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.
NZCA/Lines stands out in the glut of 80′s influenced blue-eyed soul with sharp attention to detail, and a heightened sense of sonic experimentation that goes a step farther than merely mimicking its predecessors.
Release Date: February 28, 2012
Record Label: Loaf
Rating: 82
Formerly a bassist for the band Your Twenties, Michael Lovett changed gears drastically, now creating a hypnotically soulful self-titled debut. If there’s something to be impressed by right off the bat, it’s the superbly tight production that provides a unique voice for Lovett. Yes, you have a strong sense of familiarity when you listen to the music and songwriting on the album, but there’s a definitively modern twist to it all, a welcome change from the continued reliance on simply recreating 80′s and early 90′s R&B and Soul and forgetting about the organic element that made those songs so relevant upon release.
The lyrics don’t always hold up to the excellent production and sound of the album, but one could argue that it’s the feel that matters the most when it comes to music of this genre, and with some serious synth-laden grooves, that type of philosophy would certainly be forgiven. As it stands in this modern setting, however, NZCA/Lines makes an intriguing splash for his debut effort, that starts particularly strong with “Compass Points” and “Okinawa Channels.” Hopefully Lovett doesn’t change course again before completely exploring this new-found funkier side.
After riding a fair amount of hype, the results of Beth Jeans Houghton & The Hooves of Destiny are as varied and creative as you’d expect. Yours Truly, Cellophane Nose, is a wonderful debut.
Release Date: February 28, 2012
Record Label: Mute
Rating: 86
Beth Jeans Houghton has been on the radar of many for quite a while, releasing numerous singles and EPs before finally unveiling her and her band’s debut effort, Yours Truly, Cellophane Nose. Her highly theatrical and varied approach dazzles and is aided by the production by Ben Hillier (Blur, Depeche Mode, Elbow). Despite its short length, each track is packed with a slew of ever-evolving musical ideas and centered with strong, anthemic lyrics. Because of this, the casual listener may immediately want to paint Beth Jeans Houghton as similar to an Adele or Florence & the Machine– but Houghton never attempts to blow you away with her voice, her band carries that burden, she merely lures you in with her passionate storytelling and clever songwriting.
It’s been a long time coming, but Yours Truly, Cellophane Nose has been well worth the wait. From the triumphant opening of “Sweet Tooth Bird” to the dynamic “Liliput” and the gorgeous “Dodecahedron,” Beth Jeans Houghton remains head and shoulders above many other artists you’ll hear this year– she and her band are artists well worth watching.
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.
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.
Mind Bokeh can’t match the charm of its predecessor, but it still creates a distinctive and largely enjoyable sonic journey.
Release Date: March 29, 2011
Record Label: Warp
Rating: 81
After crafting such a summery breakthrough album in Ambivalence Avenue, which features the single “Lovers’ Carvings” (featured in those Kindle ads), it seems a bit surprising that Stephen Wilkinson would decide to proceed down a path that is largely the antithesis of his previous effort. Edgier, nuanced and decidedly not radio friendly in any sense, Mind Bokeh is going to only truly appeal those that understand Bibio as a dubstep and electronic producer, not anyone that is going on based on what he did on Ambivalence Avenue.
Quirks aside, there is still the same smart and concise productions that make Bibio a joy to listen to, especially when he does open things up on tracks such as “Pretentious” and specifically “Anything New.” The latter is a true summer banger, with a slick baseline, finger snaps and a decent hook to boot– if nothing else, it’d be easy to see a number of underground rappers sampling it for their future mixtapes. Another true standout is “K is for Kelson,” a bubble-gum pop tune that has shades of Jackson 5 and brims along with glee.
If you can accept Mind Bokeh for what it is– or more aptly, look at the album in a vacuum, there is a lot to enjoy. It’s issues only lie within its overall cohesion, and that’s something that only stands out more when you look at all that Wilkinson accomplished on his previous releases. That being said, you can see that there is some decided experimentation taking place here, and for a restless artist that’s always a good thing– perhaps on his next release he’ll be able to tie it all together. In the meantime, Mind Bokeh has a great number of strengths that are noteworthy in their own right.
Considering the successful run of indie pop albums Belle & Sebastian has released in recent years, it’s easy to dismiss Write About Love, as it marks a return to their gentler AM pop sound. Still, for headphone listening, Write About Love is a lovely album.
Release Date: October 12, 2010
Record Label: Rough Trade
Rating: 84
Their first release of new material in four years, Belle & Sebastian Write About Love is a bit of a departure considering they had seemed to find their stride with Dear Catastropher Waitress and The Life Pursuit– both of which were much more in the vein of true indie-pop and relied on the strength once again of excellent songwriting. In comparison, Write About Love feels like a more slickly produced Fold Your Hands Child, You Walk Like a Peasant. The first half of the album oddly highlights the band’s 70′s AM pop radio charm, which has always worked in doses but comes off a bit heavy-handed here. From there, things come together with a handful of more upbeat songs that recall the band’s finer moments, before settling back into a lighter groove once again.
From a musical standpoint, and this is the key here, the album is absurdly lovely and makes for a fantastic headphone album. However, for a band that is as dynamic as Belle & Sebastian can be, Write About Love could be more, and it certainly isn’t helped by the unevenness of the songs.
As odd as it is to wrap your head around hearing Stuart Murdoch perform a duet with Norah Jones, “Little Lou, Ugly Jack, Prophet John” is a gorgeously written tune and is the definite highlight of the quieter songs, along with the opening “I Didn’t See It Coming.” “I’m Not Living in the Real World” and “The Ghost of Rockschool” are two other songs that are the finest moments when it comes to B&S more popular forms of indie pop.
Belle & Sebastian Write About Love is a difficult album to pin down, because it’s really quite good. It’s not flashy in any way, and while it’s enjoyable it also certainly won’t wow you– it’s a bit like an accent piece in an art gallery, where it certainly has enough of a distinct charm to not seem out of place with the other works of art, but it doesn’t exactly grab you either. That’s not a bad thing by any means, just don’t expect it to live up to their best work.
Easily the most difficult album Stevens has ever recorded, The Age of Adz– a tribute to the late Royal Robertson– is a chilling yet brilliant album.
Release Date: October 12, 2010
Record Label: Asthmatic Kitty
Rating: 100
Sufjan Stevens has managed to make quite a career doing whatever he wants, and being really good at it. Whether its recording an electronic album about the Chinese Zodiac, embarking on a fifty states album project (that has been all but abandoned), or creating a multimedia experience revolving around a bridge in New York (with an orchestral score to match)– Stevens has been anywhere and everywhere musically. As such, perhaps it was only a matter of time before he finally hit a creative wall, as The Age of Adz is Stevens’ first traditional album since The Avalanche in 2006, and that was just a collection of outtakes and remixes from 2005′s Illinois.
That’s not to say he hasn’t been busy, The BQE, an immensely overwrought project that was a film, soundtrack, and live concert series all in one, was a huge undertaking in 2009, and just a few months ago Stevens released his All Delighted People EP. However, between the distressed lyrics and sonics of The Age of Adz, and the undertones that acknowledge an influence from artist Royal Robertson, it’s clear that Sufjan Stevens is exercising some serious demons here.
The connection between The Age of Adz and Robertson makes sense, with the often dystopian nature of the songs and a great sense of alienation in both works. It also serves as a great channel for what has become Sufjan Stevens’ trademark– an immaculately grand sense of scope in his music. In contrast to the romantic orchestral foundation on both Illinois and Michigan, Stevens has instead opted for a heavily layered digitized base full of synthesizers, autotuned background vocals, and deep bass. There are a couple of exception to this rule, such as the opening “Futile Devices” and the impassioned “Now That I’m Older,” but for the most part– disparate and unwieldy electronic backdrops are the norm.
For the Sufjan Stevens’ fans that are willing to take the plunge into this murky world, they are in for what could end up being one of the most chilling and exhilarating listening experiences of the year. While songs like “Too Much” and “I Walked” will be more comfortable listens, the real rewards lie in the apocalyptic title track, as well as the inescapably dark “I Want To Be Well” and the wondrous, 25-minute closer “Impossible Soul.”
The Age of Adz is an affected pop masterpiece that links more closely to the works of Björk than what Stevens has traditionally done in the past, and that is by no means a bad thing. For all of the digitized pomp and circumstance, the core of Stevens’ release is immensely personal, albeit surreal. For that reason, The Age of Adz avoids ever feeling completely forced or too ornate for its own good. These aren’t the same ornate sonics that were featured in earlier Stevens albums, instead, every single seemingly dissonant note on the album correlates to some inescapable element of a distraught subconscious.
Riding high after a superb (and possible career best) album in You & Me, The Walkmen for once sound comfortable in their own shoes. The results are surprisingly lively, a sharp contrast to their past– and makes for a very engaging listen.
Release Date: September 14, 2010
Record Label: Fat Possum
Rating: 89
The music may not be a stylistic sea change, but if there’s one thing that’s crystal clear from the onset, it’s that the brooding, occasionally uncomfortable tension that belied much of their sound, has been lifted in the spirit of the band recording in the new environment of Lisbon, Portugal. The opening track “Juveniles” is far more optimistic than anything you would’ve heard on You & Me, and with a stronger surf rock influence this time around, there’s a jovial bounce that has been missing from much of their material up until now. “Angela Surf City”, “Follow the Leader,” and “Torch Song” all pack the same stinging poignancy of their earlier work, but remain sunnier, the latter with its perfectly placed (albeit surprising) harmonized vocals, and perhaps as a result, the album has a sense of genuine intimacy and curiosity that never truly lets up. Even “Blue as Your Blood,” which deceivingly begins with a haunting and affected guitar and percussive riff develops into something much more grandiose and gorgeous than the sparse beginning would lead you to believe.
After an immensely successful release with You & Me, The Walkmen have followed up nicely with Lisbon. By putting themselves in a new environment and organically branching out their sound without coming off as forced, they have allowed for the kind of growth every band could ever hope for after climbing into the spotlight. Where one could argue that The Walkmen failed to capitalize on Bows + Arrows with a comparatively weak A Hundred Miles Off, it’s easily apparent that they don’t make the same mistake twice this time around– Lisbon is an absolute treat.
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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