Wow, we’re already a third into the year! Here are a bunch of the better albums I’ve heard so far! Exclamation! Exclamation! Exclamation!!!!
Cake: Showroom of Compassion (78%)
Genre: Alternative Rock
Label: Upbeat
This is Cake’s first album in seven years, and I must say that it’s one of their best. This is a magnificent return to form in the vein of 1998’s Prolonging the Magic or 1996’s Fashion Nugget. The feel is more organic, more live, which makes the record very energetic and more fun as a whole. Standouts include the groovy rocker “What’s Now Is Now,” the classic Cake sound of “Sick of You,” and the mid tempo jam “Got To Move.”
For Fans of: Beck, Spoon
The Decemberists: The King Is Dead (79%)
Genre: Folk Rock
Label: Capitol
After their convoluted, pretentious misstep of 2009’s The Hazards of Love, I was beginning to worry that the Decemberists were going to get proggier and proggier until they had lost all credibility. Instead, Colin Meloy and the rest of the Portland collective have decided to go for a traditional, stripped down, rootsy folk record. The result is surprisingly satisfying, a breath of fresh air. The sparseness of the arrangements allows the songs to soar more, more room to breathe. The influences can be traced to a number of people, from Willie Nelson and Neutral Milk Hotel all the way to the Smiths (The title may or may not be related to a similarly named Smiths album, The Queen Is Dead). The King Is Dead is simple, breezy, and cohesive. It brings to mind the older, simpler, more acoustic works of the Decemberists’ early catalog.
Key Tracks: “This Is Why We Fight,” “Down By The Water,” “Calamity Song”
For Fans Of: The Smiths, R.E.M., Willie Nelson
The Radio Dept.: Passive Aggressive: Singles 2002-2010 (85%)
Genre: Dream Pop, Shoegaze
Label: Labrador
This is a fantastic collection of all of the Swedish group’s dreamy, hazy singles from their entire career. They’re all from their three studio albums, as well as singles that were previously online only, such as “The New Improved Hypocrisy.” Couple that with a few EP singles, as well as a second disc complete with B-sides, and you have a great collection and understanding of the Radio Dept.’s whole career thus far. If you’re at all a fan of dream pop, this collection is absolutely essential.
Key Tracks: “Heaven Is On Fire,” “David,” “The Worst Taste In Music,” “Where Damage Isn’t Already Done”
For Fans Of: The Jesus And Mary Chain, Cocteau Twins, Ride
Destroyer: Kaputt (92%)
Genre: Indie Pop, Art Rock
Label: Merge
This record has been shaping up to be the best thing I’ve heard all year. Definitely an unexpected surprise, as I’ve never really invested much of my time in a Destroyer album. One of my favorite aspects about Kaputt is how cheesy it seems. There are saxophone and jazz flute solos, an almost spoken word like delivery in the vocals, and glossy 80’s synth pads everywhere. On paper, this albums sounds horrible. But, somehow, Kaputt is incredible, and constantly more rewarding with each listen. The songs aren’t that complex, only possessing around three or four chord changes per song. At the same time, the layering and details in the arrangements are astounding, full of endless amounts of ear candy. This is a definite headphones record. The imagery is equally breathtaking, painting a lush portrait of busy city nightlife. The glossy, synthy, dreamy production brings to mind flashing city lights, bustling crowds, and an overall grandness in scope. Yet Kaputt at the same time feels distant, lonely, wistful, and very cold. It’s a beautiful, dense, delicate record with incredible lyrics. A must have, and arguably Destroyer’s best.
Key Tracks: “Suicide Demo For Kara Walker,” “Kaputt,” “Downtown,” “Blue Eyes”
For Fans Of: Late 70’s period David Bowie, Lou Reed, T.Rex
Nicolas Jaar: Space Is Only Noise (87%)
Genre: Ambient, Minimal Techno
Label: Circus Company
If you keep an open mind for experimental electronica, Nicolas Jaar’s Space Is Only Noise really opens itself up. It’s definitely a strange approach to the genre, featuring slow drum loops and odd nature sounds throughout. For most people, the incredibly sparse arrangements may be a bit tedious, but for me they open the songs up, revealing a giant albeit sporadic ambience, little blips, bleeps, and affected vocals peppered throughout the cold void of a soundscape. Interesting, cool music, and for casual listeners, like nothing you’ve ever heard.
Key Tracks: “Almost Fell,” “Space Is Only Noise If You Can See”
For Fans Of: Early Aphex Twin, Kraftwerk, Four Tet
Cut Copy: Zonoscope (85%)
Genre: Dance Pop, Synthpop
Label: Modular
On Cut Copy’s dance heavy Zonoscope, the Australian collective have decided to embrace the synth, pulse heavy nature of their music. Whereas 2008’s In Ghost Colours mixed dance with guitar driven rock, Zonoscope is almost entirely dance oriented, full of sawtooth leads, bass heavy drums, and New Order influenced vocals. The glossy feel to the production enhances the dance aspect of Cut Copy’s songs, making Zonoscope sound like a mixture between Phoenix and Daft Punk. The hooks are still there, and the album is riddled with potential hitmakers, including “Take Me Over,” “Pharaohs & Pyramids,” as well as “Corner of the Sky” with its revelatory bridge. This intriguing, pop approach to dance music may open some doors for Cut Copy, because these anthemic dance tunes are just too catchy to go unnoticed.
Key Tracks: “Need You Now,” “Take Me Over,” “Pharaohs & Pyramids”
For Fans Of: Yeasayer, New Order, Junior Boys, Duran Duran
Tim Hecker: Ravedeath, 1972 (83%)
Genre: Ambient, Drone
Label: Kranky
TIm Hecker’s latest release, Ravedeath, is a haunting work of noisy ambience, providing dark and often icy soundscapes. Each piece flows from one idea to the next, making this work a pulsating piece of art, cinematic in scope, and endlessly fascinating on headphones. It is a challenging piece, however. If you’re not into minimal drone music, this may not be to your liking. For fans, however, this may be one of Hecker’s best, and MUST be played loud to feel the full effect of these intense pieces. The amount of layering and density in these pieces is staggeringly overwhelming.
Key Tracks: “The Piano Drop,” “No Drums,” “Hatred of Music I”
For Fans Of: Stars Of The Lid, Fenessz, Steve Reich, Max Richter
Telekinesis: 12 Desperate Straight Lines (77%)
Genre: Powerpop
Label: Merge
Fans of the first record should be plenty satisfied with Telekinesis’ sophomore attempt, 12 Desperate Straight Lines. This is a powerpop record, pure and simple. Amped up production, definable melodies, strong hooks and harmonies, and powerful distorted guitars. They do nothing to reinvent the wheel here, but the songs are there and they’re solid. ”Please Ask For Help” leads the song with a strong 80’s tinged chorus guitar lead; “Car Crash” showcases the same anthemic singalong chorus that could be found on Weezer’s Green Album; “50 Ways” is classic powerpop balladry in the vein of Matthew Sweet. All in all, this is a record on par with their first, just possessing higher production values and a slight increase in song dynamics. Don’t expect to see Telekinesis get famous anytime soon, but for now, this is a fun, catchy, summer record.
Key Tracks: “Please Ask For Help,” “Car Crash”
For Fans Of: Nada Surf, Superdrag, Weezer, Superchunk
Yuck: Yuck (88%)
Genre: Indie Rock
Label: Fat Possum
I’ve really been liking the trend that indie rock’s been going over the past couple years. People who grew up during the 90’s are now getting into rock bands, so what we’re starting to see is music journeying back to the guitar heavy rock of the early 90’s. Bands like Built To Spill, Dinosaur Jr., Sonic Youth, and Pavement are more relevant than ever these days, and Yuck is proof. Hailing from England, Yuck’s debut record is full of the same wall of noise guitar rock of their early 90’s influences. Heavy distorted lead guitar parts crunch along, and the vocals show that sense of slacker feel, reflecting a more high pitched J Mascis or a more musical Stephen Malkmus. Many of the songs reflect some powerpop aspects, like “Holing Out,” which sounds like the Gin Blossoms coming out of blown speakers, or “Shook Down,” which harks a strong resemblance to Big Star. In any case, this debut is an incredible breath of fresh air in indie rock.
Key Tracks: “Get Away,” “Shook Down,” “Stutter,” “Holing Out”
For Fans Of: Dinosaur Jr, Built To Spill, Pavement
Mogwai: Hardcore Will Never Die, But You Will (82%)
Genre: Post-Rock
Label: Sub Pop
Ah, yes, the heavy post rock of Mogwai. This years Hardcore… is one of their absolute best, comparable to Happy Songs For Happy People and Rock Action. For the most part, this is epic Mogwai, complete with the massive crescendo formula that they’ve excelled at for almost fifteen years now. This album is huge in scope, as usual, but this time, the songs click in a way that they haven’t in awhile. The last couple Mogwai records (Mr. Beast and The Hawk Is Howling), were decent enough, but this year’s Hardcore… feels much better executed. The songs are simply of better quality this time around, and almost every piece hits like a ton of bricks. Play this record at maximum volume for the best results. Trust me on this one. Post rock is not meant to played at normal volume. CRANK IT.
Key Tracks: “White Noise,” “Rano Pano,” “San Pedro,” “Lionel Richie”
For Fans Of: Explosions in the Sky, Sigur Ros, Tortoise
Radiohead: The King Of Limbs (90%)
Genre: Art Rock, Experimental, Math Rock
Label: TBD
Out of complete nowhere and without warning comes Radiohead’s anticipated eighth album. It was announced only a few days before its controlled online leak. For the first time in many years, the whole world was listening to a new record for the first time together. It’s gotten quite a lot of nitpicking scrutiny over the past couple of months. Only eight songs??? Is this just part one??? These songs are about a tree??? WTF???? I think if you take a step back, however, The King Of Limbs still stands as a great record. Yes, it is kind of brief. It’s just at forty minutes with only eight songs. I would have complained, but these eight songs are pretty incredible. And if you think about it, Kid A was only ten tracks and two were instrumentals. In any case, this is pure Radiohead. It’s a significantly more challenging record than 2007’s In Rainbows, bearing more of a resemblance to their Amnesiac and Hail to the Thief albums. It’s deeply experimental, each track doing something a little different. ”Bloom” stumbles over a mathy drum rhythm, “Feral” pulses with an incredibly effective bass boom, “Codex” plays with a simple piano progression and minimal arranging. Radiohead is so in tune with their sound at this point that this record can easily seem as a weightless album. But that’s what I find so compelling about the King of Limbs. It’s effortless. Precisely performed and arranged. The experimentation is endlessly fascinating to dissect, and Thom Yorke continues to astound with his unique lyrics and vocals. Bassist Colin Greenwood and drummer Phil Selway also get honorable mentions. The rhythm section is king on this record, full of mathy complex drum patterns syncopated over the impressive and memorable bass lines Greenwood is known for. What can I say? It’s Radiohead, and it’s a damn good record.
Key Tracks: “Morning Mr. Magpie,” “Lotus Flower,” “Feral,” “Separator”
For Fans Of: Burial, Flying Lotus, Pink Floyd
Lykke Li: Wounded Rhymes (80%)
Genre: Indie Pop
Label: LL
This is another unexpected release for me. Her 2008 debut had a handful of catchy singles, but at the same time sounded a bit unfocused, unsure of itself. Wounded Rhymes on the other hand shows compelling confidence. Lykke Li has turned from a Swedish pop princess to a dark ice queen. Wounded Rhymes departs from the intimate cuteness to icy, breathy vocals and dark arrangements. The songwriting and arranging has matured significantly, tackling darker, more poignant song subjects. It appears that Lykke Li has grown up over the past three years. With the grand sophistication as well as varied approach to her songcraft, I’m excited to see the future of Lykke Li’s ever growing talent.
Key Tracks: “I Follow Rivers,” “Get Some,” “Unrequited Love”
For Fans Of: Cat Power, Peter Bjorn & John
Black Joe Lewis: Scandalous (75%)
Genre: Blues Rock, Funk
Label: Lost Highway
Scandalous, Black Joe Lewis’ second album, shows a much wider palette than his first attempt. Songs range from James Brown induced funk to slowed down blues jams. Every song is a party, from the rocking “Booty City” to the Black Keys influenced title track. Sure, the influences are entirely obvious and the songs don’t really go beyond one dimension, but it doesn’t matter. This is a record to party to. To play really loud in your car. It’s mindless rocking fun.
Key Tracks: “Livin’ In The Jungle,” “Booty City,” “Scandalous”
For Fans Of: The Black Keys, Sharon Jones & The Dap Kings
James Blake: James Blake (73%)
Genre: Dub Step, Ambient
Label: Atlas
While I didn’t enjoy James Blake’s debut as much as everybody else did, I still think it deserves to be a notable album under my watch. This debut marks an interesting evolution in the ever present dub step genre that is starting to sweep the mainstream. This record sort of sounds like what were to happen if Justin Vernon (a.k.a. Bon Iver) sang over a Burial record. This approach doesn’t always work, but some of the tracks are absolutely stunning. I don’t think he’s hit his creative stride yet, but I applaud James Blake for being a courageous and adventurous musician. He certainly has the potential to make a classic. This isn’t it, though. A blueprint for one, certainly enough.
Key Tracks: “Wilhelm Scream,” “Limit To Your Love,” “Measurements”
For Fans Of: Bon Iver, Gayngs, Burial
The Pains Of Being Pure At Heart: Belong (84%)
Genre: Shoegaze, Dream Pop
Label: Slumberland
The Pains Of Being Pure At Heart sort of came out of nowhere for me in 2009. It was a debut that was surprisingly fresh for sounding so old, harking back to the feel of late 80’s Cure and Jesus & Mary Chain. After being in the spotlight, the New York group decided to up the production for their sophomore effort, and the rewards have paid off handsomely. Sonically, this record sounds excellent. It was produced by the same dude who did the Smashing Pumpkins’ Siamese Dream, and it shows. The guitars crunch and are heavily compressed, with the trebly vocals cutting through cleanly and clearly. The energy and sound style is pretty much the same found on their debut, but the sound hasn’t grown stale. If anything, it’s improved for the fact that the production values are higher and glossier. This is Pains of Being Pure at Heart 2.0, new and improved. The song quality is still there, and the hooks are everywhere. The first three tracks are an absolute knockout, with several more notables scattered throughout. A well accomplished sophomore attempt.
Key Tracks: “Belong,” “Heart In Your Heartbreak,” “Heaven’s Gonna Happen Now,” “Too Tough”
For Fans Of: Teenage Fanclub, Smashing Pumpkins, The Jesus & Mary Chain
Panda Bear: Tomboy (80%)
Genre: Psychedelia, Ambient
Label: Paw Tracks
The first single for Tomboy was released over a year ago. Anticipation for the Animal Collective singer’s fourth album was high to say the least. Now it’s here, and I must say that I’m impressed. But I’m not surprised. I’ve always preferred Panda Bear’s solo work over the Animal Collective. I will say that Tomboy is markedly different than his 2007 masterwork, Person Pitch. Person Pitch was hazy and sprawling. Tomboy still handles this approach somewhat, and still focuses on repetition as a central theme, but the execution is completely different. Every song has a more traditional approach, with almost every track falling into the traditional four minute category. If anything, Tomboy more resembles the work found on the Animal Collective’s Merriweather Post Pavilion. Sometimes the songs can get tedious, but when Panda Bear hits his mark, he soars into ethereal excellence, most noted on the thrilling climax of “Last Night At The Jetty.” Tomboy left me pleasantly satisfied. Don’t expect anything too crazy. Tomboy is calm, serene, very ambient, and dreamy.
Key Tracks: “Last Night At The Jetty,” “Afterburner,” “Alsatian Darn”
For Fans Of: The Animal Collective, The Flaming Lips, The Beach Boys
Burial: Street Halo EP (87%)
Genre: Dub Step
Label: Hyperdub
I am so excited that Burial is finally releasing new music. 2007’s Untrue already seems like forever ago. 2011’s Street Halo is finally here, and although this is just a three song EP, each song has its place and all stand among Burial’s finest works. The title track is outstanding, possessing all of the ambience and affected vocals from Untrue. At the same time, though, the sound is slightly different, and it seems as if Burial is ready to start stepping into some new directions. For the most part, though, this is the classic Burial approach to dub step, full of haunting ambience, super heavy bass, and the signature affected vocal samples.
Key Tracks: “Street Halo”
For Fans Of: Four Tet, Flying Lotus, Nosaj Thing
All right! Quite a bunch of releases, and the year’s not even through yet. I’m already impressed with several releases. Keep it coming, I’m ready for more!
