Bon Iver’s “Bon Iver”
2011 was a wild year in the pop landscape. From Adele’s emotive and far-reaching voice to Drake bringing emo R&B to the mainstream to Jay-Z and Kanye West’s overblown odes to the over-blown, the biggest stars in pop only got bigger. On a smaller scale, indie rock lovers were treated to an Archers of Loaf reunion and Yuck’s union of Dinosaur Jr.’s gusto and Pavement’s choruses. And still smaller, the weird had an uprising: First with the ever-growing popularity of the too-prolific rapper Lil B and then with the expansion of the New York City- and London-based independent label Tri Angle Records, which released records by this year’s electronic darling Balam Acab and Lil B producer Clams Casino.
For this critic, the wonderment of 2010 is hard to top. Last year’s best-of music list was stacked top-to-bottom with songbooks of momentous enjoyment. The very best of 2010 is beyond the realm of this world. West’s magnum opus, My Beautiful Dark Twisted Fantasy, is an involving and thoroughly captivating affair. Its only competition at the top-of-the-top in 2010 was The-Dream’s masterpiece, Love King. An LP of supreme pop genius, Love King can quickly become an addiction. Both My Beautiful Dark Twisted Fantasy and Love King are emotional rides that music lovers will be listening to for many, many years.
Also in 2010, Wild Nothing carried us away into a dreamland with its debut album Gemini. Superchunk’s 2010 comeback record, Majesty Shredding, is the best rock record I have heard in ages. Unlock your inner pogo with these long-running indie rock heroes.
I did not find records as exceptional as My Beautiful Dark Twisted Fantasy or Love King this year, but those kinds of albums are rare and wonderful creatures — classics that only arise every few years, if we’re lucky.
I love several records that were released this year, though the number doesn’t reach double digits. Either fewer quality recordings were released in 2011 than 2010, or I was too absorbed in my favorite records to spend time with the ones I missed this year.
Below are the Diversions editors’ favorite albums of 2011.
— Reese Higgins
1. Deleted Scenes — Young People’s Church of the Air
It’s easy to call Young People’s Church of the Air my favorite album of the year because there is probably no other LP I listened to more in 2011 than this one. Its songs feel like home. From excellent pop songs (“Days of Adderall”) to dreamy escapes (“Bedbedbedbedbed”) to cathartic noise dirges (“A Bunch of People Who Love You Like Crazy”), Deleted Scenes’ sophomore LP is effective in hooking you in and then luring you further into their world of noise. (Full disclosure: I am thanked in the album’s liner notes.) The Washington-based quartet achieved grand heights on debut LP Birdseed Shirt, and Young People’s Church of the Air shows the band steering in new directions with fuller electronic textures. “English As a Second Language” is the record’s best song, and its final couplet sums up the song’s sad story: “What the f—?/ When I told you you weren’t in love…”
2. Cass McCombs — Wit’s End
3. Cass McCombs — Humor Risk
Some year-end lists may have you believe Wit’s End and Humor Risk — singer-songwriter McCombs’ two 2011 LPs — deserve the same numeral slot. But the records are completely different, and each represents entirely different sides of McCombs. Humor Risk is one of the modern-day folk singer’s friskier albums. It is full of deep and rocking songs that encourage the listener to grab a spot on the concert hall floor and listen as McCombs tells fables and tales of drug deals. Wit’s End is a different kind of animal. The title of one of its songs — “Hermit’s Cave” — accurately describes the experience. We aren’t just asked to listen; we are drawn fully in to a deep trance by McCombs the hypnotist. The album’s unusual instrumentation and beautiful melodies allow Wit’s End to be both timeless and somewhere out-of-time. McCombs writes magnificent songs, and they are always a pleasure to get lost in.
4. Cloud Nothings — Cloud Nothings
For the kind of short and spiky songs band leader Dylan Baldi wrote for Cloud Nothings’ debut full-length, the guitar parts are refreshingly intricate. It’s not math rock, but where Baldi could just have easily repeated a few power chords over and over, he attacks his wonderful pop songs with zipping solos and harmonious guitar lines. In addition to its playful garage-rock aggression, the album contains moody heartbreakers (“Should Have” and “Forget You All The Time”) and moments of blissful musical beauty (the last 28 seconds of “Not Important”). The prolific songwriter has a new album ready for January, the Steve Albini-produced Attack on Memory. The new songs released so far show a new maturity in Baldi’s songwriting, and the effort looks to be Cloud Nothings’ strongest set of songs yet.
5. Title Tracks — In Blank
In Blank is 11 songs of mostly fast and punchy guitar-pop, each an earworm any pop listener would love to harbor. John Davis’ (formerly of Q And Not U, Georgie James and once a Diamondback Diversions editor) solo debut, last year’s fantastic It Was Easy, was power-pop in its prettiest form. In Blank roughens up the edges, and well-curved hooks are favored over sweet melodies. It’s worth putting on your (rockabilly) dancing shoes before listening to In Blank, an album that reminds us how fun rock ‘n’ roll can be.
HONORABLE MENTIONS:
Kate Bush — Director’s Cut, The Pains of Being Pure at Heart — Belong, Foo Fighters — Wasting Light, Bright Eyes — The People’s Key, Terius Nash — 1977, Smith Westerns — Dye It Blonde, Wild Flag — Wild Flag, J Mascis — Several Shades of Why, Kurt Vile — Smoke Ring For My Halo, Jay-Z and Kanye West — Watch The Throne, Wye Oak — Civilian, Hammer No More the Fingers — Black Shark
— Reese Higgins
1. Bon Iver — Bon Iver
On his second album, Justin Vernon stepped out of the sad-guitar-man role and made a statement of his talent as not just a songwriter, but a composer. The most aching, bittersweet and beautiful album of the year.
2. Arrange — Plantation
At 19 years old, Malcolm Lacey is probably younger than you. Think about that as you listen to his home-recorded Plantation, an album that seamlessly straddles the intersection between somber piano balladry and throbbing electronica.
3. Olafur Arnalds — Living Room Songs
The Icelandic modern classical composer’s latest set is a seven-song suite recorded live at his Reykjavik apartment. The piano, strings and occasional percussive rhythms are expected from Arnalds; the sound of performers shifting in their chairs or the creaking of old wood are what sets the album apart.
4. M83 — Hurry Up, We’re Dreaming
Hurry Up, We’re Dreaming is overstuffed as a 22-song double album, but that’s OK — songs such as “Midnight City,” “Wait” and “Intro” are far and away the strongest the band has ever put out. And that’s saying something.
5. The Antlers — Burst Apart
It’s a tall order to follow Hospice, The Antlers’ tragic 2009 release, but Burst Apart works by moving past the desperation of its breakout album. The songs are crisper and easier to digest, turning the murky ambience into something concrete — and just as affecting.
6. 65daysofstatic — Silent Running
Silent Running is technically a rescoring of a 1972 film, but that doesn’t make a difference. The album stands on its own — it’s a more measured version of the heavy post-rock-electronica combo the band is known for. The piano takes a larger role, memorable themes resurface to great effect and, in the end, it has all the visceral power of any 65daysofstatic album.
7. Low — C’mon
The Duluth, Minn.-based slowcore giants really aren’t doing much slowcore anymore, venturing beyond the guitar and minimalist drums to add mallet instruments, strings and, well, John Stamos in a music video (“Try to Sleep”). But the songwriting is still there, despite the instrumental flourishes. In fact, they add a dimension or two.
8. Years of Rice and Salt — Nothing of Cities
If Explosions in the Sky is the one contemporary instrumental rock band you know (checklist: scored Friday Night Lights; played Letterman), Years of Rice and Salt is the band that beats Explosions at its own game. The quiet-loud dynamic is unchanged, but I dare you not to grin like an idiot when “Among Your Earthiest Words the Angels Stray” erupts toward the end.
9. Zola Jesus — Conatus
Zola Jesus is all about the voice of its leader, Nika Roza Danilova. Her vocals are deep and powerful, the kind that always seem on the verge of belting out a few words at random (and they do). They’re the perfect complement to the icy piano, synths and skittering percussion that serve as her songs’ backbones.
10. Wye Oak — Civilian
The raw power this Baltimore duo can draw from just guitar, drums and keyboard flourishes is astounding. On Civilian, the band shows more maturity too — the reserved, twangy title track is ominous but never heavy-handed (and creepy enough to soundtrack a season two promo for The Walking Dead).
— Jon Wolper
BEST EPs AND SINGLES:
1. Jens Lekman — An Argument With Myself EP
This collection should sit comfortably at the top of any best-of-2011 list as each of its five songs are perfect. The title track showcases Lekman’s trademark self-deprecating and referential humor, and “Waiting For Kirsten” does the same in a different way, while also managing to criticize Swedish higher-ups’ disregard for the less-fortunate. “A Promise” and “So This Guy At My Office” are both charming love letters with beautiful melodies. “New Directions” is another of Lekman’s lovelorn yet wonderful songs and features a joyful horn intro. Lekman is one of the best singer-songwriters working today, and this new EP continues in a long line of excellence.
2. Roomrunner — Roomrunner CS
3. Terry Malts — I’m Neurotic 7″
4. Mi Ami – Dolphins EP
5. Wild Flag – Future Crimes b/w Glass Tambourine 7″
— Reese Higgins
rhiggins@umdbk.com
jwolper@umdbk.com
