing more.
At least Paste has some balls and didn't pick Lil Wayne. Way to go Blender.
Thursday, December 4, 2008
Vacation and Money Well Spent
I've been on vacation for a week now, which always means two things to me: seeing friends and family and spending a ridiculous amount of money on music that I typically would not spend. Here's a few classics I just added to my collection:
Frank Zappa's We're Only In It For The Money: Yes, the songs are brilliant and innovative, as they are on any Zappa album. But one thing that really stands out about this record is how mean it is: Frank takes shots at hippies, free love, and counter culture like no musician has since. He jokes about being beaten by cops and getting STDs from proponents of free love, all while writing amazingly catchy, although brief, pop-rock songs. If you are a fan of Tom Waits or Captain Beefhart, you have to own this one. If you are a hippie, this might not be for you...
Steely Dan's Katy Lied: I recently realized that I am a huge Steely Dan fan. It took my best friend a few years to beat it into my head, but now I've come around. I think this is their best album. "Black Friday" is urgent, driving rock about an economic meltdown (how appropriate) while "Any World (That I'm Welcome To)" is an amazingly tender, sentimental piano ballad considering the typical crass sarcasm in their lyrics. This is the album to start with if you can't settle for just owning their greatest hits package, which you shouldn't.
Buena Vista Social Club (self-titled): This album isn't just for lovers of jazz, rock, Americana, or Cuban music: this is an album for anybody who loves music. If you aren't moved by the piano work of Rueben Gonzalez, I can't help you. My favorite moment is the upbeat singalong "Amor de Loca Juventud", which is beautifully sad even if you don't speak their language (this translates to "Love of Crazy Youth", but admittedly I had to look it up).
It looks like there isn't much exciting music coming out this month, so its time for me to dive into the 2008 year-end lists. Have a good weekend...
Frank Zappa's We're Only In It For The Money: Yes, the songs are brilliant and innovative, as they are on any Zappa album. But one thing that really stands out about this record is how mean it is: Frank takes shots at hippies, free love, and counter culture like no musician has since. He jokes about being beaten by cops and getting STDs from proponents of free love, all while writing amazingly catchy, although brief, pop-rock songs. If you are a fan of Tom Waits or Captain Beefhart, you have to own this one. If you are a hippie, this might not be for you...
Steely Dan's Katy Lied: I recently realized that I am a huge Steely Dan fan. It took my best friend a few years to beat it into my head, but now I've come around. I think this is their best album. "Black Friday" is urgent, driving rock about an economic meltdown (how appropriate) while "Any World (That I'm Welcome To)" is an amazingly tender, sentimental piano ballad considering the typical crass sarcasm in their lyrics. This is the album to start with if you can't settle for just owning their greatest hits package, which you shouldn't.
Buena Vista Social Club (self-titled): This album isn't just for lovers of jazz, rock, Americana, or Cuban music: this is an album for anybody who loves music. If you aren't moved by the piano work of Rueben Gonzalez, I can't help you. My favorite moment is the upbeat singalong "Amor de Loca Juventud", which is beautifully sad even if you don't speak their language (this translates to "Love of Crazy Youth", but admittedly I had to look it up).
It looks like there isn't much exciting music coming out this month, so its time for me to dive into the 2008 year-end lists. Have a good weekend...
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