Friday, December 14, 2012

A Year in Review: The Best Music of 2012

A year ago this week, I watched my first set of dreams fade away before my eyes. I was a vocal performance major, working towards a degree (and hopefully a career) in the musical arts, and spending hours a week in practice rooms or rehearsal spaces, trying to make those options more viable. For my final exam, I entered my performance hearing jury--ostensibly the tool the faculty uses to decide whether or not students can remain in their program--and failed. But as I drove home (to the startlingly appropriate strains of M83's "Intro," no less), it didn't feel like an ending. A part of my heart was broken, aching for all the time I had wasted, but another part of me--a bigger part--was massively relieved. I had my whole life laid out before me, and for the first time in a long time, I felt like I could take any road I wanted to.

In a lot of ways, this year was my rebirth. I went back to school and redoubled my efforts, picking up an English major and rapidly wracking up resume builders. Since then, I've written for two global music publications and two online magazines based out of my hometown; I spent the summer interning at a business that was half marketing agency, half newspaper, gaining a ton of valuable skills along the way; I landed a job editing the Arts & Entertainment section of my school newspaper, managing my own small team and keeping my writing up along the way; and just this week, I was just offered yet another writing internship for my final semester. Furthermore, though I sometimes forget it, I am still a full-time student, building towards my double-major graduation this spring (I shifted my music degree to a generic B.A.), and trying to finish an entire English degree in just a year and a half.

For good reason, the soundtrack to all of this has been a strikingly memorable one, and cultivating this list has been an even more joyous (and joyously difficult) experience than is was last year. In many cases, I was surprised at how the order shook out: I was intrigued at what I left off and chose to include, and interested at which specific musical memories swam to the forefront of my mind as I worked through this extensive retrospective. For me, music has always been an emotional ballast, a means to remember and re-live the most important moments of my life. Unsurprisingly, then, serendipity and nostalgia played a big role in which albums won and which albums lost, so to speak. When a record comes along at just the right time, it melds with our memories, our loves, our friendships, and everything between, becoming immortal. In the following list, I discuss a few of those anecdotes, trying to tell my own story through the music that has, over the past 12 months, most clearly defined it. To steal a line from the 2011 version of myself, this list represents the 30 records that I "lived, loved, and listened to the most over the past year." Enjoy.

1. Bruce Springsteen – Wrecking Ball

More than ever before, my number one slot this year was a real battle, a struggle that played out between one of my all-time favorite idols and two bands who are eternally indebted to his canonical classics. At the end of the day though, when I look back on 2012 and think of the most definitive musical moments, my first listen to Bruce Springsteen’s seventeenth studio album (and his best in over two decades) is what swims to the forefront of my mind. Somebody once told me that, years down the line, you’ll be able to tell the best albums by how well you remember the day, the hour, the moment that you first heard them, and more than any other record released this year, Wrecking Ball infected me from the moment I pressed play. I remember the Sunday night when it leaked: staying up until 1:30 or 2 in the morning, letting the songs wash over me, discussing them with fellow fans online, and reveling in the fact that Springsteen had, quite likely, just made his best album in ages. I remember the scorching liveliness of “Easy Money,” the Irish rave-up that was “Death to My Hometown,” the mournful guitar solos that cut across desolate ballads like “Jack of All Trades” and “This Depression,” and the redemptive power the echoed through the long-awaited studio version of the title track. Most of all though, I remember sitting entranced as the gospel-infused grandeur of “Land of Hope and Dreams” washed over me. When the ghostly saxophone of the late Clarence Clemons burst through the texture halfway through, my eyes filled with tears. This is how music is supposed to make you feel, and throughout Springsteen’s great American protest album, he achieves that level of emotional transcendence time and time again: it would be a crime for me to call the result anything less than the album of the year. (Album review here, live review here)

Key tracks: “Death to My Hometown,” “Wrecking Ball,” “Land of Hope and Dreams”

2. The Gaslight Anthem – Handwritten
Handwritten, my most anticipated album of the year from the get-go, finally came into my life at the end of the hottest day of the hottest summer that I can remember. The timing could hardly have been more perfect: on Handwritten, Brian Fallon and company construct a invocation to classic rock ‘n’ roll and to the transformative power of music, a maze of tumultuous guitar tones (“45”), transplanted fifties girl group pop (“Here Comes My Man”), behemoth riffs (“Keepsake”), punk rock shout-alongs (“Howl”), and string-soaked Springsteenian balladry (the wistful “National Anthem”). In between, Fallon consistently positions himself as the throwback romantic, the guy who writes by the light of the moon (the title track) and watches, scorched, as his love vanishes into the mist on “Mulholland Drive” (even as guitarist Alex Rosamilia overwhelms the texture with a dizzying, skyscraping guitar part). Fallon has always been an expert at nostalgic references, spending the vast majority of 2008’s The ’59 Sound weaving the lyrics of his idols into his own work. Here, he stands on his own two feet a bit more, but the result is his most stunning collection of songs to date, a viscerally thrilling record that beats with the wild pulse of rock ‘n’ roll tradition and believes in no limits. From the moment that I heard the sweeping strains of “Mae” slice through the sweltering atmosphere on that first night, I knew that Handwritten was something special; I still do. (Read my full review here)

Key tracks: “Here Comes My Man,” “Keepsake,” “Mae”

3. The Killers – Battle Born

Perhaps my favorite thing about my top three albums this year is how inexorably linked and interchangeably excellent each of them are: all three explore similar musical territory and parse related thematic lines, but they are also thoroughly cohesive, grand without a lick of pretension, and alive with the nuanced and conflicted personalities of their creators. Furthermore, and perhaps coincidentally, my appreciation for each record springs from the album that comes before it on the list: where my adoration of Gaslight grew directly out of my love for the music of Bruce Springsteen, my realization of Battle Born’s true scope and perfection came immediately after my first experience with the Gaslight Anthem live show. Somewhere between Detroit and Kalamazoo, with the highway laid out ahead and the 1 a.m. darkness swirling around me, the songs on The Killers’ fourth proper full-length (and their first in four years) came alive. I never thought that Brandon Flowers and company would make a better album than 2006’s Sam’s Town, but on that late night drive, I felt my perception of that change before my eyes. Maybe it was the haunting desolation of “Flesh and Bone” that kicked things off, or perhaps the triumphant grandeur of “Runaways” as it flowed into album-highlight “The Way it Was.” I heard echoes of Hot Fuss on “Miss Atomic Bomb,” of ‘80s arena rock on “Here With Me,” and of pure Springsteenian longing on “A Matter of Time.” But no matter the impetus, by the time the album reached its one-two punch finale (the pulsing balladry of “Be Still” and the gloriously climactic title track), I found myself singing and shouting along, reveling in the power of the music, and feeling as infinite as the highway before me. (Read my full review here)

Key tracks: “The Way it Was,” “Miss Atomic Bomb,” “Battle Born”

4. Japandroids – Celebration Rock

If, during 2012, you had a party and Celebration Rock was not part of the soundtrack, then you did it wrong. As the title suggests, this quick, concise rock ‘n’ roll tour-de-force is a fist-pumping, adrenaline-fueled set of rockers that is almost impossible not to like. The genre is punk, but the scope falls closer to Springsteen’s Born to Run: eight tracks, no excess, no letdowns, just spacious and redemptive classic rock. Too few artists recognize the power of concision anymore. Back in the vinyl days, artists had about 25 minutes to work with per side...less if they wanted their music to play in the highest fidelity. As the CD (and then the digital release) came to prominence, running times expanded, tracklists got more bloated, and “filler material” became a daily piece of the lexicon for die hard music fans, but Celebration Rock takes us back to a time when this wasn’t the case. The album opens and closes with the sounds of fireworks, and between those two crackling bookends, there’s nothing but wall-to-wall guitars, vicious drum-fills, and spontaneous, shout-along melodies. “The Nights of Wine and Roses” roars out of the gate with reckless abandon (“Long lit up tonight and still drinking/Don't we have anything to live for?” singer Brian King asks at the album’s outset), while “Fire’s Highway” builds a carnivalesque atmosphere of boozy nostalgia, and “Evil’s Sway” lifts its chorus hook directly from Tom Petty’s summer-soaked “American Girl.” But it’s the album’s final two tracks that elevate it to classic status: “The House That Heaven Built” is the year’s most skyscraping anthem and “Continuous Thunder,” with its spiraling wall of guitars and King’s passionate delivery, its most emotional. As I drove home from a night out with friends and co-workers on one of the last nights of summer, the latter slashed through my car like the will of God: nothing has ever felt so sublimely climactic.

Key tracks: “Fire’s Highway,” “The House That Heaven Built,” “Continuous Thunder”

5. John Mayer – Born & Raised

Maybe it’s because one of his records (2003’s Heavier Things) was the first album that I ever bought with my own money, but I’ve always had a lot of appreciation for John Mayer that most of my friends and family members don’t seem to share. That respect counts for double on Born & Raised, which ties 2006’s blues-laden Continuum (one of the few records from the last decade that I think is unquestionably headed for classic status) as his most cohesive work yet. The album is also one of his best, turning away (mostly) from the pop and blues sounds that he’s mined on previous albums and moving instead towards sun-soaked California folk. And while that development might sound like a strange one for a guy who started out as a heartthrob teen pop star and became a blues-rock guitar God midway through the 2000s, the aptly titled opener, “Queen of California,” shows just how perfectly the transformation works. The song, complete with a sunny guitar solo, plays like ‘70s AM-radio gold, and sets the tone for the killer collection that follows. The folky aspects of the disk come to the forefront on album highlights like “Shadow Days” (complete with mournful pedal steel accents) and the campfire confessional title track, but Mayer litters the middle ground with splashes of Irish drinking song (“Age of Worry,” “Whiskey, Whiskey, Whiskey”), bluesy throwbacks (“Something Like Olivia,” “Love is a Verb”), and star-crossed arena rock (“A Face to Call Home”). It’s Mayer’s most eclectic and mature work to date, and on my late summer night drives this year, few albums sounded better. (Read my full review here)

Key tracks: “Born and Raised,” “Walt Grace’s Submarine Test, January 1967,” “A Face to Call Home”

6. Yellowcard – Southern Air

Of all the albums on this list, none of them are more personal to me than this one, and that fact alone gets Southern Air into the top ten. In my initial review, I called Southern Air a record “about family, about loss, about youth and how it fades away, and about striking out towards a new life-chapter,” and for me, it was the resplendent soundtrack to all of those things. As I near my college graduation, I can slowly feel the vestiges of my past life—of youth and its carelessness and euphoria—slipping away. At the end of this past summer, I had to say a lot of goodbyes. My girlfriend finished her own schooling and moved away to start a job, my parents began considering a cross-country transplantation, and the place where I had worked, waiting tables and putting on musical performances for three straight summers, a place where I had made so many friends and built so many fond memories, closed its doors indefinitely. As I drove away from home, it felt like a final page, like I was embarking towards a new life, and this album was my coda. The words felt like I had written them myself, from the tumultuous first track (“Bottoms up tonight, I drink to you and I/Because in the morning comes the rest of my life”) to the visceral emotion of the last (“The sun lays down inside the ocean, I’m right where I belong/ Feel the air, the salt on my skin, the future's coming on/And after living through these wild years and coming out alive/ I just wanna lay my head here, stop running for a while”). The one I will always come back to, though, is “Always Summer,” the album’s first single. There may have been “better” music this year, but every time I hear the song’s stunning refrain (“I left home but there’s one thing that I still know/It’s always summer in my heart and in my soul”), I know that no song defined me more in 2012. (Read my full review here)

Key tracks: “Always Summer,” “Here I Am Alive,” “Southern Air”

7. Taylor Swift – Red

Last December, when I ranked
Adele’s 21 as my 15th favorite record of the year, I marveled at the fact that I would have had to go all the way back to 1984 (Bruce Springsteen’s Born in the U.S.A.) to find a favorite album that was also the year’s best seller. 21 changed that, smashing records and becoming one of the most successful albums of the modern era in the process. From the looks of it, Taylor Swift is going to continue to the streak, and why shouldn’t she? Red is a tremendous album, a record that hits equal parts nostalgic heartbreak (song-of-the-year contender “All Too Well”) and pure pop bliss (surefire hit single “22”), and one that never overstays its welcome, even at 16 tracks and well over an hour of runtime. Swift sheds a good deal of her country influence here, opting for U2-style arena rock (“State of Grace”), dubstep-infused breakdowns (“I Knew You Were Trouble”), and euphoric dancefloor pop tunes (“Holy Ground,” “Starlight”). The pop starlet proves herself as an expert genre hopper throughout, but some of the most satisfying moments here are the most no-frills: “Treacherous” and “I Almost Do” are simplistic, rootsy ballads that adapt Taylor’s sonic bread-and-butter to a more mature landscape, while the Butch Walker-produced, Ed Sheeren-assisted duet of “Everything Has Changed” is just one of many late-album triumphs. Perhaps most impressively, album closer “Begin Again” sounds like vintage singer/songwriter fare: Taylor references James Taylor, but the song itself falls closer to the sound of ‘70s songstresses like Carole King and Joni Mitchell. If Red is any indication, Taylor could be the heir apparent to those legends, and few things would be more welcome in today’s pop music. (Read my full review here)

Key tracks: “All Too Well,” “Starlight,” “Begin Again”

8. The Tower and the Fool – How Long

As a music writer, I don’t find myself picking up that many promos nowadays. I prefer to govern my own listening and reviewing habits based on what attracts me most, and there’s nothing worse than taking a sub-par promo and still being obligated to listen to and review it. Every once in awhile though, a real gem falls into the promo pile and I can’t help but snatch it up. That’s what happened with How Long, an emotionally intense set of break-up songs (think Tunnel of Love or Blood on the Tracks) structured around gorgeous, sweeping Americana a la Counting Crows or Whiskeytown. Fragile beauty abounds throughout, from the escapist anthem “Broken” (We can still make believe/We're anyone we want with whatever we need/Well, tonight, I'll be Johnny/If you like, baby you be June”) to the swelling alt-country of “Valentines Day” ("Cause saying you've got a lot to do or see when you're still young/Means you're not happy where you are or with who you're with”). Clearly, frontman Alex Correia has had his heart broken a time or two, flawlessly conveying the hurt and longing of a relationship that dies too soon throughout each of How Long’s ten tracks. Whether he’s blasting through ringing choruses (the instant-classic opener “Dive Bar,” the B3-drenched “Die Alone”) or baring his soul on raw acoustic numbers (the haunting wistfulness of the title track, the quiet agony of “Who Does She Think She Is?”), it’s the universal human emotion of the proceedings that comes to the forefront. If you’re looking for the year’s saddest record, look no further. (Read my full review here)

Key tracks: “Broken,” “How Long,” “Valentine’s Day”

9. Matthew Mayfield – A Banquet for Ghosts
I spend a lot of time in the car. Between a long distance relationship, cross-state treks to concerts, and a hometown whose sprawl extends miles and miles, my Honda Civic and I spent many, many hours together during the months of 2012. And when it came to the reflective late night drives, there was no album that I reached for as often as Matthew Mayfield’s A Banquet for Ghosts. The former frontman for alt-rock band Moses Mayfield, Mayfield turns down the amps and slows down the tempos here, largely opting for rootsy, acoustic arrangements (see the slow-burn grandeur of “Ain’t Much More to Say,” which opens the album in perfectly understated fashion). Best of all is “Take What I Can Get,” which builds to a sublimely emotive conclusion, or maybe “Always Be You,” a gorgeously hesitant hymn to lovers reuniting after heartbreak, but you can’t go wrong here. Definitive moments rain down on each track, whether Mayfield is letting loose guttural cries at the end of “I Don’t Know You At All,” employing Coldplay-esque expansiveness on “Carry You,” building a haunting air of finality on the piano-based “Beautiful,” or serenading a loved one with a whispered lullaby on “Safe & Sound.” (Read my full review here)

Key tracks: “Ain’t Much More to Say,” “Take What I Can Get,” “Always Be You”

10. Keane – Strangeland

Keane’s Strangeland, a shimmering set of throwback pop tunes, is the most outright nostalgic album of the year. Critics largely panned the album, criticizing the band for pilfering from their influences or for ditching the experimentalism of 2008’s hit-or-miss Perfect Symmetry in favor of more traditional territory, but I would argue that those critics missed the point. Strangeland is an entrancing journey back in time, to limitless days of youth, explosive eras of promise, and long nights where all the answers you needed were only a spin away on the radio dial. On “You Are Young,” singer Tom Chaplin belts out one of the most triumphant choruses of the year, surrounded by echoes of Joshua Tree-era U2; on the bouncy “On the Road,” he’s reminiscing about nights spent driving out into the middle of nowhere “to sing beneath the stars”; and on “Silenced by the Night” and “Sovereign Light Cafe,” you can almost see the widescreen illuminations of summertime carnival rides playing out before you, the yearning nostalgia for a different time and a different place washing through the arrangements like evening tide. Later, Darkness on the Edge of Town-era Springsteen drifts through the canvas on “Neon River,” a small-town operetta about a girl who escapes and a guy who gets left behind, the commandments he scrawled on the bowling alley wall fading and lost to the decay of time. From start to finish, Strangeland is a brilliant piece of work, and while its lyrical splendor, conflicted characters, and classic pop ideals might have gotten lost in translation for listeners eager to write-off Keane’s revealing and candid earnestness, there’s something transcendent and timeless here for those willing to give the record a chance. (Read my full review here)

Key tracks: “You Are Young,” “Sovereign Light Cafe,” “Neon River”

11. Motion City Soundtrack – Go

Motion City Soundtrack, a band I've always liked but never quite loved, made the best album of their career five years ago by going all-in on their prevalent pop-music sensibilities. The result, 2007's Even if it Kills Me was an insanely hooky and obsessively glossy album that, despite its catchiness, spent most of its runtime diving into personal themes, from break up to addiction. Go is along the same lines, structuring its themes of death and the brevity of everything around some of the strongest hooks the band has ever written, from a rousing celebration of entropy ("Circuits and Wires") to a dysfunctional love song ("True Romance"), from a nostalgic look back ("Timelines") to a swelling symphony of a pop song ("Everyone Will Die"). But where Go's first half is largely grounded in stellar melodic lines and wistful lyricisms, the second side goes directly for the jugular. See "The Worst is Yet to Come," a crashing rocker with darkness lurking just out of sight, or "Happy Anniversary," a harrowing farewell from a narrator who feels their body giving up on them.Very few bands are able to pull off this kind of delicate balance act, between the glowing and the gloom, between heartbreak and euphoria, between pop sheen and rock edge, but that dichotomy has long been the band's secret weapon. And when album closer "Floating Down the River" blasts off, with the same kind of vowed optimism that made "Even if it Kills Me" such a great song, that dichotomy, that balance of light and dark, has made Go one of the most emotional and triumphant listens of the year. (Read my full review here)

Key tracks: "True Romance," "Timelines," "Everyone Will Die"

12. fun. – Some Nights

Back in 2009, when fun. dropped their fantastic debut album (Aim & Ignite, which still holds their best song in “The Gambler”), I would never have predicted the popularity explosion that they would go through in 2012. I remember playing that record in the late summer nights that preceded my first year of college, hearing those songs, feeling like I was in on some great secret that only a small internet community really understood. Fast forward to now, and these guys are, arguably, the biggest breakout band of the year, with two chart-topping and ubiquitous hit singles that everyone and their mother seem to love (“Some Nights” and “We Are Young,” both as good now as they were the first time I heard them) and Grammy Nominations for Record, Song, and Album of the Year. And leaving aside the constant radio play and plentiful late night TV show appearances, Some Nights is, at its core, just one hell of a pop album. It’s also an exceedingly eclectic one, moving from the Queen-esque theatricality of its intro track, to the uplifting acoustic anthem that is “Carry On,” all the way to “Stars,” the euphoric, Kanye West-inspired, auto-tune drenched finale. Watching these guys conquer the radio waves this year has been one of my proudest, most satisfying moments as a music fan, and it goes without saying that, come February, I’ll be rooting for them to pick up each and every Grammy Award for which they are nominated. (Read my full review here)

Key tracks: “Some Nights,” “Stars,” “Out on the Town”

13. Glen Hansard – Rhythm & Repose

Opening an album with a haunting, slow-burning ballad would be a risk for any songwriter. Thankfully, there are only a few people in the music industry today who can pull off the balance between emotional bombast and whispered fragility the way Glen Hansard can, and the introduction to his first full-length solo record (the aforementioned “You Will Become”) is one of the most magnetic musical moments of the year. The record that follows it is no less spectacular, flitting from the atmospheric longing of “Maybe Not Tonight” (complete with a George Harrison-esque slide guitar) to the chillingly emotive, vocally strained conclusion of album highlight “High Hope,” and encompassing a relationship’s bitter end (supposedly, the one Hansard shared with Once co-star—and Swell Season counterpart—Marketa Irglova) in just 43 minutes and 11 songs. (Read my full review here)

Key tracks: “Maybe Not Tonight,” “High Hope,” “Bird of Sorrow”

14. The Wallflowers – Glad All Over

After a seven year hiatus, The Wallflowers finally made their return to the business, hunkering down in “an old-school studio designed for live recording” and, in the words of producer Jay Joyce, making “a record the way people used to make records.” The result is a back to basics, no frills rock ‘n’ roll LP, a set of rough and real songs that range from Clash-style throwbacks (the funky “Reboot the Mission,” the loose and electric “Misfits and Lovers,” featuring former-Clash guitarist Mick Jones) to stomping Springsteenian bar-band jams (“It Won’t Be Long (Till We’re Not Wrong Anymore),” “Have Mercy on Him Now”). Sure, the album’s finest moments are the ones that see the band returning to the roots rock/alt-country territory that made them famous back in the day (the visceral and full-bodied “Love is a Country,” the classic and catchy “First One in the Car,” the lyrical, steel-guitar-laden “Constellation Blues”), but Glad All Over is an album that unfolds more and more with each listen. Everything here, from Jakob Dylan’s genetic knack for wordplay (he is, after all, the son of Bob Dylan), to Rami Jaffee’s ringing B3 organ, all the way to the roaring guitar interplay of Jones, Wallflowers guitarist Steve Mathis, and Jay Joyce, plays like an affectionate reminder of a simpler time. (Read my full review here)

Key tracks: “Misfits and Lovers,” “First One in the Car,” “Love is a Country”

15. Counting Crows – Underwater Sunshine

2012 was the return of the 90s, with long-awaited albums from the likes of Matchbox Twenty and The Wallflowers (both on this list), as well as new, “return-to-form” releases from Green Day, No Doubt, Soundgarden, Ben Folds Five, and The Smashing Pumpkins (all not on this list). In the midst of this nostalgic explosion, Counting Crows quietly released a cover album and their first record in four years. Some fans denounced the album, calling frontman Adam Duritz "too lazy"  or "too afraid" to write new songs;  others praised it, calling the finished product their second or third favorite record in the Counting Crows discography. In my eyes, it’s hard to fault Underwater Sunshine, which sees one of America’s greatest roots-rock bands mining the catalogs of 15 favorite artists and doing so with more cohesion than a cover album has any right to have. The band has rarely sounded so gleefully freewheeling, and the eclectic range of song choices here, from the classic (Bob Dylan’s “You Ain’t Going Nowhere”) to the contemporary (the entrancing “Like Teenage Gravity”), the acoustic (the lovely piano-accented “Start Again”) to the electric (the ringing build of “Untitled (Love Song)”), the claustrophobic (“Hospital”) to the wide-open (“Four White Stallions”) allow the band to cover more musical and emotional territory than they have in quite some time. Underwater Sunshine may be a set of remakes, but Adam Duritz and his band of seasoned veterans make these songs their own in such a way that it becomes, first and foremost, a terrific Counting Crows album. (Read my full review here)

Key tracks: “Untitled (Love Song),” “Start Again,” “Like Teenage Gravity”

16. Michael McDermott – Hit Me Back

Michael McDermott may have missed the boat on widespread success, but as long as he’s making albums as good as this one, he’s got my attention. Heralded once as the heir apparent to the likes of Springsteen and Dylan, McDermott fell victim to the rock ‘n’ roll lifestyle early on, tumbling off the mainstream map before he could make his mark. Since recovering from addiction, McDermott has turned to his music to lay his demons on the line, filling his albums with haunting paeans of regret and stirring anthems of resurrection. “Scars From Another Life,” the arena-scraping centerpiece cut from Hit Me Back fits both categories, building from a gorgeously repetitious piano arpeggiation into an uplifting affirmation of life and everything in it. “Ever After,” McDermott’s elegy for his late mother, is the album’s most bruising cut, while the hymn-like “Where the River Meets the Sea” served as her angelic funeral song. “Dreams About Trains” is appropriately atmospheric and disorienting, floating between nightmare and nostalgia, confusion and reverence without missing a step, while the splendid “The Silent Will Soon Be Singing” puts McDermott’s lyrics at the focal point of a striking acoustic arrangement. In my initial review of this record, I marveled at McDermott’s ability to tear down the walls between himself and his listeners: truth is, in today’s music business, almost no one cultivates that confessional atmosphere more fully than he does here. (Read my full review here)

Key tracks: "Ever After," "Scars From Another Life," "The Silent Will Soon Be Singing"

17. Will Hoge – Modern American Protest Music
Looking back at the list I made last year, my biggest regret is not putting Will Hoge’s fantastic Number Seven in my top ten. And while Modern American Protest Music is not quite up to the level Hoge has reached on his full-lengths (the record is a seven-song, 28-minute EP), he still makes an argument for himself as one of my favorite songwriters out there. Where his full albums generally reflect personal concerns, from autobiographical narratives to break-up songs to nostalgic slices of Americana, his EPs (this one and 2004’s America EP) are his “issue” albums. Last time around, Hoge was speaking up as his nation barreled into another four years of Bush, lamenting sweeping political corruption and lambasting the losses and costs of pointless war; eight years later, it’s remarkable how little has changed. This time, Hoge enters the scene as America barrels into another four years of Obama, still mired in war (the mournful “Folded Flag,” the thinly-veiled fury of “When Do I Get to Come Home?”), vicious prejudice (“The Ballad of Trayvon Martin,” arguably the most potent rock song Hoge has ever recorded), and the self-righteous inhumanity of the anti-gay rights crowd (“I Don’t Believe”). The highlight is “Jesus Came to Tennessee,” a funny and insightful bluegrass stomp that sees the son of God paying Hoge a personal visit, but “Founding Fathers” gets the best line: “Democrats, Republicans, who’s to blame? It’s hard to tell,” Hoge sings during the searing opener. “Sometimes I think we’d be better off if they all just went to hell.” Preach it brother. (Live review here)

Key tracks: "Founding Fathers," "Jesus Came to Tennessee," "The Ballad of Trayvon Martin"

18. Rayland Baxter – Feathers & Fishhooks

It was a good year for Nashville, which saw their favorite daughter (Taylor Swift, the most successful country musician of all time) strike gold with her biggest and most critically acclaimed album yet, and launched The Civil Wars to unexpected stardom (the duo scored Grammy attention for 2011’s Barton Hallow). Only fitting then, that Rayland Baxter, a former Civil Wars opener, released one of the best folk albums of the year. Right from the humming opening track ("The Mtn Song"), Feathers & Fishhooks is an organic and resplendent debut, a conglomeration of cascading steel guitars, twangy banjos, softly-strummed acoustic, and booming bass. Within that pleasurable mix, we get introspective, road-trip-ready finger-pickers ("Dreamin'"), vaudeville-injected narratives ("Willy's Song"), yearning lullabies ("Hoot Owl"), and flowing Americana ("Good Friend"). And then there's "The Woman for Me," a love song so perfect and pure that it's almost hard to believe the guy who wrote it is only a twentysomething.

Key tracks: "The Woman for Me," "Dreamin'," "Hoot Owl"

19. Kathleen Edwards – Voyaguer
Perhaps it’s the painting of my home state on the cover, or maybe the presence of Bon Iver’s Justin Vernon behind the boards, but right from my first listen to Voyaguer, the record felt friendly and familiar. Credit Kathleen Edwards' voice, a gorgeously lilting instrument with a strong emotional quotient, or Vernon's full-bodied and atmospheric production, which surrounds that voice with a lush array of strings, pianos, and acoustic guitars. Opener "Empty Threat" drives like Fleet Foxes, while a spread of haunting ballads ("A Soft Place to Land," "House Full of Empty Rooms," "Pink Champagne) offer plentiful evidence for Edwards' knack of conveying a sense of loss, loneliness, and fragility. Album highlight "Change the Sheets" trades that croon for a passionate belt, building everything around an Appalachian backing vocal melody, while closer "For the Record" is almost as good, bringing the album to its finale with a chiming electric guitar that makes the song sound like a piece of classic vinyl. For those who have missed out on the work of this Canadian singer/songwriter up to now, there's no better place to start.

Key tracks: "Change the Sheets," "House Full of Empty Rooms," "For the Record"

20. Robert Francis – Strangers in the First Place

The talents of singer/songwriter/guitarist Robert Francis effortlessly harken back to a simpler age, to the kind of folk-driven pop music that was thriving on the radio back in the 1960s, and throughout the lush and lyrical Strangers in a First Place, those talents are on full display. The gorgeous, lilting string arrangement on “The Closest Exit” carries Francis’s crisp and wistful imagery along with buoyant charm—all before a classic-rock-flavored guitar solo cuts across the texture. Francis, a virtuoso guitarist and disciple of former Red Hot Chili Peppers legend John Frusciante, could easily hide behind his skills on the instrument here, but what he does instead is almost inarguably more interesting. Indeed, Strangers is one of the most eclectic singer/songwriter records in recent memory, drifting from hook-heavy foot-tappers (“Eighteen”) to centerpiece hymns (“Star Crossed Memories”), to chilled-out California indie-pop (“Wild Thing”). Elsewhere, pieces of classic singer songwriter formulas crop up: “Perfectly Yours” is dominated by a yearning saxophone line (think Clarence Clemons on Springsteen’s “Secret Garden”), while the screeching harmonica in “Alibi” sounds like it was lifted directly from the Bob Dylan playbook. Best of all is “Dangerous Neighborhood,” the kind of cinematic finale that can only be fully appreciated by closing your eyes and letting the subtly layered arrangement wash over you.

Key tracks: "Eighteen," "Star Crossed Memories," "Dangerous Neighborhood"

21. Matchbox Twenty – North
I first heard North, Matchbox Twenty's first full-length album in a decade, on the last day in my hometown this past summer. Naturally, I was feeling in a state of transition, and when the elegant bombast of opening cut "Parade" came cascading out of my speakers, the music felt like an old friend and a welcome comfort. "When the slow parade went past/And it felt so good you knew it couldn't last/And all too soon the end was gonna come without a warning/And you'd have to just go home," frontman Rob Thomas sings at the outset, a nostalgic guitar burning behind him. The song sets the tone for North, which swings back and forth between fun, upbeat pop-rock ("She's So Mean," "How Long," "Radio") and the band's patent lovelorn balladry (the lovely "Overjoyed," which makes it seem as if the band has only been gone a day). Thomas lays down one of his best vocal performances to date (along with some of his best lyrics) on "Sleeping at the Wheel," a sweepingly melodic finale to the most eclectic album of the band's career. (Read my full review here)

Key tracks: "Parade," "Overjoyed," "Sleeping at the Wheel"

22. Bob Dylan – Tempest

No one was surprised when Rolling Stone Magazine gave Tempest, Bob Dylan's blood-soaked 35th studio album, a glowing five star review. What was more surprising, once I actually got my hands on it, was how accessible and easy to like it really was. Dylan's post-millennial albums, aside from 2001's Love and Theft, have largely been derivative blues efforts, and while there's never been anything wrong with Dylan pursuing that kind of sound, I must admit that I haven't been exceedingly taken with most of it. Tempest has moments of blues rock, but is largely grounded in Dylan's folksy roots. The most obvious example is the title track, an epic, twisting narrative that charts the sinking of the Titanic in classic Dylan tradition (think "Desolation Row"). But moments like the elegiac "Long and Wasted Years," the classicist romance of "Soon After Midnight," and the Lennon eulogy of album closer "Roll On John," quite simply feel like they've come from a much younger version of their creator. For a guy who turned 71 this year (and who celebrated the 50th anniversary of his first release), Tempest is a shockingly vital and relevant musical statement. (Read my full review here)

Key tracks:
"Duquesne Whistle," "Long and Wasted Years," "Tempest"

23. Tyler Hilton – Forget the Storm

Back in 2004 or 2005, Tyler Hilton was one of the most promising young singer-songwriters around, a guy who seemed like he was on the cusp of fame. (Though it was difficult to envision whether he would go teen pop, rock 'n' roll, or country—all of which were viable options.) Just 21 years old at the time, the kid had landed a recurring role on a popular teen soap opera (One Tree Hill), achieved minor success with a pair of singles from his sophomore LP ("Glad" and "When it Comes"), and offered a brief but charismatic cameo as Elvis in the Oscar-nominated, Johnny Cash biopic, Walk the Line. But record label disputes and a shift in leadership and direction (all at Warner Bros.) left his third album, Storms We Share, tied up on the shelf. Most of those songs saw the light of day on a pair of EPs in 2009 and 2010, but it wasn't until this past spring that Hilton finally delivered that long-awaited third album. The result, Forget the Storm, doesn't just choose one of Hilton's potential musical directions, though; it chooses all of them. We get scorching southern rock ("Ain't No Fooling Me"), should-have-been mainstream country hits ("Leave Him"), all-out pop ("Prince of Nothing Charming"), twangy folk ("You'll Ask For Me"), and some fantastic mix of them all ("I Belong"). But where most of Forget the Storm really could have brought Hilton into the mainstream fold, some of the best moments are the ones where he shows more edge: see the harmonic opener, "Kicking My Heels," or the sassy and sexy blues rock of "Loaded Gun"—then drop this guy back on your "artists to watch" list. (Read my full review here)

Key tracks: "Kicking My Heels," "Loaded Gun," "I Belong"

24. Lovedrug – Wild Blood

Maybe it's the ringing, effects-laden guitar sound that permeates every song on this record, but Wild Blood caught me more completely off guard than almost any other album I heard this year. The best moments here are the ones that take full command of that anthemic, nostalgic sensibility, using it to create expansive, bleeding arrangements (look to "Great Divide" for a masterclass of musical atmosphere, or "We Were Owls," whose chiming and minimalistic guitar line is nothing short of entrancing). Elsewhere, the band drops the tempo and strips things down with "Girl," a sobering hymn to undying devotion. But for the most part, Wild Blood is a towering road trip record just begging to be played at maximum volume. Album cornerstones like the title track, "Pink Champagne," and "Your Country" burn with raucous intensity and classic rock 'n' roll spirit, while the towering grand finale that is "Anodyne," with a skyscraping bridge and a transcendent vocal delivery from frontman Michael Shepherd, puts most of this year's music to shame. (Read my full review here)

Key tracks: "Girl," "The Great Divide," "Anodyne"

25. Go Radio – Close the Distance

Detractors will call Go Radio's sophomore full-length top heavy, repetitive, histrionic, or derivative, but this past fall, I formed an emotional connection with these songs that rendered each of those points moot. Sure, the album throws three of its best songs out as an opening, but what an opening that is. The propulsive "I Won't Lie" feels like a bonafide anthem, while "Baltimore" is a searing leaving song whose tearful bridge perfectly captures a last night in town--a last night with the person you love--even as a grand departure looms. "Collide" is the companion piece, a flawless shard of pop-rock meant to soundtrack that kind of departure: bittersweet, regretful, but also full of optimistic hope for the future. "Go to Hell," with its staccato piano chords and gleeful bombast, is a pure pop music kiss-off, while highlights like the title track and "Things I Don't See" build a sense of sun-soaked longing around the album's long-distance relationship themes. And while the album loses a bit of its tumultuous urgency as it barrels towards its conclusion (the band clusters most of their ballads in the second half), the autumnal build of "Hear Me Out" more than redeems any missteps, establishing Close the Distance as the kind of personal soundtrack album that becomes a scene classic or an all-time favorite five or ten years down the road. (Read my full review here)

Key tracks: "Baltimore," "Collide," "Close the Distance"

26. Gary Clark Jr. – Blak and Blu

No one could possibly deny John Mayer's pyrotechnical electric guitar skills. Indeed, at best, the musician has always felt like the heir apparent to some of the all-time greats, from B.B. King to Eric Clapton to Stevie Ray Vaughan to Robert Johnston. But Mayer has never leaned on his guitar skills, at least not on record, and this year's Born and Raised, as good as it is, is less grounded in solos or instrumental show-offs than ever before. Blak and Blu, the first full-length album from Texan blues-hand Gary Clark Jr., is essentially the album that Mayer's detractors have always wanted him to make: an all-out, pulse-pounding, blues-rock display with more than its fair share of face-melting guitar riffs. Throughout, Clark's smooth and sultry voice blends with his fuzzy guitar sound and his penchant for foot-tapping rhythms, turning Blak and Blu into an ultra-satisfying blend of classic blues ("Bright Lights"), pure Motown R&B ("Please Come Home") and throwback 50s/60s rock 'n' roll ("Travis County," which legitimately sounds like a lost Chuck Berry single). More than any album on this list, choosing favorite songs from Blak and Blu is a daunting task: the whole album flows perfectly, a wonderfully executed melange of unimpeachable charisma and sexy ambiance. And throughout, Clark somehow manages the impossible, writing songs that would be equally suited to the pop music golden age and to the radio waves of today.

Key tracks:
"Travis County," "The Life," "You Saved Me"

27. Frank Ocean – Channel ORANGE

Speaking of R&B, Frank Ocean is one of the genre's most exciting and buzzed about new figures, and while his debut LP doesn't quite live up to the earth-shattering amounts of hype it has collected since its release this past summer (Spin and The A.V. Club already named Channel ORANGE the best album of the year, and Pitchfork could very well follow suit), there's still a lot to be respected about Ocean's eclectic, scattershot ambition. A few moments here miss the mark, and interludes and framing tracks drag the tracklist to an unnecessary 17 songs, but on the whole, Channel ORANGE is a solid and fascinating record, one that sweeps you up into its vortex and doesn't let you go until it crosses the finish line. On the album's purest R&B efforts ("Thinkin Bout You," "Sweet Life") Ocean's voice sounds smooth and angelic, while the ambitious centerpiece (the ten-minute, two-part "Pyramids") moves from electro-infused dance-club gold to entrancing slow jam, all the way to spacey guitar outro (courtesy of John Mayer himself). And those facets only make up a fraction of Channel ORANGE's sweep: "Super Rich Kids" pays tribute to Elton John's "Bennie and the Jets," "Lost" displays Ocean's knack for writing effortless pop songs, and "Bad Religion" surrounds the singer in an introspective mass of organ and balladic ambiance. (Read my full review here)

Key tracks: "Pyramids," "Lost," "Bad Religion"

28. The Tallest Man On Earth - There's No Leaving Now

On his third LP, Swedish singer/songwriter Kristian Matsson mines pretty much the exact same territory he's always occupied, writing striking, crisp, and beautiful melodies—usually over the bed of Spartan acoustic arrangements—and delivering them with his wistful, Dylanesque voice. The formula suited Matsson especially well on 2010's The Wild Hunt, but while his latest isn't quite up to that level, there's still a lot to love about this specific disc. "Wind and Walls" alone makes the whole export worth it, a freewheelin' road trip anthem from a dedicated drifter, and arguably the best song Matsson has ever written. The rest of the record taps into that same kind of yearning nostalgia, from the dusky pedal steel strains of "Bright Lanterns" to the picking-up-where-we-left-off opening duo of "To Just Grow Away" and "Revelation Blues." The title track swaps Matsson's trademark guitar for a wonky piano, and the album's closer, "On Every Page," is less guttural troubadour hymn than pensive campfire confessional, but on the whole There's No Leaving Now champions the "If it ain't broke, don't fix it" mentality, and with a result this pleasant, that's a hard mantra to argue with. (Read my full review here)

Key tracks: "To Just Grow Away," "Bright Lanterns," "Wind and Walls,"

29. The Fray – Scars & Stories

Call it a guilty pleasure if you want, but I've always been surprisingly taken with The Fray's anthemic brand of piano rock, and they've only gotten better each time out. Make no mistake, Scars & Stories is hardly a massive step forward for the band: we still get the string-laced piano ballads ("I Can Barely Say"), the driving, mid-tempo pop rock anthems ("Heartbeat"), and a few traces of rock 'n' roll edge ("Turn Me On"). But for whatever reason, I found myself coming back to this album a lot this year. "Heartbeat" may be something we've heard a million times before, but it's also one of the most addictive openers on any record this year; "I Can Barely Say" may be a slightly slowed-down re-write of last album's "Never Say Never," but Isaac Slade's passionate vocal performance is still hard to fault; and it might be hard for some to buy into The Fray as a convincing "rock" band, but "Turn on Me" has a surprisingly funky bassline. Elsewhere, the band does what they have always done, slinging U2-sized choruses (album-highlight "Munich"), deriving yearning urgency from universal human struggles ("1961"), and crafting spacious and uplifting numbers destined to serve as the coda for TV shows and films alike ("The Wind"). The Fray may be mainstream cannon fodder nowadays, but these songs aim for deeper and more interesting territory than most of their contemporaries risk, and I'd like to think there's a group of real artists trying to escape here: only time will tell. (Read full review here)

Key tracks: "Heartbeat," "The Wind," "Munich" 

30. The Rocket Summer – Life Will Write the Words

The most remarkable thing about The Rocket Summer has always been its one-man band mentality. The mastermind behind it all, Bryce Avary, plays all the instruments on his records, somehow managing to make all of those different tracks coalesce into something as cohesive and fully-formed as Life Will Write the Words. The sound here never wanders far from Avary's bread-and-butter pop-punk, but I can also sense Americana songwriting textures creeping in around the fringes. Maybe I'm just imagining that element--after all, the cover and the album title sound like they're meant for some heartland bluegrass or pop-country band--but I don't think so. Throughout this record, Avary spins myriad moments that feel as if they're destined for America's sunburnt highways, from the propulsive "Run Don't Stop" to the shapeshifting "200,000," all the way to the gleeful handclap aesthetic of "Circa '46." The feeling only becomes overt a couple of times—the magnetic twang of "Soldiers" and the cathedral-ready balladry of "Scrapbook" are the best examples—but throughout, the remarkably personal nature of Avary's storytelling recalls some of the greatest songwriters in the American tradition, from Springsteen to Petty. The hooks rarely soar into earworm territory, and Avary's ultra-compressed production could use some work, but Life Will Write the Words is the sound of a great songwriter maturing and emerging right before our eyes, and I frankly can't wait to see what's next.

Key tracks: "200,000," "Soldiers," "Scrapbook"

Honorable Mentions: Needless to say, with a year as stellar as this one, there were more than a few albums that narrowly missed my top 30, and even more (uncountably more) that I still haven't heard or that came into my life too late for me to give them the time they deserved. But all of these records supplied pieces, large or small, of my 2012 life soundtrack, so nearly every album with a track or two that I love, every album I reviewed, and every album that I still need to spend more time with is listed below. Call these 70 some albums the next part of my pseudo top 100.

Abandoned Pools - Sublime Currency
Alabama Shakes - Boys & Girls
Adele - Skyfall - Single
All Time Low - Don't Panic
Anberlin - Vital
Anchor & Braille -
The Quiet Life
Anders Osbourne - Black Eye Galaxy
Band of Horses - Mirage Rock
Ben Folds Five - The Sound of the Life of the Mind
Bonnie Raitt - Slipstream
Boys Like Girls - Crazy World
Brandi Carlile - Bear Creek
Civil Twilight - Holy Weather
Cloud Nothings - Attack on Memory
The Compound - Say it Again Now
Craig Finn - Clear Heart, Full Eyes
Daytrader - Twelve Years
Dave Matthews Band - Away from the World
The Early November - In Currents
Fang Island - Major
First Aid Kit - The Lion's Roar
The Forecast - Everybody Left
G.O.O.D. Music - Cruel Summer
Good Old War - Come Back As Rain
Goodnight Mr. Max - Sleepaway/Esto - Live at the Orpheum
Green Day - ¡Uno!, ¡Dos!, and ¡Tre!
Greg Laswell - Landline
Grizzly Bear - Shields
Ingrid Michaelson - Human Again
Jason Mraz - Love is a Four Letter Word
The Jealous Sound - A Gentle Reminder
Jenny Owen Youngs - An Unwavering Band of Light 
Jens Lekman  - I Know What Love Isn't
Jim Ivins Band - Everything We Wanted
John Mayer - The Complete 2012 Performances Collection
Joshua Radin - Underwater
Kendrick Lamaar - Good Kid, M.A.A.D. City
Kris Allen - Thank You Camelia
Lucero - Women & Work
Luke Leighfield - New Season
The Lumineers - Self-Titled
Make Do And Mend - Everything You Ever Loved
Maroon 5 - Overexposed
Marty Stuart - Nashville, Vol. 1: Tear the Woodpile Down
The Menzingers - On the Impossible Past
Molotov Jive - STORM
Mumford & Sons - Babel
Muse - The 2nd Law
Nada Surf - The Stars Are Indifferent to Astronomy
Neon Trees - Picture Show
No Doubt - Push and Shove
Norah Jones - Little Broken Hearts
Of Monsters & Men - My Head is an Animal
Passion Pit - Gossamer
Phillip Phillips - The World From the Side of the Moon
Ryan Bingham - Tomorrowland
Safetysuit - These Times
Scars on 45 - Scars on 45
The Shins - Port of Morrow
Shovels & Rope - O' Be Joyful
Sleepy Turtles - Summer, Hither
The Smashing Pumpkins - Oceania
The Spill Canvas - Gestalt
Stars - The North
The Stray Birds - The Stray Birds
The Swellers - Running Out of Places to Go
Tame Impala - Lonerism
Titus Andronicus - Local Business
Train - California 37

Wednesday, December 12, 2012

Green Day - ¡Dos!

Green Day - ¡Dos!
Reprise Records, 2012
Two and a half stars

Eight years ago this fall, Green Day were on top of the world. The trio were in the midst of a terrific year: they had just dropped what was pretty much the ultimate comeback album and were riding the success of it with their biggest, most culturally ubiquitous set of singles to date; they were shoe-ins for a truckload of Grammy nominations—Album of the Year among them—and, even though they had to watch their hated President Bush win a second term in the White House, his victory was set against a nation of angry young people who despised him, a chorus of voices who were screaming Green Day’s songs right back at them in loud and rambunctious protest. The album that did it, American Idiot, was a zeitgeist-friendly throwback to classic rock grandeur, a tremendous set of songs that, though they lacked any semblance of eloquent political rhetoric, offered a pitch-perfect snapshot of what it meant to live and love in 2004’s fucked up modern America. Idiot single-handedly re-popularized the rock opera for the post-millennial generation, eventually paving the way for a popular Broadway musical and establishing Green Day’s relevance for another decade. But while much was made of the album’s high concept, no one put it better than Quentin Tarantino, who, while introducing the band at the Grammy’s that year, flippantly called American Idiot “a concept album with a very novel concept: all the songs are good.”

Fast forward to now, and my how the mighty have fallen. Look at Green Day today and we no longer see a larger-than-life rock band trying to tap into the all-American everyman struggle. No, now we see a trio of elder punks shattered by addiction, a band whose frontman is mired in unspecified substance abuse rehabilitation, and a musical collective who, we can now be sure, is going through their second mid-life crisis in as many decades. That’s not to say that the ambition has been entirely lost in the shuffle, though: any band who decides to release three albums in a year, let alone in a single quarter, is clearly still striving for something big. Hell, the double album is enough of a test as it is; few bands ever attempt the triple, and from the looks of it, two albums into Green Day’s self-dubbed “trilogy,” there’s a very, very good reason that they don’t.

The most frustrating thing about Green Day’s two 2012 records so far, especially the second (fittingly titled ¡Dos!), is not that they lack uniform greatness. Few listeners expected Dookie or American Idiot quality masterworks here, and almost everyone went into these albums expecting to contend with at least a few traces of filler material. No, the most frustrating thing about this series is that, thus far, the albums have failed to meet even the most modest of expectations. Indeed, these albums don’t just have traces of filler: they could easily be argued as containing entirely filler in comparison to Green Day’s best albums. Sure, we get a few catchy tracks here and there—“Stray Heart” is as unabashedly infectious as anything the band has written since Warning, and “Lazy Bones” is a solid slice of simplistic pop—this is Green Day after all. But surprisingly more often, the hooks simply fall flat. See duds like “Ashley” and “Lady Cobra,” derivative clusters of lyrical clichés with musical templates as nondescript as their titles. On Dookie, Green Day made an album of shimmering hooks that has endured for nearly 20 years: these songs don’t endure for six seconds.

¡Dos!’s most impressive accomplishment, sadly, is that is somehow manages to contain a song worse than ¡Uno!’s low point (take your pick between “Kill the DJ” and “Troublemaker” for that title). “Nightlife” is the worst song the band has ever put on a record, a bizarre hybrid between autotune-drenched R&B and Ke$ha’s trashy brand of “rap”-pop. Blame Lady Cobra (apparently a real person and not just the title of ¡Dos!’s previous track) who moans her way through horrific couplets like “This town is filled with snakes, mistakes and whiskey shakes/It's too late I already cut the brakes” without a touch of irony. The song feels more like parody than genuine album contribution, but then again, most of ¡Dos! (supposedly the “garage rock” album in this trilogy) comes across as a mocking imitation of its influences rather than a seamless channeling of them.

The bad lyrics don’t end with “Nightlife” either. One particularly funny user misheard a key line in the pedestrian “Wild One” as “She gave up on Jesus for living on penis” (it’s actually Venus, but the shift hardly makes for a better line). “Fuck Time,” which gives the album’s its proper opening after the lo-fi intro of “See You Tonight” (think 21st Century Breakdown’s “Song of the Century”) actually relies on “Oh baby, baby, it's fuck time/You know I really wanna make you mine” as its hook. And while ¡Dos! reaches some level of redemption as it nears the finish line (“Wow! That’s Loud” has an infectiously loose feel to it, emphasized by its rousing guitar solo, while the Winehouse tribute “Amy” lifts the chorus melody from “Shoplifter” for a nice balladic conclusion), even those moments are little more than lukewarm.

Looking back now at the day the band announced ¡Uno!, ¡Dos!, and ¡Tré!, it’s fairly clear that this trilogy was an ill-advised decision. With that said, the last of the three drops next week (you can stream it here), and it’s far and away the most solid (more on that later). As for ¡Dos!, not much more can be said. Green Day has never seemed so bored or uninspired, never sounded like they were so thoroughly out of ideas, and the fact that they cannot salvage these songs by playing them live has threatened to derail the entire project. (Nothing against Billie Joe for entering rehab: I fully support his decision.) Aside from a few solid, unspectacular pop-rock songs though, ¡Dos! Has only one thing to offer: it makes ¡Uno! sound a hell of a lot better.

P.S. Bono called: wants to know where ¡Catorce! is.

Tuesday, December 11, 2012

Muse - The 2nd Law

Muse - The 2nd Law
Helium 3/Warner, 2012
3.5 stars

I’ve personally never really cared for Muse, either in regards to their bombastic arrangements or to singer Matt Bellamy’s endlessly histrionic wailings. And it’s not that the band’s fusion of Queen, Radiohead, electronica, and classical music is particularly off-putting, but rather that their albums, especially 2003’s Absolution (considered by many to be their best) grow exhausting in their attempt to keep the emotional intensity at a fever pitch throughout.

It is in this relatively neutral state that I come to Muse’s latest record, an ambitious, pseudo-conceptual piece called The 2nd Law, which, in its 53-minute runtime, wanders from a 007-flavored introduction (echoes of the famous spy theme float through the background of “Supremacy”), to imitations of Achtung Baby-era U2 (the album’s first single, “Madness,” is a dead-ringer for many of that 1991 album’s big dance-rock hits), all the way to a bizarre dubstep suite (the two-part title track, which encompasses segments called “Unsustainable” and “Isolated System.”)

Make no mistake, this is an ambitious record, an album that flits between styles and sounds with no warning whatsoever. The versatility is welcome, of course, but for some (die-hard fans yearning for the band’s initial sound, most likely), the shifts will prove jarring and almost laughably self-serious. Case-in-point is “Panic Station,” an infectious piece of funk-pop that lands somewhere between Stevie Wonder and Michael Jackson, or “Survival,” which starts out sounding like a freaking Mika song, adds a baroque choir within the first minute, and bursts apart with a Queen-sized guitar solo halfway through—all without the slightest trace of irony.

The 2nd Law is at its best when the band tones down those indulgences. “Madness” is a perfect example of this, surrounding listeners with an atmospheric back-up vocal groove and allowing Bellamy a chance to drop his usual over-emotive tendencies in favor of his best Bono impersonation. When a funky and spontaneous guitar solo crushes through the texture towards the end of the song, the feeling is both quirky and euphoric.

The U2 influence rears its head again on “Big Freeze,” another nostalgic eighties/nineties radio rock hybrid which parallels Achtung Baby’s deep album tracks just as “Madness” reaches for its singles. Considering the still-fascinating qualities of U2’s most successful musical left turn (an album that celebrated its 20th birthday last fall), it’s no wonder that Muse turned to Achtung for inspiration as they cultivated their own grand departure. Bellamy and company joined U2 on tour last year for the 360 tour (the most successful concert tour in history), and clearly, they took a few things away from that experience.

“Follow Me” is another one of the album’s strongest cuts, beginning with a spacious gospel-flavored vocal solo, transforming into a dance-pop disco swirl (complete with a driving beat and a wall of synthesizers), and climaxing with a ringing guitar cascade that would make the Edge himself proud. “Animals,” on the other hand, puts everything in reverse, an atmospheric keyboard-based number which re-states the band’s prevalent Radiohead influence and which, cut across by a nicely spacey electric guitar line, feels positively otherworldly.

Results are decidedly more mixed when Bellamy hands writing (and singing) duties off to bassist Christopher Wolstenholme on the album’s penultimate duo, “Save Me” and “Liquid State.” The former is a hazy, dreamy piece of nineties balladry, readymade for a climactic moment in some cinematic romance. The song feels notably out of place on The 2nd Law, with decidedly earthbound ambitions and an overall sound that genuinely feels like a different band. Still, the change-up is welcome, and “Save Me,” with its lovelorn sweep and its gorgeously swelling arrangement, is one of the best surprises here. The grungy scratch of “Liquid State” falls completely on the other end of the spectrum, functioning, at its best, as a less effective version of “Supremacy” and, at its worst, like a piece of turn-of-the-century alternative rock (Three Days Grace and Staind certainly come to mind).

Muse’s overblown ambitions reach the point of hubristic downfall on the album’s grand finale, the aforementioned two-part title track. Part I, “Unsustainable,” never feels like anything more than an experiment gone wrong, mixing orchestral elements with robotic sounds, dubstep explosions, and Bellamy’s overdramatic cries. Part II, “Isolated System,” works out a little better, with a ringing, minimalistic piano intro hinting at a climatic build. Unfortunately, the song never makes good on that promise: Muse add in some electronic distractions towards the end, but on the whole, the composition never does anything the least bit exciting, and it serves as a disappointing fade-out to an uneven and often frustrating album.

But even despite the fact that The 2nd Law burns out two-thirds of the way through, it’s not a bad album. I applaud a band, especially one with as much mainstream publicity as Muse, willing to go as off-the-wall crazy as they do on this record. The 2nd Law is the sound of one of the world’s biggest rock bands throwing everything at the canvas and seeing what sticks, a band giving themselves over to their indulgences and influences without reservation or pulled punch throughout. That mentality doesn’t always beget the best albums, and it certainly doesn’t create the most cohesive ones (see The Killers’ Day & Age), but it also rarely fails to deliver at least a few fascinating moments, and The 2nd Law has one or two of those up its sleeve. That an album like this (a band given budget and larger-than-life production values to indulge their every quirk and fancy) even exists in this modern age is interesting; that one can sell almost 130,000 copies in its first week is even more baffling.

And while Bellamy may have pointed towards Achtung Baby as his band’s primary influence here, The 2nd Law is more reminiscent of that album’s follow-up. 1993’s Zooropa remains, to this day, the most misunderstood album U2 ever made, a disjointed collection of pop songs that injected even more electronic influence into the band’s sound and wandered further from the mainstream than their label had ever anticipated. From its atmospheric nineties leanings to Bellamy’s consistently on-the-mark channeling of Bono, it’s not too hard to imagine The 2nd Law having a similar legacy ten or twenty years down the road: not a great album, but an adventurous one.

The Compound - Say It Again Now

The Compound - Say It Again NowSelf-Released, 2012
Three stars
Over the course of their new album, Say It Again Now, Ontario-based trio The Compound adopt a mélange of different sounds and styles, hitting everything from the classics (the ever-present Beatles influence), to rootsy rock 'n' roll (The Band), to more modern rockers. The bluesy moments of the Thrice discography come to mind numerous times (especially on the second track, "When I'm Away"), while singer and bassist Tommy Lowe sounds eerily like the ghost of Jeff Buckley on a few tracks. Add in the reference to Weezer's "Say it Ain't So" on "Feels So Good," a slow-burn of a blues song that contrasts that 90s hit in almost every way imaginable, and you've got a band that clearly adores the vast musical history that surrounds them as much as they love adding to it.
Say It Again Now is a hard record to pin down precisely because of the plethora of influences on display, resulting in a collection that, while only eight songs and 25 minutes in length, is far more diverse thank your average modern rock rock album. The aggressive guitar lines of the first two songs (the propulsive title track and the aforementioned "When I'm Away") morph into the southern rock drawl of "Memories," a song with a riff so sweepingly familiar that I swore I'd heard it before. "Memories" is the immediate stand-out on the record, a song that is at once both classic and remarkably fresh, and that it builds to a remarkable showcase for guitarist Simon Talevski (who also fills piano and synth duties, among others) doesn't hurt either.

Lowe gets his own shining moment on "Turning the Tables," laying down some impressive bass licks, in addition to sounding his most innately Buckley-ish on vocals, a compliment in and of itself for those familar with the late singer. Album highlight "Blues (Has Got Me By the Balls)" sounds like a Paul McCartney outtake, with a thumping piano line, dreamy back-up vocals, and some bluesy guitar accents straight out of the '70s. The Beatles influence is felt just as strongly on "Feels So Good," which builds from a softly ambient intro to a brilliantly soulful bridge, while "Holiday Heartache" lands somewhere between "I Want You/She's So Heavy" from Abbey Road (my favorite Beatles record) and the Red Hot Chili Peppers: believe me when I say that the combination is more successful than it sounds on paper.

The only problem with The Compound's shape-shifting sound is that Say It Again Now ends up feeling like a record distinctly lacking in any semblance of flow. That the album closes with "Enjoy Your Summer," an entirely instrumental track, proves this point perfectly. While they write terrific songs and have undeniable chops (nothing proves this more than the closer, which gives all three members showcases for their talents), The Compound seem like a band more tailor made for the live concert experience than for the album listening one. But ultimately, despite the fact that Say It Again Now does not equal more than the sum of its parts as a record, it's still a stellar collection of songs without a discernable weak point, and it still represents the work of three musicians with talents that should absolutely not be ignored. And since the entire record is available for free download, in high quality, directly from the band, I can see no argument for not checking it out and spending a half hour with these three gentlemen and their bevy of influences: there couldn't possibly be a better price to discover one of the best unsigned bands I've heard in ages.

Luke Leighfield - New Season

Luke Leighfield - New Season
Got Got Need Records, 2012
Three stars

Piano rock has become a bit of a tired genre over the years, so often plagued by repetition and cliché that many listeners have gotten to the point where they write off anything with that label on association alone. I personally have always had a soft-spot for records where the piano takes the lead role, and I have loved or marginally enjoyed almost every band or artist you could name in the genre, from the classics (Billy Joel, Elton John), to the modern mainstream players (The Fray, Augustana), all the way to the relative obscurities (Wakey!Wakey!, Embrace). From the first moments of Luke Leighfield's fourth full length solo record (entitled New Season), the English-born troubadour recalls a slew of the songwriters that have gone before him in the genre. Leighfield is a Do-It-Yourself artist, but you could hardly tell from his latest record, which plays out as a fully orchestrated, exquisitely produced set of songs that ring, echo, swell, and fall at all the right points. And that makes sense, since Leighfield runs his own record label (Got Got Need Records), has a long list of notable friends in the music industry, and is a fantastically accomplished pianist and violinist, having worked as a sessions musician on both instruments.

The piano serves as the backbone for each of the ten cuts on this record, and while the combination between that instrument and the British-accented lilt of Leighfield's voice will instantly earn him endless comparisons to acts like Coldplay and Keane, his overall sound generally lands closer to that of some of today's most prominent American piano rockers. For example, the presence of Ben Folds floats through many of Leighfield's most dynamic vocal snippets, while the influence of Andrew McMahon (Jack's Mannequin, Something Corporate) can be felt in many of the album's soundscapes and arrangements, especially at the album's best moments.

And there are a lot of great moments here, from the slow burn opening of the aptly-titled "Slow Down" (with a piano riff that could have come straight off of a Something Corporate album), to the summerish pop rock of the title track, all the way to the ringing guitar intro of "Patience," which drew me in immediately. Gang vocals burst in the background of "The One Thing," eventually subsiding into a gentle piano tag, while Leighfield's rock 'n' roll aesthetic is evident in the power chords and the incessant build-up of "Live For More," which also collapses into a luminous, echoing piano outro. A series of arpeggiated piano notes open album highlight "Garde Ta Foy," recalling Adele's massively successful flagship single "Someone Like You", and much like that song was, "Garde" is probably the album's most subdued and emotionally striking number. The delicate accompaniment allows Leighfield's voice to really shine here, gliding over the arrangement in a simplistic but moving fashion that results in one of the most gorgeous songs I've heard all year. As the song moves forward, an ambiance of strings and back-up vocals swell around Leighfield, building as drums enter and crescendo, and ultimately exploding into a wall of guitars. It really feels like a closer, but that honor belongs to "Do Not Settle," a commencement speech of a song that proves itself to be both entrancing and inspirational. Next to the massive scope inherent in the climax of "Garde Ta Foy," the build here feels a bit truncated and restrained, like the song (and the album, which loses steam after its opening but regains it in the final quarter) ends just as it is starting to reach greatness.

Leighfield doesn't entirely escape the usual trappings of the piano pop/rock genre on New Season, but he does tend to transcend them. To be sure, there are lyrical clichés here and there, and Leighfield isn't the most original melodist, causing his songs do run together on occasion, but his vocals have a warm and welcoming familiarity about them, and his songs very often build and grow as they move forward (and with subsequent listens). I don't suppose that the record will win many new fans for the piano rock scene, and the naysayers will very likely find that they have the same problems with Leighfield that they do with genre's biggest stars, but for me and for many who find a certain degree of pleasure in this type of music, guilty or otherwise, this record represents a treasure trove of earnest lyrics, well executed arrangements, and light, beautiful melodies. He doesn't have the hooks that McMahon has, or the lyrical brilliance that Folds manifests every so often, and no one will ever be calling him Billy Joel, but Leighfield is a solid songwriter and an even better musician, and New Season deserves to be heard.