Forgetters

As I try to somehow compile my Top 40 music releases of 2013, I find myself struggling.  It is beginning to dawn on me that I really shouldn’t rank these.  There is so little difference in quality in my mind between #1 and #40 – making the idea of ranking pretty silly.  The reason I post these little album breakdowns is in hope of encouraging others to discover, as I have, and enjoy.  But I am stuck in a world where we have to rank everything.  One day I hope to break free, but in the meantime I will begin posting this mostly arbitrary countdown over the next few days in installments, but first, I’d like to post a write up of one of my favorites of 2013 that was actually released in 2012, along with a few other really great records that somehow didn’t make the Top 40 today, or this week.  On a different day, many of these may have reached the Top 20.  If any of this makes any sense, than you are way ahead of me.

 

Forgetters

Forgetters (2012)

(Too Small To Fail)

Last April I posted Ache - a sort of piece about Jawbreaker.  It was an effort to show my appreciation of their music from the early to mid 90s, without having to delve too deeply into the many reasons why.  It was during my “research” for that piece that I found myself irritated and angered by the weird backlash against that band’s songwriter Blake Schwarzenbach for a big variety of “sellout” reasons.  What is the reason behind this?  Punk rock scenesters were always the worst, and the reason why, though I love much of the music historically, I could never fully indentify as a “punk” – especially within the narrow-minded realm of those who are so immersed in their little worlds that they cannot see past their noses.  I also learned that Blake Schwarzenbach had formed a fourth band: the forgetters (prior bands were the seminal Jawbreaker, Jets to Brazil - whose 1998 debut was my #1 pick for that year, and the short-lived mostly undocumented Thorns of Life).  Where have I been?  This new three piece first released a double 7” EP back in 2010, which turns out to be a rough and ready group of songs that were reminiscent of old Jawbreaker, but in November of last year the now two piece (with original Against Me! drummer Kevin Mahon) quietly self-released their debut album.  This pleasant surprise was recorded by Schwarzenbach’s punk contemporary J. Robbins (from the also much-maligned, but amazing Jawbox) and it is epic in scope and takes many listens to unfold.  Sound wise, simply this probably lands somewhere between Jawbreaker and the cleaner Jets to Brazil.  This is the first album Schwarzenbach has released in 10 years, after the JTB trailed off with, frankly, a really boring album, so it is nice to hear some spark and vigor put back into his music.  These 11 songs begin with the lo-fi “Strike,” which makes for a quiet and modest introduction into what will unfold.  It turns out Robbins’ recording is actually quite bold, clear and deep.  This is a varied collection and despite their two piece status, these songs are adorned with all kinds of subtle flourishes, including strings, piano, and vibraphone.  Many of these songs start quiet and simple and build to amazing crescendos.  Blake is, as always, excellent, at twisting around phrases to evoke the power of strained personal relationships (“Hoop and Swan” and the ballad “Turn Away”), but there is a stronger political slant to these words, then his past work.  “In America” is powerful song taking on our country’s loss of innocence post 9/11, but also our collective loss of perspective.  Plus their really choice cover of the Human League’s excellent “Seconds” pairs well and really captures another time when we, as a country, lost our heads.  The foot stomping builder, “Lie Artist,” at face value could be about a troubled relationship, but I tend to believe it’s about our failed banking system and the government’s reluctance to actually enact change.  The other rocker is the buzzing “O Deadly Death,” which reminds of Jets to Brazil’s Orange Rhyming Dictionary.  Like all of his prior work, this album is full of incredible lyrics and though the album is heavy, there are definitely enough straightforward songs and hooks to make this something to return to again and again.  “I’m Not Immune” is probably the “single” of the bunch.  It’s the song that could capture most of the fans of Blake’s varied past, but also grab onto a whole new crop.  He starts with the lyrical refrain: “If you could see for once / one inch beyond the nose / that cuts the air before your face / you would not sing, my dear, with such high zest / about the wonders of this modern world” and continues to spout an angry tale atop layers of guitars and a fist-pumping chorus.  There’s also the heartbreaking “Die by Your Own Hand,” which is immediately thrust into his huge pantheon of deeply personal songs that are so identifiable and painful and so cathartic.  It’s this personal connection that I have with so much of Schwarzenbach’s music that has always made writing about it so difficult and this is no different.  He is such a talented lyricist and with Mahon’s tasteful percussion and precise drumming, these two have carved out an album that needs to be heard.

(forgetters.blogspot.com)

Dinosaur Jr.

“Now the Fall” 7”

(Jagjaguwar)

January brought us these two surprise previously unreleased songs from indie veterans/pioneers Dinosaur Jr.  These two songs were recorded during the I Bet On Sky sessions (their 2012 10^th LP, my #22 pick seen here) and they really should’ve made the album – though it was pretty epic on its own.  Both of these songs are highlight singles in themselves!  The J Mascis led “Now the Fall” is simply one of his numerous catchy three plus minute catchy yet fried out sounding pop songs.  The slow, meandering verse blossoms into a very tasty, foot stomping chorus and bridge combination and what sounds like a guitar/keyboard mesh that opens a new door to their sound.  The Lou Barlow led “Ricochet” is, much like his two contributions for I Bet On Sky, excellent.  Some of his best work fronting Dinosaur Jr. as is this.  Barlow’s lyrics are always a little more open and heartfelt sounding, and this one is aggressive and memorable like his best work with Sebadoh, but with the bonus of Mascis’ shredding guitars.  This is a must have single for fans and even a good starting point for the curious.  What can possibly be next for these guys?

(dinosaurjr.com)

 

 

Rose Elinor Dougall

Future Vanishes 7” EP

(You)

Last spring Rose Elinor Dougall (who began her career as one third of the lovable Pipettes) issued a free three song download with her then backing band The Distractions and it was simply magnificent (my #18 pick of 2012 seen here).  Those songs built upon her dreamy 2010 debut album Without Why and infused it with some added boost and band energy.  This is the first new material she has released since then and she’s still showing off some serious songwriting talent and yet another mild stylistic change.  The opening title track starts off sounding almost exactly like OMD’s “Shame” from their 1986 The Pacific Age, with its light keyboard twinkles and airy flow before upping the ante with her soaring vocals during the chorus.  Next up is “Poison Ivy” with its horror movie piano backdrop, rolling drums and what turns into a highlight of this group.  The B-side opener, “Strange Warnings” is the big standout, as it comes closest to the songs from last year’s release.  There is melancholia present, as with much of her solo work so far, but with the repetitive mysterious guitar riff, some excellent drumming and her vocals steeped in reverb, this hints at everything from 80s Cocteau Twins to Strawberry Switchblade.  The closer, “Sink Back into Blue,” is a dub style experiment with spoken word story underneath some sound effects and a heavy beat.  This is another nice entry to her slowly building catalog.  My only complaint is the hugely dated 80s sounding production.  It is fine to draw inspiration from music of that time, but this has an odd, not-so-timeless sound to it.  I hope it ages better than it seems like it will.

(facebook.com/roseelinordougall)

Girls Names

The New Life

(Slumberland)

The second album from this Belfast foursome is my introduction.  The New Life is an album that would’ve been a highlight of my teenage years, when I was just discovering and absorbing music like this.  Wow.  This is post punk perfection – all the way down to the black and white simplicity of the album sleeve.  The bass as lead instrument, tastefully and artfully provided by Claire Miskimmon, the reverb drenched guitar work, the spare drumming and the washes of creepy organs and atmospheric keyboards make for a sound that always tugs at my ears.  The album evokes those early years of the Cure (17 Seconds and Faith), The Sound, or the Comsat Angels, or early New Order.  After all of these years, it actually sounds pretty fresh again, especially done so damn skillfully.  They employ the extended instrumental openings to songs, which has become a lost art in pop music.  “Hypnotic Regression,” is the place to start with its streamlined rhythm and catchy spiraling chorus, while still steeped in reverb, vocalist’s Cathal Cully’s vocals are a little clearer and not so distant.  One can’t miss the heavy pounding drums and spooky keyboards of “Occultation” or the dramatic “The Olympia,” both of which recall the efforts of the otherworldly and mysterious early Independent Project label bands.  Everything is in place and appropriately dark and menacing.  The only aspect missing is that Cully’s vocals are a bit flat and very unemotional and having them buried so deep in the echo chamber laden mix that some of the songs lack a strikingly memorable hook.  This album is very well done, however, and definitely worth a listen if you are interested with any of the previously mentioned artists.  And oh, that bass is relentless and beautiful.  The band has also issued and 12” single featuring a cover of Brian Eno’s “Third Uncle” (famously covered by Bauhaus), along with a couple of remixes of album tracks.

(facebook.com/girlsnames)

Kids on a Crime Spree

“Creep the Creeps” 7”

(Slumberland)

The last two to three years has seen me buying Slumberland Records at a similar rate to my old days of mail ordering from them when they started out on the east coast and were teaching us of the sounds of Black Tambourine, Lilys and Velocity Girl.  This little 7” single would’ve been one I would’ve bought back then, if it had been available. “Creep the Creeps”  is a reverb heavy classic pop song along the lines of some of those early Black Tambourine singles, or like the Amy Linton fronted Aislers’ Set filling our heads with handclaps, a simple guitar hook and a need to bounce one’s head along throughout these two and a half minutes.  The b-side “New Ex-Boyfriend,” takes the same elements, but adds on some serious urgency and speed.  This song is strums along nicely, but it’s in the tempo changing chorus where this song really shines.  This is the band’s second release, so maybe their first album will be along soon?

(facebook.com/kidsonacrimespree)

The Primitives

“Lose the Reason” 7”

(Elefant)

After a surprising return in 2011 when the Primitives graced us with four new songs (#30 pick seen here) after over a decade apart, and then graced us with an album of obscure 60s covers last year (#39 pick seen here), they have once again treated us to some new material in February of this year with this limited edition 45.  If you have been hesitant to return to the Primitives fold, might I recommend this one as the place to begin?  The A-side, “Lose the Reason” contains their signature woosh that the Primitives first burst onto the scene with back in the mid to late 80s!  There are handclaps and ‘la-la-las’ atop washes of organs and guitars and a fresh sing-along chorus, but the highlight is with the verses where Tracy Tracy asks questions about the state of a relationship and Paul provides discouraging responses (“Sift the ashes find a glimmer / Nothing glowing here at all”).  It’s a fantastic piece of pure infectious pop.  “Always Coming Back” on the flipside, is much more in line with the 60s vibe the band has been mining since their return.  It’s a good bouncy song, but lacks the more modern urgency that I prefer.  However, knowing that they still have songs like “Lose the Reason” in their repertoire is a welcome sign!

(the-primitives.co.uk)

Stars

“Wishful” (download single)

(self-released)

Too many limited edition vinyl singles to track down anymore.  Canada’s Stars released a 7” last September as a lead in for a quick US tour featuring two songs that apparently did not make the cut for 2012’s The North (my #21 pick seen here), but out of fatigue alone, I opted for the digital download.  At any rate, these two outtakes are far more than that.  Amy Milan’s “Wishful” would’ve easily been one of the best songs on that collection - fitting right in with “Backlines.”  It includes a nice mid-range bass lead during each verse before leading into a frantic, splashing and soaring chorus.  It has all of the drama and verve that the best of Stars always contains.  The imaginary B-side is the Torquil Campbell fronted “The Light,” which is also very solid.  This one is more electronic and has a sparse opening verse before blooming into an easy disco beat and tumbling electronic rhythm.  This is a tasty treat.

(youarestars.com)

Top 40 of 2012 Part III

20.

Veronica Falls
“My Heart Beats” 7”
(Slumberland)

Veronica Falls’ debut album (my 2011 #9 pick seen here) was quite an eye opener. If the year had just lasted a bit longer, I would hazard a guess that it would’ve risen higher than my random and arbitrary #9 ranking. Their spell-binding vocal harmonies and precisely strummed dry guitars adorn some incredibly timeless pop songs on top of some very dark lyrics. That is definitely the place to begin, if you’re unfamiliar, but for those of us needing a fresh fix this post tour single is quite an appetizer. “My Heart Beats” is easily as good as anything from that album. The low end rumbles and shakes its way through a very simple but powerful tune. It may be because the vocals are more upfront in this one, or how the guitars jangle and howl alternately, but this is a great sign that they are here for the long haul. The quiet reflective organ driven “Killing Time” is a request to spend time with someone who may or may not concur. It’s simple, but eerily heartbreaking. They have recently released a preview to their early 2013 album named “Teenage,” and it is worth a look too. Bring on the new album!
(veronicafalls.com)

Veronica Falls-My Heart Beats

19.

Nature Set
If I Crawl, You Crawl EP
(Dufflecoat)

I was hoping for a full album from these gals and guy after their fun and exhilarating 7” EP on Elefant Records last year (my 2011 #14 pick seen here), but I will have to make due with this 5 songer for the time being. Three of these songs appeared late last year on a split cassette release (with Former Lover – a project started by former Long Blondes’ guitarist songwriter Dorian Cox. The Long Blondes’ former bassist Reenie Hollis is now in Nature Set.), but I am glad they have been rescued from that horrible format. I know cassettes are kind of hip these days, but for those of us who were around when that was the biggest selling music format – believe me when I say that there is a good reason they are now mostly gone. Anyway, this EP opens right where last year’s single left off with the super 60s garage rock inspired organ infused “Avalanche” and it is superb! “If You Lived Here You’d Be home By Now” continues the organ fueled sound, but increases the pace and throws in some nice handclaps and their oddly high pitched background harmonies (luckily they keep those things low in the mix – they are a bit worrisome). “Hands” feels more like the bulk of the 7” from last year, as it would fit right in on an old Go-Go’s album, while “Albatross” brings back that organ (is that a farfisa? I don’t know these things) and a commanding vocal. “I Am a Planet” finishes this off with a punky burst of fun. Another excellent EP! Will there be an album in store for 2013?
(natureset.info)

Nature Set-Avalanche

18.

Rose Elinor Dougall
The Distractions EP
(download only)

Where might you have heard of Rose prior to this? She began her career as “Rosay,” one of the founders of the fantastic pop trio The Pipettes, 6 or 7 years ago. She was the bratty brunette with the rich voice. Now she’s out on her own and creating something very different from her old group. Early this year, Rose let slip a little three song download only EP titled The Distractions and it is definitely a step forward from her solid debut solo album – 2010’s Without Why. This set opens with the spectacular builder “The Night,” which opens with a twangy guitar line atop echoing layers of reverb and a slow groove from the rhythm section. It would fit right in with the best work on her debut – reminding a bit of the standout track “Find Me Out.” However, “The Night” is really a pairing of two different interpretations of the same set of lyrics, as about halfway through, the slow burn transitions into an upbeat head bobbing rocker crammed with stratospheric layers upon layers of high end guitars and a throbbing low end. The second song, “I’ve Always Known,” is the true single of the EP, as it’s bouncing beat and chiming guitars set the stage for a classic two timing lover story, where the narrator is simply resigned to let the cheater go. Finally, the final song is the choppy “Hanging Around” – my least favorite of the group, but one that has grown on me over time. The strong-handed electric strum drives this song right into a very strong chorus. Word has it that these songs were recorded shortly after Rose’s solo debut and is a stop gap release before her next album – but not a sign of things to come. I’m not sure what to make of this news, since the first two songs here would’ve been my favorites if they had made it onto Without Why and I so want to hear more like this! No matter the case, she has made a strong argument in favor of keeping an ear out for her future work. This is amazing.
(roseelinordougall.bandcamp.com/album/the-distractions-ep)

Rose Elinor Dougall-The Night

17.

Drakes Hotel
Logic Adopts Senses
(DH Music)

Okay, so this is the fourth album from the nomadic (I believe they are currently in Omaha, NE these days) married duo Drakes Hotel, but really this is their third offering, since their unknown debut is only a piece of ancient lore that is a closely guarded secret. Ever since their 2007 (sort of debut), Tell Me Everything (my #5 album of 2007), I have been hooked on their unique sound, which is somehow both a wall of noise and stripped down (I know – that makes no sense, but buy their music and do better, please!). Nothing on this reaches the urgent call to re-connect with reality as Tell Me Everything’s highpoint “Broadcast to the Addicted,” but “Kids R Chrome” is a close second as Amy Drake shouts at us to wake up to life over an electrifying guitar line before explaining the she thinks “the kids are sleeping” in the chorus – fantastic! The album is frontloaded with most of my favorites on the first half. The beautiful and mysterious sounding “Cillian” is a simmering song of full love, or is it obsession? You decide, as you soak in Chris Y’s creeping guitar work that reminds me of the experimental and otherworldly recordings from fellow Nebraskan’s For Against as found on their In the Marshes recordings. “From Over” and “Game Show Heart” should both be hit singles, as they are incredibly catchy and Drake’s vocals are, as always, intoxicating. Chris Y takes over the lead vocals on a pair of tough sounding songs “All My Days” (“Didn’t expect to kiss the bricks”) and “Told A Tale,” which adds to the incredible variety that these two conjure up with fairly simple recordings. That makes three great albums in a row.
(drakeshotelmusic.com)

Drakes Hotel-From Over

16.

The Twilight Sad
No One Can Ever Know
(Fatcat)

What can one say about the Twilight Sad? They are pretty much one of those acquired taste bands. They are so dark, claustrophobic and sinister that it’s difficult to sell the idea of them to anyone, unless they are already bought in on that style of music. All three of their albums are steeped in singer James Graham’s vague but tragic via innuendo words. There always seems to be some undercurrent of something that has happened that is so dark and unforgivable in his stories that it’s incredibly intriguing and allows the listener’s mind to fill in the blanks and most likely make it even darker. Until this third album, Andy MacFarlane’s huge waves of guitars have always added to their overwhelming edge by punctuating the unnerving words with blasts of noise and crescendos at just the right moment. It makes for something that can be incredibly cathartic and almost primal when listened to at deafening volumes, but it is definitely mood music. It takes a rare bird who can listen to this kind of thing at any old time. With No One Can Ever Know, the Twilight Sad has brought in noted remixer Andrew Weatherall to produce (or “anti-produce”) this work. What that has done is change the sound by bringing in layers of keyboards and placing those up front. Normally such a statement sounds like the death knell for a band looking to change things up a bit, but in this case it opens the door for more opportunity for growth. The sounds explored on the first two albums seemed to have the potential of closing in on itself. Now they have retained their heart and soul and expanded their horizons. It doesn’t hurt that they’ve written some of their best songs here either. The opener “Alphabet” is an intense pounder with howls of off-putting strange sounding keyboards that sweep back and forth, as Graham’s powerful chorus gives us a glimpse that things are still confused and messed up (“So sick to death of the sight of you now / Safe to say I never wanted you more”). It is definitely one of the songs of the year for me. It’s clear from the get-go that Weatherall’s guidance hasn’t effected the band’s intense focus of guiding their fans through some serious shit, as they do on the epic “Dead City,” the post OK Computer Radiohead-ish “Sick” and the amazing closer “Kill it in the Morning.” This all could fit in with best post-punk of the early 80s, like the Cure’s similarly oppressive and chilling Pornography. Again, one probably has to buy into this to begin with to appreciate it, but if you do, it is spectacular and their best work yet.
(thetwilightsad.com)

The Twilight Sad-Dead City

15.

Maximo Park
The National Health (2 CD)
(V2)

When this came out, I kept reading about how this was a comeback album for Maximo Park, which makes no sense to me. Maybe there was near break up news that I missed out on. I know there was a solo album or two floated about since 2009’s Quicken the Heart, but it was only three years between albums. Maybe that comeback reference had to do with a creative comeback. Again, a little confused, since they only have a small selection of four albums in seven years, and none of the prior three were weak. Sure, they have not achieved the full on frantic spectacular energy and captivating tunes of their amazing 2005 debut, A Certain Trigger, but each record has some very good songs. It could’ve been a reference to the breakneck preview single and title track “The National Health,” which rivals their early drive and passion and tosses in some timely words about today’s uncertain economy and a society that seems to be sinking into near total apathy and/or distraction. However, this album isn’t far removed from the more keyboard heavy third offering; Quicken the Heart, than anything from the first two. There’s nothing wrong with this though, because their nice guy heart on sleeve words suit the more lovelorn romanticisms and milder tempos of their more current material. In fact, a few of these songs delve into the realm of the gushing and breathy perfection of OMD’s 80’s classic “If You Leave.” “The Undercurrents” is so full of airy atmospherics, lush background vocals and Paul Smith’s striving melodramatic yearnings that it achieves the windswept heartbreak it wants. This is a compliment, by the way. They find other highs with similar songs on “Reluctant Love,” the regretful “This is What Becomes of the Brokenhearted” (“The biggest mistake of all / I didn’t return your call / the biggest mistake of all / my explanation stall”), and the low bass murmuring acoustic ballad “Unfamiliar Places.” Instead of a comeback, this feels much more like a continuing slow evolution of a solid band.

The second CD is comprised of four acoustic versions of album tracks. It’s nice to hear especially, “Hips and Lips” in this setting, because it is quite different from the odd passive aggressive slow roar of the album version (“the way you stick out your lips / and keep your hands on your hips / and I’m supposed to know...what that means”). Not essential, but a nice addition.
(maximopark.com)

Maximo Park-The Undercurrents

14.

The Pains of Being Pure at Heart
“Jeremy” 7”
(Slumberland)

This is such a great treat! The Pains of Being Pure at Heart have been a favorite around here for the last few years (their 2011 album Belong was my #16 pick seen here), but I think their strength is as a singles band. Their songs of youthful energy are ideal in short bursts of rejuvenation that beg to be listened to over and over, as opposed to stuck in the long playing format. This time this young and fun band shines their sunshine onto two songs from two of my old favorites from 20 years ago. “Jeremy” is a forgotten gem from the Magnetic Fields’ second album (Distant Plastic Trees from 1992) and where on Stephin Merritt’s version it has a toy like orchestral sound; here the Pains bring on their rush of fresh air and rock the shit out of it! This, not only reminded me of how much I love that old Magnetic Fields album, but gave me a new version to love! The B-side is not to be missed either. It’s from the lesser known F.M. Cornog’s East River Pipe and his 1992 single rare sort of upbeat (for him) a-side “My Life is Wrong.” Again the Pains instill this old classic with chiming and buzzing fire and turn it into a power pop burner! Maybe if I send them requests they can revive a bunch of other lost classics from my old collection! Well done kids!
(thepainsofbeingpureatheart.com)

The Pains of Being Pure at Heart-Jeremy

13.

The Wedding Present
Valentina
(Scopitones)

This is the third album (8th overall) for the Wedding Present, since David Gedge’s hiatus with Cinerama for 8 or 9 years, around the turn of the century. Gedge, the band’s leader and only original member, has not changed his tune that much over the years. He still sings about love and lust and awkwardness over the top of dry and cleanly strummed guitars. Yet, somehow it can always find a way to sound fresh, despite their old tag-line “every song sounds the same.” However, sometimes it sounds fresher than others. I welcomed their return with 2005’s Take Fountain and ‘08’s El Rey, but both of those albums had a short shelf life with me. Neither one urged repeated plays over time, but Valentina sounds revitalized and is my favorite of theirs since 1996’s Saturnalia. Maybe it’s because both of these albums share a little bit of experimentalism and messing about with the tried and true formula. While Saturnalia introduced some old fashioned keyboard layers into the mix (a retro vision of the future kind of sound), Valentina adds an odd minute long burst of noise at the end of the frantic “Back a Bit…Stop,” and then throws us some dual drums on “End Credits.” The focus and unity of this album is what strikes me, as well as the welcome addition of more female vocals (thanks to now former member Terry De Castro and newcomer bassist Pepe Le Moko) to fill out his little love adventures. The album makes complete sense from start to finish – giving it an added vibrancy. But who can deny the joy of hearing Gedge’s consistent and never ending run of short stories about running into his next crush and the trials and tribulations that stem from there on out? It could get old if he weren’t so good at making it so damn relatable and human and filled with self deprecation (“You’re really way out of my league” from the stomping “Meet Cute”). After nearly 30 years of doing this, Gedge has been taking his band out on tour and revisiting high points from the past by performing favorite albums as whole sets, which is both excellent (as a fan of the old material) and a shame, because this new material is one of those high points and shouldn’t get the short shrift. Just check out the uplifting happy ending in “Mystery Date” – “No one could’ve been more surprised than me/ when you wrote your number down and said ‘call me at the first opportunity’/ because this does not happen to me/ things like this do not happen to me.” So good.
(scopitones.co.uk)

The Wedding Present-You Jane

12.

Young Galaxy
“Shoreless Kid” 7”
(Paper Bag)

Oh, this single is exactly what I needed to hear from Young Galaxy - a double A-sided good old fashioned vinyl single with two excellent brand new songs. Young Galaxy has released three albums beginning with 2007’s beautiful sweeping epic majesty of their self-titled debut (that year’s #12 pick for me) and, personally, as they’ve become more electronic with each successive release, my interest has dwindled. 2011’s almost entirely electronic Shapeshifting has a handful of excellent songs, but nothing as captivating as their first album, or the transition album Invisible Republic (2010’s #12 pick seen here). However, when YG get things right, they are so amazing that they will always find a loyalty well up inside of me. So, when this single emerged, I knew had to give them another chance. So glad I did, because the mostly electronic “Shoreless Kid” is a nice little 80s-ish dance number with a set of fantastic lyrics sung in unison by both lead vocalists - Stephen Ramsay and Catherine McCandless - telling the story of an empty life that is so identifiable, it’s a little eerie (“headed to your bedroom / to hear your favorite songs / and dream of the day / when you finally slip away”). I love this song now and I would’ve loved it in 1985/86 when I was a huge Depeche Mode and Pet Shop Boys fan. This is smart and touching. The other a-side, finds YG giving us another catchy song that holds truer to their earlier work, but more upbeat. “Youth is Wasted on the Young” is another ode to losing oneself (a lonely and angsty self) in music. It drives and grinds like an early Cure single and the chorus gives us an amazing line – one that I so wish I had come up with: “I wouldn’t mind dying at all / if it weren’t for the songs I’d miss.” Maybe now that they’ve solidified a new rhythm section, this is a sign of a promising balanced direction of things to come. They are supposed to be working on that fourth album now and I am really excited for this one, based on this sampling.
(younggalaxy.com)

Young Galaxy-Shoreless Kid

11.

The Raveonettes
Into the Night EP
Observator
(The Orchard/Vice)

Normally I feature full albums in my reviews when reviewing an artist’s output for a year – not singles and EPs. In this case, The Raveonettes Into the Night four song EP is the reason why it is where it is in this silly countdown, why I purchased Observator the day it was released, and the reason I went to see them play live late this Summer. I’m not 100% sure why I purchased this EP in the first place. I liked the little bit of the Raveonettes that I’d heard, especially songs like “Last Dance” and their faithful cover of old favorite “My Boyfriend’s Back” originally by girl group the Angels in 1963. Maybe it’s because songwriter Sune Rose Wagner and “My Boyfriend’s Back” co-writer Richard Gottehrer have done such wonders producing the last few Dum Dum Girls records that I’m so gung ho for, or because the EP was only $3 new in the local shop, or maybe I bought it unheard because Sharin Foo sits on the cover near a window with what seems to be the longest pair of arms in the world reaching down to touch her shoulders. Whatever the case may be, when I played this, I could not stop playing it. The 60s girl group heartbreak songs drenched in a huge wall of Specter-ish sound is always a winner with me, especially when that sound is draped in 80s post-punk band fuzz and dissonance. All of these songs are so such full of magic and spine-tingling moments and massive exaggerated drums solidifying the experience with a deep low heartbeat thud. “Into the Night” leads in with a harshly struck dry guitar notes before exploding into euphoric breathy vocals and inside that full on wall of noise. The lyrics are a simple framework of heartbreak and a need to be taken “into the night,” but it is the effect of the music that drives the message home and makes it so damn powerful. Similarly, the grinding “Night Comes Out” craves the facelessness of the night life and during the stellar buzzing chorus we learn that “when the sun goes down we have fun.” The up tempo “Too Close to Heartbreak” pounds through its 3 minutes in much the same way and will have you happily singing along with the chorus “do you care if I die?” Lastly, is the somewhat throwaway “Bad Ghosts.” It sounds amazing, until we reach the chorus, which is repetitive in all the wrong ways, but the guitar solo bridges and the two verses save the song. The whole experience of this EP is only a little over twelve minutes and it is so freaking perfect sounding! It cannot be cranked enough.

Meanwhile the album is my favorite so far of what I’ve heard from them, but it lacks the wallop and immediacy of the timeless sounding EP released five months prior. The ghostly piano strains throughout give this album cohesiveness that some of their prior work seems to lack for me. Plus it’s to the point. None of these songs over stay their welcome. Naturally two of my favorites are “Downtown” and “You Hit Me (I’m Down),” the two that come closest to the massive sounds of the EP that I am so in love with. But the acoustic country inflected starter “Young and Cold” sets a nice mood that continues in a reflective and simple Velvet Underground manner that continues throughout. This is really good work and after seeing them live, I think I need to take a closer listen to their prior material.
(theraveonettes.com)

The Raveonettes-Into the Night

The remainder of 2012's Top 40 can be found via these links:

#40-31

#30-21

#10-1