Culture Greyhound

Let’s get the negative lists out of the way first. As 2011’s Listmas continues, there are a plethora of albums ranking high on prominent lists that frankly don’t deserve the accolades given. I’ve limited my selection to five of what I feel are the most overrated albums this year. Granted, there are several more I feel could have made the cut (Wilco, Smith Westerns, Kate Bush, Kurt Vile, Karl Maus, Juliana Barwick, The Antlers, Wild Beasts, Wild Flag, Nicolas Jaar), but for the sake of not being TOO snobby about it, the following are the ones I’m most sick of hearing about.

Disclaimer: “Overrated” doesn’t necessarily mean I didn’t enjoy the album, it just means I apparently didn’t enjoy it as much as the rest of the world.

Bon Iver – S/T

To give this snoozer sophomore slump comparable praise to the brilliant For Emma, Forever Ago is blasphemous. And now it’s got apparently unwanted Grammy recognition behind it. In between producing a classic and smoking weed with Kanye, Vernon apparently decided anything second-rate he put out would receive “album of the year” nods, and he was so very, very correct.

James Blake – S/T

Let’s be clear: there is STRONG potential here. The highs are high, but the lows are dreadfully low. “Limit to Your Love” and “The Wilhelm Scream” are examples of the genius amalgamate of noise and melody, beauty and chaos, that Blake has to offer. The rest? A collage of ideas tinkering for mood over melody. I look forward to the next try, when this up-and-comer will hopefully embrace his more structured side.

Foster the People – Torches

Foster the People are the MC Hammer of the new electro-indie sound – they took a fresh sound that had already earned popular recognition (MGMT, Passion Pit), watered it down with repetition, trite lyrics, and gimmicks, and became an overnight success story. If I wanted to hear this derivative mess in any fashion, I’d take Adam Levine to a karaoke bar and make him sing “Kids.”

Destroyer – Kaputt

Really? Is this album as great as everyone claims it is? For that matter, is ANY Destroyer album as great as everyone claims it is? Chalk it up as another project that will always make the year-end rounds regardless of output. There’s nothing criminal here, just formulaic and overdone, and it gets pretty samey about halfway through.

Oneohtrix Point Never – Replica

Daniel Lopatin’s better project, without a doubt, is Ford & Loptain; here, in OPN, he embraces his ambient, “Brooklyn” tendencies, and the result is a journey into atonal slumber. The “trying too hard” distate is overpowering throughout, with mindless repeated samples amongst a directionless hiss and unfocused arrangements. After dropping the fantastic Channel Pressure this year, one has to wonder what’s the point of this particular mess?

Compared to my first year as an Austin resident, I took it pretty easy this year. I suppose the combination of budgeting, starting grad school, and just generally growing old has slowed me down a bit, but I still saw some cool shows. And with M83, Radiohead, Drake, and Born Gold all coming in the first half of 2012, looks like I’ll be getting a head start on this list for next year. In the meantime, here are some highlights, at least ones I could remember, from 2011.

Hooray For Earth @ Emo’s Inside – 10/1

I believe this was the last show I saw at Emo’s Inside (I remember seeing Twin Shadow around ACL time on the outside stage just before they shut it down), and I’ve yet to see a show at the new locale on East Riverside. I had been dying to witness Hooray For Earth for many many months, and finally seeing them rock out was rewarding, as was a nice conversation with the lead singer afterwards.

Deftones @ Austin Music Hall – 6/4

Call it making up for lost time; I’m not a huge fan of AMH – actually, I hate it quite a bit, but I’m never missing a Deftones show. I finally saw them for the first time last year, and as long as these guys make it to Austin, I’ll be going. The crowd was awful, as was the case last time, but Deftones more than make up for all the teenage rudeness.

Bill Maher @ ACL Live – 3/26

Not a music show, but man was it hilarious. My second show in the ACL Live venue, and Bill proved he loves Austin. The crowd was mostly receptive, but I did get some looks for applauding loudly at the atheist jokes. Do people know who they came to see?

Robyn @ ACL Live – 2/17

Robyn is incredible, see her live the first chance you get. High energy, tons of dancing, great acoustics, great venue. The crowd up front was crazy annoying, especially during Diamond Rings, but what are ya gonna do?

Sleigh Bells @ The Glass House – Pomona, CA – 4/13

The Glass House is a weird little venue; I honestly had no idea how far Pomona was from West Hollywood, but we drove a long way to see this awesome awesome show. It was all ages, no alcohol. Not that I had a lot of cash anyway. Sleigh Bells killed, as is the routine.

The Go! Team @ Echoplex – Los Angeles, CA – 4/19

The Echoplex was closer, but it felt like a shady neighborhood. The venue, however, is pretty damn awesome, and the Go! Team were just as fun as I could have imagined. Hopefully these guys make a new album, because I’m betting they’ll make a stop here in Austin if they do.

Primus @ Stubb’s – 5/24

It’s so great to have these guys back and playing new stuff. Have I said that lately? Great show in one of the best venues in town, and we met Les (again!) and got a pic with him afterwards. Swell fella!

Dwight Yoakam @ ACL Live – 7/21

Another strong showing from the hillbilly king, this time at a venue within walking distance. Now if he would just get back in the studio!

Austin Psych Fest @ Seaholm Power Plant – 4/30-5/1

I really had no idea what to expect, but this ended up being a pleasant surprise. I got sufficiently drunk and listened to some crazy great psych music from all around the world, in the most appropriately creepy place to see a show in Austin, the echo-riffic Seaholm. Capping off the fest with Roky Erikson providing the soundtrack to the news of bin Laden’s death is a memory I will never forget.

Fun Fun Fun Fest @ Auditorium Shores – 11/4-6

I was a bit concerned for the future of my beloved FFF when they announced they were moving to the Shores, but in hindsight I feel ashamed for not having faith in the Transmission crew. Not only was this the best lineup I’ve ever seen in the fest’s six-year history, but the change of venue actually improved the overall experience. Great vendors, great music, not too crowded….best music experience of 2011, hands down.

SXSW 2011 – Spring Break and Beyond

The best week of the year did not disappoint, though this year I focused a lot of energy on getting into shows I didn’t think I would be able to get into. There’s certainly an extra feeling of reward when you’re granted access to an exclusive party with A-list bands and free food and booze. My personal highlights were the Zynga party (flyer above) and catching Queens of the Stone Age at La Zona Rosa. Another great free party showing as well this past year, especially Mess With Texas, which never disappoints. Saw the Strokes at the Shores, too, which was great. While 2010 might be remembered as the year of mini-riots and ridiculous overcrowding, for me it was just a regular old SXSW, fun, booze, catching up with old friends, and seeing some great music.

For those who truly choose to recognize it, three major shifts happened in 2011.  The first, as is apparent during this year’s Listmas (and will be apparent on my year-end lists as well) is the resurgence of irreverent, smart hip-hop and what is half-mockingly referred to as PBR&B.  The introspection of 2010’s hottest rappers (you know, when Eminem got all mature and serious and junk) has caused a shift in the landscape.  As rap has been semi-tossed aside in the pop world in favor of the Eurodance craze, rappers have become more….sad.  And real.  And risk-taking.  And progressive. And brilliant.  Drake crooned, the Weeknd swooned, Big K.R.I.T., Danny Brown, Kendrick Lamar, and A$AP Rocky all impressed.

The second one is more important to the industry as a whole: Spotify.  Its launch in the US has caused nothing short of a revolution: millions have signed up for the service, initiating a preference for a streaming-based distribution model over downloading iTunes files.  Spotify isn’t the first of its kind, but certainly its connections and marketing have made it the poster-child for what many are calling the next pivotal shift in how we listen to music.  A vibrant, passionate discussion has formed from the company’s popularity; the service has caused its share of controversy and criticism regarding royalties and high-profile artists like Coldplay and the Black Keys opting out.  Certainly the model isn’t perfect, but could it be the new blueprint?  One thing is for sure: the business of digital music is crazy exciting right now.

The final shift in 2011 happened to me personally, it really wasn’t an event, more of a realization.  I became aware of my adulthood, I suppose, probably for the first time ever, and it has affected my listening habits and preferences.  Not that I’m listening to “mature” music now….quite the opposite, in fact.  I guess I just finally decided life is too fucking short to be pretentious, and that we should just listen to whatever we want.  Though I suppose I’ll always have these so-called “hipster tendencies,” I’ve begun to embrace my love of escapist music, of pop, of rap, of dance, of strong melody, of hooks.  Because, to me, music is probably the most important thing in my life, and it is meant to be stimulating, challenging, but also, prominently, and this is the part we forget in college, kids, it is meant to be enjoyed.  And if I sit around listening to shit I don’t like all the time because I was told it was awesome or groundbreaking, I will die a sad, pompous, stuck-up old man.  So live your life, and stick to your guns. And dance if you want to, damnit.  And listen to music that makes you feel good.  Because this is your life, and you only get one.

One other thing I would like to mention that 2011 will likely be remembered for, but is of no consequence to me: this is the year Adele took over.  And so emerges another AC-friendly artist that the world adores, but I am left all by my lonesome to proclaim: “Meh.”  And look at that: I’m bored already just talking about her.  Damn, there I go again! Hipster tendencies…..baby steps.

So here is the blog schedule for the remainder of 2011.  Stick around and be prepared to disagree!  Should be a grand old time.

December 15: My Year In Live Music
December 16: Most Overrated Albums of 2011
December 17: Most Disappointing Albums of 2011
December 18: Top Music Videos of 2011
December 19-23: Top 200 Songs of 2011
December 24: Top 20 Remixes of 2011
December 25: Honorable Mention Albums of 2011
December 26-30: Top 50 Albums of 2011
December 31: Top TV Shows of 2011
January 1, 2012: Quarterly Review

Sleigh Bells – Reign of Terror
February 14

Already a contender for most awesome album title of the year, Sleigh Bells’ sophomore effort drops the same day you’ll be giving chocolates to your lady. It is sure to be loud, frenetic, and face-melting. How romantic.

The-Dream – The Love IV: Diary of a Mad Man
Release Date TBA

Instead of dropping this new LP this year, Terius Nash ran into some label disputes, so the album has been put on hold. In the meantime, to whet our appetite, he dropped a free, excellent mixtape on his site, 1977. If that release is any indication of what to expect this year from Nash, it is sure to be a worthy follow-up to the incredible Love King.

Cloud Nothings – Attack On Memory
January 24

Although I wasn’t particularly impressed with the new material in a live setting, studio versions have sounded incredibly promising. 19-year-old Dylan Baldi leads his group from their garage power pop approach to a new, darker, and more mature follow-up, destined to be one of the most interesting releases of 2012.

Air – Le Voyage Dans Le Lune
February 7

Although their last two releases have been immeasurably disappointing, I still can’t help but get psyched for this ambitious project, an album based on a silent French film made in 1902. It’s just the kind of concept one would expect from this dreamy duo; the album is slated to feature help from Au Revoir Simone and Beach House.

Future of the Left – The Plot Against Common Sense
Release Date TBA

The Mclusky offshoots have been quiet for two years, and that’s two years too long. After dropping a promising EP in November, the band’s stateside release of their third album is sure to induce massive amounts of headbanging, as well as earn the group a new handful of fans.

Hilarious. And oh so right. For all the wrong reasons. Just try to get this out of your head.

The Weeknd – What You Need from NovStru on Vimeo.

Every Saturday, I post a 15-20 minute podcast featuring some tracks I’ve been jamming the previous week, as well as some commentary and random musings from yours truly. Enjoy!

Tracklist:

Kendrick Lamar – A.D.H.D.
Roadrunner – Spinning
Guards – Do It Again
The Joy Formidable – A Heavy Abacus
Kendrick Lamar – No Makeup (Her Vice)

Today I continue a series of posts dedicated to the best albums of the last decade, posting analysis of one album at a time.

31. Justin Timberlake – FutureSex/LoveSounds

I’m frankly not surprised Timberlake’s put down a microphone and shelved his dancing shoes for mediocre acting. There was no way he was gonna top this. Marked as a progressive foray into more suggestive lyrics and sex-soaked sounds, FutureSex/LoveSounds is a mish-mash of homages to the greats before him – Prince, Pendergrass, Michael. While not necessarily a lyrical beacon of brilliance, musically speaking, Justin’s second album is TONS better than Justified, which was basically an intro to the post-N’Sync bad boy.

The finest tracks here are probably producer Timbaland’s last GREAT ones, including “My Love” and the minimalist, classic, fantastic “SexyBack.” Medleys just as infectious as the songs they transition envelop the album, which sounds designed specifically for an evening of promiscuous fun. The first half is drinking, dancing, and going home with someone you don’t know. The second half winds everything down with pleasant slow jams and Timberlake’s reminding you the kid’s got pipes.

So if you just came back from the cineplex pissed that you just spent $10 on another shitty JT movie (he’s been on a roll of crap this year…Bad Teacher? Friends With Benefits? In Time?), my advice is to crank this up and grind and sway with your lady. It’s times like these, when our favorite boy band stars become undeserved A-list actors, we can reminisce on the moments when they focused on honing their true strengths.

Listen to FutureSex/LoveSounds on Spotify.

Another mindless post. This video rules.

I’m way behind on this one. Released back in July, Kendrick Lamar’s Section.80 is another hip-hop highlight from a year already packed with them. “A.D.H.D.” is an instant sing-along, “Makeup” is a reflective piece on a woman’s inner (and outer) bruises, and “Rigamortis” is a lightning-fast brag-off featuring more self-congratulatory sentences than Kanye could keep up with.

By the time “Chapter Ten” shows up, we’re being asked if we’ve been taking notes. Simultaneously charming, gritty, serious, hilarious, catchy, grimy, and progressive, there’s a lot to take in here. On the outro, Lamar gives us his ultimate declaration, a summarization of himself and the creation he has delivered: “I’m not the next pop star, I’m not the next socially conscious rapper, I’m a human fucking being.” Introspective, decadent, intelligent, challenging, complicated, maybe bipolar – if there’s one thing Section.80 feels like, it’s human.

Listen to Section.80 on Spotify.