I’ve been listening to Hurt since 2007 when I was going to college in Southern California. I had Vol.1 spinning constantly with “Rapture” testing the levels of my car speakers. After they released, “Goodbye to the Machine”, there was a long hiatus with no music in sight. Then, in 2012, they reappeared and announced “The Crux” – an aptly named record that toys with your feelings.
Wet Your Whistle
Pros
“So When” opens the album with a short piano ballad followed by the abrasive roar of J. Loren. Power chords pound away as Loren pops in and out with tender mercy and terrifying ferocity. Guitar solos tear through the grumble and a piano solo ends the track. “Eden” follows a similar sound, but with a more cryptic melody. Loren screams “But it’s the only time that Eden wasn’t far away/that believing wasn’t hard for me because I found you near.” The lyrical content is a similar mixture of their previous work. Half of it is a wrestle with god and the latter deals with deep-seated emotional issues surrounding (what would appear to be) the biggest bitch in the world and infanticide from Vol. 1. Scattered screams boom at the end and merge into my favorite track on the album. “Links & Waves” begins with clean electric guitar and a mild piano and Loren rips in with a verse/chorus that rattles you: “My life if yours because you’re mine. So we waited by the shore for the wave we’ve been looking for – to lie awake at night and make love – touch me, the way you touch me made me alive.” Every lyric evoked complete and total passion and vulnerability. As chills shot through my entire body I started to wonder how they could be so sadistic by making it only a minute long, but some things are more memorable if they leave you wanting more. “Sally Slips” follows the similar sound Hurt is known for. The southern brass knuckle of rock attacks with a persistence that is striking. Tracks like “Caught in the Rain” keep the album at a certain level of “somber” while maintaining a definite trajectory as their single “How We End Up Alone” soon follows to bring us back to familiar back-breaking melody. Then, wait for “Numbers” to tear you apart with a vicious elevated chorus.
Cons
If you don’t like Southern rock or music that packs an emotional punch, Hurt my be a little on the heavy side. This isn’t a con – I just needed something to take up space in this area. Buy the CD!
Verdict
Hurt always finds a way into the consciousness of the listener and evokes a certain level of emotion. They are such passionate musicians that it is a contagious sound even when it is produced in a studio. While the album is riddled with fierceness, there is a subtle amount of love and pain that you recognize only when it sneaks up on you. This is another really solid release from one of the best rock groups around. I’ll be seeing them in San Francisco this Wednesday and will give a brief live review of what I see. To be honest, I think they are going to set Hotel Utah on fire. Even if you don’t end up buying this album, check out “Links & Waves” for the 1:16 experience. Expect a small live review when I see them in 2 days. If you’re available, join me for a beer and great music.
Brief Live Review Follow-Up
I went to Hotel Utah with a good friend of mine and metal head, Dustin. He had never heard of Hurt before, but was down to have some beer and see a show in the city. I have terrible luck in San Francisco (I’ve mentioned this in the past). As a result, we find the best parking spot in front of the doors of Hotel Utah, but my I.D. is put into question by the man at the door. “This, my friend isn’t a real I.D.” he said. “You bet your sweet ass it’s a real I.D., sir. You can call the police if you need to confirm.” I was not going to miss this show because the bouncer wasn’t familiar with CA’s new I.D. cards — Fast forward a few minutes of banter and he gets it checked out by someone else who confirms that “It is real”. I shaved for the ladies, but regretted not keeping a little gristle for the show. That was a pain in the ass.
We sat on the top balcony and overlooked the opener and, eventually, Hurt when they came on stage. As requested by J., nobody had their phones out recording the set and being obnoxious. Believe it or not, there are some people who still value the raw, personal experience of playing music in a small venue and don’t like it being slathered on YouTube for others to gaze at casually. I stand behind this 100% and I’m glad J. said it outright.
The all-acoustic show began and made everyone freeze in position once the first track was over. From the metal head next to me, to the casual listeners standing in the background, everyone knew that this was no joke. Folks, I’ve seen a lot of shows in my life, but never have I experienced something as enjoyable and powerful as Hurt’s set at Hotel Utah. Each song, including a cover of “Wicked Games” was executed with passion and a love for music that a lot of bands forget about when they hop on a tour bus. It was mind-blowing.
Halfway through the show my friend Dustin asked me, “Hey man, have a cigarette with me outside”. I thought, “That’s funny, I don’t smoke.” I didn’t realize that what he was really saying was, “The band is hanging out right here, you should go be a fan boy for a few.” The guys in the band were all great, down to earth people. They let me throw out my fanboyism about being really helped by their music when I went away to college in ’07. Long story short, I really enjoyed talking with the guys from Hurt and it solidified the belief I already held about why they were putting on such an unforgettable show – there was a passion for music that came out of every pore.
What I can say post-show is that while I don’t have any pictures, videos, etc. to share, I recommend you take a trip out to see these guys play if you’re able. I’m nominating “The Crux” for Album of the Year in 2012 for 402 Productions as well. The more I listen, the more impressed I am.
On a brief side note, make sure you exit out of the side door at Hotel Utah. “Doves and a mango” await those who venture. (Copyright J. Loren Quote of the Night)
So, last week I shed some light on the young hopefuls Night Fruit, the Cambridge crafters of ethereal, powerhouse dream pop. Having toured a little bit with Victor Villarreal in the states was enough reason for me to look into them. Now in Europe, he’s paired with Berlin inhabitants mOck, another youthful three piece. Their debut self-titled full length has just been released. Let’s take a look at the other half of music that Villarreal chose to arm himself with for this encompassing tour.
Listen to mOck
The Pros:
Frederik Knop, Conrad Rodenberg, and Felix Zimmermann; the three men who together make up mOck, create an utterly refreshing and precisely focused brand of post-rock. If a scientist were to create this band in a laboratory, he/she would extract a pinch of bleak tonality from Slint along with their accurate musicianship. Stirring in some infrequent time signature changes and a knack for dry, systematic lyrics will yield this group.
This album operates like a well-oiled machine. Ten textbook post-rock numbers become interspersed with six short helpings of roughly recorded instrumental tape tracks to comprise mOck. Songs seem to move from one to another seamlessly, mostly in part to the aforementioned interludes that prevent more than two legitimate studio songs to be played subsequently. It’s a small but thoughtful touch given to this record that separates it from conventionality, as you are not used to well-paced “interruption” between songs like this; as a result, it harbors great flow. Just imagine The Who Sell Out, but instead of fake commercials inserted randomly at the ends of tracks, they were replaced with dissonant, spacey grooves.
Another perfectly fitting attribute to this band is their execution and choice of vocals. Knop, the bassist and singer, is probably only heard for about thirty percent of this LP. When he does choose to sing, he lists off very repetitive and scientific lyrics. Romance is out the door. “All you are is controlled/drink the wine/spill the wine,” Frederik drones concernedly and languidly towards the end of “Montreux”. Every verse sung on mOck sounds as if it had been written by the robot character from Radiohead‘s “Fitter Happier,” and fits snugly whenever it rears its head.
The Cons:
There is a slight downside to being so dour throughout an album that clocks in at about thirteen minutes shy of an hour. Listening from start to finish won’t present an obvious rift, but by suggestion, it would have been really nice to see a song or two in the major key. This isn’t to say that every song dwells in a zone of morbidity, but even tunes that teeter on the line of slight glee are bogged down emotionally by an air of mystery, like “Time And Motion” and “57″. The inclusion of a feel-good track would have bumped this release up from being incredibly good to flawless.
The Verdict:
mOck are an excellent find. They are mandatory ear candy for those who are fans of Slint and Pinback. mOck is one of those good, old-fashioned awesomely impressive debut works. It balances math and post-rock superbly and has that sheen, fresh, new car smell. For a year that has been pretty barren as far as noteworthy music is involved, these guys have proved otherwise, which is why they have earned a nomination for album of the year.
Recently, Nick Wan wrote an interesting piece centering on the concept of selling out, and how no matter how much corporate sponsorship or how many Youtube hits a band gets, the absolute best approach to building a fan base is a holistic one: practice your ass off, play a million shows, talk to people, and be around for longer than a week before you try to say you’ve made it.
Anna Vogelzang has been around longer than a week; more like a decade at this point. She’s a mainstay of the Midwest DIY folk scene. She writes, records, promotes, performs, and even teaches at a girl’s rock camp. She’s done this without the backing of a label, funding her newest full-length, Canary In A Coal Mine, via Kickstarter. Anna has built not only a moderate following (a random dude in a bowling alley in Seattle told me last month that he has seen Vogelzang live twice) but some critical acclaim as well for her voice and songwriting, both of which are at their finest on Canary In A Coal Mine.
Listen to “Volcanoes” While You Read
The Pros
Everything about this album shines, but for me the biggest gold nugget is the lyricism. I often play a game when I listen to an album for the first time: I pick random lines and try to guess the coming rhyme, if not the next line in its entirety. You can play this game with almost any genre (you win again, classical music!) and I personally believe that you can tell a lot about how good a writer is by trying to predict their writing. I am about as far from a good songwriter as a Bengal tiger is from a stapler– I’m just a dude who listens to a LOT of music– so if I can predict half of your lines, you may not be trying very hard.
There’s no issue with that on Canary In A Coal Mine. Vogelzang’s lyrics are crisp, fresh, and constantly engaging. There’s hope, despair, humor, rage, heartbreak, and silliness in these songs, the wordplay and imagery slip-sliding in such a way that it’s nearly impossible to predict. Here is one example, chosen not because it’s the best example, but because it is literally playing as I type:
“My fuse is itching to run out
Is there machinery you could bring?
See, I was born into this broken mess
not even miles seem to fix.
With every day, a little death
and I hope that trip is beautiful
but maybe the gears that grind against your wheels
could spark a kickstart to my chest.”
–from “Heart Beat Faster”
The Cons
Almost none, honestly. Folk may not be your thing, and that’s cool, but in terms of songwriting, arranging, vocal performance, and overall construction– production, pacing, etc.– Canary in a Coal Mine is almost flawless.
The Verdict
Lately I’ve been listening to a lot of solo female folk: Emily Hurd, Fay Wolf, and Gillian Welch off the top of my head, but Canary in a Coal Mine is the best new folk album I’ve heard in a really long time. It’s the best example I currently have for how bright the future of music can be: give an artist with a unique vision a few dollars and creative control then step back and wait for the magic to happen.
The Mistress was released officially by Barsuk Records last year, and is simply amazing. It earned one of our album of the year nominations with Alex Schaaf’s erratic and fantastic songwriting that is guaranteed to shake more than a few bones. The debut was hardly a product of the full band though, because Yellow Ostrich at the time consisted of only Schaaf and his genius loops. Additional tracks were included on the LP once members Michael Tapper and Jon Natchez joined the frontman. Not a year has passed, and the group has been hard at work. Strange Land, their sophomore record, represents Yellow Ostrich’s full form exposé.
Listen to “Marathon Runner”
The Pros:
Think on Grizzly Bear for a hot minute. Ed Droste was the sole technical member for Horn Of Plenty, which was basically the quiet before the storm of Yellow House, in which, Droste recruited a full band. Well, much akin to how Yellow House rocked all of our socks off and showed us what incredible improvement could be made on something that is already so damn good, Strange Land does the very same. Shaaf’s debut produced so many stomping indie jams and tranquil ballads by his hand alone. His transition to incorporating other members appears flawless as Yellow Ostrich’s new form is so cohesive and thriving with creativity; the only way to go was upwards.
This LP required a gargantuan amount of consideration. There are ten really well thought out tracks here, and dissecting each would leave a listener finding new parts to explore. A good portion of these tunes all carry an epic aura about them, although the driving force consistently stays at a hustling pace. “I Got No Time For You,” a bulldozer of a song, moves sluggishly to press its point, yet each musician affixes surgical focus on their tasks at hand. Precision is a dominant characteristic of Strange Land, contrary to Alex’s messy, garage-y guitar wail.
The Mistress started off highly quirky and jumpy in nature, eventually simmering down as the album progressed to slower, moodier songs like “Slow Paddle.” The ten that this record has to offer mimic this pattern almost perfectly, and it worked so well the first time around. Explosive, heartfelt numbers “Elephant King,” “Daughter,” and “Marathon Runner” kick off the disc, all capturing the essence of wild hope that Schaaf is so keen on writing about. Later on, “Wear Suits” and “When All Is Dead” replicate the same feeling behind previous closers “Fog” and “Bread” by exiting with a burning flame.
The Cons:
Only a handful of times is there nothing negative to write about for this section. Yellow Ostrich has done more than just beaten the sophomore curse; they have kicked it in the ass. With two new members branching onto an originally solo project, this album is a remarkable feat in the sense that it sounds even more musically bound together than its predecessor; (not to mention, the growth has resulted in Schaaf easing up on the loop pedal to just the right extent which was a minor faux pas beforehand).
The Verdict:
If this is another Grizzly Bear story, you can bet that we are in for a real treat from these guys. Succeeding on so many levels, Yellow Ostrich have outdone themselves, and what lies ahead for this young band couldn’t be more exciting. It is unquestionable; Strange Land wins itself a solid nomination for album of the year for 2012.
The product from Penn, Good Old War, has been known as one of the most fun bands to enjoy on any level. Their live show is something of a fantastic journey through your favorite singalongs. Their albums are sniper-like precision in production, instrumentation, and (oh yes) those vocal harmonies.
Come Back As Rain, Good Old War’s third full length album in six years, is yet another leap towards folk rock mastery. Dan Schwartz (guitar) and I talked a lot about Come Back As Rain a few months ago. “It’s a way more upbeat record than we’ve ever done. It’s way more live — way more rockin’.” And as the single “Calling Me Names” showed, it’s definitely more upbeat. Those “Coney Island” feelings stirred the night I heard Good Old War played “Calling Me Names” — which were the exact feelings that made me fall in love with these guys in the first place. The bouncy, dancey feelings that I sought out from this band were always contrasted by their rather melancholy vibe on other tracks — which isn’t necessarily what was reflective of their live show. Schwartz continued on to say, “If anybody has ever seen us, they know that it’s not mellow like the records are. We wanted to make an album that was reflective of how we play live — how it’s fun. How it’s dancey.”
Their last album, a self-titled release back in 2010, was a more mellow release. Schwartz states that these new tracks kicks it up a notch, big time. “In every way, [Come Back As Rain] is better. Better everything — lyrics, playing, songs. It’s a huge step forward for us.” This isn’t to say that they are throwing away the mellow, heart-warming slow jams. Schwartz went on to say how much all the songs, every single song on all releases, are near and dear to Good Old War but, “Just like any band, we want to grow. And we want to grow in the right way.” So, have they?
Listen to the entire album below!
The Pros
They weren’t kidding — this entire album will leave you smiling from beginning to end. It’s hard to write what gushes out of this album, because Schwartz wasn’t lying when every facet of their songs, from writing to production, has become something more refined — something of perfection (or the closest to it that I’ve heard this year).
The instrumentation is a definite winning point. Schwartz may have said it best in our interview, “This [album] showcases the band a little more. Tim’s a ridiculous drummer, and I’m doing guitar solos, and that stuff isn’t on any of our records up until this point. Everything’s been really laid back. On the new one, you can really start to hear what’s happening there — there’s a little more personality in the playing. You can feel it. It’s a band hitting it’s stride. It’s my proudest moment in my whole life, creatively.”
Schwartz admits that their first album came out only after being a band for two months, and the second album was practically written a few months after the release of the first (even though it came out a year and some months later). With that being said, Schwartz says, “Since then, we’ve gotten to become a better band. We’ve now played hundreds and hundreds of shows. When we’re not touring all the time, we practice every day. And we’re taking the opportunity to just work our asses off.” With this release, there is a crisper sound. Vocally, it is a more polished product than the more raw, singalong songs from Only Way To Be Alone and their self-titled album. This is met with definitely better writing, both in terms of lyrics and song structuring. Every song seemingly has a sort of lyrical hook or infectious riff that sort of aurally eats at you. This is definitely a product of becoming a better band, but Schwartz also believes it was by design, “We want every song to get stuck in your head. We want you to not be able to choose which songs should be the ones you keep revisiting — so you have to listen to the whole album over and over again.”
The Cons
This may be one of the hardest cons sections I’ve written, because I’m usually a fan of nit picking at records… but even when I stretch for something to complain about, I find my mind arguing with me shouting ARE YOU NUTS? THAT’S NOT A CON AT ALL! But it truly seems as if Good Old War has covered all their bases.
Maybe the one con I had was the fact that the album was definitely a more universal album. Of course, this isn’t a con for the band or any new fan… but I’m personally a fan of diving into some real specific reflections, lyrically. This album does offer such reflections, however, like with “Amazing Eyes,” but the album does have a “general” feel to it, lyrically. Yet again, Schwartz went on to say, “This album talks less about heartbreak than any of our albums up until this point. Less about girls and love.” And although this may be true to an extent, the sappy sad kids in the corner might feel left out. Then again, Good Old War was never about sappy sad songs — and Come Back As Rain portrays exactly what to expect from a fun, happy, folk rock jam band.
Maybe a potential con is what the hell can you do better? At this point, this is by far the best album they’ve put out. However, it sounds as if they put all their cards on the table. That’s completely how it should be — playing your hearts out and leaving nothing to waste — but imagining an improvement from this album is sort of… hard. It’s sort of like imagining living in not just the 4th, but 5th or 6th dimension. What the hell is that like? I have troubles walking around town in the 3rd dimension. Just like how I have troubles thinking of what Good Old War can improve on. Without a completely experimental direction, involving maybe different instruments than the staple guitar, keys, and drums, it’s hard to think what is the next step for Good Old War. That, of course, is never a con… but one might try to extrapolate whether or not the next step will be a tiny one or a giant one, like this album was.
The Verdict
Schwartz ended our interview by saying, “We made a deal with our label right off the bat when we very first started [and said], ‘If you can make it so we don’t have to have another job, we will make you proud and we will be as good of a band as we can possibly be.’ So we’re just doing our best to make good on that promise.” And seemingly so, Mr. Schwartz and Good Old War. This album marks a huge stride for Good Old War — a more concentrated, refined sound met with that familiar style everyone has fallen for over the years. As I said over Twitter, when I first started listening to the album for a review I realized much later that it had been playing on repeat for the past five hours. This wasn’t out of laziness or due to analyzing the album… this was because it was that good. And it is. Maybe one of the best albums of this year. Definitely a contender for album of the year.
One of the most exciting aspects of writing for a site that covers bands with little to no press is coming across the occasional newborn artist. There are endless possibilities that lie in store for such musician(s), whether signed or unsigned to a record label. In most realistic cases, they will continue to venture through obscurity, pressing onward to gain recognition. The excitement, however, stems from the prospect of said group proverbially blowing up after an album release. Enough of the yapping, though. The artist now in question is recent signees to the impeccable Merge Records, Hospitality. Following a self-released EP back in 2008, their self-titled debut album will see its release on the 31st of January.
Listen to “Friends Of Friends”
The Pros:
So, it’s no surprise that a band from Merge sounds great. In all seriousness, this LP is brilliant. The band can be most easily described as a more demure Vampire Weekend fronted by an American, inner-city Björk. Energy is always present on a band’s debut album, as it is crystal clear to see on classics like Icky Mettle and Funeral. Hospitality has the cognizant ability to not mistake energy for hyperactivity.
Hospitality has its handful of songs set at a jogging pace such as “Betty Wang” and “The Right Profession,” but the band can hit just as hard by slowing it down to a more focused ballad, like “Julie.” Tone-wise, this album is quite emulative of a typical New York City-native young adult, which the members all happen to be. There are tunes that touch upon the night life of the Big Apple like “Friends Of Friends,” but they more so deal with relationships, which seems most typical and relative to the ethos of a few Brooklyn twenty-somethings. That may sound like a broad form of pigeonholing, but vocalist Amber Papini does well on her part by making each track a good story. The music itself will get you nodding your head, while the lyrics give the LP endurance.
This trio is a perfect example of a group that takes musical influences and voices them within their own songs. “Eighth Avenue” echoes Belle And Sebastian, “The Right Profession” echoes Vampire Weekend, and so forth. Taking a tip from Belle And Sebastian though, rather than the latter, Hospitality chooses to be a songwriter’s ideal band. As mentioned earlier, Papini has a tendency to shine through as a storyteller, and that is what gives the songs their boldness. Yes, the instrumentation is wonderful, but the strong point of their sounds is in Amber’s NYC-raconteur type character.
“Friends Of Friends” is the leadoff single from Hospitality, and rightfully so. Without coming off as expected of most indie bands at their status, that song is practically begging to be in a commercial. What separates them from fellow indie rockers is that they aren’t one trick ponies, like most of those chosen for Mac commercials. The entire release is pretty brilliant, it stays gripping from start to end. If you let the album take control, you’ll wind up thinking each subsequent tune is your favorite on the album. “Julie” is so intriguingly pensive and builds to a beautiful close, “Sleepover” features a stunning display of ethereal vocal tracking, and this goes on until the time is spent. Basically, this is yet another installment in the large musical string of fantastic debuts.
The Cons:
If you couldn’t decipher from everything that’s been typed so far, this album has no faults. Any faults that may exist with this band would have to do with their live performance. That is, some songs may or may not translate well on the stage. Hospitality consists of three core members, and the production on a few tracks can get fairly thick at times, leaving the small problem of a potential discrepancy between performance and studio recording.
The Verdict:
Hospitality is 402′s first review of the year 2012, and it may be one of the best albums of this year. It sounds cliche and/or sycophantic, but I assure you readers that it is pure coincidence. After just one listen, you will know why this is receiving my nomination for album of the year already. Amber Papini, Nathan Michel, and Brian Betancourt have made a great LP, and are guaranteed to be a band to watch out for. More good music can only be expected from these youngsters.
As always, here are our top five selections as selected by the staff here at 402 Productions! The list was created in a few steps: first, all the writers from this past year listen to every album that has been nominated for album of the year for 2011. Then, they rank their top five selections based off of all the nominees. Lastly, I compile all of those lists into a spreadsheet and the top five albums with the “best” (meaning closest to the number integer 1) averages become the “best of” for 2011. In the event of a tie, the albums with the highest amount of #1 votes wins the tiebreaker. In the event of another tie, the album with the least amount of exposure (via number of Google results) is the victor.
Feel free to click on any album to read our review from this past year!
5. Stepdad – Ordinaire EP
Nate Pavlot on Ordinaire EP: Crazy catchy tunes. This band can’t help but put a smile on my face, and their music is immediately ensnaring. The 8-bit noises supplementthe band’s “not too serious or into ourselves” aura, creating a sound which is both fun and addicting. Definitely keeping these guys on repeat for a while.
4. The Weeknd – House Of Balloons
Adam Finley on House Of Balloons: The only album that’s ever made me want to cry and masturbate at the same time — looks like I’d better double up on the tissue!
3. Casiokids - Aabenbaringen Over Aaskammen
Nick Wan on Aabenbaringen Over Aaskammen: I very much appreciate the layering of both electronic and acoustic instrumentation, especially when it seems fairly massive and intricate. Hard to deny this album multiple listens when based off of the shear quality of instrumentation alone. When judged on actual songs and how they are strung throughout this album, it’s hard to deny this top honors.
2. M83 – Hurry Up, We’re Dreaming
Blake Rice on Hurry Up, We’re Dreaming: The finest album I have heard in recent years. The production is seamless and both CDs merge so beautifully that it is hard to wake up from the bliss. ‘OK Pal’ is probably my most-played track this year.
1. The Speed of Sound in Seawater – Underwater Tell Each Other Secrets
Nate Pavlot on Underwater Tell Each Other Secrets: This is math-rock done right. Not only is the guitarwork impressive, but thewhole band shines instrumentally. The sound is tight. The tracks all hold individual gleaming moments built over long, complex song structures. The overall talent level of this band relative to their young age baffles me. I expect great things in the future.
Honorable Mentions
Childish Gambino – Camp Blake Rice on Camp: Donald Glover is Abed’s right hand man on the popular, but recently halted, Community. His first real album was a breath of fresh air for hip hop this year. While die hard rap fans will probably find ways to discredit this album, the honesty and intelligent lyrical content kept me engaged from beginning to end.
Adebisi Shank – This is the Second Album of a Band Called Adebisi Shank
Remy Chan on This is the Second Album of a Band Called Adebisi Shank: Though slow to start, this album kicks you in the face. It reminds me of Fang Island jamming with Minus the Bear, and MTB thinking they miss being Botch.
For your reposting/reblogging pleasure
5. Stepdad – Ordinaire EP
4. The Weeknd – House Of Balloons
3. Casiokids - Aabenbaringen Over Aaskammen
2. M83 – Hurry Up, We’re Dreaming
1. The Speed of Sound in Seawater – Underwater Tell Each Other Secrets
How we all voted
Here is a crude spreadsheet of how we all voted. I believe this spreadsheet is sortable… I haven’t used it in a year, so let’s hope it works. A few things to note:
You will see a lot of “N/A” votes. This is to be expected, as all the staffers (and everyone in the world) will have different ideas of what is the best albums of the year. A vote of “N/A” just means they didn’t include the album on their list. Also, you will notice a few ties. I explained how we do tie breakers earlier, but to be brief… we break a tie via the most #1 votes (followed by the most #2, #3, and so on). If we are still tied, Google results will help break it, via the album with the least amount of results will be on top.
The Staff
Nick Wan
Remy Chan
Adam Finley
Nate Pavlot
Blake Rice
Ryan Gabos
Grand averages
The Speed of Sound in Seawater
2
N/A
N/A
1
N/A
2
3.833
M83
4
N/A
2
4
1
N/A
3.833
Casiokids
1
N/A
N/A
5
N/A
1
4.167
The Weeknd
N/A
4
1
N/A
2
N/A
4.167
Stepdad
5
N/A
4
2
N/A
N/A
4.833
Childish Gambino
N/A
3
N/A
N/A
3
N/A
5.000
Adebisi Shank
N/A
2
5
N/A
N/A
N/A
5.167
Chase & Status
N/A
N/A
3
N/A
4
N/A
5.167
Dynasty Electric
N/A
1
N/A
N/A
N/A
N/A
5.167
Zechs Marquise
N/A
5
N/A
N/A
N/A
3
5.333
And So I Watch You From Afar
3
N/A
N/A
N/A
N/A
N/A
5.500
The Bony King of Nowhere
N/A
N/A
N/A
3
N/A
N/A
5.500
Mighty Clouds
N/A
N/A
N/A
N/A
N/A
4
5.667
Explosions in the Sky
N/A
N/A
N/A
N/A
N/A
5
5.833
Yellow Ostrich
N/A
N/A
N/A
N/A
5
N/A
5.833
Some notable things about our list
Nate Pavlot and Nick Wan had almost identical lists
A vote for #1 and #2 go a really long way
In true 402 Productions fashion, a band with little to no press and has yet to be signed is our #1 album of the year
M83 may be the only album on our list that is shared on other best of lists
Two EPs made it — pushing towards the idea that the EP generation has begun
There was no clear cut #1 album of the year (it went down to a Google tie breaker)
Nick Wan’s Top 5 Most Vicious 402 Reviews of 2011
As many of you know, our rating system is a little more black and white than the more common Likert scale stylings of other music reviews websites. Our system is based on a Good-Average-Bad, three-point system. Because of this, many of the albums we consider “bad” may actually be mediocre or not as bad as many people believe. Of course… many people will disagree with our decisions. And many are not afraid to speak about their disagreement. Here are my five favorite bad reviews of the past year from our writers.
O’Brother – Garden Window - Review by Ryan Gabos
The review itself is well-written. I personally didn’t think this album was 100% horrible… however, I wouldn’t go out of my way to say how much I disagreed with this review. Much less, if I were in O’Brother I wouldn’t blast Ryan Gabos’ review over Twitter. The amount of responses in this review definitely makes this one of the more evocative reviews we’ve had in a while.
The Perms – Sofia Nights – Review by Adam Finley
I love the narration. This may be one of the only times breaking away from the formula of the website worked completely to Finley’s (or should I say, Professor Snivelmire’s) advantage. And if you chanced upon this album at all, you would definitely understand how this review really twists the knife.
Noxious Foxes - Legs - Review by Blake Rice
I seriously loved this review. Rice’s “Anyone Can Play Guitar” example was not only subtle, but a metaphor in itself. I wasn’t all that impressed with Noxious Foxes, and preferred the guitar-centric sounds of And So I Watch You From Afar’s Gangs much more, but this took it to a new scathing level.
aTelecine – A Cassette Tape Culture (Phase 2 & 3) – Review by Blake Rice
This review was not as subtle as the Noxious Foxes review, for many blatant reasons you can most likely discover for yourself. Some quotable gems: “She probably listened to Windowlicker and really liked it,” and “Personally, I was much more stimulated by her performance as Maria in Pirate’s II: Stagnetti’s Revenge.”
Aderlating - Spear of Gold and Seraphim Bone Part One - Review by Blake Rice
This review had pretty much all the key elements: a deviation from the normal 402 formula, an insightful review on what the album is and isn’t, a fairly rampant comments section… Although these top 5 bad reviews from 2011 are in no particular order, this may be one of my most favorite of the year, if not for all time.
Adam Finley’s 5 Best Tumblrs of 2011
I don’t Tumbl. I mean, I do get drunk and fall down a lot (thanks home made Four Loko), but I don’t use Tumblr, the short form blogs that let you quickly throw small bits of content at the interwebs like so many used tampons. Tumblr exploded this year; it’s popularity more than doubled, and with it came a glut of new content. Most terrible. Some amazing. What follows are the 5 Best Tumblrs of 2011.
Much like People of Walmart, user-driven Tumblrs are hit and miss. But whereas Accidental Chinese Hipsters (which just missed inclusion in this list) is probably 30% lame, Halloween or Williamsburg is much more successful, documenting the ridiculousness of Brooklyn’s trendiest neighborhood. When gentrification has turned Williamsburg into a full-on yuppy town, we’re all going to look back at the good old days of 2011 and laugh at a recently dead Macho Man Randy Savage waiting for the train.
We all know that coworker: the one who watches The Office too much; the one who is casually racist; the one who swears even when a swear word isn’t called for (typically me in any office setting). They’re all here, in the guise of a shouting hippo. Maybe the funniest part is the back story: these two hippos were best friends in some wildlife park when the female got pregnant and they had to be separated because the male would at least pull a Joe Jackson on those babies if he doesn’t kill them outright. After separation, the male spent hours each day hanging over the barrier bellowing to his friend; much like that D-bag in the cubicle next door.
402 has its finger on the pulse of the indie community, but that doesn’t mean we’re deaf to the sounds of pop culture. This year, Jazy-Z & Kanye’s mega-hit album Watch The Throne was one of the most innocuous and fun albums of the year. But the internets took it farther– some enterprising individual started gathering baby pictures and stumbled on pure 2011 gold.
Who can forget the image of the mustachioed cop casually macing the unholy fuck out of some protesters who had done nothing worse than sit in a place they weren’t supposed to sit? He was so casual about it. The nonplussed stare? The slow, repeated sweeps, completely ignoring the wails of the sprayed? He might as well have been at a picnic. It was a tragic event, but this is how the internet turns tragedy into hilarious triumph:
Gay kittens, Drake’s breakfast cereal, Speaking Mexican, Birdman putting Lil Wayne in a car seat– this may be my favorite Tumblr ever. It’s the one I can go back to time and time again, show new people, check on a daily basis, reread old posts, and it never gets old. For a Tumblr consisting solely of screen shots of texts, this is as funny as it gets. Prepare to laugh until you piss.
Blake Rice’s Top 5 Films of 2011
As a brief introduction to this small list, let me say how difficult it is to see new limited release films in the Bay Area. When I was living in Southern California it was no problem. Regardless, searching out films you’re interested in is always worth the trip. Enjoy this list. 1. The Skin I Live In
Almoodovar is a visionary director who explores sexual taboo like no other. The Skin I Live in had great performances from Antonio Banderas and Elena Anaya. Held together by the best adapted screenplay of the year, this is one you won’t want to miss if you enjoy the work of provocateurs. 2. Melancholia
Lars von Trier returns with his follow-up to Antichrist which as one of my favorite films of 2010. Part spiritual sequel and part confession boot, von Trier continues his most recent work which tracing his own steps of recovery and delivering the purest and darkest portrait of depression in cinema.
3. Drive
Angelo Badalamenti’s neon 80′s soundtrack will grab you in an otherwise very silent film. Gosling pulls out his best performance to date, and Bryan Cranston has a great (but brief) role. If you liked M83′s new album and played Vice City as a kid, why haven’t you seen this yet?
4. I Saw The Devil
I usually don’t like modern Asian splatter cinema, but this film did it right. The dramatic atmosphere and phenomenal story progression really ties the film together. While definitely not for the queezy, it is a great film that was majorly overlooked in 2011.
5. Enter The Void
Gaspar Noe’s follow-up to the very successful Irreversible is really, really, long. So long, in fact, that the uncut version didn’t “work” for me. With all that said, it was something I had never seen before. The direction was extraordinary and if they cut it down by 30 minutes to an hour, it would have packed a larger punch.
Nate Pavlot’s Top 5 Fantasy Football Busts of 2011
While music is clearly the main passion of the writers here at 402 Productions, most of us also hold sports dear to our hearts. In fact, myself, Nick Wan, and Adam Finley even compete in a fantasy football league together. The nature of fantasy football dictates that any player can step up and become a desirable playmaker, but it also has the ability to render past star players meaningless. With that said, here’s my personal list of the Top 5 Fantasy Football busts of 2011.
5.) DeSean Jackson Michael Vick’s partner in crime, the flashy Jackson really failed to live up to his expectations. Inconsistency, a poor attitude, and only 3 TD grabs have left Jackson in hot water with fantasy owners and Philly fans alike. Dream team, huh?
4.) LaGarrette Blount
This sucker-punching second year RB out of Oregon looked to be a solid 2nd round pickup this year, after coming on hot at the end of the season last year. With Cadillac Williams out of the picture, Blount stood as the clear number 1, yet he failed to produce the numbers expected of him. He was actually benched last week after an early fumble.
3.) Andre Johnson
Now I have nothing but respect for this guy, a true class act and a freakishly talented receiver, but Andre really did have an off year. His hamstring kept him out for a good part of the first half of the season, and with the Texan’s locking up the AFC South and an injured Matt Schaub to boot, Johnson has no reason to rush back into the lineup.
2.) Peyton Hillis
I felt this one personally, having blown a second round pick on the guy. Could you blame me? Hillis came on for a monster season last year for the Browns, earning him the dubious honor of being the cover boy for Madden. Then came the hamstring issues, and the strep throat, and the weight loss, and the tears. I should have known not to test the curse.
1.) Chris Johnson
CJ2K, the Titans’ halfback with “gettin’ away from the cops speed” (good call Gus Johnson) really didn’t help his case for MVP this season. After a pre-season holdout ending with $53 million over 4 years, Johnson performed abysmally. Generally picked in the top 3 in almost every league, CJ finished the year as the 17th ranked fantasy RB with a meager 4 touchdowns. Bet Hasselbeck is missing beast mode.
Ryan Gabos’ Top Five Bands He Wishes More People Knew About
The following are the five most deserving musical artists in my opinion that lack public knowledge. Most of the time, I hate when a band I really enjoy becomes hugely popular. I watched this happen with Death Cab For Cutie, and it just hasn’t been the same since Plans. However, the groups I am about to list are all defunct, save for one or two that I’m pretty sure tour quietly at this point. The important thing is, defunct or not, their primes have all been long gone. Keep in mind that the Volcano Suns would have made this list if Merge Records didn’t recently (and very awesomely) reissue The Bright Orange Years and All Night Lotus Party. So, without further ado…
1. Rein Sanction
Two brothers and a friend made up this incredible three-piece faux-grunge act from Sub Pop Records. Their music was commonly compared to Dinosaur Jr. for some odd reason. The reality was that Rein Sanction made their own distinct brand of sound. Mark Gentry’s alternate tunings for his guitar resulted in several sprawled-out jams like the song featured above. They released only two albums on Sub Pop; each one perfect. Sadly, I feel like I am one of thefew who has heard of this group.
2. Saccharine Trust
SST Records was the birthplace of American punk music as far as I’m concerned. Black Flag and Minutemen were just a few of the many fantastic punk-branded fellows to arise from the label. Of course, there are always diamonds in the rough. You may recognize Saccharine Trust from the ”opening act” portion of countless Raymond Pettibon concert posters. Jack Brewer and company were no second fiddle in the game. They were well respected by their peers. Another interesting tidbit about them is that although punk was their starting point, by album number four, they had moved on to jazz fusion. Why hasn’t anyone heard of them…
3. Six Finger Satellite
Okay, so Six Finger Satellite at least bears the description of ”esoteric,” but they still deserve much, much more than that. Yet another undermined outfit from Sub Pop, they consisted of J. Ryan and a few others who collectively combined standard instrumentation with Moog synthesizers to yield a product that can only be depicted as “digital grunge.” They dually pack an analog punch AND reminisce you with video game noises. Everything about their music is hyper and tough, and it’s a shame that the extent of their notoriety comes from being featured for a few seconds on Beavis And Butt-head. Check out the official music video here.
4. Velocity Girl
At first glance, it looks like a bunch of spectacled dorks surrounding a pretty girl. That might be true, but regardless, Velocity Girl made some of the best pop songs of the 90′s, and they made it look damn easy. Singer Sarah Shannon isn’t just adorable, she also had the voice of an angel. The hook to so many songs involved her common use of harmonizing with herself via tracking over the vocals. It beats me as to how they aren’t one of Sub Pop’s most revered alumni.
5. The Bongos
Just one more. Moby did me a huge favor by remastering Drums Along The Hudson a few years ago, making it available to the public once more. That didn’t result in a boost of their popularity though. Richard Barone’s pop trio from the 80′s still remains pretty obscure. Their aforementioned album is their best work. It’s fast and energetic, and it has a lengthy string of well-crafted tunes like the one above that make you want to get up and hop around. Moby and I also have the distinction of being The Bongos‘ only two fans.
That’s all from us this year, folks!
Thanks to Adam Finley, Blake Rice, Nate Pavlot, and Ryan Gabos for a fantastic year. Especially to Adam Finley for making me feel like I’m doing something right. And definitely to Ryan Gabos for stepping up to the plate and becoming the head editor this coming year.
And of course, we would all like to thank the readers. There is always a disconnect between a person and what he or she puts out there for the internet to see. Just as well, there is a disconnect between a reader and acknowledging that the writer who put something out there for the people to read is actually some guy or girl on a computer typing some stuff up about what they think. I’ve been fortunate to meet some of my readers, as well as getting to know every one of my writers. Both groups aren’t too much different. And I think that’s why this website succeeds in the way it does — everyone apart of this website is searching for more music. It doesn’t matter if you’re a writer or a reader, both groups are listening to even more music than we present on this website. So, for the sheer fact that our readers come back here as a reference or in hopes to find a new jam for the day, week, month, year, or whatever it may be… I really do appreciate it. Thanks. Makes me feel like I’m not the only guy who gets excited for an unknown opening band or the girl quietly playing in the corner of a coffee shop.
Last night I was watching some “Maniac Cop” with a good friend of mine. I needed some 80′s nostalgia, but that has
little to do with this review. I mentioned “Community” to him and a few phrases later he said “You know that dude is Childish Gambino, right?” “No way!” said I. Through the grapevine I had heard about the rapper, but didn’t connect the dots myself.
I’ll be honest. I thought this year was going to be a sleeper. I got hit with M83 and thought, this is absolutely phenomenal – this year is gonna be an easy choice. After hearing Gambino’s debut, I’m beginning to wonder why the hell these great musicians are waiting until late in the year to blow us away.
The album opens up with “Outside”, a crushing rap anthem about rejection while growing up in the Bronx. Complimented by a soul choir that connects the verses, the tune yanks at your heartstrings. There is no feigned vulnerability here, and Gambino wears his persona on a sleeve. On “Fire Fly” his style is reminiscent of Kanye West‘s College Dropout optimism and flow style. The track he performed on The Late Late Show recently, “Bonfire”, is a perfect example of how alternative rock can groove with rap. Gambino takes that idea and with a raw flow matching that of Lil Wayne, rocks the hell out of the track and proves the genres can mix and sound really, really good.
“All the Shine” has some more soulful bridging that makes the tune soar to a dreamy level. In fact, it is actually reminiscent of Bone Thugs-N-Harmony‘s “See Me Shine”. If you listen closely to how the tracks transition, and the luminescent trips he takes you on, they are really similar to a SufjanStevens album.
On the final track, “That Power”, Gambino tells a brief story about a girl and a bus. It is one of those tracks that the album builds toward and by the last word, you realize that Gambino’s humility makes him even more of a mature act in the rap genre.
Cons
He changes over from harsh vocals of Wayne, ethereal Sufjan, and classic Kanye. It isn’t necessarily a conflict if you do a straight listen, but if single tracks were played, some would sound out of place without the confines of the album listing.
Verdict
This is a debut album and Gambino threw everything on the table. The majority of rap I have heard this year, and those prior, dealt with the success they attained after leaving the projects and getting picked up by a big producer. Gambino works backwards in this respect and trades the gold chains for poise, humor, and emotionally wrenching storytelling. This album is a much needed wake-up call to a gaudy genre. Who would’ve thought Gambino could have done so much in an hour while taking many cliched rap messages and turning them on their head?
I watched a panel interview with filmmaker Quentin Tarantino a while ago. In the interview, he was telling up and coming filmmakers how to “make it”. Although it is about filmmaking, his message fits quite well for this album. After hearing answer after answer from the rest of the panel, he finally broke the formula for success down: “You make a piece of nitro and throw it in someones lap – they notice.” Donald Glover’s album is pure, honest, provocative, and volatile. Stand close and you’ll be moved.
M83 (Anthony Gonzalez, more or less) have been around since 2001. I remember listening to Saturdays=Youth my freshman year in college and loved the dreamy “Kim & Jessie”. The album was pretty damn good, but I have to admit, I forgot about the band a few months later and didn’t care to revisit their discography. That is, until their newest album caught my attention and I decided to give it another try. All I can preface this review with is a feeling I felt while listening to the album: I was so emotionally overwhelmed and covered in goose bumps that I could barely function while listening. To call this album a masterpiece is an understatement. Well, look what I just did – my preface gave away my entire review. You really don’t have to read anymore, really, but I want you to because this is some key info on THE album of 2011, period. Sorry Radiohead
The “Intro” song to the album begins with a chilling voice over and a brooding electronic beat. At about a minute in, Gonzalez breaks into wrenching vocals that let you know what you’re in for in the next 1.2 hours (thanks iTunes). “Midnight City” breaks out with a massive dreamy beat that conjures up feelings of 80s nostalgia and neon strobe lights. “Raconte-Moi Une Histoire” is a very simple tune that is spoken over by a young girl telling a story about being a frog. At first, it is really cute, and then you realize what is happening – you have just been suckered into revisiting the innocence of your childhood and contrast it with you current life. It is a surreal song. I suppose the meaning will differ from person to person, and I would like to hear about the different reactions, but this one had me floored with emotion.
As soon as I began listening to disc 2, the first few tracks crept up on me almost preparing me for the best song M83 has ever made: “OK Pal”. What is part 80s jive and part lathered up with the best vocals Gonzalez has ever recorded. Toward the midpoint of the song, there is a break-off where the same female voice from the intro track gives us a hyper-sensual trip into an empty neon city where two lovers embrace each other. It is really stunning and beautiful. I won’t admit how many times I had this track on repeat (maybe 15-20…). Toward the end of the album, “Echoes of Mine” breaks down the doors with a sharp electronic track with choirboys in falsetto. It was at this point I realized that the entire album is really a spiritual successor to Mew’s And The Glass Handed Kites. The dark dream-pop of Mew can segway into this album’s more optimistic (but still gut-wrenching) atmosphere. Think Wizard of Oz and Dark Side Of The Moon.
Cons
Have I turned into a softie recently? I was fortunate enough to hear some great music in the past month. Most of the 402 staff knows me for the scathing reviews I write, and tearing down 90% of the albums I hear. This album is an example of why I hold bands to such high standards. For every uninspired shoegazing indie band out there, I remember that this music exists – there are bands pushing genres to the max and creating something that evokes a true limbic response. This album is why I love music. Look at that, I just turned the “Cons” into more “Pros”.
Verdict
I am nominating this record for “Album of the Year”. However, I am not only putting in a nomination, I am sending out a challenge to all readers, all writers, and even Nick Wan, my editor and inspiration – find me an album that is better than M83’s Hurry Up, We’re Dreaming that came out in 2011 and you will have done the impossible. This is the alpha and the omega of the year, and I have had it on repeat for about a week now. Dedicate your ears, put your headphones on, lie down, and let the dream wash over you. When you wake up, you won’t know what hit you.
Casiokids have been playing their own brand of Norwegian synth-pop for a few years now. They have thus far released two albums, become members of the wonderful Polyvinyl Records label, and toured quite a bit with fellow affiliates Of Montreal. A pretty busy and exciting schedule, if you ask me. Their newest album, Aabenbaringen over aaskammen, will see its release very shortly. Touring with Of Montreal has seemed to rub off some influence on the young band, as their help has been enlisted on one of the tracks. In addition, live strings are present throughout much of the LP’s songs; a new facet for the group’s sonic explorations.
Beautiful and chaotic; the perfect words to describe this album. The titular opener is a fabulous surprise, featuring primarily various woodwinds and accordions. It is unexpected that a band so fine-tuned to working with keyboards and synthesizers would start off a record by lavishing our ears with the tear-inducing wordless ballad of a compact orchestra. Sullenness transitions to mania quickly, as “Det haster!” and “Dresinen” follow to add turbulence to the pretty landscape painted prior. This best demonstrates the nature of the songs on Aabenbaringen.
“Golden Years” takes the proverbial cake here. The annals of songs that turn frowns into big, dumb smiles can go ahead and add this perfect gem to their chronicles. It is perfect. The instrumentation is perfect, the vocals are perfect, and the mood it puts the listener in is oh so perfect. Good vibes continue on with “Olympiske Leker,” another clinic on how Casiokids can raise a cognizant grin, all while displaying expertise on synths.
Whereas “Golden Years” is pop flawlessness, “Selskapets triste avslutning” is the album’s high point. It is a concoction of many different feelings and musical talents, all crafted into one dazzling journey of a song. Having reached this point on the record, it is apparent that the band’s knowledge on how to blend real instruments (guitar, violin) with synths is of expert proportions. Being left in the wake of this track’s whirlwind, two subsequent pleasant songs and a stupendous instrumental continue to calm down as the end draws nearer. Said closer is an emotional affair, much like the atmosphere pronounced in the beginning. Singer Ketil Kinden Endresen croons the word “aldri” over and over again so sadly, that he gives a completely foreign word a meaning to us, or at least some sense of understanding.
The Cons:
Like the saying goes, it’s so perfect that its only problem is not having more. There’s nothing to pick at here. The biggest “con” regarding this article, is that it has a very short “con” section.
The Verdict:
Like I’ve been saying, this album is too perfect to pass up. It’s Hot Chip with twice the fun, and none of the annoyance. It’s Passion Pit with grit, and a more appealing vocalist. It is a nominee of mine for album of the year, because this beats any synth/electronic release I have heard not just this year, but in YEARS. Casiokids have hit it right with Aabenbaringen over aaskammen. This is required listening for those obsessed with synths and music lovers alike.
