Best of 2011 (albums) ICEAGE - New Brigade (What's Your Rupture?)

A group of teenagers from Denmark sound like they stepped straight out of the early 80s with the masters from a long lost post-punk classic under their arms and subsequently are hailed as the "next big thing" by the music press, even though their sound was the next big thing 30 years ago. Anyway, hype and backlash aside, "New Brigade" really is a fantastic record and is kind of mind boggling in how authentically post-punk it all sounds. It's like these guys have never listened to anything other than This Heat and Wire, which is perfectly fine by me. Frankly I hope these guys really are the next big thing, because I haven't heard a record sound this urgent in years.

"White Rune"

Best of 2011 (albums) EARTH - Angels of Darkness, Demons of Light 1 (Southern Lord)

Earth's most beautiful and majestic record to date, "Angels of Darkness, Devils Of Light Pt. 1," is a perfect combination of doom and hope. Given that the sessions that spawned this album took place following Dylan Carlson's diagnosis of Hepatitis B, the sound makes sense, but only if you understand that no one but Dylan Carlson could make this record. Regardless of how many (countless) imitators have sprung up over the years, there is only one Dylan Carlson, and this album is yet another example of why he is one of our few living legends.

On "Angels" the band sounds like the masters of the medium that they are. The band has a knack for making doom soulful and alive, even when it lulls you into a trance, a feat not easily accomplished, and one that I cannot begin to dissect or explain here. Earth's music simply breaths in the most primal and natural way possible, and in that breath is life and death and everything in between. The epic scope and contrasts inherent within have never been more apparent as they are on "Angels," at the same time the band balances light and dark here better than any album previously.

One of my absolute highlights of 2011 was sitting in the balcony at the Southgate House in Newport, KY while recovering from a thankfully infrequent bout of a reoccurring illness which may eventually spell my own demise as I age and watching Earth play one of the warmest and most comforting concerts of the year. Afterwards I got to briefly meet and talk to Carlson. I'll never forget shaking his hand. It was the hand of a guy who has seen a lot, but still maintained a smile. It was the hand of the guy who makes some of the very best music in the world, but who remains honest and humble. For a brief moment there everything was peaceful and joyful even as a whole lot of fear and sickness loomed. "Angels of Darkness, Demons of Light" is whole lot like that.

"Father Midnight"

Best of 2011 (albums) PETE SWANSON - Man With Potential (Type)

One half of the now legendary Yellow Swans has returned with the noisiest "dance" record since Black Dice attempted (and kind of failed) this sort of thing some years back. Pete Swanson's marriage of noise and techno is one of the most exciting records that I heard all year. "Man With Potential," constantly revels itself as something new and unique, while simultaneously nailing all of the sweet spots that the Yellow Swans used to hit. Given that this is a late year release, I'm still exploring it and finding an unending trove of sounds and emotions to discover. This is easily one of 2011's densest records, and I mean that in a very good way. At the same time, there is an immediacy that hooks you on the first listen. It's kind of the audial equivalent of that old crack commercial where the dealer says 'give them the first taste for free, and they will keep coming back for more,' except this record isn't bad for you; it might devastate you, and you might lose yourself entirely inside of it, but in the end that is a very good thing.


Pete Swanson - Man With Potential by _type

Best of 2011 (albums) GROUPER - AIA: Alien Observer/AIA: Dream Loss (Yellowelectric)

Grouper followed up her surprisingly successful "Dragging A Dead Deer Up A Hill" with her weirdest, darkest and most challenging work yet. Over the course of two records, Liz Harris traveled the distance from loose, minimalist song structure to impressionistic soundscapes. For anyone willing to follow her down the rabbit hole, it was, needless to say, more than worth it. She runs through an entire spectrum of sound, even as she smears it into a blur during these records, making for a meditative and endlessly fascinating experience for adventurous listeners. There are certain days that the only musician that I will listen to is Harris, and that is all you really need to know about Grouper.


"Alien Observer"

Best of 2011 (albums) TYLER, THE CREATOR - Goblin (XL)

The most divisive album of the year. It was also one of the most brilliantly subversive to anyone willing to get over it's coarse surface and dig deeper. In the end, "Goblin" was a love or hate proposition, and while at first it was totally cool to love it, now everyone and their overly-sensitive brother is piling on to trash it. Regardless of all the politically correct hand-wringing and critics attempting to distance themselves from Tyler, he still has plenty of kids listening. This summer I watched in awe as he drew the largest most passionate crowd that I've ever seen at Pitchfork, even in the kijillion degree heat and humidity. Likely if you are against Tyler and his crew, then nothing I could say will probably change your mind, but if you want to read my defense of the record, and why I still stand 100% behind this record, then you can read my rather lengthy original review here. The short version is that this was the most punk fucking rock record of 2011, and I love punk rock.

"Yonkers"

Best of 2011 (albums) BON IVER - S/T (Jagjaguwar)

I'll admit that originally I was a bit let down by Justin Vernon's much anticipated follow up to the universally beloved "For Emma, Forever Ago." I thought he crossed the line in terms of poor choices in instrumentation and left great ideas underdeveloped at crucial points on the record. Then I saw him perform one of the best shows of 2011 and each song suddenly made more sense. Mind you, this is not a situation where the songs are so much better live, but it took me seeing them live to understand them fully, to feel them entirely. Since that revelation, I've grown to absolutely love this record.

Minus my own developing existential relationship with this album, Vernon accomplished somewhat of a coup in channelling "Laughing Stock" and "Spirit Of Eden"-era Talk Talk into one of indie rock's most commercially successfully albums of 2011 (it peaked at Billboard's number 2 album and has been nominated for four Grammys). For that alone, this record should be celebrated.

"Michicant"

Best of 2011 (albums) DARK CASTLE - Surrender To All Life Beyond Form (Profound Lore)

Truly forward-thinking doom. Rather than rehashing the genre's traditional sound, Dark Castle craft a progressively unique and multi-layered approach that maintains all of the crushing power and darkness of metal's most primal form. The duo's harrowing songs are given an extra layer of massiveness by producer extraordinare Sanford Parker, who mixes traditional psych-doom with the kind of colossal heaviness and genre blending that made Twilight and Nachtmystium's albums so amazing last year. This is essential doom metal that will destroy every single molecule in its path. Every listen exposes something new and more devastating. I am continually captivated by this record.

"Seeing Through Time"

Best of 2011 (albums) JAMES BLAKE - S/T (Atlas/A&M)

There was a lot of hype surrounding James Blake at the beginning of 2011, which I thought was somewhat odd, not because Blake’s work isn’t worth it, but because this is highly experimental stuff, even if it does bare the imprint of traditional pop and R&B from time to time. Essentially a singer/songwriter record, Blake's minimalistic post-post-dubstep approach to song craft is both approachable and challenging, making for an album that can be enjoyed in the background, but deserves to be closely scrutinized in order to grasp the depth of his talent. In many ways this record reminds me of Bon Iver's "For Emma, Forever Ago," in that even the slightest increase in instrumentation or dramatic tension has a profound and contrasting effect against what is overall a subtle and nuanced whole. What Justin Vernon did with an acoustic guitar in a cabin, Blake does with effects and a piano.

As an aside, this is the best sounding vinyl record I heard all year, and needs to be listened to in that format. The digital just does not do justice to the spaciousness of this album. And, if you get a chance to see Blake live, do it. He unexpectedly blew my mind when I saw him perform these songs live.

"The Wilhelm Scream"

Best of 2011 (albums) TWELLS & CHRISTENSEN - Coasts (Digitalis)

Xela's John Twells and Zelienople's Matt Christensen teamed up to create this tour de force in experimental/drone music. As a part of my original review of this album I wrote:

"Coasts" was the first new recording I heard in 2011, and it has set the bar dizzingly high for the rest of the year. I've admittedly bagged on experimental and drone music from the past couple of years as simply being a retread of so many records that have come before (with the exception of William Fowler Collins and Locrian). With this record Twells and Christensen have proven that there is much life left in the genre by crafting one of its finest albums in recent memory."

Little did I know what a harbinger this record would prove to be, as 2011 ended up being one of the strongest years for experimental music in some time. Yet, twelve months and many excellent experimental releases later, this record still astonishes. While this is certainly drone music, there is nothing static about it. Tone, color, emotion, scope; everything changes by the second throughout "Coasts." I can't recall hearing drone pieces this consistent that are also this dynamic.

"Burning Bridges Together"

Best of 2011 (albums) CULTS - S/T (Columbia)

The summer album of 2011. Lyrically the band focuses on issues of oppression and freedom, which initially seems diametrically opposed to the sunny west coast vibe and 60s girl-group sonics that they channel. Ultimately though, their lyrical emphasis on individual liberation only adds to the freeing, breezy nature of this album. If there were ever a feel-good break-up/fuck you record, this is it. What makes the album worth returning to again and again is the intoxicating melodies and compositions present throughout. There are plenty of twists, turns, breaks and bridges throughout these songs, as well as what seems to be an infinite amount of subtle flourishes that would please even the most discriminating listener (i.e. music snob). In other words, this is pop music with a brain.

"Go Outside"

Best of 2011 (Lps) Honorable Mention

DEMONAZ – March of the Norse (Nuclear Blast)
BARN OWL – Lost in the Glare (Thrill Jockey)
ZOLA JESUS – Conatus (Sacred Bones)
URAL UMBO – Delusion of Hope (Utech)
PRURIENT – Bermuda Drain (Hydra Head)
SHABAZZ PALACES – Black Up (Sub Pop)
PLANKS – The Darkest of Grays/Solicit to Fall (Southern Lord)
LOSS – Despond (Profound Lore)
JESU – Ascension (Caldo Verde)
MATT CHRISTENSEN - A Cradle in the Bowery (Under The Spire)
BORIS – Attention Please/Heavy Rocks 2011 (Sargent House)
XANDER HARRIS – Urban Gothic (Not Not Fun)
TRUE WIDOW - As High As the Highest Heavens and From the Center to the Circumference of the Earth (Kemado)
LOW – C’mon (Sub Pop)
CLOUD NOTHINGS – S/T (Carpark)
RADIOHEAD – King of Limbs (self released)
MIKE WEIS – Loop Current/Raft (Barge)
DISMA – Towards the Megalith (Profound Lore)
MOGWAI – Hardcore Will Never Die, But You Will (Sub Pop)
DESTROYER – Kaputt (Merge)
WIRE – Red Barked Tree (Pink Flag)
GHOSTFACE KILLAH – Apollo Kids (Def Jam)
MASTODON – The Hunter (Reprise)
MAMALEEK – Kurdaitcha (Enemies List)
BURZUM – Fallen (Byelobog Productions)
YOUTH LAGOON – The Year of Hibernation (Fat Possum)
JON MUELLER – Alphabet of Movements (Type)
HORSEBACK/LOCRIAN - New Dominions (Utech)
WOLD - Freermasonry (Profound Lore)
BATILLUS - Furnace (Seventh Rule)
BLACK TUSK - Set The Dial (Relapse)
BLACK COBRA - Invernal (Southern Lord)
ANDY STOTT - We Stay Together/Passed Me By (Modern Love)
SUUM CUIQUE - Midden (Young Americans)

Best of 2011 (eps) #1 LOCRIAN - Dort Ist Der Weg/Frozen in Ash (Flingco Sound)

Technically a 7" release, this is one of the finest releases in any format that I heard all year. What follows is my original long form review:

Attempting to cover Popol Vuh is a particularly treacherous venture. To begin with you are trespassing on hallowed ground. There is simply not much you can do to improve on Popol Vuh at their best. They are legends for a reason. Furthermore, their brand of experimental krautrock doesn't exactly reduce itself to amped-up easy covers of their songs. No one gains anything from knocking out a Popul Vuh cover live or otherwise. Yet, despite all odds, Locrian not only covers Popol Vuh's "Dort Ist Der Weg" successfully, they knock it way the hell out of the ballpark. Adding more than a touch of beefed-up sonics, Locrian maintains the spaciousness of Popol Vuh's original, but turn in a heavier and darker take on the piece. Admittedly, the band sounds less like Locrian, and more like a mixture of Slint and Amon Düül II initially, but by the end of the piece, once the dissonance and screeches take over, you'll remember that you are listening to a Locrian recording, and a very fine one at that. If anything it calls to mind the psychedelic blues metal of fellow traveller Horseback, who the band recently collaborated with on the spectacular "New Dominions" LP.

Side two is a Locrian original and one of their finest at that. "Frozen in Ash" is a blasted drone that owes far more to Xasthur than krautrock. Built on a guitar progression that calls to mind classic Norwegian black metal, the piece gets nastier and noisier as it plays out before dissolving into a brooding apocalyptic folk coda of piano and acoustic guitar before drummer Steven Hess shuts it all down with a galloping snare.

Taken as a whole this is Locrian at their most epic, and it is hard to believe that a simple 7" can contain such a massive statement in sound. Although combined these tracks make up a mere twelve minutes and thirty-five seconds, this feels like a proper album, if only because of the emotional and sonic ground covered. Few, if any, bands could achieve what Locrian have achieved here. Successful Popol Vuh cover aside, the real accomplishment is a recording that contains more variety and depth in less than a quarter hour than most bands can produce in an entire career.

Locrian "Dort ist der Weg/ Frozen in Ash 7" single" by flingco

Best of 2011 (eps) #2 BURIAL - Street Halo (Hyperdub)

It's been a long time since we last heard from Burial (2007, to be precise), but this year we were finally gifted with a new collection of tracks from the dark dub-step master. Granted there are only three, totaling just over twenty minutes, but they were more than worth the wait. The tracks on "Street Halo" are the best that Burial has ever produced. Each track maintains his trademark spectral haunt, but contains a coiled energy unlike anything he has ever created. His approach is more streamlined, yet just as hazy and dark as his self-titled debut. Some of the pitch-shifted vocals of "Untrue" remain, but they are far more subdued, blending into the overall sound of each track here, rather than rattling about at the forefront. Elements of IDM and even techno and house are present, but it is far too cerebral an affair to call dance. There is also something deeply beautiful and cinematic about each of these tracks, even as they remain entirely restrained. I really can't say enough good things about "Street Halo." I only hope that this is a prelude to another full length soon. I don't think I can wait another four years for a new Burial record.

"Street Halo"

Best of 2011 (eps) #3 KURT VILE - So Outta Reach (Matador)

Kurt Vile didn't need to produce an all killer, no filler ep this year, but he did. In fact he produced an ep so spectacular that - for me at least - it threatens to overshadow his excellent "Smoke Ring For My Halo" album. This is Vile at his heaviest sounding. It's basically a collection of tracks for those who were blown away by his best Elliott Smith impression on "Halo's" "Runner Ups," and needed more of that sort of thing. Backed up by the heft of the Violators throughout, the record is the least delicate, and most fully realized Vile release to date, at least in terms of instrumentation. If you have been living in a cave and haven't heard Vile yet, this is an excellent starting point into the work of the best new artist to emerge over the past few years.

"The Creature"

Best of 2011 (eps) #4 THOU - The Archer & The Owle (Robotic Empire)

Clocking in at nearly forty minutes, "The Archer & The Owle" is a rather generous EP that features some of Thou's best and most dynamic work yet. Featuring songs from the same sessions that spawned the band's monumental "Summit" record, this is Thou at their most expansive. Piano, horns and choral-like vocals mix with the band's thunderous doom-sludge to great effect. The band sounds downright victorious on the anthematic "Voices In The Wilderness," while the dirge-like "Bonnet Carre" hypnotizes with sprawling guitar work. To round out the ep, the group includes a cover of Nirvana's "Something In The Way" that doesn't just do justice to the original, it actually kind of bests it, at least for anyone who felt like the chorus should have been screamed and not whispered. Also featured are a set of covers from the folk-rock band Pygmy Lush, which, of course, Thou totally destroys by turning them into hardcore doom epics.

"Voices In The Wilderness"

Best of 2011 (eps) #5 AUTRE NE VEUT - The Body (Hippos In Tanks)

Autre Ne Veut's "The Body" follows the same template of experimental R&B-influenced pop that characterized 2010's debut full-length, but it all sounds stadium-sized. It's bigger, louder and grander than before and dizzyingly great. In a mere thirteen minutes, "The Body" runs a gamut of emotional highs and lows, while continuing to push the envelop of experimental-pop. When it is all over, you are going to want more, of course, but there is more meat here to satiate you than most artists' full-length efforts. Full review here.

"Your Clothes"

Worst of 2011: M83 - Hurry Up, We're Dreaming (Mute)

M83's "Hurry Up, We're Dreaming" was universally lauded upon its release and ended up landing all the way at number three on Pitchfork's "Top Albums Of 2011." Of course, as a bubbling synth-pop record steeped in infantilism, it was tailor-made for the P4K generation. For anyone born before 1980 who had to actually live through that shitty decade consciously, it reeked of idealized nostalgia of the worst kind. It isn't just that synth-pop, with a few exceptions, was one of the enemies that American hardcore and punk rallied against during that overly romanticized decade, it is that M83's Anthony Gonzalez, who appears to be of adult age, can't seem to leave an idealized vision of youth and that decade behind. This was all sort of cute a few years ago, when pretty much everyone was making this sort of album, but it's tired now. Seriously, it's time to grow the fuck up and stop sucking your thumb. Why this record is somehow being recognized as anything other than just another synth-pop record in love with the 80's is beyond me. To make matters worse, it isn't even that good. It's somehow cheesier than even the cheesiest 80's songs. Yet this is not irony, Gonzalez sounds like he sincerely means all two hours and twenty minutes of this atrocity. I guess because of that sincerity and because of its "epic" nature, he has convinced a lot of people that this is an important work. I am clearly not one of them.


"Midnight City" (which, by the way, is the one song I can actually stomach)

WINTER IS COMING: Ten Records to Keep You Warm During The Holidays and Beyond

As the year draws to a close, and every music writer in America gears up to countdown their best and worst of 2011, some great records are still being released. Below is a collection of some recent albums that will get you through the dark cold months ahead, and will sooth your soul as the hectic holiday month unfolds. Again, in no particular order.

#1 KATE BUSH - 50 Words For Snow (Anti-)

Anyone who thinks I'm just a whiskey drinking dunderhead who wants to see Burzum eat the guts of Neon Indian has never seen me listen to "Cloudbusting" by Kate Bush. I don't think I've ever made it through that song without tears pouring out of my eyes. Kate Bush has that effect, even on grown men who eat too much red meat. Her lyrics, arrangements and voice cut to the core of the human heart and remind you of what is truly important in life, which is usually those around you that you hurt the most, causing you to feel a chasm between the person you want to be and the person you are, not that I would know anything about that. It's ethereal music that you should probably listen to ever day in order to be a better person, but it's weight is too much to listen to every day. In some ways it's a good thing that she has only produced two records of original material in the past 17 years, because her records take years to digest and stay with you twice as long. For those novices out there who have never heard Kate Bush, she is sort of like Joanna Newsom, but a thousand times better.

"50 Words For Snow," is hands down her best record following "Hounds Of Love." It is the perfect medium for Bush's vision comprised of minimal compositions built on piano that grow gradually over time into quite epics that are as effecting as anything she has produced. I was stunned on the first listen of this record, and as I explore it I am consistently overwhelmed by what I hear. Yes, there is a duet with Elton John on this record, and yes, it is one of the best songs on the album. If one needed proof that our elder statesmen and women can craft much better music than the youth of today, "Snowed In At Wheeler Street" will provide every Rolling Stone critic with enough ammunition to last a lifetime. For my money, though, "Misty" is the song I want to get lost in forever. A beautiful piano melody plays over slight jazz drums and stings working itself into a subtle climax that recalls all that was great about 80s art rock. It's like Talk Talk backing up Kate Bush, and really that is all I need to say. I probably don't need to explain further why an album called "50 Words For Snow" is the perfect record for this season, but all of the reasons I just discussed above are also why this is one of the best records of 2011.

"Misty" excerpt

#2 BORIS - New Album (Sargent House)

Every winter needs its stupid rock album to get you out of the doldrums, and this winter has been gifted by one of the best bands in the world with what is arguably their worst album (that is still great in its own way). There is no way to justify this record to long time fans of Boris; the band that at one time stood toe to toe with Earth and Sunn 0))) for sovereignty of the doom drone world are now turning in what can only be described as a J-rock record, but goddamn if it isn't fun. For the most part this is a much more electronicized mix of songs from the band's "Heavy Rocks 2011" and "Attention Please" records from earlier in the year. It basically gathers together all of the pop songs, pumps up the disco and lets loose with abandon. It still rocks, promise, but in a different way.

This record has been out in Japan for a while, but I get the feeling that Boris knew they were going to piss off a lot of American fans with this, and so kind of buried its release, which is a shame, because if you can't get your four on the floor on with Boris and have fun, you probably aren't living. I'm not about to say I want to hear the band go down this road again, but this has became a guilty pleasure that makes even the shittiest days feel grand, in other words: the perfect cure for the winter, or any, blues.

"Spoon"

#3 WILLIAM FOWLER COLLINS - The Resurrections Unseen (Type)

William Fowler Collins is the modern György Ligeti. He creates the kind of drones that emit from "2001's" black obelisks. He produces some of the deepest music being made today, and by deep I am referring to the philosophy of "deep listening" that experimental legend Pauline Oliveros has dedicated her life toward, which is basically the act of taking the time to put a pause on all the extraneous bullshit in life long enough to immerse yourself into the soundworld being created by a given artist. It's kind of like sonic meditation, and Collins' music deserves to heard under those circumstances to be fully appreciated. As academic as that may sound, his music is also incredibly visceral, calling to mind your most unsettling moment, your worst nightmare or some primal collective memory. Personally, I love to put on his music when I have to drive through rural Indiana, as it casts a blackened grip over the heartland in a way that makes "Children Of the Corn" look quaint.

On "The Resurrections Unseen" Collins moves away from the blasted rural soundscape of the phenomenal "Perdition Hill Radio" for something deeper, more cosmic and more primal. This is an album that takes place in either deep space or far below the Earth's surface, depending on your prospective. Canyon sized drones burn across this record and sink the listener into a place that is both harrowing and familiar. If the evolution of the universe had a soundtrack, this would be it. I can't shake how massive this record is, how entirely beyond our individual moment in time it sounds. It's more like a transmission from the origins of the cosmos than the work of a lone individual living here and now. Although one could easily call this dark experimental music, it is bigger than that; it's a sound beyond the distinction of light and dark. The only other act that I can think of making music this expansive, this primitive and this spectacular are Sunn 0))). With "The Resurrections Unseen," Collins has solidified himself as one of the premier artists on the experimental scene. This record should be in every single serious music fan's collection, it is nothing short of astonishing.

"Abattoir"

William Fowler Collins - Abattoir from John Twells on Vimeo.

#4 URAL UMBO - Delusion Of Hope (Utech)

Ural Umbo is the duo of Reto Mäder and Steven Hess, who some of you might recognize as a member of Locrain, Haptic and On. To call them a dark experimental project would technically be correct, but it doesn't quite do them justice. "Dark experimental" gets thrown around a lot (hell, it's getting thrown around a lot on this list alone), but like all such descriptors it threatens to reduce a band's sound into a pigeonhole that sheers off the individual uniqueness of a group, which is often what makes one group or artists better than the next bunch of guys armed with electronics and guitar pedals who have an appreciation for both Burzum and Penderecki. So yeah, Ural Umbo is a dark experimental duo, but their approach is more organic, more fully realized, and, frankly, scarier sounding than their peers.

If you thought Locrian was dark, you haven't heard Ural Umbo. This is brutal nightmarish music that draws on soundtrack, industrial, black metal, doom, drone and krautrock that ends up being the most dynamic and unique sounding collection of sounds that I have heard in the whole "dark experimental" genre. While Mäder is playing with a wide swath of instrumentation that resembles a small orchestra, Hess' massive sounding drums blows it all up with a sense of heated urgency. Even when things aren't smashing and crashing all around you, the sound is tense and creepy, like the best horror soundtrack never made for a film. I'm not saying that an album called "Delusion Of Hope" will give you any comfort in the dead of winter, but it will put you on edge like the protagonist fighting for his or her life against unknown evil in a horror movie, and that may be exactly what you need to beat back the lethargy that accompanies the dark days ahead, or you could just listen to this and succumb to the darkness altogether. Either way, you need this.

"Self Fulfilling Prophecy"

#5 LEVIATHAN - True Traitor, True Whorrer (Profound Lore)

Leviathan, a/k/a Wrest, a/k/a Jef Whitehead is accused of doing some bad shit. I'm not going to go into it here, since a simple google search will produce all the salient details. I will only say this, while I am certainly hoping that he has been falsely accused, whether or not he committed the crime has little bearing on my ability to enjoy his music. Some people struggle ad nauseum about whether or not you can separate the artist from the art, and whether or not that means the art should be thrown out if the artist is a particularly deplorable person. I am not one of those people. A lot of that probably has to do with my day job as a criminal defense attorney. I've seen a lot of people do a lot of really bad shit, much worse than Whitehead is accused of, and at the same time I have never met a monster. I've only met people who have done some abhorrent things in their lives, stuff that under different circumstances, we would all be capable of, if we are honest with ourselves. Yes, some of them are more, or less, scum, but not a one of them haven't been human to some degree, and humans capable of destruction are also sometimes capable of creating great art. Therefore, the personality or actions of the artists doesn't really ruin the art for me. Burzum is a piece of shit, but his music is some of the greatest of the last 20 years, and I'll continue to buy and enjoy his records as quickly as he can produce them. On a smaller scale, rumor has it that the best new band of the last three years is comprised of a couple of real assholes (and one decent guy), but so what? I'm not looking to be friends with them, I just want to hear their music.

So I went into "True Traitor, True Whorrer" with no real prejudices, but the personal life of Whitehead was impossible to escape when listening to this record. Recorded after Whitehead was released on bond from jail, the album is clearly a response to the charges against him and the person who brought them. It is also the portrait of a human being at the bottom of their existence. Wrest may rip on them now, but at one time his recordings had all the structure and linear power of Wolves In The Throne Room. Such is not the case here. "True Traitor, True Whorrer" is an absolute sonic mess. Oddly, this is the first ever Leviathan album produced in a studio. Producer extraordinaire Sanford Parker is responsible for sound, and given his track record of producing some of the crispest and clearest metal records of the last couple of years, it can only be assumed that this atrocity exhibition are what both Parker and Whitehead were aiming for, and certainly given the subject matter it makes sense. This is a document of a man turned inside out, of a living nightmare that won't end. Parker literally turns these songs inside out until they are a grotesque stew of primal blind rage. As a result, everything is buried beneath the bubbling fiery surface of these tracks, which sound like an animal that is either wounded or psychotic, or maybe both. This is not an easy listen, or one that I completely love, nor is it anywhere near Wrest's best work, but it is a singular unflinching piece of art. Arguably it is also one of the most challenging and confrontational pieces of art in any medium in some time, yet all the same, deep within it's hellscape is a living breathing human being that is clawing to escape from his confines. Whether that hell is of his own making, or one to which he has been unjustly imprisoned to by another remains to be seen, either way "True Traitor, True Whorrer" is a singular and unique monument to the darkest realms of human existence.

"Blood Red and True"

#6 KURT VILE - So Outta Reach (Matador)

Kurt Vile didn't need to produce an all killer, no filler ep this year, but he did. In fact he produced an ep so spectacular that - for me at least - it threatens to overshadow his excellent "Smoke Ring For My Halo" album. This is Vile at his heaviest sounding. It's basically a collection of tracks for those who were blown away by his best Elliott Smith impression on "Halo's" "Runner Ups," and needed more of that sort of thing. Backed up by the heft of the Violators throughout, the record is the least delicate, and most fully realized Vile release to date, in terms of instrumentation.

Vile has already established himself well enough, but "So Outta Reach" just sort of seals the deal. If you haven't heard Vile yet, then you are missing one of the truly spectacular musicians of the last few years, and one of the few that stands to become a lasting presence. When you realize that he has only been producing records for three years and that he has already amassed a collection of releases of such incredibly high caliber, as in the kind that legends are made of, it's all kind of mind blowing. Each record finds Vile progressing, and "So Outta Reach" is my favorite step forward thus far, and while one can't help to be excited to hear what Vile produces next, this perfect collection of songs should warm a lot of living rooms this winter.

"The Creature"

#7 YOUTH LAGOON - The Year Of Hibernation (Fat Possum/Lefse)

I've been particularly disappointed by most indie "rock" offerings this year, and was completely ready to throw this one on the ash pile just based on the Pitchfork buzz it was getting. But something happened on the way to me dismissing it, which is that it is actually a pretty great little record. Quiet understated melodies and emotive vocals creep up you and by midway through the album you'll find yourself completely won over by the record's effortless power and beauty.

The album's songs operate like dioramas, slowly but surely drawing you in until you find yourself wanting to live inside of Youth Lagoon's small-scale epics. It's cozy and comfortable in there, and for the time it takes this magical record to play itself out, the outside world shrinks to a point of inconsequentiality. It's that perfect Sunday morning record where everything is slowed, subtle and hopeful. It's also exactly the kind of record you're going to need when the dark gets too dark during the winter season.

"Montana"

#8 BJORK - Biophilia (One Little Indian/Polydor)

"Biophilia" is not a perfect record, nor is it anywhere near Bjork's best, but it is endlessly compelling nevertheless. Much like Radiohead, Bjork long ago quite caring about making crowd pleasing records, and gave herself over to her muse, wherever that took her. "Biophilia" finds Bjork at her most minimal. Songs often are comprised of one or two instruments and effects and either meander or mesmerize depending on your predisposition toward experimental music.

Yet even as a fan of experimental music, the songs that stick out the most are the record's more dynamic pieces like "Crystalline," which sounds like Bjork is fronting Aphex Twin at his peak. Most of the album, though, rewards over repeated close listens. Tracks like "Moon" and "Solstice" may not be immediate, but they expose their beauty over time. "Biophilia" may not please on the first listen, but once you know what you are in for, it will give the listener a lot to explore on a cold winter day when all life seems to have stopped dead in it's tracks.

"Moon"

#9 BARN OWL - Lost In The Glare (Thrill Jockey)

Everyone's favorite experimental folk doom guitar duo return with their fourth full-length. Following in the wake of their spectacular and majestic Popol Vuh-like "Shadowland," the duo of Evan Caminiti and Jon Porras sound restless and energized throughout "Lost In The Glare." The addition of more drums and percussion throughout helps ratchet up the tension, making for a beefier sound that colors even the tracks that don't feature smashing cymbals and plodding dirge beats. As a result, there is a consistent heaviness here that makes for a more menacing album than anything these guys have done before, which is saying something. All in all this is Barn Owl's most dynamic record to date.

To that end, there is also a healthy injection of middle-eastern and Persian-influenced guitar work that characterizes the record. While drone has always played an important part in Barn Owl's music, those moments of static cosmic bliss are fewer here, instead strings interplay with organs in a dance of desert mysticism that finds transcendence through communal motion rather than solitary meditation. As a result, the record exudes a heat and sensuality that I would have never attributed to Barn Owl before. It's a perfect record for keeping things warm inside, even as winter's winds threaten to batter down your door.

"Turiya"

Barn Owl - Turiya from Thrill Jockey Records on Vimeo.

#10 ZOLA JESUS - Conatus (Sacred Bones)

Zola Jesus, a/k/a Nika Roza Danilova, returns after a series of well received eps with her third full length record "Conatus." The album finds Danilova maintaining the cleaner production apparent on the "Stridulum" and "Valusia" eps, but the overall feel is as dark and gothic and her earlier work. Upon hearing "Valusia," in particular, I was concerned that Danilova was not only leaving behind her lo-fi beginnings, but also shunning the darkness for light. Thankfully, those concerns were unfounded. Instead, she has focused her attention on more complex and experimental song structures. Many pieces start out skeletal and end up as multi-layered anthems of love and loss.

Of course, the real star of the proceedings is Danilova's voice, which is the strongest in contemporary music. As a result, musical accompaniment is almost secondary, but here, as on "Stridulum," the music is often as compelling as it is complementary to the Voice. The record's mixture of 80's industrial dance and art rock is the perfect vehicle for Danilova, giving "Conatus" the feeling of the familiar while maintaining enough edge to satisfy fans of her earlier work. As winter approaches, "Conatus" is feeling more and more like an essential release; a perfect record for the cold dark days ahead.

"Vessel"

LOCRIAN - The Clearing (Fan Death Records)

Locrain are at the top of the dark experimental music heap these days. Although their songs lack traditional form and structure, there a visceral quality to their music that recalls some of the most potent and powerful metal and post-rock. Last year's stunning genre-smashing "The Crystal World" made Locrian the band to pay attention to, while raising the bar for everyone else. Since then, they have produced a collaborative LP and single with the like-minded Horseback and the "Dort Ist Der Weg b/w Frozen in Ash" 7", which, for my money, is one of the best releases in any format this year. So to say that "The Clearing" was one of this year's most anticipated releases for me is a bit of an understatement. Even without hearing the whole thing, this was already a must have album among discerning music fans. Naturally, "The Clearing" not only lives up to expectations, but exceeds them to an extreme.

As amazing as "The Crystal World" was, the addition of drummer Steven Hess sounded at times like a guest player. A superb guest player, no doubt, but someone who seemed to be brought in to flesh out the sound of the album. Since that record, though, the trio of Hess, André Foisy and Terence Hannum have clearly coalesced as a group. "The Clearing" is their first long-form statement as the incredibly balanced band that they have become. Each member is essential here, and the success of the album's sound can be traced to the ability of each member to play off of each other. That fact is no more apparent than on opener "Chalk Point." The track, which sounds like the liturgy to a secret rite, finds the band at their doomiest, with Hess playing stately drums, Foisy offering up consistently scorching guitar, and Hannum's keyboards simultaneously stimulating while providing a tragic backdrop to the whole affair. Each player interlocks with the other to create a mood that captivates the listener with images of woods, black robes and bonfires where unspeakable things happen.

As awesome as "Chalk Point" is, it barely prepares the listener for "Augury in an Evaporating Tower." I'm not sure what the title means (other than it has something to do with the art of divination...in an evaporating tower), but I can promise you that it is intense as hell. This piece would come in at the climax in any awesome film, and it is surprising that anything else can follow it, but the ponderous and meditative "Coprolite" does so quite nicely. Foisy's melancholic acoustic guitar plays over Hannum's effects and Hess' thoughtful accents to make for what is oddly one of the most effective songs the band has produced. There is such a powerfully mournful feel to the piece that it cuts to the core of the listener in a way that precious little music does these days.

To close the album out, the band produces a nearly eighteen minute title track, which draws down everything that has come before into a singular pinpoint. The piece starts out somewhat reminiscent of Ennio Morricone's legendary soundtrack to "The Thing" before desperate screams pierce the soundfield and give way to a cavernous denouement. Over the next twelve minutes the band heaps effect on top of effect, instrument on top of instrument, to craft a cumulative and crushing drone that results in a blasted finale to what is a perfect record.

What is so stunning about "The Clearing" is how diverse the album is overall, even as it all sounds a part of a whole. The band explores a variety of approaches throughout, each successfully casting a consistent mood that leaves the listener feeling like they have taken a singular journey by record's end. If "The Crystal World" announced the presence of Locrian as the band to pay attention to, "The Clearing" solidifies their position as a powerhouse. Locrian is THE band that matters right now, and if you didn't know that already, "The Clearing" makes damn sure you do.

DUM DUM GIRLS - Only In Dream (Sub Pop)

It's a sad irony that often great and beautiful art grows out of tragedy. Whether it be horrific world events, or individual struggle and loss, artists of note often express their sorrow and quest for catharsis through their art. What usually emerges is a work stripped of pretense and artifice featuring the artist's raw naked soul. Such emotional nudity is easy to discern when the work arises out of an art form that is characterized by melancholia or anger to begin with. Leviathan is getting a lot of press currently for his work "True Traitor, True Whore," because of it's emotional starkness, but really when isn't Leviathan emotionally stark? His brand of black metal is inherently raw. What happens instead when tragedy strikes an artist who channels in poppy girl-group punk? Do they turn in a bleak, downtuned album that breaks with what they know or do they continue on with their patented sound? If you are the Dum Dum Girls, you double down on what you do best and go for broke, as evident on the expansive and exuberant "Only In Dreams."

Last year front-woman Dee Dee's otherwise healthy mother, whose image appeared on the cover of the band's superb "I Will Be," was diagnosed with a series of brain tumors that quickly took her life. Many of the lyrics on "Only In Dreams" center around Dee Dee's reaction to her loss, even as the band lays down some of the cleanest and most accessible music of their career. As a result, what emerges is a collection of incredibly pristine and shiny garage-pop songs whose sunny facade cannot hide the heart-wrenching purity of the emotional turmoil that lie at their core.

Sonically the band eschews their former lo-fi sound for the hi-pro glow that marked the "He Gets Me High" ep. While some old-time fans may be turned off initially by the far more professional sound of "Only In Dreams," Dee Dee's songwriting has always been the Dum Dum Girls' real strength, regardless of what fidelity it is recorded in. Opener "Always Looking" resembles the serrated pop of the band's previous work, it just sounds grander. Yet, there is a move here away from the band's previous tough as nails approach and toward a more classic 60s girl-group sound, as is evident on tracks like "Bedroom Eyes," "In My Head," and "Heartbeat (Take It Away)." Each song is equipped with simple sing-along verses and soaring bridges and chorus that sound not a day older than 1965.

The band saves their best work for the album's second half. The Mazzy Star-like "Coming Down" showcases Dee's amazing vocals while the band provides a gorgeous and spacious backdrop. The record closes out with three back to back tracks that clearly center around the death of Dee Dee's mother. "Wasted Away" is an urgent garage-tinged number that finds Dee chasing her mother in dreams as she fades in real life. "Teardrops On My Pillow" follows, and may be the best track on the record. It begins as urgent as "Wasted Away" as Dee details her anguished emotions, but then the track suddenly comes to a halt and a simple guitar and drum back her as she sings "all that's left is teardrops on my pillow." Lyrically it's an incredibly sad number, but Dee Dee's voice is as strong and determined as ever and one cannot help but be moved by how powerful she sounds in the face of such personal tragedy. "Hold Your Hand" closes the record with a wearier sounding Dee as she sings "I wish it wasn't true, but there's nothing l can do, except hold your hand until the very end." Musically, the track sounds like a 60's girl-group love song, which is fitting given the great love between child and parent evident throughout "Only In Dreams." The track ends suddenly with a simple drum beat, leaving the listener alone in a sea of devastating emotions. It's not exactly what you would expect from what is basically a pop album, but this isn't your average pop record, even by indie rock standards. This is heartfelt and powerful stuff that will bring tears to your eyes if you let it, even as you are humming the songs' addictive melodies and tapping out their beats.

"Bedroom Eyes"


"Coming Down"

REAL ESTATE - Days (Domino)

Toward the end of 2009 Real Estate shuffled onto the indie rock scene with their effortlessly brilliant self-titled Lp. Despite its mid-November release and lack of deafening hype, the album managed to work its way into more than a few year-end lists. Following in the vein of Pavement at their most lackadaisical the record made for perfect lazy day music to be enjoyed alone or with friends, at home or on the lake, in the dead of winter or in the full blaze of summer. It was the ideal soundtrack for those moments when life was about living and nothing more. The band followed up their debut with a whole lot of touring. Over the past 18 months, I personally ended up seeing them on four separate occasions, and while always a great live band, each subsequent show found them sounding tighter and bigger than the one before. I mention this because all of that touring seems to be partially responsible for the larger and more expansive sound of "Days," the band's much anticipated sophomore album.

While some bands expand their sound by piling on more instrumentation or experimenting with song structure, Real Estate stick to the same basic template as their previous record. This time around, though, their performance is more precise and layered making for a grander sounding record than their relatively lo-fi debut. Whereas previously the band drew comparisons to early R.E.M., the point of reference here is the band that influenced Athens' finest to begin with - The Byrds. Choruses hum with layered harmonies, and guitars shimmer and swell much like the forefathers of jangle rock at the height of their power. It is surely no coincidence that "Days" contains a song called "Younger Than Yesterday," the same title of The Byrds classic fourth album. Also no real coincidence that the hazy dark track recalls everyone from The Byrds to fellow travelers Buffalo Springfield and Neil Young. The net result of this development is that there is a timelessness to these tracks that is sorely lacking from most modern artists' work. There is no doubt that "Days" will sound as spectacular decades from now as it does today.

Another variation in the band's approach this time out is that while everything felt so relaxed and carefree on their debut, here there is a world wariness that seeps into many of the record's tracks. Songs like "Green Aisles" and "Out Of Tune" bare the stamp of resignation, and more than just a little melancholy around the edges of each track. The songs' initial laid-back vibe is deceptive, as closer listens reveals something sounding more like the kind of exhaustion that sets in after life has had its way with you. Of course, some songs maintain their buoyancy against the rising tide of discontent. Tracks like "Easy" and "It's Real" bounce along like the Feelies playing a late-80s house party.

Two of the most interesting songs on the album, "Municipality" and "Three Blocks," find the group pushing themselves in a slightly different direction. "Municipality" is a syncopated rock song (or at least as much rock as Real Estate is capable of) that expresses a longing for an idealized utopia of new houses with well-maintained gardens and freshly-cut lawns where lovers share their lives together. When lead singer Martin Courtney says "that's not anything like my reality," it cuts to the core even as Matthew Mondanile's hypnotic guitar playing soothes. This dichotomy between contentment and sadness runs throughout the album, making for one of the most intriguing musical balancing acts I've heard in some time. "Three Blocks" maintains that tension between light and dark. While the track almost sounds like a romantic waltz, the lyrics reveal something more existential and ponderous: "All those people all around me, were they strangers or was it me, figure out what I want to be."

With "Days," Real Estate have met and exceeded the expectations facing them in the wake of their perfect debut record. Granted there are a couple of extraneous tracks here, like the instrumental "Kinder Blumen," which adds nothing to the band's catalog, but when all is said and done, it is easy to overlook such minor missteps given the strength of the rest of the record. What is most compelling about this album is that even during its most relaxed moments, there is a restless and discontented heart that beats throughout. Given the growth already apparent here, I can't wait to hear what the band does with that restlessness next time out. For now though, I'm more than happy than to lose myself in the sun and rain of "Days."

"Green Aisles" live


"It's Real" live


"Out of Tune" live

6(66) METAL ALBUMS JUST IN TIME FOR HELLOWEEN

To be honest, I've had serious writer's block for the past two weeks. My day job has sucked the life out of me and yet great albums have continued to be released. What follows is a summation of some of those albums that fall into the metal category. If you like anything hard, I promise there is something among this list that will be your next new favorite album. These are all perfect records for the month that is Rocktober.

#1 MASTODON - The Hunter (Reprise)

As if my writer's block wasn't enough, I find myself struggling with what more there is to say about Mastodon? They are one of the few metal bands that enjoy both critical and popular success, and who are long enough in the game that you should know what to expect from these guys. Yet, "The Hunter" finds the band switching gears and moving away from the complex concept albums they are known for. Instead, the record is a collection of stand-alone songs that run the metal and hard rock gamut. The end result is easily the band's most accessible album to date, but accessible does not mean "false metal."

Sounding at times like Rush meets Black Sabbath, at others like classic Queens of the Stone Age and Alice In Chains, these songs are easy to like. Yet, even at their most poppy, as on the Torche-like "Blasteroid," the band is as tightly coiled as ever. Throughout the record, the band proves that catchy is not a bad thing, even in metal. Lead single "Curl of the Burl" is full of incredible hooks, but maintains the band's signature beefy sound. For my money, it's one of the best songs of the year, and proof positive that metal doesn't have to be alienating to be powerful. Other songs, like "Stargasm," sound like a Mastodon album crammed into a single four-minute plus song, while still others find the band exploring new territory entirely, such as on ballads "The Hunter" and "The Sparrow" or the bizzaro Celtic/monster movie mashup that is "Creature Lives."

While not having a central concept to form songs around has freed the band to produce incredibly tight and varied epics in miniature throughout "The Hunter," there is certainly an argument to be made that the record lacks the consistency in feel and sound that was evident on the band's other records. In truth, there is a grab bag quality to the record, and you will inevitably like some song more than others. At the same time, the band never loses themselves in pointless interludes or overly technical bridges and segues. Everything here is played with an immediacy that was arguably lacking from some of the band's other work. In the end, it's Mastodon, and it's pretty damn great. There is plenty here to satisfy long-time fans, while new comers will find countless points of entry into the band's sound.

"Curl of the Burl"

#2 YOB - Atma (Profound Lore)

I've always really wanted to love Yob. Ever since I became a doom freak upon hearing Sunn 0)))'s "White" records for the first time I thought that Buddhism (a philosophy that I am a horrible practitioner of) and the plodding slabs of heaviness roaring out of so many sunn amps went together like bread and butter. Listen to the Gyuto Monks of Tibet (or better yet, the Monks of the Drepung Loseling Monastery) and listen to a top of the line doom album and you will find much in common. They both share a singularity of focus through repition meant to bring about the eventual cessation of the listener's ego as it dissolves into the sound field of the recording. Southern Lord described it best while promoting a Sunn 0))) live aktion in 2009: "It will be a return to...primal origins, an approach respecting a zen concept of shoshin." So when I discovered some years back that Yob drew a whole lot of influence from eastern philosophy I was ready to find a new favorite band. Unfortunately I was somewhat underwhelmed by what I heard from them. I liked it, but I wasn't blown away.

A couple of years ago, when I had all but forgotten about the band, I started hearing rumblings again about Yob and their superb 2009 release "The Great Cessation." I eventually gave them another chance and was floored by what I heard. Yob may have had some growing pains, but they have emerged as one of the tightest, heaviest and most effective bands in metal today. "Atma" is an absolute masterpiece that deserves to sit near the top of every "Best Of" list of 2011. Whether it is the razor-sharp riffage of the titular track or the progressive pummeling of "Adrift In The Ocean" the band are at the height of their power, sounding like a far more adventurous and disciplined Sleep.

"Atma"

#3 CRAFT - Void (Southern Lord)

This masterwork of misanthropy almost was not. Craft nearly called it quits following the annihilation fest of 2005's "Fuck The Universe," but thankfully did not. Instead they replaced their original drummer, regrouped and spent a few years putting together "Void," their most challenging and "mature" (in a good way, I promise) album to date. Certainly the band's classic black metal roots underlie everything on the album, but they also continue to incorporate a great deal of experimentation, albeit experimentation dripping with filth and grime.

The band shifts comfortably between incredibly textured pieces like "The Ground Surrenders," stripped down tracks like the brutal "I Want To Commit Murder," and about everything in-between. It's sort of amazing how diverse this record is without ever losing its grim edge. Every time I have put this on, I've found something new to love. There are a lot of treasures to unpack here, making it one of the more rewarding records of the year. This one gets my highest recommendation and will hopefully prove to be the sleeper record of the year for many listeners. It's that good.

#4 FALSE - S/T (Gilead Media)

I really don't know a whole hell of a lot about False. From what little I can gather, they are a female fronted band and the guys from Thou dig them a lot. Being that Skeletons & Candy worships Thou just a tinsy bit, I was more than willing to give this band a listen, and was more than a little thrilled to find myself blown away by what I heard.

This self-titled ep consists of two twelve-minute plus songs of some of the most twisted genre-bending metal that I've heard since Portal. False certainly channels in black metal, but also incorporates plenty of doom and math rock into the equation. As if to prove the band's versatility, the most powerful moment on the record is the post-rock interlude during the incredible "Sleepmaker" that sounds not dissimilar to some of Thou's "Summit" sessions. I suspect that there is much greatness to come from this band, and can't wait to hear a future full-length.

"Sleepmaker"

#5 ALL PIGS MUST DIE - God Is War (Southern Lord)

With a name like All Pigs Must Die, and an album called "God Is War," what exactly do you expect this band to sound like? The answer, of course, is Slayer at their punkiest, which they do, and which they pull off spectacularly. This is hardcore thrash at it's absolute finest. Furious punk tempos are broken up by riffage ranging from lightening fast to brutal and deliberate, as lead singer Kevin Baker screams out lyrics like "kill them all" and "all will burn."

What sets APMD apart from the slew of crust/hardcore bands that Southern Lord have been emphasizing lately is that these guys not only have better chops, they also have a sense of songcraft that makes for a listen that is more compelling than those records you put on simply because you need something to get aggro with. Evan as the band continues to pummel, there are so many mind-blowing shifts in dynamics here and memorable razor-sharp riffs that this feels like something of a watershed album. I could see this becoming the "Reign In Blood" of the hardcore set, and frankly they need it. Hardcore has never been my favorite of the extreme metal genres, but All Pigs Must Die makes it more compelling than it has ever been. I couldn't recommend this album more highly.

"Third World Genocide" live

#6 BLACK COBRA - Invernal (Southern Lord)

Black Cobra's "Invernal" is another brutal full-throttle attack from Southern Lord. As a duo that sounds beefier and heavier than most bands twice their size, Black Cobra are known for mixing breakneck metal with sludge to powerful effect. "Invernal" is the band's fourth album overall, and second for SL, following in the wake of 2009's excellent "Chronomega." The record finds drummer Rafa Martinez and guitarist Jason Landrian ratcheting things up even further, sounding more relentless than ever, which I didn't think possible. Imagine that you are being pursued by every single sentient being on earth, and they will not stop until you are dead. This is the soundtrack to that nightmarish death race.

While onslaught really is what this band does best, when they throw in a little diversity it only adds to the overall effect. Songs like "Crimson Blade" and "Corrosion Fields" stand out as a result of stylistic and tempo shifts. At the same time, even the most monolithic of tracks are full of endless twists and turns to keep listeners hooked for some time. This was one of the most anticipated releases of the year for me personally, and I can easily say that it has more than exceeded my expectations. I'll be dissecting "Invernal" in the weeks and months to come with a large satisfied grin on my face.

"Avalanche"

WILCO - The Whole Love (dBpm)

Sad fact: I haven't given a shit about anything Wilco has done in years. Given the slew of mediocre to boring releases in the wake of the masterful "Yankee Hotel Foxtrot," I can't really be blamed for my apathy. After all, it is not my fault that one of the greatest bands in the world went from all killer to all filler overnight. I spent more than a few moments in time over the years wondering what went wrong. Was the real talent in the band actually Jay Bennett? Was a sober Jeff Tweedy a lame Jeff Tweedy? After a while, I really just didn't give a damn. There were plenty of bands out there making great music to occupy my time. The tragedy, though, was that none of those bands sounded like Wilco at their height. When Wilco was at the top of their game, no one, other than maybe Radiohead, could touch them. Their ability to mix experimentalism with pop was astonishing on a level that approached the Beatles, and the aforementioned Radiohead. So when early positive reviews of the band's latest work "The Whole Love" began to surface, I was hopeful, if more than a little skeptical; after all, "Sky Blue Sky" and "Wilco (the Album)" all received generally positive reviews initially, reviews that arguably were padded by the goodwill Wilco had garnered over the years. Fortunately this time out, those initial reviews were spot on, maybe even a little too conservative in their praise, or maybe it's that the sound of Wilco caring about music again is so damn exciting that I can't really temper my own praise. Regardless, I love this record.

Opener "Art of Almost" starts the album out strong with pulsating electronics, a skittish Radiohead-like bass and beat, and anxious strings that swell at just the right moment. It's a massive, almost unwieldy, number that would sound like slop in a lesser band's hands, but Wilco control this beast all the way up until the end when they let loose with a torrent of blistering guitar that rocks harder than anything their English counterpart has done in years. If there is one drawback to "The Whole Love," it is that there aren't any other songs quite like "Art of Almost" on the album. At the same time what follows is the band's most consistent, catchy and enjoyable record in years.

For the most part, the record channels in catchy pop songs with experimental fringe like lead single "I Might," which is easily the band's most memorable song since "War On War" and "Heavy Metal Drummer." Ultimately, if there is a record most like "The Whole Love" in Wilco's back catalog it is the psychedelic pop candy of "Summerteeth," yet rather than sound like a Brian Wilson production, this sounds like Wilco and Wilco only. One of the record's best tracks, "Born Alone," is the kind of song that only this band could make. The song starts off like a Jayhawks' song, and then explodes into the sky with a shimmering repetitive guitar motif and galloping drums. From there it only grows bigger and better like a fireworks display. It's the mixture of the familiar with the foreign, in this case americana with krautrock, that makes the song so much like Wilco at their best, and also because it is Wilco at their best.

There are lots of little treats scattered throughout the record as well, including "Black Moon," which sounds suspiciously like Tweedy's Uncle Tupelo classic "Black Eye." I guess if you are going to cannibalise your own music, you might as well cannibalise one of your finest moments. It's a welcome song that will strike the mystic chords of memory in more than a few listeners. "Sunloathe" is a nice little slice of the kind of psych-futurism that characterized the Flaming Lips, Radiohead (once again), and Wilco back in the day and is another welcome diversion. The Van Dyke Parks influenced "Capital City" is also a distinctive highlight. Really there isn't a bad song on this record. There is no filler here. Each song has its charm and each finds the band fully awake and engaged.

The record closes with the beautiful and delicate "One Sunday Morning (Song For Jane Smiley's Boyfriend)." As an aside, I couldn't help but think of Badly Drawn Boy at his best when I first heard the track. It's a pitch perfect acoustic shuffle complete with chimes, piano and powerful, but understated, emotion. At over twelve minutes in length, it's the album's longest track, yet it casts such a spell that it leaves you wanting more. The same could be said for the whole record.

If you had told me a month ago that I would fall in love with the new Wilco record, I would have laughed in your face and told you to fuck off. Partly because deep down I wanted that to be true, but believed it no longer possible. Thankfully "The Whole Love" is a prima facie example of why F. Scott Fitzgerald was full of shit when he said "there are no second acts in American lives." This is the sound of Wilco no longer going through the motions. Instead, they are making music worthy of their hallowed name for the first time in years. "The Whole Love" easily gets my highest recommendation possible.

"Art Of Almost"


"I Might"


"Black Moon"

THREE ALBUMS THAT I REALLY DON'T LIKE, BUT YOU MAY LOVE

Recently I've been more of a curmudgeon than not when it comes to new releases that aren't either metal or experimental. I am willing to acknowledge that this may be primarily due to a character flaw within myself before I blame it on indie musicians putting out subpar material this year. So rather than write three horrible reviews of the following albums, I thought I would spew out my bile in short order and leave it up to you, the reader, to decide whether or not I am suffering from an aneurysm or if this music really does suck as much as I think it does. Admittedly, each of these reviews puts me on the wrong side of the majority of critics who seem to be fawning over each of these albums, so take what I have to say with a grain of salt. Of course, I could actually be the voice of reason, which would not bode well for anyone.

#1 GIRLS - Father, Son, Holy Ghost (True Panther)

If there is an indie rock album that was tailor-made for me this year, this was probably it. I have been hemming and hawing about the sorry state of indie "rock" this year and the lack thereof actual rock for the past couple of years, so one would think that a guitar driven album that covers the waterfront of styles would be right up my ally. Unfortunately, "Father, Son, Holy Ghost" leaves me feeling cold. Nearly everyone whose musical tastes I respect told me that no matter how I felt about their earlier material (in case you were wondering, I hated it) I would love this. Well, I don't. I still respect my friends' musical tastes, but I just can't hang with Girls. The same tired Elvis Costello/Britpop ripoff pyramid scheme that characterized earlier releases is at play here, and in the end I would rather just listen to the first three Elvis Costello albums or the Kinks. At the same time, I have to give major props to this band for playing rock-n-roll, no matter how unoriginal it sounds. In these dark days of synthpop and chillwave, at least Girls know how to play guitars and play them rather well.

I guess in the end my beef with Girls is that they are a tepid version of what I want to hear more than anything else. I'm learning to respect them, at the same time I'm never going to throw this on the stereo Friday night and rock out to it, because there are about a thousand better albums to actually rock out to on a Friday night. It really isn't a bad album, it just doesn't...well, it just doesn't. For what it is worth, apparently everyone but me loves this record and you probably will too, and in the end I recommend this about a hundred times more than the next two entries on this list.

"Vomit"