Some of the biggest moments in music history have all been defined as events– most of which in recent history existed by extension of television. Examples of course include the Beatles making their first stateside appearances, Elvis making his early controversial live performances, and so on– these were all calculated and monumental moments that altered the landscape of pop culture.
In more recent times, thanks largely to the digital evolution of both music as well as our access to music, pop culture has not only become more fragmented, but it has also become far more difficult to maintain any kind of shelf life.
To compound this problem, it’s almost impossible now for an album to be released without being leaked or pirated, and the contentious relationship between artists, their fans, and the record labels have led to more problems than solutions. First, if the fan doesn’t see value in the album the artist is releasing, why buy it versus just downloading it? Second, if the record label is willing to settle on selling the artists individual songs for 99 cents, thus taking away the overall value of the album, why should the artist spend more time crafting albums rather than a pastiche of hit songs? And, last but certainly not least, by stifling the artist’s creative control, what’s the point in being with a record label?
Between Napster and iTunes, the issues outlined here exploded between the 1990s well up to now. There’s a constant power struggle, and unfortunately for artists and the record labels that represent them, no one truly predicted how large of an industry digitally downloadable music would be, so as much as Apple is getting paid, very little sees the artists’ pocket.
To combat this, Radiohead implemented a novel idea of “pay what you’d like.” In self releasing the album on their website, they gave fans the opportunity to pay however much (or little) they wanted. Although considered a landmark approach at the time, the lasting effects have been minimal, or perhaps even detrimental to the band and the commercialization of music.
Spotify Logo
Since then, there has been a new music player that very quietly began revolutionizing our approach to music back to the way it was in the past. While streaming music services are nothing new, Spotify is truly the first to integrate social media on such a fundamental level that it allows friends to not only share music with each other legally, but also show the world what they are listening to at that exact moment.
Think about the underlying importance of those two seemingly small facts. In this narcissistic me-first world of social media, Spotify is the only truly integrated service that gives people the opportunity to constantly share their music with not only friends, but follow those that simply have similar tastes. It’s an idea that iTunes has attempted for years but never successfully committed to, and because of that Spotify has found a strong foothold internationally as a music service.
All of this is worth mentioning because something even bigger has occurred in the last year and a half, and that is the return of music in itself as an event. The rules have certainly changed, but it seems as though artists and labels both have now taken the time to understand how to properly market today’s music by primarily utilizing social media.
Frank Ocean – channel ORANGE album art
The album that seemed to really start it all was Frank Ocean’s channel ORANGE, a critically acclaimed release that was buoyed by those that already had a vested interest in anything related to the punk hip-hop collective known as Odd Future, and the success of his self-released “mixtape” Nostalgia, Ultra. A funny thing happened prior to the release of Frank Ocean’s major debut; he posted a deeply confessional story on his Tumblr about his first true love, which was with another man. Already recognized as a more socially conscious R&B artist than one would normally find in the genre, this added to the curiosity factor. Furthermore, Ocean decided to release the album digitally a week early and made it readily available for streaming from his blog much to the ire of Target, who in return refused to initially stock his album. In retrospect, that likely helped album sales more than hurt them, as channel ORANGE still managed to debut at number two on the Billboard charts.
Shortly after the release, Frank Ocean was literally everywhere and it was hard to go through the day on any social media channel without seeing a reference to him. From his various TV appearances, including Saturday Night Live, to the constant buzz in the press, to always being readily available via his Tumblr, there seemed to be a tight-knit group of followers that were vicariously along for the ride.
An even better example of how social media exclusively created a music “event” is South Korea rapper Psy’s “Gangnam Style” music video. An absolute YouTube sensation, the video to date has over 1.5 billion views and single-handedly launched Psy’s visibility to not only the American audience but also worldwide. Because of that lone video, Psy has made appearances all over television shows and commercials, and even managed to perform a mash-up with MC Hammer at the American Music Awards.
Now, in 2013, which has already become one of the best years for music in recent memory, there has been a barrage of music album events, from the release of David Bowie’s The Next Day, his first album in a decade, to My Bloody Valentine finally releasing MBV, their first album since 1991. Another major album event, perhaps most surprisingly in terms of reception, came in the form of Justin Timberlake’s The 20/20 Experience, which was smartly promoted with Timberlake hosting and performing as musical guest on Saturday Night Live, and also spending the week on the Jimmy Fallon Show. Not only did it establish Timberlake’s status as the consummate entertainer, but also it gave him new life in even being followed by more previously indie-slanted blogs and publications such as Pitchfork.
Daft Punk – Random Access Memories album art
This all of course leads up one of the most notoriously calculated and brilliant bands in today’s music, Daft Punk, who has made a career of cultivating a very specific image and brand over the course of their 20-year career. While rumors of an album release for 2013 had been present for a while, it wasn’t until a pair of 15 second ads were shown during an airing of Saturday Night Live that fans finally were able to get a glimpse of what Daft Punk’s plans truly were.
Even now, despite the album being only a month away, no one has a full track-listing, or any real sense of the album besides what Daft Punk has released through their YouTube videos that feature interviews with some of the individuals they collaborated with on Random Access Memories– including Nile Rodgers, Giorgio Moroder, and Todd Edwards.
That was true until yesterday, when Daft Punk unveiled a minute and a half trailer at Coachella Music Festival featuring an extended take of the same song they have been teasing from the beginning, which features Pharrell and Nile Rodgers. The timing was brilliant since Coachella was rumored to have Daft Punk as a headliner, and there has been a definite viral effect from teasing that video at such a prominent location.
Of course, they would not be Daft Punk if they weren’t quirky, so the official launch of Random Access Memories will be at the Wee Wa Show in a rural town of the same name in Australia. That is just part of the curiosity factor for one of the most well-renowned artists today, and smartly, they have created an event to launch their new album in a setting that is completely within their own control.
Time will tell if this is a sign of things to come, but the more artists that dare to embrace the channels they previously avoided or confronted altogether, the likelier it will be that once again the art of an album, and even more so the art of releasing an album will have a larger than life connotation that inspires us for years to come.
You might remember Action Bronson making an appearance on last year’s list with his Dr. Lechter album. Despite the lower ranking, Blue Chips as a whole is even better than what Bronson has shown before. Between his deft wordplay and some outstanding, gritty production from Party Supplies, Blue Chips is a winner.
Forty-Nine.
Dr. John Locked Down
Produced by The Black Keys’ Dan Auerbach, Locked Down finds Dr. John at his most consistent in some time and he appears to be reinvigorated by the experience. While not the most obvious, it’s a very sensible pairing, and the results are well worth a listen.
Forty-Eight.
Taken By Trees Other Worlds
The solo project of former Concretes singer Victoria Bergsman, Other Worlds was influenced by her time in Hawaii, and you can feel that sentiment immediately. A cinematic and serene album, Bergsman’s hushed vocals are understated yet impactful.
Forty-Seven.
Deftones Koi No Yokan
Believe it or not, Deftones did not in fact die off at the end of the early 2000′s new metal craze. While the choice may seem a little out of left-field, Koi No Yokan may be their best album next to their ground breaking White Pony. The traditional wall of sound is still in place with lead vocalist’s Chino Moreno’s voice piercing through for dramatic effect, but growing older and mature seems to have suited these guys quite well– it’s not just loudness for the sake of loud, there’s a point to it all.
Forty-Six.
Captain Murphy Duality
You can’t fault Steven Ellison (better known as Flying Lotus) for not wanting to put his name on this project originally. Captain Murphy is in a similar vein to the Madlib/Quasimoto duality, in that Flying Lotus’ knack for improvisation and pop culture sensibilities channel a muse that’s equal parts off kilter and hypnotically captivating. If you’re really brave, you can experience Duality in all of its glory from the official website– just be forewarned that it’s as trippy (and NSFW) as the music would lead you to believe.
Forty-Five.
Poliça Give You the Ghost
One of the more interesting groups of 2012, Poliça was founded by former Gayngs members Ryan Olson and Channy Leaneagh. The result is a highly infectious blend of electronica and R&B that makes for an engaging debut. This is certainly a band to watch out for in the near future.
Forty-Four.
Django Django Django Django
This Mercury Award-nominated album is definitely a lot of fun, especially for fans of Hot Chip and The Beta Band. They definitely have a makings of a band that’s an album or two away from the big time.
Forty-Three.
Matthew Dear Dreams
Despite using the same dense layers you’ve come to expect from Matthew Dear, Dreams, perhaps as its title would indicate, feels much lighter on its feet. There’s a slickness to the production that wasn’t there before, and it brings out some texture that livens up Dear’s unique vocal style.
Forty-Two.
Divine Fits A Thing Called Divine Fits
It’s almost impossible for supergroups to live up to their hype, and while the Divine Fits didn’t completely avoid that trap, they show a great deal of promise assuming they stick together. Comprised of Wolf Parade’s Dan Boeckner, Spoon’s Britt Daniel, Sam Brown of the New Bomb Turks, as well as Alex Fischel on keyboard, there’s plenty of talent to go around, and both vocalists prove to have a serious handle on the material, as shown on “My Love Is Real” and “Would That Not Be Nice”.
Forty-One.
JJ Doom Key to the Kuffs
Key to the Kuffs was the result of DOOM being stuck in London after being refused entry back into the United States, and the results are about what you would expect. Jneieo Jarel provide some intricate backdrops as DOOM inserts everything from British slang to surprisingly coherent (for DOOM anyway) story lines.
Forty.
Plan B ill Manors
Written as a soundtrack to the critically acclaimed movie of the same name, ill Manors is very large in scope and mostly succeeds. Ben Drew really nails it on the opening title track, perfectly addressing the problems of the inner city without ever coming off as too preachy or biased.
Thirty-Nine.
Ta-ku 50 Days for Dilla, vols. 1 & 2
It’s hard enough dedicating 50 tracks to a legend within a one year span, nevermind the inescapable aura of J Dilla, who seems to have influenced more mixtapes after death than during his life. There’s nothing trite or absurd about this entry however, as Ta-ku more than holds his own throughout both volumes– a highly entertaining listen.
Thirty-Eight.
Beach House Bloom
Even with it being arguably the worst Beach House album, Bloom is still impressive in its grace and beauty. Anchored by strong singles, especially the opening “Myth,” Bloom‘s biggest faults lie mainly in its flat production. It’s a tall order to follow in the footsteps of their previous work, and it’s clear that Bloom is a stepping stone– but it’s a very enjoyable one nonetheless.
Thirty-Seven.
Cat Power Sun
Chan Marshall’s ninth studio release is her most consistent in quite some time, and is a highly enjoyable, yet slightly gritty listen, culminating in the near 11-minute “Nothin’ But Time”. Both fans and newcomers alike will find something to like with this one.
Thirty-Six.
Islands A Sleep and a Forgetting
Islands have always appeared on the brink of something great, and the immensely intimate nature of A Sleep and a Forgetting easily makes this release the band’s best yet. Largely written as the result of a nasty break up, Nick Thorburn’s writing has never been stronger, and hopefully that focus can carry over to their next release.
Thirty-Five.
Lost in the Trees A Church That Fits Our Needs
There wasn’t a more heartbreakingly gorgeous album to come out in 2012 than this sophomore release. Dealing in large part with the suicide of frontman Ari Picker’s mother, there is a cinematic element to A Church… that makes it all the more moving and engaging.
Thirty-Four.
Nas Life is Good
Hate if you want to, but it looks like Nas is back in top form with Life is Good. Despite its length, Life is Good never strays too far off course, and Nas even manages to keep the self-serving at a minimum. Unsurprisingly, there are quite a bit of references to his divorce with R&B singer Kelis, but this isn’t a break-up album by any means. Instead, it sounds like the narratives from a more mature, reflective Nas, which is as refreshing as it is enjoyable.
Thirty-Three.
Lotus Plaza Spooky Action at a Distance
The side project of Deerhunter’s Lockett Pundt, Spooky Action at a Distance doesn’t tread a whole lot of new ground but continues on in the same vein as Deerhunter’s last release, Halcyon Digest, albeit in a more straightforward setting. There aren’t too many frills here, just the core of what makes most of their fanbase tick.
Thirty-Two.
Twin Shadow Confess
Twin Shadow definitely wore his Prince influences on his sleeve with his follow up to the brilliant Forget. It’s not as inherently convincing as his debut, but there’s a lot to really like about Confess. The slick “Golden Light” and “Five Seconds” set the tone, and George Lewis Jr.’s confidence thrives in what would otherwise be a schmaltzy affair for a lesser artist.
Thirty-One.
Matthew E. White Big Inner
The genius of Big Inner takes time to be discovered, as Matthew E. White appears to be the master of the understatement. Dark yet incredibly witty, White’s a profound artist and it will be interesting to see how he continues to progress with his follow-up releases.
Thirty.
Liars W|X|W
Even the most dedicated Liars fan never knows what to expect from album to album, and there perhaps has been no greater challenge than W|X|W, where the tension mercilessly builds before finally erupting in the grimy “Brats.” Up until that point, it’s all moody atmospheric rock where the emphasis is on sonic textures rather than anything to get down to. Fortunately, for most Liars fans, they understand the value of patience– it’s well rewarded here.
Twenty-Nine.
Lupe Fiasco Food & Liquor II: The Great American Rap Album Pt. 1
Preachy? Yes. Over the top? Of course. In truth, no one should want it any other way, while 2012 marked the unfortunate rise of one Chicago-native Chief Keef, Lupe Fiasco is the dark knight over Chicago hip-hop, going out of his way to try to save the day, even if that means overstating his message. There’s nothing subtle about “Bitch Bad” or the chorus line to “Audubon Ballroom,” but then again, when was the last time you’ve heard a subtle gangsta rap album either? You have to take the yin with the yang, and that’s why Food & Liquor II is such a critical album.
Twenty-Eight.
Ty Segall Band Slaughterhouse
In a nutshell, Ty Segall is a throwback artist, and a damn good one at that. Slaughterhouse could have just as easily been recorded in a Detroit basement in the 1970′s, with its primal screams and incessantly energetic drums, but it’s not retro for the sake of being retro. Slaughterhouse is a truly authentic experience that makes even the most jaded individual want to don their leather jacket.
Twenty-Seven.
Miguel Kaleidoscope Dream
While R. Kelly goes back to being trapped in the closet, Miguel seems to be more than happy to carry the torch in creating awkward yet seductive R&B music. Kaleidoscope Dream has some of the best hooks you’ll hear in 2012, led by the opening “Adorn” and the infectious “Do You…”, this is a true pop gem.
Twenty-Six.
Alabama Shakes Boys & Girls
Somehow able to not only withstand but flourish amongst all the hype, Boys & Girls is a very solid debut from a band that is essentially still finding its footing. By now everyone has heard “Hold On,” but the stronger songs come from the rootsy “Hang Loose” and the sentimental title track, which does a beautiful job of highlighting Brittany Howard’s vocal ability.
Twenty-Five.
Cody ChesnuTT Landing on a Hundred
Surprisingly, it’s been a decade since Cody ChesnuTT initially burst onto the scene with The Headphone Masterpiece and very little was heard from him since that time. It looks as though his time away was well spent, as Landing on a Hundred is his best work by quite a large margin. With its throwback sound and ChesnuTT’s patented heart-on-a-sleeve lyrics, he can do everything from inspire you to make you smile.
Twenty-Four.
The Walkmen Heaven
This venerable band has built quite the library of solid releases by now, and with Heaven, perhaps the only distinguishing factor (which is important) is its incredibly intimate sound. Hamilton Leithauser has definitely made strides as a vocalist and it shows here as the sparse arrangements leave little room for error. It’s a beautiful record, one that will even bring aboard some new fans.
Twenty-Three.
Chromatics Kill For Love
Look no further than their cover of Neil Young’s “Into the Black” to see why everyone has been raving about this album. Where most bands would embarrass themselves tripping along the building tension of the song, Chromatics embrace it and modernize it in very impressive fashion. The rest of the album lives up to that same promise as Kill For Love is a very striking and poised album through and through, and one of the most memorable of the year.
Twenty-Two.
The Men Open Your Heart
Assuming that Open Your Heart is the platform on which The Men will be continuing their career, you can bet this band will be very, very big in a few years. Much more palatable than their first two albums, Open Your Heart sounds as though it was created by deranged grandchildren of The Rolling Stones– and that is meant in the best possible fashion. The rollicking guitars, the slick hooks that stick to your ribs, they even hit all the right notes on the twangy rock songs. All in all, Open Your Heart is a lot of fun, and it’ll be interesting to see where The Men go from here.
Twenty-One.
The xx Coexist
No, Coexist doesn’t live up to the staggering self-titled debut. Yes, the themes of love-loss are still as present here as it was on the debut, but that doesn’t make Coexist a disappointment, or even a bad album for that matter. Instead, it’s a band feeling out its next steps, with some very impressive results to show for, especially on tracks such as “Swept Away” and, the larger than life, “Missing.”
Twenty.
Damien Jurado Maraqopa
Damien Jurado has been making music since the mid-nineties, but here, returning to work again with producer Richard Swift, Jurado is as relevant and appealing as ever. Maraqopa is full of beautiful allegory and a dense sound that fits his vocals like a glove– it’s easily among his best work.
Nineteen.
Lambchop Mr. M
Lambchop has spent most of their career being all over the place, so in that sense it’s a bit shocking to see them completely settle down into the lounge-folk groove of Mr. M. Frontman Kurt Wagner’s lamenting vocals are lifted by a frequently ornate backdrop of everything from strings to a delicate piano and guitar, crafting thoughtful, soul-stirring songs that are bittersweet in every sense of the word.
Eighteen.
Hospitality Hospitality
Smart and highly witty lyrics combined with a summery backdrop make for one of the more fun albums of 2012, and positions Hospitality as being a rightful heir to Belle & Sebastian. The Brooklyn-based band displays a great deal of maturity and Amber Papini’s sweet vocals never wears out its welcome.
Seventeen.
Grimes Visions
Visions will be forever unfairly judged only because of how big the album got so early on in the year– it’s still a great album, and there still hasn’t been much else that sounds like it but most people had heard the album on repeat many times through before the summer even rolled around. That being said, the effervescent dance pop that she produces is something special, and Visions is more than worthy of being her mainstream breakthrough.
Sixteen.
Fiona Apple The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do
Any review of Fiona Apple’s latest album can be summed up by simply saying ‘Thank God Fiona’s back.” Not only is she back, but she’s back with a vengeance, an edge that hasn’t been there since her earliest work. Instead of openly flipping off any man who comes her way, however, she’s far more clever as shown on “Werewolf.” Yes, this is a wiser Fiona, who now knows that “Nothing’s wrong with a song that ends in a minor key,” but she’s more than happy to tell you to kiss off anyway.
Fifteen.
Grizzly Bear Shields
After the breakthrough Veckatimest, Grizzly Bear, somewhat surprisingly seemed to move forward by going backwards. When you listen to Shields, there is a lot of Yellow House that comes through. What makes this album more than a simple retread though is how much the band has all grown as musicians– these are very intricate and complex tracks for the most part, and the guys make it all look effortless.
Fourteen.
Jessie Ware Devotion
If it weren’t for Adele and Florence Welch, you’d probably hear a lot more open mainstream praise for Jessie Ware– she’s certainly worth it. As Devotion proves, Ware not only has the vocal chops, but also the presence and soul that most identify with the other two British female vocalists. Where she truly shines are on the more R&B-influenced ballads, such as “Wildest Moments,” it’s there that you can see a future star.
Thirteen.
Joey Bada$$ 1999
With each listen 1999 becomes more and more impressive, especially when you consider it is coming from a 17-year old kid. Joey Bada$$ and the rest of the Pro.Era crew are fierce storytellers that not only know how to rhyme, but paint a picture with their lyrics. Partner that with an uncanny appreciation for golden age hip-hop and like-sounding productions, and you have a timeless mixtape from one of the most promising hip-hop artists.
Twelve.
Dirty Projectors Swing Lo Magellan
After the impressively abstract Bitte Orca, it was almost off-putting to see Dirty Projectors play it so straight on Swing Lo Magellan. Once the dust settles however, the nuanced writing and more folk-focus is an intriguing and refreshing approach, even if it means hearing far less from Amber Coffman.
Eleven.
El-P Cancer for Cure
It’s difficult separating Cancer for Cure from R.A.P. Music since both were produced by El-P and have a similar apocalyptic aesthetic. The difference between the two being that while Killer Mike’s no holds barred lyrics are more of a throwback, El-P continues on operating about five years ahead of the game. Cancer for Cure is a bit on the long side, but it’s a wonderfully dark album.
Ten.
Killer Mike R.A.P. Music
He’s come a really long way from “The Whole World” and “A.D.I.D.A.S.” R.A.P. Music gets back to the core of what rap music really is all about– an anti-establishment, gritty observation of the underprivileged worldview. No track captures that sentiment more than ”Reagan,” which is one of the more political rap tracks you’ll hear from an artist not named Dead Prez. Taken as a whole, R.A.P. Music should be regarded as an instant classic.
Nine.
Spiritualized Sweet Light, Sweet Heart
Only Jason Pierce (aka J. Spaceman) would be able to pull off releasing a nine-minute opus and have the audacity to call it a single this day and age and still have enough in the tank to surround it with a collection of 10 other songs that are close to the same length. It’s all a bit overwhelming first time through, but with repeated listens the world of Sweet Light, Sweet Heart becomes increasingly approachable and enjoyable.
Eight.
Andrew Bird Break It Yourself
Chicago-native Andrew Bird continues his accomplished career with the outstanding Break It Yourself, which easily stands as one of the best albums he’s ever released. There’s an attempt to try some new things on Break It Yourself, which is largely appreciated, and on top of that all of his risks pay off in full– a terrific album.
Seven.
Death Grips The Money Store
Death Grips may have thoroughly pissed off their record label but The Money Store is a monumental album that is quite unlike anything else released this year. A hearty combination of punk, noise and rap, Death Grips will do anything in the crusade to help you free your mind. At its best, the results are anthemic (“I’ve Seen Footage”), but while the album is challenging, the rewards are endless.
Six.
Japandroids Celebration Rock
It helps when you have the song of the year in your back pocket (“The House that Heaven Built”), but even so Celebration Rock elevates Japandroids’ game to the kind of pure unadulterated arena rock that most bands spend their whole lives perfecting. It’s fun, it’s loud, and, most importantly, it has staying power. There isn’t much more you could ask for, so enjoy it!
Five.
Flying Lotus Until the Quiet Comes
Obviously, 2012 was a big year for Steven Ellison. Even though Captain Murphy is the big news item for right now, you cannot deny the impeccable Until the Quiet Comes, which completely embraces the free jazz influences that occasionally appeared on the equally terrific Cosmogramma. You can truly hear the influence of his great-aunt and uncle, Alice and John Coltrane, in the very nuanced instrumentation and the incredible sense of space.
Four.
Tame Impala Lonerism
Amazingly, Tame Impala’s sophomore release is leaps and bounds better than their first, and it’s addition by subtraction in a lot of ways. Yes, it’s still largely psychedelic rock, but it’s a much more straightforward brand than what was shown in its predecessor, giving frontman Kevin Parker more room to explore his own voice and allow the band to push the envelope in ways that didn’t seem possible up until now. Lonerism is a tantalizing listen where you can constantly find new sounds to pick out and enjoy repeatedly.
Three.
alt-J (∆) An Awesome Wave
Although alt-J is a good number of albums away from being even in the same ballpark as the band itself, An Awesome Wave is the first album since Radiohead that made me change the way I listen to music. There’s an ethereal element to their sound that is unlike anything around in music right now, and they seem just as comfortable creating an intimate moment as they are in simply rocking out. Yes, alt-J’s debut lives up to its name– it’s An Awesome Wave indeed.
Two.
Frank Ocean channel ORANGE
There has been no higher profile release than Frank Ocean’s channel ORANGE, and for good reason– it’s the crown jewel of the Odd Future movement. Yes, you can point to Ocean’s coming out as being a large source for interest as well, but in all honesty that’s just a sliver of what makes channel ORANGE so compelling. It’s clear that Ocean’s a perfectionist, as even with its completely personal, almost diary-like flow, there is absolutely nothing wasted and nothing added without reason. It’s a fantastic album, and any other year it would be an easy pick for number one.
One.
Kendrick Lamar good kid, m.A.A.d city
There is quite simply no album that can hold a candle to what Kendrick Lamar accomplished with his release. The storytelling is superb, brutally honest yet never languishes despite its length. No, good kid, m.A.A.d city is the type of experience that most albums can only hope to be, with Dr. Dre being the perfect navigator setting the course. Ten years from now Kendrick Lamar’s good kid, m.A.A.d city will be thought of in the same way this generation talks about Nas’ Illmatic.
This is one album that you can definitely judge from the cover.
Release Date: June 26, 2012
Record Label: In The Red Records
Rating: 95
The first album under the Ty Segall Band name, Slaughterhouse is rife with the kind of raw, unrelenting, “F*** you!” type of energy that is the most damning thing to hit one’s ears since the days of Iggy & The Stooges. This isn’t metal dark, this is “We’re annoying the heck out of you by playing as loud as humanly possible in your basement and if you complain about it one more time we’re setting the place on fire”-dark. It’s a level of swagger that isn’t seen anymore, and more importantly, even though it exists, it’s not that these guys are taking themselves incredibly seriously either– Slaughterhouse is meant to be a fun album. Of course, that “fun” is purely subjective. If a satanic cover of Bo Diddley’s “Diddy Wah Diddy,” or listening to blood curdling yelps and screams that could wake the dead, or at the very least your dog, sounds like a good time, do yourself a favor and play this as loud as you can. Otherwise, prepare yourself to be the annoyed neighbor.
Frank Ocean’s major label debut proves to be a masterpiece.
Release Date: July 10, 2012
Record Label: Def Jam
Rating: 100
The most universally celebrated artist out of the Odd Future collective, Frank Ocean has managed to impress even with the monumental expectations leading into his major label debut. Taking pages from Stevie Wonder’s notebook, Channel Orange is packed with glorious hooks, intricate and smart lyrics, and as an album it manages to be slick without being over-produced. There’s a true bittersweet element to the album, which Ocean tempers perfectly in the only way he can, as evidenced on “Sweet Life,” “Super Rich Kids,” and more obviously on the James Fountleroy cover “Fertilizer” interlude.
Frank Ocean’s passion is clear from his music, and his immensely descriptive lyrics and imagery are impressive enough that they would feel equally at home in an award-winning novel– a rarity, especially in today’s R&B world. That’s Frank Ocean in a nutshell, however, a rare bird standing tall, brimming with creativity and an understanding of music that extends far beyond his years. Come December, Channel Orange will undoubtedly still stand as one of the best albums you will hear in 2012.
Yes, it’s been a long time since the last Fuzzy Thougths update, and in that time there have been a number of fantastic releases, with plenty more to come throughout the rest of 2012. With that in mind, here are the best albums of 2012 so far, in no particular order:
The Money Storeby Death Grips
“I’ve Seen Footage”
A larger than life, dense masterpiece. Death Grips’ latest effort is as in-your-face as anything you’ll find this year and only gets better with time.
Celebration Rock by Japandroids
“The House that Heaven Built”
Celebration Rock is truly the first album that lives up to Japandroids’ promise. From beginning to end, it’s an album full of no-nonsense rock, with catchy hooks and timeless riffs. It’s perfect for the summer.
Kill for Love by Chromatics
“Kill for Love”
A beautiful, dreamy release that truly shines with its well-written songs and smart hooks. It’s sure to be one that will be highly discussed throughout the year.
Royal Headache by Royal Headache
“Psychotic Episode”
While this Sydney, Australia based band’s debut was released overseas last year, the US is just getting this album now. In short, it’s a terrific collection of two-minute punk-infused garage rock that has a surprisingly genuine aesthetic. It’s decidedly lo-fi, yes, but there aren’t any false pretenses associated with the album either– no, these guys are in fact the real deal.
Boys & Girls by Alabama Shakes
“You Ain’t Alone”
Easily one of the more hyped albums of the year, Alabama Shakes’ debut largely lived up to their billing. They’re incredibly well-versed in soul and roots music, and they wear those influences on their sleeves (one could argue to a fault). Even so, they’re not merely “retro,” as the emotional depth of Boys & Girls is far greater than anything you’ll hear from similarly styled bands.
My Head is an Animal by Of Monsters and Men
“Little Talks”
This Icelandic band has become the overnight sensation of 2012, hitting #6 on the Billboard charts (the highest ever for a band from their country), and it’s easy to see why with their poignant and carefree vocals. It’s definitely one of the better debuts you’ll hear this year.
A Church That Fits Our Needs by Lost in the Trees
“Golden Eyelids”
You’d be hard pressed to find a prettier album than this spellbinding effort. Undeniably touching through and through, this immensely personal album from the Ari Picker-fronted band almost always hits the mark. Highly recommended.
W|X|W by Liars
“No. 1 Against the Rush”
At this point in their career, you know that Liars will pretty much do whatever they damn well please, and that often brings some very entertaining results. The focus on W|X|W is atmosphere and textures, something that in itself isn’t entirely new for them, but it’s never existed to this extent– these are ever-evolving, organic, sonic landscapes. An absurdly haunting album, it definitely takes a few listens, but it’s well worth it.
Cancer for the Cure by El-P
“The Full Retard”
El-P has made a name for himself living on the fringes of hip-hop, constantly blending genres to ensure he’s anything but traditional. That being said, the apocalyptic Cancer for the Cure pushes the envelope more successfully than any of his previous releases. This is truly a gem.
R.A.P. Music by Killer Mike
“Reagan”
Yes, really, that Killer Mike– not exactly someone you’d expect to release the (arguably) most socially conscious album of 2012, but here we are. No longer riding Outkast’s coattails, Killer Mike instead teamed up with El-P and created what will likely go down as one of the most important hip-hop albums in recent history. Look no further than “Reagan” to see the dystopian nature of the album, which recalls such monumental releases as It Takes a Nation of Millions to Hold Us Back and Straight Outta Compton. It’s not for the faint of heart, but this is a hugely powerful album.
An Awesome Wave by Alt-J
“Breezeblocks”
Pound for pound, this is the most mesmerizing debut thus far in 2012, and it’ll be interesting to see how their popularity grows throughout the year. A genre-defying expedition, it’s simply stunning to see a band take as many risks as these guys, not to mention sidestep every pitfall– it’s an awesome wave, indeed.
Bloom by Beach House
“Myth”
There isn’t much to say about Beach House that hasn’t already been said, and Bloom only underscores how consistently great Beach House has been for the last six years. It’s terrific dream pop when it’s all said and done.
Django Django by Django Django
“Default”
A highly engaging debut that will remind many of The Beta Band, Django Django are yet another band to watch. They’re definitely all over the place, but there’s still a sense of cohesion throughout the album, and they never lose sight of what they’re attempting to accomplish. The result is one of the more infectious releases thus far in 2012.
Give You the Ghost by Poliça
“Lay Your Cards Out”
There is a lot to like about this group, whose members include former Gayngs collaborators. The slick r&b-influenced electronica sound works wonderfully, giving a soulful edge to their music.
Visions by Grimes
“Oblivion”
This one is sure to pop up on many a top 10 list at the end of the year. Don’t let Claire Boucher’s helium-filled voice fool you, she’s immensely talented, and has a legitimate understanding of the 80′s-influenced pop that she brings to the table.
Hospitality by Hospitality
“Friends of Friends”
A wonderful debut, with incredibly clever lyrics and great pop melodies, it wouldn’t be a surprise to see Hospitality end up being this generation’s Belle & Sebastian. They are sharp enough to remain interesting, but also have a sweetly engaging indie pop sound that’s hard not to enjoy.
Mr. M by Lambchop
“If Not I’ll Just Die”
“Don’t know what the f*** they talk about,” those are the solemnly sung opening words on this superbly decadent album, the 11th from the Nashville band. While this album is noteworthy on the merit of its outstanding production alone, it certainly helps that the songwriting and execution are also something special.
Silent Hour/Golden Mile by Daniel Rossen
“Silent Song”
After living mostly in seclusion, Grizzly Bear member Daniel Rossen released his first solo EP with Silent Hour/Golden Mile,an album that more than stands up to any of Grizzly Bear’s work. While the music definitely reflects a man living in solitude, it doesn’t wallow in its own misery either, which works in favor Rossen’s bittersweet vocals.
Break It Yourself by Andrew Bird
“Eyeoneye”
After the mostly dull Noble Beast, it’s good to see Andrew Bird back to pushing himself a bit again. The quiet tunes are still there, of course (this is Andrew Bird we’re talking about), but they’re mixed in with far more engaging tunes than what he had to offer last time out. It’s a fun listen, and will especially appeal to those that prefer the sound of Bird’s first few solo efforts.
Sweet Light Sweet Heart by Spiritualized
“Hey Jane”
J Spaceman has rarely released a mediocre album in his life (not to mention a bad one), so it should come as no surprise to find his latest release on this list. Sweet Light Sweet Heart is definitely big on scale, with only one song clocking under four minutes (excluding the intro), but is an immensely fun listen nonetheless.
Spooky Action at a Distance by Lotus Plaza
“Strangers”
Despite the fact that Bradford Cox gets most of the attention when it comes to Deerhunter, guitarist Lockett Pundt is a very talented artist in his own right, and happily puts that on display with his solo project Lotus Plaza. His latest release should definitely help him garner the attention he deserves.
The Bravest Man in the Universe by Bobby Womack
“The Bravest Man in the Universe”
Although it really shouldn’t be surprising given his work on the Gorillaz Plastic Beach album, Womack clearly has every impression of making his mark yet again in the music world at the age of 68. On this Damon Albarn and Richard Russell produced album, Womack is definitely taken out of the retro-soul element one would likely expect. Instead, the sound is reminiscent of the moody The Good, The Bad, and The Queen. It’s quite the collaboration, and although it may not be lightning in a bottle, there’s a good chance it could lead to something even better next time around.
While rumors and leaks run wild regarding the potential Lollapalooza lineup, Pitchfork has announced the rest of the bands for their 2012 festival. It looks a little thin at the top, to be sure, but this (like every other P4k festival) is a very solid lineup of bands at what is always a wonderfully intimate festival. Three day passes have sold out, but you can still pick up a single-day ticket for $45. The full list of bands playing are below:
Friday, July 13:
A$AP Rocky
Willis Earl Beal
Big K.R.I.T.
Clams Casino
Dirty Projectors
Feist
Tim Hecker
Lower Dens
The Olivia Tremor Control
Outer Minds
Purity Ring
Saturday, July 14:
The Atlas Moth
Atlas Sound
Danny Brown
Cloud Nothings
Cults
Flying Lotus
Godspeed You! Black Emperor
Grimes
Hot Chip
Nicolas Jaar
Liturgy
Lotus Plaza
The Psychic Paramount
Schoolboy Q
Sleigh Bells
Wild Flag
Youth Lagoon
Sunday, July 15:
A Lull
AraabMUZIK
Beach House
Chavez
Dirty Beaches
The Field
Iceage
King Krule
Kendrick Lamar
The Men
Milk Music
Thee Oh Sees
Oneohtrix Point Never
Real Estate
Ty Segall
Unknown Mortal Orchestra
Vampire Weekend
A Church That Fits Our Needs is an elegant and wondrous album, it’s certain to be one of the better ones you’ll hear all year.
Release Date: March 20, 2012
Record Label: Anti-
Rating: 97
Written in the aftermath of the suicide of frontman Ari Picker’s mother, it’s not surprising that A Church That Fits Our Needs is an emotionally stirring album. What is, however, and what separates this sophomore effort from anything you’ll likely hear this year, is that the weight of the album is never overdone. This is not melodrama, and while the sense of loss is evident, it is delivered in such a sweet and sensitive manner, that between the complex string arrangements and ever-present sense of space in the production, the listener finds themselves swept in a theatrical question of life, rather than merely lamenting what has been lost. There’s a true sense of wonderment here, where even the most evident moments such as “This Dead Bird is Beautiful,” where Picker sings “I’ll carry her, but I’ll always have her eyes,” the somber tone is lifted by an elegant operatic solo. It’s a poignant moment, one that truly defines the album as a whole– anyone can make sad bastard music, but it takes some kind of splendor to truly make it a memorable experience such as this album.
In a very clever ad campaign, Lollapalooza has voluntarily leaked some of the names that will be gracing Grant Park this summer. While it was reported here a couple of weeks ago that Neon Indian would be performing, we now have some new names to add to what’s looking to be a very good lineup this year. See the list of expected acts below:
The Big Pink
Bloc Party
Die Antwoord
The Growlers
Jack White
Justice
The Weeknd
Golden Beats Vol #1 is a joy to listen to– it’s a great reminder that just because it’s chill, it doesn’t have to be boring.
Release Date: March 9, 2012
Record Label: Self-Released
Rating: 91
It’s an unfortunate turn that was bound to happen as DJs and electronic music and sampling all garner mainstream appeal– there are a lot of lazy ass artists out there. However, as easy as it is to become cynical of anything that comes your way, it’s always refreshing to come across those that still “get it.” Chicago based producer Vapor Eyes has put out quality material in the past but on Golden Beats Vol 1, he seems not only on the brink of something big, but he appears to be a largely confident artist as well, allowing each track to organically grow rather than forcing his hand or going the well-travelled route out of convenience. There is a decided understanding of nuance as well– it’s more than just textures, there’s an entire element of feeling involved that makes this album feel warm and intimate, instead of the cold and calculated vibe you get from a lot of other albums.
It isn’t flashy, but the album evolves so effortlessly, that you’d be forgiven for mistaking it to be the release of a big name producer. Ah yes, but if it was, it likely wouldn’t have the soul of one Golden Beats. This is the album you want to have in your stereo right now just in time for spring and summer.
In an odd leak through Songkick, it has been revealed that Neon Indian will be back at Lollapalooza to perform on Saturday August 4. This is the first official musical artist to be listed as part of the lineup, so look for more names to trickle as the days go on.
Fifty. Action Bronson Blue Chips You might remember Action Bronson making an appearance on last year’s list with his Dr. Lechter album. Despite the lower ranking, Blue Chips as a whole is even better than what Bronson has shown before. Between his deft wordplay and some outstanding, gritty production from Party Supplies, Blue Chips is a winner. Forty-Nine. Dr. […]
This is one album that you can definitely judge from the cover. Release Date: June 26, 2012 Record Label: In The Red Records Rating: 95 The first album under the Ty Segall Band name, Slaughterhouse is rife with the kind of raw, unrelenting, “F*** you!” type of energy that is the most damning thing to hit one’s […]
Frank Ocean’s major label debut proves to be a masterpiece. Release Date: July 10, 2012 Record Label: Def Jam Rating: 100 The most universally celebrated artist out of the Odd Future collective, Frank Ocean has managed to impress even with the monumental expectations leading into his major label debut. Taking pages from Stevie Wonder’s notebook, […]
While rumors and leaks run wild regarding the potential Lollapalooza lineup, Pitchfork has announced the rest of the bands for their 2012 festival. It looks a little thin at the top, to be sure, but this (like every other P4k festival) is a very solid lineup of bands at what is always a wonderfully intimate […]
A Church That Fits Our Needs is an elegant and wondrous album, it’s certain to be one of the better ones you’ll hear all year. Release Date: March 20, 2012 Record Label: Anti- Rating: 97 Written in the aftermath of the suicide of frontman Ari Picker’s mother, it’s not surprising that A Church That Fits Our Needs […]
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