Top 40 of 2012 Part IV

10.

Now, Now
Threads
Dead Oaks EP
(Trans-)

This Minnesota three piece forced their way into my consciousness as a pleasant surprise this year – thanks to a tip of a Facebook friend’s post (yes, this works for promotion – word of mouth!). That song happened to be the standout breath of fresh air “Threads.” Now, I will admit up front, that this is still my favorite song on the album. It is such a perfect song. It is at once atmospheric and driven with urgent momentum. Lyrically, the metaphor of the thread and the ease of pulling it to “watch it unravel” is excellent. This song could easily fit right in with anything off of Lush’s creative highpoint 1994’s Split. It turns out Threads is their second long player – first for Chris Walla’s Trans- label. They used to be known as Now, Now Every Children and their debut is actually worth checking out. Threads, however, is a big step forward. They have an incredible knack for finding a succinct way to communicate the confusing and frustrating habits that we all form in relationships. You know those little things that we do unconsciously (sometimes) to sabotage everything? Or more commonly, there are prime examples of self sabotage everywhere by not letting go, when it is time to move on – as in the true album opener and standout “Prehistoric” (“I’ll say that I’ve been trying to move on, but we both know I’m not”), or settling for less in the melancholic “But I Do” (I am what you need when you can’t find it somewhere else / I am what you want when you don’t want anything else”), or in the resigned sigh of “Separate Rooms” (“I’ll stay right here and carry you / While you clear your head and I grind my teeth”). Musically, this is all fairly solid too. Their best moments come when they strive for big dramatic moments and there aren’t enough of those here for me. Sometimes the songs bog down a bit – partially due to the overly heavy snare sound throughout, but that is a minor squabble that is more about production than anything. This is excellent and definitely a band to keep an ear out for.

Their Trans- label debut is the Dead Oaks EP, which is three songs, but two of them are on the album (“Dead Oaks” and “School Friends”), so it’s not really worth seeking out. However, “Dead Oaks” is a fun short dry strummer that conveys the longing of missing someone from far away, while “School Friends” is an encapsulation of a confusing noncommittal guy and someone who probably shouldn’t be interested in him “You have a girlfriend, but she’s not your girlfriend”). The only non LP track is the slow dragging “Shifting,” which is clearly B material and for completists only. This song is also available on a Record Store Day split 7” with label mates The Lonely Forest (2011’s #15 pick seen here, who offer up an alternate version of their song “Woe is Me” that really rocks!).
(nownowband.com)

Now, Now-Thread

9.

Corin Tucker Band
Kill My Blues
(Kill Rock Stars)

The second album from Corin Tucker’s Band is kind of a second comeback already. When she released 1,000 Years in 2010 (my #5 pick seen here), she was throwing off four years of public dormancy after the demise of her legendary band Sleater-Kinney. Though an excellent album full of deeply felt songs, it is a tad stiff and sterile sounding, which sometimes can happen when trying to make the perfect album. That was her first comeback, now we have the band as a four piece and some touring under their belt and some genuine cohesiveness and life! This album is a return to the rock and some outright joy musically. There is out and out fun to be had in the energetic summer songs “Summer Jams” and “Neskowin” (which hits home since I grew up a few miles south of this quaint and mostly unspoiled coastal community). No need to worry though, it’s not all fun and games, because Tucker has not abandoned her unceasing ability to tackle big time issues with the deftest touch possible. The opening “Groundhog Day” addresses her disappearance from the world of music during a stretch where women’s rights and personal freedoms have been under warped political scrutiny, which is when the world needed her strong voice the most. The album starts with the line “Huh? Que pasa? I’ve just woken up like Rip Van Winkle in a denim mini skirt,” and then continues to question what happened: “Did I lay down? Did I fall asleep on the backs of the women who have come before me?” The big celebration, however, is that her big voice and guitar are back up front and in your face and in the red and with a feeling that she’s back from her hibernation for good!
(corintuckerband.com)

Corin Tucker Band-Neskowin

8.

Standard Fare

Out of Sight, Out of Town
(Melodic/Thee Sheffield)
“At the Lake” 7”
(Where it’s at is Where You Are)

I’ve had this album the entire year, but it wasn’t till the end of the summer that its magic fully cast its spell on me. Standard Fare’s debut album, The Noyelle Beat (2010’s #3 pick seen here), was an instant and massive favorite. The band’s enthusiasm and exuberance, along with some neat songwriting, made for an indie pop classic that has ruled my little music world ever since. Maybe my expectations were too high for the second long player, because although I liked what I heard, it didn’t grab me as much. However, after a lot of listens and some reflective late summer moments, and the release of a non-LP 7” (see below), I realized that this one is more fully realized and consistent than the first. This is the sound of a young band solidifying its craft and preparing for what comes next (I hope). Lyrically, these boys and girl find a way to weave compelling love/lust stories with tiny details that make their characters come alive. They have painted an interesting world that reeks of a small young incestuous group of friends who may all be way too close, but it sure is fun to listen in on their adventures! Maybe the end of the summer connection makes me think of the cliché childhood question ‘what did you do this summer?’ and these songs feel like an answer - almost like adventures from a camp – but from the perspective of the lustful counselors instead of the kids. This collection includes their two cool a-sides from 2011, the odd end of the world “Suitcase” and their slow down and step back “Darth Vader,” but the new ones, like the opening “The Look of Lust,” (“You look at me right at me/ act like you’re listening/ I keep on talking/ don’t think you’re paying attention”), and the fresh new love of “05-11-07” (“This has been building up for weeks / tonight I’ve got this feeling”) are exciting and involving. Then we find Emma Kupa (whose vocals continue to marvel and entice in a way that I cannot quite place, other than to say that her spirit is greater than her technical ability) cautioning a friend on “Older Women” (“They’ll have you bending to their will / just for some cheap thrill / and they’ll drop you when they’re done”), while guitarist Danny How takes over lead vocals on the club/ one night stand centered “Call Me Up.” This is so much fun and solid from start to finish.
(standardfare.co.uk)

I’m pretty sure it was the summertime release of Standard Fare’s entry into the intriguing singles club that label Where it’s at is Where You Are started this year (The club released seven 7” singles on the 7th day of 7 different months of the year – or some such deal) that not only rekindled my growing love affair with this band, but the second album. These three non-LP songs are definitely not album throwaways or filler either. All of them are catchy and fun numbers that could’ve easily made the album. My favorite is the catty “Girlfriend.” This is worth the effort to track down, as well as some of the other singles from the club.
(wiaiwya-7777777.blogspot.com)

Standard Fare-Suitcase

 

7.

The Icicles

Renegade Parade
(Microindie)

The magical Icicles entered my world sometime in the spring of 2005 when I first heard their snappy addictive song “I Wanna Know” from their 2004 first LP A Hundred Patterns and I was hooked. Most people will unknowingly be aware of them from their bouncy “La Ti Da” which appeared in a Target ad not long after its release (on 2007’s Arrivals and Departures). “La Ti Da” is a good indicator of this band’s earliest material. They have always been a fun bunch with some light-hearted catchy tunes and matching hand sewn outfits all around. Their “Gedge’s Song,” which is about a cat wishing it could go outside and play, is about as melancholic as they would get. Now, after a five year hiatus, The Icicles return with a big album that is heavy on the melancholy, and a major sense of feeling lost, uncertain and unfulfilled. The opening salvo “Numb” finds the narrator, lead singer Gretchen DeVault, stating “I begin to feel numb / I am no longer young.” Meanwhile, the stunning and dramatic song “Would You Know” begins with the lines “Feeling so suffocated the walls are closing in on me / Too many people / I can no longer breathe / Maybe I could go / would you ever know / if I left today,” letting us know that things are not the same anymore, but who can deny the sheer power and beauty of the lush, dreamy and spooky keyboard waves from Joleen Rumsey that punctuate the end of each downtrodden verse of this magnificent song? Breathtaking. The entire opening of the album is an absolute stunner! “Night Drive” glides along with some positive feeling as we take a refreshing and reflective late night drive, while during the next song we learn that we are riddled with “Insomnia.” Even by track seven, a song named “Smile, Smile, Smile” of all things, includes at least the third reference to ‘walls closing in,’ while our narrator is “driven to the brink.” Much like “Night Drive,” “Bernadine” finds some joy in small things – in this case a change of season from fall to winter – but here it sounds more hopeful than satisfied. It isn’t until the tenth song that we find a truly happy sounding song with the travel song “This is it.” Here we’re led on a contented drive in the sunny southwest that feels warm and welcoming. This is absolutely a stunning and beautiful album and quite a surprise. I never thought that my go to rainy day album of the year would be from Michigan’s Icicles! My only issue is that the album is a little too long. It loses focus after what would be a perfect closer in “This is it.” The final four songs are fine, but they don’t quite fit. They feel like an unnecessary epilogue. Maybe these should’ve been saved for an EP that I would’ve happily shelled out money for. Those first 10 songs though are pure brilliance!
(theicicles.com)



6.

Evans the Death
Evans the Death
“Telling Lies” 7”
“Catch Your Cold” 7”
(Fortuna Pop! / Slumberland)

Oh wow, this is exciting! These 12 tracks fly by with such a rollicking good time on this UK band’s debut album that I am already anxiously awaiting a second offering. These guys and gal throw themselves into every song with fun abandon making each song a short burst (only two songs crack the three minute mark) of energy and whatever emotions they’re trying to convey at the moment. Katherine Whitaker’s vocals are unique and rambling and all over the place and a highlight of the album (she takes a stab at her own voice with the lyric “I scratch you with my morning voice” on the appropriately titled “Morning Voice”). She is in full command of each song in the same way that Standard Fare’s Emma Kupa does and I have to say that I approve (she also reminds me of the woman from that Cold Case show)! The Standard Fare comparison isn’t too far afield either, because they share similarities from the 80s UK indie scene, but instead of the crisp clean approach of Standard Fare, Evans the Death is a looser drenched in reverb outfit. It’s also fitting that they are on Slumberland records here in the US, because there are moments (like the kick ass “Threads”) that wouldn’t sound out of place on a Black Tambourine 7” from 1992, while elsewhere their music and wild abandon rollercoaster arrangements can hint at that label’s Boyracer or Henry’s Dress from the mid 90s. The album deals mainly with the modest moments in our lives that affect each of us more than we’d like to know (“Sorry this was all I could afford / give me a shout if you feel bored / we could go out for a walk” – from “You’re Joking”). There are also some self effacing and funny sentiments throughout, as in the old before their time bitterness of “A Small Child Punched Me in the Face” (“I believe the children are the scourge of the earth….because this generation / is one generation / too many”), and the shut in tendencies of “I’m So Unclean” (“When I’m watching the shopping channel / I will think of you / When I’m making a sandwich / I will think of you”). I cannot recommend this enough - such a breath of fresh air.

The two singles are non essential, except for freaks like me. Both “Telling Lies” and “Catch Your Cold” are standouts from the LP, while the B-side to “Telling Lies” is simply a nice acoustic version of the album’s “Morning Voice.” It’s a great rendition, but it is missing the explosion of guitars halfway through. “Crying Song,” the B-side to “Catch Your Cold” meanwhile is probably their first real misstep as the song is a complete throwaway.
(evansthedeath.co.uk)

Evans the Death-I'm So Unclean

5.

Dum Dum Girls

End of Daze EP
(Sub Pop)

This release was so incredibly necessary for me. If anyone has ever read this terrible blog I occasionally toss around, you may know that I had a profound experience at a Dum Dum Girls show (2 actually) this year. The immense sadness of the beautiful songs on 2011’s Only in Dreams (#4 pick seen here) crushed me and astounded me at the same time (for more madness, see post here). They also played a short song that was haunting me in a different way. It was so damn catchy that I somehow felt like I knew the song the very first time I heard it. I searched lyrics that I remembered from the show on the web the next day hoping that it was a post punk classic from my childhood and hoping to find the original - but no such luck (keep in mind that these girls have shown impeccable taste with their choice of covers). Finally, early this fall, this release gave me the answers about the mystery song and a format to listen to it any time I choose – and choose I do over and over again. More on this song later. How cool is it that the Dum Dum Girls release genuine stand alone EPs? Most people probably don’t care, but I love it. It reminds me of the old non-LP singles that would pop up out of the blue from the likes of the Smiths and New Order, or those incredible EPs from the so-called shoegaze era from My Bloody Valentine, Slowdive, Moose, Lush, Ride, etc. I keep getting sidetracked. This five song collection opens with three songs recorded back around the time of Only in Dreams and it is clear. The opening “Mine Tonight” is a heavy brooder that is still stuck in that album’s struggles with death and dying (“Will I dream tonight / there’s nothing left / there is no light”), while “I Got Nothing” ups the tempo a little, but remains resolute to dwell in sorrow and emptiness (“I close my eyes / and recall the time / things weren’t so wrong”). The middle track is a cover of Scottish new wavers Strawberry Switchblade’s “Trees and Flowers,” which continues the sadness (“For I hate the trees / and I hate the flowers / and I hate the buildings / and the way they tower over me”). Dee Dee even removes the slow little shuffle beat from the original and goes it alone with a slowly picked heavily affected (or is that effected?) haunting guitar. The final two songs are more recent recordings after lots and lots of touring and they begin to show some signs of recovery. “Lords Knows” cruises along at a deliberate pace, and has a powerful and heartbreaking chorus. It seems to be about realizing that there is some hope in life with those that we love and who love us who are still around. In other words, it’s time to look up from the depths of mourning loss and embrace what we still have. Finally, the EP closes with the aforementioned mystery song, “Season in Hell,” and its redemptive power is so therapeutic. From the harsh quivering reverbed guitar strum that starts this song to the pounding drive of Sandy’s excellent drumming; this short song is nothing short of perfect. Dee Dee croons “From shards of broken hearts / and tears from desert eyes / something new is redeemed” and it sends chills throughout my body during the opening verse, but that is nothing compared to the big final statement of “Doesn’t the dawn look divine? / Yes, doesn’t the dawn look divine” that is an exhale over top of a chorus of background voices and shimmering tambourine. I can and do listen to this song over and over and imagine that I will do so for a long time coming. The Dum Dum Girls have an excessive amount of heart and soul and seem to get better with each successive record. This is a must have.
(wearedumdumgirls.com)

Dum Dum Girls-Lord Knows

     4.  

Abecedarians

Eureka 2 LP+CD
(Pylon)

I have been waiting, hoping and daydreaming for the last 21+ years that this release would happen and lo and behold it finally has! In January of 1991 I received my first package from the venerable LA based Independent Project Records and their subscription based “Archive Series.” These limited edition 10” vinyl EPs were housed in Bruce Licher’s amazing and beautiful hand printed sleeves and the music would prove to open up a whole new world of music for me. The first two installments for this series were from For Against (their experimental In the Marshes collection, which is among the best work from the legendary Nebraska post punk band) and a double 10” collection titled The Other Side of the Fence by a mysterious California band I had never heard of named Abecedarians. The collection was made up of twelve previously unreleased recordings recorded between 1983 and 1985. I played those records to death – so much so that I had to buy a second copy. I recorded the songs onto cassette and played that till the tape wore thin and broke. The Other Side of the Fence (along with Mark Eitzel’s solo acoustic Songs of Love Live) was my favorite record of all of 1991 and has held a strong grip on me ever since. Maybe it was the mystery. Who were these guys and how could they make such powerful music with so little notice? What was the deal with their strange cross logo? Why did they name themselves after a 16th century sect who rejected human knowledge in favor of visions received directly from God (sounds eerily familiar)? Along the way I was able to track down Caroline Records’ 1988 CD collection, AB-CD, combining songs from their whopping three total releases. Then I finally found their first LP, 1998’s Resin on used vinyl, along with the drastically different version of one of my all-time favorite songs (as I had known it from the IPR 10”) “They Said Tomorrow” on the Scream LA band compilation. I was never able to track down their 1985 debut 12” single on Factory Records (“Smiling Monarchs” – included here and one of only two US bands to ever get a Factory release), or their US debut six track EP Eureka. Well, after this long-winded history lesson that can only possibly be interesting to me, here it is! Pylon Records has graciously released not only the EP, but they’ve added the two songs from the Factory 12”, as well as 6 of those songs from the IPR collection (available on CD for the first time ever!).

Not a lot of this material is new to me, but it is so damn good to hear these songs again that it has been a refreshing breath of air during these dark days of December (this was just released on December 4th). This is, however, my first chance to hear the EP version of the oddly titled and absolutely amazing “Beneath the City of the Hedonistic Bohemians,” as well as the very first time I’ve heard the original EP closer “Misery of Cities,” which greatly recalls the airy drive of Joy Division’s “These Days.” This is the first glimpse of where they may have been coming from stylistically. They are a tried and true post-punk band with a fondness for guitar effects pedals. The previously mentioned “Beneath the City…” has a rapid and heavy bass drum drive that keeps the A Flock of Seagulls style of fluttering waves of bass and guitar from floating away. Chris Manecke’s vocals are deep and rich and they write some obtuse open ended lyrics that are ripe for interpretation, or to simply allow the listener to fill in the blanks to create their own story. Also, John Blake’s creative bass playing often finds itself as the lead instrument, much like pioneer Peter Hook, but Blake takes his bass lines into many different directions from song to song. Check out the low end slow fills crossed with sharp plucks in the epic “Ghosts,” or the busy electronic effects of the two Factory songs “Smiling Monarchs” and “Benway’s Carnival.” Finally, I would be remiss if I didn’t mention the unique rolling drumming style of Kevin Dolan, which not only keeps the other two in check (let’s just say that many of these songs find a mesmerizing groove and tend to luxuriate in them), but colors each song with a different hue – helping make this a remarkably diverse band with a strong recognizable sound all their own. I could go on and on about these songs and to many I have. I could talk about how the soft and floating “Ghosts,” the creepy dirge “Soil,” or the pan flute introduced “I Glide” have guided me through long late night drives on creepy dark densely forested Oregon highways and byways. And though I am normally one who prefers his songs concise and to the point, the Abecedarians willingness to experiment and fixate on whatever stunning sound they’ve created for a longer stay, only makes me happier. Having said that, it’s the more pop oriented songs like “Beneath the City of the Hedonistic Bohemians,” the New Order-esque (circa Power, Corruption and Lies) “Switch,” and the two heartbreaker’s “They Said Tomorrow,” and “Wildflower,” that have literally brought tears to my eyes with their nervous and itchy bass and guitar interactions, urgent atmospheric keyboard layers, and excellent scene setting lyrics (“This is the gutter I was made to stay in / life is so empty for me / I looked at the girl and explained / wild flowers grow from the trash”). This stuff inspires me, makes me want to be creative and to dream bigger dreams. I am glad that these songs are no longer so inaccessible, because this is a secret that should no longer be kept.

By the way, this is available on CD, as well as double 12” vinyl, and if you order directly from Pylon Records, there are a limited number of the vinyl editions that come with a six track CD, which includes the remaining six songs from The Other Side of the Fence IPR release. This includes superior versions of “Beneath the City…” and “Ghosts,” as well as the catchy, but rough unfinished sounding “Come Out” and as well as a couple of nice short instrumentals. Highly recommended! Now will there be a second release covering the Resin material as well as some unearthed gems? I hope I hope….
(pylonrecords.com)

Abecedarians-Misery of Cities

3.

exlovers

Moth 2 CD
(Young and Lost Club)

Finally! I don’t know what took so long, but I’ve been waiting for this LP since 2010. It was early that year that I ran into their “Photobooth” 7” and “You Forget so Easily” 10” EP (#15 pick of 2010 seen here), then they teased again with a brilliant 7” early last year (“Blowing Kisses” 2011’s #6 pick seen here), and again with a free download near the end of the year (“Starlight, Starlight”), but no debut album! I was beginning to believe that it may not happen. Well, it did, and it is spectacular! Much like last year’s Joy Formidable “debut,” the unfortunate part for us who have already put some time and investment in the older material is that half of this album is made up of those songs. However, they have flown under the radar for so long that it makes perfect sense to put together a proper debut with eleven amazing songs. This gets going with the aforementioned “Starlight, Starlight,” which mildly reminds of the Stars via Lush song “Ageless Beauty,” with its chiming keyboards and dreamy vocals. Then we get a couple of new songs with “This Love Will Lead You On,” which recalls the woodsy acoustics and howling guitar layers of first LP House of Love, and it’s lyrical mirrored cousin: the catchy “Emily.” Sprinkled in through the rest of the album are some of the old singles like the stellar “Just a Silhouette,” which is pure poetry with its detailed guitar picks and drunken regrets; and who can overlook the perfection that is the timeless pop classic “You Forget So Easily;” and the driving smasher “You’re So Quiet” (the production from Stephen Street on this song is so much beefier than the remainder of the album it begs the question: why isn’t the entire album done by him?). Lyrically these songs dwell in heartbreak and simultaneous desire for isolation, which is a dichotomy best presented in the beautiful “Unlovable” – a song that is somehow both tragic and uplifting at the same time (“The more I hide the less I can see / here in your arms / everything dies / there’s dust in my mouth and mist in my eyes”). Exlovers to me have drawn from a lot of sources that I really love (and I still contend that the dual vocals of Laurel and Peter recall the one album wonder Everything Last Winter from Fields from a few years ago - #6 for me in 2007), but they sound incredibly fresh. They are smart and nothing here is wasted – though I am curious why the feedback transition between “Just a Silhouette” and “Blowing Kisses” is chopped off! They are clearly meant to merge together, but instead there is an abrupt gap between the two. I suppose in this world of downloads, this is another sign of the loss of “albums,” which are meant to be heard as a whole. At any rate, I am hoping that unlike Fields, exlovers find the will to keep going. I will try my best to be patient for album number two in 2016. Too many complaints from me – this album is a must-have!

The second disc is made up of 4 really nice acoustic versions of standout songs from the LP. The most notable is the super slowed down version of “You’re So Quiet.”
(exlovers.co.uk)

exlovers-Emily

2.

Allo Darlin’

Europe
“Capricornia” 7”
“Europe” 7”
“Northern Lights” 7”
Covers 10” EP
(Fortuna Pop/Slumberland)
“Only Dust Behind” 7”
(Where it’s at is Where You Are)

Full disclosure: I am absolutely smitten with the sublime voice of Elizabeth Morris, the Australian front woman for Allo Darlin.’ She manages to wring so much heartfelt sincerity out her fantastic short story lyrics. Europe is a marked improvement over their 2010 self-titled debut, but in a subtle indescribable way. Where that album was okay to good, this one is outstanding from start to finish all without messing with the foundation or formula. Maybe this is a case where practice makes perfect. At any rate, the part that I hate is the comparisons – the ‘who do they sound like?’ portion of the review. Well, there are many possible touchstones. The overall feel leaves me with a similar wistful and hopeful vibe of the late 80s Go-Betweens (with Amanda Brown), while Morris’ vocals recall the warmth of sentimental honesty of The Lucksmiths’ Tali White and Camera Obscura’s Tracyanne Campbell when she’s at her sparest moments. Paul Rains’ delicate and busy guitar work brings to mind the tasteful layering of Smiths-era Johnny Marr, while the rhythm section provide a controlled runaway essence that are the lovelorn musings of Morris and don’t get me started on the deep low end lushness that Bill Bottling’s bass lines provide. Need I go on? Whoever I compare this to; it will be one of the all-time greats. These ten tracks all act as little postcards from different parts of the world with varying stages of romantic longings and separation attached to them. “Neil Armstrong” finds Morris struggling with the confusion of being in love, but with serious issues lying just underneath the surface (check out her subtle jab: “why did you say that you miss a simpler time / well so do I and I find myself pining for you”) and stated in the tight chorus “Well I am tired of feeling confused / and lest my words be misconstrued / I can’t separate what’s real but I know I believe in you.” Meanwhile, the lap steel touched “Some People Say” and the energetic “Wonderland” both perfectly captures the nuances of a budding romance. Every song here is fantastic and difficult for me to describe, because it wraps around me like a warm and comfortable broken in jacket. It’s kind of funny that my favorite song is here is the spare solo ballad “Tallulah” (name checking the Go-Betweens’ 1987 classic perhaps?) by Morris, since I love the full arrangements so much. She strums her ukulele and she tells a mournfully lonely tale of separation and a need to run away to brighter pastures (“and I wonder if you would go there with me / when I’m finished over here / if you’re not finished with me”). I think it’s the focus on that voice that I love so much that makes it stand out above the rest – not to mention the detailed and heartbreaking lyrics (“I’m wondering if I’ve already heard all the songs that will mean something / and I’m wondering if I’ve already met all the people that will mean something”). Okay I mentioned them. This is a beautiful spectacle and it feels like one of those albums that will continue to warm and break my heart for years to come.

What a busy year it was for these kids! They released three singles from Europe and hopefully have continued to win the hearts of people from all over the world. The summery strummer “Capricornia” makes for a fantastic lead off introduction single. It is energetic and holds the consistent depth of the album. The b-side “When You Were Mine” is a nice song, but clearly b material compared to that of the album. Next up appeared the “Europe” 7”, which is another album highlight, while the b-side takes the Nashville tinged “Some People Say” from the LP and turns it into a reverb drenched echo chamber slow motion dirge. This ‘alternate version’ gives the song a completely different feel and is worth investigating. Finally, the rocking “Northern Lights” was featured and again is truly the ‘pop song’ of the album. It too is upbeat and wistful and brimming with positivity – like a pep talk from a close friend. Meanwhile, this b-side, “Golden Age” is the best of the non-LP bunch with an addictive chorus. Excellent!

Allo Darlin’ also released late this year two more records. First appeared the Covers 10” EP, which is a compilation of past covers that they’ve released on compilations and such, along with two new ones. The new ones are the big standouts for me. They do the vaunted LP closer from the Go-Betweens’ all-time favorite 16 Lovers Lane – “Dive for Your Memory.” This is a faithful cover, but still of interest due to Morris’ beautiful voice. There’s also a cover of one of my favorite Eux Autres songs (see review elsewhere) from their 2007 album Cold City – “City All to Himself.” Also comes a heartfelt rendition of one of my favorite Bruce Springsteen songs (Nebraska’s “Atlantic City”), as well as the Ramones’ “I Wanna Be Sedated,” AC/DC’s “You Shook Me All Night Long” – when Morris was solo and went by the name The Darlings, and Darren Heyman’s fun “Wu Tang Clan.” If you can find this – get it! The last 7” EP is the December entry from the WIAIWYA 7777777 singles club (see elsewhere). “Only Dust Behind” is a soft dreamy wistful song that shows that they are still on a winning streak! The two b-sides are a little rougher around the edges, but “Dear John” is a frustrated lovesick song that is super catchy, and “Kings and Queens” closes this out with another tasteful tune. Whew.
(allodarlin.com)

Allo Darlin'-Northern Lights

1.

Bob Mould

Silver Age
(Merge)

My year started off by reading Bob Mould’s autobiography See A Little Light, which is solid, but it never crossed my mind how much facing his massive past would clear the way for him to reignite and release his best album since 1992’s Copper Blue (with Sugar). Mould seems genuinely at peace these days and he seems free and open to simply rock and rock he does! It’s not like he went away. His last three albums, since his surprising foray into electronic music (with 2002’s stepping stone Modulate and the full bore leap Long Playing Grooves, his one release under the pseudonym LoudBomb), have been good to great. Yet, much like Sugar’s debut felt fresh and revitalized after his first couple of dark and heavy and, frankly, amazing solo albums, this one does as well. In 1992 I claimed Copper Blue as that year’s best album in my old ‘zine and said this of Mould’s music: “the buzz is a part of his music. It is the melody. There is so much space and tunefulness in his guitar that the feedback isn’t there to hide behind or even to augment – it is everything.” Much like then, I could say the same thing about Silver Age. This time he is even more focused. Even the small distractions on that album are streamlined into a huge force that is a call to re-energize and re-engage. The tour de force starts off innocently enough with the mid-tempo solo rhythm guitar for a moment before the stellar force that is his touring band for the last few years (Superchunk drummer Jon Wurster and Jason Narducy of the much missed Verbow on bass – check out both of these bands, if you aren’t familiar!) joins him with a pounding groove on “Star Machine,” a song about a rock sellout. Could it be a song about some generic big rock star story (think Billy Corgan of Smashing Pumpkins or Axl Rose of Guns n Roses – “You tell the world you had to fire the band / Your little world has gotten out of hand”), or is it a some strange self-deprecating nod to himself in that he never had the chance to sellout, but freely admits in his book that he sometimes let his ego run a little awry? Never mind who it’s about, because it is the perfect beginning for what is to come, because it segues immediately into “Silver Age,” the ad-hoc thesis to what this is all about. Yeah, he’s gotten pretty old (52?!), but he’s still got some serious fire and vigor and can shred the shit out of anyone who has copped his sound over the last 30 years (“Stupid little kid wanna hate my game / I don’t need a spot in your hall of fame, no / what a fucking game, yo”). Then we get his usual third track – first single, “The Descent,” which is such a beauty that it sends shivers up my spine every time I hear it, and there is no volume loud enough to contain it. It is again self-analytical/critical about his career choices and maybe showing a tinge of regret about his electronic waylay (“I didn’t want to play the song / that gave people so much hope / I turned my back and turned away / here’s the rope that made me choke”) and maybe he’s now ready to embrace his life or what’s left of it as his world descends. What makes this song so magical, besides the fiery electricity barely contained in a pop song so timeless and catchy, is his own background harmonies that build an immense wall of depth mixed with his layers upon layers of chiming guitar noise. Jaw dropping. “Briefest Moment” seems to explore his earliest inspiration and drive which led to him getting into music inside another scorching punchy rocker that keeps the sound bleeding into the red. “Steam of Hercules” closes the first half and is the first opportunity to exhale as it slows down the tempo and focuses its attention on the stratosphere, much in the same way that Copper Blue’s closer “Man on the Moon” does. The second half unfolds in much the same way as the first. “Fugue State” opens as a mid-tempo bruiser with drum fills surrounding us before exploding into a brilliant speedy chorus, while I have a feeling that “Round the City Square” is the song that I kind of overlook now, but will one day realize is one of the best (much like Sugar’s “Fortune Teller,” which was a huge highlight from his tour this year!). “Angels Rearrange” cruises in with Mould’s deeper register atop a heavy wall of buzz and a tasteful exploratory bass-line before heading into a sing along chorus. The biggest highlights of the second side come with the two closing numbers. “Keep Believing” literally launches itself off the ground like a NASA space ship and Mould even gives us a positive message as he expresses his joy from finding inspiration in music and how important it is to “always keep believing.” Finally, the album ends, leaving us all exhausted and satisfied with another lyrically upbeat song, “First Time Joy,” which musically builds and builds piece by piece into a giant stomping crescendo. He’s done it again.
(bobmould.com)

Bob Mould-The Descent

That wraps up 2012!  I hope you enjoyed and that you'd be willing to share some of your favorites.


The remainder of the Top 40 of 2012 can be found via the following links:

#40-31

#30-21

#20-11

 





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!



Links: Top 40 #'s 40-31
                      #'s 30-21
                      #'s 20-11