2011: A Musical Odyssey

By Erik Stefan

Looking for a way to spend your Christmas cash? Get some music. Here’s what I listened to the most this year:

10. Yuck – Yuck >> It’s about time ‘90s “alt-rock” started influencing some whippersnappers. Yuck isn’t breaking new ground on their self-titled debut, but they expertly mined their forefather’s material for sonic nuggets to call their own.

9. Dawes – Nothing Is Wrong >> Nothing Is Wrong is a lot like Dawes’ previous record (North Hills)…excellent. They’re a bit of a one-trick pony, but they’ve fooled me again.

8. Girls – Father, Son, Holy Ghost >> Indie heartthrob status aside, Girls rock with tossed-off calculation a la Elvis Costello…Oh, and they escaped from a cult to start this band. Something about cults this year….Maybe there is something to that 2012 business.

7. Ryan Adams – Ashes and Fire >> Ashes and Fire may have saved Ryan Adams’s career. He’s been on the brink of irrelevancy for a few years and stuck his big toe in obscurity last year with the overwrought and loooonnnnng III/IV. Ashes and Fire isn’t Adams’s best album, but it capitalizes on his greatest strengths: a quivering voice singing honest, gut-wrenching lyrics. The crystalline-voiced Norah Jones on back-up vocals doesn’t hurt.

6. Iron and Wine – Kiss Each Other Clean >> Sam Beam’s fans tend to divide into two camps with the Woman King EP being a Mendoza line of sorts…I’ll take it all. Kiss Each Other Clean is Iron and Wine’s most ornately produced album to date, and it will surely yield Hollywood a song or two for blockbusters coming soon to a theatre near you.

5. Wilco – The Whole Love >> Kicking off with “The Art of Almost” and bookending with “One Sunday Morning,” The Whole Love is Wilco’s return to form after two listless efforts (by their standards).

4. The Black Keys – El Camino >> My dad drove our family’s Aerostar van until the door literally fell off. So, the album’s mini-van artwork motif hit home…Similarly, the immediacy of this record is what really struck me. The Black Keys do their best work yet again with uber-producer Danger Mouse.

3. My Morning Jacket – Circuital >> While some bands are comfortable seeking safe consistency from album to album, others are fraught with the desire to blow up the paradigm with each effort. MMJ falls into the latter category. If you’re still looking for the southern-fried “jam” band, they’re long gone. Fortunately, the grain-silo vocals remain.

2. Bon Iver – Bon Iver >> Is this self-titled follow-up better than his debut For Emma, Forever Ago? I’m not sure….and without Bon Iver’s name on the case, I’m not sure I would know it was the same “band.” One thing is for sure: this album was one of the most talked about records this year for good reason. After seeing James Vernon and his band rip through these tracks, I’m convinced that the previously asked question really doesn’t matter.

1. Fleet Foxes – Helplessness Blues >> The process of recording Helplessness Blues temporarily cost Robin Pecknold his longtime girlfriend due to his obsession with crafting a perfect album. We all benefited from his passionate pursuit of this goal…and his damn near success in hitting his target. Happy ending: Said girlfriend saw the error in her ways and cozied up to the warm tones and lush harmonies circa 1967 Southern California.

At some point last year I said this band was at the height of its powers. I was wrong. They’re still climbing.

I heard this track for the first time today in my economy rental with the hand crank windows just outside of Charlottesville courtesy of Virginia Radio WNRN. Thank goodness the car had an FM radio.

I got home to find the video which may make the track even better. Who’s that in the office?

10 for 10

By Erik Stefan

My 2010 best of list may be more notable for the bands that didn’t crack it.  The typically brilliant Spoon sounded pedestrian.  The Hold Steady wavered.  The sweethearts of yesteryear (MGMT and Vampire Weekend, I’m talking to you) fell to the Internet buzz band curse à la Clap Your Hands Say Yeah!

These records are in no particular order other than alphabetical.  The one vein of consistency in my top 10 is the nature with which these records stuck with me over the course of the year and continued to capture my attention on repeated listen.

1. Arcade Fire – The Suburbs: I tried to not like this record.  I said it was not as good as their last one.  I said it was too long.  Then, I kept listening…over and over and over again.  Check out “Half Light II”, “Sprawl II”, and “Ready to Start”.

2. Band of Horses – Infinite Arms: With its rich melodies and lockstep harmonies, this album fully embraces Ben Bridwell’s once abandoned Southern roots (and subsequently became my favorite record to sing along with while driving).  Check out “Compliments”, “Laredo”, and “Dilly”.

3. Beach House – Teen Dream: Gauzy dream-rock that’s one part torment and two shots of bliss.  If I were heroin, this is what I’d sound like.  Don’t worry, mom.  I don’t do heroin.  Check out “Walk in the Park” and “Zebra”.
Beach House – Zebra (UK Edit)

4. Black Keys – Brothers: After their Attack and Release coming out party courtesy of Danger Mouse, the Black Keys got back to their basics with a few new tricks in tow.  You could listen to “Tighten Up”, but you really ought to watch the video!

5. Deerhunter – Halcyon Digest: Bradford Cox’s sonic chasm soundscapes that at one time seemed untamable have been beaten into well crafted pop songs…and then they played on Conan.  Check out “Coranado”, “Helicopter”, and “Earthquake”.

6. Frightened Rabbit – The Winter of Mixed Drinks: This album is the most depressingly uplifting album of the year.  It’s achingly sad, but somehow still makes me smile.  Check out “Swim Until You Can’t See Land” and “Nothing Like You”.

7. The National – High Violet: I’ve always liked my National with a dose of darkness.  After seeing them in 100 degree heat at Bonnaroo this summer, I’ll take them anyway I can.  High Violet had all the makings of a letdown.  The National didn’t up their game.  They changed it.  My favorite singalongs:  “Anyone’s Ghost” and “Afraid of Everyone”.

8. Josh Ritter – So Runs the World Away: Josh Ritter is my biggest inspiration as a songwriter.  After ramping up the party on Historical Conquests of…, Josh Ritter slows down and gets serious.  Check out “Change of Time”, “The Curse”, “Folk Bloodbath”, “Lantern”…Hell, do yourself a favor and buy this one with some of your “Christmas / Hanukah / whatever you celebrate” money.

9. The Tallest Man On Earth – The Wild Hunt: I had to defend his voice to somebody this year.  I said, “If all you hear is his voice, you aren’t listening.”  I stand by my justification.  Check out “King of Spain”, and you’ll know what I mean.
The Tallest Man On Earth – King of Spain

10. The Walkmen – Lisbon: This one snuck on the list.  I’d written this group off a few albums back.  John Neville, the guitarist in Beautiful Little Fools, swears by these guys, and I’m starting to understand why…This set showcases the reverb-soaked moodcraft the Walkmen have been crafting since its early days, but strips away the skin (and creaky pianos) to leave only the pure muscle exposed.  Check out “Victory” and the unfittingly titled “Woe is Me”.

10. The New Pornographers – Together
Few records in our house got as many spins this year as this one. A.C. Newman’s crew hit their stride before this record, but have shown they can sustain the pace with their latest. The on stage chemistry persists too as evidenced by their performance this summer at the Variety Playhouse. There might not be a bad track on this record. Listen to “Crash Years”, “Silver Dollar Jenny” or “Valkyrie in the Roller Disco.”

9. Old 97′s – The Grand Theatre Volume One

There were two “comeback” albums contending for this list. The other – Superchunk’s Majesty Shredding – is already on Alex’s list and will grace many others before the year end. It’s a well deserved honor. Instead, I prefer to promote the strongest Old 97′s (or Rhett Miller) record in the last ten years into the top 10. Satellite Rides was one of my favorite records of the first decade of this century and The Grande Theatre follows directly in its footsteps almost as if the intervening nine years hadn’t happened. If you were a fan of these Austin boys back then and have always hoped that Rhett & Murray would find their way again – well, they have.

8. The Roots – How I Got Over
I stopped listening to Jay-Z, Lil’ Wayne, even B.O.B., and all that other ego-centric, hey look at me, hip-hop a long time ago. This year I had finally given up on even trying to give anybody in the genre the “courtesy” listen. Fortunately, I didn’t skip The Roots. My Yankee Rose pointed this one out to me and I am glad she did. ?uestlove and his crew have delivered the only Monsters of Folk and Joanna Newsome songs I have ever wanted to listen to more than once. The record represents what modern urban music can be in the hands of thoughtful and truly creative artists. This is the kind of record I hope that Janelle Monáe ultimately creates to accompany her fantastic live shows.
The Roots – Dear God 2.0

7. Mynabirds – What We Lose in the Fire We Gain in the Flood
I don’t know exactly what it is about Luara Burhenn’s voice that captures me, but it does. It did it on the very first track I heard – “Numbers Don’t Lie.” Not just her singing voice either. Her lyrical voice ranges from reflective and heartfelt (“What We Gained in the Fire”) to clever and honest (“Let the Record Go”). This record has the energy, authenticity and hooks to keep me coming back for more. It moved into this list quickly and still may be climbing.

6. The Black Keys – Brothers
This is record occupies a mandatory slot on the top ten list this year. I don’t know how many times I have used the phrase (that I admittedly borrowed) “A band at the peak of its powers” to describe the new Black Keys record. It would be a little disingenuous of me to not include Brothers among my favorite records of the year. This Akron duo have fully transcended what might have once been described as the novelty of their two piece, guitar/drum sound. This might not be their best record ever, it is just their best record so far. The fuller arrangements that started with Attack & Release have taken a great step forward with Brothers. Listen to “Tighten Up” or “Everlasting Light” or anything else on this record and you should see what I mean.

5. Jamey Johnson – The Guitar Song
Classic country, old country, real country, what ever you want to call it, is what I grew up on. It holds a dear spot in my musical heart and it is increasingly hard to find. Former stalwarts like Dwight Yaokam and Willie Nelson have disappointed in recent years. Johnny is dead and George (Jones, that is) isn’t recording. Fortunately, Jamey Johnson stepped up to the mic. This double record received a fair amount of hype and I expected to be disappointed. To the contrary, I was blown away. This is the best country music record I have heard in years. If you have the least bit of interest in authentic American country music you should buy this record. You should buy it today.

4. Luna Versus You
Is this the perfect pop album? No. Is it the best pop album you haven’t heard this year? Absolutely. The maned man behind Luna Versus You has one of the fullest, most commanding voices you have ever heard on a song that can make you (and your seven year old) bounce your head in cadence. Not triple tracked. Not autotuned. Straight vocal power. This is what pop music once was and I miss it. For those of you familiar with the Beach Boys records not called Pet Sounds this might make some sense. The songs stand on their own and each has meaning beyond far beyond its easy hook. Listen to “The Greater Good” or consider whether we have lost our way when we can’t see the constellations anymore with “Lights Out Lovers”, then turn up the stereo and dance.
Luna Versus You – Lights Out Lovers

3. Josh Ritter – So Runs The World Away
Josh Ritter is the finest songwriter in America today. He is a story teller in the grand tradition of none other than Robert Allen Zimmerman. He departs from the all too tiresome singer-songwriter paradigm by almost exclusively writing songs that are not whiny musings about his own [insert short-coming here]. He taps into literature, history, and mythology to craft tales of characters and circumstances that each seem to have the potential of a novel or screenplay. He references folklore, religion and science the way so many singer-songwriters tap into me, myself and I. He has surrounded himself with a broadly talented ensemble in the Royal City Band and has made another outstanding record. Listen to “The Curse” or “Another New World” or “Ratting Locks” and please tell me you can’t feel it.

2. Titus Andronicus – The Monitor
I’m surprised that I haven’t seen the phrase art rock associated with this album. Despite the almost universal reasons for its wide acclaim – literary and historical references, transcendent themes of alienation, sheer ambition – this record most often is dropped into the vague category of New Jersey punk. This album is a far greater artistic statement than anything by art-punks Les Savy Fav or Japandroids – who both put out some good music this year. Listen the to the last sound of the album cut of “A More Perfect Union”; the truncated last syllable of the spoken line “I will be heard” is a statement in itself. Without referencing the CIA and the United Nations, it is more political than Ted Leo’s fine new album. Please tell me that the single sentence that is the sole lyric of the second track is not political: “The enemy is everywhere but nobody seems to know or care that the enemy is everywhere.” Keep listening and ponder the lines “I need an exit strategy/down in North Carolina I could have been a productive member of society” from “Theme from Cheers.” Maybe the critics can’t swallow the obligatory Springsteen reference or couplets about Keystone Light and a kegger on Friday night and still think art rock. I can. And I do. This is not my number one record of the year, but it is the most ambitious musical project of the year. And it delivers.

1. Oryx and Crake – Oryx + Crake

The world needs to know that Atlanta has more than one musical act whose work isn’t derivative or borrowed. Bradford Cox is one and he may the Atlanta music scene’s MVP of 2010. Cox and his Deerhunter project have nurtured their always artistic output into a beautifully accessible package with their latest album. Oryx and Crake, however, have done it with their first.
I was floored the first time I heard Ryan and his collective play the Earl many months ago and I hounded him for tracks for some time. Though I did get an early of mix of “Pretty How Towns” out of him, I understood later why he held his music so closely. He knew he could make it great and he did. The talent of this band is not only in the strength of the songwriting but the ability to record a complex album with enough space in the production that you can hear the music. Many purveyors of the orchestral pop movement create records with soaring vocals and rising strings that in the end sound like a sonic sandwich. That is not the case here.
This is not just a technical feat though. The lyrics of songs like “Bed Death” and “I Could Be Anyone Anymore” should move you. The hook of “Pretty How Towns” should grab you. The soaring climax and descending strings of “Deep Sea Diver” are simply amazing. Captivating.
This record is ambitious, well-writen, and well-executed. This was my top choice for record of the year a long time time ago. It still is.
Oryx and Crake – Fun Funeral

You Gotta Dance With Who You Came To The Dance With – The Hold Steady
Nineteen – Old 97s
She’s Nineteen Years Old – Buddy Guy
Here Comes Your Man – Pixies
Misunderstood – Wilco
I Got Mine – The Black Keys
Girl in the War – Josh Ritter
Pulling on a Line – Great Lake Swimmers
Transport is Arranged – Pavement