The Auditory

Happy New Year, all!  I thought I’d follow up James’ 10 best with my own, agreeing completely with the fact that there was a lot of fantastic stuff released this year.

10.) Dr. Dog, “Shame, Shame”:  Like Blitzen Trapper, but better.  If you listen to anything off of this album, listen to “Unbearable Why”.

9.) Sia, “We Are Born”: Generally, I have a broad taste in music.  I’ll listen to anything.  But if you asked me what my least favorite category of music is, I’d immediately answer “pop”.  “Pop” is a word that’s become synonymous with the word “crap”—thanks to MTV, Katy Perry, the radio, and most mainstream media (did I mention Katy Perry?).  When I bought Sia’s most recent release, and I realized that it was “pop” music, I felt a little resistant—how could I enjoy, or even respect , something bearing that hideous label?  I was pleasantly surprised.  I guess I could blame my misconception on iTune’s poor labeling system—after all, a search on the word “pop” came up with music by both The Beatles and Joni Mitchell.  Not pop, iTunes.  Like music by Mitchell and The Beatles, Sia’s music is something more than just pop—it’s soulful, sometimes catchy, but always refined.  Sia’s music is a perfect example of the type of “pop” music that should play on the airwaves, but probably never will.

8.) The Morning Benders, “Big Echo”:  I’ll admit that this album isn’t one that I’ve listened to as much as the others—but it’s one of those “I always mean to” albums.  The once in a while that I’ve actually listened to the whole thing, it’s blown me away.  There’s something sophisticated about their sound that draws me in.  The one song that’s a constant on my playlists is “Excuses”—it’s one of those “wall of sound” tracks that’s perfect for driving on the highway during the summer with your windows rolled down (or winter, if you’re adventurous and don’t mind the cold).

7.) Punch Brothers, “Antifogmatic”: Chris Thile of Nickel Creek formed this experimental bluegrass group a few years ago.  The group’s first album, “Punch” was released back in 2008 to rave reviews—and the four movement suite included on the album, “The Blind Leaving The Blind”, premiered at Carnegie Hall, garnering a similar response.  The new album features more catchy tunes than “Punch”—but never falls victim to typicality.  Punch Brothers’ music is an intriguing and ear-catching mix of bluegrass, folk, and pop/rock that, in my opinion, has one of the most unique sounds out there today.

6.) The “Scott Pilgrim” soundtrack, Various Artists: One of the best films of the year produced one of the best compilation albums of the year.  The key to this soundtrack for me was Beck’s contributions: both the track released under his own name (“Ramona”) and all the music he wrote for the character Scott’s fictional band, Sex Bob-Omb.   “Ramona” is one of the best tracks released during this year, in my opinion—it reminds me of the tracks on “Sea Change”, Beck’s mellow, introspective 2002 release.  In addition to Beck’s contribution are other great tracks such as the classic “Under My Thumb” by the Stones, and the alternative “Anthems For  A Seventeen Year Old Girl” by Broken Social Scene.

5.) Laura Marling, “I Speak Because I Can”: It’s hard to believe that Laura Marling is only twenty years old.  Her lyrics and music are sophisticated and thoughtful.   Truly, she sees the world through an artist’s lens—it’s the only way that she might be able to write so well at such a young age.  For comparison’s sake, Taylor Swift, queen of angsty teen girls (and some older girls who never actually grew up), is actually a year older than Marling.  I think that says it all.  Marling for the win.

4.) Elliott Smith, “An Introduction To Elliott Smith”: To me, Elliott Smith is the essential quarter-life crisis artist.  As I’m approaching a serious quarter-life crisis, he’s been my go-to music within the past few months.  This new release really does present an exceptional collection of Smith’s songs—from his early, more rock-based songs like “Ballad of Big Nothing” and “Happiness” to his mellow, acoustic, folk-based songs like “Angel in the Snow” and “Between The Bars”.  Of course, we’re all reminded once again of the fact that we lost such a versatile artist way too soon.

3.) Arcade Fire, “The Suburbs”:  This album was surprising, in a good way.  I’ve never been much of a fan of Arcade Fire (yeah, I know), so I honestly wasn’t sure that I’d like this album.  All it took was hearing the title track for me.  Amongst all the electronic hipster shit that’s been so popular recently, it stands out.  Plus, the message behind the album is strong and totally justified.

2.) Gogol Bordello, “Trans-Continental Hustle”: I love Eugene Hutz.  He’s a man with a vision.  If you want to listen to something different, intriguing, and inspiring, pick up (or download) this album—and all of Gogol’s albums, for that matter.  And go see them live.  You won’t be sorry that you did.

1.) Rufus Wainwright, “All Days Are Nights: Songs For Lulu”:  Wow.  That’s all I have to say about this one.  Rufus Wainwright exceeds expectations with every new release; he’s versatile, creative, and, well, fucking talented.  I had the opportunity to see him this past month at Carnegie Hall, where he played the entirety of this album—it was an experience that I will never forget.  He’s grown to be so much more than the pop singer that he was introduced to the music world as some ten or so years ago—he’s truly an artist, and possibly even a legend.

-Leah Creary

Hopefully as many of you as possible have voted in our poll for which albums you think should be rated highest in 2010, and so we’ll have a less biased and more stylistically/ethnically diverse list with us in the not too distant future. But on a personal level, I’ve been quite proud of 2010’s ability to churn out consistently good shit- I’ve never found myself lost for something to keep my ears amused. And yet (feel free to disagree with me here) I don’t think this year has offered anything quite as outstanding as the gold mine that is 2009’s back catalogue: Merriweather, Veckatimest, and Bitte Orca, just to name a few, trump pretty much anything that I’ve heard this year. Still, here it is:

10- Sun Kil Moon- Admiral Fell Promises: It didn’t get much exposure, but
Mark Kozelek continues to write such painfully nostalgic and emotionally raw acoustic music, which culminates in some of the most beautiful songs I know. It’s stripped down to the bone with just an acoustic guitar, and yet has more exploratory instrumental sections than any of his previous albums. Best track: Third and Seneca.

9- Vampire Weekend- Contra: It’s weird ‘cause when it first came out, people were knocking it for not being as good as the first, and yet now it’s all over the top 10 lists. I think it’s that Vampire Weekend explore and criticise their privileged backgrounds when no one else dare even mention their own which means that they’ve always got something interesting to say, despite sounding like Paul Simon a bit too often. Oh, and also it’s all covered in big tunes. Best Track: Diplomat’s Son 

8- Robyn- Body Talk: I only discovered this very recently, but have since decided that Robyn is the greatest pop musician in the world and I am in love with her. Anyone that can release 3 albums of just really really great pop songs in one year deserves so much respect, even if there is still some filler, and the occasional hip-hop slant is a tad cringe. Best Track: Hang With Me/ Indestructible…I can’t decide.

7- Jonsi- Go: I don’t particularly like Sigur Ros. I like the sound, but I don’t like the indulgence. So for Jonsi to break it all down to something bite sized, and for Nico Muhly to show up and orchestrate it all really bloody well like he always does, it makes for something great. Every song has this sense of triumph and breakthrough which is trademark Jonsi. But this album proves to me that he can be just as epic while at the same time a lot more concise. Best Track: Go Do 

6-Beach House- Teen Dream: If the prize went to the album that I’ve listened to the most, this would win. This is probably because it puts me in a kind of hazy trance every time I listen to it, but it’s a good place to be. I’m a succour for the trippy sound that they’ve got going, the deeply melancholic vibe, and the incredible vocal line, and the surfy undertones. Also, when I found out that the singer was a woman, I got to listen to the whole thing again with a completely fresh perspective. Best Track: Walk in the Park

5-Surfer Blood- Astro Coast: I absolutely adore the energy, vitality, and positivity that runs through this album. How nice to have something consistently upbeat and optimistic amidst all the dreamy shit that’s floating round at the moment. It’s kind the antidote to Teen Dream in that sense. I also love the fact that you can still have a band with a totally regular set-up sound sounding individual. I know they’ve got the whole surf and pixiesesque thing going on, but I kind of feel like they could have existed in any era. Debut of the year fosho. Best Track: Twin Peaks

4-Arcade Fire- The Suburbs:  It’s got some really fucking amazing songs: Suburban War, Sprawl II, City With No Children and We Used to Wait are some of the best songs of the year, with some of the most poignant lyrics. In fact, it would be number 1 if it weren’t let down by some average landfill in between. I think that, overall, the concept of this album is better than the music itself, or at least more consistent. The whole Suburban Nostalgia thing really appeals. It’s the exact opposite to Neon Bible, which was consistent musically while the concept was a bit whack. Best Track: We Used to Wait 

3-Sam Amidon- I See the Sign: I struggle to understand why Sam Amidon isn’t bigger in America. He takes folk-songs that are so fundamentally traditional, and via Nico Muhly’s luscious orchestrations, turns them into something just as fundamentally modern. It’s a very subtle process, but the transformations are incredible. I think that it is with Amidon that Nico Muhly really makes his most significant contributions to the end result- it’s a proper compositional input rather than just his usual instrumental gloss. It’s his third album, yet no less inventive or individual. Amidon is really good at what he does, and it’s really worth listening to if you haven’t already. Best Track: I See The Sign

2-Yeasayer-Odd Blood: I feel like it deserves a really high place ‘cause it’s the only proper like breakthrough album of the year, or at least that I like. Loads of people have complained that it is too confused in its sound or whatever, but does that really matter when they’re churning out tunes as ridiculous as Ambling Alp, Madder Red and O.N.E (which is definitely contender for song of 2010). It’s just one killer song after the next. And at the same time, it sounds absolutely mental, which is definitely a bonus. Like, what the fuck are they on about half the time. Real good album. Real good. Best Track: O.N.E

1-Owen Pallett- Heartland: Where is this on everyone elses list? Did they just forget about it? Or forget to listen to it? Or are actually retarded enough not to realise how good it is. This album is a feat on so many levels. For a start, to fully orchestrate an album of proper pop songs, and for it not to sound like dire cheese, or really twee, or grossly proggy is a massive achievement in itself. It never sounds anything but really fresh and really tight. Yet the way the album as a concept gradually reveals itself on closer listening and examination of the lyrics is the best thing of all. It is extremely experimental whilst managing to sound, well, not that experimental, and just really quite beautiful. Owen Pallett is a genius. I won’t hear it any other way. Best Track: The Great Elsewhere

All this being said, I haven’t listened to everything, and there are some supposedly incredible things that I haven’t got round to yet, like The Age of Adz, and My Beautiful dark Twisted Fantasy for example- which Pitchfork tells me is like the greatest album ever or something (hmm). Plus, I’m nowhere near patient enough to listen to all of Joanna Newsom’s Have One On Me, which almost certainly deserves to be on here were it not for me being fucking lazy. Contrarily, some big names I’ve deliberately left out. The National’s High Violent really wasn’t as good as loads of people randomly decided it was. It’s got nothing on Boxer, and the fact that most people can’t realise that means that it gets nothing but a negative mention.

Happy New Year! from me and the rest of The Auditory.

JJA

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brooklynmutt:

Ready To Start, Arcade Fire - Live on The Daily Show

This is a testament to the magnitude of how large Arcade Fire has bloomed as a band. Two days ago, it was announced that The Suburbs had reached No.1 on Amazon Digital Downloads.

Since their formation in the early 2000’s, rock orchestra Arcade Fire has seen a lot of the world, gone through many transformations and has even campaigned for President Barack Obama during his 2008 election bid. From their first, hit full-length Funeral (2004) to their anthem-filled release Neon Bible (2006), they’ve risen to a status far beyond what any “indie” band could have imagined. This week they will release their third record entitled The Suburbs. This album is a bit of a departure from their normal pallet of musical colors. While maintaining a driven, anthem-like song writing mold (which works perfectly for their aesthetic), they’ve also introduced many new elements to their sonic arsenal. This song, called City With No Children, builds on a familiar atmosphere for the band, and climaxes into a cacophony of new arena filled harmony, resembling Springsteen or The Clash. The Suburbs is out today in the UK and tomorrow (8/3) in the US and Canada.

DG

Arcade Fire - Month of May (New!)