Welcome to the Internet event of the year. Glad you could make it. Its a pretty big deal when you upstage Mark Zuckerberg, Larry Page, Sergey Brin and Joey Barton’s Twitter, but hey, I’m pretty chilled out about the whole thing.
Let me preface this by saying numerous times over the course of the year, I felt 2011 seemed to be a very poor year for music on the whole. It was more about the news stories to be honest, wasn’t it? Music’s day in the Sun had belonged in 2010, it was time to melt into the shadows for this year. However, you’ld be surprised. When coming up with this particular list, it grew and grew and ended up becoming a labour of love to refine down to the final choices. The consolation prize of ‘honourable mentions’ showcase the depth of quality that was out there, so 2011, you weren’t so bad. Deceptive, one might say. Perhaps you’ll agree with the following assessment. Perhaps you’ll think it’s a load of old rubbish and ‘this fella doesn’t know what he’s on about’. (Possible, but not really) Either way, there is some great material here from the past year waiting to be discovered, so feel free to dive in if you haven’t already. Enjoy!
10. – The Weeknd – House of Balloons
After the likes of Drake and Frank Ocean, The Weeknd,(aka Abel Tesfaye) continued this very new tradition of releasing ‘Mixtapes’, which lets be straight, are plain albums. Either way, The Weeknd took the whole idea to a new level with the brilliance of House of Balloons. I was hellbent on believing I wouldn’t like it, and its only very recently that I bent my ear around it enough to see the full scope of Tesfaye’s ridiculous talent. I’ve never seen something with a basis in R ‘n’ B and Soul turn out quite like this. Clearly one who looks outside the box in terms of influences, the production is a series of intelligent reworks and mashed up samples of the likes of Siouxsie and the Banshees, The Cocteau Twins and Beach House. Not a bad foundation to lay your concept on. Speaking of which, the concept is based on a series of nights, centred around the hedonism and characters within… underpinned by a powerful sense love that he tries to connect it all to. Rather than embracing the normal bitches n hoe’s template we’re jaded of, The Weeknd took to playing the enigmatic fly on the wall. Clever, eloquent and observant, he uses his full vocal range to convey his full range of emotions, whether it’s his remarkable Michael Jackson esque falsetto to illustrate a bruised love, or a captivating dulcet whispering into your ear, almost warning you as he goes. To the backdrop of such erudite production, the whole experience is a wonderfully riveting long player experience. ‘Move bitch, get out of the way’ it certainly ain’t.
9 - Bon Iver – Bon Iver
When Bon Iver was first released, the acclaim was pretty much universal, and adulation was instant. I didn’t see it at first, as I was probably hoping for the more folk centric side of his first release. How lazy of me. Luckily, Justin Vernon isn’t that lazy as an artist, and this album came as a complete surprise to everyone. That people instantly embraced this ‘new direction’ so passionately speaks volumes about his ability to produce something that is just so clearly good, no matter what. Ditching the acoustic guitar that confines one to folk, any instrument and production technique was seemingly adopted to expand the palate to atmospheric jazz and electronica, in order to create something unmistakably ambient and dreamlike. Indeed, journey, ambience and dreaminess seem to be core areas upon which the album revolves around. The moment I realised I thought it was amazing was listening to it in solitude, and all of a sudden realising I was completely entranced, spaced out and in a dreamlike state. That’s the power of Bon Iver, without noticing it at all, it will have the power to transport you to that place against your will. ‘Beth/Rest’ showed the genius of it all. Whoever thought the Melrose Place soundtrack could be made so utterly emotional
8 – Tune Yards - WHOKILL
For inventiveness, creativity and sheer power and eccentricity of voice, Tune Yards is guaranteed an entry. Its also convenient that the album happens to catchy as fook. What originally came about as an experimental side project, Tune Yards (aka Merrill Garbus) has now catapulted herself into critical acclaim territory with an outrageously whacky approach to composition. Banging a floor tom, a snare, maximising the effects of a loop pedal, and a ukelele never sounded so good. Probably because its never really been before. Everything here is driven by a raucous energy and a robust voice that bellows Garbus’s eccentric, rowdy and humourous opinions. WHOKILL is witty, brash, and brimming with a healthy vibrancy. All while being utterly, utterly original. Hats off.
7 - PJ Harvey – Let England Shake
Its’ hard to give the Mercury Music Prize much respect. Especially when they dish it out to Klaxons (biggest joke of a band of all time), and need I say, Roni Size and M People getting the nod over Ok Computer and Parklife respectively. However, maybe this year it’s not too hard to argue. PJ Harvey’s Let England Shake was probably a deserved winner. An incredibly thoughtful and evocative concept album, Let England Shake showcases Polly Jean using War and Conflict as a basis to explore her affiliation to her homeland. Lyrically, its ridiculously rich and poetic, and her more mature, softer and atmospheric approach to the music compliments the patriotic sentiments perfectly. Eerie and sombre in parts, the war horns in ‘The Glorious Land’ sum up the entire feel of the record. Its almost as if she was soundtracking the dust settling on Waterloo. Amazingly executed, and consistently haunting. And a worthy winner, I might add. She has come a long way since the raw and aggressive Rid Of Me, achieving a polar type of brilliance here.
6 – The Field – Looping State Of Mind
I’d pretty much forgotten all about The Field after his brilliant ‘From Here We Go Sublime’, one of the undoubted highlights of 2007. What a pleasant surprise when he reappeared out of nowhere, maintaining and building on his niche and signature sound. The title seemed like a tongue in cheek bit of self deprecation at that very niche, whereas in fact, it’s probably a bold statement of confidence in a craft he can firmly call his own. The Field does looping, very, very well. He creates something brief that sounds magical, and rolls with it relentlessly. Sounds simple on paper, doesn’t it? Whereas to create the music that is consistently spread over ‘Looping State of Mind’, he has seemingly managed to inject raw bassy power, deft shoegazy ambience and relentless technoey drive. Punchy and almost club friendly, the emotion that lurks within maintains that this album is customised for immersed headphone listening. The only thing is, try and get past the first two tracks. Mesmerising.
5 – Toro Y Moi – Underneath The Pine
Chillwave is the spawn of Pitchfork, and a movement that is growing with its repertoire of artists. Washed Out proved to be another good example of an album that was warmly received this year, and dragging the genre further and further under the spotlight of popular culture, and seemingly being embraced by every hipster from Hackney to Williamsbiurg. The thing about chillwave however, is that at every turn, it could implode in itself by becoming boring and bland electronic fuzz. Toro Y Moi’s first album was credited with being a pioneer of the genre, but with his second, ‘Underneath The Pine’, he set himself apart with more of a dreamy pop album, bursting at the seams with hooks and melodies, giving it more feel good energy. There’s more instruments, clear chord arrangements and dancefloor sensibility. It is truly effortless to enjoy ‘Underneath the Pine’ A diverse record, it still has a wonderful consistency that lies in how beautifully upbeat it is. Press play from start to finish and feel the flow of the endorphins seep down.
4 – Real Estate – Days
Another band who returned stronger and polished on their second album, ‘Days’ is Real Estate ‘s proud showpiece of having inoffensive, jangly guitar music into a sleek charming pop vehicle. Unashamedly delicate, some of Days strongest moments are impossibly warming. There isn’t much urgency to Real Estate, they revel in being harmless, and may well have to up the ante in future records. But for now, ‘Days’ seems to have struck a perfect balance of engaging pleasancy. An album laced with gorgeous, complex harmonies, beautifully picked guitar notes, and in parts, some inventive song structures. ‘All the same’ is them at their best, a song that you never want to end, when they finally do gradually coast to draw to a close, they at least let you down gradually. A nice touch for an impossibly nice band and an impossibly nice album.
3 – White Denim – D
White Denim are amazing. Simple as. Why? I don’t know where to start really, but D is certainly a better place to find out. A relentless rollercoaster of an album from the word go, and doesn’t slow down or let go. Its an exhilaratingly entertaining trip. I’m going out on a limb and saying that the reason for this is probably that White Denim are the best example of controlled virtuosity I’ve ever had the pleasure come across. And D really, really rocks out. Like Television, Lynyrd Skynrd and Pink Floyd on a speed binge, and finding themselves playing in a jazz bar, it is rapidly dynamic and sheer instrumental brilliance. It would be madness if wasn’t so remarkably taut, cleverly structured and glued together with wonderfully complimentary vocals. And the Drums. THE DRUMS. Jesus H Christ, the crazed brilliance of the drums. D is one of those albums that when you finally have an opportunity to step back from the sheer enjoyment of it all, you ask yourself, how the hell did these freaks write and compose this? Scary thing is, its arguably not as good as their previous effort.
2 – M83 - Hurry Up, We’re dreaming
Double albums… Ridiculous, overly ambitious, totally bloated? They can be. Occasionally though, they can be pulled off. Anthony Gonzalez’s attempt to emulate Mellon Collie and the Infinite Sadness seems like he might just have done that. Whatever about it being a double album, as a whole catalogue of music it is stunning across the board, whilst retaining a healthy diversity and consistency. Apart from the grandiose ambition, Gonzalez also wanted to make undeniably soundtrack music for imaginary films, and that’s the feel of the record in a nutshell. There’s something amazingly 80’s and soundtracky about the whole thing, almost as though you’re watching a John Hughes film, witnessing a Duran Duran stadium sell out, or the premise and concept of Donnie Darko is being ripped up and explored all over again. Midnight City is the standout, unquestionably epic, rippling with power, there’s an overwhelming urge to fist pump the air a la Judd Nelson in the Breakfast Club. Not to mention a Saxophone solo that would put Raphael Ravenscroft of ‘Baker Street’ fame to shame. There’s plenty of anthems, piano ballads, tender moments and quirky joys all packed in here, fit to grace any soundtrack, and any radio station. Aim very much achieved.
1. Metronomy – The English Riviera
As with last year, and so it should be, the album of the year is the one that I listened to most, and straight through. Showcasing endless endurance and consistency across each track is the ultimate aim, and in 2011, Metronomy achieved that in abundance. The English Riviera has everything. It’s an intelligent and forward thinking pop record, laced with accessible electronica, funky basslines, boy girl harmonies, razor sharp and impossibly catchy guitar riffs and the perfect balance between singles and album tracks that are loaded with rich substance. Resuscitating electro was always going to be hard, but Metronomy have resurrected much of its finer aspects. The English Riviera is a highly enjoyable record from start to finish. And one you will struggle viciously to get the songs out of your head. Says it all really. The undoubted album of the year for me, not to mention the slick artwork to match. Take a bow Torquay.
Honourable mentions go to Little Dragon – Ritual Union for doing electro pop proud, John Maus - We Must Become the Pitiless Censors of Ourselves, for marrying Ariel Pink’s Haunted Graffitti and Animal Collective into a polished and delightfully eccentric record, Atlas Sound – Parallax for providing another sterling example of Bradford Cox’s relentless growth as a composer, and Bill Callahan – Apocalypse for having the years most inventive take on the singer songwriter/folk bracket.
Top 5 Songs:
1. M83 – Midnight City
2. Radiohead – Separator
3. The Weeknd – House of Balloons – Glass Table
4. Real Estate – All The Same
5. Metronomy – Love Underlined
Disappointments:
Not that they were crushingly poor, but there was one or two notable damp squibs in 2011. Radiohead’s King Of Limbs was a fine effort, just not by their exalted standards. It did contain some classically special moments, and ‘Separator’ for example, still showed them at their best, with an uncanny ability to pang your chest. On the whole, It was good, just not that good. Full sentiments were expressed here:
http://eclecticpicnic.tumblr.com/post/4312699173/the-king-of-limbs-some-objectivity-please
CANT’S Dream Come True was shaping up to be the musical event of the year, with Grizzly Bear’s Chris Taylor’s debut solo effort (with a helping hand from Twin Shadow) being driven with a frenzy of anticipation upon release. It all looked so promising, upon first listen, until the blunt realisation that the first half of the release was front loaded with stompers, before embarrassingly running out of steam quite quickly. Despite the hype, CANT largely flattered to deceive. Although ‘The Edge’ was up there amongst the tracks of the year.
Tip for 2012:
John Talabot slowly grew in stature in 2011 with a litany of stellar remixes, epic DJ sets, and his label ‘Hivern’ putting both he, and Spanish dance very much on the international map. Anything he touched seemed to be met with critical adulation, and with such steady growth, you might say 2011 was his year. Perhaps. I’ll put my neck on the line and say, with his forthcoming debut album due out in January, Talabot is going to achieve even greater acclaim in 2012, and will explode due to the fact he is about to release the years first truly stellar album. Its going to be off the charts, I can GUARANTEE that now. Something to look forward to, muy bueno.
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