The Bestest 2011– Tunage

If you look hard enough, any year can turn out to be a great one for music. Long gone are the days when commercial radio called the shots, when proximity to a killer record store or access to a suitable tastemaker could serve as an excuse for embracing mediocrity. Spotify is finally stateside. Record stores hardly exist anymore. Pandora is available in some cars. Satellite radio has XMU. You can hear KCRW’s “Morning Becomes Eclectic” on your phone. You can listen to your iPod over Bluetooth on a Jambox. You can push your 500+ gig collection to anywhere over Sonos. Coachella, Pitchfork, Austin City Limits Festival, Bonnaroo, Sasquatch, Outside Lands … so many festivals, so little time. There is simply no excuse not to take advantage of turning on to something truly life affirming. 2011 was another year steeped in brilliant, resurgent, rootsy Americana indie rock. There was also the emergence of some incredible new female voices, and a healthy dose of chill wave electronica. In the end music can make the world go round, so plug in, life is too quiet without it.

1) The Head and the Heart – The Head and the Heart (Sub Pop)

The greatness of some bands is immediately apparent. A few chords, a few harmonies, and you are hooked emotionally with melodies tattooed on your mind for the balance of the day or week. I have been listening to this masterpiece for almost a year now since its release in January of 2011, a year in which I have seen them four times, each a bit better than the time before. Like the love child of Mumford and the Fleet Foxes, The Head and the Heart is both pop enough to eventually become a massive hit, but with enough indie cred for tastemakers to keep coming back for the follow up, hopefully for a long time . The band is a five piece band, three of whom trade equally compelling vocals.

This record is part of the new Americana rock movement that emphasizes 70’s harmonizing, acoustic guitar, piano, strings, and thematic preoccupations with nature and love. I don’t listen to commercial radio, so I have little idea how big this band has gotten over the past half year, but it is hard to imagine that this isn’t a record for the ages for those into folk, pop, jam, or indie rock. The production is warm and earthy, while the songwriting both harkens back and is very modern in a dusty respectful way with soaring melodies and chorus’ that build into rainbows of joy. This is a very special record indeed.

2) WU LYF - Go Tell Fire To The Mountain (LYF)

There are few artists who growl as beautifully as Ellery Roberts from WU LYF.  In fact Tom Waits, “The Pogues”, Shane McGowen, and Captain Beefheart might be the only ones. But WU LYF, a self-produced Manchester band, hits you immediately like an emotional ton of bricks, although you are left a bit uneasy trying to get your balance right. Musically, things seem familiar enough, big distant sounding percussion which builds little by little with every song, sparse keyboard sounds emerging now and then, with a kind of bright melodic guitar line holding it all together. Hard to place, familiar, but really like nothing you have heard before.

But back to the vocals. I’m still unsure whether to try to focus hard enough to understand the gruff emotive howls, or just let it go and let the words pour over me like a beautiful but indistinct instrument. On “Dirt,” my vote for the signature track, you get this euphoric and transcendent musical groove swirling, and every once in a while you catch a lyric or two that you can understand, but then, as quickly as you caught it, it disappears. That is the beauty of WU LYF who flirt dangerously close with the traditional but then mess with it just enough to make it too weird for those not willing to let go. On “Concrete Gold” you latch onto a familiar enough sounding guitar, but realize that so much is happening behind the surface you can’t resist getting sucked in. So is life (or LYF).

3) Laura Marling – A Creature I Don’t Know (Domino)

Some artists are born to rock while others will it into existence. Some do both. At 21 Laura Marling is a student of rock history taking equal parts Fairport Convention, PJ Harvey, and Cat Power, and blending them into some of the starkest, sultriest folk rock in decades. She has the dusty weathered voice of a wounded angel, and the sensibility of Led Zeppelin, often beginning with a few gentle strums before erupting into cacophony of hard driving rock.

On the transcendent “The Beast” and “Salinas”, you are tricked into expecting something hushed and acoustic, but quickly drawn into something dark and beautiful. In an age where Adele and Gaga rule the airwaves, Marling seems satisfied with channeling the blues and transforming it into something altogether bigger, badder, and ultimately better.

4) Bon Iver – Bon Iver (Jagjaguar)

I am a total sucker for sparse emotive indie folk. Heartbreaking mythology now a few years behind Bon Iver’s debut “For Emma,” Justin Vernon’s follow-up is a much thicker, schmaltzier masterpiece. A self-confessed lover of Bruce Hornsby and all things almost beyond ironically cool, “Bon Iver” is a richly textured road through small towns like “Calgary” and “Perth.”

Like his most supergroup side project Gayngs (whose 2010 full length is, in some ways, even better) this record is a silky smooth affair, gliding on the confident calm of Vernon’s occasional falsetto. In some ways this album suffered from over play, stuck in my car CD player for months, but it is rare to hear a song as simultaneously moving and cool as “Holocene.” It is hard not to be rooting for and hoping that this is the beginning of a long and lush career.

5) elbow - build a rocket boys (XL)

Tragically for most people, elbow seems like a new band, but in truth they have been around for a dozen years cranking out moody crescendo-bending music. I have always loved brit pop, starting with the Manchester Factory records, the ethereal bliss of 4AD in its prime, and through the historic Creation records. So it is no surprise that the only still viable keepers of this flame, elbow, with “build a rocket boys” has reawakened such a wonderful nerve. As easy as it is to fall in love with the recorded songs, to see this band live, complete with a singer whose angelic, soaring almost operatic voice defies his physical likeness to Ricky Gervais, is to truly understand them. At the Austin City Limits festival this year after the longest draught in Texas history, a few songs worth of much needed and beautiful rain fell from the sky as this band had the crowd swaying hands up and fingers approximating the fall from above. A beautiful moment.

The ten songs here all tend to build from lush and fragile to full flung explorations of sound and emotion, most notably the opening track “the birds” and “with love” that begin innocently enough before exploding into something other-worldly. In the end whether you have been tracking this band from the beginnings as serious, perhaps moderately pretentious yet immature art rockers, yet still serious and fully formed musicians, or you just drop in on them this time around, they are something to behold.

6) Girls – Father, Son and Holy Ghost (Matador)

Full disclosure, I am an unabashed zealot for Girls. Their debut record and follow-up EP topped my lists for the past two years. This time out, the band travels even darker and deeper into themselves than their previous two brightly lit trips to paradise lost. As in previous efforts, they alternate between long brooding epics like the incredible “Vomit” and “Forgiveness” and lighthearted Beach Boys meets Elvis Costello ditties like “Honey Bunny” and “Alex.”

Christopher Owens, the principal songwriter and guitarists, is a true morbid savant. He is a musician whose troubled upbringing has made him both wiser than his young soul should be, but also still innocent enough to make you really care. Whether or not he becomes the next Brian Wilson or Lou Reed, the music of Girls is a real treasure, worthy of patient honest reflection.

7) PJ Harvey – Let England Shake (Universal Island)

Of all the female rockers to emerge from the early 90’s, only PJ Harvey is  still down her own dark dirty road, still hungry and creative. In many ways she is like a soul mate to Tom Waits, never at a loss for words or emotion, complete with raucous percussion, and embracing experience and translating it into words, accompanied for the first time in a decade, and creating genuinely accessible bliss.

Tunes like “This Glorious Land” and “The Words That Maketh Murder” are infectious grooves, while she lets down her grizzled guard on ballads like “On Battleship Hill” and “Hanging on a Wire” making it easy to jump aboard and bathe in light. Some records have the power to rip you out of a moment and transport you to a wildly different place. “Let England Shake” is very special and proof that youth isn’t wasted on the young.

8) Fleet Foxes – Helplessness Blues (Sub Pop)

Almost four years ago, even before their first EP “Sun Giant” was released, I stood before a bunch of bearded hippies at the Bowery Ballroom, transfixed by their lush nostalgic confidence as they buzzlessly opened for Blitzen Trapper. Nothing they have done since that night has been anything less than perfect. Their CSN harmonies and their mid-70’s meandering California spirit is such an authentic relic of a bygone era, even among a sea of more popular revisionists like Mumford, that the years that have passed since the debut have passed way too slowly.

The dozen songs on “Helplessness Blues” are about what you would expect – earthy epics that tend to rise and fall around the sublime vocals of still only 25 year-old Robin Pecknold. Already something of a studio perfectionist, they recorded these songs, scrapped and rerecorded them a handful of times between Woodstock, Seattle and parts in between. From the stunning title track whose chorus “If I had an orchard I’d work till I’m sore” mixes just the right amount of Johnny Appleseed pioneer spirit with earnest longing, to the bouncy slow build of “Grown Ocean” and the lush “Lorelai,” this album covers a tremendous amount of ground very carefully. Like Wilco before them, the Fleet Foxes seem destined to make a long career of trying to understand who we are and who we wish to become. There is much to love here, and I’m guessing many will grow to love it more with each passing year.

9) Real Estate – Days (Domino)

Some music fights its way into your psyche while others merely roll over you like waves of joy and calm. Real Estate is the latter, a convertible on a summer day with music playing while the breeze blows through your hair. The band is kindred spirits to fellow New Jerseyites The Feelies (“It’s Real”) but with a hint of the jangly poppiness of Luna or early REM (“Easy”).

“Days” is equal parts tranquility and infectious guitar bliss. There is a certain effortless precision that spills from Real Estate songs, like a peaceful homage to the simplicity of youth and a peaceful suburban childhood. This is a record that asks very little of the listener but gives so much.

10) A Band of Bees – Every Step’s A Yes (ATO)

I will start by saying A Band of Bees is easily my favorite band from the Isle of Wight. Despite owning all of their prior efforts, I had pretty much forgotten about them until recently when this record surfaced in the “recommended” section of some forgotten mp3 blog. The resulting find is one of the best records of the year, with perhaps the best song in a decade – the “Astral Weeks” caliber “Really Need Love Now” which just keeps building on the refrain. The sixteen songs on “Every Step’s A Yes” is like a long stroll back through time with a bunch of different flavors of psychedelia from Byrd’s era entries like “Silver Line” to the string infused lullaby “Tired of Loving” to the Velvets homage “Change Can Happen.”

There is a lushness in the production here that is truly a relic of another era. This is a record for music heads, though, for all of the joy I take in hearing musical influences from Van to The Fairport Convention, this album is a sleepy, subtle orchestral journey into the past, refreshed just slightly for modern times. With its shimmering strings, woodwinds, harps, this is not merely a collection of songs but more a fully realized albums in an age that has all but forgotten what this means. Fortunately we live in a headphone world, so grab some good ones and bliss out for 75 minutes transported back to somewhere you probably haven’t ever been. [Read more…]

Fleet Foxes – Helplessness Blues (Sub Pop)

Almost four years ago, even before their first EP “Sun Giant” was released, I stood before  five bearded hippies at the Bowery Ballroom, transfixed by their lush nostalgic confidence as they buzzlessly opened for Blitzen Trapper. Nothing they have done since that night has been anything less than perfect. Their CSN harmonies, Van Morrison ‘Astral’ meditations and meandering California spirit is such an authentic relic of a bygone era, even among a sea of more popular revisionists Mumford and Sons, that the years that have passed since the debut have passed way too slowly.

The dozen songs on “Helplessness Blues” are about what you would expect- earthy epics that tend to rise and fall around the sublime vocals of still only 25 year-old Robin Pecknold. Already something of a studio perfectionist, these songs were recorded, scrapped and rerecorded a handful of times between Woodstock, Seattle and parts in between. From the stunning title track whose chorus “If I had an orchard I’d work till I’m sore” mixes the just the right amount of Johnny Appleseed pioneer spirit with earnest longing, to the bouncy slow build of “Grown Ocean” to the lush “Lorelai,” this album covers a remendous amount of ground very carefully. Like Wilco before them, the Fleet Foxes seem destined to make a long career of trying to understand who we are and who we wish to become. There is much to love here, and I’m guessing many who will grow to love it more with each passing year.

The Bestest 2010 – Tunage

This year everything old seems particularly new again. Perhaps that is because I am now officially over forty, and I have been paying more attention to what is in the past than I ever did before.  There was a time not so long ago that bands were empowered to communicate directly with fans through a short lived (in retrospect) juggernaut called MySpace. Flash forward a few short years, and a few companies (Twitter and Facebook) have enabled bands to speak directly to fans without interference from the advertising littered, corporatized chaos that MySpace had become.  In an age where musicians rely on touring more than ever before, the portability of music on phones, tablets, Pandora, and wifi connected TVs and stereos has finally made listening to anything and everything, whenever and wherever, as easy as we thought it would be when we first started imagining a new paradigm a decade ago. For me Sonos, Spotify and my iPhone are the paraphernalia that hold my drugs of choice. This year I fell into an entirely new crop of retro soul, folk and power pop. With countless hours logged on airplanes and in airports, it’s hard to imagine what I would have done without the persistent soundtrack blown through headphones, on moving walkways and 747s. In a world without record stores, live shows fill the void, and the universal language of music is never more tangible than experienced from right in front of the stage at Fillmore, Coachella and the Greek, and this is what I listened to:

1) Local Natives – Gorilla Manor (Frenchkiss)

There are moments in life when the joy of the unexpected trumps the predictably incredible. This is rarely truer than when your first real exposure is watching a band you know very little about play live. This is how I first experienced Local Natives. I caught them early in the day at Coachella, not far from their LA home, and watched them rip through 50 of the most joyous moments of the festival. The blogosphere refers to the band as a kind of “Weekend Foxes,” but to me they are more percussive and with the anthemic intensity of a much bigger band. You can hear bits of “English Settlement” era XTC mixed with the rootsiness of Blitzen Trapper and the emotion of the Frames.

With all festival and internet buzz bands, there is a chance to outgrow the hype and really build an audience that extends beyond the tiny clubs of Austin or Indio. In an age where many bands can make a great recorded piece of work, the real skill shows in playing live and delivering contagious energy and authenticity. Local Natives are young, but their songs are big. On “Shape Shifter” think Coldplay, and perhaps My Morning Jacket on “Wide Eyes.”  I listen to them as I write this and can’t help but smile. Not bad for a bunch of kids from Silverlake, CA.

2) Stornoway – Beachcomber’s Windowsill (Rough Trade)

It took perhaps thirty seconds for me to know that “Beachcomber’s Windowsill,” the debut from Stornoway, was something rare and special. It reminded me immediately of how I felt when I first heard Belle & Sebastian well over a decade ago – a kind of pure happiness usually reserved for children, best heard on songs like “Boats and Trains” and “We Are Battery Human.”

Stornoway makes perfect pop music, theme music for a fairy tale, innocent yet cool. Musically the band mixes strings, banjo, and piano into a more traditional indie pop structure like their thematic and instrumental soul mates, The Decemberists (see ‘The Coldharbour Road’).  But ultimately Stornoway soars on the wings of infectious vocals and harmonies, part barbershop quartet part orchestral hipster. Every year there is one record that seems miles out in front of the next.  I hope this band can make as prolific a career of this as Belle and Sebastian have done. We all could use a little piece of our childhoods back, even if only for three or four minutes at a time. [Read more…]

Neko Case – Middle Cyclone (Anti)

neko-middle.jpgNeko Case is a true force of nature. Her voice is among the most confident and controlled in music today. It has been for the past decade as she has continually honed her craft somewhere between country and pop, both as a solo artist and the occasional “soul” behind the super group the New Pornographers. In general my bias for her will always drift towards her pop sensibilities rather than her purer country inclinations, but like Joni Mitchell, who always had a kind of cool groove to her early and middle records, Neko Case carries the songs on her back leading them with her voice, leading the music instead of merely following or conforming to it.

“Middle Cyclone” is another lovely record, but like most of her solo work it is filled with hugely perfect moments (“People Got a Lot of Nerve” and “This Tornado Loves You”) and a few that tend to miss a little. But in the end it is hard for me to name more than a few female vocalists that have combined both the chops and songwriting abilities over the past bunch of years – Beth Orton, Cat Power, PJ Harvey. Neko Case is very much the real deal.

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Fleet Foxes – Fleet Foxes / Sun Giant EP (SubPop)

fleet-foxes.jpgThese days I know almost instantly when I am hearing what will become my favorite record of the year. I have been intermittently grinding the five songs on the Foxes debut EP ‘Sun Giant’ (especially the epic ‘Mykonos’ and ‘English House’) and the 11 songs on the self-titled masterpiece ‘Fleet Foxes’ for the eight months since I accidently stumbled in on the band at one of their earliest NYC shows.

The Foxes play a deliciously derivitive fusion of 70’s Americana rock, imagine a bit of CSN&Y or America, mixed with Brian Wilson’s exquisite SoCal choral moments as well as dash of Appalachian gospel. Seattle’s Fleet Foxes are the much anticipated next branch to fall after My Morning Jacket, Wilco and Devendra Banhart. Flannel shirts and beards are back, but with a kind of modern authenticy, led by the exquisite vocals of Robin Pecknold.

But what sets the band apart is more their range. On a handful of tunes the band is able to create multiple songs within a single structure by pivoting off of dead-stop transitions from accoustic harmony to electric rock anthem. It will be hard to unseed a record like for a long time. It will sit comfortably atop that evergreen go-to shelf which includes Buckley’s “Grace”, Midlake’s “Van Occupather,” Galaxie 500’s “On Fire” and another twenty or so records that will never fall from their high perch. This a classic.

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