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.
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.
THE debut effort from Blouse may not be perfect, but they have created a very intriguing sound with their debut, which is highlighted by the superb “Into Black.” It’s a subtly haunting album whose sleepy productions lend for a better headphone listen as opposed to anything on a larger scale.
“Into Black”
Forty-Nine.
Hotel Shampoo by Gruff Rhys
SUPER Furry Animals’ immensely talented frontman managed to make an album whose artwork (and title) was based on his shampoo collection from various hotels. With that in mind, the quirkiness doesn’t come as a surprise– even so, Rhys never goes off the deep end– instead, Hotel Shampoo is chock-full of incredibly well-executed indie pop music.
“Shark Ridden Waters”
Forty-Eight.
Mirror Traffic by Stephen Malkmus and the Jicks
ALTHOUGH much of the talk surrounding the release of Mirror Traffic focused on the fact that Beck produced the album, it actually turns out to be Malkmus’ best effort since starting his post-pavement band. Whether its the cool Velvet Underground vibe of “No One Is (As I Are Be),” the coy political bombast of “Senator” or the straightforward punk-rock of “Tune Grief,” Malkmus and company display pinpoint focus and the results are immensely enjoyable.
“No One Is (As I Are Be)”
Forty-Seven.
Zonoscope by Cut Copy
MUCH like the rest of Cut Copy’s repertoire, Zonoscope is brimming with catchy anthemic dance pop, and they seemingly just get better with age. While a decidedly more clubby affair than their last effort, the alteration has its own payoffs, especially when you listen to tracks like the opening “Need You Now,” “Blink and You’ll Miss a Revolution” and the epic closer “Sun God.” The latter two tracks in particular hit with an industrial oomph yet unseen at this point– something that the band will hopefully build on next time around.
“Need You Now”
Forty-Six.
Within and Without by Washed Out
ALTHOUGH chillwave has already, in many ways, jumped the shark, Washed Out’s Within and Without goes further beyond the standard fare as exhibited on “Eyes Be Closed” and “Amor Fati,” in particular. Ernest Greene knows a good hook, and despite appearances, there’s a great depth to the music that extends beyond the genre.
“Amor Fati”
Forty-Five.
Sound Kapital by Handsome Furs
HUSBAND and wife duo Dan Boeckner (Wolf Parade) and Alexei Perry took an interesting turn with Sound Kapital. With it being the first Handsome Furs album since Wolf Parade’s indefinite hiatus, the results are particularly strong, especially considering the initially surprising 1980′s electro-tinge that dominates the album. This one is sure to alienate a number of fans, but Sound Kapital makes for a very fun and engaging listen.
ODD Future wasn’t the only hip hop coalition making waves in 2011. A$AP looks to be just as big (if not bigger), with A$AP Rocky leading the way with his $3 million record contract in tow. Unbelievably, LiveLoveA$AP manages to live up to the hype, especially from a lyrical standpoint. There’s a definite old-school feel, which even the most stringent hip-hop heads can appreciate (lyrical content notwithstanding), and despite his young age, he doesn’t come off nearly as sophomoric as most other rappers would in his position. Definitely someone to look out for, as he’ll likely make an even bigger splash in 2012.
“Wassup” [Explicit]
Forty-Three.
Widowspeak by Widowspeak
THIS Brooklyn-based band made waves with their self-titled debut, a sharp, well-executed album that is highlighted by Molly Hamilton’s smoky vocals. With an overall sound that could be the results of taking Heartless Bastards and immersing them in a spaghetti western, Widowspeak is a highly enjoyable album.
“Nightcrawlers”
Forty-Two.
What Were You Hoping For? by Van Hunt
AFTERPopular was shelved and Van Hunt was dropped from his label, you would be forgiven to think that was the end of the line for the Grammy-Award winning artist. Not so at all, as his independently released What Were You Hoping For? finds Hunt hungrier than ever– it’s an engaging smorgasbord of Sly and the Family Stone influenced R&B with a shot of Prince, and Hunt’s always poignant lyrics. He may no longer have the marketing to help promote his endeavors, but What Were You Hoping For? is a terrific album, and easily Hunt’s best.
“Plum”
Forty-One.
Dr. Lecter by Action Bronson
A highly nimble and sharp-witted MC, Dr. Lecter is an impressive debut from the Queens native. Yes, he sounds almost exactly like Ghostface Killah, but if you’re going to imitate someone, Ghostface is a pretty good voice to mimic. Beyond that, Dr. Lecter gets another leg up thanks to the excellent production by Tommy Mas, making for an exceptionally fun album.
“Brunch” [Explicit]
Forty.
The Greatest Story Never Told by Saigon
JUST when it seemed like Saigon’s formal debut would never see the light of day, The Greatest Story Never Told was mercifully released in February, after a seven-year delay. While typically shelved albums like these lose complete and total relevancy by the time they are released, Saigon’s passionate rhymes along with superb production from Just Blaze culminate in what can only be described as a timeless hip-hop album. Saigon lives up to the promise of being a life-affirming messenger, but does so without ever coming off as preachy or self-serving. One can only hope that his follow-up won’t be so long in the making, but in the mean time, Saigon has certainly left his mark with this debut.
“The Greatest Story Never Told” [Explicit]
Thirty-Nine.
Chromatic by You Can’t Win, Charlie Brown
THIS Lisbon, Portugal based band impressed mightily with a sure-footed debut full of wondrous arrangements and enough confidence to have already stamped out their own voice in a myriad of indie-rock outfits. From the anthemic opening of “Over the Sun, Under the Water” to the sweet and charming “A While Can Be a Long Time,” you have to wonder how much more time will pass before these guys start showing up everywhere.
“Over the Sun, Under the Water”
Thirty-Eight.
Goblin by Tyler, The Creator
COMING dangerously close to using all fifteen minutes of fame before Goblin was even released, the most popular of the immensely talented Odd Future crew was everywhere generating an exceptional amount of buzz. Unfortunately for many, Goblin didn’t live up to the hype, but it’s a somewhat unfair assessment for a group where the sum (for the most part) is better than its individual parts. While it’s not the most consistent of efforts, it’s daring, and when Tyler is sharp, he’s a really strong new voice in the world of hip-hop.
“Yonkers” [Explicit]
Thirty-Seven.
Eye Contact by Gang Gang Dance
ONE of the most intriguing albums you will hear this year, Eye Contact is a bit all over the place, but to quote The Usual Suspects, “It all makes sense when you look at it right.” Part Euro dance party and part trippy Animal Collective ambiance, Eye Contact is not for the faint of heart. Give it a solid few listens however, and you’ll certainly be rewarded handsomely.
“Glass Jar”
Thirty-Six.
Father, Son, Holy Ghost by Girls
GIRLS has always been the indie best-case-scenario version of The Killers. On the surface, they don’t do any one particular thing that really stands out, but they know how to write incredibly catchy tunes and, to boot, don’t take themselves too seriously. On Father, Son, Holy Ghost, all of those elements come together in incredible fashion– they pull out all the stops, tug all the right strings, and never let up. It’s too good to call it a guilty pleasure, instead, think of Father, Son, Holy Ghost as really addicting pop candy.
“Honey Bunny”
Thirty-Five.
Camp by Childish Gambino
ADMITTEDLY, Donald Glover is likely always going to divide music fans and critics alike. He’s a jack-of-all-trades (stand-up comedian, writer, actor, and now rapper), that despite his public persona unleashes a heavy dose of socio-economic and racially charged music that brings a lot of issues to light in a such a blunt way that it’s likely to be hard for many to digest. “Besides,” cynics likely will think, “what could a rich black kid possibly know about racial hardships?” Well, quite a bit it seems, and for critics that are so quick to embrace faux-hardcore rappers like Rick Ross it seems disingenuous to accuse Glover of being fake. Much like his lyrical content, Glover’s delivery is hardly conventional– heavy on wit, full of one-liners, and while not always the most poetic (the sex-laden lyrics don’t always mesh well with the socially charged lyrics that occur often in the same breath), Glover is always memorable. In a sea full of the same old hip-hop, Childish Gambino stands as an unique voice making Camp a very strong debut.
“Bonfire” [Explicit]
Thirty-Four.
nostalgia, Ultra. by Frank Ocean
MOST of the attention granted to Odd Future in 2011 focused on either Tyler, The Creator or the ever-elusive Earl, but if there’s one person whose stock arguably climbed higher than anyone, it’s Frank Ocean. A vocalist so smooth that he can soften even the hardest of OFWGKTA’s tracks, and boasted a number of high-profile guest appearances due in large part to this highly alluring mixtape. With singles “Novacane” and “Swim Good” leading the way, Ocean manages to even make a swag cover of Coldplay’s “Strawberry Swing”– go figure.
“Novacane” [Explicit]
Thirty-Three.
Slave Ambient by The War on Drugs
THE second release from this Philadelphia, PA based outfit is the first without founding member Kurt Vile (who released a solo album this year as well). The resulting album is a terrific collection of Americana rock that brings to mind artists such as Tom Petty and Bruce Springsteen. It’s a very enjoyable album that substitutes the rollicking slapdash nostalgia that many other indie rock bands have gone for, and replaces it with an easy-going and self-assured feel.
“Baby Missiles”
Thirty-Two.
Days by Real Estate
IN case you thought Real Estate was a one-trick pony after their eponymous debut, the New Jersey band was out to prove critics wrong with their follow-up Days. Not only does their sophomore release improve upon the ideas of their debut, but the band displays some flourishes indicating the kind of musical growth you wouldn’t expect from such a mid-tempo heavy band. The key lies in the band’s hooks, which live up to the promise displayed on their breakthrough single “Beach Comber” from the first album. This time around, they’re a far more consistent, and interesting band.
“Municipality”
Thirty-One.
Smoke Ring for My Halo by Kurt Vile
IF nothing else, Smoke Ring for My Halo delivers one of the most lethal 1-2 punches of the year with “Baby’s Arms” and “Jesus Fever.” Both show off Vile’s terrific talents as a songwriter, from the dreamy opener to the more straightforward rock of the second track. There are plenty of highlights throughout the entire album to be sure, as Smoke Ring… sounds like a very eager Vile that’s spreading his wings.
“Baby’s Arms”
Thirty.
Belong by The Pains of Being Pure At Heart
THE sophomore release from this New York City band expands nicely upon their debut while more freely referencing their chief influences– Smashing Pumpkins and My Bloody Valentine in particular. This may not seem like a good thing, but if anything, the band sounds all the more engaging, and Belong is that much more interesting because of that fact.
“Belong”
Twenty-Nine.
Honestly, This World by The Moth & The Mirror
THIS Glasgow-based sextet are an impressive bunch, and it’s hard to believe that Honestly, This World is their debut release. The songs from front to back are striking and there’s an impressive degree of charisma to their music as well as it shifts between folk and post-punk indie rock. There’s a lot to like about this album, and this band is certainly one worth keeping an eye on in the future.
“Fire”
Twenty-Eight.
Skying by The Horrors
AN immensely talented and egregiously hyped British band, The Horrors have done a very good job at living up to lofty expectations, and Skying is no exception. It’s a daring and wondrous album, with a great deal of depth and enough grit to continue to make things interesting for the duration of the album. For the third time in their short careers, The Horrors have produced yet another praiseworthy release.
“Still Life”
Twenty-Seven.
Wild Flag by Wild Flag
A supergroup that consists of former members of Sleater-Kinney, Helium and The Minders, there were high expectations going into the release of Wild Flag. Thankfully, those expectations have been exceeded, as the album will cater to both fans of the pre-existing bands that make up Wild Flag, as well as anyone else with a healthy appreciation for masterful post-punk music.
“Romance”
Twenty-Six.
Barton Hollow by The Civil Wars
IT was only a matter of time before there would be a genuine folk/country outfit that straddled the line well enough between the indie and mainstream crowds to simultaneously win over damn near everyone, and with Barton Hollow, The Civil Wars did it better than even The Avett Brothers tried to do. With the fantastic production by Grammy-Award winning Charlie Peacock and mesmerizing vocals, this duo released one of the most lush, awe-inspiring albums you’ll hear all year.
“Barton Hollow”
Twenty-Five.
On the Water by Future Islands
IF nothing else, frontman Samuel T. Herring’s bone-chilling vocals have a stunning presence– almost like a less fatiguing Antony Johnson. To match, the band has a terrific feel for 80’s pop, building heavy layers of synthesizers and a relentless rhythm section to make for an engaging and highly enjoyable listen.
“Balance”
Twenty-Four.
Ashes & Fire by Ryan Adams
RETURNING from a brief hiatus due to Ménière’s disease, it appears as if the break from music did Ryan Adams a lot of good. While one could make an argument that Adams has reached higher highs with his music, he has never been as consistent as he is here.
“Lucky Now”
Twenty-Three.
Tassili by Tinariwen
WHILE a definite departure for the Tuareg-Berber band, Tassili is a wondrous achievement and a much more natural album. With guest appearances from the likes of Nels Cline and TV on the Radio’s Kyp Malone and Tunde Adebimpe, the results are as stunning as they are diverse.
“Tenere Taqqim Tossam”
Twenty-Two.
El Camino by The Black Keys
ONCE a reliable blues rock duo, the new post-Brothers Black Keys has injected an even larger dose of T. Rexified guitar riffs and glam to their steady and purposeful formula. Danger Mouse also returns again as producer, and the result is what is easily the snappiest and most polished Black Keys album to date. Someway, somehow, that doesn’t even turn out to be a bad thing.
“Lonely Boy”
Twenty-One.
Parallax by Atlas Sound
IT seems the bigger Deerhunter has become the farther frontman Bradford Cox has gone down the rabbit’s hole. The album begins with the heartfelt lyrics “Found money and fame/But I found them really lame,” which highlights the dark underbelly of what’s musically the strongest that Cox has produced under his Atlas Sound moniker. The themes of loneliness and being misunderstood are nothing new, but it’s refreshing all the same when the messenger presents it in such a conversational manner whilst wearing their heart on their sleeve. Parallax is relatable, haunting, and other-worldly all at the same time.
“The Shakes”
Twenty.
D by White Denim
AFTER adding an additional member and becoming a four-piece rock band, D, the major label debut from Austin, Texas-based White Denim is a fantastic rock album. Showcasing an electric display of musicianship, D is equal parts psychadelic rock and prog rock with some solid jamming thrown in for good measure. One of the most fun albums of 2011, D marks new territory for this promising band.
“Drug”
Nineteen.
Burst Apart by The Antlers
AFTER their breakthrough concept album Hospice, it was difficult to discern where the band would go next. It turns out that with Burst Apart, the band returns with an appreciably more dynamic effort. The strength of the band’s impeccable songwriting is showcased on the majority of the album, from the lovely “I Don’t Want Love” to the haunting “No Windows.”
“Parentheses”
Eighteen.
Both Ways Open Jaws by The Dø
A fantastic second release from this French duo, they manage to instill the most abstract ideas into a perfectly executed pop song, as seen on their opening “Dust It Off,” and also their delightful “Too Insistent,” which builds on an off-kilter guitar and piano riff. If you haven’t heard of The Dø yet, do yourself a favor and make sure to give a listen to Both Ways Open Jaws, it’s certainly one of the more underrated albums this year.
“Too Insistent”
Seventeen.
A Creature I Don’t Know by Laura Marling
DESPITE her young age (she’s only 21), Laura Marling has now released three great albums, and it doesn’t look as though she’s going to let up anytime soon. Each time pushing the envelope farther and showing a level of maturity in her songwriting well beyond her years, Marling continues to wow you as a listener.
“Sophia”
Sixteen.
Yuck by Yuck
BORROWING heavily from such 90′s indie rock bands as Pavement, Dinosaur Jr., and Sonic Youth, Yuck may not inherently appear to be an original or striking band, but one spin of their self-titled debut shows the cleverness of this British band. Any band can follow a blueprint, but Yuck sounds like a long-lost greatest hits album, it’s an extremely enjoyable listen.
“Get Away”
Fifteen.
Megafaun by Megafaun
MEGAFAUN, for all of its indie-folk musings, is an enriching album full of haunting melodies and enough quirks (such as the Beta Band-esque “These Words” or the off-kilter instrumentals of “Isadora”) to make things interesting for the entirety of the album. No longer in the shadows of DeYarmond Edison, Megafaun’s latest efforts are deserving of their own spotlight.
“State/Meant”
Fourteen.
The Year of Hibernation by Youth Lagoon
TREVOR Powers’ debut is a promising effort, taking the chillwave movement to another level, where his masked vocals enhance the haunting and forlorn nature of his music. Furthermore, he doesn’t rely too heavily on synths or beats to make up for what’s really a simplistic structure– instead incorporating elements of dream pop where a strong chorus and clever approach go a long way. The Year of Hibernation is a relaxing and enjoyable journey in every conceivable manner.
“Cannons”
Thirteen.
Circuital by My Morning Jacket
AFTER confounding fans and critics alike with Evil Urges, My Morning Jacket returns with their second best album outside of 2005′s Z. The Kentucky band is still as outlandish as before (“Holdin’ On to Black Metal”), but they trimmed a lot of the fat that weighed down their previous release. It’s a fun, smart, and highly accomplished album– it’s good to see these guys back on their game again.
“Holdin’ On to Black Metal”
Twelve.
Helplessness Blues by Fleet Foxes
BY now, you know what you’re getting when you listen to a Fleet Foxes album, and despite largely sticking to the same formula as they did on their debut, Helplessness Blues is perhaps better in some ways due to its more freewheeling, groove-based sound. Still, Fleet Foxes has made a name for themselves based on their glorious harmonies, and those are also very much present.
“Montezuma”
Eleven.
Civilian by Wye Oak
GIVE one listen to the title track below and you’ll see exactly why Wye Oak’s latest placed so high on this list. Gripping vocals from Jenn Wasner lead the way as this extremely talented duo get more out of their sound than most bands twice their size. Civilian is the most impressive album from Wye Oak yet, and it seems as though they’re on track to get that much better.
“Civilian”
Ten.
Black Up by Shabazz Palaces
SHABAZZ Palaces are unlike anything you’ll hear in hip-hop right now, and from its crazy abstract beats to the song title names that are as long as some essays, the Seattle-based group is clearly making a conscious effort to change the way people approach hip-hop music, and the results are mesmerizing.
“Swerve…” [Explicit]
Nine.
House of Balloons by The Weeknd
AN overnight Youtube sensation, Abel Tesfaye released a string of mixtape albums in 2011, the highlight of which was House of Balloons. From start to finish, it’s an insanely strong album, carefully crafted and thoughtful. Despite the attention that countryman Drake is receiving, The Weeknd proved this year that he is the Canadian R&B artist worth watching.
“The Morning” [Explicit]
Eight.
Strange Mercy by St. Vincent
YOU knew it was coming– every album from Annie Clark has gotten a little bit edgier, a little bit darker, and on Strange Mercy, it seems as though she found the perfect balance for herself. There are still gorgeous orchestral flourishes as exhibited on the single “Cruel,” but for the most part, this is a much darker affair than anything she has done previously, and the results are glorious.
“Cruel”
Seven.
James Blake by James Blake
WITH all the hype leading into James Blake’s debut, it almost seemed as if the poor bloke was being set up for failure. Unfairly labeled as merely dubstep, Blake, in truth, bridges an interesting gap, falling somewhere between a heavier blue-eyed soul with a penchant for Tori Amos. The result is an oddly engrossing album that is extremely different from most anything else out there, and he doesn’t always need to rely on heavy electronics to get that across. The soulful “The Wilhelm Scream” and the gorgeously layered “Measurements” are just as impressive as his cover of Feist’s “Limit To Your Love.”
“Limit To Your Love”
Six.
Bad as Me by Tom Waits
TOM Waits has now released seventeen studio albums in his illustrious near-forty year career, and between his enshrinement into the Rock and Roll Hall of Fame and his release Bad as Me, one could argue this has been one of the better years in Waits’ music career. Flatly put, Bad as Me is the best album Waits has released in nearly a decade. Time has not eroded his skills as an artist or his razor-sharp wit, and he unleashes his full arsenal on this album.
“Bad As Me”
Five.
Hurry Up We’re Dreaming by M83
ANTHONY Gonzalez has always been about creating larger-than-life soundscapes, and while most of his work with M83 has come close to that, none hold a candle to the double-disc Hurry Up We’re Dreaming. Epic in every sense of the word, it’s unrelentingly beautiful and also has one of the best songs of 2011 in “Midnight City.”
“Midnight City”
Four.
Bon Iver by Bon Iver
AFTER the highly successful and surprising breakthrough of For Emma, Forever Ago– the fruit bore from Bon Iver holing himself up in a cabin for six solemn months– Bon Iver was in a precarious position, becoming something of the new indie guitar-folk rock king– or the next generations Elliott Smith (whichever comparison you prefer), it wasn’t exactly an ideal place to be. Instead of allowing himself to be typecast, he branched out, particularly embracing hip-hop music (you’ll find him all over Kanye’s My Beautiful Dark Twisted Fantasy), a move that proved to be highly beneficial for not only his career but it also allowed him to explore a lot more sonically with his self-titled sophomore release. Much like Elliott Smith’s Figure 8, Bon Iver takes advantage of an increased budget and studio funding and the results are an album that manages to be both immersive and grandiose all at the same time. It’s a gorgeous release. The cynical and fans who believe he abandoned his sound will call it self-indulgent, but even so, there’s undeniable brilliance present here.
“Holocene”
Three.
The Whole Love by Wilco
IN an impressive catalog of releases, The Whole Love stands out thanks to the brilliant opener “Art of Almost,” and great pop songs such as “I Might” and “Dawned on Me.” It’s the first album to really broach Summerteeth in terms of impactful pop songwriting, while it decidedly has the other foot in the Yankee Hotel Foxtrot camp with the organic and sprawling nature of songs such as the aforementioned “Art of Almost” as well as the albums quieter moments. The Whole Love is an endlessly surprising listen.
“Art of Almost”
Two.
Undun by The Roots
THE first concept album from The Roots, Undun tells the story of a fictional character named Redford Stephens in reverse chronological order. A terrific tale of karma and the effects of our decisions and actions, The Roots tell a sobering story with a level of detail largely unseen today. Next to Things Fall Apart, this is likely to go down as The Roots’ greatest achievement, not to mention the best hip-hop album to be released this year.
“Make My” (feat. Big K.R.I.T.) [Explicit]
One.
w h o k i l l by tUnE-yArDs
MERRILL Garbus made a quantum leap with her sophomore release of w h o k i l l, further delving into her use of African syncopated rhythms but this time with the helping hand of bassist Nate Brenner, she’s able to do so with a greater degree of impact. As Garbus raps on the song “Killa,” “I’m a new kind of woman, I’m a new kind of woman/I’m a don’t take shit from no one kind of woman.” Very true words indeed, w h o k i l l is an extremely gutsy, no holds barred kind of album that most artists can only dream of making.
After dealing with being released from his label and the shelving of his previous release Popular, Van Hunt seems more determined than ever to break through with this dazzlingly eclectic release.
Release Date: September 27, 2011
Record Label: Thirty Tigers/godless-hotspot
Rating: 95
Van Hunt is an impossible artist to pin down. With a keen eye for Sly and the Family Stone-style flair but with a penchant for rocking out, his eclectic style likely infuriated the record labels that eventually dropped him. The end result is a huge benefit for fans and critics alike as What Were You Hoping For? is just as (if not more challenging) than his faltered release Popular, but at the same time displays the brilliance that he has shown since his debut.
Typical song structures be damned, What Were You Hoping For? appears to be a stream of consciousness album in many ways, allowing for the album to capture Van Hunt’s wide range of influences and run free, as seen on the masterful groove “Plum.” The eccentricity is not all for show either, as the stripped down, country tinged “Falls (Violet)” is as beautiful and bittersweet as anything he has ever written. The lead single “Eyes Like Pearls” triumphantly exudes a Purple Rain-like swagger, while the socially conscious title track recalls Sly and the Family Stone at the peak of their powers.
What Were You Hoping For? can seem a bit overwhelming at first blush– it’s an admittedly scattered album. However, it somehow all comes together by the end as a well thought out and accomplished effort that, when taken as a whole, is likely the best we’ve seen from Van Hunt yet.
A daring and largely brilliant album, The Whole Love assuredly deserves a spot in the highest echelon of Wilco releases.
Release Date: September 27, 2011
Record Label: dBpm
Rating: 100
After constant dogging of the band for their new “dad rock” ways (a point that has been debated over and over again by fans and critics alike), it appears that Jeff Tweedy and company have dared to expand their boundaries once again in a fashion that made albums such as Yankee Hotel Foxtrot possible. The opening “Art of Almost” is easily one of the finer songs Wilco has ever crafted, with Tweedy’s fantastic lyrics paired with a gritty, noise-filled sonic background. While it calls to mind Yankee Hotel Foxtrot and A Ghost Is Born, the guitar solo by Nels Cline at the end of the song is certainly one of the biggest rock-out moments ever recorded by the band. While the rest of The Whole Love is a mostly straight-laced affair, it calls to mind Summerteeth and Being There moreso than their more recent albums that have been unfortunately largely derided as “dad rock.”
Perhaps it is for that reason that The Whole Love is all the more impressive upon first listen. While the band has never exactly appeared bored, they were staunchly centered in the Americana rock camp, and the surprises became fewer and farther between. Not so here, as there is an active involvement from the entire band that is apparent on this album and while it doesn’t necessarily sound unfamiliar, this is a side of Wilco that hasn’t reared its head in a while.
The Whole Love is a sublimely dynamic and frequently brilliant album. It’s largely fun, rocks when it wants to, and also carries a hefty emotional weight when it desires as well. From the catchy single “I Might” to the sunshine pop of “Dawned on Me” to the stunning and somber closer “One Sunday Morning,” The Whole Love deserves to be mentioned in the same breath as Yankee Hotel Foxtrot and Summerteeth as one of the finest albums in Wilco’s illustrious career.
Strange Mercy finds Annie Clark delving deeper into the rabbit hole– the bewildered wonderment of Marry Me is still in place, but now the darker underbelly that was hinted at on Actor is on full display. The results are fascinating and leave you wanting more.
Release Date: September 12, 2011
Record Label: 4AD
Rating: 90
Annie Clark’s (aka St. Vincent) musical trajectory is not all that dissimilar to Alice in Wonderland. Where her initial Marry Me was bright-eyed and full of wonder as he conquered some mesmerizing musical landscapes, the darker recesses of her music increasingly came to surface on Actor and are almost peering through here on Strange Mercy. Instead of announcing its presence from the onset, however, Strange Mercy bubbles and broods, reminding you of the threat of something awful, without actually going fully in that direction.
The opening “Chloe in the Afternoon” is a dissonant and disorienting opener that sounds almost Björk-esque, while “Cruel” expands the sonic boundaries infinitely, with its soaring strings, edgy bass, and pleading vocals. Even still, despite pushing the envelope substantially, she’s never straying too far from her musical core, instead– to use the Alice in Wonderland reference– she simply goes further down the rabbit hole, introspectively exploring the darker recesses of her mind. This is certainly on full display with “Cheerleader,” which begins with the proclamation, “I’ve had good times with some bad guys/I’ve told whole lies, with a half-smile” and enters the chorus with a chunky-guitar laden flourish.
Other highlights on the album include the beautiful lead single “Surgeon,” the sparse and dreamy title track, and the smoldering “Dilletante.”
If there’s a complaint about the album, it’s that it is somewhat top-heavy, but even so, Clark’s arrangements are so arresting that even when she doesn’t knock it out of the park, her songs are still as interesting as ever. At this point in her career, she has established herself as a consummate songwriter and arranger, and perhaps as she allows herself to explore the edginess that exists in her music more fully, her prowess will become even more evident. As it stands, Strange Mercy is a commendable album, and while it may not be her most accessible, it’s likely Annie Clark’s finest work yet.
It’s looking more and more as though Strange Mercy may be the not only the peak performance of Annie Clark’s young career but also one of the top albums of the year, at least if her first two singles have anything to say about it. On the heels of the stellar “Surgeon” comes “Cruel,” an absurdly lush track that manages to be dark, creepy, painstakingly gorgeous and poppy all at the same time. She pulls out all the stops here, as she did on “Surgeon,” and its clear she’s truly pushing herself on her upcoming release. You can watch the music video for this brilliant track below:
Unsurprisingly, there are flashes of brilliance on Watch the Throne (what else would you expect when two of the biggest artists in their genre get together?), unfortunately the album is anything but consistent– relying far too heavily on the home run instead of doing more with less.
Release Date: August 8, 2011 (iTunes), August 12, 2011 (Physical Release)
Record Label: Def Jam
Rating: 82
The music video for “Otis” sums up Watch the Throne perfectly– like a Hollywood blockbuster, the emphasis is on style over substance. They picked the most venerable video director of all time (Spike Jonze) to film them take one of the most expensive vehicles produced (Maybach), chop it, and drive it around a set lot with random pyrotechnics thrown in for good measure. Combine that with a needlessly expensive sample of Otis Redding’s “Try a Little Tenderness” and you get an idea that perhaps the larger-than-life envelope that Kanye West has always relied on has been pushed too far.
On a purely superficial level, there is a lot to enjoy about the album– West and Jay-Z are always reliable rappers, and with a revolving door of A-list producers, the beats and presentation are both top-notch, but there’s very little to draw you in, and the album consequentially feels a bit cold. That being said, there are flashes of supreme brilliance, especially in the second half of the album, as the opening “No Church in the Wild” is likely the best on the album and features a great guest spot from Frank Ocean. Likewise, the last thirty seconds of “Lift Off” is a fantastic afro-beat laden jam, and even makes Beyonce’s overreaching vocals tolerable. “Murder to Excellence” is a surprisingly poignant political piece, that may be one of the most fully realized socially conscious songs either artist has made. Similarly, “Made in America,” for all of its lyrical misgivings, is a truly tender-hearted piece as well.
As a whole, Watch the Throne is an interesting proposition– it’s not an all out failure the way Best of Both Worlds was, but while it may sonically shape the way of hip-hop to come, it doesn’t consistently deliver to make it as groundbreaking as it perhaps feels like it should be. If you can accept that, there’s a lot to enjoy throughout the album, just don’t expect anything more than over-the-top Hollywood popcorn thrills.
Where Evil Urges faltered in creating an eccentric and larger-than-life world, Circuital crafts such an unassuming atmosphere, that by the time you realize it’s just as nutty as the last album, you’re hooked.
Release Date: May 31, 2011
Record Label: ATO
Rating: 90
If you haven’t figured it out by now, My Morning Jacket is a weird band with a wicked sense of humor. Not sardonic or apathetic like you would expect most rock bands to be, but just a genuinely weird self-aware bunch of guys that as much as they like to rock out are really all about pushing the oddity envelope. However, whereas before these (pardon the pun) evil urges were pushed into the background previously (“Into the Woods” from Z, “They Ran” from The Tennessee Fire), they came full frontal on both their last release and (possibly to the chagrin of many) on Circuital as well.
Before you write off their latest album, however, do know that it’s a better overall effort than Evil Urges. Surprisingly, the reason for that is possibly because Circuital doesn’t straddle the line the way Evil Urges did– where for every “Librarian” and “Touch Me I’m Going to Scream” you had a quintessential MMJ tune like “I’m Amazed”– instead the Kentucky-based band goes all out with reckless abandon.
It all begins with the strangely hypnotic “Victory Dance,” which builds on a deceivingly simplistic rhythm and evolves into a dark, but lovely, piece before leading into the gorgeous title track. Other highlights include the vulnerable “Wonderful (The Way I Feel)” which could eclipse “Golden” as their most stunning track recorded. “Slow Slow Tune” and “Movin Away” are also both some of the better slower songs the band has recorded in quite a while.
On the opposite end of the spectrum, the absurd “Outta My System” is likely to be this album’s “Highly Suspicious,” you’re either going to love it or hate it. The insanely theatrical “Holdin On to Black Metal,” however, endears itself with its larger than life scale, and a pitch-perfect understanding and execution of its concept.
Yes, Circuital is out there– it’s not really a concept album so much as it is an affirmation of My Morning Jacket going from an established southern rock band to something more otherworldly and at times, flat-out indescribable, but that’s a good thing. Unlike the frequently half-baked Evil Urges, My Morning Jacket takes the plunge here, and they come up smelling like roses.
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 [...]
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 [...]
The list is finally here! If you have Spotify and would like to listen to most of the albums listed here in their entirety, you can stream the Top 50 Albums of 2011 playlist. Fifty. Blouse by Blouse THE debut effort from Blouse may not be perfect, but they have created a very intriguing sound [...]
After dealing with being released from his label and the shelving of his previous release Popular, Van Hunt seems more determined than ever to break through with this dazzlingly eclectic release. Release Date: September 27, 2011 Record Label: Thirty Tigers/godless-hotspot Rating: 95 Van Hunt is an impossible artist to pin down. With a keen eye for [...]
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