No. 1 // the war on drugs // lost in the dream
[ secretly canadian ]
When the stars align for a band like The War on Drugs, as they did this year, everyone takes notice. When a relative unknown rockets into view with an album like Lost in the Dream, everyone has an opinion. Everybody says it sounds like something else, compares it to someone, has something to say about it.
The thing is, no one made an album as vulnerable, as mysterious, or as colorful as Lost in the Dream this year. Layers of past genres and future ones. So otherworldly and nonphysical, yet so relatable and enjoyable. Adam Granduciel's earnest compositions are stretched over mountains and valleys robust guitars, swirling synths, and boisterous horns. Instruments smoke, echo and reverb all of which are used in excess, but somehow never seeming excessive. Each track is an experience with a strong direction, but each aspect is effected, and they bounce around and chase Granduciel's sincere yet perplexing delivery.
The urgent victory of "Red Eyes" never loses momentum but still manages to build and build. "Suffering" on the other hand, just burns and drags like walking through a dream. There's some classic sounds here, like "An Ocean In Between The Waves," with a frantic digital drum pace, but the instruments are relaxed and watery being pulled along until the real drums come in. Again, this track builds and builds, adding new chords to the original progression until it just boils over, and climaxes with doubled guitar solos.
There's optimism here, too, and it's just as earnest. Nowhere is Granduciel as personal, yet reluctant as "Eyes to the Wind." This track boast some of his finer lyrics: "Like a train in reverse down a dark road, carrying the whole load, just rattling the whole way home." Part of the success of this album is the experience Granduciel has, both emotionally and musically. He doesn't paint himself as a young explorer eager for the unknown, but rather a man who has sees the world for what it is, and hopes to make some sense of his place in it. Still striving for his best self, an everyman achieving greatness. In the fantastic "Burning" this optimism is so fierce you can taste it (with a little help from Rod the Mod, I would say).
This record is the pinnacle of The War on Drugs thus far. I told Adam in person what a powerful album he made, after an inspired set earlier this year. He humbly said he just tried to make the best record he could, and was glad that so many people liked it. I won't say that you should like Lost in the Dream. I say decide for yourself. Put on some headphones, turn it up loud, and get lost in it.
No. 2 // spoon // they want my soul
[ loma vista ]
After the longest gap between albums in their career, Spoon delivered a solid effort with They Want My Soul. They've never been a group that does what you'd expect, but this LP ranks with their most accessible. The record is their first away from Merge, and their first with the input from outside producers, but it's still classic Spoon. Ever-present aggressive and confident vocals, dissonant yet beautiful piano, sturdy and immersive percussion, it's all here. But with a renewed, independent spirit.
No band uses the studio quite like Spoon does. They span the style spectrum with the one-two punch of "Rent I Pay" and "Inside Out," the latter being one of the more expressive and creative songs they've released. "Knock, Knock, Knock" is an incredible track with doubled acoustics, phasing drums, whistles and insane guitar noises. No band can make the stereo image sound wider. "Rainy Taxi" is possibly the best song, so pushy quirky, with an awesome guitar/piano progression. They only hit that chorus once, and it's incredible. Spoon make an unlikely cover their own with "I Just Don't Understand" and it ends up one of the strongest tracks on the record.
Despite the gaps in output, Spoon show no signs of slowing down after almost 20 years. This should be clear after hearing They Want My Soul. That aforementioned independent spirit is all over the lyrics and feel of these songs. Spoon refuse to bow to trends, they've became successful on their own terms, and that's more difficult than ever to do. Especially if you want to remain relevant. Especially when you wait four years to release a record. Somehow, Spoon manage to stay cool. They are stronger than ever, both in the studio and live (they finally came through St. Louis this year, after a 10-year absence). Truth be told, I champion their entire catalog, and don't believe they have made a bad album. There aren't many bands you can say that about. They consistently are able to sound fresh and creative, but without abandoning the aspects that have made the band great throughout their career.
No. 3 // wampire // bazaar
[ polyvinyl ]
From the opening cackle of "The Amazing Heart Attack" you should know that this album will live up to its title. Wampire's new LP, Bazaar, slams into existence with this tune, layering all the elements of a budget horror flick soundtrack into each song as it goes along. This record does so much in very little time, and it finds the expanded band trying to push the limits and try more things than they did on their previous LP, Curiousity. The album is dark, strange and semi-serious, but with a cheeky humor threaded through.
Most of the tunes are played fast and loose, like the snotty and punky "Bad Attitude," and most are expertly performed. Another loose jam, "Sticking Out" moves and shakes with a ridiculous back and forth of guitar solos and effected sax. "Fly on the Wall" is a jumpy head trip of an actual fly's perspective. "Wizard Staff," the single, is possibly my favorite track of the year. Full of great guitar, sax, and vocals in the perfect spots, laid back and way cool. "Life go Luxury" might be the the best album track, a Kinky vibe, just together enough to work, sloppy enough to sound real. I could mention each track, really, they are all so different and so great in many ways.
This record received some critical reviews, and I'm not really sure why. It is a weird one, but I immediately 'got it' when I heard it in its entirety after ordering it for the single. It's quite a trip that's full of ear worms and creativity. It's new and classic in the best ways, harsh and beautiful all the way through. The closer "People of Earth" is a curious and peculiar sendoff from the perspective of an alien coming to earth, forming on opinion of humans. In a way, this sums up the new Wampire record perfectly. Clever, dark, and certainly Bazaar.
No. 4 // kevin morby // still life
[ woodsist ]
Kevin Morby's second album, Still Life, is a splendid collection of confessional introspective songs that are presented on an uncomplicated stage. He's managed to achieve a dash of the "wild mercury sound" with organs and electric guitars, solid percussion, a calm and confident delivery of words with a mysterious honesty. This honesty permeates the sound, It's real and raw: the buzz of the amps, the rattle of the snare, there's no trickery or after effects here. Just a man on the edge of something.
Morby is able to tap a range of emotions throughout the record. Hopeful and encouraging in "Parade," depressed and reflective on the tremendous "Bloodsucker," lonesome and dismissive in "All of My Life." (Listen to that amp buzz, so good.) The impressive thing about this is he's managed not to disrupt the overall feel of the record in the process, it almost sounds like one full piece of music, a soundtrack or a concept. Miniature stories and revelations about the characters in his head. The ghostly instruments make the simple arrangements incredibly dramatic. He can be pretty dramatic too: "If our love is like an ocean, if our love is like the sea, then we're drowning." He goes full Dylan on the closer "Our Moon" and it's awesome.
Morby's first record, Harlem River was very good, too, but this one spoke to me on another level. As a songwriter, as a man, and as a person. He's a man alone at sea. He's the one left behind. He's karma's arrival. The jester, the tramp, and the acrobat in one. It may seem simple on the surface, but Morby's collection of misfits is golden.
No. 5 // peter matthew bauer // liberation!
[ mexican summer ]
Don't be fooled by the chants that start "I Was Born in an Ashram." Walkmen bassist Peter Matthew Bauer's debut solo album is an American rock and roll record. Center stage is where this guy was meant to be. Liberation! as a theme is palpable in these songs. It seems as if he's shedding a new layer of skin with each one. These are working class tunes, earnest and positive, like nothing else on the list. Recorded in a spectacular, homemade, live feel, but well balanced and full sounding.
The lyricism is vivid and real. From the eastern religious imagery, nods to science and the old country. "Latin American Ficciones" is one of the most powerful songs on this record, so anthemic. Amazing song titles. Bauer sings with multiple voices throughout, and it keeps things interesting and new with each track. Great guitar work and creative progressions are everywhere. After a smoky, slow intro, the second half of "Philadelphia Raga" kills it. Who wouldn't want to get "drunk with John Wesley Harding"? He can turn a phrase so easily, as in the urgent "Fortune Tellers": "Fortune tellers only tell so much, oh baby fortune tellers lie." The drumming just pounds and follows Bauer's lead on every track. Simple, but so very effective.
The jacket has some amazing art, probably my favorite this year. Purple is the color of good judgement and compassion. Of the myriad of themes found on this record, I like the statement that makes. Bauer is very comfortable leading an outfit, and these songs feel like they've been waiting to boil from him. On "Shaved Heads and Ponytails," the best song of the record, he says "You're only echoes, you can't look back." It brings this fantastic record full circle. From a band as loved as the Walkman, this is as solid a solo record as he could hope for. Liberation! indeed.
No. 6 // woods // with light and with love
[ woodsist ]
Woods haven't changed their sound through the years so much as striven to perfect it. After listening to their new LP more times than I can count, I've concluded that they have. With Light and With Love is the most confident and collected they've ever sounded. Every track is well balanced and carefully played. Images and lyrics are stark and simple.The exact instruments are chosen for appropriate places. The mix is clean and upfront. You really couldn't ask for more.
The album sets off with the wistful and romantic "Shepard." Perfectly vague lyrics with warbled vocals and wonderful saloon piano frame this shuffling tune that could be mistaken for a Byrds song. After, the album gets down to business with "Shining," which is a bit more of the Woods we expect. The bass sound is ridiculously cool and lends its bounce to almost every section of this great track. The sprawling title track blurs the line between improvisational and intentional, and the electric guitar tone is spot on for the expressive performance. The early '70s vibe on "Full Moon" are so good they seem imported. "Moving to the Left" is the record's best track. Drum sounds are awesome, the digitized bass thumps, and the lyrics are, again perfectly vague.
I had the pleasure of seeing Woods live this year, and they were quite good. I'd greatly recommend seeing them when possible. They pretty much played With Light and With Love in its entirety, save a few songs. You would be hard pressed to find something wrong with this album. I'm not sure how you could expect Woods to get much better than this. They are a reliable band, and even though they never really take you by surprise, take comfort in the fact that they know what they are doing. And they do it really well.
No. 7 // morgan delt // s/t
[ trouble in mind ]
Morgan Delt's debut record is a left-of-center interpretation of songs. Not so much songs, but pieces of music. A soundtrack to his bad dream, or at least a strange one of yours. Delt is taking modern psychedelia to another level, constantly switching between polar opposites: beauty and ugly; tropic and arctic; dark and light. It's like aliens pretending to play american psychedelia.
This album punches into transmission with "Make My Grey Brain Green." Layers of whispers and dialog swirl around twangy eastern guitar lines before presenting "Barbarian Kings" a trudging, distorted, strange song, to say the least. This record also seems like it was mixed to mess with your head. Wild keyboards on top of weird ones. The tape hiss and warble are more side effects than an added ones. "Mr. Carbon Copy" is probably the most complete song here, and stands out as a strong point. "We are only lunar copies" is open to interpretation, he's not always that easy to understand, literally and figuratively. For example, you can hardly understand a word of "Obstacle Eyes," but somehow that makes it even better. You can feel the darkness in the middle of "Little Zombies" his distorted vocal swaying and degrading, before it returns to a colorful poppy field coda. "Sad, Sad Trip" is a stalking track reminiscent of the Flaming Lips, if they were cooler and darker, but "reality's a let down," as Delt proclaims.
You really can fall down the rabbit hole on this one, and I'm sure that is what Delt intended. Whether you listen closely or let it float around the room, this record shifts the color and audio spectrums so often, it's easy to hear something you didn't the first time, or remember a measure or verse differently. Not always accessible, and not always very pleasant, this one is a wild ride you'll be glad you tried. At least once.
No. 8 // kishi bashi // lighght
[ joyful noise ]
Kishi Bashi's Lighght at first seems like an improbable contender for a top ten spot. It's a pop record, after all. But Lighght is just so ridiculous, and unlike anything else I'd heard this year. He's a classically-trained violinist, who has performed and recorded in the pop/rock realm with Of Montreal and Regina Spektor. I think it takes a lot of courage for a classic violinist to make such a statement, to go so pop with a record, and not play it safe in any way shape or form.
The album intellectual but relatable, colorful and daring. He's merging the perfection of digital music with the craft of classical arrangement. It can be chaotic and it can synchronous, and he makes both sound so easy. "Carry on Phenomenon" builds an overwhelming amount of melody until it's one wall of sound. "Q&A" is one of the softer songs on Lighght, serene and romantic, and mixed impeccably. All the instruments inform each other and never fight. The violin work is, naturally, insane, drum work is also very tight, and his vocals are awesome. The album transforms from straight pop to a more psychedelic dream pop as it goes along. "Once Upon a Lucid Dream" showcases his hypnotic looping talents. The last three tracks must be that lucid dream, because they are so impressively strange.
Lighght is out there. It took a while for me to get it, but once I did, I couldn't stop listening. It's a diverse, well planned album, but at the end of the day, it's a pop record. And that's okay, too. Don't be afraid of the pop.
No. 9 // courtney barnett // a sea of split peas
[ mom and pop ]
A Sea of Split Peas combines the Australian's first two EP's into a full album of rambling, clever, matter-of-fact folk rock jams. It's been quite a while since I've heard a record like this, so idiosyncratic, but immediately familiar. Split Peas is a lyrical mystery and self-truth, a bit self deprecating and liberating at the same time. Her songs have comfortable melodies and are backed by a simple electric folk setup, piano, smooth electric guitars, relaxed rhythms, with the occasional backing vocal.
Barnett's calm and collected delivery is perfect, each track just shuffles along with no rushing. "David," my favorite track, is a great example of this. "Don't Apply Compression Gently" verses go in Dylan-esque circles, never really requiring a chorus. The stories are robust, too. "Avant Gardener" is a supposed true story of an asthma attack and it's so descriptive you can picture every move in every scene. The darker songs, "Out of the Woodwork" and "Porcelein" are standout tracks, they frame a mostly positive album with a dose of depression.
The more I listened to this record, the more I enjoyed it. It's funny, relaxing and impressive. I'm looking forward to what Barnett releases next, and if A Sea of Split Peas is any indication, it's going to be great.
No. 10 // white fence // for the recently found innocent
[ drag city ]
Tim Presley expands White Fence's sound with For the Recently Found Innocent. Recording previous releases virtually alone, this time around Ty Segall sits in on drums, and produces. Same strange, quirky, poppy sound, but with more foundation and purpose. This could have been predicted, though, as the two have collaborated before, with 2012's Hair. In addition, the raucous interpretations on White Fence's Live in SF album, could have also had some influence.
After a meandering introduction, this album explodes in a way no White Fence album has. The single "Like That" is most likely the finest song Presley's released, a perfect pop tune with some pace on it. The songs feel cleaner and leaner than previous efforts, like on "Sandra" and "Goodbye Law." There has always been a '60s vibe to White Fence albums, but this release is so focused and well written, songs like "Fear" and "Hard Water" almost sound like they were plucked off an album from the era, and we'd be none the wiser.
If you have been wary of White Fence records in the past, this one is more accessible and fresher than anything they've done before. The assistance of Ty Segall does wonders for the the sound and feel of this record (He even gets a bit of his influence on "Paranoid Bait," which sounds like Ty had a hand in writing). I'm not sure I'll love any album as much as Family Perfume, but this might be a contender for the best Presley's ever done.
No. 11 // ryan adams // s/t
[ pax am ]
For better or worse, Ryan Adams has a knack for reinventing himself, changing his sound. The rolling stone gathers no moss, and there's certainly none on him. After he threatened retirement, then released a solo record (2011's Ashes and Fire) and toured solo for it, he's back with another solo and/or, band affair depending on how you look at it.
This is certainly another metamorphosis of Adams. It's a slicker, more late '70s/early '80s sound with a straightforward band behind him. "Kim" and "Stay With Me" are more reminiscent of the Rock N Roll record, but not as snotty, while "Shadows" or "Am I Safe" recall the Love is Hell era. However, it's all very fresh and new sounding, certainly no rehash here. We're witnessing a more freewheeling Adams with this LP, letting songs burn and hang, as opposed to slowly develop or shuffle along like Ryans of the past. There's also cool new territory in "Feels Like Fire" or "Gimme Something Good," probably the two best songs he gives us here.
He stated that he's back in a more prolific state (as in 2005, when he released three LP's, one of them a double) and he's shown it since, releasing the 1984 EP, and a series of vinyl-only singles that show no signs of letting up. Truth be told, I'm a huge fan of Ryan Adams, and have never really been disappointed by anything he's released. That trend, if nothing else about him, continues with this one.
