Friday 24 December 2010
Tuesday 21 December 2010
Scott Harrison
Had this been a 'new' album, it would have been much higher up the list. Though it is a very worthy contender for one of the albums of the year, I felt it only fair to devote the top slots to properly new albums.
It is testament to the genius of Darkness on the Edge of Town that the out-takes from those sessions are making end-of-year lists more than 30 years after they were recorded.
Key Track: 'Come On (Let’s Go Out Tonight)'
Say what you will about MCR, they don’t rest on their laurels. Perhaps not as good as their previous affair, The Black Parade, but you can’t help immersing yourself in the thrashy, electro-pop, fabricated future world of space cowboys and comic book villains they present here.
As the Rock Sound review states: “for fans of: Fun, ice cream, lasers, comics”
Key track: 'Planetary (GO!)'
Not too much to say about this one other than “Sting’s daughter in bloody brilliant pop album shocker”.
I can’t see where she’ll go from here, but at least one-hit-wonders get it right once.
Key track: 'Please Rewind'
When 'Stay Positive' was released in 2008, I thought it signalled the beginning of the end for The Hold Steady. No more bar fights, no more drug fuelled rampages in the twin cities and our favourite characters were consigned to the song book of history. Then Tad Kubler got pancreatitis and was told he could never drink again. Then Franz took his moustache and accordion and went home. Doom.
Or not. On their fifth album, The Hold Steady have finally found a way to make growing up fun. They’ve gone from the voice of inebriation to the voice of experience, and who better a storyteller to share their experience than Craig Finn; nowhere better illustrated than on 'Soft in the Center' with the lyrics “I know what you’re going through, I had to go through that too… Kid, you’ve gotta trust me on this one…”
If you’d fallen out with The Hold Steady, this is a perfect place to revisit. If you’ve managed to avoid them all these years (How? Why?), then you could do worse than this album as an introduction.
Key tracks: 'The Weekenders', 'Hurricane J'
Fake Problems first appeared on my radar as a support band for Frank Turner, and a pretty forgettable one at that. Also, the album they were touring at the time was average at best. For some reason the name stuck around my subconscious and I’m really glad it did.
Having cancelled an international tour to get straight into the studio when the ideas for this album started taking shape and followed by some hardcore bigging-up from Frank and The Gaslight Anthem, I realised this album may be worth a listen.
Sounding like a combination of the best bits of Cursive, Two Gallants, Bright Eyes, Frank Turner, Hank Williams, Waylon Jennings and Blink-182, but with a strong voice of their own, they’ve come back with a belter of a third album.
It’s only half an hour long. Give it a go.
Key tracks: 'RSVP', 'Complaint Dept'
Oooooh haven’t things gone a bit cheery in FRabbits-land. Well, relatively speaking anyway…
This was always going to be a tricky album, having to follow up the damn near perfect predecessor, 'The Midnight Organ Fight'. In providing a worthy successor, they have succeeded. In matching it, they haven’t quite.
What they have done is create a grand pop album without losing their charm, and each song gives you something new to discover with every listen. The fact that this album is still on heavy rotation ten months after its release, in a year full to bursting with great albums goes some way to illustrate that point.
I could go on all day about each song individually, but I’ll save you the boredom. If you haven’t already, take the time out to discover stage three of the development of this amazing band.
Key tracks: 'The Loneliness and the Scream', 'The Wrestle', 'Skip the Youth', 'FootShooter', 'Not Miserable'
My discovery of the year by a country mile. In a year dominated by established bands returning with strong new albums, it was refreshing to hear something new.
Some may say he’s a (very) poor man’s Dylan, but that would be missing the point. Yes, their voices are similar. Yes, it’s mostly just him and a guitar, but with songs this strong, who cares?
Listen to the album properly and you’ll understand the true meaning of the phrase “less is more”.
Key tracks: 'King of Spain', 'Burden of Tomorrow', 'Troubles Will Be Gone', 'Kids on the Run'
To the dismay of many of their hardcore fans, Against Me! continue their metamorphosis into one of the finest pop-punk bands currently writing, releasing and touring. The songs have always been an outlet for the contents of Tom Gabel’s mind, but that mind is maturing. Gone are the dick and fart jokes, in their place the observations of a thirty-something with a young family to look after. The lyrical wit and ear for a tune are as evident as ever but the quality of song writing gets better with each album.
That Green Day are playing stadia and Against Me! are still playing 400-capacity venues defies imagination. From a personal standpoint, long may it continue (if/when I’m old and grey, the Fighting Cocks gig this year will surely still rate in my top five shows of all time) but it would be great to see them get the recognition they deserve.
Key track: 'Because of the Shame'
Perhaps a predictable entry for me, but a worthy one nonetheless. American Slang sees a (relative) departure in style for The Gaslight Anthem, lacking the ferocity of their previous two albums (and EP). In doing so, Brian Fallon and co have created a much more personal affair, and perhaps their best work to date.
Pre-release hype likened this album to London Calling and Born To Run, which may have unfairly raised (great) expectations. Time will tell whether this goes down as a classic album, but I can say for certain now that this is a band that, despite releasing a trio of genuinely brilliant albums, still appear to have their best form ahead of them. The future’s bright, bring it on.
Key tracks: 'Bring it On', 'Boxer', 'We Did It When We Were Young'
After the doom, gloom (and relative disappointment) of Neon Bible, The Suburbs sees Arcade Fire return to form. With a bang. At 16 tracks and just over an hour long, it’s incredible that not a moment is wasted. The album is damn near perfect (yes, Olly – even 'Rococo'), especially when taken in as presented on vinyl. An epic in four parts, and I can’t get enough of it. The moment when 'Sprawl I' fades into 'Sprawl II (Mountains Beyond Mountains)' will be sending shivers down my spine for years to come.
The only potential downside is how far this album has catapulted Arcade Fire into the mainstream. Don’t get me wrong, I don’t begrudge them their success, and I can’t imagine a better band to get such recognition but I’ll miss the smaller live shows…
It would be unfair to pick out a key track. Give yourself an hour and listen to the whole thing in one go (preferably taking three breaks to flip/change the record).
Emperor’s New Clothes
Beady Eye
Look, Liam. Just do one. Nobody cares anymore. (edit: the use of the word “anymore” may be unnecessary)
It’s Good, But Not That Good
The National - High Violet
After the initial excitement, this album just sort of faded into the background. Very good in places, but lacks the punch of Alligator or the first half of Boxer.
Guilty Pleasure
Eminem ft. Rihanna - 'Love the Way You Lie'
Sue me.
Innocent Pain
Avi Buffalo –
I really should get this. But I really don’t.
Honourable Mention
Girl Talk - 'All Day'
This will have philosophy students debating for years whether it actually constitutes an “album”, seeing as it contains no original material and is made up entirely of samples. Whatever they decide, this is utterly bonkers. And ace with it.
Chris Brook-Carter
Lumped in with the Grizzly Bear/Animal Collective/Dirty Projectors bandwagon, this album could easily have sunk against such heady comparisons. In truth, Teen Dream sets out its own stall, far more accessible than any of the above. Its soft tones and striking melodies made it the summer album of the year.
Dan Snaith's latest album as Caribou is his best yet. Complex, atmospheric and intelligent, this is an album for the dancefloor that is equally at home, well, at home.
The slowburner of the year. So easy to dismiss on first listen, Learning is sparse beyond belief. A prompt from a friend midway through the year, however, and the album began to work its way into my consciousness. It's incredibly personal and melancholic, but at the same time beautiful and fragile. It's the perfect accompaniment to the harsh winter.
The fourth album from the Atlanta-based band is a heady cocktail of styles and influences from shoegaze pop to noisy punk rock. The results is this year's best psychedelic sound (just pipping Tame Impala for that honour). Not always an easy listen, but whilst the hooks are buried, they are (eventually) catchy as hell and demanding repeated listens.
Loaded with collaborations from Jim James, Joanne Newsom and John Legend, to name a few, this is The Roots' most diverse album to date. Dark, tragic and uplifting all at once, their ability to cross so many borders is why The Roots remain such a unique listen.
This is a folk opera – my God, that sounds terrible! But, the truth is that this is an epic album in both ambition and scope that takes in blues, jazz, folk and rock as it retells the story of Orpheus’s journey into the underworld but set in depression-era America. Backed by Justin Vernon (Bon Iver) and Ben Knox Miller (The Low Anthem), with an amazing score from Michael Chorney, the album's brilliance has to be heard in full to truly appreciate.
Wondering why Midlake's most recent effort was so lacklustre? It's because they were pouring their creative efforts into this gem as the backing band to The Czars' lead singer's solo debut. A perfect slice of 70s Californian pop, juxtaposed against Grant's acidic attack on prejudice and conformity.
The album the band seemed to promise when Dangermouse was at the helm for Attack and Release. Mixing Motown, soul, blues and rock, this is a career high that hurtles through its 15 tracks. Tight and laden with hooks, this is still great unsanitised rock'n'roll.
The band are almost mainstream now – which, given the darkness that continues to pervade Matt Berniger's lyrics, is a testament to their outstanding songwriting. The formula hardly deviates from Alligator or Boxer, and, like its predecessors, this is a subtle listen that works its magic slowly. Dense, atmospheric and still unsettling, The National are the torchbearers for 30-something angst.
An epic listen, this is the ultimate 'event' album of the year. Over 16 sprawling, anthemic tracks the band mythologises growing up in the 80s and captures that time and place beautifully. There are many stand out moments, but it's the strength of the album as a whole that sets it apart. This isn't an album to dip in and out of; it demands to be heard from start to end. And, when the final bars of 'The Suburbs (Continued)' play out, the overwhelming feeling is to press play and start all over again.
2010: year of the re-releases
The Promise, Exile on Main Street and The Whitmark Demos were all outstanding, and under less strict rules from Da Wehring, would have been strong contenders.
Honourable mentions
Joanna Newsom - Have One On Me; Tame Impala - Innerspeak; Spoon - Transference
Biggest disappointment
The Drums
Biggest surprise or "I never expected to like that!"
Sleigh Bells - Treats
Sunday 19 December 2010
Daniel Foster
Formed out of a mutual appreciation for 10CC and all things prog. Relayted is a funky trip that flows seamlessly from track to track. A supergroup of sorts, star of the show for me is Bon Iver's Justin Vernon who's unmistakeable falsetto slots in nicely to the mix, and it's quite satisfying to hear it out of context. This had to make the final 10 if only for the outstanding cover of Godley & Creme's 'Cry'.
9: Wolf Parade - Expo 86
I'm not sure what it is about Wolf Parade, they seem to have this knack for writing amazingly monumental rock music that is ultimately destined to go woefully un-noticed. They recently announced an Indefinite hiatus which is a shame, as ironically, Expo 86 showcases the band sounding more confident and unified than ever. Hopefully this is not the end for Wolf Parade but, but if it is, we thankfully still have the Handsome Furs and Sunset Rubdown.
Gorilla Manor took me by surprise. It wasn't really until track eight came on during the first spin - a cover of Talking heads 'Warning Sign' - that my ears pricked up. The 'Natives' tightly woven vocal harmonies are treated like instruments in their own right (obvious comparisons point to Fleet Foxes) and sit amid lush instrumentation backed by forceful and urgent percussion. It's a pleasing combination that lasts the whole 12 tracks.
Pop on some big headphones, turn out the lights, sit back and enjoy. Watery keyboards wash from speaker to speaker, Dan Snaith's fragile vocals humanise the songs and meander their way between possessive beats, whilst little sonic surprises catch you off guard and fill in the cracks. Seeing it performed by a band live on stage just makes it all the more impressive. Why can't more dance music be this good?
6: Avi Buffalo - Avi Buffalo
Debut albums don't come much finer than Avi buffalo's. First listen; impressed, second; hooked! Then, when I discover that frontman Avigor Zahner-Isenberg (let's just call him Avi for now) is just 18 years old, I was amazed. Beautiful, honest and innocent yet somehow mature beyond his years. Doesn't break any new ground, but this is indie-rock that deserves great attention. Avi Buffalo is yet another great find for Sub Pop.
Public Strain is an energetic and lean beast of an album. It makes for a cold, challenging and somewhat uneasy first listen, leaving behind it a sense of schizophrenia (beauty versus dissonant noise), but persevere and you'll be aptly rewarded. If at any point you doubt that Women are capable of making anything of beauty, six-and-a-half minute epic closer 'Eyesore' will reassure you. Like Joy Division, The Velvet Underground and a bit of noise? This might just be your new favourite band.
Gather round children. Take a seat, grab yourself some milk and let me tell you the tale of the dragon who fell in love a princess, after that we could take a nap and maybe later on we could go swimming… Magic Central is a gentle, fantastical, indie-folk gem. It's quirky yet emotive. Fans of Silver Jews, Smog and Nick Drake should love this one.
3: Sufjan Stevens - The Age of Adz
I thought poor old Sufjan had lost it. The ability to edit himself that is. So many bleeps, glitches and squirgles, yet somehow this album has charmed it's way right under my skin, and here it now sits in my end-of-year top ten. Kind of like it when that happens. No doubt about it, 'Adz' is an impressively dense piece of work. But once you find your way through the foliage, you realise it's a pretty spectacular view.
NPR's (much violated) First Listen feature comes in rather handy from time to time, and I'd been looking forward to this one for months. I wasn't dissapointed. Lisbon has a kind of suave, irresistible charm that keeps you coming back for more and it just gets better. Leithauser's desperate croon is the main feature while the paired back vintage sounding instrumentation lends the perfect backdrop. This is a band at the very top of their game.
Oh, Arcade Fire. How I do adore thee. You've crafted such a wonderful masterpiece of an album, that I simply cannot live without it. Despite your success I shall not punish thee, for an album as good as this, it is one that's worthy of the highest praise…
Despite rolling in at a hefty 16 tracks, The Suburbs rattles along surprisingly quickly. I think, key to that is the wealth of variety on offer here. Arcade Fire sound comfortable in all guises, expertly shifting gear, dropping the pace and picking it back up again, they sound unstoppable and the result is a record that comes off having a sort of very well put together mixtape feel. Influences come thick and fast. It's diverse yet somehow still works best as a whole. A real album lovers, album. Clever bunch, that Arcade Fire.
Sarah Paling
Seems that I’ve chosen another punk gone soft, I still think it has a kick again. Not perfect all the way through, but I’ve really enjoyed it.
Key track: 'Trying to Breathe'
Not a perfect album it does go off the boil towards the end, but I just love David Ford. You’ll never properly get into him unless you’ve seen him live to match up what you are hearing and what you are seeing.
Key track: ‘Stephen’
Sheer genius - mental as usual but an album of lunacy in a mad bad world! A few tracks verge on thumpy thumpy shit which is why it doesn’t rank higher, but most of the time they pull it back from the brink!
Key track: S/C/A/R/E/C/R/O/W (which is a bitch to write)
Another year, another Hold Steady album. Slightly less drinking and wild parties, but this has some brilliant hark-backs to past songs. Still fun times, but we’re all a little older and a little wiser, in theory.
Key track: The Weekenders
Just gorgeous, lots of bands around doing similar type of things but they just get it all right. Perfect.
Key track: King of Spain
I know I shouldn’t have included this but if you want to fight me about the awesomeness of The Boss, meet me outside….
Just awesome - who doesn’t love Frightened Rabbit? Of course, you have to sing along in a mock Scottish accent and I’m still not altogether sure of all the words, but I’ve got the bits you sing along down. ‘Swim Until You Can’t See Land’ and ‘Man/Bag of Sand’ will stick with you (as I said, in a Scottish accent). I didn’t think they could surpass ‘Midnight Organ Fight’ the name is awesome and I didn’t think much would beat ‘My Backwards Walk’ but it’s just as good.
Key track: Nothing Like You – I just LOVE that song
This may come as a shock as it seems everyone has this as number one album of the year, but I found it was one that couldn’t often be dipped in and out of, which I suppose does make it number one as it is the most complete as an album concept. Anyway, you have to listen to the whole album, took me a while to sit down with it and listen to it all the way through. Once I had I picked it up but not on to listen to when just popping out to the shops, it needs time. Loved the videos, I thought they were immense, once I finally got it to work! Will leave the talk of gatefold and vinyl love to Mr Harrison.
Key track: Can’t pick a track out (Rococo, Olly?!) - it has to be listened to in its entirety.
What can I say, it’s the Gaslight, they never fail to raise the bar once again, not as immediate as The ’59 Sound but once you get it, you’ve got it! Would normally go in at number one but took a few more listens than usual to find its groove. Same format as before: You shout, you sing, you croon (think blue jeans and t-shirts) and you jump all the time smiling, how could you go wrong?!
Key track: Boxer
Not only one of the best gigs of the year but a fantastic album. Not liked by some as it has been perceived as too pop and mellow. Yes, it’s catchier overall than the last few, but it still has the anthemic tunes that deserve a shout-along at any gig.
Key track: Any of them! I Was a Teenage Anarchist
Guilty Pleasure
Eminememememem - Recovery. Especially ‘Love the Way You Lie’
Emperors New Clothes
Mona – starting to think they are a bunch of knobs, damn catchy tunes, though.
Saturday 18 December 2010
Stuart Peskett
Have there been many album-openers more gorgeous than 'The High Road'? Alt-rock with some gratuitous bleepy electronica thrown in, Broken Bell’s debut is the perfect mix of great singalong choruses and experimentation.
Blissful electronica, with hints of Aphex Twin and Tangerine Dream ('Candy Shoppe'), and – whisper it – Jean-Michel Jarre ('Double Helix').
Key track: 'Science Center'
No Burt Bacharach samples, no bouncy pop-house, no vocals – Röyksopp have grown up. A world apart from previous album Junior, Senior is a proud two fingers to the record company. If you don’t like synths, AVOID.
Key track: 'The Drug'
You never know; this might convert the anti-dance brigade. Nothing hardcore here, just a load of smart, funky riffs, one after the other. And, if you’ve heard a cooler one than 'Vanilla Minus', please let me know.
Key track: 'Vanilla Minus'
If you’re going to hang up your boots (*sob*), you could do worse than with a tune like 'Drunk Girls' (“Drunk girls know that love is an astronaut/It comes back, but it's never the same”). You know what to expect: effortless funk, yelpy David Byrne-esque vocals, a top album.
Key track: 'Drunk Girls'
Hilariously earnest, this Brooklyn two-piece is a curious mix of New Order, rockabilly and They Might Be Giants, but look beneath the surf guitar and histrionic vocals, and you’ll find catchy pop ditties aplenty.
Key tracks: 'Book of Stories'
A cartoon band no more – Gorillaz have finally cracked it. A jaw-dropping line-up of collaborators (Lou Reed, Snoop Dogg, Mark E Smith, Bobby Womack etc), but Plastic Beach has structure and poise. Not everything works, but when it does, in the case of 'Empire Ants’' sweeping melancholy, or the disposable pop of 'On Melancholy Hill', you have a winner.
Key track: 'Stylo'
Rather unsubstantial on first listen, but Swim is a hell of a grower. Every track is bursting with riffs and hooks that get under your skin; Daniel Snaith’s delicate vocals are used sparingly, but work perfectly. A dance album with a soul.
Key track: 'Lalibela'
An extraordinary combination of cool-as-fuck electronica and jangly guitar pop. Opening track 'Earthquake' is as blissfully chill-out as anything on Screamadelica, while 'Desire Lines' starts off like The House of Love, but builds and builds to an amazing pulsating guitar riff. Oh, and there’s 'Helicopter', too, one of the tracks of the year.
Key track: 'Desire Lines'
The jaunty piano that opens Arcade Fire’s third album is at odds with the rather serious stuff that follows, but despite the reflective mood, this is still joyous, blood-rushing, anthemic stuff, with bagloads of memorable moments, like the wibbly synths in 'Sprawl II (Mountains Beyond Mountains)' or the frenetic explosion of 'Empty Room'.
Key track: 'We Used To Wait'
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