written by Moby
For the third consecutive January, I find myself smacking my forehead with a bit more frequency than usual over my obvious flaws as a monitor of the alt/indie music world.
That’s because for three consecutive years I’ve done “Best Of” shows right after the new year to commemorate my favorites from the previous year—and then, when I’m done with them and resume my never-ending, quotidian task of foraging for New Stuff, I discover how badly and how frequently I’ve missed the boat. That is, if I discover a great new album in December and it’s a few months old, no big deal. But when I do the same in January, it’s grating.
Once again, I’m kicking myself for several oversights that I’ve discovered in just the last couple of weeks. Specifically, as of this date, I’ve identified four albums that were released as early as last February, which evaded my radar and would be very strong candidates for the Favorite Albums of 2011 list that I compiled at year’s end.
They’re orphans—discovered too late for my 2011 list and barred from candidacy a year from now. And here they are:
The Golden Mean, by Kim Novak. This is not the 79-year-old retired actress, but a French (!) four-piece. They put out an album four years ago that’s been described as cold-wave a la Interpol. Then nothing until 2011. They released an EP back in February, which I’ve yet to check out, and then in October they came out with the 15-song “The Golden Mean.” I hear a little of an Interpol influence; but it’s much richer than that, drawing from a variety of influences (including soul) and extremely well-written. It’s also very subtle; it’s the kind of album that slowly eases its way into your mind and you realize you’re hearing something special.
Never Forever, by Singapore Sling. This Icelandic five-piece noice/shoegaze band has been around for nearly 10 years, produced several albums and I have somehow managed to ignore them despite the fact that I really liked the one track of theirs that I had in my library, “Overkiller,” which they gave away as a free mp3 on the 2004 South by Southwest site. I heard some kind of positive mention of the “new” Sling album, checked it out, discovered that it came out last May, played it…and played it and played it in recent days. They’re probably the five millionths “Jesus and Mary Chain”-influenced band, but they do it extremely well. Very dark, droning, pulsating.
Moment Bends, by Architecture in Helsinki. Another veteran band, this one from Australia, which I’ve somehow managed to ignore over the years. This album, which came out last May, is a lush, exuberantly upbeat slice of indie pop, heavy on the synths. It kinda made me think of what Magnetic Fields might sound like if they decided to do a dance record.
Get Sharp, by The Limousines. They’re a Bay Area electropop three-piece that released their first album in 2010. Sugary and infectious. The track, “Internet Killed the Video Star” kinda gives you the idea…
Showing posts with label Moby. Show all posts
Showing posts with label Moby. Show all posts
Friday, January 20, 2012
Thursday, January 12, 2012
Favorite Albums of 2011 - Moby
I started with a list of about 100 albums, then cut it down to 50, then to 25. I do think my pick for the best album of the year, The Big Roar by The Joy Formidable, is rock solid. But beyond that, the numbers 2 through 10 that I pick today are probably going to be different from the ones I would have picked a week ago or a week from now. Much depends on the mood of the moment.
Basically, I’m picking the albums that I most enjoy listening to. But an added criterion for me is that the album can’t have just a few really good songs; it must have some scope, some depth.
That said, here’s my list:
1. The Big Roar, by The Joy Formidable.
I must admit that my passion for this album is likely colored by the fact that I witnessed this Welsh (by way of London) three-piece deliver an unforgettable live performance in my town BEFORE I heard the album. I fell in love with them that night, and it surely has influenced my response to the album. I hate to pigeonhole it as “90’s rock,” but that’s probably the closest thing to a label you can attach to it. It’s loud and aggressive, but in an uplifting fashion—and the songs are brilliantly structured, oftentimes delivering multiple climaxes. In addition, frontwoman Ritzy Bryan is one dazzling pixy chick.
2. Strange Behavior, by Screen Vinyl Images.
This pick may also be the product of bias—in this case, temporal bias. This is a brand-new album, released Dec. 13, and I can’t get enough of it. They’re a noisegaze three-piece from the DC area and they describe their music as “a combination of extremely loud guitars and cold electronics.” There’s a strong Jesus & Mary Chain influence here as well as psychedelia. Very dark and dramatic.
3. West, by Wooden Shjips.
So maybe the droning darkness of Screen Vinyl Images has influenced my decision to place another dark, droning band in the three slot. In this case, it’s hardcore psychedelia from a San Francisco four-piece that does this stuff better than anyone (including The Black Angels). Solid from start to finish.
4. Eureka, by Mother Mother.
Someday the world will discover this outstanding Vancouver quintet. This is their second album, and, like their first, it features superbly crafted pop tunes built around boy/girl vocal interplays that sometimes sound like conversations. Light-hearted, energetic, inventive.
5. Um, Uh Oh, by Say Hi.
Eric Elbogen, the former Say Hi to Your Mom, is now Say Hi and he’s really matured into a great songwriter/performer. This is his seventh album and it’s just one solid, hooks-laden tune after another with blues tinges here and there.
6. El Camino, by The Black Keys.
The Keys are big-time now and so it’s not surprising that this album is slicker than their previous efforts. But is Dan Auerbach constitutionally capable of doing bad work?
7. Believers, by A.A. Bondy.
Haunting, haunting album that evokes an image of sad wanderers and empty American landscapes. Best listened to with a glass of whiskey.
8. Father, Son, Holy Ghost, by Girls.
Lead guy Christopher Owens if one of the best songwriters in indie pop. You think of Girls tunes as being kinda sweet and sentimental, but on their new album the songs are more muscular—and even a bit bluesy in a couple of places.
9. What Did You Expect From the Vaccines?, by the Vaccines.
This is a major-label release (Columbia), but it’s so solid that I’ve got to put it in my top 10. They’re a new British four-piece, having formed in 2010, and they’re quite eclectic, drawing from the early ‘60s, punk, garage, etc.
10. The Wombats Proudly Present…This Modern Glitch by The Wombats.
Clever, upbeat Britpop at its best. I love bands with a sense of humor and this album makes me smile and laugh.
Finally, 10 more albums that might be on the list on another day when I’m in a different mood:
All at Once, The Airborne Toxic Event
When Animals Stare, The Black Ghosts
Cults, Cults
Sound Kapital, Handsome Furs
Will the Guns Come Out, Hanni El Khatib
The English Riviera, Metronomy
Replicants, Millionyoung
Welcome to Condale, Summer Camp
The Future Will Destroy You, Viva Voce
Forever Today, I’m From Barcelona
-Moby spins Fridays from 7-9
Basically, I’m picking the albums that I most enjoy listening to. But an added criterion for me is that the album can’t have just a few really good songs; it must have some scope, some depth.
That said, here’s my list:
1. The Big Roar, by The Joy Formidable.
I must admit that my passion for this album is likely colored by the fact that I witnessed this Welsh (by way of London) three-piece deliver an unforgettable live performance in my town BEFORE I heard the album. I fell in love with them that night, and it surely has influenced my response to the album. I hate to pigeonhole it as “90’s rock,” but that’s probably the closest thing to a label you can attach to it. It’s loud and aggressive, but in an uplifting fashion—and the songs are brilliantly structured, oftentimes delivering multiple climaxes. In addition, frontwoman Ritzy Bryan is one dazzling pixy chick.
2. Strange Behavior, by Screen Vinyl Images.
This pick may also be the product of bias—in this case, temporal bias. This is a brand-new album, released Dec. 13, and I can’t get enough of it. They’re a noisegaze three-piece from the DC area and they describe their music as “a combination of extremely loud guitars and cold electronics.” There’s a strong Jesus & Mary Chain influence here as well as psychedelia. Very dark and dramatic.
3. West, by Wooden Shjips.
So maybe the droning darkness of Screen Vinyl Images has influenced my decision to place another dark, droning band in the three slot. In this case, it’s hardcore psychedelia from a San Francisco four-piece that does this stuff better than anyone (including The Black Angels). Solid from start to finish.
4. Eureka, by Mother Mother.
Someday the world will discover this outstanding Vancouver quintet. This is their second album, and, like their first, it features superbly crafted pop tunes built around boy/girl vocal interplays that sometimes sound like conversations. Light-hearted, energetic, inventive.
5. Um, Uh Oh, by Say Hi.
Eric Elbogen, the former Say Hi to Your Mom, is now Say Hi and he’s really matured into a great songwriter/performer. This is his seventh album and it’s just one solid, hooks-laden tune after another with blues tinges here and there.
6. El Camino, by The Black Keys.
The Keys are big-time now and so it’s not surprising that this album is slicker than their previous efforts. But is Dan Auerbach constitutionally capable of doing bad work?
7. Believers, by A.A. Bondy.
Haunting, haunting album that evokes an image of sad wanderers and empty American landscapes. Best listened to with a glass of whiskey.
8. Father, Son, Holy Ghost, by Girls.
Lead guy Christopher Owens if one of the best songwriters in indie pop. You think of Girls tunes as being kinda sweet and sentimental, but on their new album the songs are more muscular—and even a bit bluesy in a couple of places.
9. What Did You Expect From the Vaccines?, by the Vaccines.
This is a major-label release (Columbia), but it’s so solid that I’ve got to put it in my top 10. They’re a new British four-piece, having formed in 2010, and they’re quite eclectic, drawing from the early ‘60s, punk, garage, etc.
10. The Wombats Proudly Present…This Modern Glitch by The Wombats.
Clever, upbeat Britpop at its best. I love bands with a sense of humor and this album makes me smile and laugh.
Finally, 10 more albums that might be on the list on another day when I’m in a different mood:
All at Once, The Airborne Toxic Event
When Animals Stare, The Black Ghosts
Cults, Cults
Sound Kapital, Handsome Furs
Will the Guns Come Out, Hanni El Khatib
The English Riviera, Metronomy
Replicants, Millionyoung
Welcome to Condale, Summer Camp
The Future Will Destroy You, Viva Voce
Forever Today, I’m From Barcelona
-Moby spins Fridays from 7-9
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