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Top 10 albums of 2011
Honorable Mention:
Leatherface ‘Viva La Arthouse’ (Live in Melbourne)
The Pains of Being Pure at Heart ‘Belong’
Dum Dum Girls ‘Only in Dreams’
Sloan ‘Double Cross’
Real Estate ‘Days’
The Joy Formidable – The Big Roar (Atlantic)
This powerful Welsh trio, which recently toured with the Foo Fighters, continues to find a larger audience and for good reason. Their shoegaze/punk/postpunk sound and winning songs are simply too hard to resist. On this sprawling, swing for the fences record, the band hits a grand slam, deftly alternating between slower, quieter and moodier songs like “The Greatest Light is the Greatest Shade,” “The Everchanging Spectrum of a Lie” and “A Heavy Abacus” and thrilling, faster numbers like “Whirring,” “Cradle” and “Austere.” Having mastered the dynamics of quietness and loudness, TJF delivers spine-tingling buildups and breakdowns with drama and flair. And it doesn’t forget to include hooks that simply won’t leave your head. While this record is a must have, be sure to see TJF live if at all possible. That’s where they shine brightest. See my review of the group’s NYC show in April.
Idaho – You Were a Dick (Idaho Music)
This actually is a close second, however this record and my number one selection could hardly be more different. If the Joy Formidable is brash and exuberant, Idaho is pensive and introspective. If the Joy Formidable wakes up the neighbors, Idaho resonates after the neighbors have gone to sleep. Best compared to a multi-layered sonic blanket that one can curl up in and hear new things in with repeated plays, the magic and mystery to be found here can take significant time to fully appreciate, like flowers slowly blossoming. Jeff Martin’s piano playing, efforts on the four-string guitar and his talky vocals require some patience but the rewards are massive. My admiration for Idaho has come late but its whole catalogue has recently been in heavy heavy rotation.
Ringo Deathstarr – Colour Trip (Sonic Unyon)
Using My Bloody Valentine and the Jesus and Mary Chain as obvious departure points, this Austin, TX-based shoegaze group, nonetheless, very much has its own identity. To hear one of the fiercest and most exciting sonic assaults of the year, go 1:31 into “Two Girls” and listen to how this otherworldly guitar slashes through the song, unleashing a violent squall that slices through the bass and drums like lava dripping through cellophane wrap.
The Rifles – Freedom Run (Nettwork)
Top-notch song writing married to explosive power pop, the Rifles pull in their horns a bit on their third album, emphasizing harmonies and melodies. While the previous record, “The Great Escape,” was terrific, “Freedom Run” slows down and let the songs breathe a bit more. A great album from start to finish.
Veronica Falls – Veronica Falls (Slumberland)
Angular, edgy and dark yet playful, this evokes the sound of late ’80s Pixies. The frenetic guitar strumming and vocals, often alternating between male and female, keep the songs in a constant state of motion, as if in danger of falling apart. But the loose playing never loses the script, hewing, albeit not needlessly close, to the song’s chords, which usually arrive at an infectious chorus as can be found on “Stephen” and “Beachy Head.”
Destroyer – Kaputt (Merge)
At first I really, really did not like this. Imagine early 80s synth pop but with more ambience/new romance accompanied by singy/talky vocals that sound tentative and at times pretentious. It recalls “Avalon” by Roxy Music and the Pet Shop Boys, including plenty of synths, a vibrant bass sound, saxophones and plenty of wide open space. After one or two listens I was seriously put off by this nakedly derivative music. But then, like a developing photo suddenly taking form, the music made sense in its own obtuse way. Now after thoroughly digesting this, what strikes me is the “go it my own way” nature of this record and the luxurious and relaxed air that fills it. In stretching out the songs Dan Bejar is more than willing to have his sensuous musical underbelly poked and prodded. Though not all of the songs work, this is the sound of an artist following his own singular vision. Highlight: “Song for America.”
Wire – Red Barked Tree (Pink Flag)
Motorhead – The World is Yours (UDR)
Lemmy & Co. slow down a bit here from recent scorchers like “Inferno” and “Motorizer” but the generally strong songwriting and Lemmy’s indomitable voice carry the day. However, aside from the apocalyptic and convincing “Brotherhood of Man,” the second half pales in comparison to the first half. What makes this purchase especially worthwhile is a bonus live DVD that sees the band playing a sensational version of “In the Name of Tragedy,” deftly demonstrating how it can bridge punk and metal perhaps like no other group.
The Feelies – Here Before (Bar/None)
The Feelies, who last released an album two decades ago, return with a record that in a sense delivers more of the same. While I initially saw this ‘sameness,’ which the title apparently alludes to, as a sign that the group was perhaps lacking in new ideas or playing it safe as it could no doubt then count on fans from back in the day to stay on, the album instead seems instead to be an expression of a band that is very much at ease, enjoying itself and simply playing what it likes. The organic, earthy, playing recalls 1986’s “The Good Earth” and takes time to fully appreciate.
Nick Lowe – The Old Magic (Yep Rock)
The best thing about Nick Lowe records in recent years is that that they offer song after song and story after story filled with great lyrics and piercing observations about the human condition. However, while Lowe is a first-rate songwriter, he has not really taken any big chances in recent years. Instead, he seems oh so at home with his current modus operandi and that’s great, but it would be nice to hear the occasional surprise. That said, Lowe’s understated yet crystal clear singing remain potent as his world-weary voice can turn an otherwise sweet phrase into something dark and empty. Part poetry, part pop, this is wholly a pleasure to listen to, even if it falls short of his 2007 effort “At My Age.”
