We need to talk about Mumford and Sons.
I mean, I'm kind of sick of talking about Mumford and Sons.
Way back when, in like what, 2008, I loved them a lot. I listened to their two EPs constantly, and would even rip songs from their MySpace, eagerly awaiting their debut album. Cut to two years later, their record was finally released, and I got to see them at the Bowery Ballroom for like $12. They were pretty fantastic live, and a ton of fun. And then they somehow blew up.
Look, this isn't about how I listened to them before everyone else. I'm over that. It's always a bit of a bummer when your bands blow up and everyone starts listening to them but if you really like them, your enjoyment of their music will endure (if the music holds up). This is more about the way your perception of a band or their music somehow changes as they garner more attention.
For example, I used to be a huge Ray LaMontagne fan. I still think Trouble and Til The Sun Turns Black are great albums, and I'll still listen to "Burn" or "Empty" or "Lesson Learned" and think, "God, these songs are awesome." But around his third album, Gossip in the Grain (which, upon later listens, I realized wasn't so bad), he became pretty popular and the record was lackluster. And please, don't get me started on his fourth album. Is there are a direct correlation between his popularity and (in my opinion) his lackluster music? What about The Avett Brothers? Their early records were great. Their live shows used to be a blast. Their latest record? Oh, boy, what a disaster. It just isn't anything I'd ever want to listen to. I know they're on a major label now (even though two records that have been released this year, Heartthrob and Pedestrian Verse prove that is irrelevant) but the quality of music should stay the same. Or do these major labels somehow believe that music has to be less complex (i.e. dumb-downed) to appeal to more people? But then again, something like God Willin' & the Creek Don't Rise or The Carpenter doesn't really appeal to my tastes at the moment. Remember, your music doesn't necessarily grow with you. And I've made my peace with not listening to Ray LaMontagne anymore. The Avett Brothers were a bit harder to swallow but oh well, these things happen.
Which brings me back to Mumford and Sons. I still listen to them. And if you remember, I did put Babel on my favorite albums of 2012 list. But they are purely a guilty pleasure. Yes, all of their songs sound the same (I mean, you'd think they had made enough money from their first record to pay some musicians to expand their sound for their second record), and boy, are their lyrics trite (don't believe me? listen to "Lover's Eyes") but they have an addicting quality to them. But did I ever really believe they were good? I mean, I was far less critical back in 2008 but I recall believing they were a really great band. I really wanted them to succeed. And now they have and I'm like, "well, they do suck but I like them." Has their popularity caused me to go fishing for negativity? I mean, I can't imagine shitting all over The National if they suddenly blow up (even though I always say their live shows are a disappointment and sometimes their music is dull), and I wouldn't suddenly say, "Oh, that Scott Hutchison, his lyrics are pedestrian" (I swear, the pun is not intended) if Frightened Rabbit become huge. Or perhaps I will. Perhaps I will say that all of The National's songs sound the same and that they're a boring band. My point is sometimes we are programed to believe that mainstream culture is somehow less intelligent and low brow and easier to swallow so it must be bad in some way. So if millions of people like Mumford and Sons now, how can they possibly be good? For me, the only way I can live with the idea of liking the band is if I only refer to them as a guilty pleasure. If I acknowledge that I do know they are terrible. Or just bad. Terrible is harsh.
I'm not trying to be Stereogum here, especially since I don't believe bands who are making millions and winning Grammys and selling out arenas need to be defended. I'm just trying to understand my feelings towards them. There's no point in being hostile to a band (especially one you enjoy) because they're easy to ignore. Just don't listen to them. I mean I truly, truly, truly hate The Black Keys (I really think their songs all sound the same, Patrick Carney runs his mouth too much, and I'm sick of hearing "Gold on the Ceiling" and "Lonely Boy" in every damn commercial) but nobody is forcing me to listen to them or see them in concert. But Lord, people are so hostile towards bands they do not like. And I think it's because they see them as a threat. If everyone is listening to well, Mumford and Sons, people are not going to be listening to Cloud Cult or DeVotchka or whatever smaller band you really love. But my enjoyment of one band shouldn't interfere with your enjoyment of someone else. It's just an inherent feeling to defend your music, especially against those evil Grammy-winning, foot-stomping band of Brits.
Monday, February 25, 2013
Thursday, February 14, 2013
It's okay to take songs off of your iPod.
I know this comes as a surprise to nobody but I buy a lot of music, more than I could conceivably fit onto my 8GB iPod. And with every new song or record I want to put on my iPod (it's a green mini Nano, purchased in 2007, named Geno. I have an iPhone and an iPod Touch but Geno and I have been through a lot. And his name is Geno.) I am faced with the problem of removing a song or two. It's the circle of life for mp3s. And let me be honest, there are a lot of songs that I constantly skip over that could conceivably be deleted, and yet, I scroll through the list over and over again and wrestle with the decision as to which songs need to go.
I think there are two reasons behind this problem:
1. I buy all of my music on vinyl, with the exception of a few stray mp3s that I buy from Amazon, simply because I don't like the whole record enough. I am very against the idea of purchasing a full album on mp3. I believe it physicality, and there is something beautiful about removing a record from it's sleeve, putting it on your player, and letting the needle gently glide over it. An mp3 is nothing. It just exists on your hard drive, and if it crashes or gets deleted, then it's gone. And you have nothing to show for it. There are a lot of songs on my iPod that I either a) don't have physical copies of or b) don't even have the mp3 of and once they are deleted, they are gone forever. I understand musical is cyclic, and I won't always want to listen to or like the same songs, and with the internet, things are always available now. But if I delete this live version of Damien Rice's "The Professor and La Fille Danse" that's in very poor quality, I WILL NEVER GET IT BACK!
2. Music is so incredibly personal, and I feel like I've developed a sort of connection or memory to every song/album/artists I listen to. I scroll through my iTunes library and think, "No! I can't take off this instrumental by Sufjan Stevens! He helped shape my love of indie!" or "I never listen to this live, solo version of 'Banking On a Myth' but it's Andrew! And I must be able to say I have a ridiculous, albeit unrealistic amount of his recordings on my iPod." And if I take off all of the Damien Rice music, then it just shows that I don't really like listening to him anymore, especially not as much as I did when I was in high school and my father would drive me to school every morning and I'd force him to listen to O over and over again. And then I'm saying good-bye to that part of my life. But I own the album on CD, and I could play it over and over again if I wanted to. But if "Cold Water" didn't randomly come on my iPod during my morning commute, I couldn't think, "Jeez, remember when my father used to argue with me about how this was the best song on the album?" If I removed those Bell x1 songs, then they're not special to me anymore, and they've been replaced by a new band. I mean, your memories never go away. But it's hard to admit parts of your life are over, and that you'll always have a fondness for Flock or 9 or Wind in the Wires but your music doesn't grow with you. You grow and you mature and your tastes become more sophisticated and maybe you'd rather listen to "Offspring are Blank" over "Red Right Ankle." Doesn't mean they both have to be on your iPod.
So, the best thing to remember is that you're not deleting your memories, you're just not going to have to dig through your bag on the subway to skip these songs when they come on your iPod anymore. And the less crap you have to deal with on the subway, the better.
I think there are two reasons behind this problem:
1. I buy all of my music on vinyl, with the exception of a few stray mp3s that I buy from Amazon, simply because I don't like the whole record enough. I am very against the idea of purchasing a full album on mp3. I believe it physicality, and there is something beautiful about removing a record from it's sleeve, putting it on your player, and letting the needle gently glide over it. An mp3 is nothing. It just exists on your hard drive, and if it crashes or gets deleted, then it's gone. And you have nothing to show for it. There are a lot of songs on my iPod that I either a) don't have physical copies of or b) don't even have the mp3 of and once they are deleted, they are gone forever. I understand musical is cyclic, and I won't always want to listen to or like the same songs, and with the internet, things are always available now. But if I delete this live version of Damien Rice's "The Professor and La Fille Danse" that's in very poor quality, I WILL NEVER GET IT BACK!
2. Music is so incredibly personal, and I feel like I've developed a sort of connection or memory to every song/album/artists I listen to. I scroll through my iTunes library and think, "No! I can't take off this instrumental by Sufjan Stevens! He helped shape my love of indie!" or "I never listen to this live, solo version of 'Banking On a Myth' but it's Andrew! And I must be able to say I have a ridiculous, albeit unrealistic amount of his recordings on my iPod." And if I take off all of the Damien Rice music, then it just shows that I don't really like listening to him anymore, especially not as much as I did when I was in high school and my father would drive me to school every morning and I'd force him to listen to O over and over again. And then I'm saying good-bye to that part of my life. But I own the album on CD, and I could play it over and over again if I wanted to. But if "Cold Water" didn't randomly come on my iPod during my morning commute, I couldn't think, "Jeez, remember when my father used to argue with me about how this was the best song on the album?" If I removed those Bell x1 songs, then they're not special to me anymore, and they've been replaced by a new band. I mean, your memories never go away. But it's hard to admit parts of your life are over, and that you'll always have a fondness for Flock or 9 or Wind in the Wires but your music doesn't grow with you. You grow and you mature and your tastes become more sophisticated and maybe you'd rather listen to "Offspring are Blank" over "Red Right Ankle." Doesn't mean they both have to be on your iPod.
So, the best thing to remember is that you're not deleting your memories, you're just not going to have to dig through your bag on the subway to skip these songs when they come on your iPod anymore. And the less crap you have to deal with on the subway, the better.
Tuesday, February 12, 2013
I have never wanted more to be your man and build a house around you.
Every year, I seem to find my January.
What? You don't know what a January is? Don't you have Januaries of your own?
I didn't initially go out seeking my Januaries and they began back in January 2009 when Noble Beast was released. It wasn't mad love at first listen but something about it was so compelling, and it made me want to keep listening to it, over and over again. Then came Armchair Apocrypha, and the rest, as they say, was history. I don't think I need to explain to ANYONE how much I like Andrew Bird.
In January 2010, I started listening to The National. Unlike Bird, I had never even heard of The National before I heard "Fake Empire" for the first time. Again, it wasn't love at first listen but I waited for the click and finally, I fell in love. I ended up buying a bunch of their records and saw them twice that year. I developed a bit of an obsession that has since subsided but 2010 was all about The National.
And then, of course, Destroyer's Kaputt was released. My favorite record of 2011. Destroyer was my favorite artist of 2011 (erm, well, until I discovered Feist in October). I never liked Dan Bejar before that record, I mean, I really could not stand his damn voice but after Kaputt, I became obsessive, consuming all of his music. And I mean, could you blame me? He is a bit of a genius, right? (I guess the obsession hasn't really subsided. Oops.) Nobody was better than Destroyer for me in 2011.
(2012 really didn't have a January because the first quarter of that year was devoted to Andrew Bird. It's hilarious when I think about how much new music I discovered during the second half of last year when I had basically played out Break It Yourself.)
And now, what about 2013?
Well, everyone, I've developed a big Frightened Rabbit problem.
I've actually been a casual Frightened Rabbit fan for about two and a half years now (I've even seen them live) so they're not exactly a new discovery. I've always been in their corner, I've always rooted for them. But I've always sort of described them as Snow Patrol with better lyrics (I'll have you know I really like Snow Patrol). They're a good band but nothing special.
Or so I thought.
They've just released a new record Pedestrian Verse and thanks to the glowing review on AV Club, I decided to check it out. (Truth be told, I would've checked it out anyway.) And I need to let you know that it is fantastic. Really, really fantastic. Like...that's all I've listened to for about a week. And the only other things I've listened to other than Pedestrian Verse are The Midnight Organ Fight and The Winter of Mixed Drinks. Frightened Rabbit's music has this quality that sneaks up on you; you listen to it and it doesn't sound special at all (I likened them to Snow Patrol meets Bell x1) but then you find yourself really paying attention to the lyrics and you say, "goddamn." Because Scott Hutchison's lyrics are fantastic. I find myself catching a line and having to replay the whole song because I need to hear the entire verse over again.
Look, I really like my music to either have a theatrical quality to it or to be spacey electronic shit, and I have in the past just said, "I'm over the whole bass-drums-guitar thing" (aka 99% of bands but I'm a pretentious jerk sometimes) but sometimes music doesn't have to be elaborate. It doesn't have to difficult or esoteric or a "grower" (oh, but I love esoteric "growers," I do). It can just be good. And that's all Frightened Rabbit are. They are good. They make good music and they are a good live band and they have been making my ears so damn happy. I want everyone to listen to them so in a year, they can win Grammys and sell out the Barclays and I'll say, "Well, remember that time I won tickets to see them like three hours before the show? Ah, memories." And I'll be happy for them. With reservations.
I suppose if it comes to that, they'll stop writing lyrics like "it takes more than fucking someone to keep warm." And that would be a tragedy. Okay, everyone can listen to them but be very secretive about it. Start a Frightened Rabbit Fight Club.
What? You don't know what a January is? Don't you have Januaries of your own?
I didn't initially go out seeking my Januaries and they began back in January 2009 when Noble Beast was released. It wasn't mad love at first listen but something about it was so compelling, and it made me want to keep listening to it, over and over again. Then came Armchair Apocrypha, and the rest, as they say, was history. I don't think I need to explain to ANYONE how much I like Andrew Bird.
In January 2010, I started listening to The National. Unlike Bird, I had never even heard of The National before I heard "Fake Empire" for the first time. Again, it wasn't love at first listen but I waited for the click and finally, I fell in love. I ended up buying a bunch of their records and saw them twice that year. I developed a bit of an obsession that has since subsided but 2010 was all about The National.
And then, of course, Destroyer's Kaputt was released. My favorite record of 2011. Destroyer was my favorite artist of 2011 (erm, well, until I discovered Feist in October). I never liked Dan Bejar before that record, I mean, I really could not stand his damn voice but after Kaputt, I became obsessive, consuming all of his music. And I mean, could you blame me? He is a bit of a genius, right? (I guess the obsession hasn't really subsided. Oops.) Nobody was better than Destroyer for me in 2011.
(2012 really didn't have a January because the first quarter of that year was devoted to Andrew Bird. It's hilarious when I think about how much new music I discovered during the second half of last year when I had basically played out Break It Yourself.)
And now, what about 2013?
Well, everyone, I've developed a big Frightened Rabbit problem.
I've actually been a casual Frightened Rabbit fan for about two and a half years now (I've even seen them live) so they're not exactly a new discovery. I've always been in their corner, I've always rooted for them. But I've always sort of described them as Snow Patrol with better lyrics (I'll have you know I really like Snow Patrol). They're a good band but nothing special.
Or so I thought.
They've just released a new record Pedestrian Verse and thanks to the glowing review on AV Club, I decided to check it out. (Truth be told, I would've checked it out anyway.) And I need to let you know that it is fantastic. Really, really fantastic. Like...that's all I've listened to for about a week. And the only other things I've listened to other than Pedestrian Verse are The Midnight Organ Fight and The Winter of Mixed Drinks. Frightened Rabbit's music has this quality that sneaks up on you; you listen to it and it doesn't sound special at all (I likened them to Snow Patrol meets Bell x1) but then you find yourself really paying attention to the lyrics and you say, "goddamn." Because Scott Hutchison's lyrics are fantastic. I find myself catching a line and having to replay the whole song because I need to hear the entire verse over again.
Look, I really like my music to either have a theatrical quality to it or to be spacey electronic shit, and I have in the past just said, "I'm over the whole bass-drums-guitar thing" (aka 99% of bands but I'm a pretentious jerk sometimes) but sometimes music doesn't have to be elaborate. It doesn't have to difficult or esoteric or a "grower" (oh, but I love esoteric "growers," I do). It can just be good. And that's all Frightened Rabbit are. They are good. They make good music and they are a good live band and they have been making my ears so damn happy. I want everyone to listen to them so in a year, they can win Grammys and sell out the Barclays and I'll say, "Well, remember that time I won tickets to see them like three hours before the show? Ah, memories." And I'll be happy for them. With reservations.
I suppose if it comes to that, they'll stop writing lyrics like "it takes more than fucking someone to keep warm." And that would be a tragedy. Okay, everyone can listen to them but be very secretive about it. Start a Frightened Rabbit Fight Club.
Wednesday, January 2, 2013
Favorite Theatre of 2012
In my other life, I go to the theatre. A lot. And I've become incredibly judgmental about it, with warrant, considering the sorry state Broadway is in. Especially the musical. Nonetheless, I did see some great shows this years. Here's my list:
1. Peter and the Starcatcher
I actually saw this play three times this year. It was that good. Look, I am a sucker for British pantomime so this was the perfect show. Creative, hilarious, magical, charming, with a great deal of heart and a wonderful cast. And I fail to see how there could be a funnier scene than that trunk scene.
2. One Man, Two Guvnors
Oh, I found a funnier scene than the trunk scene: the restaurant scene in One Man, Two Guvnors. Tom Edden gave one of the funniest performances I've ever seen, and would've stole the show if it weren't for James Corden's hilarious and charming performance. It wasn't perfect but it was a joy and one of the funniest shows I've ever seen.
3. The Mystery of Edwin Drood
Yet another joy! The cast of this show make this an absolute winner, and the ending is a load of fun.
4. Once
Now, I wasn't blown away by Once. It was a bit slow at times, a little boring, and look, I'd be really biased if I said that well, the music in this show is brilliant. But it is (although I have a tough time listening to anyone else sing Glen Hansard's songs). The reason this show is so high on my list is because Cristen Milioti's performance is fantastic, and the hill and "Gold" are wonderful scenes. This is one of the most original shows I've ever seen.
5. Who's Afraid of Virginia Woolf?
I came for Amy Morton, I left singing hosannas for Tracy Letts. After this performance and August: Osage County, I am pretty certain he is god. This was my first ever experience with Woolf and it was like a marathon and I was emotionally exhausted after the three hours but oh, was it worth it. Just so well done.
Honorable mention goes to Bring It On, which I unexpectedly loved and thought was a ton of fun. I was expecting to hate it but it was a real blast.
1. Peter and the Starcatcher
I actually saw this play three times this year. It was that good. Look, I am a sucker for British pantomime so this was the perfect show. Creative, hilarious, magical, charming, with a great deal of heart and a wonderful cast. And I fail to see how there could be a funnier scene than that trunk scene.
2. One Man, Two Guvnors
Oh, I found a funnier scene than the trunk scene: the restaurant scene in One Man, Two Guvnors. Tom Edden gave one of the funniest performances I've ever seen, and would've stole the show if it weren't for James Corden's hilarious and charming performance. It wasn't perfect but it was a joy and one of the funniest shows I've ever seen.
3. The Mystery of Edwin Drood
Yet another joy! The cast of this show make this an absolute winner, and the ending is a load of fun.
4. Once
Now, I wasn't blown away by Once. It was a bit slow at times, a little boring, and look, I'd be really biased if I said that well, the music in this show is brilliant. But it is (although I have a tough time listening to anyone else sing Glen Hansard's songs). The reason this show is so high on my list is because Cristen Milioti's performance is fantastic, and the hill and "Gold" are wonderful scenes. This is one of the most original shows I've ever seen.
5. Who's Afraid of Virginia Woolf?
I came for Amy Morton, I left singing hosannas for Tracy Letts. After this performance and August: Osage County, I am pretty certain he is god. This was my first ever experience with Woolf and it was like a marathon and I was emotionally exhausted after the three hours but oh, was it worth it. Just so well done.
Honorable mention goes to Bring It On, which I unexpectedly loved and thought was a ton of fun. I was expecting to hate it but it was a real blast.
Thursday, December 27, 2012
Favorite Albums of 2012
1. Japandroids-Celebration Rock
There's nothing about this record I should like. It's ugly, it's loud, there aren't any orchestrations (there must always be orchestrations!), and there are about a dozen other bands that sound exactly like Japandroids. Not to mention, most of the lyrics are incredibly trite. But I fell in love with this record anyway, most likely due to "The House That Heaven Built." I really can't explain why I like this album so much but along with Bloom and Break It Yourself, it was the one I listened to the most this year.
Favorite Tracks: The House That Heaven Built, Fire's Highway, Younger Us
2. Grizzly Bear-Shields
(I was prepared to list this as #1 until I saw Japandroids live. Just know that Shields was the most perfect record released in 2012, it just didn't mean as much to me as Celebration Rock.)
It took me a long time to acknowledge Veckatimist as a good record. I still don't love it as much as a lot of people do. I wasn't expecting much from Shields but decided to give it a chance anyway. Well, once I heard "Speak in Rounds," I was in love. This record is perfect. The orchestrations are brilliant (the guitar in "Sleeping Ute," the piano on "A Simple Answer," and the cello on "Half Gate," the percussion on "What's Wrong" just to name a few examples), the songwriting is on point, and Edward Droste and Daniel Rossen have never sounded better. In fact, I absolutely fell in love with Rossen's voice this year. Every track on this record is superb. Every little bit of sound that comprises these ten songs is beautifully composed and presented.
Favorite Tracks: Speak in Rounds, A Simple Answer, What's Wrong
3 Beach House-Bloom
What is left to say about Beach House, really? Bloom, like Teen Dream, is a perfect record. Beach House just write and record perfect pop songs. In 2012, they presented us with ten more.
Favorite Tracks: Myth, Wishes, Troublemaker
4. Fiona Apple-The Idle Wheel is Wiser Than the Driver of the Screw...
This is the first Fiona Apple record I enjoyed (and I sadly can't say I've gotten into her other records yet, although I do respect them) and I think it's because it happened to be released around the same time I was going through some crazy relationship emotions. What I needed at that time was a woman singing songs like "Daredevil" and "Werewolf" and "Anything We Want." I was using Fiona's voice and lyrics to reflect my own feelings so of course I would fall in love with this record. I mean, find me a record with better lyrics that was released this year. You can't, right?
Favorite Tracks: Anything We Want, Daredevil, Werewolf
5. Andrew Bird -Break It Yourself/Hands of Glory
I know, you're shocked this is listed so low, and honestly, I was prepared for this record to be my album of the year. Well, sometime around June, I put this record aside and really only revisited it after I saw Bird live in December. It's a strong record, don't get me wrong, and I adore it. He wrote some incredibly strong melodies for it, it's just well, it's not Noble Beast. I know, I did have a whole post about not comparing records but it is going to be tough for anything by anyone to top Noble Beast. It is my favorite record of all time, and it was a life changer. If I had never heard Noble Beast, I would probably love Break It Yourself more. There are a lot of standout tracks but to be honest, I am not fond of Bird's new-found desire to include his band in everything he does. I can find a dozen or so alt-country dudes who play the guitar and play boring songs. Andrew is better than that, and we all listen to him because of his brilliant violin-playing. Less guitars, more loops next time, Birdman.
Favorite Tracks: Orpheo Looks Back, Danse Caribe, Desperation Breeds...
6. Animal Collective-Centipede Hz
For real, let's stop the backlash against this record. It's a good record. It plays even better live.
Favorite Tracks: Today's Supernatural, Moonjock, Anamita
7. Calexico-Algiers
Sometimes a band can just put out a strong collection of tracks, no frills, no bells and whistles, just pure well-done songwriting. That is what Algiers is. An incredibly enjoyable, addicting, compelling record. And how could you not love this band?
Favorite Tracks: Splitter, Sinner in the Sea, Hush
8. Dirty Projectors-Swing Lo Magellan
Do you remember the 2:09 mark of "Useful Chamber" on Bitte Orca? It was the moment when I knew that record was special. It took me a long, long time to come around to that release but eventually it was clear that the hype was absolutely correct. Well, I didn't have to wait too long to realize Swing Lo Magellan was a great record; the moment hit me around 2:25 of "Offspring Are Blank," the first track of the album.
I mean, we all need to agree that not only is Dave Longstreth a great songwriter and guitarist but that he has a great, great singing voice and he is one of the best frontmen around. Longstreth's brilliance is really what makes this record so special.
Favorite Tracks: About To Die, Gun Has No Trigger, Offspring Are Blank
9. Chairlift-Something
It's a fun record that you can dance to, and Caroline Polachek has a wonderful voice. It's just really well done pop music.
Favorite Tracks: Take It Out on Me, Cool As a Fire, Sidewalk Safari
10. Mumford and Sons-Babel
Yes, Babel. Judge and mock all you want. I know Mumford and Sons are basically a terrible band. I know they've written one song twenty times, I get that. I still really enjoyed this record, and I found myself listening to songs ten times in a row before I moved onto the next one. (I admit, my enjoyment of this record may have stemmed from the fact it made a really good soundtrack to the A Song of Ice and Fire series.)
Favorite Tracks: Hopeless Wanderer, Ghosts That We Knew, Below My Feet
Honorable Mentions:
Titus Andronicus-Local Business
Bat for Lashes-The Haunted Man
Maps & Atlases-Beware and Be Grateful
David Byrne and St. Vincent-Love This Giant
Dan Deacon-America
First Aid Kit-The Lion's Roar
Father John Misty-Fear Fun
Most Disappointing Records:
Yeasayer-Fragrant World
The Walkmen-Heaven (I was disappointed at how much I didn't like this one after loving Lisbon.)
Sharon Van Etten-Tramps (I just don't get the hype.)
Overall, 2012 was a disappointing year for records. Compared to 2011 and 2010 where there were so many fantastic releases, I had to scrounge up ten albums I really, really liked. Oh, well, 2013 is gonna be all about The National anyway.
There's nothing about this record I should like. It's ugly, it's loud, there aren't any orchestrations (there must always be orchestrations!), and there are about a dozen other bands that sound exactly like Japandroids. Not to mention, most of the lyrics are incredibly trite. But I fell in love with this record anyway, most likely due to "The House That Heaven Built." I really can't explain why I like this album so much but along with Bloom and Break It Yourself, it was the one I listened to the most this year.
Favorite Tracks: The House That Heaven Built, Fire's Highway, Younger Us
2. Grizzly Bear-Shields
(I was prepared to list this as #1 until I saw Japandroids live. Just know that Shields was the most perfect record released in 2012, it just didn't mean as much to me as Celebration Rock.)
It took me a long time to acknowledge Veckatimist as a good record. I still don't love it as much as a lot of people do. I wasn't expecting much from Shields but decided to give it a chance anyway. Well, once I heard "Speak in Rounds," I was in love. This record is perfect. The orchestrations are brilliant (the guitar in "Sleeping Ute," the piano on "A Simple Answer," and the cello on "Half Gate," the percussion on "What's Wrong" just to name a few examples), the songwriting is on point, and Edward Droste and Daniel Rossen have never sounded better. In fact, I absolutely fell in love with Rossen's voice this year. Every track on this record is superb. Every little bit of sound that comprises these ten songs is beautifully composed and presented.
Favorite Tracks: Speak in Rounds, A Simple Answer, What's Wrong
3 Beach House-Bloom
What is left to say about Beach House, really? Bloom, like Teen Dream, is a perfect record. Beach House just write and record perfect pop songs. In 2012, they presented us with ten more.
Favorite Tracks: Myth, Wishes, Troublemaker
4. Fiona Apple-The Idle Wheel is Wiser Than the Driver of the Screw...
This is the first Fiona Apple record I enjoyed (and I sadly can't say I've gotten into her other records yet, although I do respect them) and I think it's because it happened to be released around the same time I was going through some crazy relationship emotions. What I needed at that time was a woman singing songs like "Daredevil" and "Werewolf" and "Anything We Want." I was using Fiona's voice and lyrics to reflect my own feelings so of course I would fall in love with this record. I mean, find me a record with better lyrics that was released this year. You can't, right?
Favorite Tracks: Anything We Want, Daredevil, Werewolf
5. Andrew Bird -Break It Yourself/Hands of Glory
I know, you're shocked this is listed so low, and honestly, I was prepared for this record to be my album of the year. Well, sometime around June, I put this record aside and really only revisited it after I saw Bird live in December. It's a strong record, don't get me wrong, and I adore it. He wrote some incredibly strong melodies for it, it's just well, it's not Noble Beast. I know, I did have a whole post about not comparing records but it is going to be tough for anything by anyone to top Noble Beast. It is my favorite record of all time, and it was a life changer. If I had never heard Noble Beast, I would probably love Break It Yourself more. There are a lot of standout tracks but to be honest, I am not fond of Bird's new-found desire to include his band in everything he does. I can find a dozen or so alt-country dudes who play the guitar and play boring songs. Andrew is better than that, and we all listen to him because of his brilliant violin-playing. Less guitars, more loops next time, Birdman.
Favorite Tracks: Orpheo Looks Back, Danse Caribe, Desperation Breeds...
6. Animal Collective-Centipede Hz
For real, let's stop the backlash against this record. It's a good record. It plays even better live.
Favorite Tracks: Today's Supernatural, Moonjock, Anamita
7. Calexico-Algiers
Sometimes a band can just put out a strong collection of tracks, no frills, no bells and whistles, just pure well-done songwriting. That is what Algiers is. An incredibly enjoyable, addicting, compelling record. And how could you not love this band?
Favorite Tracks: Splitter, Sinner in the Sea, Hush
8. Dirty Projectors-Swing Lo Magellan
Do you remember the 2:09 mark of "Useful Chamber" on Bitte Orca? It was the moment when I knew that record was special. It took me a long, long time to come around to that release but eventually it was clear that the hype was absolutely correct. Well, I didn't have to wait too long to realize Swing Lo Magellan was a great record; the moment hit me around 2:25 of "Offspring Are Blank," the first track of the album.
I mean, we all need to agree that not only is Dave Longstreth a great songwriter and guitarist but that he has a great, great singing voice and he is one of the best frontmen around. Longstreth's brilliance is really what makes this record so special.
Favorite Tracks: About To Die, Gun Has No Trigger, Offspring Are Blank
9. Chairlift-Something
It's a fun record that you can dance to, and Caroline Polachek has a wonderful voice. It's just really well done pop music.
Favorite Tracks: Take It Out on Me, Cool As a Fire, Sidewalk Safari
10. Mumford and Sons-Babel
Yes, Babel. Judge and mock all you want. I know Mumford and Sons are basically a terrible band. I know they've written one song twenty times, I get that. I still really enjoyed this record, and I found myself listening to songs ten times in a row before I moved onto the next one. (I admit, my enjoyment of this record may have stemmed from the fact it made a really good soundtrack to the A Song of Ice and Fire series.)
Favorite Tracks: Hopeless Wanderer, Ghosts That We Knew, Below My Feet
Honorable Mentions:
Titus Andronicus-Local Business
Bat for Lashes-The Haunted Man
Maps & Atlases-Beware and Be Grateful
David Byrne and St. Vincent-Love This Giant
Dan Deacon-America
First Aid Kit-The Lion's Roar
Father John Misty-Fear Fun
Most Disappointing Records:
Yeasayer-Fragrant World
The Walkmen-Heaven (I was disappointed at how much I didn't like this one after loving Lisbon.)
Sharon Van Etten-Tramps (I just don't get the hype.)
Overall, 2012 was a disappointing year for records. Compared to 2011 and 2010 where there were so many fantastic releases, I had to scrounge up ten albums I really, really liked. Oh, well, 2013 is gonna be all about The National anyway.
Wednesday, December 12, 2012
Favorite Concerts of 2012
I must begin this post by telling you that I saw a ridiculous amount of great shows this year, so this was a tough list to put together. Again, this is really in no particular order (also, I was going for a top five but a few boys from Vancouver screwed that up).
1. Glen Hansard + Lisa Hannigan//The Beacon Theatre//06.29.12
Some of my fondest concert-going memories are courtesy of Glen Hansard, and seeing him this past summer was like revisiting an old friend. He is without a doubt one of, if not the, best performers I've had the privilege of seeing live, so I expect him to blow me away. But there he was, with the rest of The Frames as his backing band, tearing up the stage for about two and a half hours. It was magnificent to have my favorite band back together, if only for one night. One of the highlights of the night was definitely hearing "Fitzcarraldo" again. It was almost like a reward for all of The Frames fans in the crowd, as though they were saying, "hey, even though we're not around much anymore, thanks for still sticking around." (And just so you know, Colm Mac Con Iomaire's violin is still one of my favorite sounds in the world.) The real highlight, however, was Glen singing "Falling Slowly" with only his guitar, with the whole audience singing along to every word. It was magical, and one of those moments where even in the thick of it, you realize it is very, very special. Sitting among roughly 3000 people singing in unison with so much joy and love and just this feeling of, "this is our song, our show" was incredible.
2. Calexico + The Dodos//Webster Hall//10.13.12
I had been anticipating this show for over three years. I saw Calexico open for Andrew Bird at Radio City back in 2009 and they blew me away, and I vowed that the next time they headlined in NYC, I was going to be there, no questions asked. Well, Calexico did not disappoint. Their level of musicianship is outstanding, and it is always a pleasure to watch a band have fun on stage. The fun translates to the crowd and it just becomes a huge party. Not to mention, I always love this idea of collectivity at shows. That we're all there because we love this music, and we're going to enjoy ourselves together. That was the vibe of this show. I've always been in Calexico's corner, and I always will. They are a perfect band.
3. Andrew Bird//The Bell House//02.25.12 & The Riverside Church//12.10.12
It's difficult to be objective about this man and his music. But it would be incredibly disingenuous to not include him on my lists because it's hard to deny just what an incredible experience he is live. Although I saw him three times this year, these two shows were too special to pick one over the other. The Bell House show was probably my favorite concert experience ever; being about oh, three feet away from my favorite human being in the universe, in a venue that holds about 500 people, hearing his new album live in its entirety. It certainly was surreal. And I remember hearing "Orpheo Looks Back" for the first time ever, being absolutely blown away. There was also a strong feeling of collectivity in this show; 500 people sharing a love of really beautiful fucking music. It was a secret show, and it truly felt exclusive.
The Riverside Church show definitely had a feeling of collectivity as well. It was truly an experience, and this may seem cheesy but it was all so beautiful. I had been waiting for three years to go to a Gazelligheid show, and I was so glad to finally be a part of one. For as difficult as it is to be objective about Andrew Bird, it is also pretty difficult to describe just how good he is. You just have to trust me on this one.
4. DeVotchka+Clare and the Reasons//The Bowery Ballroom//09.14.12
Like Calexico, DeVotchka was a band I was dying to see live, and they did not disappoint. They are an incredible live band. And as an added note, Nick Urata's voice is absolutely stunning.
5. David Byrne and St. Vincent//Williamsburg Park//09.29.12
I don't really believe in idols and heroes, most likely because I don't have any. But if I did have to name one, it would be Annie Clark. Girl is a brilliant and beautiful talent, and has collaborated with basically every musician I respect. Put her together with David Byrne, who is a god, and you have an incredible, and an incredibly fun, night. "Marrow" absolutely killed, and yes, "Burning Down the House" was as awesome as it seemed on YouTube. This show was a party-like atmosphere, and I didn't want it to end. Also, David Byrne danced.
6. Japandroids+DIIV//Webster Hall//12.04.12
Webster Hall holds about 1400 people, but there was this moment, at the beginning of "The House That Heaven Built" that made this feel like an arena show. The energy was outstanding, from both the band and the crowd. Mayhem it was, but it was also a blast.
And, to the most surprising, unexpected, holy fuck show of the year...
Animal Collective+Highlife//Terminal 5//12.05.12
Nothing prepared me for how good this show was going to be. Check Animal Collective out on YouTube, or television, and you'll think, "eh, whatever, fine." I went into the show with some reservations, expecting it to be a ho-hum affair. Wrong. This band is ridiculous live. And the new stuff? Outstanding live. Stop writing off Centipede Hz because it's a great fucking album. I knew this show was going to be special when they did "Wide Eyed." That song is such a dud on the record (well, until you see it live, of course) but that night, it was insanely good. But the real highlight of the night was being in a crowd that knew they were about to play "Brother Sport," and the anticipation as it continued to build until it broke into a wave of...movement. This show was all about movement. You just kept moving, you went with the flow and the sound, until you realized you had been listening to the same song for like ten minutes (and you also realized "Pulleys" is a good fucking song. "Amanita" too.)
1. Glen Hansard + Lisa Hannigan//The Beacon Theatre//06.29.12
Some of my fondest concert-going memories are courtesy of Glen Hansard, and seeing him this past summer was like revisiting an old friend. He is without a doubt one of, if not the, best performers I've had the privilege of seeing live, so I expect him to blow me away. But there he was, with the rest of The Frames as his backing band, tearing up the stage for about two and a half hours. It was magnificent to have my favorite band back together, if only for one night. One of the highlights of the night was definitely hearing "Fitzcarraldo" again. It was almost like a reward for all of The Frames fans in the crowd, as though they were saying, "hey, even though we're not around much anymore, thanks for still sticking around." (And just so you know, Colm Mac Con Iomaire's violin is still one of my favorite sounds in the world.) The real highlight, however, was Glen singing "Falling Slowly" with only his guitar, with the whole audience singing along to every word. It was magical, and one of those moments where even in the thick of it, you realize it is very, very special. Sitting among roughly 3000 people singing in unison with so much joy and love and just this feeling of, "this is our song, our show" was incredible.
2. Calexico + The Dodos//Webster Hall//10.13.12
I had been anticipating this show for over three years. I saw Calexico open for Andrew Bird at Radio City back in 2009 and they blew me away, and I vowed that the next time they headlined in NYC, I was going to be there, no questions asked. Well, Calexico did not disappoint. Their level of musicianship is outstanding, and it is always a pleasure to watch a band have fun on stage. The fun translates to the crowd and it just becomes a huge party. Not to mention, I always love this idea of collectivity at shows. That we're all there because we love this music, and we're going to enjoy ourselves together. That was the vibe of this show. I've always been in Calexico's corner, and I always will. They are a perfect band.
3. Andrew Bird//The Bell House//02.25.12 & The Riverside Church//12.10.12
It's difficult to be objective about this man and his music. But it would be incredibly disingenuous to not include him on my lists because it's hard to deny just what an incredible experience he is live. Although I saw him three times this year, these two shows were too special to pick one over the other. The Bell House show was probably my favorite concert experience ever; being about oh, three feet away from my favorite human being in the universe, in a venue that holds about 500 people, hearing his new album live in its entirety. It certainly was surreal. And I remember hearing "Orpheo Looks Back" for the first time ever, being absolutely blown away. There was also a strong feeling of collectivity in this show; 500 people sharing a love of really beautiful fucking music. It was a secret show, and it truly felt exclusive.
The Riverside Church show definitely had a feeling of collectivity as well. It was truly an experience, and this may seem cheesy but it was all so beautiful. I had been waiting for three years to go to a Gazelligheid show, and I was so glad to finally be a part of one. For as difficult as it is to be objective about Andrew Bird, it is also pretty difficult to describe just how good he is. You just have to trust me on this one.
4. DeVotchka+Clare and the Reasons//The Bowery Ballroom//09.14.12
Like Calexico, DeVotchka was a band I was dying to see live, and they did not disappoint. They are an incredible live band. And as an added note, Nick Urata's voice is absolutely stunning.
5. David Byrne and St. Vincent//Williamsburg Park//09.29.12
I don't really believe in idols and heroes, most likely because I don't have any. But if I did have to name one, it would be Annie Clark. Girl is a brilliant and beautiful talent, and has collaborated with basically every musician I respect. Put her together with David Byrne, who is a god, and you have an incredible, and an incredibly fun, night. "Marrow" absolutely killed, and yes, "Burning Down the House" was as awesome as it seemed on YouTube. This show was a party-like atmosphere, and I didn't want it to end. Also, David Byrne danced.
6. Japandroids+DIIV//Webster Hall//12.04.12
Webster Hall holds about 1400 people, but there was this moment, at the beginning of "The House That Heaven Built" that made this feel like an arena show. The energy was outstanding, from both the band and the crowd. Mayhem it was, but it was also a blast.
And, to the most surprising, unexpected, holy fuck show of the year...
Animal Collective+Highlife//Terminal 5//12.05.12
Nothing prepared me for how good this show was going to be. Check Animal Collective out on YouTube, or television, and you'll think, "eh, whatever, fine." I went into the show with some reservations, expecting it to be a ho-hum affair. Wrong. This band is ridiculous live. And the new stuff? Outstanding live. Stop writing off Centipede Hz because it's a great fucking album. I knew this show was going to be special when they did "Wide Eyed." That song is such a dud on the record (well, until you see it live, of course) but that night, it was insanely good. But the real highlight of the night was being in a crowd that knew they were about to play "Brother Sport," and the anticipation as it continued to build until it broke into a wave of...movement. This show was all about movement. You just kept moving, you went with the flow and the sound, until you realized you had been listening to the same song for like ten minutes (and you also realized "Pulleys" is a good fucking song. "Amanita" too.)
Saturday, December 1, 2012
Favorite Songs of 2012
2012 was an awesome year for singles. There were a lot of standout tracks on subpar records as well. Here are some of my favorites (in no particular order, for the most part):
1. Japandroids-The House That Heaven Build
when they love you, and they will
tell them all they'll love in my shadow
and if they try to slow you down
tell them all to go to Hell
2. fun.-Some Nights
the other night, you wouldn't believe the dream I just had about you and me
I called you up, but we'd both agree
it's for the best you didn't listen
it's for the best we get our distance
3. Beach House-Myth
the origin is you
1. Japandroids-The House That Heaven Build
tell them all they'll love in my shadow
and if they try to slow you down
tell them all to go to Hell
2. fun.-Some Nights
the other night, you wouldn't believe the dream I just had about you and me
I called you up, but we'd both agree
it's for the best you didn't listen
it's for the best we get our distance
3. Beach House-Myth
can't keeping hanging on to what is dead and gone
if you built yourself a myth
know just what to give
materialize or let the ashes fly
4. Bat for Lashes-Laura
you'll be famous for longer than them
your name is tattooed on every boy's skin
oh, Laura, you're more than a superstar
5. Edward Sharpe and the Magnetic Zeros-Man On Fire
6. Patrick Watson-Into Giants
we carried our love in cups to go
7. Andrew Bird-Orpheo Looks Back
and if it drives you mad, it'll probably pass
8. Grizzly Bear-Speak in Rounds
step down, just once
learn how to be alone
9. Dirty Projectors-Gun Has No Trigger
you hold the gun to your head
but the gun has no trigger
10. Lana Del Rey-Born to Die
don't make me sad, don't make me cry
sometimes love's not enough and the road gets tough
I don't know why
keep making me laugh,
let's go get high
road's long, we carry on
try to have fun in the meantime
sometimes love's not enough and the road gets tough
I don't know why
keep making me laugh,
let's go get high
road's long, we carry on
try to have fun in the meantime
all you think of lately is getting underneath me
all I dream of lately is how to get you underneath me
12. Maps & Atlases-Fever
we'll be extravagant hosts instead of imposing guests
God will do nothing to stop itthe origin is you
18. David Byrne and St. Vincent-Who
19. The Xx-Chained
we used to be closer than this
20. Calexico-Sinner In the Sea
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