It's nearly impossible for me to listen to Tame Impala without thinking of the Beatles and getting a bit nostalgic about classic rock. On Innerspeaker, there's no shortage of psychedelic jams; Zeppelin, Hendrix are all invoked here. And surely some of the credit for this big "classic" sound is due to Flaming Lips producer David Fridmann. Remember that supposed garage rock revival in the early 00s? Tame Impala's high octane riffs and melodic vocals wouldn't have sounded out of place during this retro revival, but their Aussie rivals (i.e., the Vines) would have fled for the hills.
"Solitude is Bliss"
9. Arcade Fire - The Suburbs (Merge)
This record provided part of the soundtrack for my relocation to Edmonton. It was especially appropriate for the drive through Calgary (shudder). The Suburbs isn't perfect, but it has the kind of emotional energy that only Arcade Fire can provide. Thematically, it's also the group's most sophisticated record; sure, the ideas are big and obvious (that's kind of a given in pop music), but the Arcade Fire handle them with delicacy and nuance. (Read my initial review.)
"Sprawl II (Mountains Beyond Mountains)"
8. Joanna Newsom - Have One on Me (Drag City)
With every release, Joanna Newsom becomes more surprising and less compromising. That being said, Have One on Me is more relaxed and refined than both Ys and The Milk-Eyed Mender. When the drums kick in on the effortless, swaggering "Soft as Chalk," for example, Newsom seems unsurpassable in her coolness. She steals a few octave jumps from Joni Mitchell, clumsily pounding the ivory like every great folk artist before her. By now, it seems inappropriate to even question her place among the finest of folk-singers.
"81"
7. Future Islands - In Evening Air (Thrill Jockey)
Over the last six months Sam Herring has become one of my favourite vocalists. Channelling Frank Black, Carey Mercer, and Ian Curtis, Herring's ecstatic growl cuts against up-tempo beats and new wave ornaments. Amounting to nine tracks in under forty mintues, In Evening Air is a punchy record, as affective as it is economical. (It also doesn't hurt that In Evening Air boasts some of the best album artwork of the year.) Musically, Herring & co. demonstrate plenty of range (from the angsty "Tin Man" to the hopeful, introspective "Swept Inside"), and the emotional drive that sustains this album (which rests heavily on Herring's vocal maneuvers and the chugging basslines) never feels forced or contrived.
"Tin Man"
6. Deerhunter - Halcyon Digest (4AD)
2008's Microcastle seemed like a big leap for Deerhunter (a leap that ended up being my favourite of the year); on Halcyon Digest, the band's feet are firmly planted. The ambient diversions and transitions have all but disappeared. Instead, we get a more diverse display of Deerhunter's best qualities. At times it's a pretty heavy record: mortality, aging, and transcendence are, as usual, heavily mined themes. Bradford Cox still seems preoccupied with obscure stories of religious affectation ("Revival" and "Helicopter"), while secondary songwriter Lockett Pundt aims for arena-rock with "Desire Lines." Cox & co. have yet to disappoint with their songwriting, but it's the stylistic moves and the instrumental additions (like the wicked saxophone solo on "Coronado") that make Halcyon Digest a great record.
"Desire Lines"
5. Beach House - Teen Dream (Sub Pop)
Sometimes its a good thing that music puts you to sleep. On Teen Dream, Victoria Legrand and Alex Scally practically pull open the covers and crawl into bed with you. When this album leaked early last spring, I made sure to keep it circulating through my stereo. Nearly every song could be a single and nearly every song could make for a great cover by a children's choir (please do yourself a favour and check out "Zebra," sung by the P22 Chorus). No record this year was as soft around the edges, as warm or as comforting. Teen dreams make for the best kind of nostalgia; Beach House present them with all of emotion and none of the regret.
"Norway"
4. The National - High Violet (4AD)
I like to imagine that The National's frontman Matt Beringer is the Don Draper of the indie rock world. It works on a few levels. Both dudes manage to embody a sadness that's not only believable, but attractive; they're both solitary figures with family problems (see, for example, the heart-wrenching "Lemonworld") and neither one is shy about his dependence on certain substances to make it through the day (and night). But the parallel breaks down just as easily. Beringer comes by his confessions honestly. Not only that, he's a sad dude you can actually relate to. I've given up wondering whether High Violet improves on 2007's Boxer, or even 2005's underrated Alligator. It may take less time to warm up to the National's new material than it used to be, but songs like "Anyone's Ghost," "Bloodbuzz Ohio," and the unbelievably epic "England," have serious staying power. And how can you not love I guy who confesses, "I was afraid I'd eat your brains"? I want to see this song ("Conversation 16") on The Walking Dead. I love albums that finish strong. High Violet ends as strongly as it begins. (Read my initial review.)
"England"
3. Menomena - Mines (Barsuk)
No one sounds quite like Menomena; but somehow Menomena manage to sound like almost everyone. Paradox! Well, it might be if I didn't have qualify it so much. But the point still stands. Menomena dwell in contradiction, and it appears they're quite suited for it. Brent Knopf's slight vocals appear pinned against massive walls of sound, while the rich baritones of Danny Seim and Justin Harris are just as often laid bare. If this is music for the end of the world, why do these guys insist fighting the forces of darkness with the weapon's of a bygone era? Why do they keep singing about religion when it's just as dead as everything else? Those familiar tropes keep popping up, and just as often, Menomena go for boldly sentimental choruses, with equal parts squealing guitar rawk and booming choral chant. With three brilliant multi-instrumentalist songwriters working together, Menomena's music is always more than the sum of its parts, and the songs on Mines move around so much you never know quite where you'll end up. (Read my initial review.)
"Lunchmeat"
2. Balmorhea - Constellations (Western Vinyl)
Thank God for this album. For most of the semester it was the only music I could study to. But classifying it as "study music" sells it short. Constellations is an achingly beautiful hybrid of southern folk and classical arrangements; imagine a cross between dust-bowl sounds of Gillian Welch and the careful precision of the French pianist, Debussy. It's the only instrumental album on my list, but the fourth album by this band from Austin, Texas seemed like a special discovery this past year and I'm grateful for the composure it offered during the long autumn months. There's nothing immediately jawdropping here; instead Balmorhea strive for slow-building understatement while staying true to their southern beginnings. Perhaps this strange fusion explains why these carefully arranged Constellations sound so warm and inviting.
"Bowspirit"
1. Women - Public Strain (Flemish Eye / Jagjaguwar)
Women had a mixed year. After releasing their second album to critical acclaim, the band made headlines for self-destructing on stage at show in Victoria, BC. I had tickets for their show in Edmonton the following weekend. I've never had to return tickets and I never expected that I'd have to do so because a band broke up the week before I was supposed to see them. By this point in November, I knew Public Strain was my favourite album of the year. It may be odd to say for an album this noise-y, but this was my go-to album when I felt stressed out during the past semester. Like the snow storm featured on their album cover (totally surrounding its victims, making for poor visibility), Women smother their surf-guitar pop in dissonant feedback. That might have been too obvious, but I'd add that Women's musical blizzard is the kind of storm you take comfort in. At times Public Strain feels like the musical equivalent of wearing beer-goggles: disorienting, disconcerting, and kind of fun. Like the best experimental art-rockers (seriously, Sonic Youth, just quit and pass the torch to these guys; the same goes for No Age), Women make you work for those melodies; there's some digging to do here, but when you find that golden chord it feels new every time. I'm looking forward to their reunion tour. (Read my initial review.)
Despite their orderly appearance, lists are never finished. There's always far too much to choose from, and timing is everything. Something could be on my computer since February and suddenly appear partway through November like some divine revelation. This year I have to make concessions to Vampire Weekend's Contra, Liars' Sisterworld, Sufjan Stevens' Age of Adz, as well as excellent albums by Shearwater, Ariel Pink's Haunted Graffiti, Lower Dens, and Marnie Stern (to name a few): these records could have easily ended up on this list had I given them the time they deserved. What follows is a list of albums that I couldn't imagine going through my last twelve months without.
20. Kanye West - My Beautiful Dark Twisted Fantasy (Def Jam)
It seems appropriate here to begin with a bit of an apology. (Before this record dropped, Yeezy was making a lot of them, but now that MBDTF has already achieved "classic" status, it seems unlikely that we'll be seeing a humble Ye any time soon.) How could I place this at the very bottom of my list, considering its mass appeal, its artistic sophistication, flawless production, etc? I've been blathering about it for the past week, making sure that "Monster" (and Nicki Minaj!) makes its rounds. If this was a list of songs, rather than albums, I'm sure it'd look quite different. Beginning with "Power," you're not likely to find a better three track sequence anywhere. So, Yeezy, while I must agree with most everyone else about the all-around awesomeness of your record (even your incredible list of collaborators seem aware that they're involved in a project bigger than their collective egos), I must also confess that I don't really know how to place it. Congratulations.
A word of warning: I've posted the most explicit song on the album. Headphones up!
19. Baths - Cerulean (Anticon)
On Cerulean, Will Wiesenfeld (aka Baths) switches easily between the sentimental ("Hall," for example) and bedroom-spun chill-wave ("Animal"), electronic and otherwise. In all cases the music is immediate and undeniable. Baths' occasionally freakish mix of vocal layers brings to mind the grating sounds of Passion Pit, but its Wiesenfeld's nack for sunny jams that makes Cerulean worthwhile.
18. Crystal Castles - Crystal Castles (Last Gang)
To be honest, I don't much care for Crystal Castles. But after hearing "Empathy" and "Year of Silence" I was more or less hooked. More of a pop record than their first self-titled effort, Crystal Castles (II) offers plenty of accessible songs without sacrificing the group's signature style. Their Atari-inspired electronica still features harsh moments of screaming and distortion, but the warmth of songs like "Celestia" and "Baptism" showoff a group that's willing to adapt.
17. Villagers - Becoming a Jackal (Domino)
Irish folk troubadour Connor O'Brien (aka Villagers) was a finalist for this year's Mercury Prize. This being his debut, there's little doubt he'll have another go at the award. Becoming a Jackal is unpretentious and sincere, if at times a bit heavy-handed. Regardless of his weak spots, however, the guy is incredibly likeable. Then again, Becoming a Jackal finally works because O'Brien allows his material to take the lead. I think it's time for Bright Eyes to step aside: there's a new Connor in town. Snap!
16. These New Puritans - Hidden (Domino)
On their third album, These New Puritans blend together a mix of influences (and samples) from classical music, trip-hop, garage, etc. The result is music that feels confrontational to its very core. In the spirit of post-punk outfits like The Fall and The Wire, TNP put large emphasis on cut and paste electronic samples and angular rhythmic shifts. I like to think of most of these tracks as perverse Christmas carols.
15. Tara Jane O'Neil - A Ways Away (K Records)
A Ways Away is comprised of 36 minutes of introspective haze. How could it not be good? Even if you don't share my fondness for reverb, you won't be able to deny O'Neil's crystal clear vocals and her songwriting ability. Another quickly forgotten album from an incredibly gifted artist, A Ways Away came out early in the year and I was instantly absorbed by it. It's been impossible to shake ever since.
14. Gorillaz - Plastic Beach (Virgin)
Damon Albarn is a genius. This, dear reader, is not up for debate. So what if he hates Glee? Most reviews of this record don't even bother to mention Albarn's incredible work with Blur over the last two decades. With every release Gorillaz seem to up their game. "Stylo" was an interesting first single. I, for one, was expecting another "Feel Good Inc.," but instead we got an undanceable car chase sequence featuring Bobby Womack and Mos Def. Among the many other guest spots on Plastic Beach (Snoop Dogg, Ruff Grys, De La Soul, to name a few), it was Lou Reed's bone-chilling contribution to "Some Kind of Nature" that I found most compelling. Creepy? Sure. Catchy? Always.
13. Warpaint - The Fool (Rough Trade)
I'm always happy when I discover a nineties throwback. Enter Warpaint. Even The Fool'spacing seems like it belongs to a bygone era. Stylistically, this was a near favourite of the year. The bass lines dance, the guitars rarely veer away from tremolo, and the vocal harmonies are delicately balanced. Shame about that hideous album cover.
12. Wild Nothing - Gemini (Captured Tracks)
It's hard to believe that Gemini is the product of one guy. Clearly a gifted songwriter, Jack Tatum mines the 80s for inspiration and finds it in the work of dreampop legends like Slowdive, the Cure, and the Cocteau Twins. Heavy on the reverb, lazy with the vocals, Gemini allowed me to pretend that summer didn't end when the temperature dropped. "Summer Holiday," where were you when I needed you?
11. Surfer Blood - Astro Coast (Kanine)
As the boys in Surfer Blood well know, on a ten song album, there's no room for filler, nor is there any reason to hold back. Along with the Morning Benders' Big Echo, this was one of the best (and most straightforward) indie rock records of the year. No flashy tricks; just power-pop with big hooks and radio-ready choruses that'll channel your inner teenager. Check out "Anchorage" (below); you'll know what I mean.
Women's 2008 self-titled debut staged a battle between a discomforting wash of static/fuzz/feedback and the sort of pop gems most indie artists can only dream about. Women was a brilliant record, the kind that reaffirmed one's faith in indie rock and other outmoded genres. Here was a new paradigm, here was a model to follow; and it didn't hurt that it was produced by King Midas himself (aka Chad VanGaalen).
Women's sophomore album, Public Strain, carries a lot of the same momentum that made Women so successful. For one thing, Chad's back, and at this point I don't think Women's albums would be near as good without him at the helm. But the apparent conflict between noise and melody is much more understated on Public Strain; by consequence, the songs seem more organic and the result is a more cohesive album. Women remains great for those short punches of crystaline Beach Boys melodies set against the album's hostile background. Those beautiful moments still break through Public Strain (they're scattered through a song like "Eyesore," see below), but this time those moments remain an integral part of the album's chaos. I don't want to call it a better album, but I will say that Public Strain is winning me over more quickly than Women's debut. Perhaps what's so great about this album is that there is no "Black Rice" for everyone to hide behind. On Public Strain, Womenfeel more unforgiving, and I think they're better for it.
I'd be lying if I said I had a great summer. There were certainly some great moments, but my departure from Winnipeg cast a large shadow over much of it. So, here I am in a new city with a new vocation and a familiar climate. I'm still working my way through some difficult transitions, but what I've been dreading most is now behind me. And the stage has been set for a whole new kind of anxiety.
Here, in typically cryptic fashion, is my summer narrated through seven noteworthy tracks that I've been listening to over past few months. The list could have been much longer, but you know how it goes.
1. The theme song for every cool guy who struts his stuff on a street where nobody notices: Panda Bear - Slow Motion, from Tomboy 7" (Paw Tracks)
2. When you're so chill that the intense heat is the least of your worries, and the beach remains nothing more than a refreshing idea: Gorillaz - Rhinestone Eyes, from Plastic Beach (EMI)
3. For the inevitable return to suburbia and all the strange feelings (nostalgia, self-consciousness, anxiety, and isolation) that follow: Arcade Fire - Rococco, from The Suburbs (Merge)
4. A lackadaisical, nostalgic embrace of that which is out of your control: Wild Nothing - Chinatown, from Gemini (Captured Tracks)
5. More of the same via surf-rock; this time with a pseudo-romantic twist : Best Coast - Boyfriend, from Crazy for You (Mexican Summer)
6. Here, finally, is some motivation; that boost you thought you needed is really an invitation to get over yourself: The Roots - Right On (ft. Joanna Newsom, STS), from How I Got Over (Mercury)
7. Through the confusion, the false stops and starts, and all the static of interfering frequencies, something emerges -- not quite what you expected but the beauty is there if you let yourself see it: Baths - Hall, from Cerulean (Anticon)
Before that inevitable backlash begins and latest album from Arcade Fire gets written off as another mainstream indulgence, it should be said (indeed, it has already been said dozens of times) that The Suburbs is a good, if not great, album. A bit bloated? Sure. Heavy-handed? Of course! But at least Arcade Fire are willing to take those risks, and here, for better or worse, they do so without flinching. At least we can all agree on the obvious fact (obvious to me, at least) that the new Arcade Fire album isn't as good as Funeral, but is a good deal better than their overwrought sophomore album, Neon Bible.
I'll be the first to admit I was a disappointed when I heard that the new Arcade Fire album would be a concept album about the suburbs. The idea seems anachronistic and out of touch. Not only that, it's terribly obvious trope that's been done to death! But, then again, maybe that's the point.
The Suburbs is easily Arcade Fire's most nostalgic record and they're clearly aware of it. A good deal of the songs seem like they've been lifted from the 80s, particularly album's best moment (and only real idiosyncrasy -- The Suburbs is almost too cohesive), "Sprawl II (Mountains Beyond Mountains)," an infectiously danceable anthem that sounds like Blondie beating up the Talking Heads. Another ear-worm, the dark and dizzying "Rococo" berates the "modern kids" who "seem so wild but . . . are so tame," and transforms what begins as an ominous chord progression into something that sounds almost liberating.
Some songs feel unnecessary, especially when you consider the album's length (16 songs, 64 minutes). But you can't blame the band for falling back on bombast. Nor can you really blame them for a self-serious exploration of nostalgia that at times feeds on the recesses of teen angst. This is what Arcade Fire do. This is why we like them. They don't demand much from their listeners, but somehow they seem terribly essential to the current musical landscape.
"Sometimes I can't believe it, I'm moving past the feeling," Win Butler sings on the title track (which opens and closes the album). Idea's have never been the band's strong suit, and lyrically Butler has always gone for the jugular. In the end, a grandiose feeling is all Arcade Fire have ever been able to conjure. And this isn't necessarily a bad thing; but perhaps this is why, for them, the Suburbs seem so inevitable.
I was recently asked for my favourites of the year so far. If you're like me, being asked a question like this is easy bait. We're only just past the half-way point and it didn't take long for me to ramble off a smattering of albums I've really been enjoying. Unsurprisingly, I've already written about most of them on this blog.
Balmorhea - Constellations A strange fusion of familiar sounds, this group of musicians from Texas have produced a stunning album of classically minded instrumental folk-music that is profoundly affective and moving. There's just something about the combination of a banjo, a small orchestra and a kickdrum that ties my stomach up in knots. Constellations may end up being my album of the year. See my review. Menomena - Mines I've written of this album extensively. It's not even officially out yet, but already I've listened to and thought about Mines more than anything else released this year. It helps to have a few pals that are as captivated by Menomena's way with composition and melody. It also might have helped that I've been reading Dante's Divine Comedy ("Killemall") and Moby Dick ("BOTE"). See my reviews. The National - High Violet The National came alive for me with High Violet. Sure, I was a fan of Boxer and Alligator. But something about Matt Beringer's melancholy seems more realized on the new album. I think it's their best album and you'll be hard-pressed to find a better executed rock record this year (unless it's by Menomena, but, then again, I've got another five months to back up that claim). It probably helped that I had become a huge fan of Mad Men in the mean time. See my review. Joanna Newsom - Have One On Me Could this be Newsom's most straight-forward album? It's certainly her most consistent. And when you consider that it's a triple album (!), it's hard not to call it her best. Lyrically, she's still full of wit and an attention to diction that's rarely found in most contemporary songwriters. I love hearing moments borrowed from Joni Mitchell, as well as great accompaniment. Newsom has done something excessive and audacious (arguably moreso than with Ys.) and has once again miraculously avoided falling flat on her face. Lord knows, that's what anyone else would have done.
The above are the cream of the crop, in my opinion. Below is my long list, in no particular order.
Surfer Blood - Astro Coast These New Puritans - Hidden Toro Y Moi - Causers of This Crystal Castles - II Frog Eyes - Paul's Tomb: A Triumph Future Islands - In Evening Air Gorillaz - Plastic Beach Beach House - Teen Dream Tara Jane O'Neill - A Ways Away The Morning Benders - Big Echo Caribou - Swim Ariel Pink - Ariel Pink's Haunted Graffitti Owen Pallett - Heartland Shearwater - The Golden Archipelago
It's nearly impossible for me to listen to Tame Impala without thinking of the Beatles and getting a bit nostalgic about classic rock. On Innerspeaker, there's no shortage of psychedelic jams; Zeppelin, Hendrix are all invoked here. And surely some of the credit for this big "classic" sound is due to Flaming Lips producer David Fridmann. Remember that supposed garage rock revival in the early 00s? Tame Impala's high octane riffs and melodic vocals wouldn't have sounded out of place during this retro revival, but their Aussie rivals (i.e., the Vines) would have fled for the hills. 
