Robin Pecknold - "Olivia, In A Separate Bed"

Best Albums Of 2011

#1
M83 - HURRY UP, WE'RE DREAMING

I had always loved select songs from M83; when they were good, they were amazing, but when they weren't, they were mostly forgettable. I also always felt many songs fell short for lack of vocals. They ended up feeling incomplete, like less than a full song. On Hurry Up, We're Dreaming, however, both issues are resolved, and then some. This 22-song magnum opus is perfect from start to finish (okay, the kid going on about the frog gets old after the third of fourth listen, but we'll forgive that much). I listened to this, and only this, for what must have been weeks after getting it. It's like all the good parts of songs made up into an album. Rich melody after rich melody with no boring parts. There's nothing I'm not completely engaged in listening to while it's playing. This was without any question my favorite album of the year.

#2
FLEET FOXES - HELPLESSNESS BLUES

Full disclosure, this is probably my favorite band right now, so the stakes were pretty high when they put out their second full-length album. Thankfully, it was just as strong as all their previous work, which I suppose doesn't surprise me, but you really never know (I'm looking at you Bon Iver, but more on that later). They maintain their signature sound, with a full album of great songs and soundscapes. But like most great albums, it seems, there is one track I could do without, and on this album that is "The Shrine / An Argument". The first half is great (presumably "The Shrine") but the second half (presumably "An Argument") tries to do an experimental jazz thing that just comes across as a lot of noise. Maybe it's because I'm so non-confrontational, but I can do without this argument (zing!). "Someone You'd Admire" is my favorite track, and now one of the best in their catalog. "Blue Spotted Tail" is what I would want every song on every album to sound like, but I guess that's like eating the frosting without the cake. Still, it's perfect. I love the power of the title track "Helplessness Blues". If they're going to do loud and strong, I think this is the blueprint. I love this band so much, and can't wait to hear the albums they make in the years to come.

#3
BEASTIE BOYS - HOT SAUCE COMMITTEE PART TWO

When I first started listening to this album, I had it as my best album of the year. It's such a kick ass record and it finally, finally, finally has helped me to understand why everyone was so into The Beastie Boys growing up. I never understood it, but Hot Sauce Committee Part Two is so much fun, and the half hour video they made starring every worthwhile working comedian was such an awesome way to tease the album. "Too Many Rappers" which features Nas is so aggressive and epic. This album made my summer.

#4
THE STROKES - ANGLES

The first time I listened to this album, I had illegally downloaded a leaked version and was sure, absolutely positive, it was one of those fake leaks that another unknown band puts a famous band's name on their album to get people to listen to it. Then when I accepted it was in fact The Strokes, I was sure, totally positive, that these must have been early demos of songs that were not yet complete, or may not even make it to the final album. Then I received the official actual physical CD from Amazon, and sure enough, they were exactly the same songs I had illegally downloaded. I was pretty disappointed. This was arguably my most anticipated album in a long time. If I was making this list a week or two after this album came out, I probably would've put it in my "Notable Disappointments" section. So how did it end up at number 4? I heard them play the songs live. Well, not in person. I wish. Still waiting for the U.S. tour. But they performed a total of four different tracks on SNL, David Letterman, and Jimmy Fallon, and I heard the songs in a whole new way. I went back to the album and kept listening to it, and the more I listened to it, the more I realized there was a lot of great material, and most of the album was pretty darn good. I'm really glad it worked out this way, because it kind of would've killed me to categorize these guys as disappointments.

#5
EDDIE VEDDER - UKULELE SONGS

This one kind of came out of nowhere, and boy was it a pleasant surprise. After Eddie Vedder did the Into The Wild soundtrack, I thought that was the direction either Pearl Jam should go, or he as a solo artists should go, because it was so beautiful and he could do that acoustic singer/songwriter sound until the day he died if he were so inclined. He must have had a similar thought, because this album is basically that, but on a ukulele, which makes it even better! Every song is gorgeous. This is such a beautiful album to listen to at home, when you're feeling mellow and at ease. So soothing and nurturing, definitely one to have in your library.

#6
TENNIS - CAPE DORY

This little gem sort of came out of nowhere for me (Thanks, Junna), but really hit the spot. It's full of fun and happy pop songs from start to finish that remind me a bit of Camera Obscura, minus the lovelorn lyrics. Instead, this husband and wife duo sing about their adventures sailing the Atlantic. "Long Boat Pass", "Bimini Bay", and "Waterbirds" all stand out as favorites to me. I'm greatly looking forward to the release of their second album next month.

#7
JULIANNA BARWICK - THE MAGIC PLACE

Another beautiful ethereal, atmospheric album from Ms. Barwick. If you liked her first album, Florine, you'll like this, too. I'm definitely a fan.

#8
DRIVE SOUNDTRACK

So much great work being done in the movie soundtrack realm these days. There's actually only a few "songs" on this soundtrack, but they kick ass, and the whole mood and tone of the soundtrack makes me want to drive a suped up muscle car 100mph on an empty freeway. It's just an unabashedly cool collection of tracks. "A Real Hero" and "Nightcall" stand out as chic and smooth and sexual. It's Fast and The Furious for the fashion kids. Still on the look out for my satin scorpion jacket.

#9
TRON: LEGACY SOUNDTRACK

Another great soundtrack, compliments of Frenchies Daft Punk. What an awesome opportunity to score the movie Tron, and they definitely lived up to the challenge. The best way, obviously, to hear this is to see the movie, as it goes so well with each scene the tracks are written for, but it's pretty cool on its own, as well.

#10
BON IVER - BON IVER

Now up until today, this was going to be in my "Notable Disappointments" section. But then I remembered Pinkerton, Weezer's second album. When I first heard that, I was coming off the polished pop sounds of the EPIC Blue Album, and was totally confused as to what this mangled, sloppy, noisy, junk was they had recorded. I literally thought Weezer was a one-album wonder for years after that, until I kept hearing from random people I'd meet who would say that Pinkerton was amazing, and maybe even better than The Blue Album. I usually dismissed them as morons, until I'd finally heard from enough supposed morons to realize maybe I should give it another listen. Perhaps my tastes matured a bit, perhaps the album was ahead of its time, perhaps my expectations we're just so far off from what I got. I'm not sure why, but having initially hated Pinkerton, I came to understand that Pinkerton was The Blue Album's equal, that they were both EPIC in completely different ways. All of this is to say that I put Bon Iver on this top 10 list because I'm hedging my bets. When I first heard this, I had extremely high expectations. His debut album For Emma, Forever Ago blew my mind, it was one of the best albums I'd heard in years and years. It was the album I wished I had made, and then died of some tragic overdose or drowning before anyone had heard it, and then slowly, it would be discovered and passed around and I would be appreciated for the lost-too-soon genius that I was. So when I finally heard the second Bon Iver album, I think I was more laughing at it than anything. It sounded so cheesy, like bad 80s music or something. It's so produced and clean and sterile. I can barely understand the lyrics, and not in a good way. I can't hear them because they're not speaking to me. I'm not even sure the lyrics are worth hearing, because the ones I do understand....well, let's say I'm not sold. "Holocene" is, sonically (wouldn't be a music review without that word at least once!), a gorgeous song. I love it. Everything, that is, except the refrain "I can see for miles, miles, miles". I don't know why, I just don't like it. It just feels sort of vague and lazy. But the last track, "Beth/Rest"? I mean, not to live in the past, but the last track on For Emma, Forever Ago, "Re: Stacks", is one of the best songs I've heard in my life. "Beth/Rest" is so ridiculous I don't even know where to start. It's got a saxophone, and not in the cool M83 "Midnight City" way. I guess you would say it's non-ironic, which is fine, but it's sort of just bad. It's like a power ballad from the love scene in an 80s movie. Okay, enough complaining. I put it in the top 10 because I think one day I may come to appreciate this album. I could be wrong, but Bon Iver has done enough to earn the benefit of the doubt from me. I just hope this isn't a sound he sticks with for too long. And let's just note that it is dead last in my top 10. Only time will tell if that was the right decision.

Notable Disappointments: Radiohead - The King of Limbs (more like The King of Suck), TV On The Radio - Nine Types of Light (more like Nine Types of Suck), Iron & Wine - Kiss Each Other Clean (more like Suck Each Other Clean...yes, please).

Fleet Foxes Live

A Song From The Attic

Robin from Fleet Foxes just moved into a new place (yes, I stalk him on Twitter) and apparently the attic has some amazing acoustics with lots of reverb, so he was kind enough to record just under a minute of a new song he's working on in that very attic. It's pretty amazing. I swear the man cannot write a bad song. I tried to host it here on my blog but it wouldn't take, so click here to have a listen. It's well worth your time. Here are the lyrics, though I can't figure out what the last line is, so if you can, let me know!

I still think of you all the time
you were like a lion in the water
I was like an Indian lead to slaughter
half an hour from the border now
half a mile past the exit that I used to take
after soon some in that I needed this year

New Music From Robin Pecknold

Fleet Foxes - "Helplessness Blues"

Here is the title track off the new Fleet Foxes album, Helplessness Blues, available May 3. Click here for tour dates.

Bob Dylan - "It Ain't Me Babe" (Fleet Foxes cover)

I've been listening to a bit of Bob Dylan recently, and "It Ain't Me Babe" caught my ear. Just went to YouTube to find it and post it here, and what did I come across but a Fleet Foxes cover of it. Well, that's just fine. Enjoy!

An Interview With Fleet Foxes' Robin Pecknold

If you're like me and you're counting the seconds until the new Fleet Foxes album is released, you'll probably enjoy this interview from Pitchfork with Robin Pecknold, the lead singer of Fleet Foxes.

A few parts of the interview that stood out to me:

"I want the recording to be like two weeks. I want it to be really fast. I want to do all the vocal takes in one go, so even if there are fuck-ups, I want them to be on there. I want there to be guitar mistakes. I want there to be not totally flawless vocals. I want to record it and have that kind of cohesive sound."

"That's the other thing about the new record; it's mostly the 12-string guitar. Not chords, but I'm mostly playing the 12-string guitar, so that will be like the primary sonic distancing from the last record."

"There are definitely super-upbeat songs that are being worked on for the new record. But as a whole, it's probably a little bit less upbeat. Not darker-- some of it has a more exuberant feeling to it. But some of it is just more realistic. When I was listening to the first album, it was kind of like research. I was listening to the record for the first time in a really long time. When I was listening to it, I felt like I didn't get a chance to breathe. There was a lot of "too upbeat." I guess people think we're already kind of a mellow band, so maybe the next album will be pretty boring to most people."

"I think John Mayer's Twitter is entertaining, for sure. You get a different opinion on that guy from reading his world-wise Tweets."

"I just don't think we are really needed right now; there's a lot of really great music coming out, this year especially, so I think there isn't really anyone who's waiting for us to release anything."

Oh Robin, you have no idea just how wrong you are about that last sentiment.

Best Albums Of 2008

#1
BON IVER - FOR EMMA, FOREVER AGO

This is not only my favorite album of 2008, but probably of this century.

The story precedes the music. Justin Vernon sequesters himself to a remote Wisconsin cabin for four snowy months, writing and recording much of what would become his debut album, For Emma, Forever Ago.

The word 'cathartic' gets used a lot in the world of music, but I can think of no other album that has been more deserving of the term. This album was made for one person, and one person only—and no, it's not Emma. This album was created for Mr. Vernon.

If you've ever felt deep loss, a paralyzing loneliness, or love's heartbreak, this album will speak to you like no other.

I will not, however, reduce such a beautiful piece of work to 'a good break-up album'. It goes so far beyond and beneath. Its themes of isolation and loss are universal, explored with a sincerity only capable from a heart that has been exposed against will, and left vulnerable without choice.

In the end, Mr. Vernon makes no lofty claims of having achieved a profound evolved knowledge or some new fundamental change.

The album closes with the lyric, "This is not the sound of a new man or a crispy realization / It's the sound of the unlocking and the lift away / Your love will be / Safe with me"

It's as if he has simply surfaced, after a long time underneath. He can view from close above the wound that was cause, that first point of hot pain, and he has found peace in knowing it will never heal.

#2
FLEET FOXES - FLEET FOXES & SUN GIANT [EP]

"The sound of ancient voices ringing soft upon your ear"

Nothing could describe Fleet Foxes better than their own lyric, heard in the song "Oliver James".

When I first heard Fleet Foxes, I suspected it might be something new from Brian Wilson. It reminded me of a documentary I had seen on the making of his long-awaited Smile album. Present in Fleet Foxes were Mr. Wilson’s signature harmonies, wonderful percussion, and the ability to layer instrumentation while still leaving space for sparse, hallow echoes that drift gently into overwhelmingly rich melodies.

Fleet Foxes songs sound of praise and worship, but are not remotely religious. It's as though they grew up signing old hymns and spirituals, listening only to folk music.

To call Fleet Foxes music 'sad' or 'pretty' would be both lazy and superficial.

There is more.

There is relief, and there is release. There is forgiveness. There is a baptism.

If you are ready, there is an end and there is something new that begins, like a new day after a deep sleep. Like a new life, after a quiet death.

#3
RADIOHEAD - IN RAINBOWS

There's just something I love about an album that sounds its best when you're driving fast on an open road late at night.

Like so many other people, Ok Computer has long been my favorite Radiohead album. Recently, however, I've found myself trying to decide which one I enjoy listening to more, Ok Computer or In Rainbows. It's not entirely fair, since In Rainbows is still relatively new and fresh. I can't count how many times I've listened to Ok Computer, but it has to be more than almost any other album. The mere fact that I actually need to think about which I like more says a lot about the greatness of In Rainbows.

If my affections for Radiohead peaked with Ok Computer, they reached their low point with Hail To The Thief, but especially with Thom Yorke's solo album The Eraser. That release in particular made me start to feel that Thom Yorke and Radiohead were more interested in being unpredictable and avant-garde than actually taking the time to write songs that were good.

In Rainbows is immensely enjoyable to listen to. Not only that, it's even more enjoyable to listen to often. It is gorgeous in its restraint, in what's left out. It is cohesive and never overwhelming or forced.

For a band that has spent a decade trying its best to be unpredictable, perhaps finally fulfilling expectations helped Radiohead be more unpredictable than ever.

#4
VAMPIRE WEEKEND - VAMPIRE WEEKEND

There may be no better way to start the day than with the fresh, playful sounds of Vampire Weekend.

The sounds themselves are simply different from what most people are accustomed to hearing. The album is built on fun, bright keyboard lines, lively and luscious string arraignments, colorful lyrics, and perfectly placed percussions.

Although the lyrics themselves reference Peter Gabrielle, I’m always additionally reminded of Paul Simon, with his refreshing, African-infused rhythms and vocals.

But what is left to mention about a band that has—to say the least—been affectionately reviewed by just about everyone?

Because of such (over-) exposure, it would be easy to dismiss this group of East Coast preppsters and hate them even before you’ve heard them.

To do so, however, would be completely cynical and stubborn. You can’t really listen to this album without finding yourself in a better mood, maybe even smiling a little, and dancing a step or two.

After all, there’s not too much more to ask for from a really great pop album.

#5
THE WALKMEN - YOU & ME

If I ever give it all up and run off to some remote beach town, live in a shack, surf all day, and strum an acoustic guitar all night, The Walkmen's You & Me is what I'll be listening to all the while in between.

Like an old Reggae album or some quiet 60’s surf song, You & Me is laid back and splendid, full of rhythms and reverb that wash over you like warm waves under a bright moon.

Gentle guitars and distant horns dance with dampened bass lines and a haunting organ, filling empty spaces with moody melodies and urgent outbursts. The lyrics are longing and recall a time that once was while hoping for something that still could be.

It is the end of a long journey, tired and weary, lost and without resolution. A traveler is returning, unsure what will remain, and unclear why he ever left.

#6

LITTLE JOY - LITTLE JOY

Little Joy is the little band that could.

The group is mostly known as the side project of Strokes drummer Fabrizio Moretti, but that headline unfortunately overshadows what is truly a delightful collection of affectionate and intimate serenades.

The songs are unpolished and unpretentious, sounding as if they were written among the warm winds of Brazil, on lazy nights after a long meal and several bottles of wine.

Little Joy would fit perfectly in rotation with anything from timeless crooner Chet Baker or the bossa nova classic Getz/Gilberto. It’s patient and relaxing, quiet and subtle.

The music is mainly built on soft guitars, simple percussions, and a few horn and organ moments, but the real heart of Little Joy is in the singing.

The vocals alternate between the sly Rodrigo Amarante, who is not entirely different sounding from a mellower Julian Casablanca, and the sweet, sleepy voice of Binki Shapiro.

They pair together so well, in fact, you might like to imagine they are lovers who play these songs for no one but themselves, as if you were wandering the beach past their bungalow after dusk and overheard their tender songs for two, and decided to stay a little while longer and languish in the love.

#7
MGMT - ORACULAR SPECTACULAR

Well, what a year for these boys from Brooklyn. Talk about catching lightning in a bottle. I know several people who picked this as their album of the year, and there’s no doubt MGMT really was a terrific surprise.

The sound manages to oscillate seamlessly through multiple musical changes, reminiscent of Ween and The Flaming Lips. MGMT thrives on dance beats, psychedelic experimentation, impossibly catchy keyboard lines, and sardonically deadpanned lyrics that stay right on trend.

The first five songs on this album are nothing short of perfection. “Electric Feel” doesn’t do very much, but it stays the course and keeps the vibe. The last five songs, however, find the band using the same tools they built the first five with, yet failing to be as concise or engaging.

Rumor has it MGMT’s next album will be a two-disc set, with one disc focusing on their pop/dance sound, and the other on their psychedelic/experimental sound.

I’m pretty sure I know which one I’ll prefer.

#8

PORTISHEAD - THIRD

Portishead’s first album in eleven years, Third, feels almost as much like the score to a performance art piece as an album of music from a band.

It’s hard for me to listen to a song like “We Carry On” without picturing a massive back-lit blank white screen, flowing blood-red fabric, and about seven people dressed in skin-tight black bodysuits dramatically twirling and folding and arching and posing.

Where their first albums were haunting and beautiful, Third is abrasive, violent, and truly avant-garde in the best of ways. Portishead make no attempts to replicate what made them so successful in the 1990’s. In fact, the only thing that really sounds much the same is singer Beth Gibbons' signature somber voice.

But the album fails to act as a cohesive unit, a collective work, the way both Dummy and Portishead did. Third is a group of songs that don’t necessarily have very much to do with one other.

That’s not to say these songs are anything short of wonderful, only that they lack a through line tying them all together.

Third is an album I listen to very closely, appreciate every note of, recognize its greatness, and then tuck away for several months to rediscover once again.

#9

THE LAST SHADOW PUPPETS - THE AGE OF THE UNDERSTATEMENT

With Jack White and Alicia Keys writing and performing the opening song to the most recent Bond movie Quantum of Solace, and Chris Cornell doing the same for Casino Royale, there are a few musicians I’d like to take this opportunity to nominate to be next in line: Goldfrapp (see: Felt Mountain), Portishead (do not see: Third), and now The Last Shadow Puppets.

Much of this album from Arctic Monkeys front man Alex Turner and The Rascals front man Mile Kane is ready-made for a 60's spy movie. It is sweeping and mysterious and sensual.

The sound is defined by Turner and Kane’s knowing and cheeky vocal delivery, overarching string arraignments, reverbed guitars with liberal use of the whammy bar, and a lot of ride cymbal and snare.

This album is not out to change music. Much of it, in fact, is quite derivative, but that doesn’t change the fact that it’s a pleasure to have on, with or without the bikini-clad silhouetted Bond girls.

#10
TV ON THE RADIO - DEAR SCIENCE

Perhaps I hold TV On The Radio to expectations too high. When they are at their best, their songs combine so many glorious elements it overwhelms a person.

Songs like “Halfway Home” and “Family Tree“ define the TOTR experience for me: a wall of sound combining layers of guitars, keyboards, percussions, strings, horns, and gospel-influenced vocals.

Then there are songs that seem entirely out of place, as if they were written by another band. “Crying” is a perfect example of this for me. Maybe I just can’t get the “Casino Night” theme song from Sonic The Hedgehog out of my head when I’m listening to it, but it just comes across as a bit silly.

“Dancing Choose”, as well. I think this was their attempt at a sequel to R.E.M.’s “It’s the end of the world as we know it”—hurried and frantic with too many words in not enough space.

Dear Science is a tale of two albums for me. I love half of it, and I’m confused by the other half. When you have the ability to write songs as elegant as “Stork and Owl”, I just wonder why you would bother with any other style.