As we settle into February, it's more than obvious (and overdue) to recognize the new year. December was a prodigous whirlwind of creative energy for me and I tried to carry as much of that over to January as possible. The result: numerous short pieces focusing on a handful of albums from 2011 and a few (much) longer pieces on music that holds great value to me as an artist, consumer and fan of music. It was a great opportunity for me to stretch out as a writer and test my personal limits. Hopefully, this revealed more efficient methods in which to deliver content as well as shortcomings that can be addressed in order to make me a stronger writer all around.
Thank you to everyone who has stopped by to read. I hope you found something here that touched your hearts, minds and/or memories. It's a crazy thing to realize that someone out there is receiving what you thought were just random messages, bottled away for distant shores. But, like I said, thank you for reading. It's nice to be validated on occasion.
December is always a cross between self congratulations, holiday marketing and hopeless nostalgia when it comes to creative industries. We read all the grandiose best of lists, which are about as subjective as subjective can be, and buy large for Christmas. Screw that noise. Very little comes out in January because most of the good stuff was released in December and even then, it's not like we throw 2011's baby out with the bathwater. With that in mind, I present my bitchin' mixtape for 2011. Because new stuff (Craig Finn, Ingrid Michaelson and who is this Lana Del Rey person?) is starting to trickle in and because there are a few things I'm only now managing to wrap my head around (the Mighty Mighty Bosstones, the Roots).
Because really. You were still listening to the best that last year had to offer anyways.
So enjoy.
"The Devil is in the Beats" by the Chemical Brothers- My favorite piece of audio acid from the Chemical Brothers' warped score to Hanna, this is the sound of that soundtrack as heard through the looking glass. Bouncy, catchy and weird, this song is an amalgamation of everything I loved about the soundtrack.
"Gucci Gucci" by Kreayshawn- Undoubtedly the strangest thing I've heard in the last year, this little slice of hip hop weirdness is as infectious and memorable as it is offputting. This has me concerned for and excited about the state of hip hop in equal measures.
"Milkman" by EMA- Industrially poppish, this song is probably the most accessible piece from EMA's Past Life Martyred Saints. Incredibly naive but fearless, it was equal parts Pink Floyd, Nine Inch Nails and the Cureit and probably the most compelling thing I heard all year.
"Pumped Up Kicks" by Foster the People- Combining Danger Mouse's lo-fi Gorillaz production sense with the whistles of Peter Bjorn and John? Genius! Pathologically violent and adolescent lyrics? By the time people notice, they'll already be hooked. And am I the only suddenly nostalgic for Reeboks?
"Sail" by AWOLNation- I have no idea what this song is actually about, but it's paranoid, dark and funky enough that I don't mind. It's incredible what a laptop and a little adderall can do, yes?
"Immigrant Song" by Trent Reznor & Atticus Ross, featuring Karen 0- Opening up David Fincher's Girl with the Dragon Tattoo, this Led Zeppelin classic seemed to be a bit *points to nose*. But Fincher, returning to his roots as a video director, makes such a thrilling opening that the Stockholme Syndrome is instantaneous.
"Breaking Down" by Florence + the Machine- Defying sophomoritis, Ceremonials rocked the face off its predecessor despite no obvious "Dog Days"like single. This song was equipped with just the right amount of drums, piano and a lilting melody from Florence that evokes the most graceful and powerful of Siouxsie Sioux comparisons.
"Cold Comfort Flowers" by Fountains of Wayne- There's always been a whistful side to Fountains of Wayne, but Sky Full of Holes placed it front and center. That doesn't mean they skimped on the psychedelic harmonies or singalong melodies, though, and the intro to this song alone will be stuck in your head for weeks to come.
"Uberlin" by R.E.M.- There's an innate tension to this song that suggests a narrator hiding behind the facade of routine. There's also a sense of impending finality as the song's transcendent choruses take flight. A change is taking place, at the very least internally, and only the listener bears witness. This makes me miss R.E.M. that much more and they've barely left.
"Introdiction" by Scroobius Pip- Scroobius Pip returns without Dan LeSac and boy, does he sound grouchy. Produced by NIN's Danny Lohner with drums by Travis Barker and backing vocals by Milla Jovovich, this is the most compelling rhyme Pip has dropped since "Thou Shalt Always Kill."
"Give Up the Ghost" by Radiohead- Hidden behind an unassailable collection of digital audio madness, Radiohead starts to deliver actual songs halfway through King of Limbs. This haunted lullabye is the prettiest song they've made in years and well worth the wait to hear Thom Yorke actually sing a melody.
"The Beginning of the End" by the Twilight Singers- Nobody makes music more cinematic than Greg Dulli (in any of his groups) and this is no exception. Explosive, longing and remorseful, Dulli opens the song big before settling into hushed crooning and back again. This is one last blast before the curtain call and it's everything I love about this band.
"Your Past Life is a Blast" by Okkervil River- Okkervil River, typical of the weird that is Austin, has always been too literate to be easily defined. They're not loud enough, fast enough, catchy enough, country enough or anything enough to be anything but Okkervil River. That being said, I Am Very Far caught me off guard- not just by how good it was but by it's sheer existence. And this song stands out as a particular sentimal favorite for me.
"Map of Tasmania" by Amanda Palmer featuring Young Punx- Yes. It is a song about... well, pubes. But it also happens to be a helluva lotta fun. So just let it all hang out,... as it were.
"Under Cover of Darkness" by the Strokes- While Angles lacked the cohesion of their last three albums, this song was a pretty damn good reminder of why we all loved them in the first place. With everyone in their right place, this was the Strokes proper- Julian Casablancas' crooning, Albert Hammond's inimitable rhythm style and a searing lead from Nick Valensi. Just don't make us wait so long for number five, guys.
"Open and Honest" by the Mighty Mighty Bosstones- It's amazing what the Bosstones can do when they put their minds to it. This is from their third release (Magic of Youth) since they reconvened a few years ago and it's got all the Mighty Mighty hallmarks. From Dicky Barrett's cheery Henry Rollins via Joe Strummer everyman vibe to the reverb drenched guitar skank, this is magic indeed.
"This is Home" by Blink 182- From the triumphant return of Neighborhoods, this song is a perfect evocation of youth in all it's follies. Unfettered, fearless and hungry, this song is a great reminder about what it feels like to be young and free in a dangerous world.
"Rolling in the Deep" by Adele- Sure, Adele's got a powerhouse of a voice but it's all the old school stomping going on in the background that's really got me excited. The quarter note piano hammers and the floor toms are all brilliant but it's the handclaps that sealed the deal for me.
"I Walk the Line" by Chris Isaak- Chris Isaak covers all of the Sun Studios greats with Beyond the Sun but it takes a certain gravitas to take on the Man in Black. And here, Isaak delivers in full and then some. I mean, really, it's Chris Isaak covering Johnny Cash. What the hell else do you need?
"Norteno Lights" by Mariachi El Bronx- Most of Mariachi El Bronx (II) comes off like the soundtrack to a Robert Rodriguez movie (which is great if it's your cup of tea). This little love song, on the other hand, is everything that you love or hate about mariachi: that worldly polka beat with a frenetic accordion and horns. I love it to death and want nothing more than to turn it up to full blast at three in the morning, thus pissing off the rest of the neighborhood.
"All the Sand in the Sea" by Devotchka- This is the sound of Lorca scored by Ennio Morricone and spiked with red wine. That's not the first time I've said that and it won't be the last. But I certainly will never say it better. In a perfect world, this would be a starmaking song for this little Denver band.
"Down All the Days" by U2- I know what it sounds like (and you will too if you get the chance to hear this song). But what this song really is is the perfect summation of U2's gravelly throated desperation and exuberant sonic ambition amidst the studio sessions that made Achtung Baby. Pound for pound, the band has never sounded better than at this point in time.
No comments:
Post a Comment