Top 40 of 2012 Part I

2012 has been a strange, but really enjoyable year for music. The year was crammed with amazing and plentiful live performances by both young and hungry bands and some of the greatest performances I’ve seen yet from some of my old favorite, grizzled vets, which had me seeing more live music this year than I have since I was still young and energetic – like a real long time ago. I also found myself at a crisis point with music about halfway through 2012 – in danger of oversaturation and burnout (as confusingly described in the post found here). My collector and obsessive personality gets me into this predicament every once in a while, when I find myself in a panic over my inability to be aware of and own all of the world’s music that I know that I would love. It’s crazy, I know, but I do get over these brief breakdowns. So, here is my usual unrequested list of my supposedly most listened to releases of 2012. Meanwhile, as I write this introduction and attempt to format these posts, I listen to new to me albums by UK band Spotlight Kid, NW band Seapony, the Fresh and Onlys, DIIV, and have just learned that I missed out and need to track down the solo debut from ex-Gene vocalist Martin Rossiter and a very surprising and welcome reissue of material by Arizona’s masterful and completely overlooked Half String. It all makes me wonder where these albums might have placed in this list if only I had encountered them sooner. Oh well. I’ll be happy to discover them as I did these. That’s the power of music – it just keeps finding new ways to keep me engaged. Now, if only I can manage to dig up some of the energy and drive I had to begin last year.

Happy New Year to you all!


40.

Nushu
Joystick EP
(NushuMusic)

In 2010, Nushu, a two-piece made up of southern California power pop veterans Lisa Mychols and Hillary Burton, released a catchier than can be album titled Hula. These two play nearly every note on the album by switching off on drums, lead guitars, etc., and if you enjoy fun, endlessly addictive, sunshine pop that harks back to the beginnings of the Go-Gos and the Bangles, you’ll dig it. This year they’ve released an EP of five cover songs, which shows off some of their influences, while still making these songs their own. A couple of these songs I was not particularly well acquainted with, like the Knack’s “Good Girls Don’t” (I only know the Knack like most people do – from “My Sharona”), which makes for a great gender bending song when fronted by a couple of women. The other song is by Phil Seymour titled “Precious to Me,” which reminds of an early 60s girl group hit. The other covers include the wonderful “Happy Hour” originally by the Housemartins, a straightforward version of the Cars’ oldie “My Best Friend’s Girl,” and finally a drastically different “They Don’t Know,” by Kirsty MacColl, but made famous by Tracy Ullman – a song which for some reason was on my mental playlist for a few months before I picked up this release. The piano intro/outro is a nice touch on this song. This makes me smile!
(nushumusic.com)

Nushu-Precious to Me

39.

The Primitives
Echoes and Rhymes
(Elefant)

Well, the Primitives surprised and shocked by returning out of the blue with a 7” EP with four brand new exciting songs (my #30 pick of 2011 seen here)! However, their first album back is one made up of all cover versions of female fronted obscure 60s songs. This was not what I was expecting or hoping for, but it is a pleasant treat none-the-less. Firstly, because these songs have now opened up a whole new world of music to investigate with the originals, but secondly, the Primitives still sound refreshed and inspired. I still miss the adrenaline buzz rush of their earliest material, but that’s a lot to expect by this point. It’s clear where this band originally built their foundation, because all of these songs (except for the spooky organ fueled “The Witch” – a teaser from Halloween 2011) clock in at under 3 minutes and have the melodic classic pop style that got us all excited about the Primitives in the first place. Tracy Tracy sounds just as unaffected as she always has, while Paul Court’s guitars show a much fuller range of styles than ever before. This is definitely a welcome return. Maybe next time we’ll get some originals?
(the-primitives.co.uk)

The Primitives-Turn Off the Moon

38.

Whipping Boy
“No One Takes Prisoners Anymore”
(Rocket Girl-download only)

I say this lot it seems, but wow, I never saw this coming. Whipping Boy released three albums in the 90s: the decent and promising debut Submarine (1992), the epic masterpiece (1995’s Heartworm – my ’96 #1 pick), and the posthumous unfinished, empty finale (2000, self-titled). So, it’s been 12 years since new material has been heard and now we’re presented with two download songs and no idea if they are back or if this is something of a one off. At any rate, if they can achieve anything near the heights of Heartworm, they will have me eternally singing their praises. “No One Takes Prisoners Anymore” is certainly a promising sign, as singer Fearghal McKee poetically confronts his strongest topic, which is brutal honesty regarding rocky relationships atop of huge sounding guitars and tasteful strings. Check. It’s all here, though a little rough around the edges – like their posthumous self-titled last album. The wordy verses blend nicely into the chorus (“It’s just another crazy love affair / she gets on your nerves / you get in her hair / one more emotional bomb scare”) and somehow it’s catchy. This is a great comeback, although this would be a good b-side for their Heartworm singles, but not worthy of that album. The strange acoustic b-side of this single is another story. It is really one of McKee’s mildly discomforting stories inside a building dramatic musical framework that intrigues but does not beg for repeated listens. It will be interesting to see if they are indeed back and if they will inspire like they once did.
(rocketgirl.co.uk)

Whipping Boy-No One Takes Prisoners

37.

Best Coast

The Only Place
“The Only Place” 7”
(Mexican Summer)

I was a late comer to the world of Best Coast. Their 2010 debut didn’t land into my world until it had been out for a full year. Luckily, it hit me during the summer months, which is where it belongs. Crazy for You, is a lo-fi gem that is crammed with catchy 2 to 3 minute bursts of fun that invoke a timeless feel of early 60s surf and California sun numbers that we all have grown up with – all tinged with a sense of loneliness and longing that only being young and having nothing to do on a summer afternoon can bring. Each and every time I’ve listened to that debut, I’ve wondered what Beth Cosentino’s songs and her voice would sound like with more modern sounding production. Well, on her and multi-instrumentalist Bobb Bruno’s second long-player we get the answer. The famous producer Jon Brion (Aimee Mann, Keane, Spoon, Kanye West) jumps aboard and turns Cosentino’s reverb drenched songs into crystal clear shiny nuggets. Unfortunately, I’m not so sure this is the best sound for her songs. The charm has worn off a little bit with the new sheen, leaving these tracks a little dry. Luckily, the songs, though not a lot a different from their debut, win out. There are enough memorable moments to warrant repeated listens with songs like the California postcard “The Only Place,” “How They Want me to Be,” the classic sounding “Do You Love Me Like You Used To,” the redone closer “Up All Night,” and the most upbeat number that invokes the first LP “Let’s Go Home.” There’s not much progression here, despite the drastic shift in recording style, so it will be interesting where they decide to go next.

The pre-LP single and title track was released in the 45 rpm format and is especially worthy of attention. The A-side, of course, is a catchy little summery ditty that deserves repeated plays, but the B-side, is the real draw here. Beth Cosentino covers Fleetwood Mac’s “Storms,” turning Stevie Nicks’ day dreamy ballad into a much more urgent plea with a firmly strummed guitar and her plain every woman vocals up front. This is a huge highlight and hopefully a sign of bigger things to come.
(bestcoast.us)

Best Coast-Do You Love Me Like You Used To?

36.

The School

Reading Too Much into Things Like Everything
“Never Thought I’d See the Day” 7” EP
(Elefant)

The School has unveiled their sophomore LP, after 2010’s lovingly retro Loveless Unbeliever. Not much has changed here, as they mine the simple pop styles of the early 60s girl groups. This octet, believe it or not, actually make a very sparse straight forward collection of catchy nuggets. The orchestral accoutrements throughout are so subtle that one feels that they may be a little shy about all they could be doing, but there is no doubt that their ability to bust out a trumpet solo atop of strings and various percussives is their secret weapon. Lyrically, bandleader Liz Hunt, keeps things just as simple by writing exclusively about crushes and break-ups in the most naïve way one could ever imagine (too much so as in the case of a repetitive song like “That Boy is Mine”). It all somehow works though. The songs are catchy and sometimes quite twee, but the songs rarely hang around for more than 2 to 3 minutes and leave a nice glow of innocence and wonder in their wake. My favorite moments are from the string heavy Camera Obscura-esque “It’s Not the Same,” and the “rocker” of the bunch in the two minute handclapping beauty “Why Did You have to Break My Heart Again.” The School does a great job of making one feel good and that’s worth the price of admission if you ask me.

The pre-LP 7” contains two highlights from the album in the organ laden “Never Thought I’d See the Day,” and the Shangri-La’s styled flute infused “Where Does Your Heart Belong?” The single also includes two cover versions. There’s Jonathan Richman’s “When He Kisses Me” (the gender is changed here) and the song actually sounds like it was written for the School with its wistful excitement of fresh love. The other track is a cover of the Swedish song “I Wouldn’t Know What to Do” originally by the Honeydrips. This one is an acoustic strummer and again, it’s an incredible fit for what the School is all about. Very nice EP and a great introduction to the band.
(theschoolband.blogspot.com)

The School-Never Thought I'd See the Day

35.

Ringo Deathstarr
Mauve
“Shadow” 10”
(Club AC30/Sonic Unyon)

I’ve been following Austin, TX band Ringo Deathstarr for a couple of years now and am excited by their early prolific nature. Mauve is their second full length (Colour Trip was my #19 pick of 2011 here), and much like their debut, they present these 13 songs in a ramshackle manner. One never knows what will come next: a fast tempo nearly punk rock burner (“Burn” and “Drain”), a dreamy epic reminiscent of Slowdive (“Brightest Star,” especially), or a mid-tempo flippant Jesus and Mary Chain fuck off type song (“Do You Wanna?”). It makes things off-kilter and fun, as does the sea-sick off-balance feel of their sound, an aspect of the incredibly influential My Bloody Valentine that is rarely drawn from. They are still quite derivative of their influences, but they capture enough of their own input, mix a variety of things together unexpectedly, and infuse it with fresh energy enough that it feels new. This second album, though pretty solid from start to finish, does not have any songs that reach the heights of first LP songs like “Kaleidoscope” or “So High.”

The four track 10” EP they released earlier in the year deserves some attention as these are all non-LP songs. The opening “Shadow” has a more spacious sound than they normally present, with Alex Gehring providing her dreamy floating voice as a compliment to the spiraling guitar layers, while Elliott Frazier shouts along over a dancey shuffle beat. The middle two songs are different types of experiments with noise – one a short burst, the other an extended dream sequence. The set closes with an appropriately creepy early 60s style (and then covered in feedback) slow dance of Angelo Badalamenti’s “Just You” from David Lynch’s “Twin Peaks.” This is a definite highlight and one to seek this out for.
(facebook.com/ringodeathstarr)

Ringo Deathstarr-Rip

34.

Mark Eitzel
Don’t Be a Stranger
(Merge)

I’m certain it is obvious that I am not a professional music writer. I do not have ready access to the bio sheets of bands and the latest promo material. In fact, for the most part, that stuff is only of a vague passing interest to me. I am a fan of music and write about how I feel about my favorite records here and there. That’s it. I have heard that Mark Eitzel, of whom I’ve been a fan since his remarkable and breathtaking live solo acoustic album Songs of Love Live from 1991, had a heart attack within the last year or two. I am not sure how this impacts this album – his first wide release since the last mach II American Music Club album (The Golden Age 2008), but I am certain that this is the first time I’ve felt re-engaged with his stuff since his lo-fi Caught in a Trap and I Can’t Back Out ‘Cause I Love You Too Much Baby solo album from 1998. This new album is quiet and mildly jazz inflected like his first post AMC solo outing 60 Watt Silver Lining. And much like that one, I enjoyed it, but missed his open wound voice soaring above each sad sack song. Having said that though, what is not gone is his fantastic lyrics and self-deprecating humor, which is found in spades on my favorite songs here. “Oh Mercy” is somehow both lonely and sad and funny and uplifting as he describes his excitement at the possibility to being invited to a party and he talks of his penchant for stories and dirty jokes and how he will bring imported beer and “clean up the mess.” “Why Are You With Me” is a song that simply lists a huge bunch of things that he does or how he is (“I’m the sad clown that sings”) most of which are followed by a chorus of people asking “Why are you with me?” The waltz that is “Break the Champagne” finds him saying his “boo-hoo voice just annoys.” It is all desperate and sad but it is all so relatable. Eitzel can capture those deepest feelings of inadequacy and self-doubt so accurately and powerfully that it’s difficult to ignore. His lyrics also offer up amazing vignettes into life and all of its underdog characters, especially in the opening empty destitute nightclub scenes of “I Love You But You’re Dead.” There is a resolve in Eitzel’s lyrics here that is comforting, especially with the sparse accompaniment, and maybe that is where the recent health scare has changed his approach. At any rate, it is nice to feel re-connected with his music again.
(markeitzel.blogspot.com)

Mark Eitzel-I Love You But You're Dead

33.

Desario

Mixer
(Test Pattern)

This second album from Sacramento’s Desario continues their run of consistency, whether it’s as this band or the member’s previous work with Rocketship, Holiday Flyer, or California Oranges. John Conley’s friendly voice is always welcome with whomever he finds himself working with. Their debut Zero Point Zero in 2009 was my #17 pick for the year (check out that album’s amazing closer “Sequoia Gee”) and it was a bit of a surprise in that these guys went for a more straight ahead indie rock sound with extended forays into some seriously detailed arrangements and lattice work guitar layers. The trend continues here on their second and it is even stronger and more consistent with an elevated level of intensity. The first three songs delight as they may be the strongest tracks here. “Cement Sneakers” cruises along and seems somewhat nondescript, until you realize that it has built itself into a nice frenzied climax. The tempo increases nicely with “Call Out Your Rivals” whose guitar jangle is detailed and energizing. The album continues to impress as they always manage to find a nice groove throughout, which is my only complaint with this album is that some of the tracks feel a little too long – as if they lose themselves in the groove too much with extended intros and finales. I think some of these songs would stick a little easier if they were a little more concise. However, this is a nice record and I hope they continue the quality work.
(desario.net)

Desario-Victoria Island

32.

A Place to Bury Strangers

Worship
Onwards to the Wall EP
(Deep Oceans)

There will always be a soft spot in my heart for the type of music that A Place to Bury Strangers creates. Their influences are so completely obvious, but not only are they similar influences to what I cut my teeth on as my mind expanded and grew towards music outside of the top 40; they are also pretty damn good at it. The most obvious influence is that of the Jesus and Mary Chain – the one of Barbed Wire Kisses style feedback drenched noise and monotone buried vocals. Over their first two albums they have perfected the cold cold metallic drone base of their songs, which are then lit afire with screaming squalls of burning feedback. Of course, they are at their best when they employ this technique and still manage to find a sharp melody to carry the blasting noise through to the end. Worship isn’t really any different. They are still the masters of this sound, but it’s on the songs where they employ their feedback driven walls of sound to use on something hummable and memorable (aside from remembering how loud they can be). “Worship” is a fine example of this, as they slow their jackhammers beats down and warm us with a stellar feedback melody to carry the song. Likewise, “Dissolved” opens like a haunting floating in the ether song that Slowdive won us all over with on their debut, but with Oliver Ackermann sounding a lot like Peter Hook with his flat monochromatic voice, before it transitions into a clean noted bouncy, almost surf tune on the second half. This is a huge step forward and hopefully a sign of things to come.

The Onwards to the Wall EP that preceded the release of the album is also more of their excellent brand of noise clash. This is definitely worth tracking down, if they’ve already won you over, and even a short version introduction to who and what these guys are all about. The opening “I Lost You” makes for a great single for the band, because it is catchy and loud and dissonant. While the title track again shows signs of progress, as this song is propelled by a fantastic New Order bass line and turns out to be a duet with Alanna Nualla which is a welcome change.
(aplacetoburystrangers.com)

A Place To Bury Strangers-You Are the One

31.

Metric

Synthetica
(Mom+Pop/MMI)

I honestly do not know how to articulate my thoughts about this record. So far Synthetica has been the one Metric album that has not captured me fully yet, but I’m not sure why. When I first ran across Old World Underground, Where Are You Now? in 2003, I was captivated and motivated to listen to it over and over, even though it took me a long time to warm up to its rigid 80s influenced music and Emily Haines’ vocals. However, once I did figure out what I felt about it, it was magical. Similarly, 2005’s Live It Out took me months to warm up to (it made 2006’s best of list at #6 - seen here, because it took so long for me to get), but is probably my favorite of all of their albums now. Meanwhile, their fourth album, 2009’s Fantasies, was an immediate favorite (#4 pick for that year seen here), but has not had the same shelf life for me. So, now, we have their fifth album, one which has a huge sound and commercial expectations, much like Fantasies did, and it sounds really good. For some reason, however, it has not yet been accessible to me. I like the epic atmospheric opener “Artificial Nocturne,” and “Youth Without Youth” makes for a catchy radio single, and “Speed the Collapse” is this album’s “Sick Muse” (though not nearly as addictive). Then I lose it for a while. None of the songs in the middle of the album have wormed their way into my consciousness yet. This does end strong though with the oddly warm sounding “Clone” (could be a Stars outtake), a solid closer with “Nothing but Time,” and the highlight and surprise duet with Lou Reed on “The Wanderlust.” What makes this so difficult is that with my history with this band could find me naming this my favorite album of 2013 or 14, because I never know when they will win me over. Overall, this is a pretty good record, but as of now, it is not their best work, in my opinion.
(ilovemetric.com)

Metric-Youth Without Youth

You can find the remainder of the list at the following links:

#30-21

#20-11

#10-1



Bright As Yellow

Anyone who has met me during the last 12 years or so may not believe this, but I used to play hoops nearly every day.  I played in the old neighborhood as a little kid, played little league, and all through junior high and high school.  As I went through school it started to mean less and less to me.  My competitive edge was probably not very favorable to the coaches, as I often lacked urgency, cracked jokes on the court, and hated practice.  However, in my early to mid-twenties, I began to play every day during lunch breaks at work and at various open gyms around the city a few nights a week.  It became not only a great source for cheap entertainment, exercise, and a social activity, but I gained that intensity that I lacked during the teenage years.  I’m not sure why, but I could be found diving for a loose ball on blacktop while playing 3 on 3 after work with the guys, yet in high school, there’s a good chance I would’ve avoided any such effort.  The problem with playing so much basketball and playing it so hard at that time is that my shoes were not in good shape.  There was not much I could do, because I was too poor to afford the unbelievably expensive new shoes on the market (and still keep my music inventory growing), so I clomped around in those things for years.  I specifically use the descriptive “clomp” because when I found myself in one of my (slow) sprints down the court, I sounded like a horse trotting on pavement.  I once scared a guy out of making a break away lay-up during a game, as I tried to run him down, because he was certain a horse was on his tail.  The more I wore those shoes down, the louder they became, and the more my feet would ache after each marathon session.  Finally, after a solid four years or so of constant use, I broke down and bought a new pair of high tops in 1995.  Why do I remember what year this was?  It’s because those shoes will forever be linked in my mind with the third album by the innocence mission: 1995’s Glow.

When I first heard “Bright As Yellow,” the stellar pre-LP single early in 1995 on the fledgling 94.7 KNRK Portland’s “alternative” FM radio station (arriving shortly after the odd DJ-less AM station “The Beat” was abandoned – “the beat the beat the beat!”), I fell in love.  The song evoked the lazy hazy twang of the best Mazzy Star crossed with the rainy day atmospherics and nervous chiming of The Sundays (both favorites).  It was a must have.  I tracked down the four song EP as soon as I could and played it constantly.  I could not get enough of the beautiful warbled guitar sound and how the bass drops in as a low rumble about 15 seconds in.  It took me a bit to adjust to Karen Peris’ unique voice, but once I did, I fell for her warm and friendly vocals.  The EP also included another track that would be on the forthcoming album titled “That Was Another Country,” which soon surpassed the big single in my world with its dramatics.  The tapping ride cymbal and lightly pounding drum gives way to a spine tingling opening guitar line before breaking into a sweeping dreamscape reminiscent of The Sundays’ wonderful first LP closer “Joy.”  The heartfelt lyrics really got to me too.  While “Bright As Yellow” is a simple desire to live life openly, honestly, lovingly and brightly, “Country” finds Karen painting a picture of memories of picnics by the bay and parties with paper lanterns with someone who is no longer around.  It is a sad and touching lament that tugs not only at the loss of loved ones, but also of the passing of innocence that comes with it.  The two non-LP songs are also both good songs more akin to what I had heard from the band previously.  I had a few of their songs from their 1991 second album on a label sampler that I liked, but never found myself returning to.  This new material though was really exciting.

I kept that EP close by at all times for several months, so I finally decided to break down and buy their album once it came out.  While visiting my brother in Seattle during the summer of ’95, I remember doing my best attempt to impersonate Karen’s voice on a sunny stroll down

Mercer Avenue

on my way to Tower Records to buy the album because I could not shake the few songs of their newest material I was now addicted to.  The purchase was worth it, as immediately two new songs entered the contest for title of my favorite by the band: the skittering “Speak Our Minds” and the quietly anthemic “Everything’s Different Now,” which gave me similar chills to the way Mazzy Star’s “Halah” first did during the spring of 1990.  This song should’ve been a second single.  Amazing!  Lyrically, all over the album, there are many images of universal childhood moments with family and friends and a continuous theme of the Mary’s and Harry’s and Juni’s and Georgia’s that dot our lives and are no longer with us any more for whatever reason.  The opening track “Keeping Awake” captures what could be the memory of an exciting evening at home where the family camps out in the backyard during a hot summer night, setting the stage for the evocative real life moments of joy and sorrow that lie ahead.  This is timeless music made by relatable people.

Then it was time to see them perform these songs in person.  They came to Portland and played an incredibly relaxed show at the now closed Berbati’s Pan in Old Town.  The sizable crowd gathered around the low stage all seated casually on the floor and took in the band’s understated grace.  Their gentle and likable stage demeanor was refreshing and comfortable.  The detail at which they performed their music was immaculate.  Everything was in place, but did not feel overrehearsed.  They were honestly glad to be playing for the eager crowd.  Meanwhile, my group had found our usual spot in the front on the right hand side facing the band.  At a minor break in the music, I jumped up to use the restroom over beside (and a little behind) the stage to the left.  When I came out, the band was just getting into the meat of slow-building “Brave,” so I stayed back and watched from the side of the stage so as not to become a distraction by stumbling my way back to my place in front.  Turns out Ox spotted me over there, thinking that I had jumped onstage.  I have no idea what he saw but he still brings up how seeing me grinning next to the bassist at that show haunts him. 

So, what does any of this have to do with basketball and new shoes?  Well, nothing obviously.  But by the time autumn turned into winter, I found myself travelling from Portland to Salem with my father to spend a weekend at his new home.  I had finally purchased some fancy basketball shoes and had them with me on the trip.  The weather was cold and damp and grey and we listened to Glow on the drive down.  He never told me what he thought of it, but I sure enjoyed how the music on the album seemed to change and adapt with each season, bringing about a new way of hearing the words and music of each song.  So, we hung out for a few days.  Ate some food, watched some movies and football games and I fended off the constant advances of his overly affectionate and strange cat Demando.  All in all, it was a nice visit, yet with an underlying sense of melancholy, as we had not yet found a common ground of communication since my mom had passed away.  We were making slow progress.  By the next weekend, Portland had an early snow storm, which I was worried would cancel the acoustic in-store performance the innocence mission was due to perform at the also now defunct downtown Border’s Bookstore.  Since there was no word, I threw on two layers of clothes, and my new basketball shoes – the only shoes I owned not full of holes, tears and major gaps – and headed out into the slowly melting snow.  I met up with Wil and we found a place again on the floor and listened to the band strum their way through about eight highlights from the album.  While sitting there, I noticed a strong horrific odor emanating from nearby.  It smelled like pee, but not like the piss stained sidewalk pee from the downtown sidewalks during the roasting summer months.  This was a different kind of pee.  I looked at Wil and he smelled it too, but we couldn’t figure out where it was coming from.  I smelled it again on the bus on my way home later that afternoon, but smelling pee on the bus isn’t all that unusual.  When I got home and took off my brand new shoes, I realized with a sudden blast of pungent odor, that my feet were the source of the smell.  It was cat pee.  Demando had marked my shoes the weekend before and the dampness from the slush and the sweat from my feet trapped in the leather shoes created a stew of foulness that makes me gag just thinking about it.  The piss shoes were born and now I had to decide between wearing those or the threadbare horse shoes when I played hoops.  

*the timeline for this story may be wildly inaccurate...

Welcome to the Beautiful South

I don’t know why, but I often have a solid memory of when and especially where I purchased the music that I have added to my collection. In the past, a lot of these purchases were made during days filled with other exciting and memorable activities. Growing up, record shopping excursions normally involved a trip to Portland, a two hour drive from the coast, so these trips were often combined with concerts or some such adventure. An especially memorable trip was one on a sunny spring day where Matt and I skipped school in May of 1989 to go to a New Order concert, but along the way I picked up just released CDs like The Cure’s Disintegration, Swans’ Burning World, The Replacements Don’t Tell A Soul, and New Model Army’s Thunder and Consolation. The day was fun, the show was great, but these four albums are ones that I still love and listen to.

Less than a year later, after a snowy Friday evening in January of 1990 I found myself feeling trapped in the Frosty Grave (Forest Grove, OR) in a dull college dorm room wondering if I was truly willing to make the two hour trek via bus into Portland just to get out of the bleak environs I found myself in. Yes, I wanted to get away, but I didn’t have a lot of money and the journey was a brutal one. Luckily, I ran into two of my friends who had just started to date. One had a car and was indeed planning on driving into Portland, if I didn’t mind stopping off at Planned Parenthood along the way. I shrugged and went along. I never asked any details about why we went to Planned Parenthood, because it was none of my business, but it didn’t stop me from playing with the bowl of condoms in the waiting room and making a scene that ended with a different colored condom unwrapped and placed on each of my fingers while adopting a Smokey Bear voice. I think it was some sort of impromptu PSA that only made my friend and everyone else in the waiting area uncomfortable. Speaking of uncomfortable, the overnight snow had by this time turned into a massive slush puddle everywhere, and the only shoes I took to college with me for my freshman year were leather and filled with holes in the soles and rips at the seams.

Anyway, our destination downtown was the old block on Park Avenue where one could find Crocodile Records, Rock-n-Roll Fashion, and around the corner on Taylor, Hamburger Mary’s. I say “old block,” because none of these shops are currently there. In fact, that entire city block was demolished and rebuilt as the Fox Tower several years ago. Clearly, I headed into Crocodile Records. It was a small, mostly used music shop that was best for finding new promo CDs for cheap. I perused the vinyl and drooled over a copy of Joy Division’s “Transmission” 12” single that was in pristine condition, but didn’t have the 7 or 8 bucks needed to buy it. So, I was stuck with looking through the $1 CD bin on the counter near the register. This proved fruitless as well, except for a radio promo for a song named “You Keep it All In” by The Beautiful South. I had never heard the band before, nor did I know anything about them. However, I had seen their album in the shops and ads for it in magazines I regularly read. It stuck in my mind, because I loved the cover. It depicted two old timey looking sepia toned photographs. The left side found a married woman in a white blouse and gardening styled hat about to swallow the business end of a revolver, while the right half had a picture of a shirtless and shaved headed man lighting a cigarette. For whatever reason, the cover intrigued me, and I had always had good luck buying records based solely on cover art. In this case, I could spend a buck and sample their sound, so I made the purchase and headed next door to find the other two checking out all of those rock-n-roll fashion.

By the time I finally listened to the song back in my dorm room, while I removed my cold and wet socks and slapped them down against the tile floor, I was not sure what to make of it. Even though the promo included no cover, the music didn’t seem to fit what my memory of the album cover had been. During those days, I was nearing the height of my short-lived love of industrial music, so when I heard flutes opening the short snappy song, I was a bit thrown. The song is snappy and includes actual snapping! It is the ultimate sound of adult contemporary from that time. The instrumentation is smooth and flawless and has a tinge of the 80s Euro soul of Sade, Danny Wilson (“Mary’s Prayer”), Johnny Hates Jazz, Black, Curiosity Killed the Cat, and the like from that era. It also eventually reminded me of the few Housemartins songs I had heard, as I found myself examining the song over and over. It was definitely catchy, but it was still a mystery to me. The lyrics, like that album cover, did not fit the music. The opening verse, after the flutes and snapping, is sung with perfection by a woman who sounded to me a bit like Natalie Merchant when she sang “Like the Weather.” The second verse comes in with a male vocalist who reminded me of the guy from the Housemartins (which it is!) and that’s where I noticed things going a bit off. He sings: “That’s right / the conversation we had last night / when all I wanted to do was / knife you in the heart” and it was these words that appealed to my still teenage world of acerbic wit and cynicism. It didn’t take long for me to love this song, but I was a bit afraid to share it with my new friends. I suppose it had become a guilty pleasure.

I didn’t wind up actually buying the full album until school was out for the summer and I was able to put some money together from a job and start buying CDs again. There was that album cover welcoming us to their dark world with a polished sheen. One could say that this is a musical version of a David Lynch-ian world where one’s seemingly perfect and nice neighbors may be bearing horrific secrets behind closed doors. The aforementioned “You Keep it All In” depicts a fighting couple who seem to have a murderous past, while their child “sleeps alone with the light.” Another horror show is found in the “Woman in the Wall” where we find a man who has killed his wife and left her corpse in their home’s wall, where he can be found declaring his love for her and speaking to her at night until “the rotting wall began to drip.” Not every song is filled with killing and death, but nearly every song is filled with a dark edge that belies the jaunty smooth pop of the music. Every song is adorned with flawless percussion, brass arrangements and stellar piano playing, while the two main vocalists Paul Heaton and Dave Hemingway (also from the Housemartins) croon impeccably throughout. Briana Corrigan ads her sweet voice occasionally (she later joined the group full time for their next two albums) to add a foil for these argumentative songs. Two songs that delve closest to the Housemartins’ roots would be two of the poppier numbers – “From Under the Covers” and “Oh Blackpool.” The latter attacks the snobbery within the copy cat fleeting world of fashion, while the former depicts a man who simply cannot get out of bed to join the corporate rat race over the top of an energetic gliding soundtrack that closes with fantastic vocal harmonies and a sparkling trumpet refrain. “Have You Ever Been Away?” tackles some politics and includes the following fighting words sung in a soulful falsetto: “I’m afraid your Rule Britannia mania doesn’t ring so true / if I was captain of the waves I’d turn the gun on you / any last requests before you join the dead? / I’ll crap into your Union Jack and wrap it round your head.” There are three epic songs here that all question the motives of love and all clearly land somewhere in the cynical side of things. The album opens with “Song for Whoever,” which is a genius pop song about writing love songs based on a series of soulless relationships. Paul Heaton sings prettily “I love you in the songs I write and sing….I wrote so many songs about you I forget your name,” but by the end the used women get their revenge. Later in “Love Is” we find Heaton once again questioning the motivation behind relationships. In this case he’s wondering if fame, power and money outweigh anything else when it comes to love and it all comes to a frantic end with the Heaton belting out the stolen Beatles line “She loves you yeah yeah yeah” repeatedly before turning it into “I love me yeah yeah yeah.” The album finishes with the nicely titled “I Love You (But You’re Boring).” The song opens with this verse: “Birds are singing in the trees / as we rise up on a beautiful morning / but I can’t hear / that beautiful sound / because I’m permanently yawning,” but makes one wonder which one in the couple is boring, because the one being sung about is constantly distracted and uninvolved. Along the way they also cover “Girlfriend” as made popular by US R&B artist Pebbles, which I had forgotten about. It seems like an odd choice at first, but it acts as the other side of the coin for the rest of the love songs within (“girlfriend, how could you let him treat you so bad”).

This album didn’t turn out to be my favorite from The Beautiful South, but it certainly launched a love affair I had with them for the next 16 years. The best are their first three albums, of which I lean towards their third, 1992’s 0898 with their second, 1990’s Choke being a close second. Once Brianna Corrigan left (partially, and not surprisingly, over the content of their sinister lyrics), they lost some of their spark. And even though they did find chart success in their homeland, I am amazed at how little of an impact they made here in the States. I highly recommend their work and long ago stopped feeling guilty about it.

(I wonder sometimes if I would've given this band a fair shake if I had seen this video first.)

Love and other Demons

When I first bought UK band Strangelove’s debut album Time for the Rest of Your Life in the spring of 1994, I found it to be an endlessly long, overdramatic, bombastic collection of songs that I listened to constantly. Patrick Duff’s vocals are so overblown that it could easily be a deal breaker. He seems to do his best at channeling the special vocalizations of William Shatner (which were making a comeback during that time, come to think of it, as his Transformed Man had been released on CD for the first time on a hip indie label) if he could actually sing. Okay, maybe his vocals reminded more of Shatner’s nuanced acting. Whatever the case, it was a bit much, but somehow worked. Whenever I hear the piano ballad “Low-Life” on that album, I imagine a packed Wembley Stadium (or whatever) swaying together, with lighters held aloft and burning bright, all chanting along while choking back their burgeoning emotions. Really, it was sickening then, and still is now, yet, I found myself listening to that album a lot during 1994. I first learned of the band in 1993, when I was a subscriber to the Rough Trade singles club. I sure miss those old singles clubs. I was a long-time subscriber to the Sub Pop and Rough Trade clubs as well as the unbelievably cool Archive Series on Independent Project Records. Anyway, the 7” A-Side was named “Zoo’d Out” and I pretty much ignored it. The song somehow stuck with me enough that I took a chance on their debut CD at an extreme import price, when I happened upon it at Ozone Records nearly a year later (none of their records were released in the US). In the long run, it’s always been Strangelove’s second (of three) long player that has been the go to selection when I decide I need an injection of their overdriven melodrama, so out comes the appropriately titled Love and Other Demons.




The first of the material I heard after the debut arrived in 1996, when I ran across the double CD single “Beautiful Alone.” Before I go on about this fantastic three minute pop-nugget, I must complain about that era of “double singles.” These things were the curse of collector obsessive’s like me. Labels took advantage of us by releasing an artist’s non-LP B-sides across two separately sold CD singles, forcing us to buy two copies of the same single. This act supposedly boosted the chart status and sales of a single and it got out of control in the mid-90s, when some singles were released with separate non-LP B-sides across every format (2 CDs, 10” & 7” vinyl, etc). It was truly an evil practice. Anyway, where was I? Oh right, “Beautiful Alone” is pop music at its lush finest. It’s more upbeat, to the point, and downright catchy than anything on their debut. A soft string arrangement and an acoustic strum are carried along by a driving bass surge, chiming guitar fills and perfectly timed cymbal crashes. During the summer of 1996, ask anyone, I could not get enough of this addictive piece of narcotic bliss. I remember driving around with Wil, Liz and Midori one cloudy Saturday afternoon in Vancouver of all places listening to this song over and over on our way to a small party at a stranger’s home. The warm glow of the song forced me to buy a used and cheap silk shirt for the occasion and was a perfect soundtrack to a fun day and evening.

After hearing this song a million times, the album became a much sought after item, despite yet again having to delve into the realm of high import prices and unreliability of sources to track this stuff down. In this case, I turned to the Bay Area music shop Mod Lang. I phoned them up, asked if they had it in stock and then promptly placed my order. I cannot reiterate enough how much work went into finding my music of choice back then! Again, the effort was worth it, as this album became one of my favorites of that year. Strangelove had trimmed back the fat of their debut considerably, but not enough to lose the flavor. The opening song (and eventually the third single) “Living with the Human Machines” kicks things off with their most aggressive and explosive track. Its pounding beat and siren guitars urge on the still over the top vocals of Patrick Duff. The upfront message of this song is like a slap in the face - a warning to wake up and notice the isolated direction that our society is heading. “20th Century Cold” (back then I never thought about living in the 21st century) continues this theme with some sharp lyrics: “I see myself reflected in the television screen / somewhere far away / I can hear myself scream.” Even better is the angry, lullaby-like “Spiders and Flies,” which asks us to “meet the new world nobody can find.” The world wide web never sounded so ominous as it does throughout this album (“it’s a spider’s web just above your head”), which makes it even more interesting to listen to today, because much of its message is still relevant today. The closest they come to love songs are the ones completely based from a perspective of loneliness. “She’s Everywhere” encapsulates brilliantly the longing for a lost loved one. Similarly, in “Elin’s Photograph,” the narrator’s thoughts are dominated by a picture, much like The Cure’s “Pictures of You” (“take away this photograph so I can live again”). Meanwhile, the string-laced ballad “Sway,” is resigned to simply give everything up and drink life away. Lastly, the epic closer, “The Sea of Black,” truly spells out a finale for the character we’ve followed through this sad paranoid journey (“hear no voice / see no smile / feel no love / by my side”). This is a touching, thoughtful and emotional rollercoaster of an album filled with hummable melodies with enough of an edge to drive its meaning straight down one’s throat. Oh, and yes, it’s way out of control. It predates the big Radiohead landmark OK Computer by a year with its very direct message of isolation by way of technology and it is a sprawling mess that seemed to go underappreciated at the time. Strangelove seemed to get lost behind the big battle for dominance between Oasis, Blur and Suede at that time, but of those bands, they are the one I still listen to every so often.

Top 40 of 2011 Part IV

Here is the final installment of the Top 40 releases of 2011: The Top 10

 
I hope everyone takes a chance to share some of your favorites from this past year in the comments below!

10. We Were Promised Jetpacks
In the Pit of the Stomach
(Fatcat)
A couple of years back Ox and I went to see the Scottish lineup of The Twilight Sad and Frightened Rabbit perform at Dante’s as part of Portland’s Music Fest NW. At that time, the second Twilight Sad CD was due to be released and they were to play some new material, so we were pretty stoked. As we walked into the crowded and appropriately burning hot club, we first headed to the bar for beer, the merch table to secure the new CDs and then to the stage. The soundtrack during this entire adventure was another band from Scotland, who despite how many times I’ve asked and had answered who they were, their name never stuck with me. All I knew is that they sounded incredible, were really intense, and their singer reminded me of golfer Lee Westwood gone insane. It wasn’t until recently that I put together their silly and apparently too difficult to remember name with a moment when I could actually seek out this four-piece’s music. They have two albums, and much like their live set, both are full of incredible intensity. This second offering, much like The Twilight Sad’s second Forget the Night Ahead, is maybe a bit too much, as there’s nary a chance to take one’s breath, aside from the closing “Pear Tree,” and the opening segment of the fantastic “Act on Impulse.” True be told though, I kind of admire the all-in fire of this music. The complex and always forward pressing drumming pushes the string shredding passes of the guitars, which act as fuel to ignite a fire into singer Adam Thompson who lays his heart on the line with commitment and searing passion. If you need feel this kind of fire burning inside, then throw on the singles “Medicine” and “Human Error,” and the surprisingly hummable “Picture of Health,” or “Sore Thumb,” and the undeniable force that is the album opener “Circles and Squares.”
(wewerepromisedjetpacks.com)

9. Veronica Falls
Veronica Falls
(Bella Union/ Slumberland)
Veronica Falls have been releasing singles now for a few years, but this is their proper debut album and it’s a welcome beginning, though a pretty dark one. We start out with “Found Love in a Graveyard” a song that seems to be about having a love affair with a ghost, while we definitely don’t want to go to “The Fountain,” or delve into “Misery” or “Bad Feeling” (another ghostly entry). That’s just side one! Some of these songs sound fairly upbeat with their nice male/ female vocal harmonies, pounding barely in control drums, and tight strumming guitars, but things are definitely not all good here in Veronica Falls. The bleakness of their words isn’t overwhelming and only adds an added depth to their brand of indie pop, which is often described in terms of the C86 explosion and a touch of the Sarah brand sound, but I hear more of Australia’s late great Cannanes here, though a bit less ramshackle and a lot more focused. “Stephen” comes off as a lost Pixies track, if maybe they had decided to strip things down a bit, instead of adding the keyboard flourishes of later albums. Veronica Falls’ sound fits the black and white pastoral cover of the album. It has a wintery feel; one that is tinged with sadness, but has a familiar comfort. Don’t miss their title song “Veronica Falls,” the fairly uplifting “Come on Over,” “Right Side of my Brain,” along with the previously mentioned tunes for a sense of their sound and let’s hope they continue to make such touching music.
(veronicafalls.com)

8. The Rifles
Freedom Run
(The Rifles/Nettwerk)
This third LP from Chingford UK’s mod-pop band The Rifles is a bit of a shock to the system. Having absolutely gone apeshit over their spiky early singles and debut No Love Lost, and enjoyed their progression to a bigger sounding act with their second album Great Escape (my 2009 # 2 pick), this new one threw me. After the first few listens, and even after hearing and loving the pre-LP single “Tangled Up in Love,” pretty much nothing sat well with me. Besides that single, at best, I felt indifference, while at worst, I was annoyed. However, this is the Rifles - this is the band that gave us “Peace and Quiet,” “Local Boy,” “Science in Violence,” and my two ultimate favorites: “When I’m Alone” and “Out in the Past.” I had to give the new material more of a chance. And, believe it or not, most of these songs started to grow on me. Their earlier work had a very punk/mod flavor (think The Clash and The Jam) and they’re blessed with huge pop sensibilities. This new work focuses more on their pop sensibilities. Really, much of this album wouldn’t sound out of place amongst work by UK pop acts from the late 60s when there was a fair amount of concept album and orchestration happening. For whatever reason, it didn’t click with me at first, even though my tastes with age have leaned more towards classic pop sounds.  Maybe it’s because of songs like “Love is a Key” and “Little Boy Blue (Human Needs)” tread in a direction that I don’t want to go. The rest of the album though, has won me over in a big way. The opening four tracks form a dazzling spectacle of chiming guitars and catchy harmonies. “Dreamer” is a builder that acts as a bridge between older Rifles and this new one (literally, as they now have a new rhythm section), while “Sweetest Thing” and its falsetto vocals climbs to sparkling heights. The other unendingly catchy number is the sing-along simplicity of  “I Get Low.” Overall, though a bit too much, but a brave step in a new direction and once one’s mind (meaning mine) is open, this proves to be a winning album that sounds classic and modern at the same time, much like Oasis did during the mid-90s with Definietly Maybe. Sit back and enjoy the ride.
(therifles.com)

7. Trembling Blue Stars
Correspondence 10” EP
(Elefant)
Okay, so I thought last year’s double CD release, Fast Trains and Telegraph Wires (last year’s # 4 pick), was to be the final statement from longtime favorites Trembling Blue Stars. However, this 10” orange vinyl EP sprang up earlier this year to treat us to one last taste from this Robert Wratten led collective. With releases like this, the farewell can go on forever as far as I’m concerned. The opener is a mix of two songs from the last album, “Outside” and one of the highlights “Half-Light,” strung together into an ambient masterpiece re-titled “The Light outside.” Up next is another short instrumental that reflects the theme of the last album, with its quiet airwave static. “Sunrise on Mars” jumps in and acts as this set’s true single. It’s a spot on example of this band’s ability to craft perfect three minute bits of stellar heartfelt pop. Side two opens with an old 80s Wire favorite: “Kidney Bingos” with help from Caesar McInulty (The Wake) on vocals with late term member Beth Arzy (ex-Aberdeen). This straightforward rendition, though welcome, offers nothing revelatory. The final two songs are the very strong though. “A Field at Dusk” is an acoustic strummer that carries the listener into a melancholic state of total reflection, while “A Spell of Songs” is a classic finger picked number with a slowly unfolding story that has marked all phases of Wratten’s storied career stretching from the Field Mice, Northern Picture Library to this band. Will he start again? I sure hope so.
(elefant.com)

6. exlovers
“Blowing Kisses” 7”
“Starlight, Starlight” mp3
(Young and Lost Club)
Enough already! exlovers need to release an album now! This is getting ridiculous. This UK five-piece has released 3 7” singles and a 10” EP since 2008 with nary a fumble throughout, but still no full length. This year started off with promise with the 7” release of “Blowing Kisses,” another short driving song on par with their excellent Stephen Street produced “You Forget So Easily” (last year’s #15 pick) from late 2009. The B-side, “Motheaten Memories” is even better with its single guitar intro that builds into an upbeat number that crashes through some soaring peaks and valleys musically. Both of these songs show an aggressiveness that much of their prior work hasn’t shown, but the ever consistent twin vocals of Peter and Laurel guide us through these songs of fractured relationships. I thought this single for sure would mean a new album in 2011, but nothing all year…until just recently on their website they’ve announced that an album is immanent and have provided a chance to download a free track: “Starlight, Starlight.” I suggest everyone take advantage of this free preview; it’s quite a treat.
(exlovers.co.uk)

5. Secret Shine
The Beginning and the End
(Shine)
Secret Shine were a Sarah band in the early to mid 90s, but they were one that mined the shoegaze world more than the fey shyness of most of their label mates. Vocally, they fit right in, but musically they were bit a more noisy. Even though I treaded those Sarah grounds quite a lot back then, I somehow overlooked them. It wasn’t until after they reformed after their original drummer Tim Morris died, that I found my way to their two EPs of very nice new material released in 2006. They followed those with a new album that harkened back to their prior 90s album in 2008 (All of the Stars), which sounds great, but sometimes lacks memorable moments – like so much of the newer shoegaze material out there. This second album in their new version is a big leap forward from that one. Along with their own signature sound, this has a feel of “Pearl”-era Chapterhouse with it’s combination of electronic atmospherics mushed together with the waves of guitars and the cooing of Slowdive’s Rachel Goswell. This set opens with a fiery “In Between” to get the adrenaline going, while “Perfect Life” eases into a nice universal groove. Other standouts include the burning back to back side two songs: “Hole in Your Heart” and “It’s Killing Me.” “Touching Nothing,” and the big beat of “Trying to Catch the End” finish the album off in dreamy Slowdive-ish fashion. My only complaint here is that the vocals don’t quite fit right in the mix productive-wise. They sound like they’re piped in from somewhere else. Maybe it’s the odd seeming use of auto-tune, but something’s amiss in the sound at times. This is a minor complaint, because the songs are strong and most-likely the most consistent and best of their recording career.
(secretshine.co.uk)

4. Dum Dum Girls
Only in Dreams
He Gets Me High EP
(Sub Pop) 
I liked the Dum Dum Girls’ first album (2010’s home recorded, mostly solo I Will Be), but it felt more like sketches of songs. There are catchy short bursts with some great melodies, but the drum machine grows a bit old throughout and there’s far too much reverb shadowing Dee Dee Penny’s vocal gifts. I wondered what their second album would sound like with a full band and more fully realized songs. The result? I absolutely have fallen head over heels for Only in Dreams! Firstly, Dee Dee’s vocals are way more upfront and forceful here, which is a plus, because she gets to showcase her cool early - Chrissie Hynde (The Pretenders) inflected voice. Oh, and her oohs and aahs throughout can be spine tingling, such as in the sad plea of “Heartbeat (Take It Away),” which makes me melt. The full live band proves to be a huge benefit as well, after a year of solid touring; they have formed a tight knit base and Jules adds some tasteful 60s-ish surf guitar leads that fits beautifully inside these girl group inspired songs. Everything here is recommended, but start with the endlessly refreshing “Bedroom Eyes,” the Cramps-like “Just a Creep,” “Caught in One,” and “Tears on My Pillow.” Then, turn to the epic and haunting “Coming Down” and the emotional “Hold Your Hands.” Come to think of it, this album is actually stuffed with heartbreak and sadness and loneliness and it is a beautiful and comforting way to deal with it.

The pre-LP four song EP He Gets Me High is also highly recommended. The three originals are all worthy of making the album, especially the single standout title track. Lastly, is a cover of the Smiths’ oft-covered “There is a Light that Never Goes Out,” which is a song that doesn’t need to be covered, but this is easily the best I’ve heard. The loud buzzing guitars drive this song with an urgency that most covers seem to lack and it has reinvigorated life into a song that had kind of faded from my old lexicon of favorites. Thank you!
(wearedumdumgirls.com)

3. Lanterns on the Lake
Gracious Tide, Take Me Home (2 CD)
(Bella Union)
After three stellar self-released CD EP’s, Northeastern England’s Lanterns on the Lake finally come through with a full length album. Last year’s EP feature “Lungs Quicken” (#14 pick for me for 2010) opens this 11 song set with its life affirming urgent plea. There are a few other holdovers from the original limited EP’s dating back to 2008’s Starlight EP. From that debut we find two songs that have undergone major overhauls: the heart wrenching “If I Have Been Unkind” and the now sweeping epic plea of “I Love You, Sleepyhead.” Also, appearing from their 2009 second EP Misfortunes and Minor Victories, another transformed treat finds “A Kingdom” becoming the upbeat centerpiece in this cinematic collection. If you thought those early EPs were impressive displays of subtle beauty and introspection, this album will fulfill and surpass all expectations! I’m pretty sure that the weather has changed to dark and menacing outside while I’ve listened to this beauty, as it evokes the myriad greys, dark blues, and greens of a misty coastline. The gentle guitar plucks and foggy atmosphere of the layers of strings envelop these songs with shimmering depth. Check out the autumn colors of “Blanket of Leaves,” “Not Going Back to the Harbour,” and the perfect “Tricks.”

Also, if you have the chance, find the version of this album with the “Rough Trade Bonus Disc.” Two of the songs are reprised remixes from the album, but are really the full superior versions of what made the LP. While the two new tracks are both stunners!
(lanternsonthelake.com)

2. The Wild Swans
The Coldest Winter For A Hundred Years
Tracks in Snow EP
(Occultation)
Could this really be true: a third album from the Wild Swans? I hear their trademark icy keyboard atmospherics, some twinkling piano fills, pristine guitar leads and Paul Simpson’s distinctive and personable voice; it is true! Let’s see, they formed in like 1980, released their first official LP in 1988 and find their way to this: The Coldest Winter in a Hundred Years by 2011. Maybe most surprising is that these 13 tracks collect the sound, the passion and the romanticism first heard from these northern Brits back in 1982 with their legendary “Revolutionary Spirit” single and their early BBC recordings. I cannot tell you how welcome this release is! You see, as a young kid, I discovered this band through the vinyl only release of their three song Peel Session, which is stunning (a record I purchased twice due to wearing it out). That very release spawned a rebirth and led them to finally record their first album: Bringing Home the Ashes, an album that has not fared well critically over time, but one which I proudly claimed in 1988 as my favorite of that year and am not ashamed that it still holds a warm place in my heart. Yes, it has dated a bit, due to a heavy 80s production sound (drums that sound like machines, etc), but the songs are stellar. An odd second album followed two years later and was way too influenced by producer Ian Broudie, whose Lightning Seeds were splashing rainbows and candy all over the world at that time. Space Flower was mildly interesting, but turned out to be fleeting ear candy that has not been a favorite to return to. I’m not sure why I’m going through the history lesson here, though it is an interesting one – considering that the band is more of a legend or myth than an actual entity. In 2009, they shocked me by releasing a magical 10” two song single with the catchy UK referencing “English Electric Lightning,” (included here) and the wonderful short story/song “The Coldest Winter for a Hundred Years” which details the early years of the Liverpool music scene through the eyes of main Swan Paul Simpson. “Liquid Mercury” was the next peak at new material (also included here) and it shines as a prime example of their new material – a pristine classic catchy tune. Most of these songs are simple 3 minute pop nuggets, yet they jammed full of feeling and depth. The clear theme throughout is a sense of loss – and that loss being England’s fall from grace – at least in Simpson’s mind. It is probably a bit overdone, but there’s a little bit in all of us that looks back into parts of the past longingly and the supposed good times. This one will feed that desire and provides the perfect reflective soundtrack to do so. “Falling to Bits,” the opener, with its declaration “This town is falling to bits and I don’t like it/ We need a bonfire lit and I’ll ignite it” serves as a proper thesis that leads to the aforementioned songs, the heavily referenced “My Town” and the lamenting closer “The Bluebell Wood;” all of which provide examples of better times. The best songs though lie in the other tracks. I love the bursting chorus of “Chloroform,” and the tragedy of its both World War referencing lyrics, and the mournful yet comforting conversation with loved ones now passed in “Lost At Sea.” This is what I signed up for and why this CD has stayed in constant rotation throughout much of the year. I don’t know if the Wild Swans will stick around this time or disappear for another 10 years, but I recommend everyone seek this out while they’re still here. I would start with their early years 2 CD retrospective from 2003, Incandescent, but I hear that’s now out of print and selling at outrageous prices, so get this while the opportunity still exists!!

Through direct mail order from Occultation, one can also pick up the 3 song suite Tracks in Snow, which should be released as a single. All three songs are easily album worthy, if not radio single ready. “Dark Times” works as the perfect Wild Swans anthem in less than 3 minutes! Wait! No! “Disintegrating” is the perfect Wild Swans single that encapsulates their ability to capture broken hearted moments with a comforting touch. Meanwhile, the closing “Poison” is a nice little love song - also highly recommended.
(thewildswans.co.uk)

1. The Joy Formidable
The Big Roar (Box set)
(Canvasback/Atlantic)
I am in love with this band. I have to come clean. There’s no way around it. When I first ran across their impressive mix of soaring shoegaze atmospherics mixed with the grinding propulsive drive of the best post-punk, and the crazy frenetic drumming, I was hooked. Listening to this, their official debut album (though 2009’s A Balloon Called Moaning was basically an album – my #1 pick from last year!!), has made me feel like a high school kid again! They have rekindled that early spark I had when I first became a music obsessive fanatic. When I wanted to follow bands on tour, wear their t-shirts every day and litter my walls with posters and album art. The Big Roar fits that bill too! Its mix of epic barnstormers and short fast pounders, along with an unusual bent on lyrics; reminded me of the sprawling mess that I fell in love with when I first came home with The Cure’s Kiss Me Kiss Me Kiss Me in 1987, as a 16 year old. Not that they sound anything like each other, but the creative drive and willingness to go for it at all costs is what is appealing. The only downside of their debut is that four of these twelve numbers were already on last years’ EP/LP, though these are bigger sounding and “Whirring” now is a closer approximation of the unbelievable show-stopper that this gale force band is live (a must see!!!). Also, last autumn’s stunning single “I Don’t Want to See You like This” appears here as well. We’ll let this go though, since these songs needed more exposure, because they are simply that damn good. The remaining seven songs are glimpses into the shear raw power that this Welsh by way of London trio possess. The opening track “The Everchanging Spectrum of a Lie” is a slow building lengthy glider that spirals itself into a frenzied show stopping force! Though it’s not the easiest way to be exposed to the band, it certainly shows off where they’re about to take us. The highlights for me, besides the appearance of the double-kick drum on a handful of tracks (feeding my secret metal head needs), come with the bursting short-ish songs, such as the punky “The Magnifying Glass,” the explosive “Chapter 2,”and the cryptic “A Heavy Abacus.” I hope they don’t burn themselves out too quickly! This is amazing stuff.

The box set, if you can get your hands on one, comes with a second disc with 6 tracks from their earlier days. The highlights are the Catherine Wheel-like shredder “Greyhounds in the Slips” and the underrated 2010 single “Popinjay,” which is downright creepy. Also included are two DVDs. One disc follows the band a journey from their home base to the beach where they filmed the video for “I Don’t Want to See You like This,” (video included) as well as compiling all of their early videos for “Whirring,” “Austere,” and “Cradle.” The other disc is an up close, audience perspective view of the band in an early NYC gig. It gives one a taste of how impressive they are in person.
(thejoyformiable.com)



Here's to a new year and much much more great music and don't forget to share your choices for the best of 2011!



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