Top 20 albums of 2011 (so far)

Top 20 albums of 2011 (so far)

Since my Christmas top 10, I’ve made some great new discoveries, so here's a quick run down here in brief with ratings out of ten. I've only included items which have made an impact upon me. They are mostly recent releases, but I have a lot of catching up to do, so there's also some older material too.

  

Adele 21: An astonishing album, which I’ve been listening to at least once a day since I discovered it. It may have popular appeal but it’s also staggeringly engaging emotionally and can move me to tears. Adele’s voice is amazing, and it’s one of my best discoveries yet in terms of its sheer emotional impact. I've already booked to see her live later this year, and her recent Brit Award performance was stunning. Almost certain to be on my end of 2011 top ten. In fact, with a few exceptions such as Radiohead's King of Limbs, almost everything other new album I've listened to since has paled into insignificance. 10/10

Aimee Mann Magnolia: exquisite, engaging, and stands up well on its own terms (but the film is masterly too). The appeal here is simply the emotional impact, and her voice has an amazing way of portraying sadness. I love the energy of Momentum, but Wise Up is just part of a series of amazing tracks. Possibly the most engaging soundtrack I've heard 9/10

Ben Harper There will be a light: A new style for me, blues inspired, sincere, authentic, relaxed feel; and I love it. I have already started to investigate more of Ben Harper's work. I was first inspired to seek this out after an amazing encounter with live gospel choir music, and this too is uplifting. 8/10

Braids Native Speaker: A daring debut album. Complex layers, but maybe a little studied and forced, or even pretentious. It's moody and clever though with amazing vocals and I love the experimental feel and subtlety. It's likely to divide opinion, as some might think it's too offbeat, but their next album may blow me away (or be a grave disappointment) 7.5/10

Brett Dennen So Much More A beautiful and sensitive singer songwriter. It's folk influenced, and wonderfully direct in style. There's a wholesomeness and positivity which means the end result is to enhance your mood. Don't listen to this though if you want convention over turned. 7/10

Bright Eyes The People’s Key: I'm an admirer of Conor Obest. Bright Eyes latest is a mixture of melodic pop, and spoken word rambling from Randy Brewer, but in the end there's wide appeal despite its ambition. It has some good tunes, and it's well executed and produced. Enjoyable, but perhaps lacks a little focus. 7/10

Cold War Kids Mine is Yours: the first half of the album stands out, but it's all satisfying, and is warm and upbeat. They used the Kings of Leon's producer, but I still rate them as more distinctive than that group, even if their sound has become more complex. It just lacks the last ounce of emotional impact for me, but this is definitely one of 2011 more notable releases so far, and I shall return to it. 7.5/10

Foo Fighters The Colour and the Space: The Foos are new to me, and they're more guitar driven and harder than most on this list, but still have room for melodies and quieter interludes. This album was released in 1997 and is considered as one of their strongest. I have lots more exploring of the Foos to do, but they are clearly a force to be reckoned with and have caught my attention. 7/10

Foxy Shazam: self titled album is over-blown and slightly ridiculous, influenced by Queen and '70s pop. It's also upbeat, inspiring and imaginative. You're unlikely to have a neutral response. I've a feeling their live set would be extremely entertaining, and if you're in a crazy mood, this will sound amazing. I would caveat that this is a very recent discovery, and it's possibly it won't wear well. 8/10

Iron and Wine Kiss Each Other Clean The standout factor here is the varied and imaginative instrumentation with layered textures. It goes beyond folk and there's a great deal of variety of style between tracks. My reservation: is it it honest, or over-produced? 7/10

Janelle Monae Archandroid: Amazingly well conceived and wide ranging journey. The classical overture at the opening certainly surprised me. It's been rightly acclaimed, and is a kaleidoscopic journey though the styles of music which have inspired her. A great achievement but for me an occasional piece, which is too sprawling. 6/10

Jonsi Go What an amazing voice, and what original music. Jonsi, in common with Thom Yorke, sings falsetto, and ploughs a distinctive furrow. I also adore Riceboy Sleeps by Jonsi and Alex, which I've remarked on Twitter is reminiscent of Arvo Part. Both albums contain amazing sounds, and somehow conjure up a sense of well being and happiness. This is music to transport you to another place, and from this list is the only thing to approach Adele in terms of impact. 9.5/10

Lissie Catching a Tiger Debut album which is quite a discovery, it grabs your attention and is upbeat and inspiring. There isn't quite the emotional depth of Adele, and this is more folk and country tinged in style, mixed alongside Californian pop, but I will be eagerly awaiting her next album. 7.5/10

Matt White It's the Good Crazy This is melodic, positive and accessible, often piano driven and on the evergreen theme of dating. Some would say that it lacks greatness and ambition, but I found it an entertaining of more upbeat and reflective songs. He's been compared to David Gray in style. 7/10 

Meiko: Talented voice and songwriter from LA, melodic, with a sweet and soulful vibe. She may not be original in the vein of Jonsi, but it's well executed voice, guitar and lyrics, and she deserves to be better known in the UK. 7/10

One EskimO All Balloons Fascinating different, this album benefits from repeat listening. It's quirky, dreamy, and could be misunderstood as mellow background music. There's actually depth under the quirky exterior. 7/10

PJ Harvey Let England Shake This an intelligent music, as much about the lyrics as the song writing. Sometimes I wonder if there's a small excess of British reserve, but this is very well executed and may even win the Mercury Prize. Due to a feeling of detachment, I admire rather than love it, but it's still quite an achievement. 7/10

Soundtrack of our lives Behind the Music Swedish rock, in some ways a tribute to the past, but pretty imaginative. More mellow interludes are interspersed with more extrovert rock in this substantial, ambitious 2 volume work. I've seen it described as bland but disagree- and I like the liberal sentiments expressed in the lyrics: 7/10

The Shutes Hits Like Mourning EP: This band hail from the Isle of Wight. I've now heard them live and they have a somewhat retro feel, but lots of energy. They claim to have been inspired by the weather, but there's a definite '60's influence. I think they'll be attracting more attention. 7/10

Tom McRae King of cards Sensitive vocal style, tuneful, McRae is relatively upbeat on this album, but maybe a little saccharine at times. There is a vulnerable quality in the singing, and the voice is haunting. The best moments are the quieter ones. 6.5/10

As I upload this, I've just discovered Massive Attack and Eels, so the discovery continues. These artists will be mentioned in a future update as both have made an impression on me.

Radiohead King of Limbs

It was tough to separate the excitement at hearing a new Radiohead album (a day earlier than expected) from my reaction to the music, such was the anticipation. I've waited 24 hours to write this, and listened multiple times. I'm also now aware that reaction online has been mixed: mainly positive from fans, but with a significant minority of doubters. I'll say straight away this isn't likely to supplant the received wisdom that OK Computer is the greatest Radiohead album, and for many it will be in the bottom half of their ranking.

I also believe whilst it might not be the most outwardly appealing RH album, it is a work of musical genius and immense subtlety, a masterpiece. The 37 minute length means it it's concentrated, economical, and intense. There's extensive use of electronics, but the instrumentation is relatively spare, and the mood slightly reserved (some would say English), which for me creates tension. It doesn't aim for crowd pleasing melody, extrovert climaxes, or catchy tunes. Instead it's all about rhythm and the creation of atmosphere. It's eerie, has something of a forest at night about it, but isn't angry, bitter. or even particularly depressing.

The first standout track is Feral, which is remarkably original, controlled, and unexpected. For me, the ballad Codex is the emotional heart of the album, and is spellbinding, and moving, unbelievably well crafted. The experience of listening is in some ways similar to demanding classical music: concentration is required, repeated listening is needed to gain full understanding; and it's possible some will admire it more than love it. But love it I do, as in a darkened room, in a relaxed mood, it's so evocative that at the end I know I've been on a journey; I've been able to submit completely mentally to the music to the exclusion of all else. It gets under your skin and conjures up vivid pictures in your mind.

 The engineering and production is excellent by the way (well done for offering a lossless download option) and to me this is the pinnacle of contemporary music, regardless of genre, true art. I can see why some have not been wowed, those who fear Radiohead have been on a downhill, downbeat slide since The Bends. If you rate Kid A as perhaps the greatest of their albums though, as I do, put this on repeat and it may cast its spell over you. It's intellectual as well as emotional stimulation, and the artist I thought of as my next selection after this was Tool.

As a postscript, if you know someone in the position I was three months ago, who loves Britten's Midsummer Night's Dream but had never heard of Radiohead, buy them a copy, don't tell them what it is, but request their considered reaction. You have a moral obligation to do this!
10/10

Alexander (Edward Sharpe) in CAMP London 15th February 2011) 8/10

My impressions of my first live rock concert, Edward Sharpe (Alexander) in London

(supported by The Shutes)

The support act (The Shutes- photo above) from the Isle of Wight, UK were impresssive- I'd already downloaded their EP and my positive expections of the music were fulfilled. The looked pretty deeply involved in the music, but in an introverted sense, rather than reaching out to the audience in a charismatic way. Despite this, I'm eager to hear them again, and suspect they will become much better known- a band to watch.


Alex Ebert (hereafter referred to as Edward Sharpe) watched the support act in the crowd with a bottle of beer in his hand, and at the end of the show generously complimented The Shutes (unfortunately they weren't there to receive it as they left immediately after their set).

The basement venue (CAMP London) was gritty, but the people were smart: predominantly female, young, well dressed and affluent. It was a small venue, sold out for this concert, and felt intimate. These pictures were taken with a small compact camera and illustrate how close we were to the stage.

When Edward Sharpe came on, he said that he wasn’t going to say much as ‘We (the audience) will make our own story. I just f*cking hope it’s a good one’. Immediately he started playing, the audience reacted in a remarkable way. I started dancing (even though I can’t dance), people were moving in harmony, and I am unable to compare the feeling of togetherness to anything else I’ve experienced before. It was magical, spiritual, and I felt at one with everyone there. I cannot emphasise enough how amazing the connection between the band and the people in that room.

Then Edward Sharpe had a problem with his acoustic guitar, and asked if anyone in the audience had brought one with them! Whilst this was going on, the guy in the band who plays clarinet started improvising, and once again the audience responded with their bodies. The whole band is just so musical and were so evidently enjoying themselves, and believed and lived the values espoused in the music. This positive energy was infectious, and I hope the audience will be able to carry it into their everyday lives.

All of the songs were brand new to the audience (with the exception of Truth which was released as a free download)unless any had attended their first outing the night before in London. I'm concentrating on the live music experience here, as many reviewers will give a considered opinion when the album is released on March 1st. I can say with confidence that if you like the Magnetic Zeros album Up from Below or their even more inspired iTunes Sessions, you will love the new Alexander album. I did miss Jade (only half of the Zeros travelled to the UK with Alexander), but there are suggestions she might release her own solo album. Despite the smaller band, the style and sound world is similar to their earlier work, and in common with the first album, there was a great variety and originality between songs.

I honestly believe you will never forget the first time you hear Edward Sharpe live. If more people adopted his philosophy, the world would be a far more peaceful and wholesome place (and much more fun). Something amazing was going on in the interaction and closeness between people in that room, united by music, and the experience has, for today at least and I hope for longer, affected my interactions with everyone I've met for the better (basically there's more love). 

The morning after this concert, I booked another live concert, and whilst it will be hard to match the vibe and charisma of Edward Sharpe, this is definitely going to become a regular, and essential feature of my life.

8/10

First listen to Tool Aenima

This is an experiment on a smaller scale but in a similar spirit to my recent day with NIN. I was tipped off that I should listen to some Tool, and start with Aenima. Other than being warned it was challenging, I had no prior knowledge or preconceptions. These notes were written whilst listening to the album for the first time, and are not the result of reflection or research, but simply the first thoughts that came into my head.

1) Stinkfist Disconcerted- sounds distant, out of phase. But surprisingly unshocking.

2) Eulogy Starts off with Arabic feel, but soundworld not too far from classical early music. There's a gradual change as electric guitars enter, but love the transition. Real sense of structure- akin to classical music. Mostly instrumental.

As becomes more rock-like style, get sense of pessimism, downbeat feel. Eventually shouting style of vocals and anger. Not relentlessly loud, use of dynamics. Considerable length for popular music.

3) H Starts with lots of distortion. No sense of what melody will be at opening. Virtuoso guitar playing. Vocals quite sensitive. Far more subletly than I expected for metal. Wolfmother was engaging on first listening but seemed a little gratuitous thereafter. You got the sense it was an artificial exercise of release for fun. This is deeper. You already get a sense there might have more to reveal on subsequent listen.

But would be wrong to say I'm enjoying listening it. It feels like a mental exercise, which is incidentally how I feel (in retrospect) about classical music.

4) Useful Idiot Starts with surface nose which rises in volume- very original opening, use of texture of sound rather than melody. Then sudden eastern style melody rather like track 2. Unusual sounds from what presumably are electic guitars. Pretty classical until more conventional rock guitar work enters. 

5) Forty Six & 2 Vocals make subtle use of mood. But as I felt when I first listened to NIN, I feel we're almost full circle here on continuum between classical and rock. Movements (note use of classical term) run continuously as in many contemporary classical works. I expected this to sound alien, but I feel like clock is being turned back to my pre- rock listening days to avant guard classical. Also has pretty serious tone- gloomy mood, but not devoid of energy, and interesting rhythm. 

6) Message to Harry Manback Classical gentle opening, then speech about cancer. John Adams' classical piece Transformation of Souls re 9/11 also has recordings of ambient sounds. Contrast between angry, course speech and gentle piano music behind. Genius.

7) Hooker with a Penis Back to distortions and hard guitars. More my expectations of metal. Pretty relentless and aggressive.

8) Intermission Fairground organ light ditty. Shocking change in mood. Reminded me of Mahler using sounds around him (e.g. cowbells). Annoying in its frivolity.

9) Jimmy Return of massive guitar sound & aggression. But vocals again provide contrast- almost vulnerable mood. Sense of unease and alienation strong (it has this quality in common with  NIN). Also a sense of intensity.

10) Die Eier von Satan Mechanical, machine like pulse. Very interesting rhythmically. Inhuman feeling, German language, crowd noise, clear reference to Nazis. Evocation of historical occasion or era common in classical music. A little reminscent of Shostakovich.

11) Push it Return of melody in guitars but with bleak vocals with disembodied feel. Vocals become more confident, again rhythm central element, feels as if a more conventional song is trying to come to fore. Again sense of structure, control and development. Lengthy piece with variety moods, unexpected changes and real architecture. Then starts to build up to striking instrumental and then vocal climax longer than many pop songs. Complex piece. Intellectual process to decipher and understand- again like classical! Powerful.

12) Cesaro Summability Baby sounds at opening, distorted. Disturbing. Then artificial noises. No real sense of music, just sounds. Turns out to be just an intermission, with no development.

13) Aenema Hard guitar opening, interesting then menacing rhythms, sense of a tune but pretty aggressive throughout. Sounds almost orchestrated, complex textures. Feel that lyrics would repay further study. Again lengthy.

14)  (-) (-) Ions Ambient sounds at opening- disturbing. Then electrical buzzing sounds, terrifying, like a wind approaching or a rocket. Is it music?

15) Third Eye Heartbeat, then speech about drugs. More ambient sounds and reminder of 1960's experimental classical. Twisted music tries to enter, guitars start to distorted backdrop. Transition from noises to music brilliantly handled. Gets harder but underpinned by same ostinato like bass. Similar length to a symphony. Wide dynamic range. 

Conclusions

I can say confidentially this album is highly original and unusual, particularly in its structure and development over long spans. Despite the aggression I anticipated from metal, I didn't find it impossible to bear- maybe my exposure to NIN made it less shocking. My reaction to this music is so similar to challenging modern classical music. I admire it, I feel intellectually challenged, and even stimulated creatively. I didn't however lose myself- I was concentrating too much. This isn't really entertainment, which is meant as a compliment, as well as an observation.

This works as a complete emotional journey and I will take the advice to listen repeatedly. As I upload this I've almost completed a second listen, and this time I'm struck by the visionary quality of this music, and the subtlely shifting moods. I also stand by my observation than perhaps even more than NIN, this is so much closer to classical music emotionally than other popular music I've heard.