As of late I've been thinking about rankings and have come to the conclusion that they are pretty much pointless. So these won't be ranked. However they will be in althabetical order, so don't fret as there is some order to this list.
Animal Collective, Centipede Hz
Animal Collective come back with thier first full length since Merriweather Post Pavillion, arguably their most commercially successful release to date. When you speak to anyone who listened to Centipede Hz you'll often get mixed conclusions about the album's merit. I think that those who have grown to like Centipede Hz have done as a result of it litterally growing on them, repeated listening can bring new layers up to the forefront and have for myself turned songs I initially didn't like: Wide Eyes, Mercury Man and Amanita for example, into favourites from the album.
To some the artwork is garish, but is a hinting glimpse at what's in store for those that see Animal Collective live as they tour their ninth studio release. It's just stunning, you can see/hear how they're moulded the tracks on Centipede Hz into unique live performances in it's embryonic stage as they perform at Prospect Park. If you have listened to it and wrote it off, maybe give it another 10-20 listens and then decide if it makes the cut.
Ariel Pink's Haunted Graffiti, Mature Themes
One full listen of Mature Themes and it's easy to solely focus on standout melodic numbers like the title track or Only In My Dreams, but each of the thirteen tracks present such a classic sound with fun hooks-a-plenty. Schnitzel Boogie is a good example of the humour in Ariel's writing, as it sits beneath a nice lo-fi cacophny as background vocals start to sound like distorted guitar. Much like Before Today, it's a great introduction to Ariel Pink that anyone who has found themselves enthraled in music from decades past, may find themselves latching onto.
Beach House, Bloom
It's somewhat a typical Beach House sound brought to us in Bloom, but what is hard to deny is it's appeal. The cliché "If it ain't broke, don't fix it" comes to mind. I think Beach House's ethos is similar but runs along the lines of "If it ain't broke, just add little peices to it". I feel there's a definite progression heard on each release since their debut, though subtle they are. If you spend more time worrying about a lack of innovation or a abundance of risk aversion instead of enjoying the music, then that's too bad. It's soft and cuddley - put it on at volume low enough to allow others in the car to talk without a raising their voice too much and everyone will enjoy the drive 10 times more. It's just a big sweetie of an record, okay?
Cloud Nothings, Attack on Memory
Cloud Nothings made quite the statement quite early on in terms of year-end accolades, and rightly so. Attack on Memory has everything a blisteringly quick album should, it does a very good job of kicking things into every imaginable gear, as the album starts somewhat adagio with No Future / No Past it immediatly gets up to speed with the second track and easily my favourite: Wasted Days.
After the first hearing Wasted Days, not only was I sure that I would always have Attack on Memory on hand (in case I ever needed extra motivation (or just an awesome soundtrack) to help me outrun any knife-weilding maniac's that might be about), but I also knew this band had won me over, I was sold. I'm still figuring out how to sign up to their fan club.
Steve Albini takes the production credit on this one and once again his mark is felt on the album as you'd expect, however I'm looking forward to hearing how it sounds out of the studio and on the stage. The rest of the album's great too, incase you were wondering.
Earth, Angels of Darkness, Demons of Light II
The first few notes strummed by Dylan Carlson in Angels of Darkness, Demons of Light II immediatley sets the mood. Part one and two were both recorded at the same time but were released just under a year apart. So in hearing that the rich and textured soundscape from part one translates and continues, as well as the welcomed addition of Lori Goldston on cello, Angels of Darkness, Demons of Light II puts you right back into the right mode of listening..
As the strings take the lead for the first portion, with quiet brushing and shaking coming from the percussion's end, Adrienne Davies soon comes into the fold more during A Multiplicity of Doors with pacing as keen as it sounded in part one. The cello really adds to the sound and I hope Lori Goldston makes more appearances in the future. Perfect album for those long walks in the desert while smoking cigarette, I think.
Fiona Apple, The Idler Wheel...
When listening to The Idler Wheel it's easy to let the groove take your full attention, it is both offbeat and tranditional. But it's kind of easier to hone in on the words, and as per usual these words are sung with such honesty that they may as well be straight out of a diary, a very well-written diary. The vocal delivery, to me at least, seems a bit strained at times. It's as if Apple was making sure the message falls on the ears of everyone outside of the studio, and I like that a lot. It's clear she's not having trouble in any department, no sings of hinderance to the sublime talent. Hopefully Fiona Apple fans won't have to wait half a dozen years for the next one.
Godspeed You! Black Emperor, 'Allelujah! Don't Bend! Ascend!
After ten years have passed since your latest studio release it might be time to get on with things and release another, and so we have 'Allelujah! Don't Bend! Ascend! (in the interest of brevity: ADBA). While the two mainstays for those who like good-old Godspeed are actually re-workings of live tracks, Mladic and We Drift Like Worried Fire (formally Albanian and Gamelan) they are absolute vintage Godspeed. We Drift Like Worried Fire to me stands out more out of the two 20 minute tracks and while certain parts of ADBA are quite meloncholic, in it I find there to be a triumphant hopefullness that washes over you as the first cressendo builds and ceases to.
In what seems to be a semi-trend among certain bands pigeonholed into the post-rock category, Godspeed have two drone tracks on the album providing a nice interlude. While I feel they don't exactly compliment the longer tracks in the album as a whole, they succeed in creating a very nice soundscape to guide whoever's listening towards the next destination: epic instrumental music.
I also must say that I love the packaging of the vinyl release. The drone tracks appear on the same 7'' and the two longer tracks on their own 12'', so the listener is forced to either switch records four times and enjoy the album as it was meant to be. The alternative is to enjoy the longer tracks on one playthrough, the same going for the drone 7''. Personally I really like how you can approach ADBA like a choose-your-own-adventure and depending on your mood, allowing you to enjoy meditative drone or spine-tingling post-rock as you please. The possibilities aren't endless, but fun to experiment with.
Molly Drake
Molly Drake's self-titled posthumous record is a simple little thing but that's what's brilliant about it. You have the gorgeous voice of Molly Drake, her piano playing and her husband Rodney Drake handling the mono recording using vintage tape recorders during the 1950's and 60's, that's it. What's clear is not only were Molly's talent in terms of writing and singing were inheritied by her son Nick, the vocal similarity is almost errie yet plesant to listen to.
Scott Walker, Bish Bosch
Headphones. I've only listened to this through my headphones, in order to decipher all that's going on I think having the music blasted straight into your ears is the way to go. Yes, you're going to hear weird lyrics accompanied by unusual vocals, there'll be some flatulence too. All I know is that my ears feel good after listening to Bish Bosch. Part of me does wish Walker would explore or prolong some of the melodic instrumental movements like at the end of Epizootics! or at the half-way point of Corps De Blah.
My rationale behind including Bish Bosch is that it's unlike anything else released this year there, but that doesn't mean it doesn't get by on merit too. If you like anything avant-garde you'll probably like this, Walker's vocals are strong and he still has a good range to play with. His musical mind is also as abnormal as ever, thankfully.
Tame Impala, Lonerism
Lonerism is one of the albums to be dropped this year that has little tolerance for filler material. Anyone can relate to Kevin Parker's lyrics and pick up on things that are at times somewhat buried underneath a lot of lovely effects and noise. Perhaps only those who haven't felt like a loner will find it hard to relate to Lonerism, but then again there would be few who fall under that criteria. Lonerism feels timeless and happens to be one of the albums you try to make a point to tell your friends about, because you know they'll like it.
No comments:
Post a Comment