Top 5:
- Black Keys El Camino
- Dad Rocks Mount Modern
- Gotye Making Mirrors
- Little Dragon Ritual Union
- The Roots Undun
Honourable Mentions:
- Adele Live at the Royal Albert Hall
- EMA Past Life, Martyred Saints
- Florence + The Machine Ceremonials
- Shearwater Animal Joy
- Vanaprasta Healthy Geometry
Top 30 Albums
Adele Live at The Royal Albert Hall (Pop) 9/10
You might think this combined DVD and audio release is pure commercialism, released to capitalise on the Christmas market, and ponder whether it really warrants your attention. Having seen Adele live, I can say that it really does capture the spirit of her shows, and even if you own 19 and 21, I'd urge you to listen to this. She's in fine voice, and the crowd reaction only adds to the atmosphere. In fact I suspect this will become a more regular part of my listening than her studio albums, as the audience reaction makes for a real occasion.
Atlas Sound Parallax (Experimental Rock) 6/10
Atlas Sound is Deerhunter's Bradford Cox's solo project, and this album's been extremely well received by critics. It's intentionally unsettling, with a slightly disconnected feel; the polar opposite of Adele wearing her heart on her sleeve. I admire it greatly, despite occasionally wondering if it's slightly cold and academic. The album has a coherent feel, and whilst it lacks a some bite and drive, I love the complexity and imagination of its layered electronic textures. It's unlikely to prove uplifting if you're in a depressed state of mind though!
Big Black Delta BBDLP1 (Electronic) 8/10
This is an utterly crazy album from LA, full of distorted vocals and zany electronic sounds: I loved it, but I'll understand if you don't get it. It comes from Jonathan Bates of Mellowdrone, who has collaborated with M83, and was initially given away free on the BBD website. The first track makes quite an impact, but the standout is IF*CKINGLOVEYOU (the title makes clear this isn't for the mild mannered). In fact, the music is heavily indebted to the 1980's, and it's full of dark energy; an ideal soundtrack for a late night drive.
Big Tree This New Year (Indie Pop) 6/10
This second album from a New York group who've relocated to California was one blogger's album of the year. I was impressed enough with its subtlety to buy it after streaming it here. It has a relaxed, dreamy feel, and an attractive quirkiness. There's definitely a jazz influence, and a quiet, understated beauty: worth investigating, but not one of the 2011's most memorable albums for me.
Black Keys El Camino (Garage Rock) 9.5/10
El Camino was one of those rare occasions when I was utterly captivated on my first listen, and immediately took to Twitter to urge my friends to hear it. I simply cannot resist turning up the volume and rocking out: this is a late entry in my top 20 albums of the year. I plan to write more about its appeal when I see the Black Keys live in February. I disagree those who are confused by its departure from Brothers, and feel it's too mainstream and direct. That's El Camino's raison d'être: it's a romp through rock history.
Blackout Party Closed Mouths Don't Get Fed (Country Rock) 8/10
This retro album from San Diego is a must for lovers of Dawes. It's so evident that the band are having fun, and you cannot help but get caught up in the atmosphere. If you like catchy tunes and a country vibe, stream or buy the album here and read the Owl Mag's review here. Its very lack of refinement adds to the authenticity, and there's some fantastic instrumental work.
The City and Horses We Will Never Be Discovered (Indie Pop) 7/10
This is catchy pop from New York, with a lo-fi ethos, from a band with reputation for daring music videos. The sound is tight (the unexpected flute accompaniment an indication of its character) and the emotional effect is sunny and upbeat. The appeal is in its directness: it's not the most intellectual music, but is infectious, innocent fun.
Dad Rocks! Mount Modern (Indie Pop) 9/10
This is a beautiful, joyful discovery: if you do nothing else as a result of reading this blog post, go here and take a listen to the title track. It's music which will inspire your creativity, and reaffirm your faith in humankind. The album flows gently and coherently, with Battle Hymn of the Fox Father at its heart. The lyrics are surprisingly hard hitting, and whilst it's easy on the ear initially, when you start to listen more intently you'll discover the layers of instrumentation, sometimes unexpected. If you don't believe me, take a look at this review from Drowned in Sound: it really is a special, heartwarming debut album.
Dead Sara Dead Sara (Hard Rock) 8/10
This is another début album, but it couldn't be more different in feel than Mount Modern. The impact of the opening tracks is shattering, with elements of punk, metal and blues. You might expect it to lack subtlety, but Emily Armstrong's vocals have been power and expressiveness, and there's a real sense of joy. You'll find a video clip and a review from someone lucky enough to have seen the band live in LA here: there are times when only rock will suffice, and this more than satisfies that urge.
Delta Spirit History from Below (Indie Rock) 8/10
This 5 piece band from last year shares not just a hometown of San Diego with Blackout Party, but also their Americana spirit. It's deeply steeped late 60's rock history, re-imagined from West Coast California, with a gloriously spontaneous spirit. It's escapist music, often catchy, with both beautiful ballads and more outgoing tracks. It matters not one bit they are revisiting paths illustriously trod before: that's their appeal.
EMA Past Life Martyred Saints (Experimental) 8/10
I've seen EMA live, opening for Zola Jesus; and whilst this album fails to quite capture the impact and magic of that experience, it's still an imaginative début. Erika M Anderson combines elements of grunge, goth and country with hard hitting lyrics, and yet it retains a sense of humanity. Her background's in folk, but electronics and noise are used cleverly. California's my favourite song, but the seven minute long Grey Ship is strikingly daring, and the cumulative effect is raw and powerful. This has been appearing on end of year lists for very good reason.
First Aid Kit The Big Black and The Blue (Folk) 7/10
This young Swedish duo captured my attention primarily because of their amazing voices, and Fleet Foxes style harmonies. Their album (released last year) is delightful, and whilst the folk melodies are relatively simple, no allowances need to be made for sisters Klara and Johanna’s ages. Perhaps it’s not particularly original, and the range of emotions is limited, but it’s exceptionally calming and gentle music, with those gorgeous vocals.
Florence + The Machine Ceremonials (Pop) 8/10
In the light of Lungs, some have found this to be a disappointment: it's more mainstream, less dark and original. Yet I love its uplifting, anthemic qualities, and it's become part of a small selection of albums which make up my regular listening when I'm not exploring new music. The production is elaborate, some might say overblown or bombastic, and yet its lifted by Welch's powerful vocals and vision. You may already have made your mind up about this, since it's hardly under the radar: music snobs often hate it, and its at times dangerously lacking in variety of mood, but I still love it.
In the light of Lungs, some have found this to be a disappointment: it's more mainstream, less dark and original. Yet I love its uplifting, anthemic qualities, and it's become part of a small selection of albums which make up my regular listening when I'm not exploring new music. The production is elaborate, some might say overblown or bombastic, and yet its lifted by Welch's powerful vocals and vision. You may already have made your mind up about this, since it's hardly under the radar: music snobs often hate it, and its at times dangerously lacking in variety of mood, but I still love it.
Gotye Making Mirrors (Indie Pop) 8.5/10
Australian musician Walter De Backer's creation manages to combine pop music accessibility with artistic creativity. I found it hauting: the sometimes unexpected, always imaginative electronic effects and rhythms get under your skin. Somebody That I Used to Know has become a hit single; yet this album works as a whole, and I prefer State of the Art. I'm planning to see Gotye live in the new year, so taken am I with Making Mirrors.
Australian musician Walter De Backer's creation manages to combine pop music accessibility with artistic creativity. I found it hauting: the sometimes unexpected, always imaginative electronic effects and rhythms get under your skin. Somebody That I Used to Know has become a hit single; yet this album works as a whole, and I prefer State of the Art. I'm planning to see Gotye live in the new year, so taken am I with Making Mirrors.
This is 1960's influenced garage rock, full of reverb. It might lack the impact of Black Keys, but I like its dreamy nature. The falsetto voice of Richie Follin adds character, and it's often laid back, despite dark lyrics. Richie's sister is a member of Cults, and there are definitely stylistic similarities. Guards is darker though, and a little edgier. An impressive début.
The Head and the Heart iTunes Session (Indie Folk) 6.5/10
This is a must for Head and the Heart fans, and a great introduction if you missed their first EP. There are two previously unreleased songs, When I Fall Asleep and Ever Since, and alternative versions of five other songs. Some might find their style a little too populist and kitsch Americana (Pitchfolk were notoriously snobbish about them), but they are catchy and enjoyable. They will never be confused with Radiohead for musical originality, but they are undeniably enthusiastic and heart warming.
Kathleen Edwards Voyageur (Indie Folk) 7.5/10
I was impressed with Canadian Kathleen Edwards support for Bon Iver in October and her fourth album will not disappoint those who have already discovered her gentle style. Voyageur was co-produced by Justin Vernon and is deeply felt, with often melancholy themes of troubled love. Whilst it isn't a great departure in style, I sense a great depth than her earlier work, and its understatement conceals an emotional intensity, most evident in the closing For the Record.
I was impressed with Canadian Kathleen Edwards support for Bon Iver in October and her fourth album will not disappoint those who have already discovered her gentle style. Voyageur was co-produced by Justin Vernon and is deeply felt, with often melancholy themes of troubled love. Whilst it isn't a great departure in style, I sense a great depth than her earlier work, and its understatement conceals an emotional intensity, most evident in the closing For the Record.
Little Dragon Ritual Union (Electronic) 8.5/10
This third album from Sweden has divided critical opinion, but I'm definitely on the side of those who admire its eccentricity and pushing of boundaries. Initially I was unsure, but leaving it on repeat, I've found its R&B inspired beats and minimalism to be hypnotic. Their name comes from the Japanese vocalist, Yukimi Nagano, who exercises exceptional economy in his stripping back of the extraneous. My favourite track is maybe the most daring, Brush The Heat, which is close to experimental, avant garde classical contemporary music. Remarkable.
This third album from Sweden has divided critical opinion, but I'm definitely on the side of those who admire its eccentricity and pushing of boundaries. Initially I was unsure, but leaving it on repeat, I've found its R&B inspired beats and minimalism to be hypnotic. Their name comes from the Japanese vocalist, Yukimi Nagano, who exercises exceptional economy in his stripping back of the extraneous. My favourite track is maybe the most daring, Brush The Heat, which is close to experimental, avant garde classical contemporary music. Remarkable.
Nerves Junior As Bright as your Night Light (Electronic Rock) 7.5/10
There's a sense of melancholy about this album that at times recalls Radiohead, and the spirit of Kid A in its use of electronics. At times I found this album disheartening, but it's the product of a fertile imagination, with intricate rhythms, bluesy, distorted guitars and kick drum. I've been in two minds whether to hail it as a masterpiece: it may well merit 10/10 artistically, but I simply haven't enjoyed sufficiently. This band from Louisville Kentucky have to be admired for pushing boundaries, and I may eventually end up loving them. You can stream the album here, but I bought it, since it needs repeated listening to appreciate.
There's a sense of melancholy about this album that at times recalls Radiohead, and the spirit of Kid A in its use of electronics. At times I found this album disheartening, but it's the product of a fertile imagination, with intricate rhythms, bluesy, distorted guitars and kick drum. I've been in two minds whether to hail it as a masterpiece: it may well merit 10/10 artistically, but I simply haven't enjoyed sufficiently. This band from Louisville Kentucky have to be admired for pushing boundaries, and I may eventually end up loving them. You can stream the album here, but I bought it, since it needs repeated listening to appreciate.
Oh My Darling Sweet Nostalgia (Bluegrass, Folk) 7.5/10
I attended the release show for this album in Winnipeg last month, and really you need to see the four female musicians live to appreciate their fun and spontaneity. It was recorded in a straw house in Manitoba, and is steeped in the bluegrass roots tradition. The banjo, electric bass, fiddle and guitar playing is virtuoso, and their enthusiasm is infectious- it will get your toes tapping.
I attended the release show for this album in Winnipeg last month, and really you need to see the four female musicians live to appreciate their fun and spontaneity. It was recorded in a straw house in Manitoba, and is steeped in the bluegrass roots tradition. The banjo, electric bass, fiddle and guitar playing is virtuoso, and their enthusiasm is infectious- it will get your toes tapping.
Over the Rhine The Long Surrender (Folk) 6/10
This is a sultry album, with an intimate, personal feel, made by a husband and wife duo from Ohio, joined by guest musicians. They've been performing for twenty years, and this is no less than their 11th album. I haven't listened to any of their others, but this is a measured, thoughtful album with a gentle beauty, and lovely songcraft. The style combines jazz, folk and even gospel; it's simple and unpretentious.
This is a sultry album, with an intimate, personal feel, made by a husband and wife duo from Ohio, joined by guest musicians. They've been performing for twenty years, and this is no less than their 11th album. I haven't listened to any of their others, but this is a measured, thoughtful album with a gentle beauty, and lovely songcraft. The style combines jazz, folk and even gospel; it's simple and unpretentious.
This Atlanta band have released their first EP with an air of mystery, letting the music speak for itself with a free download. It's attractive rock, with variety between tracks and a tight sound, maybe not ground breaking, but catchy enough to attract your attention. I'm sufficiently intrigued to want to hear more than these five songs, which a review eloquently described as an 'esoteric mashup hinting at Britpop and '70s psychedelia, with touches of feel-good '80s rock and a dash of Southern charisma'.
The Roots Undun (Hip Hop) 10/10
The Roots have recently created political controversy in their role as house band for Jimmy Fallon's show. I'm no expert in this genre, but like Lauryn Hill's Miseducation, it transcends boundaries and should be irresistible to all lovers of inspired music. It's a concept album inspired by a Sufjan Stevens' song about the downfall of a young man, like the film Memento told backwards from the point of his death. Remarkably, it ends with a pastiche of a classical suite, which has deep meaning in relation to my own musical journey. It's a thought provoking narrative, harrowing but with great beauty, reaching its emotional peak in I Remember. I've heard none of The Roots twelve previous albums, but I've been mesmerized by this unexpected classic.
The Roots have recently created political controversy in their role as house band for Jimmy Fallon's show. I'm no expert in this genre, but like Lauryn Hill's Miseducation, it transcends boundaries and should be irresistible to all lovers of inspired music. It's a concept album inspired by a Sufjan Stevens' song about the downfall of a young man, like the film Memento told backwards from the point of his death. Remarkably, it ends with a pastiche of a classical suite, which has deep meaning in relation to my own musical journey. It's a thought provoking narrative, harrowing but with great beauty, reaching its emotional peak in I Remember. I've heard none of The Roots twelve previous albums, but I've been mesmerized by this unexpected classic.
SBTRKT SBTRKT (Post Dubstep, Future Pop) 8/10
The opening sounds a little like a more avant guard version of King of Limbs; yet this is a cosmopolitan world view, despite being the product of an anonymous London producer. He's joined by an array of guest vocalists, and the mood's tribal and eclectic; the result difficult to categorise. It's often downbeat, but takes unexpected turns, and the beats and electronic sounds got under my skin. It's daring, sometimes uncomfortable, but always arresting.
The opening sounds a little like a more avant guard version of King of Limbs; yet this is a cosmopolitan world view, despite being the product of an anonymous London producer. He's joined by an array of guest vocalists, and the mood's tribal and eclectic; the result difficult to categorise. It's often downbeat, but takes unexpected turns, and the beats and electronic sounds got under my skin. It's daring, sometimes uncomfortable, but always arresting.
Shearwater Animal Joy (Indie Rock) 9/10
This Austin band's seventh album isn't officially released until February, but I can tell you it's stellar. It ventures more into rock territory than The Golden Archipelago from 2010. It features Andy Stack of Wye Oak, one of my favourite bands of 2011, but lead Jonathan Meiburg's vocals particularly stand out. It's often profound, dark and dramatic, carefully crafted and revealing its imagination on repeated listening. I'm making plans to see the band live for the first time next year; tracks like You as You Were have something of the epic quality and melodic gift of The National.
This Austin band's seventh album isn't officially released until February, but I can tell you it's stellar. It ventures more into rock territory than The Golden Archipelago from 2010. It features Andy Stack of Wye Oak, one of my favourite bands of 2011, but lead Jonathan Meiburg's vocals particularly stand out. It's often profound, dark and dramatic, carefully crafted and revealing its imagination on repeated listening. I'm making plans to see the band live for the first time next year; tracks like You as You Were have something of the epic quality and melodic gift of The National.
Sigur Ros Inni 7/10
This is a substantial double live album from a London show in 2008, and will keep fans (of which I am one) satisfied until new material, which is apparently in the works, is released. It's often slow and expansive, cinematically conjuring up soundscapes. It lacks the usual Sigur Ros string or brass accompaniment, with Joni's remarkable voice soaring above the four piece band. It's surprisingly polished for a live performance, and whilst it doesn't add greatly to the studio recordings, I still cherish this alongside the rest of Jonsi's output.
This is a substantial double live album from a London show in 2008, and will keep fans (of which I am one) satisfied until new material, which is apparently in the works, is released. It's often slow and expansive, cinematically conjuring up soundscapes. It lacks the usual Sigur Ros string or brass accompaniment, with Joni's remarkable voice soaring above the four piece band. It's surprisingly polished for a live performance, and whilst it doesn't add greatly to the studio recordings, I still cherish this alongside the rest of Jonsi's output.
Small Black Moon Killer (Synth Pop, Dance) 7.5/10
The mixtape moniker signifies that Small Black from Brooklyn combines new material with collaborations with Das Racist, and samples of artists such as The Carpenters and Star Slinger. Two Rivers is incredibly catchy, and danceable, whilst in contrast Clear Blue Skies is dreamier and more ambient in feel. At the time of writing, it's still available for free, legal download. Moon Killer is something of a departure from their début album New Chain, but it flows amazingly well given the disparate sources, and is an immersive experience, with a debt to the 1980's.
The mixtape moniker signifies that Small Black from Brooklyn combines new material with collaborations with Das Racist, and samples of artists such as The Carpenters and Star Slinger. Two Rivers is incredibly catchy, and danceable, whilst in contrast Clear Blue Skies is dreamier and more ambient in feel. At the time of writing, it's still available for free, legal download. Moon Killer is something of a departure from their début album New Chain, but it flows amazingly well given the disparate sources, and is an immersive experience, with a debt to the 1980's.
Summer Camp Welcome to Condale (Indie Pop) 6/10
This fun album from London was a Pledge Music project and it has a certain innocence.It's no coincidence that the final track is titled 1988, and it makes heavy use of synths. It's been criticised for its retrospection and for the disparate mix of tracks, but I welcome the unpredictability through the album. It's sunny, and not to be taken too seriously: not every British artist has to attempt to emulate PJ Harvey's gravitas.
This fun album from London was a Pledge Music project and it has a certain innocence.It's no coincidence that the final track is titled 1988, and it makes heavy use of synths. It's been criticised for its retrospection and for the disparate mix of tracks, but I welcome the unpredictability through the album. It's sunny, and not to be taken too seriously: not every British artist has to attempt to emulate PJ Harvey's gravitas.
Valerie Orth Faraway City (Indie Folk, Rock) 7/10
Valerie Orth has influences in world music, jazz and pop, and has an environmental activist background (this article gives an excellent overview of her life). The singer songwriter from San Francisco not surprisingly writes intelligent lyrics, combining lyricism with drive. It's slickly produced, yet always melodic. The writing is mature, subtle but not dry, if occasionally slightly too polite and nice. Ani de Franco is one of her greatest influences.
Valerie Orth has influences in world music, jazz and pop, and has an environmental activist background (this article gives an excellent overview of her life). The singer songwriter from San Francisco not surprisingly writes intelligent lyrics, combining lyricism with drive. It's slickly produced, yet always melodic. The writing is mature, subtle but not dry, if occasionally slightly too polite and nice. Ani de Franco is one of her greatest influences.
Vanaprasta Healthy Geometry (Rock) 8/10
I love the energy in this rock album: their front man Steve Wilkins creates walls of sound, and is a great vocal lead in this auspicious début. They've been criticised for their debt to Kings of Leon, but I find Vanaprasta far more intelligent and nuanced. The mood is upbeat, and grabs, giving a vigorous impression of what I'm told is their epic live set. You should check out this Owl Mag review from a exceptionally knowledgeable LA local, and listen to Healthy Geometry instead of wasting your time on Coldplay's deeply mediocre Mylo Xyloto.
Honourable Mentions
Kings Daughters and Sons If Then Not When (Post Rock) 5/10
This is a debut album from experienced musicians, consisting of 8 tracks over 50 minutes. It sprawls a little, and doesn't grab you immediately, but it has a subtle charm, with folk storytelling and beautiful introspection.
This is a debut album from experienced musicians, consisting of 8 tracks over 50 minutes. It sprawls a little, and doesn't grab you immediately, but it has a subtle charm, with folk storytelling and beautiful introspection.
Kitty Daisy and Lewis Smoking in Heaven (Blues, Rock and Roll) 5/10
This sophomore album from the young Durham siblings is pure retro R&B, swing and jump blues, and has been recorded using vintage equipment. They inhabit the spirit of the '50's wonderfully from these multi-instrumentalists, and apparently Amy Winehouse was an admirer. It really does swing, and whilst for me it's an occasional album, the nostalgic will love it.
This sophomore album from the young Durham siblings is pure retro R&B, swing and jump blues, and has been recorded using vintage equipment. They inhabit the spirit of the '50's wonderfully from these multi-instrumentalists, and apparently Amy Winehouse was an admirer. It really does swing, and whilst for me it's an occasional album, the nostalgic will love it.
Matthew and the Atlas Kingdom of Your Own (Indie Folk) 8/10
After I selected this EP for inclusion here, I learned that Matthew and the Atlas had split up, and will be continuing only as a solo project. They came to attention through supporting Mumford and Sons, and were signed by the Communion. The promise shown by this EP, and the earlier To The North make me regret the split immensely. It contains new folk elements such as banjo and accordion with tender harmonies and evocative melodies, and is a fine example of the genre.
After I selected this EP for inclusion here, I learned that Matthew and the Atlas had split up, and will be continuing only as a solo project. They came to attention through supporting Mumford and Sons, and were signed by the Communion. The promise shown by this EP, and the earlier To The North make me regret the split immensely. It contains new folk elements such as banjo and accordion with tender harmonies and evocative melodies, and is a fine example of the genre.
Said the Whale New Brighton EP Indie Rock 5/10
This Vancouver EP is a mere four tracks, and reflects the city's beauty. It is easy on the ear, sunny and catchy, contemporary yet with roots. I'm pleased I discovered it via The Owl Mag's review, but it's really just a taster in advance of their upcoming album, and the glorious melody on the closing Little Bird makes you crave more.
This Vancouver EP is a mere four tracks, and reflects the city's beauty. It is easy on the ear, sunny and catchy, contemporary yet with roots. I'm pleased I discovered it via The Owl Mag's review, but it's really just a taster in advance of their upcoming album, and the glorious melody on the closing Little Bird makes you crave more.
This Tennessee quartet has a welcome 1960's vibe and a country background; the strongest tracks are the two openers, especially Be Your Bro. This second album's moved towards a poppier direction, with some great hooks, and I'd imagine their live set would be well received at a summer festival. It's high energy, and if occasionally you wish for some relief from the reverb, there's a punky kick, and I'm inclined to give them the benefit of the doubt.
I've enjoyed these albums, although they didn't make the final 35:
Kathryn Calder Bright and Vivid, The Joy Formidable The Big More, Kurt Vile So Outta Reach EP, Tycho Dive, Sabrosa Purr Cocaine EP, Telstar Hot Knives, Charlotte Gainsborough Set Yourself on Fire, Black Box Revelation My Perception, The Antlers Together EP, The Drums Portamento, Andrew Bird Norman, Real Estate Days.
Kathryn Calder Bright and Vivid, The Joy Formidable The Big More, Kurt Vile So Outta Reach EP, Tycho Dive, Sabrosa Purr Cocaine EP, Telstar Hot Knives, Charlotte Gainsborough Set Yourself on Fire, Black Box Revelation My Perception, The Antlers Together EP, The Drums Portamento, Andrew Bird Norman, Real Estate Days.
No comments:
Post a Comment