Showing posts with label Year in Review. Show all posts
Showing posts with label Year in Review. Show all posts

Sunday, January 1, 2012

My Favorite Albums Of 2011

The new year is here and I take a moment to finally look back at my favorite albums of 2011. This list is more comprehensive, and slightly revised, from the one published on Stereo Subversion a couple weeks ago. Clicking on the artist/title links will take you to a sample video from that album. So if there is something you are unfamiliar with, I highly recommend checking out the video. There are some hidden gems on my list that definitely deserve more recognition. Here is my top 25, and let's start at the top and go down...


Can anyone else make a album about World War II that is even remotely interesting? Only PJ. In the year when America was reminded of its own era of terror in marking the 10th anniversary of 9/11, PJ Harvey delivered a look at England's moment of pure panic. In a career filled with remarkable albums, this ranks among the top. 


The former Butterfly, Ishmael Buttler, returned to the hip-hop spotlight with a groundbreaking album that—like his former Digable Planets persona— expanded the boundaries of black music. 


Doom folkstress Chelsea Wolfe’s sophomore album was more polished than her debut (released late 2010), but still retained the grit and frightfulness that makes her one of the most exciting new artists of the last year. 


Tell Me was a giant step forward for Ms. Mayfield. No longer just playing the sullen girl, her songwriting has taken new avenues. Backed up by Dan Auerbach’s most pop friendly production, the two remain an impressive collaboration. 


The biggest surprise was this dark folk offering that is possibly the most lusciously gorgeous album of the year from beginning to end. There is not a single moment on here that doesn’t come off as brilliant. 


Of all the indie bands of the past year, Bon Iver would be the last I would expect to have some sort of a commercial/pop culture crossover. But they did. And I can’t argue when it’s with an album this elegant.


A late addition to my favorites list, The Roots delivered a grand opus of an album. Personally, this ended a question I had been asking for a while: With close to 20 years under their belt, have the Roots become the greatest group in hip-hop history? Easily the answer is now YES!


It’s odd how an Okkervil River album that is not meant to be a concept album (when most of them are) can still come off sounding like a concept album. It begins with a death, ends with a waking, and in between explores a dreamland of myths and self-realization. 


It was pretty much expected that following the divorce of Ivan and Kelly this would be a breakup album. It was actually heavier and sadder than that; a breakup album that doesn’t even directly address the breakup. Indeed it was a complicated dance move. 


Jenn and Andy have been on the fringe of an indie rock breakthrough since their first album. Their third LP finally achieved that for them and gave us the spectacular title-song, which is one of the best tracks of the year. 

Saturday, January 1, 2011

Favorite Albums of 2010

My 2011 starts by looking back at my favorite albums of 2010. Of course everyone and their mama has already posted one of these lists, but for me it's always a daunting task. There so many factors to consider, and even more releases to take into consideration. We are seeing major tends as the music industry continues to change and adapt to the internet's influence. Foremost the amount of music that is being released these days is ridiculous. Seems like every other week there is a new buzz band the blogs are hyping up. Then there is all that great music that never gets covered at all. Looking at the success of one Mr. Kanye West across the indie blogs shows how the indie taste is expanding and the chances of those buzz trends (and bands) surviving past a year's time looks bleak. Seemingly anyone with the drive and talent can record an album, get it out through the web and end up on one of these lists at the end of the year. But longevity is something that will take much more than just a cool tag like "chillwave." In essence no matter how may rookies you have shooting for that spotlight, there will always be veterans that continue to outshine. It was an awesome year in music nonetheless. Here were my favorites, starting at the top. [clicking on the album link will send you to a choice video]...



The best idea for an album in 2010 came from the past, and not in a "let's do a retro 80's dance album" type way. It is a notion that we all think about-- what if we could send a message back to our childhood. For this Win Bulter and company took a ride through the suburbs and saw a seemingly simpler life, but one that hides secrets around every corner. Sometimes what happens behind those white picket fences is more fucked up than anything that could ever happen in the city. Musically Arcade Fire continues that wall of sound they're known for, which itself can be a little retro dancey at times. At the end they continue to craft perfectly sequenced and cohesive albums.



Beck helps French actress Charlotte Gainsbourg channel the emotion of her slight brain injury and recent award-winning portrayal of a insane grievous wife in the film Antichrist. The result is ghostly and funky. A great combination.




Mr. West is truly hip-hop’s first official “Rock Star.” MBDTF displays the reason why he is the most loved and hated man in music; someone who talks shit and has the skill to back it up.



On their first album of the post-Bush era, The Roots ditch the recession driven rugged mentality of their last two albums for a more introspective/soul searching outing.



The National packs High Violet with constant momentum, as each song feels like a race to survive against insurmountable struggle. Read my further write up on SSv's 2010: Top 10 Albums.



Four gorgeous females stirring up psychedelic rock that sounds as if it’s sung from the hereafter. Like something straight from my sweetest dream… or drug induced nightmare.



Kate Nash breaks the Lily Allen-clone mold by producing a solid sophomore album of genre-bending, schizophrenic journal entries. While her contemporaries fail to deliver, Nash begins to evolve as an artist.



Elson gets a hand from her hubby to become a guitar slinging version of Nancy Sinatra. A little bit country and a little bit rock & roll, Elson proved that she was more than just Jack White's supermodel wife.



The front woman for New Jersey basement band Screaming Females, Marisa Paternoster, delivered a solo gem of punk power ballads that unfortunately went unnoticed due to the release of the band’s own breakout album.



Van Etten is another pretty girl with a guitar. What makes her stand out is the direct honesty her songs come from. Listen to the heart-bleeding "A Crime" or the erie "DsharpG" and understand what it is to be a songwriter.



Beach House vocalist Victoria LeGrand finally hits her stride on this the band's third album. Her harmonies and lyrics have been elevated to the next level, while the production surrounds them with a lush (and yes, dreamy) atmosphere.



The Austin band delivers another instrumental tour de force. This nautical themed piece takes us on a beautiful voyage. Read my full review on Stereo Subversion.



Composer Sarah Kirkland Snider casts My Brightest Diamond’s Shara Worden as the title character in her gothic classical song sequence. This collaboration is as epic as Homer's source material.


The most ambitious project of the year finds Mitchell directing a full ensemble, including Justin Vernon of Bon Iver and Ani Difranco, in this folk opera modernizing the Greek myth of Orpheus and Eurydice.


15. Local Natives - Gorilla Manor
The fellas of Local Natives look like the type who were beaten up everyday in high school. So why not form a folk-rock band and record a debut album that blows away most of the 2010 rookie class. This album is all about the drums and and harmonies. Serious drums and harmonies.


And the rest, In alphabetical order...



Monday, December 28, 2009

Favorite Albums of 2009


Though it is no secret that writing for ye ol' Blog From Mars has taken backseat to my picking up the creative writer's hat again, I still felt that I was important to post the traditional Favorite Albums of 2009 list. While you will not see some of the standards that are appearing on everyone's lists, I am surprised myself at how much my musical tastes are confirming to the typical indie-blogger. But there are some particulars below that may have been overlooked by some, yet in my eyes are essentials. For anyone who knows me on a personal level there should be no surprise at what my top choice is.

Furthermore this will bring the year to a close at Trinity Stardust. Now even I am wondering what the future of this blog will be. As I immerse myself back into the literary world, my interest in writing about music is waning. But my mood changes erratically on the subject- so who knows what I will feel as the new year dawns upon us.

For now take a look at my favorite albums of the past year, starting with #1...



The Quin sisters revive the post-punk revival. With Chris Walla helming the boards again I was scared that we would get a clone of The Con. Thankfully the duo continues their evolution as musicians and songwriters, delivering something brand new. It's new wave, it's punk, it's pop, and barely indie. Plain and simple... I love this band.



The xx are the biggest out-of-nowhere surprise of the year. Technically they’re from London, which is significant in that this album is very reminiscent of the mid-90’s trip-hop sound that came out of neighboring Bristol, England. Not that any of The xx members are old enough to recall that era, but it seems that they learned enough from early Tricky and Portishead to give us something that is equally as sensual and refreshing.



Spencer Krug’s “other band” has gained so much recognition that you kind of forget that this is supposed to be a side project. With Krug’s bandmates taking a bigger roll in the album, Dragonslayer takes the Sunset Rubdown epic sound and explodes it to an even grander scale. This band is slowly joining the ranks of indie music’s heavy hitters.



Why is this album so good? Because what we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal. See my blurb on SSv's Top Albums of 2009 list.



Karen-O was born to make this album. Her wild New York club kid personality seemed poised to make an synth-dance album. It's Blitz! delivered some of the most exciting tunes of the year, "Zero" and "Heads Will Roll."



Mos Def surpassed everyone’s expectations by going back to what made him an underground legend—Lyrics, Lyrics, Lyrics. Not to mention some spectacular beats provided by Madlib and Mr. Flash. Though Mos really never went anywhere, it’s good to have him back in hip-hop.




Ever wonder what it would feel and/or sound like to have instruments thrown at your head for 30 mins straight? Well, no need to keep wondering. Tentacles is a barrage of noise that hits at all the right places.



Marissa does very little to make beautiful music. Haunting vocals and guitars turn desert melodies into lush stories. But this time up she added some spice. See my full review on Stereo Subversion.



It’s been a long time since I’ve liked an R&B album this much. This is the pure definition of 'smooth.' While his afro may be gone, Maxwell's mojo is jedi strong.




Natasha Khan is a trippy chick, and now she has an album that fully embodies her trippines. Two Suns sports a egocentric alter personality and love song to Daniel LaRusso (aka The Katrate Kid). What more does one need in a drug induced hallucination?



Jack White and Allison Mosshart… I couldn’t dream up a better combination. It's like these two are kindred spirits of ancient Greek gods incarnate on earth with the sole purpose of making the powers of rock cower at their feet. Read my blurb in SSv's Internal Debate.




An album that I wanted to hate turned out to be one that I couldn’t deny loving. Veckatimest lived up to all the buzz build up, and over-hype became due recognition. Grizzly Bear’s attempt to be more accessible churned out an album that I can’t see anyone not liking and gave us the best song of the year in “Two Weeks.” Hell, even Jay-Z praises this album. It’s Hova Approved!




Here’s another side project that is starting to eclipse the primary band. Black Mountain members Amber Webber and Joshua Wells break from the psychedelic rock to bring you some psychedelic alt-country/synth/gothic type stuff. In other words, this album is way cooler than any of those lame ones you put on your 'best of' list.




This year’s UK 'It Girl' is Florence Welsh, and deserving so. Florence and her Machine really pack a punch. It's like getting kissed with a fist.




Introspective and dark is the best way to describe the solo debut from Karin Dreijer Andersson. It's nothing like her former band The Knife. Meant more to reflect on meaning than to make you dance; this is meditation music.


And the rest, In alphabetical order...


Wednesday, December 9, 2009

SSv's Top 11 Albums of 2009



I'm a little late in posting about this, but...

The time has come for all those ‘Best Albums of 2009’ lists and all the disagreements that come with them. As for other music webzines, I’m not sure of their process, but for Stereo Subversion it is a collaborative effort. The staff writers submitted their abbreviated list, our editor tabulated the votes, and a Best of 2009 list was generated. I was fully prepared for the results. Given the tends of the indie blogosphere I pretty much figured that our collaborative list would include some albums/bands that I really don’t care for— most particular SSv’s #1 and #2 albums.


I personally am not a fan of Animal Collective. I do see the appeal of that band; there really isn’t anyone like them, and “My Girls” is pretty damn good. But other than that song, I found MMP to be nothing more than ambient annoyance. More than that, one of the albums which I considered the most ridiculous sounding of the year turned up at #1 on SSv's list. Go figure.


For the article I did chime in regarding one band on the list, The Pains of Being Pure at Heart. Follow the link.. see what was #1, read my little Pains blurb, check out the other albums:


Stereo Subversion also had some other quality end of year/decade coverage in the last couple weeks: like the Top Folk Albums, the Top Hip-hop Albums, and of course a look at the definitive band of the decade Radiohead.

Be on the look out for my own personal 2009 Favorite Albums list coming up on this blog before the year is out. Anyone who knows me could pretty much guess at least what my number one is. But there where some artists that surprised me this year. So keep an eye out.

Sunday, December 28, 2008

Favorite Albums of 2008

So I'm officially sick of "Best Albums of 2008" lists. I think I've read one to many to care about them anymore at this point. A couple weeks ago I posted about Stereo Subversion unveiling their list. But even before that, list were rolling in from every magazine and blog site across the interweb. There's Spin, Rolling Stone, Pitchfork, StereoGum, and Prefix among many others. Even my fellow Austin bloggers got into the act with ultra8201, Austin Town Hall, and Cannibal Cheerleader all offering up their own opinions as to what were the best releases of the year. And what is to be learned by looking at all these list? Well for one, it's pretty apparent that most critics and bloggers listen to all the same music. You'll see Fleet Foxes, TV on the Radio, Deerhunter, Crystal Castles, and (for reasons that are totally lost on me) Lil Wayne. Cream of the crop or products of the great hype machine?

Either way, because it's customary to do so, I give you my favorite albums of 2008. And I'm stressing the word favorite as these are the albums that through the year found permanent places in my personal heavy rotation. Beginning with #1...

The combination of Beck and Danger Mouse is a match made in heaven. This ranks among Beck's most lyrically revenant as he touches on everything from global warming ("Gamma Ray"), to government conspiracy ("Chemtrails"), to spirituality ("Walls"). All the while we are treated to Danger Mouse's most mesmerizing production. There was nothing not great about Modern Guilt.


It took 11 years for Porishead to follow-up their self-titled masterpiece, and they did not disappoint. Filled with everything that makes Portishead who they are, it also marked a giant step toward a more progressive sound as they explored new territory with instrumentation and music making in general. Even if they never release a forth, this album solidifies the band as one of the most important groups in modern music history.


Dan Auerbach's pint-sized protégée was a huge surprise in 2008. Her first full-length album contained more heartbreak and emotion than all the other albums on this list combined. Not since Fiona Apple's debut at 19-years-old has a young songwriter created such mature songs. Read my full review on StereoSubversion.com.


No band in 2008 were as cool as The Kills. Midnight Boom was the album these two were born to make. It was hip, stylistic, fun, and most important rockin'. Even with a electronic drum machine, this album is pure punk rock. Read my full review here.


If Sean Connery’s James Bond started an indie band and recorded an album, it would probably sound a lot like this. A bit of indie rock noir, this album could be the soundtrack to a 60's spy movie. It's like nothing else I've ever heard before and a great find in 2008.


With the economy in further turmoil and hometown Philadelphia’s crime rate rocketing to record levels, The Roots pick up where 2006’s Game Theory left off. Rising Down continues with a harder street edge, almost completely abandoning the “organic hip-hop jazz” label of their earlier days. A time will come when The Roots' latest isn't the best hip-hop album of the year; but thankfully I don't see that day coming anytime soon.


Chan Marshall once again delivers a superb collection of covers. Backed by her Dirty Delta Blues Band she created an album that was a nod to yesteryear and a leap forward for her own life. The true gems are found on the Deluxe Edition where she serenades in spanish on "Angelito's Negros" and souls-out some Hot Boyz on "I Feel" (yes, Cat Power covers Lil Wayne).


Ms. Lewis finally stands alone on an album without the assistance of Rilo Kiley or The Watson Twins. The result is a very musically diverse effort where she delivers some of the strongest material of her career. Lewis is only getting stronger with each release.


Danger Mouse produces another one of my favorites from 2008. The Black Keys deliver a funky, bluesy, and soulful album choke-full of goodness that gets better with repeated listening. The closing duet with Dan Auerbach and Jessica Lea Mayfield is outstanding.


A beginning to end high-energy album that will have you singing ooohhh's, aaahhh's, and whoa's. Punk meets doo-wop as Son & Daughters give their fullest album to date. Read my full review on StereoSubversion.com.


What can be say about this album that hasn't already been said. Probably nothing. That it even was released was in itself an accomplishment. The fact that it was actually good, a better one. Read my full review on StereoSubversion.com.


Jack White’s other band unfortunately will always be labeled as only half as exciting as The White Stripes. But even half as good as The Stripes still beats a lot of music released today. The Raconteurs are now more than just a side project. The closing track "Carolina Dreams" is one of the best of White's career and gives me the chills every time I hear it.


This album shouldn't exist. Actors are not supposed to actually succeed when they try to make the jump to music. But hollywood sweetheart Zooey Deschanel became an indie-rock darling when she joined forces with M.Ward to release their debut album which garnered tons of critical praise. How can you not smile when listening to this?


While his Chi-town partner in crime was busy fiddling around with an auto-tuner, Common enlisted the services of The Neptunes to produce his ode to early 80’s era techenotronic hip-hop (à la Afrika Bambaataa). A huge departure from his last two albums, Common does one for the party crowd and what fun it is.


Trading in his undeniable lyricist skill for a venture into audio-tuned R&B, America’s most outspoken college dropout transforms into Kanye 3000 to create his The Love Below. But putting aside the precedence, 808s & Heartbreak is able to break boundaries and be an impressive departure from traditional hip-hop. Urban music needs more creative-minded artists like Kanye West who are willing to shoot the dice on an album.


The Rest of the Best (in no particular order)