2011: The Year In Music

I know it's been a long time coming, filled with self-promotion and waiting, but I can definitively say that THESE are the albums in 2011 that caught my ears, piqued my interest, and took up space on both my iPod and computer. For a more complete list of music releases this year, check this out.

And now, without further adieu…

Best Release of 2011: No Devolución by Thursday (*****)
Complete albums, ones that make a specific statement in mood and execution, are hard to come by.  That said, Thursday’s No Devolución is perhaps the MOST complete album of 2011. Here, the New Jersey five-piece is at their most inventive, merging shimmering post-rock flourishes and icy keyboards with their already visceral, car-crash style guitarwork.  The frostbitten synthesizer stabs and twisting guitar chime of “No Answers” displays a group that’s interested in sculpting the space around them.  Elsewhere, the oozing bass driven dirge of “A Darker Forest” shows they’re unafraid explore heavy overtones without always pushing their instruments into the red.  Yet the storm-like atmosphere might be the most engaging part of No Devolución, for Thursday effortlessly shifts from bludgeoning, angular dissonance (“Past & Future Ruins”) to glistening reverb soaked heights (“Magnets Caught In The Metal Heart”).  Through it all, Geoff Rickley’s dream-like explorations of intimacy and devotion ties it together, throwing his personal struggles against this musical maelstrom.  While his prose is more abstract than past Thursday offerings, Rickley explores the tightrope we all walk in search of authenticity, acceptance, and ultimately, love.  This conceptually coalesces in the swirling, white noise dénouement of “Stay True” where Rickely ultimately reveals that devotion is only real if we ourselves remain true about our desires and dreams.  Discovering this sort of truth has lead the group calling it quits after 14 years, but even still, it’s breathtaking to see a band follow their instincts, conviction, and hearts to create a modern masterpiece.  If this is the last time we hear Thursday, at least we’ll know they went out following their vision with an incredible swan song in No Devolución.  Key Cuts: No Answers, A Darker Forest, Past & Future Ruins

Best Debut: Yuck by Yuck (****½)
Someday, the 90s will be remembered liked the 60s: As a hot bed of musical creativity both in sound and aesthetic.  Until then, however, we’ll have to settle for a handful of groups that understand that while the critics and the mainstream calls it “retro.”  Yuck is one such band invested the sonic freedom that the 90s fostered (even if it’s 2011), and they used their exciting blend of Archers Of Loaf fuzz-pop and Smashing Pumpkins style emoting to create the year’s most exciting debut.   The group’s self-titled album starts with the reckless crunch and wail of “Get Away,” while “Shook Down” incorporates pillowy vocals and drifting acoustics before the feedback-wrapped solo knocks it into the stratosphere.  Yuck doesn’t stop there; “Suicide Policeman” falls somewhere in between the quaintness of The Kinks or The Beatles if Butch Vig got them signed to Sub Pop.  But by and large, the album’s real standout is the slow-motion ballad “Stutter,” where Daniel Blumberg’s dreamy vocals make time stop over trailing guitar lines and heartbeat bass work.  Part of the charm of these old 90s groups was their knack for finding a way to make the most intimate moments seem like lifetimes, and whether you listen to Yuck with nostalgia or critical curiosity they’ve certainly accomplished that here.  Key Cuts: Shook Down, Suicide Policeman, Stutter

Best Rock Release: Belong by The Pains Of Being Pure At Heart (****½)
How do you make your charming indie debut seem like a demo tape cut in your Mom’s basement?  You write a blissfully transcendent record while hiring Flood and Alan Moulder to add some much needed punch to the mix.  For The Pains Of Being Pure At Heart this resulted in Belong, a 10-track journey through shoegaze, twee pop and everything else in between.  The album’s title song starts things off with a blitzkrieg of space-like riffs that would make Billy Corgan blush, while the 80s-inspired synthesizers on “Heart In Your Heartbreak” display the group’s ability to balance texture with swirling, kaleidoscopic guitars.  Aside from its obvious genre cues though, the thing that makes Belong sparkle is its intimacy, both in sound and in subject matter.  Kip Berman spends a lot of time using his soft, androgynous voice to explore the moments where relationships fall apart or when the realities of impermanence catch up to us.  On the hazy, haunting power-pop thump of “Even In Dreams,” Berman examines the ideal of boundless loyalty, existing in a place we could only imagine.  Like the best rock albums, Belong catapults listeners into a place where mood becomes paramount to rationality, giving us impressions of feelings all too familiar, yet larger than who we are.  At the end of the day, this accounts for very little growing pains for The Pains Of Being Pure At Heart, as they've created a record that displays natural maturity while keying in on the hurt that happens when we all grow up.  Key Cuts: Belong, Heart In Your Heartbreak, Even In Dreams

Best Punk/Post-Hardcore Release: Parting The Sea Between The Brightness & Me by Touché Amoré (*****)
Urgency has always been the hallmark of great punk rock.  Today, this is doubly true to separate the spectacular from the mundane; groups are playing louder, vocalists are harsher, and with the democratization of recording technology everyone can have an “authentic” sounding record. Yet listening to Touché Amoré’s sophomore album, you get the sense that urgency may still be alive and well, even if it’s simply relegated to the underground.  Clocking in at around 20 minutes, Parting The Sea Between Brightness & Me is the most important punk record this year.  Clayton Stevens and Nick Steinhardt smash each other’s guitars together like crashing waves, while Tyler Kirby’s sliding bass hits like a low-end battering ram.  “The Great Repetition” is a driving, sonic tailspin of claustrophobia, while “Art Official” benefits from slam-and-release style distortion.  Though things slow down on the funeral-style piano ballad “Condolences,” don’t think it’s the token sensitive track on the record.  Everything on Parting… has been constructed to be immediate and raw; the group recorded this album live in the studio, drummer Elliot Babin’s brash beats stop/start on a dime, and NONE of the tracks clock in over 2:21.  In short, Touché Amoré aren’t interested in distractions, they're interested in what’s real, both lyrically and in execution.  On “~,” Jeremey Bolm’s sandpaper shouts layout the group’s musical manifesto, set against adrenaline rush riffs and shimmering vistas, “If actions speak louder than words/I'm the most deafening noise you've heard…”  Key Cuts: ~, The Great Repetition, Art Official

Best Metal Release: Time Is Up by Havok (****½)
Contrary to what every 13-year old with an Internet connection believes, metal music doesn’t succeed solely on how fast or how LOUD the musicians might be.  A great metal record creates mood, a level of energy that gets your blood pumping and head banging.  Here’s where Havok comes in, because with Time Is Up, they’ve fashioned an exciting metal record that focuses on something crucial: Atmosphere.  Of course the riffs here are mean fighter pilots of palm-muted crunch, especially like on the blistering opening of “Prepare For Attack,” but amidst the plethora of laser dive bombs and pick slides they’re able to establish some infectious grooves that add heaviness without blowing out your ear canal.  The entire disc falls firmly in between the Metallica/Megadeth school of 80s thrash, but Havok isn’t afraid to shift time signatures with purpose, which ultimately avoids the current ADD-style riffing that needlessly complicates modern metal.  “Killing Tendencies” begins with a fat, low-end march, before exploding into a frenzied onslaught, while “D.O.A.” sports an honest to goodness spider-riff that would make Dave Mustaine tear up inside.  Though Jesse de los Santos’ vocal range may only cover a howl-to-shriek type of delivery, the thing that really gives Time Is Up its teeth and its staying power its sense of melody.  The solos here twist and flurry with the best axe men, but they suit the arrangements rather than being a flavorless grab bag of self-indulgence.  Indeed, Havok have delivered something special here, reminding us that sometimes composition and tension are just as important as rocking the hell out.  Key Cuts: Prepare For Attack, D.O.A., Killing Tendencies

Best Electronic Release: The Girl With The Dragon Tattoo OST by Trent Reznor & Atticus Ross (****½)
Let’s get the obvious out of the way: Trent Reznor and Atticus Ross’ kinetic, clamorous cover of “Immigrant Song (Feat Karen O.)” is as sexy and sleek as it is gothically inclined.  Moreover, the layered, slow-burn drift of “Is Your Love Strong Enough?” (Featuring How To Destroy Angels) provides another haunting bookend for The Girl With The Dragon Tattoo OST.  But where this three-disc collection of music really ascends is in Reznor and Ross’ continued drive to retain their signature voice while expanding their sonic palate.  Decidedly less glitchy than The Social Network OST, Girl… finds Reznor residing on the softer end of the spectrum, while creating menacing and tense soundscapes.  Synthesizers swirl and moan all over Girl…, casting shadows over these creeping, slinking arrangements.  Rumbling bass work often gives the sense of impending dread, while organic percussion is looped and warped to shimmer and hum, creating an ominous instrumental fog.  Additionally, white noise freak-outs are at a premium on Girl…, allowing Reznor and Ross to display their touch for the delicate without coming across as too ballady. On “What If We Could?” listeners are treated weighty piano while tense electronics create a wailing haze against twinkling xylophones.  While it probably adds another layer of weight to David Fincher’s new film, Reznor and Ross should be proud of what they’ve accomplished here, once again proving how innovative their creative chemistry is to electronic music.  Key Cuts: Immigrant Song (Feat. Karen O), What If We Could?, The Heretics

Best Produced Release: Codes & Keys by Death Cab For Cutie (****½)
The more Chris Walla takes up the producer credit on albums, the more impressive his ear and his skills behind the boards seem.  With Death Cab For Cutie’s latest offering, Walla helps Ben Gibbard and Co. blend soft keyboards and programmed drums with an organic, live-in-the-room sound.  Most of the time, Codes & Keys comes across like a vintage photograph, evoking vivid/arresting moods while seeming distanced from the harshness often displayed in modern production.  It's a special kind of feeling on Codes & Keys, soft but clear.  Though the album’s title track is a lumbering mix of stompy piano and soothing strings, cuts like the robotic hum of “Unobstructed Views,” or the buzzed out, zippy “Monday Morning” feel effortlessly spacious, and warmer than their keyboard-centric instrumentation would lead you to believe.  Gibbard’s surprisingly self-assured song craft is in fine form here, but Codes & Keys largely succeeds because of how in balance everyone’s instruments are.  Each player’s contributions are highlighted within Walla’s pristine mix, whether it’s Gibbard’s soaring guitar lines on “You Are A Tourist,” or Nick Harmer’s decisive bass work on the echo-soaked “Some Boys.”  Yet ultimately, Walla’s touch grants some crisp cohesion to an album that could have just as easily gone off the sonic railroad track.  Amidst soaring strings, snappy cymbal sequencing, and syrupy guitar lines, Walla allows all of his band mates to shine on Codes & Keys, a feat only a deft producer could display as effortless.  Key Cuts: Codes & Keys, You Are A Tourist, Monday Morning

Best Comeback Release: Neighborhoods by blink-182 (****½)
From plane crashes to Grammy announcements, the story of blink-182’s storied reunion has been plastered all over then Internet and then some.  The biggest question after the hatchets were all buried though, was could this trio recapture the promising potential they displayed on 2003’s (untitled)?  The short answer is Yes: Neighborhoods adds some beefed-up punk punch to the group’s continued preoccupation with 80s style synthesizers, trailing delay effects, and the tried and true dual vocals of Tom DeLonge and Mark Hoppus.  Look no further than the album’s opening number: “Ghost On The Dance Floor” features Travis Barker’s thunderous drumming, shining/technicolor snyths, twitchy guitar lines, and climbing bass work before it all explodes into a raucous, flange soaked bridge.  Though the group opted to self-produce given the passing of long-time “fourth member” Jerry Finn, they seem a lot more comfortable melding their divergent musical interests without an outside influence.  From the ascending, star-struck buzz of “Up All Night” to the downstroked frenzy of “Heart’s All Gone,” Neighborhoods might be the most diverse blink record yet, even if the production errs on the dry side.  Lyrically, Neighborhoods keys in on the decay of youth and old haunts, which seems apt given the trials and tragedy surrounding blink’s reunion.  Whether it’s the broken relationships immortalized on the high-hat heavy “After Midnight” or the twisting, Cure-flavored sexual tension of “Snake Charmer,” Neighborhoods finds blink-182 looking within while sticking to their adventurous sonic instincts.  Welcome back guys, it’s been a long 8 years.  Key Cuts: Ghost On The Dance Floor, Up All Night, Snake Charmer

Best E.P.: ††† by ††† (*****)
While the Deftones had a smash album last year, leave it to lead singer Chino Moreno to get antsy on the road.  Much like his 90s electronic side project Team Sleep, ††† (pronounced “Crosses”) has allowed Chino to scratch that creative itch while exploring yet another huge electronic trend: Witch House.  Yet unlike Salem, oOoOO, or any other variant of typographically challenged acts, ††† is a shining example if what the genre can yield rather than an exercise in tired beat making and pitch-distorted vocals.  Things get witchy pretty quickly on this E.P., whether it’s the snappy clatter and keyboard shower of “Op†ion” or the phantasmal shine of “†hholyghs†.”  While considerably lighter on gothic flourishes in relation to other witch house contemporaries, Moreno makes up for that with his often breathy, desperate, and hungry croon.  ††† as a whole does a great job of continuing to showcase how gifted a vocalist he is, especially on the midnight séance come-on of “Bermuda Locke†.”  But ultimately, what separates this fabulous E.P. from the deluge of lesser bands it’s grouped with is Moreno’s sense of grandeur.  With a little bit of financial means to back this vanity project, ††† never sounds like it was recorded on a janky four-track, and the large cathartic swells here seem bigger, brighter, and more powerful then one might expect from this genre.  On the closing, middle-eastern tinged “†,” Moreno’s project sounds simultaneously dream-like and cultish, the perfect musical storm for this supernatural take on electronic music.  Key Cuts: Op†ion, Bermuda Locke†, †

Most Ambitious: Bon Iver, Bon Iver by Bon Iver (***½)
Justin Vernon couldn’t go back to crafting ramshackle acoustic numbers after collaborating with everyone from Kanye West to Gayngs in 2010.  When you fly that close to the sun, the expectation is that you’ll shine brighter, and Vernon has done everything to make Bon Iver, Bon Iver into a vivid work of art.  If For Emma, Forever Ago was the sound of a man’s heartache secluded in a winter cabin, Bon Iver’s follow up is the thaw afterwards, with percussion that sounds like babbling brooks, keyboards that rise like the sun, and an infusion of horns and electric guitars to sculpt dreamy soundscapes.  Vernon takes sonic cues from icons like Peter Gabriel and Phil Collins, all in an effort to make his record feel like expansive place, almost like its Thomas Kinkade-style cover alludes to.  From the smoky guitar ring of “Perth” to the sighing keyboards on “Calgary,” Vernon marries slick instrumentation with soft atmospheres to give these songs a quiet sense of tranquility.  Arrangements weave and bend here, rather than rattle and creak, and the warmth suits Bon Iver even if it’s a bit distracting at first blush.  While this push towards a brighter, fuller sound can sometimes get him into trouble (The horn heaving “Beth/Rest” comes to mind) it’s commendable to see an artist, so lauded for his simplicity, stepping into something that requires a bit more meticulousness in terms of composition.  On “Holocene” Vernon’s whisper-honey voice chimes “And at once I knew, I was not magnificent…” over finger picked tension, but don’t buy it, it’s a sly misdirect.  Even with its imperfections, it’s hard to deny the pristine glimmer of Bon Iver, Bon Iver.  Key Cuts: Perth, Holocene, Calgary

Most Experimental: The King Of Limbs by Radiohead (*****)
Though it might not be entirely shocking that The King Of Limbs is unlike any other Radiohead album before it, it still stands to reason that Thom Yorke and the gang continue to twist our conception of music with every successful release they put out.  Not only that, but they make it seem effortless.  Borrowing everything from free-jazz to dubstep glitches, woodsy folk, and weightless space-rock, Radiohead’s latest release might be their most genre-bending batch yet.  Whether it’s the sultry clatter and groove of “Lotus Flower” or the misty, echo-soaked acoustics of “Give Up The Ghost,” Radiohead seem more insistent to challenge their listeners (and themselves) more than ever before.  Yet despite the increased level of programmed drums and laptop buzz, there’s something about The King Of Limbs that feels organic and secluded, a hidden sort of beauty that only reveals itself after repeated listens to these sometimes fractured songs.  “Bloom” unfolds with swelling horns, thick beats, and Charles Minus swagger, while the piano dirge and sole French Horn call of “Codex” is blissfully mesmerizing.  Though if there’s one constant in the land of Radiohead, it’s Yorke’s continually ethereal voice, balancing a wistful tenor with a darkly sexy coo.  He shifts from confrontational (“Morning Mr. Magpie”) to immersive (“Separator”) with a master’s touch, often contributing the most arresting moments on the LP.  While it may only be 8 songs long, The King Of Limbs is a confident display of restraint and experimentation, a labor of love from the most forward thinking group in modern music today.  Key Cuts: Lotus Flower, Codex, Separator

Most Eclectic: Hot Sauce Committee Part Two by The Beastie Boys (*****)
One of the most exciting aspects of hip-hop has always been the cut-and-paste hodgepodge of sounds that producers and DJs string together for MCs.  There’s a beautiful sense of diversity/ingenuity that comes from mining those found sounds, proliferating the craft of turn tabling as well as allowing the music itself to be aesthetically accessible to just about anyone.  Championing this in the 80s (and making a nearly 3 decade career out of it), The Beastie Boys reminded us in 2011 just how much fun that kind of music making could be with Hot Sauce Committee Part Two.  There’s thick, overblown bass, chunky reggae rhythms, spaztic jazz passages, punk rock whirlwinds, and a song called “Funky Donkey” for goodness sakes.  While the deceptively youthful Mike D., AD Rock, and MCA keep their dynamic tag team rhymes intact, it’s the instrumentation that takes precedent on Hot Sauce...  From the metallic clang and slide of “Nonstop Disco Powerpack” to the mammoth-sized beats and synthesizer pulse of “Long Burn The Fire,” the Beasties work like musical mad-scientists.  No sound is too strange, no instrument or aesthetic too far-out to pair with their absurdist bravado.  “Lee Majors Come” again features rhymes about the 6 Million-Dollar Man, set against dirty bass work and twitchy record scratches, while the speaker blasting fuzz of “Too Many Rappers (New Reactionaries Version)” feels gargantuan.  There are guest spots of course; everyone from Santigold to Nas, but the real feat here is how the Beasties still make their “everything-and-the-kitchen-sink” approach to hip-hop work, especially after 30+ years in the business.  With cuts this good, we can only imagine what Part One might be like.  Key Cuts: Nonstop Disco Powerpack, Long Burn The Fire, Lee Majors Come Again

Most Crapped On: Lulu by Lou Reed & Metallica (***)
For reasons other than the hype and pretension surrounding its overblown release, Lulu is an easy record to hate.  It’s needlessly long, dangerously monotonous, and to top it off, Lou Reed sounds like a homeless Allen Ginsberg at the depths of a heroine binge.  HOWEVER, if you can forgive all of the above (Which believe me, is a TALL order), you may actually find something to appreciate on this two-disc monster.  This is mostly because in the midst of Reed’s self-indulgent homage to a set of German plays exploring sexuality and violence, Metallica actually strings together some interesting arrangements, even exploring texture and mood in addition to their usual savage thrash metal.  While “The View” has been ridiculed for James Hetfield’s rough proclamation of being a table, the song’s main riff is doom-inspiring and Sabbath-esque, before crumbling into a chugging bridge and Kirk Hammett’s splattering lead work.  It doesn’t stop there: “Pumping Blood” alternates from clean passages to “Leper Messiah” style crunch, while “Mistress Dread” cuts faster than some of the group’s work on Kill ‘Em All, possibly for twice the length.  Elsewhere, the menacing heave and plod of “Iced Honey” recalls RELoad’s biker metal cool, proving that with all the problems surrounding Lulu’s execution and conception, Metallica aren’t an overwhelming part of that.  Still, it’s sort of a shame to feel like this star-studded album is simply a rough draft, especially when Reed’s dried-up croak makes an interesting collaboration into painfully average one.  Key Cuts: Pumping Blood, Mistress Dread, Iced Honey

Biggest Surprise(s): Camp by Childish Gambino (****)/No Kings by Doomtree (****½)
I had to pair these next two records together because I think with their DIY aesthetic and hunger they BOTH hit me in the exact same way.  Additionally, they’re both from underground artists that have been honing their craft for a while now; ones who are just now starting to see their discipline pay off.  With Camp, Donald Glover (a.k.a. Childish Gambino) has put his pop-culture machine gun of a mouth to good use, spinning tales of his awkward upbringing, while undermining the hyper masculine bravado still prevalent in hip-hop.  Over an expansive mix of genres, Glover hits on just about area sonic area imaginable, whether it’s 90s R&B glide of “Fire Fly” or the slash and burn fuzz of “Bonfire.”  The real gem, however, is “Backpackers,” where Glover’s Hans Zimmer-meets-Kanye West clatter provides the backbone for him to call out his contemporaries with masterful precision.  Given his tenure in the television world (30 Rock, Community), Glover has a comedian’s sense of timing that truly elevates his delivery on Camp, displaying a sense of timing that other rappers would cut their arms off for.  Elsewhere, No Kings by Doomtree takes a slightly different approach: While this Minneapolis rap collective has spawned some great individual artists (P.O.S, Dessa) No Kings is the first time the group exudes confidence, both in their music and in their message.  Whether it’s the barracuda bass line of “No Way” or the aching blues shuffle of “Little Mercy,” Doomtree are able to marry the punk spirit of rebellion with the gritty realism found in hip-hop.  The music here goes for the jugular: “Bangarang” features a shower of dizzying synthesizers, while cuts like “Bolt Cutter” and “Gimme The Go” relish in chip tune dissonance and expressive electronics.  Yet what sets No Kings apart is the fact that it’s a call to arms; addressing everything from the Occupy movement to racial inequity and social justice, No Kings is the kind of record that pushes people to see how the sausage is made, and whether or not it’s worth the price.  That said, the only question left to answer is with hip-hop records like Camp and No Kings, who needs Drake?  Key Cuts from Camp: Fire Fly, Bonfire, Backpackers / Key Cuts from No Kings: No Way, Bangarang, Little Mercy

Biggest Letdown: Major/Minor by Thrice (**½)
Though the bar may have been set to astronomical heights following Thrice’s sonically adventurous The Alchemy Index and the crystalline slow-burn of Beggars, it’s hard not to be disappointed with Major/Minor simply on a basic level of composition.  This may be the most vanilla sounding album of 2011, from Dave Schiffman’s “11-hues-of-flat” mix to Teppei Teranishi and Dustin Kensrue’s disappointingly cumbersome riffs.  Riley Breckenridge’s drum kit sounds muddled and muted throughout the entire record, and his brother’s bass simply disappears at times.  Nothing leaps out of your speakers, nothing makes listeners appear that things could go off the rails at any moment, and the result is a listening experience that never really takes off.  Part of the problem may be the group’s lack of initiative to explore new sonic territory.  Thrice went back to that stripped down, live-in-room setting they explored on Beggars, but with about half as many quality riffs.  Though the group occasionally finds a grinding groove (“Yellow Belly”) or a glimmer of grandeur (“Anthology”), it all seems too careful and calculated to really resonate in a meaningful fashion.  While Kensrue’s strained and cracked vocals add insult to injury, Major/Minor ultimately suffers from lack of purpose.  The album is a re-tread of ideas that Thrice have performed better on previous offerings: Nothing here is heavy enough to grab our attention, or surprising enough to defy our expectations.  Perhaps the group’s self-imposed hiatus will allow them to think about where to go next, rather than offer us another record like Major/Minor.  Key Cuts: Yellow Belly, Call It In The Air, Anthology

Biggest Blog Buzz: Torches by Foster The People (****)
From Pitchfork to NPR, you couldn’t adequately cover music in 2011 if you ignored Foster The People’s lively debut.  Propelled by the nimble bass bump and twitchy electronics of “Pumped Up Kicks,” Foster The People’s MGMT Jr. charm either won you over or stood as the commercial thorn in your side.  Place this blog and this reviewer in the former: Torches won me over not because of its sonic similarity to a lot of other electronic indie-pop acts, but by how it was able to sound pristine and immersive while still demanding your attention.  “Helena Beat” buzzes and slides with skittering keyboard chatter while the chiming “Waste” just might be the brightest sounding ballad this year.  Though the group’s ability to craft a radio-friendly hook is well established on Torches, the sweeter part of the record is how the group is able to maintain a great sense of space and balance throughout the disc’s running time.  Most pop production smashes instruments into an unidentifiable soup of sounds, but Foster The People put in just enough ear candy (a synth line here, a looped sample there) to keep things lively while allowing each instrument to occupy its own space.  Whether it’s the two-step arcade push of “Houdini” or the drifting fog of “Miss You,” Torches was the ready-to-listen-to record no one could ignore in 2011, and it’s no wonder why the radio and blogs kept buzzing about it.  Key Cuts: Helena Beat, Pumped Up Kicks, Waste

The Record That Should Have Caught On: Elsie by The Horrible Crowes (****½)
If The Gaslight Anthem’s last album (and Bruce Springsteen elbow rubbing) made them a household name, one can only hope that Brian Fallon’s ever growing notoriety cultivates some love for his low-key side project, The Horrible Crowes.  Drawing on jazz bar angst and smoky blues grit, Elsie might be the best record you haven’t heard this year.  From the thunder and sparkle of “Sugar” to the pub-crawl slur of “Ladykiller,” Fallon and co-partner Ian Perkins weave tales about fractured love in an all-or-nothing kind of world.  While the aesthetics may not be innovative or earth shattering, the songs feel fresh and new, almost cinematic without an overabundance of fancy instruments.  “I Witnessed A Crime” benefits from weeping guitars and Fallon’s weary croak, while the finger picked “Cherry Blossoms” is as aching as the disintegrating relationship it chronicles.  Spacious and rich, Elsie is nighttime music, the kind of record that’s as confessional as it is majestic.  On the chilly hymnal closer “I Believe Jesus Brought Us Together,” Fallon explores the cold burn of emotional distance with lines like, “Do you wanna come over?/I was just about to miss you/Did you say you were lonely?/I was just about to call you…”  Though there might have been more upbeat and effervescent albums this year, the songs on Elsie demand your attention.  Fallon taps into something primal here, exploring all the worries, scars, and ghosts that creep into our heads before we hit the pillow.  If you’re looking for a new record to speak to you in that starry-eyed sort of fashion, pick up The Horrible Crowes pronto.  Key Cuts: Sugar, I Witnessed A Crime, Cherry Blossoms

Worst Release of 2011: Angles by The Strokes (*½)
If I wanted to listen to an emotionless Flock Of Seagulls tribute band, I’d hit up Google.  Were Julian Casablancas to get over himself in the slightest I might consider cutting The Strokes some slack, but this is lazy music making.  For every dual guitar thrash-out that you hope will lead to something interesting, that hope is dashed away by a nasally croon that sounds like it'd rather be anywhere else than in the recording booth.  No thanks.  Key Cuts: Machu Picchu, Two Kinds Of Happiness, Games

WILDCARD: Strange Mercy by St. Vincent (****½)
As with my past WILDCARD picks, this is always a space for me to highlight a noteworthy album that I can’t seem to highlight in anywhere else.  There’s a certain amount of irony attached to my pick this year, mainly because the music present on St. Vincent’s Strange Mercy defies any sort of traditional categorization in its own right.  A cross between a swelling Disney soundtrack and a drugged-out, electronically bent nightmare, Strange Mercy finds multi-instrumentalist Annie Clark at her most musically adventurous.  Whether it’s the quirky zips and dives during the pulsing thump of “Cruel” or the twisted, gauzy climb of “Cheerleader,” Clark has finally settled into a sound that’s as threatening as it is elegant.  Though her voice may seem sculpted by angels, Clark spends the majority of the disc lamenting on how absolute faith and devotion can destroy absolutely everything, pairing it with her icy musical touch.  Indeed, love is a dangerous proposition in Clark’s world as she coos to be cut open on the blanket soft “Surgeon,” or rants about its production and sale on the frosty drift of “Champagne Year.”  For Clark, intimacy can be as much of a suffocating monster as loneliness can, and the twisted robotic crunch she brings to her soaring sweetness sonically mirrors this lyrical dichotomy.  In the end Strange Mercy, much like love, finds its beauty resting in the womb of contradiction, a delicate tightrope of pain and passion, light and dark, feeling and numbness, a set of contradictions that Clark is able to craft within her uniquely compelling musical perspective.  Key Cuts: Cruel, Cheerleader, Champagne Year

So there you have it, the records that left a sizable impression on me this past year.  What were your favorites of 2011?  Your most hated/loved?  Underrated?  Leave a comment below and share what records from 2011 stuck with YOU.

First Half Surprises/Second Half Hopefuls (2011)

Revisiting the spirit of our Most Anticipated List back in January, Matt and I decided to have a look back at the year it’s been for music as well as what’s to look forward to for the rest of 2011.

First Half Surprises

Matt:
In our Most Anticipated Post that we did in January, Mike and I had five bands each that we spotlighted as usboth looking forward to. Of those five, three artists have already released new material. Two of them I am putting in a tentative top five of the year: Manchester Orchestra’s Simple Math and Death Cab for Cutie’s Codes & Keys. Both showed the growth of their respective band’s discography as each are at new points in their career. Simple Math takes a few listens to really sink in, but when it does it grabs a hold and doesn’t let go. And while DCFC’s Plans is one of my favorite albums of all time, Narrow Stairs just didn’t grab me in that same way. But the soft tones and simple yet sophisticated lyrics of Codes & Keys have made it one of my most played albums of the year.

The third one in the above of category was the self-titled release from Taking Back Sunday. Admittedly, these guys are one of my top two favorite artists so any music from them I am going to like. And I gravitated toward this release instantly, but noticed something when I finally took it out of my car - I never put it back in. Don’t get me wrong, if I hit play I still enjoy most of the tracks, but it’s missing that “I have to listen to this all the time” element. Two other bands that sort of had the same “We’ve been gone for a while/had lineup changes” sort of story was Panic! At The Disco and Yellowcard. Both came out with albums in the spring and both did their job. They weren’t great – but they were satisfying and showed that both may be back on track.

As stated earlier, with all the attention on the heavy hitters returning this year (Foo Fighters, Radiohead - both with good releases in their own rights) there was room for some newcomers to step up and provide a spark. In my opinion, Foster the People answered that call. When they debuted with “Pumped Up Kicks,” the band hadn’t even recorded other tracks for an album. But when Torches was released, there were more than just “those guys that kind of sound like MGMT.” Foster the People could end up being the best new artist of the year. Other surprises for me this year included how much I liked the Sublime With Rome album and gravitating to Sum 41’s Screaming Bloody Murder after hearing “Jessica Kill.”

Honorable Mentions: The Childish Gambino E.P. from “Community” star Donald Glover; Suburbia I’ve Given You All & Now I’m Nothing from The Wonder Years (thanks Liz); the overall album quality of Bayside’s Killing Time and some new artists (for me) I’m still getting into including Givers, Company Of Thieves and Cults. Oh yeah, I don’t think Adele’s 21 is the greatest album of the year, but singing along to “Rolling in the Deep” might be one of the funnest things to do.

Mike:
Records that surprise you have a way of sticking around. It’s not necessarily that they’re undiscovered gems, it’s more that they call your musical taste into question. Those albums force you to evaluate the way you explore new music, leading to some fascinating results. 2011 has been full of those types of releases and they’ve kept the year interesting amidst hyped LPs and critical darlings. Alkaline Trio’s Damnesia (4/5) is one such record that comes to mind; the Trio compile some of their most well known hits in a semi-unplugged format. It works because this stripped down approach displays just how tight Matt Skiba and Dan Adriano’s songwriting is, while their warm acoustic jangle grants these tracks a sing-a-long buoyancy that’ll please old and new fans alike. Speaking of older groups, it’s hard to argue that The Beastie Boys’ Hot Sauce Committee Part Two (5/5) is anything less than extraordinary. While they’re pushing 40, the Beasties came back with their fuzziest, synthi-est, and most urgent sounding album in years. Mike D, Ad Rock and MCA are still class clowns, but their musical elasticity is undeniably flawless.

Older bands aside, however, the one release that’s really made a lot of waves this past year is Foster The People’s Torches (3/5), a record I originally wrote off completely. Falling in-between classic MGMT and skittery 90’s dance, Torches has to grow on you despite its radio-ready aspirations. “Pumped Up Kicks” has been puffed up to death, but the real stars are songs like “Helena Beat” with its zippy, synth pop pulse and trapdoor drums. If Foster The People figures out how to add some substance behind their pristine sound, they might be in for a great career. Of course, keeping that fire alive is tough to do, something Incubus learned the hard way on If Not Now, When? (2.5/5). Resting within the calmer, keyboard/acoustic driven portion of the group’s sound, If Not Now… comes across as sedate rather than exploratory. While there are some breathtaking moments (The album’s blooming opener, the finger picked harmonics of “Tomorrow’s Food”) they sparkle briefly on a record that’s far too subdued.

Yet when it all comes down to it, the biggest surprise

for me this year was Yuck’s 90’s flavored self-titled record (4/5), an album that revels in masterful construction and rich sentimentality. Yuck runs the gambit of crunchy and crashy to calm and collected, never feeling overmatched with either. The album’s crown jewel is the drifting, open-picked “Stutter,” a sweet love song that examines why we fall in love and the comfort that comes with it. And much like Yuck’s composition, that’s the reason music fans love to be surprised, for such surprises put our musical adventures into a comforting perspective.

Second Half Hopefuls

Matt:

Going back to the five artists Mike and I collaboratively highlighted, there were two that have yet to show up, though blink-182 did announce a release date (Sep 27) for Neighborhoods and also debuted a new single, “Up All Night.” It’s nice to have something to look forward to - unlike Dr. Dre, the last artist in our collaborative five. It hasn’t just been pushed back for months, it’s been pushed back for years but for some reason 2011 looked to have been the magical year. Still it seems not to be and I have to be honest - the longer it takes for Detox the less interest I have in hearing it.

Another band toying with my emotions is Coldplay. They released a three-pack of singles (my favorite being “Major Minus”) but have still not given a release date to when we can expect the fifth album. But at least we know we are getting it sometime, unlike No Doubt whose new album may not arrive until 2012, which may be good due to the fact that this year has been so packed.

Here is what I’m still looking forward to:

Jay Z/Kanye West (a.k.a. The Throne)- Watch The Throne (Aug 9): This dynamic duo has released “H.A.M.” and “Otis” to mixed reviews for both. Doesn’t do anything to lessen the hype for what should be one of the greatest hip-hop albums of the year.

The Red Hot Chili Peppers- I’m With You (Aug 26): “The Adventures Of Rain Dance Maggie” is honestly a better single than I was anticipating and sheds all doubt about these guys still being able to get it done.

Sleeper Agent- Celebrasion (Sep 27): I’m a huge fan of their song “Get it Daddy” and am really looking forward to what this band can do with a whole album. Kind of hoping they turn into the second half’s Foster The People.

Jack’s Mannequin- People & Things (Oct 4): I have to be honest, I didn’t really care for “My Racing Thoughts” the first time I heard it, but it grew on me like I knew it would. Regardless of how good a single is, a new album from Andrew McMahon is always something to look forward to.

Honorable Mention:
Patrick Stump - Soul Punk (Oct 18)
Gym Class Heroes - Papercut Chronicles Part 2 (Fall/Winter)
Lil Wayne - The Carter IV (TBD)

Mike:

Though Matt and I outlined what we were anticipating earlier in the year, there are some releases I’d like to continue to highlight as well as some additional heavy hitters due up in the next 5 months:

blink-182- Neighborhoods (Sep 27): If lead single “Up All Night” is any indication of what to expect from Neighborhoods, then we should expect some great things. It includes everything we love about Tom, Mark, and Travis: Anthemic dual vocals, grinding riffs, and relentless drumming. 6 plus years seems like it was worth the wait. More please.

Jay-Z/Kanye West (a.k.a. The Throne)- Watch The Throne (Aug 9): Lead single “Otis” is oh-so-soulful, complete with a stutter-stop Otis Redding sample alongside Jay-Z and Kanye’s contagious chemistry. While it’s miles apart from the pseudo shock-rap of “H.A.M.” Watch The Throne seems to be aiming for high heights, which is all anyone would expect from Jay and Ye.

Saves The Day- Daybreak (Sept 13): It’s been 4 years since Chris Conley has given us anything new to sink our ear into. Thankfully, that dry spell comes to an end with Daybreak. Backed by an entirely new band, Conley is looking to conclude the trilogy he began in 2006 with songs like the power-pop punch of “1984” and the album’s multi-suite title track. Conley’s ambition seems big, let’s see if he executes.

Sainthood Reps- Monoculture (Aug 9): Derrick Sherman might be the touring guitarist for Brand New, but he’s got something to say, and he’ll say it alongside his band mates in Sainthood Reps. The album’s title track is a heaving, menacing love child between In Utero-era Nirvana and Alice In Chains. With minimal hype and solid singles, Monoculture might just be this year’s sleeper hit.

St. Vincent- Strange Mercy (Sept 13): Annie Clark’s music always strikes an interesting chord. One part Walt Disney grandeur, two parts morbid dread, St. Vincent’s sound is predicated on this fragile dichotomy. Strange Mercy is shaping up well though; the lead single “Surgeon” teases fans with Clark’s signature slinky voice, wrapped in hypnotic beats and swirling keyboards. Annie, have mercy and drop the darn thing already.

Honorable Mention:
The Horrible Crows- Elsie (Sept 6)
Jack’s Mannequin- People & Things (Oct 4)
Thrice- Major/Minor (Sept 19)

So what are YOUR past/future favorites of 2011? Let us know in the replies!

Guest Post @ "A Rush Of Blog To The Head"

A few weeks ago, my very good friend Matt over at A Rush Of Blog To The Head asked if I'd be interested in contributing to a long standing segment on his blog. I don't guest blog often, save for the occasional blog swap, but I was immediately flattered that Matt thought enough of my writing to feature it. Simply put, it didn't take me long to say Yes, especially considering it's been one of my favorite segments to read for a good long while now.

Oh, and did I mention it's musically slanted?

Since January, Matt has been recounting down his top 50 albums one Sunday at a time, as part of his weekly (50) Sundays Of Music series. Part of the fun stems from Matt's eclectic taste, but the real draw comes from him sharing his attachments to these albums. Ultimately, Matt's segment gives his readers a deeper understanding into the albums that speak to him, while making us evaluate our own feelings and musical attachments in the process. It's brilliance is in it's simplicity.

I've posted my submission below, simply because I feel it's one of my more contemplative pieces, but I strongly urge you to check out Matt's blog, as well as the rest of his (50) Sundays Of Music segment. Remember, there's only 23 left!

(50) Sundays Of Music #24: Howl by Black Rebel Motorcycle Club

When Matt so graciously asked me to contribute this piece for his "(50) Sundays Of Music" series, I was immediately thrilled. I'd been following Matt's blog for a while, and I love the reflective nature and intimacy he brings to music discussions, something I've always attempted with my own writing. And after thinking about what a privilege it is to write something like this, I decided to comment about a record that has, only recently, made an impact on my life, rather than simply being one of my favorites.

Back in 2005, the Black Rebel Motorcycle Club (BRMC) released an incredibly polarizing record that split their fan base down the middle. It was called Howl, an homage to the poem by Allen Ginsberg as well as a thematic summation of what was inside its jewel case. I suppose if you'd been a fan of the group's blues-by-way-of-shoegaze cool, the record would have been incredibly off putting due to its acoustic character. There are no flashy guitar solos and no messy bridges on Howl. The record doesn't contain BRMC's signature drone, and it doesn't require amps that go to 11. Instead, it shuffles along, finding its pace in shimmering reflections and slow burning theatrics.

Yet the album is far from a collection of stripped down, "Unplugged" style b-sides.

The songs on Howl have an incredible weight to them, and that's the first thing I noticed when I spun the album. Like I said earlier, it's not so much a collection of stripped down songs, but an exploration of older, more organic ways to create music. These tracks are held together by the jangle of acoustic blues and folk, but they're fleshed out with weeping electric guitar, lumbering piano, and solemn strings. It's almost as if tinkering with these old (By 2010 standards) sounds puts an emphasis on how universal BRMC's lyrics are, a sense that no matter how far you travel, you'll always arrive somewhere familiar. So suffice to say, BRMC's lush harmonies and high production values make it a work to take seriously, an album that is more than just an acoustic novelty.

When I put it on, that's the quality that shines through the most: Authenticity.

There's an honesty through which these songs were assembled, and an earnestness to the truths they examine. Lyrically, Howl isn't so much a protest record as it is a lamentation on the choices men make. Throughout the album's 13 tracks, both Robert Been and Peter Hayes look at human morality as determined by pain and struggle. They don't necessarily come to a finite conclusion, but their journey has captivating highs and lows. Whether it's in exploring the anguish of change on "Promise" ("All lines are broken/And we need you to hold on/Your eyes have opened/But you've got to go on/I'll comfort you, I'll stay with you/It's a promise not forgotten") or the world-weary connectedness of "Shuffle Your Feet" ("Tiiiiiiiiime/Won't save our souls") BRMC's refreshingly grand scope makes Howl a deceptively thoughtful record through modest means.

Yet as true as these qualities are for me, as well as other fans of Howl, I suppose it doesn't say an awful lot about why this album is important to me.

To that, I have to simply reply that it's an album that perfectly parallels my present outlook on life. Suddenly, almost overnight, my world got bigger and my fears scarier in this post-college world. I often joke about how I feel middle aged at 22, but I'm beginning to feel a disconnect from young people that are hedonistic, and I yearn to connect with others that are searching like I am. You won't find any songs on Howl about romantic relationships, or nights out with your friends, and while those are all important aspects of life, Howl touches on the soul, spirituality, and the stuff that men are made of. At a time in my life where I'm confused about the future, it's comforting to have a piece of music that so eloquently asks the same questions I'm asking.

There's a vulnerability on Howl that really rings true for me, a quality absent from the vast majority of music today. Maybe it has to do with the way Been's naked voice sounds over plucked strings, or maybe it's because I've developed a voracious appetite for the blues. I suppose it might have to do with the idea of life as one loud cry for something intangible. Maybe everyone is howling for understanding, and confusion runs rampant because we can't hear each other over the noise.

Honestly, I'm not 100% sure.

Whatever it is, I find Howl instantly relatable and endlessly applicable, the sign of any timeless record. Perhaps if you take it for a spin, you'll feel that way too.

Mike & Liz's Monday Mixes: Volume One

In an effort to spice up my entries, I've decided to introduce a new segment on This Song Starts A Craze..., one that's as collaborative as it is fun. My friend Liz over at Dance To The Radio has a segment she likes to call Mixtape Mondays which got me thinking about how I haven't posted mixes in a LONG time on this blog. After talking it over with her, we decided the only thing we could do was combine our effort for the greater musical good, and thus "Mike & Liz's Monday Mixes" was born on This Song Starts A Craze... Not only does this give me a chance to flex my inner Rob Fleming, but you guys get the chance to experience Liz's excellent musical taste as well. Expect more volumes in the future.

I & Love & You- The Avett Brothers

Be Calm- fun.

Boxer- The Gaslight Anthem

Neutron Star Collision (Love Is Forever)- Muse

Shuffle Your Feet- Black Rebel Motorcycle Club

On The Radio- Regina Spektor

Sugar Booger- Weezer

I Cut Like A Buffalo- The Dead Weather

Carcinogen Crush- A.F.I.

Just Apathy- Tally Hall

My Girl (Fiction Version)- the pillows

Winter Passing- Taking Back Sunday

Stealing The Moonlight- Gold Motel

Friends Of P.- The Rentals

Home- She & Him

I Never- Rilo Kiley

Catch & Release- Silversun Pickups

Mourning Air- Portishead

Upward Over The Mountain- Iron & Wine

The Only Living Boy In New York - Simon & Garfunkel

Midnight Coward- Stars

Loser- Beck

No One's Better Sake- Little Joy

Hang On- Dr. Dog

Tin Pan Alley- Brian Fallon

Country Frown- Jim Hanft

City Girl- Tegan & Sara

Rave On- M.Ward

Go Do- Jónsi

All The Miles- Amy Millan

Lover, You Should Have Come Over- Jeff Buckley

Some Tragedy- The Good Life

Daniel Johnston- Jonah Delso

Stop Breathin'- Pavement

Fences- Phoenix

Flying At Tree Level (Version 1.0)- Brand New

The Start Of Something- Voxtrot

Here's Looking At You, Kid- The Gaslight Anthem

20 Something Bloggers Blog Swap: "Candid Codas"

Blogger's note: This entry's been authored by Jennifer over at These Words on my Lips... She's a talented writer and a wonderful lady for putting up with my work schedule, as well as 20SB not being very good at organizing these blog swaps. I could have sworn they send you email reminders.... ANYWAY, do me the favor and check out her wonderful space on the Internet because it's a really cool thing. I'd consider it a personal favor if you did. Oh, and the guy below is Will Swan. His inclusion makes sense after you read the post. For what it's worth, I had no idea who he was before today.

I'm Jennifer from These Words on my Lips... and I really know nothing about music. Okay, I kinda felt like I was in an AA meeting right there. Let's start over.

I'm Jennifer, you can call me Jenn. Yes, with two N's. So I'm a diva about it, so what? As you can see, I'm not very good with first impressions.

The topic for this blog swap is supposed to be about the best things about being a blogger. Well my favorite thing about being a blogger is talking about whatever I want. So I'm kinda gonna toss the "suggested topic" out the window. Yeah, I'm a rebel too. What of it?

So here I am, a GIRL who knows little to nothing about music guest posting on a BOY's blog who writes specifically about music. And yeah, this guy knows his stuff. Or at least he's convinced me, the girl who knows nothing. [Wow, never thought I'd say THAT about myself.] I do monthly music posts, but they are basically just what I've been listening to each month. No review or opinion whatsoever. Hey, It's kinda like a Get Out Of Jail Free Card at the end of each month. I don't have to think up another long winded post! I like everything from pop-punk to country, as long as it's not Kanye. And you're gonna hate me for this, but I don't change the station when Ke$ha starts singing. Shut up, you know you don't either.

So, as you can see, I'm not really capable of keeping up with the standard set around here, so I'm not even going to try. I can say that I just recently broke up with a guy, we'll call him Tim [because that's his name, duh], who was VERY into music. He pretty much lived for it. In high school, he was a "Scene Kid" with his greasy, black side-swept bang and his girl jeans. He skated and listened to god only knows what emo/screamo music day in and day out. And no, I was not attracted to that. I actually shunned him MANY times. Then I guess at some point he grew up and cut off the bangs. Now he only wishes he were that cool.

You see, while Mike here knows his stuff, Tim talks about music as if it's a competition and can rarely back himself up. I'll explain. This guy name drops like it's nobody's business. We would get in his car and I'd be annoyed by the music playing but trying to tune it out all the same when he pipes in with, "Man, isn't [insert random unknown lead guitarist in random unknown band here] SO amazing on this track?" And I'm all, "Yeah, sure. Um, who is he?" And he just gives me this astonished look like, HOW CAN YOU NOT KNOW? and then I somehow manage to feel ridiculous because I don't know who Will Swan is. [And yes, I just looked him up because the only other person I could think of off the top of my head is Pete Wentz, and yeah, I know he plays bass... right?]

This wasn't the reason we broke up. But It was pretty annoying. I even called him out on something once, but he just thought of something completely different and even more unknown so that I couldn't correct him because, HI, NO ONE CARES about a band that is so good that they are trying to get on Warped Tour.

So there, that's my first ever guest post and if you got this far, you win some kind of award because, really, what was the point of all of that? I don't even know. Here I am being all self-depricating now, which is annoying. So I'm going to cut my losses and say that it was a pleasure to switch places with Mike for a day. You should definitely check out his post on my blog, and then stay awhile, if you feel so inclined.

Mike's Marvelous Blog Roll

If you’re a regular follower of This Song Starts A Craze…, you’re aware that I don’t adhere to many blogger traditions. In fact, I rarely post things that aren’t some sort of review or critique. That’s just the nature of the beast I suppose, The Craze BEGS to be analyzed, which keeps me busy full time in the searching/dissecting department.

However, I believe I’m lucky for the wonderfully supportive readers I have. Following that train of thought, I feel like perhaps I owe my fellow bloggers a proper blog roll, not only as a thank you for keeping up with my work, but as a way for me to turn my other readers onto some great people and great writing.

So without further adieu, here are 9 bloggers that you should really spend some time with. I enjoy following their exploits quite a bit, and hopefully, you will too. I’m nearly positive that they won’t bite, so drop by their blogs and say hello. I’m sure they’d love it.

10 Cents Worth
The one thing that seems to have disappeared in the age of digital media is a personable voice when it comes to writing. For a voice full of character and unshackled by the Internet, look no further than 10 Cents Worth. Mike has a wonderful perspective and always spins an entertaining yarn that will keep readers coming back for more. As luck would have it, other blogs are beginning to notice Mike’s talent and are asking him to contribute freelance pieces as well. And if you’re cool enough, he’ll friend you on Facebook.

A Lust For Words
Sometimes I need to step back and realize that I’m living a life that’s very comfortable while I work towards something that’s sort of in line with my passions. Then, I read A Lust For Words, and I see someone who fights tooth and nail to make her dreams a reality. Heather takes readers through her often-hectic day with the utmost grace and eloquence, always reminding readers that what you want never comes for free. I’m looking forward to more updates on the book she’s just begun writing.

A Rush Of Blog To The Head
Curious enough, Mr. O gave me the idea for this blog roll as he so graciously included me on one of his own. But aside from that, what initially drew me to A Rush Of Blog To The Head was the intimacy that Mr. O gives to his numerous music posts. Sure, it helps that our tastes overlap, but what’s fantastic about Mr. O’s writing is that he’s clear about the sort of attachment he makes with an album or a band. He has a way of writing that makes you want to feel what he feels, which in my opinion, is the sign of an skilled author. Check out his excellent series entitled “50 Sundays Of Music” where Mr. O chronicles the albums that have had the greatest impact on his listening tastes.

The Big Ydea
David Gerhard is San Francisco based artist and a dear friend of mine from college. He maintains a sort of photo blog of his recent work through Flickr.com, and the results are fantastic. What I’ve always loved about David’s art is that he approaches his pieces with such a great sense of structure. Most of his art is intricately detailed, but his sense of space and line quality keeps it all from being overwhelming. Right now, he’s currently testing the limits of his iPhone camera and seems fascinated with the idea of digital manipulation in mixed media pieces.

Four Colors
Yet another fellow college grad from Sonoma, Trevor Reece is the man that’s singlehandedly responsible for getting me back into comic books. That said, he runs an incredibly informative blog out of the Press Democrat’s website called Four Colors, which I think every comic fan should take a peak at. What I love about Four Colors is Trevor’s ability to engage both die-hard comic book fans and the casual reader such as myself. He straddles the fine line between giving big picture overviews and nitty-gritty details, a great balance for any critical blog.

Life In A Crystal Pot
I think one of the hardest things to do is write poetry. It’s a style of writing that requires the utmost diligence from the practitioner. Therefore, I have to tip my hat to NJ from Life In A Crystal Pot. It takes bravery to take in the world (The good, the band, and the ugly) and paint verses with those complicated abstractions. But NJ makes it seem effortless, approaching his prose from a primal place, one free of the academic rigidity that often accompanies poetry. In short, NJ’s work is a breath of fresh air into an art form that’s tremendously difficult to master.

More Is Better
There are so many things to say about More Is Better, but really, such descriptions are a poor substitute for actually experiencing this blog. Often in-your-face, and always hilarious, Nicole grabs life by the horns and whips it around until it pours her some wine. Nicole’s blog chronicles her often-cocktail drenched escapades (Now in San Francisco), the weird non-sequiturs she encounters daily, and the colorful characters that tend to pepper her life. However, what keeps Nicole’s life-on-display smorgasbord from devolving into self-absorption is her sense of wit and wisdom. More Is Better is more than its tequila-glazed surface would lead most to believe: It is in fact a very skillful lesson in living life fearlessly, eccentricities and all.

My LaLa Land
Those that know me know that I’m a fairly cynical person. Yet when I read Amy’s blog, My LaLa Land, I can temporarily leave that jaded lens on the shelf. Capturing her life just out of college (With a new fiancé no less!) Amy lets us into her world, a world that’s welcoming and exciting. She’s always coordinating blogger giveaways, discussions between posts, and offers blogging advice to anyone willing to ask. Sometimes, she even graces us with her wonderful singing talents. All in all, reading My LaLa Land is a reminder of how the lighter side of life can really brighten your day.

You’ll Grow To Love Me (That’s What She Said)
In many ways, Jennifer at You’ll Grow To Love Me (That’s What She Said) maintains exactly the type of blog I would maintain if I wasn’t so obsessed with sounds. It’s a blog about someone finding their way in the big unknown, a blog about someone searching and documenting what that search feels like. It’s very honest, and very smart, two things I really value in a good writer. What’s great about You’ll Grow… is Jennifer’s contemplative nature, her ability to focus on a small part of life and really explore it in each individual post. Jennifer’s writing will provoke you to think, to consider about where you might be going in your life as she shares a bit of hers for reference.

So there you have it. Consider yourself blog rolled.

Playing Catch Up

Summer has bitten me with the worst case of procrastination imaginable. I think when you have little to do, your brain shuts down. My time has been spent catching up on reading, practicing my remediable guitar skills, geeking out over House M.D., and counting down the days until I return to Rohnert Park for my summer class. As such, I apologize for offering sparse content in a schedule that affords me the time to provide it.

However, I'm going to change that. Slightly.

Starting tomorrow, I'll be instituting an ongoing series on this blog called "Classic Videos." Quite simply, with the help of the wonderful streaming capabilities available on the Internet, I'll be posting music videos 4 times a month on this blog. These are videos that I feel have stood the test of time, and hold a special place in my memory and heart. Hopefully, they'll do the same for others and even inspire some sort of nostalgia for a time where the medium of the music video meant something more than just flashing how big your rims are, or how many bottles of Cristal you can waste.

Secondly, I'll be reviewing the new Beck album Modern Guilt very very soon. I feel this is worth mentioning only because I'm still digesting the album's nuances but I'm really excited to review it.

Oh, and it's pretty good.

Lastly, a good friend of mine, Nathanial Garrod, asked my opinion on something and I thought blogging would be the perfect medium to answer his question. A few weeks ago, Nathanial asked me if I heard the song "Handlebars" by The Flobots, and what I thought about it/them. Knowing nothing (and never hearing) this band before, I turned to YouTube to aide me in understanding what had peaked Nathanial's interest.



At first listen, I was a tad taken back by Jonny 5's less than stellar delivery behind the microphone, but I suppose if Kanye West can get away with being an underdeveloped MC so can this guy. 5's delivery is choppy and rather than flowing effortlessly to allow his purple prose through, he crams as many metaphors as he can into his rhymes. Lyrically, he seems to be preoccupied with humanity's infinite potential being trapped within our self-defeating cycles of violence and hate. He uses the metaphor of "riding a bike with no handle bars" as merely a small feat of achievement and goes on to list many more testing everything from his academia to his compassion.

Bottome line, it's lyrically hit or miss.

But the music itself is where The Flobots really shine. Beginning from nimbly plucked violin strings, "Handlebars" plods along with with scratchy bass, bold trumpets, and scrambling snare patterns that will keep listeners interested long after the rhymes bore them. There are touches of fuzzy, overdriven, guitar that lace the chorus, but it's mostly done just to make the hook seem bigger than it actually is. However, The Flobots unconventional take on alternative hip-hop reminds me of some other noteworthy bands from the 90s such as Digable Planets and Arrested Development; if nothing else, their half-baked politics about peace and love were always well supported by great musical compositions.

And that's always worth checking out.

House Keeping!

Would you like a hot towel?

Hmm bad joke, I know.

So anyway, if you check this blog regularly you’ll notice that there have been subtle changes made to help make accessing the content easier for readers. This has been a bit of a new field for me as I’m far from the most technically sophisticated person on the planet, but it’s coming along in baby-steps and I’m excited for what it means for this blog.

For example, one of the new changes has been the addition of an email subscription system. Under the Your Favorite Craze section, you’ll notice the field where you can submit your email address, which will then sign you up for email updates via my blog feed whenever I post new content. You’ll still be able to access and subscribe to the regular blog feed by clicking on the large orange feed icons on the left and the bottom of the posts, but if you enjoy updates in your inboxes, this is the way to go.

Also, I made it public knowledge as to how many readers are currently subscribed to my blog feed by posting the reader counter under the Your Favorite Craze section as well. It’s more for me to monitor how these experiments are going, but if you care about the superficially of how many are following me, then it’s great for you as well.

My hope is that it allows you guys that frequent my blog to be kept up to date with the newest content that gets put up here. And perhaps, it’ll allow more people to find out about it. Who knows, maybe it’ll give you something to talk about over coffee, about how pretentious and dumb that guy at This Song Starts A Craze… is.

So subscribe! Get emails! And stay informed!