Jan
22
2012
Dec
20
2011
The Top 200 Songs of 2011 – 150-101
150. Drake feat. The Weeknd – Crew Love
This is the first of many times for both these artists on the list. Here the Weeknd provides his eerie tortured-party R&B before the beat drops and Drake laments.
149. Cass McCombs – County Line
McCombs brings another signature somber note in his trademark melancholy falsetto. One of my favorites from Wit’s End.
148. Fleet Foxes – Helplessness Blues
The first verse of this track more or less describes my life right now – realizing we are not unique snowflakes but small cogs in a machine we don’t know about yet. Simple, yet poignant.
147. The Joy Formidable – Magnifying Glass
From the maniacal laughter to the thumping stomp of that chorus to those wailing guitars, Joy Formidable claim the throne as the loudest new band of 2011.
146. YACHT – Dystopia
A play on an old R-rated cheerleader chant becomes a boogie-worthy ode to the end of the world. In typical Yacht fashion, it makes you wanna dance around the flames.
Dec
17
2011
Most Disappointing Albums of 2011
A recent NBC/WSJ poll revealed 76% of Americans consider 2011 to be a “below average” year or “one of the worst” in their lives. Certainly times are tough in the world. Obama is a lame duck, and the competing Republicans are clinically insane adulterers and fundamentalists. The economy remains on the brink of collapse; Congress is a brainless, yelling mob of idiocy. REM broke up. Limp Bizkit got back together.
Musically speaking, do I consider 2011 to be a disappointing year overall? Not really, but I don’t consider it to be a revelatory one either. So I’m indifferent. That said, as is the case with every year, 2011 had its share of disappointments. Maybe in these five cases, my expectations were set unreasonably high. But for at least a couple, I don’t think that’s the situation; some of these albums just flat-out suck.
Radiohead – King of Limbs
This is a good album. Not a great one. And when it comes to Radiohead, “great” is the caliber the world expects. Perhaps that’s unfair, but it’s realistic. It took them a while, but they finally churned out a dud. Is it challenging? Yes. Is it ambitious? Absolutely. Does it sound forced, lost, sometimes even lazy? Unfortunately, but definitely. I look forward to hearing the next great transformation in the sound of Radiohead, because this was obviously a stumbling transition of some sort.
Tyler the Creator – Goblin
It’s incredible how one album can utterly silence an excited mob. Count me as one of the many who saw Odd Future at SXSW, on Jimmy Fallon, and was psyched to hear Tyler’s new solo outing. With the exception of “Yonkers” this is a complete mess from start to finish. It is patently offensive in an auditory, not lyrical, sense. The real disgust lies not within the misogynistic, homophobic verses, but the tuneless, boring dreck that surrounds them. Unlistenable.
Washed Out – Within and Without
Speaking of boring….I guess I should have seen this one coming. Abandoning the fun, infectious, danceable influence evident on the excellent Life of Leisure EP, Ernest Greene conjured up a full-length full of mood, but absolutely nothing that stands out.
The Strokes – Angles
That dreadful, thrown-together album cover says it all, doesn’t it? How bummed were you after hearing this all the way through for the first time? What a sinking feeling. Exactly three tracks here are great, even if they’re not exactly progressive. The rest is uncharacteristically confused. The listener feels the same way the band probably did after finishing this: what?
Justice – Audio Video Disco
It’s generally expected when you take four years to make a follow-up to a critically acclaimed debut, that means you’re taking some risks, trying some new things, and the result will be an interesting one. That’s exactly what Justice did. In fact, that’s all they did. Going the way of MGMT, there’s very little here that sounds even remotely like the 2007 French house duo that isn’t Daft Punk. More prog than anything else, Audio Video Disco throws a lot of spaghetti at the wall, and almost none of it sticks. Props for changing the formula, but I would have preferred a simple Cross Part 2.
Feb
24
2011
My Top 300 Songs of the 2000s – 50-41
Today I continue my ongoing feature showcasing my personal picks for the best songs of the past decade, posting ten songs at a time.
50. Passion Pit – Sleepyhead
Named my favorite song of 2009, I’ve already explained how much I love this song. Even a casual reader of the blog knows how many times I’ve blared it loudly, as I’m doing right now. It never gets old. The song is littered with hooks – in the singing, in the wordless chorus, in the sampling, in the background synths. It all just works. And Passion Pit will likely never top it.
Sep
28
2010
My Top 300 Songs of the 2000s – 160-151
Today I continue my ongoing feature showcasing my personal picks for the best songs of the past decade, posting ten songs at a time.
160. Jimmy Eat World – Authority Song
The band’s breakthrough was in the form of a pretty spectacular power pop album, and while their new sounds reveal the group to have eased into generic territory, this self-titled disc (originally called Bleed American, but changed due to the post-9/11 attack on media and music) was a welcome escape from the over-saturation of bland hip-hop and post nu-metal radio dreck. “Authority Song” is a forgotten album track that has more hooks than the uplifting, cheesy lead single “The Middle.”
Jun
29
2010
My Top 300 Songs of the 2000s – 230-221
Today I continue my ongoing feature showcasing my personal picks for the best songs of the past decade, posting ten songs at a time.
230. Grizzly Bear – Two Weeks
Plinking pianos, soaring background vocals, and an accessible approach to the band’s quiet tendencies brought Grizzly Bear their breakthrough track in 2009. While Veckatimest still had the trademark off-kilter minor keys and dark lyrics, “Two Weeks” came out of the oven ready for Gossip Girls. And there’s certainly nothing wrong with that.
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