Before Mitchfork was Mitchfork, we still ranked albums on a yearly basis. We just used other blogs to do it. Blogs like the magnificent and now-defunct yoontunes.
Well, the tireless crew at Mitchfork decided to take undertake a mission to rescue a Top 10 yoontunes had posted for us back in the day. As you can see below, we were successful.
NOW, JOURNEY INTO THE NOT-TOO-DISTANT PAST FOR MITCHFORK'S BEST MUSIC OF 2008!
1. Cut Copy, In Ghost Colours Album is like: Being Inside a Rainbow Grower or Shower: Ron Jeremy Kind of Shower Perfect Environment to Listen To: A Room Filled With Other Sweaty People Jumping Around Where Bright Lights Abound Best Track: Unforgettable Season
2. Bon Iver, For Emma, Forever Ago Album is like: The Crackling of a Fireplace in the Dead of Winter Grower or Shower: Grower. Immediately Inviting, but Not Immediately Apparent How Engrossing and Atmospheric It Really Is Perfect Environment to Listen To: Log Cabin In the Woods Best Track: For Emma
3. TV on the Radio, Dear Science Album is like: The Hopes and Fears of Tomorrow; Potential Being Realized Grower or Shower: Many Different Layers of Shower Perfect Environment to Listen To: Gathering of Jaded Liberals Right On Election Night Before the Results Are Announced Best Track: DLZ
4. Fleet Foxes, Fleet Foxes Album is like: Pastoral Purgatory Grower or Shower: Grower, Because It Takes Sometime To Extricate Yourself From Modernity Perfect Environment to Listen To: An Open Field Nestled in the Vastness of the Blue Ridge Mountains in a Time Sometime Before the Now Best Track: Your Protector
5. Crystal Castles, Crystal Castles Album is like: Megaman on PCP Grower or Shower: Shower, But It'll Take a Few Listens to Comprehend You're Being Shown the Rise of the Machines Perfect Environment to Listen To: A Modern Car Assembly Line Best Track: Vanished
6. MGMT, Oracular Spectacular Album is like: A Hot Air Balloon Ride On A Summer's Night With Fireworks Exploding all Around. Grower or Shower: Shower. Barechested, With Glitter and Scarves Perfect Environment to Listen To: A College Dorm Room, Intoxicated and Full of Blamless Hedonism Best Track: Kids
7. Wolf Parade, At Mount Zoomer Album is like: Equal Parts Schizophrenia and Sneer Grower or Shower: Grower. It Lurks and Lurks, and Right When It Looks Like You're Safe You've Been Snared and Are Dangling Ten Feet in the Air Wondering if You Want to Get Down Perfect Environment to Listen To: Somewhere Pitch Black, With One Hidden Speaker Blaring Out Spencer's Part of Kissing the Beehive and Another Blasting Out Dan's Best Track: Solider's Grin
8. Passion Pit, Chunk of Change Album is like: The Fireworks, Candy and Puppy Dog Store Grower or Shower: Shows You How to Turn That Frown Upside Down Perfect Environment to Listen To: A Ballpit Complete With 25 Giggling Kids With Birthdays Best Track: Sleepyhead
9. Pete and the Pirates, Little Death Album is like: The Unfathomable Chaos That is Love and Life in Your Twenties Grower or Shower: Shower. The Non-Stop Energy is a Pathogen You Breath In With the First Jangly Guitar Noise Perfect Environment to Listen To: Running Down The Street, Late to Work, After A One-Night Stand Best Track: She Doesn't Belong To Me
10. Why, Alopecia Album is like: Self-Loathing With A Killer Beat Grower or Shower: Grower. The Enticing Melodies Set The Stage to Some Of the Best Lyrics This Side of David Berman (Silver Jews) Perfect Environment to Listen To: Lying on Your Bed, Headphones on, Attention Undivided. Best Track: The Hollows
Hi there loyal reader(s). Two posts in a week from the Mitchfork gang
-- impressive stuff after months of silence. Don't read too much into
it though -- it's not a trend so much as we were randomly struck by
inspiration a couple times in close succession. Per our last post, we're
not even positive we'll produce an end-of-year "best of" list -- that's
how much indie rock has exhausted us.
Speaking of
exhausted, The Wrens are presumably so tired out by their non-music
lives that they can't even muster a follow-up to one of the best albums
of the 2000s (to see Mitchfork back up this statement, we will direct
your attention to the #19 pick on our revised "The Top 20 Albums of the 2000s" list). Even for a band that took seven years from their second album (the perfectly swell if a little under-done Secaucus)
to their third, a decade-long wait seems to bode ill for their chances
of ever releasing any new material. If that is in fact the case, then The Meadowlands will
also benefit from its legacy not being overshadowed by the subsequent
work of a less-inspired band. Because, make no bones about it, this is
an inspired album.
We mentioned in our last post that
"indie rock" is used today as an umbrella term to encompass many
different styles of music (everything from chill wave to freak folk to
baroque pop), but this is an album we would proudly present, right
alongside Slanted and Enchanted, Bee Thousand or Lonesome Crowded West,
as a collection of songs that perfectly encapsulates what indie rock is
supposed to be (in our humble opinion). It's rough and decidedly lo-fi
at points (album stand-out "Everyone Choose Sides" comes at you with a
mighty wall of staticy guitars that coalesce into a catchy anthem of a
pop song) but there's no hiding the hooks, and even though it bubbles
with a reckless energy, there's an air of resignation hanging over all
of it.
It's the work of a bunch of 30-somethings, bruised
by their lives, their loves and their failures, not of successful
musicians who hit it big at 22 and never looked back. There's a line
from Interpol's Paul Banks on the band's disappointing fourth album Interpol where he laments "I have succeeded/I won't compete for long." Not only does it sum up why Interpol as a band (and so many others) run out of steam, but it also an accurate summation of why The Meadowlands' harsh edges cut so deep:
it's an album by a group of men who were not dulled by success and who,
closing in on middle age, still had a lot to say and the musical chops
to back it up.
"Because I'm caught/I can't type/I can't temp/I'm way past college/No ways out/No back doors, not anymore/But then once a while/We’ll
play a show then that makes it worthwhile" Those are our favorite lines from our favorite song on the album, "This Boy Is Exhausted." No
description of the Wren's lyrics would be complete without a mention of
Charles Bissell's raw, straining and soaring vocals, and here in
particular they add a desperate bite to these world-weary words.
There's no posturing here, just a bruisingly personal confession about
their struggles and minor triumphs. That's the thing -- everything about The Meadowlands feels refreshingly genuine, which is why we suspect these ramshackle pop songs will continue to deliver the goods even after our gray hairs outnumber our brown ones.
And now, we will again climb down from our soap box. We doubt we'll be getting back on it for some time. Enjoy the summer everyone and know we love you. Especially you, Bob Benson, resident "good guy" of Mad Men, a man who may very well be a serial killer. Only time will tell...
Hello loyal reader(s). In the past few years, the expectation (largely aided by the staff here at Mitchfork) has been that we only produce a single post a year, our "Year in Music." However, we're breaking form here, so let us explain.
A decade ago, back when Mitchfork was a freshman in college, we hadn't heard of the publication that would eventually rhyme with our name. In fact, we hadn't even listened to many of the bands that now define our music tastes and, to a certain extent, our cultural persona. That all changed over the next few years, when a series of bands (introduced to us by kind, knowledgeable friends) fundamentally altered the way we approached music. Rather than casually consuming catchy pop singles, we allowed songs and albums to sink deep into our marrow and leave enduring impressions. Our inner life, the place where we interpreted meaning, became increasingly influenced by the music we were obsessed with that month and, as time passed, the major events in our young life became indelibly intertwined with the bands and songs we were breathlessly listening to at that time. For example, we remember the exact moment the first notes of Interpol's "Untitled" hit our ears, the way our eyes widened and our pulse picked up. Music became a necessary complement to our existence, enriching many of our formative experiences and heightening our senses.
But, what does that indulgent paragraph have to do with why we're writing this post and addressing The National's latest album? First, let us expound a little further. What happened to that same boundless passion we felt for music, the profound role the act of discovery had in our emotional life? It has steadily diminished after those first few breakneck years, not noticeable at first, but more and more tangible as our ardent adolescence emerged clearly in our rear-view mirror. There used to be dozens of albums we wanted to gush about every year. Then there were several. Now there are, if we're lucky, a couple standouts we want to promote. Why is this? After some thoughts, we have decided there are several reasons, in no particular order of importance.
Reason #1: We've Exhausted the Genre of Indie Rock/It's Exhausted Us
When we say "music," we really mean the giant umbrella of indie rock and all the varied punk, folk, pop and electronica it encompasses. That said, there is only a finite amount of bands to choose from, and after a decade of voraciously devouring hundreds and hundreds of albums, it's safe to say that the available options aren't as plentiful or as impressive as they once were. There are only so many great bands, and it's perfectly possible that some of our fatigue is the result of lacking new music to replace that which we've already burnt out on.
Furthermore, it wouldn't be a stretch to posit the thesis that, over the past decade, the genre as a whole has stagnated to a certain extent. Some of this might have to do with its rise in popularity, encouraging less innovation and more imitation, but it does seem like fewer and fewer bands since the 1990's have been able to leverage their influences into something approaching a definitive sound. This may be an issue throughout pop music in the 21st century, but that's an argument for another time.
Reason #2: We're Older and Our Hearts Don't Beat So Fast Anymore
It's not blasphemous to say that a large part of our expansive passion for music as a young person was due to the fact that we were extremely fired up about everything in our life. The thrill of the new, combined with our juvenile hormones and our carefree, unstructured lives all conspired to make us particularly receptive to the articulate, angst-ridden musings of those who also happened to be particularly adept at constructing pop songs. Don't get us wrong, those same tracks still sound just as good now as they did then; they just don't move us in quite the same way. They're familiar, well-worn psalms, and there's nothing we can do to reignite our senses in regards to them.
Reason #3: The Best Days of Our Favorite Bands/Artists Are Behind Them
Just as our appreciation for music was picking up speed a decade ago, many of our favorite bands were just coming into their own and releasing their definitive albums. It would be unreasonable to expect their level of creativity/production to remain at an elite level over this extended amount of time, and the truth is that it largely hasn't.
Bloc Party, Death Cab for Cutie, Interpol, The Strokes, The Shins, Iron & Wine, The Killers and The Decemberists are examples of bands for whom each successive album has been more disappointing than the last -- reflecting either a creative exhaustion or a need to escape from the sound that once defined them.
Others like Wolf Parade and Broken Social Scene have quasi-disbanded as the members pursue side projects, effectively putting their future output in jeopardy. And while we still anticipate the next Sufjan album, we have no idea what to expect from that mad hatter. There are no more great B-sides to dig up from Elliott Smith's catalog, and it's been over six years since Modest Mouse has released a full-length album. Even Radiohead, with their sterling record of innovation and excellence, essentially mailed in The King of Limbs. Maybe rock music is just a young man's game after all, because it appears in many cases like the ambition just isn't there anymore.
Where does this leave us? Well, with The National, who, along with Arcade Fire, we considered to be our two favorite bands of the past several years. Arcade Fire are expected to release their fourth full-length later this year, and we've felt that the case could be made that each of their past three albums is just as good if not better than those before it. Fingers crossed this trend continues, especially because Trouble Will Find Me just hasn't delivered the goods.
It pains us to say this, but this disappointment is partly the result of the impossibly high expectations Matt Berninger and the boys have created for themselves thanks to their past successes. It's an especially acute dissatisfaction because, due to all the reasons listed above, we really were hoping The National's sixth album would maintain their signature sound while breaking new ground (a la Radiohead). They certainly did the former, but the result was an LP that feels exceptionally staid (even for The National) and a bit stale.
All the hallmarks of The National's previous work can be found on Trouble Will Find Me -- these are immaculately constructed, artfully subdued songs from masters of their craft. Berninger's voice sounds better than ever (he stopped smoking in 2011 and it shows), and his lyrics are tantalizing oblique as always. The issue though is that we feel like we've heard it all before, and it was a little more lively the first time. As they've aged, the restraint that usually worked for the band is starting to constrict their music -- many of these songs sound nuanced and layered, but the residue they leave behind is minimal.
The only standout track is "Don't Swallow the Cap," a tense and plaintive song whose highlights are Berninger's gorgeous chorus and Bryan Devendorf's always stellar drumming. If it reminds the listener of Boxer standout "Brainy," then the next song "Fireproof" echoes "Racing Like a Pro," another Mitchfork favorite. Beyond those two tracks though lies a series of songs without any real highs or lows. This is despite the best efforts of "Sea of Love" and "Graceless," both of which appear to have the potential to break out as anthems, but end up falling short in a way similar songs from the band would not have in the past.
Trouble Will Find Me, truth be told, brings to mind a band slowing fading into middle age, sanding off the rough corners and settling into a comfort zone. It's perfectly pleasant, with a few memorable peaks, but those moments only serve to remind us of previous albums (Alligator in particular), where they were more plentiful. Even as the band's embraced a measured sound, it always felt like they were exploring new ground. For the first time, we can't say that's the case.
Now, back to Mitchfork and putting Trouble Will Find Me in the larger context of how our music listening has evolved over the years. There are still plenty of good bands out there, and we don't suspect we'll be quitting music or indie rock anytime soon. However, this post does indicate an increasing acceptance of the inevitable end of Mitchfork in the near future. Although it's only been around for five years and Mitchfork is composed of just several sprawling posts, this blog is an online manifestation of the lingering passion we still feel when proselytizing the merits of truly great music. Perhaps it will be this year, or maybe next, but the writing is on the wall.
That said, while it is becoming more and more difficult to amass a year-end list of memorable music, the existence of songs like "Don't Swallow the Cap" continue to make the search worthwhile. Moreover, while our hearts might not flutter as they once did, the imprint the music has left on us will remain.
S'up guys! Yes, we know it's been a year (once again) since our last post, but we've been busy prepping for the Mayan apocalypse thingy that's happening in a couple of days. Thankfully, our basement is now full of smoked meats ranging from possum to skunk to raccoon. On a related note, we believe the sanitation departments of Somerville and Cambridge owe us a debt of gratitude. No more overturned trash cans and rabies shots!
But yes, in regards to the music. Below, you'll see some albums and songs from 2012 that our staff handpicked as exceptionally listenable... with a couple of notable exceptions.
Yes, the world as we know it will most likely end in the immediate future, but at least our cadre of loyal reader(s) will have some great new music to pass the time before everyone they know and love is lost to them forever. Enjoy!
Let's begin with the bad news...
The "MERCY KILLING" Awards
You know the scene in Last of the Mohicans where Daniel Day Lewis's character shoots the British officer nobody likes because he's being burned alive at the stake? Yeah, these bands deserve a similar kindness:
Band #1: The Shins
Album that broke the camel's back: Port of Morrow
Now, while it could be said that the Shins have always been James Mercer's creative vehicle to some degree, Port of Morrow signified the departure of the every original member outside of Mercer. The evolution of The Shins from loose and lo-fi to studio stateliness (or staleness, if you ask us) was completed with this album. No whimsical, infectious tracks like "New Slang" or "Kissing the Lipless" can be found here. Hell, we at least expected another "Phantom Limb" somewhere. The closest Mercer comes to revisiting the sound he's left behind is "September," and even that bores after the first minute or so. There used to be something ramshackle about The Shins that made each listen feel like a breath of fresh air. On Port of Morrow, it sounds like someone sucked the oxygen out of the studio.
Band #2: Band of Horses
Album that broke the camel's back: Mirage Rock
Much like Mercer with The Shins, lead singer Ben Bridwell has steered Band of Horses steadily away from the sound of their stellar debut album. Losing founding members and gaining a renewed sense of affection for Southern rock, all that remains of Band of Horses's formerly rich, layered sound on Mirage Rock, their fourth album, is Bridwell's voice (which is fantastic in concert by the way, or at least it used to be). But a nice set of pipes only gets you so far when your songs are rip-offs of 1970s Americana. There's nothing wrong with folksy tunes that owe a debt to previous generations (as proven by one of the albums on our Top 10 list below), but these tracks mostly sound like pale imitations of the real thing. Even the catchier songs like "Knock Knock" fail to immerse the listener in the way you feel like they could. There's no "The Funeral" on Mirage Rock, but it effectively heaps another pile of dirt onto the grave of Band of Horses.
Now, onto the accolades...
If you remember nothing else about 2012, let it be this song:
Haim: "Forever"
It
doesn't hurt that the video for this track is an absolute blast and a
perfect companion for the music. Or that we have crushes on
all three of the sisters that comprise this band. Also, friend of
Mitchfork Alex K. recently saw Haim in concert, and by all accounts they amazed.
How
to sum up this song? It's a collage of sounds (Wikipedia calls it
"nu-folk–meets–nineties-R&B") from the past few decades that will
make you want to get up and dance around your apartment with your
romantic partner in crime (shout out to the inimitable KK), and the
breakdown about 2/3rds of the way through is a show-stopper. Plus, there
are handclaps! WHO DOESN'T LIKE HANDCLAPS?
Honorable Mention Goes To:
Daughter,The Wild Youth EP
Top Track: "Youth"
Technically Daughter's second release may have arrived last year, but we all know "release dates" are increasingly an archaic thing. Anyways, this here is a fragile beauty of an EP. Showcased within its four tracks are ethereal female vocals (courtesy of Elena Tonra) paired with delicate arrangements that are occasionally shattered by bursts of melodic angst. It's sort of like The xx (whose disappointing sophomore effort didn't make the cut this year), but more folky and less muted. These are emotionally vulnerable songs that conjure up images of a lost little girl seeking some sort of protection in a threatening world. Won't someone protect her?!?!
Hey look, a Top 10:
#10:
Japandroids, Celebration Rock
Top Track: "The House That Heaven Built"
More of the same from Japandroids. It's been three years since their debut Post-Nothing, during which time we at Mitchfork have all felt the cruel passage of time. But while our hair goes grayer, these guys still sound like they're 18, always prepared to leave town and never look back. The songs on Celebration Rock charge ahead one after another, full of reckless swagger.
At some point you're like "Hey, we're going 110 in a 55 mph zone -- that's a criminal offense. Maybe we should lay off the gas a bit," and Japandroids are like "And if they try to slow you down/tell 'em all to go to hell". But then you're like "Hey guys, that's not nice, I'm just looking out for our safety. I mean, come on, you're not even wearing a seat belt! Let's be smart here."
But yeah, it's a good album.
#9: Santigold,Master of My Make-Believe
Top Track: "Disparate Youth"
Santogold is no more! Long live Santigold! On both her self-titled debut and this, her second effort, there are two types of songs on display: pretty songs and aggressive songs. The pretty songs can be aggressive too, but you quickly know which type of Santigold song you're getting. "Look at These Hoes" is an aggressive song, for example, while "This Isn't Our Parade" is a pretty song. The pretty tracks are sleek New-Wavey pop gems primed for commercial licensing, while the others are in-your-face hip-hop that show off the influence of where the album was partially recorded (Jamaica).
As you might imagine by the other albums on this list, we tend to side more with the rock-oriented side of things, but that doesn't mean we don't identify with lines like "Tear it up, I'm so damn gold". In fact, every morning we look at ourselves in the mirror and say the same thing. More or less.
#8:
The Twilight Sad, No One Can Ever Know
Top Track: "Nil"
Man, Scotland really must be a bummer, right? Three albums into their discography, and we still aren't seeing a ray of sunshine peeking in through the overcast atmosphere that permeates every song these guys produce. That said, No One Can Ever Know definitely puts another layer of studio polish on. The Twilight Sad are still morose as fuck, but the edges of that depression have been further fine-tuned. Meaning it goes down easier, even though that heavily accented voice isn't describing good times.
In fact, in our humble opinion, the intro to "Sick" sounds like it could have been pulled off of Kid A or Amnesiac. You don't agree? Well, our opinion matters more because we have a blog and you don't. Oh, you have a blog too? And everyone has online platforms in which to express their very important thoughts? News to us!
In conclusion, The Twilight Sad continue to be sad. Just with more synth now. Sweet, sexy synth.
#7:
Stars, The North Top Track: "Hold On When You Get Love and Let Go When You Give It"
We'll be honest, we were worried for Stars after 2010's The Five Ghosts. Despite a few highlights, overall it was really uneven -- it seemed as though they had forgotten the winning formula best displayed on 2005's Set Yourself on Fire. Turns out our fears were as unnecessary as the silent "u", "i" and "l" in lead singer Torquil Campbell's name.
Over a decade into their career, Stars sounds reinvigorated. They know what works (sparkling synths, soaring guitars, the interplay of Amy Milan and Campbell's voices) and they make the fusion of all those elements sound effortless again. Whether it's the gorgeous title track or "Backlines," which recalls "Ageless Beauty" from Set Yourself on Fire, The North is consistently engaging throughout. We're not always in the mood for sappy electropop (that's a lie), but when we are, we're glad for Stars. Keep the romance coming!
#6:
First Aid Kit, The Lion's Roar
Top Track: "The Lion's Roar"
It threw us for a loop when, four years ago, we first heard folk-outfit First Aid Kit. A cover they had done of Fleet Foxes' "Tiger Mountain Peasant Song" was making the rounds on YouTube, and the Swedish sisters' voices blew us away. They were both teenagers, but if you closed your eyes you could easily be convinced they had lived full lifetimes of heartache and loss.
Fast-forward to present day and those gorgeous, melancholic voices now have a rich musical canvas with which to work. Title track "The Lion's Roar" is a slice of alt-country goodness featuring an expansive sound worthy of their soaring vocals, and the tracks that follow maintain that epic scope.
Despite this talk of these ladies sounding wise beyond their years, what really makes these songs (especially closer "King of the World") work is their earnest vulnerability. They might be pulling their inspiration from the past, but First Aid Kit still sound like they're staring wide-eyed into whatever the future may bring.
#5:
Tanlines, Mixed Emotions
Top Track: "Real Life"
There used to be a time where we would have tan lines for a solid 4 months out of the year. One summer during college we worked as a landscaper, and the deep bronze we acquired was still around long into fall. Damn, we looked good.
Tanlines is here to bring a little of that summer sun into our lives, and their sound (new-wavey electropop by way of the Caribbean -- think Vampire Weekend meets Passion Pit meets "Red, Red Wine") is on full display with Mixed Emotions. There are rollicking jams ("Rain Delay," "All of Me") and more sedate tracks like "Nonesuch" that sound like they could be used during a climactic scene of a John Hughes movie.
The album's highlight though is "Real Life" (it also was the highlight of their debut, the 2010 EP Settings). This track serves up island beats which transition into a synth-laden chorus that makes you want to jump around and have a pina colada. If you like pina coladas, you'll like Tanlines. If you don't, then we don't know what else to say to you.
#4:
Cloud Nothings, Attack on Memory
Top Track: "Wasted Days"
There's a flip side to Japandroids' Celebration Rock, and it's Attack on Memory, Cloud Nothing's third album. What happens when you're all ready to peel out of town and hit the open road, but your transmission fails and you end up spending the next couple of years trying to save up money to get a new ride? Or when all the ambitiously laid plans for the future don't come to pass, and the bravado starts to fade? Lead singer Dylan Baldi knows the horrible truth!
A sense of fatalism percolates throughout these tracks as Baldi rages at the passage of time and the helplessness that stems from realizing you've squandered your potential. On the sprawling "Wasted Days," he spits out "well I know my life's not gonna change/and I live through all these wasted days... getting tired of living 'till I die". Heavy stuff, and Baldi's ragged delivery gives a sense of urgency to the words.
At Mitchfork, we have a complicated algorithm which has determined that a band/artist's third LP statistically is the most likely to be their breakthrough album. We won't share the specifics of our formula because, much like Google with internet marketers, we can't have musicians figuring out the secret to success. Well, Attack on Memory supports our findings, because it's a huge step forward for Cloud Nothings. They've managed to clean up their sound without losing any of their edge; in fact, some in Middle Earth might say their songs' hooks are as sharp as the Elvish blade Sting. See The Hobbit, in theaters now!
(editor's note: we saw The Hobbit soon after writing this, and we sincerely apologize to any readers who may have gone to see this film based on our recommendation.)
#3:
Wild Nothing, Nocturne
Top Track: "Shadow"
Where Attack on Memoryreflects the dissatisfaction of frustrated youth, Jack Tatum, aka Wild Nothing, creates music that serves as a balm meant to envelop and soothe the young dreamers of the world. We at Mitchfork described Wild Nothing's debut, Gemini, as "perfect for that never-ending summer day" (yeah that's right, we just quoted ourselves), and that classification holds up for sophomore effort Nocturne. There is not a single song on this album that doesn't hold up to several listens, a fact that dawned on us during the exceptionally sunny summer of 2012. Perfect Wild Nothing weather.
When the first single "Shadow" came out, we were immediately reminded why Wild Nothing has been one of our favorite bands of the past few years. It sounds like there are 32 layers in this song, each serving a unique purpose in creating the dreamy post-punk/electropop soundscape. Meanwhile, you have Tatum's voice drifting in, surreal, crooning "I try to feel something for you, but that's all that I can do". He's doing all he can, but it's just too much for him too summon anything concrete. You wouldn't ask a summer breeze to care for you, would you? And that's all Wild Nothing is, a light musical caress meant to make you close your eyes before remembering romances long lost and a childhood never to be reclaimed.
So just sit back, relax and forget about the $20,000 in college loans you still owe. Or that the creepy looking dude who is walking across the subway car and sitting down next to you. And now he's tapping you on your shoulder with one hand while he holds out a Lyndon LaRouche pamphlet with the other. SUMMER BREEZE MAKES ME FEEL FINE (hands cover ears).
#2:
Beach House, Bloom
Top Track: "Wild"
Beach House really hit their stride with their Mitchfork-acclaimed 2010 release Teen Dream, beefing up their dream pop sound to make it a worthy companion to lead singer Victoria Legrand's soaring vocals. Bloom starts off even stronger than its predecessor, as lead tracks "Myth" and "Wild" are two of the best songs the band has ever produced. Initially, the staff here was mildly disappointed at how the album is a bit front-loaded, but we were steadily won over when play after play refused to diminish the listening enjoyment derived from these ten songs -- there's something to be said for an album that can hold its own over an extended period of exposure.
Let's use a candy analogy. "Call Me Maybe" is a bunch of pixie sticks, an immediate rush that will make you sick before long. An album like Bloom is like a big lollypop. Each lick is enjoyable, and unless you want to break a tooth there's no real way to speed up the process. It's a steady supply of auditory pleasure, and considering how little self-control we have when exposed to great songs, that's a good thing. Songs that grow on you often have a longer shelf life than immediately appealing tracks, and our basement filled with cured varmint meat and canned beans speaks to how much we value goods that will last far into the Mayan apocalypse thingy.
1. Chromatics, Kill for Love
Top Track: "The Page"
Here it is, your top album of 2012. And it wasn't even really close. If you know the sensibilities of Mitchfork, then you can understand why an album like Kill for Love would immediately appeal. Expertly executed post-punk synth pop? Check. Haunting female vocals? Check. Atmospheric and engrossing? Check.
The most impressive thing is that there are 17 songs on this album, Chromatics' second on the Italians Do It Better label, and less than half are actually structured pop songs. The others are better suited as fodder for movies in need of mood music. The huge chunks of filler take away from the album as a whole, but it's important to note that whenever Chromatics try to create a pop song, they knock it out of the park. The first five tracks of Kill for Love by themselves represent a stunning stretch of music that showcase a band with complete mastery over the medium.
Whether it's "Back from the Grave," "The Page" or "Lady", these songs effortlessly encapsulate the bleak allure of urban life. The city landscape soundtracked by Kill For Love is harsh, but it's also irresistible. Johnny Jewel, the group's leader, might be a sweet guy in real life, but it's hard not to see him as a dealer of some sort, peddling sounds that will intoxicate another generation and convince them that New York's insane rents are somehow worth the "sexy" 3 A.M. walks down the dark city streets. Note to the fathers out there -- if your daughter comes home with a boy named Johnny Jewel, it's already too late to save her innocence.
Anyways, that's our list for 2012. If we make it to 2013 (fingers crossed), we look forward to listening and sharing new music with y'all.
Oh, and one more thing -- "We Are Young," by Fun? It's straight-up unlistenable. We haven't heard a song in a very long time that bothers us as much as that piece of dog shit. We just needed to say that.
Hello again from the staff at Mitchfork. I said, hello again from the staff at Mitchfork. Anyone there?
Well, I guess it makes sense. We followed up a hiatus of almost a year with a hiatus of more than a year. In that time, plenty happened. However, none of it mattered as much as what you're about to read:
Mitchfork's official BEST OF 2011!!.
First, a summation. 2011 was not a good year for music. It was easier coming up with the disappointments than the standouts. 2011 paled especially in comparison to 2010, which was an absolutely fantastic year in music that Mitchfork did justice to with... one post at the end of November that wrapped up the year in music.
This year, in hopes of discovering some final gem, we really waited until the last minute to close the voting on the best albums. The hope was that some overlooked releases might make the cut. They didn't (sorry Yuck). That said, there was still a bunch of solid LPs that deserved a mention, as well as one great EP that made us decide to write ANOTHER post (which will we backdate to June to make it look like we actually were more dedicated to this blog than we were) regarding our favorite EPs of all-time.
But before, we get to our top 10, we'd like to draw some attention to albums who didn't deliver the goods as promised. None of these albums were awful, but we fully expected them to be top 10s and they just didn't impress. A couple of these albums were critically lauded, but we could give a flying fuck what the critics think. We're Mitchfork, and our opinions fly in the face of those made by the hipster tastemakers out there. When we saw that famous Jet review from the other Fork that had a monkey peeing into its mouth, we all bought tickets to a Jet show and loved the ever-loving shit out of it.
Anyways, we forget ourselves. Here are the albums that annoyed us:
Expectations Nowhere Near Met:
TV on the Radio, Nine Types of Light
More like nine types of suck, am I right? Nah, it wasn't that bad, but after their 2008 effort, Dear Science, Mitchfork had the highest expectations for the follow-up. Each album following their debut had been a step above the previous, with the best tracks increasingly overshadowing the art-rock filler found elsewhere. Not so here; no standouts to be found.
Radiohead, The King of Limbs
Radiohead have earned their untouchable status thanks to amazing album after amazing album, but we at Mitchfork can't give them a free pass for this one. The advance word was that Thom and the boys were tired of traditional "albums," and that distaste shows here. It felt like a throwaway, more sound scape than coherent work. Diehards still defended it, but this could have been the album of the year and it wasn't even close.
M83, Hurry Up, We're Dreaming.
Saturdays = Youth was our favorite M83 album yet, so when a double album was announced we already had it penciled in as an album of the year contender. Then came the advance single "Midnight City," which was easily the best track on the album and one of the best songs of 2011. It all went downhill after that. Critics loved this album, Mitchfork's friends loved it, but Mitchfork didn't love it. It was listenable, with a few good tracks, but overall it was forgettable. Anthony Gonzalez's previous work had a rich depth to it, but this felt thin and overblown. Sound vague? Well, we know what we like, and this wasn't it.
Top Albums of 2011:
To be honest, we had a real rough time figuring out exactly how to order these 10 albums. There were only two that stood out as "complete," meaning they didn't have patches of songs that didn't do much for us. Also, these were the two albums we were able to listen to consistently in their entirety (not just a couple great songs) and not grow tired of. They're also very different albums, which just shows to you we appreciate the whole spectrum (of a sub-genre of music called indie rock, whatever the hell that is).
We're not going to say much about each album, because we have very busy lives and we've said enough already, so without further ado here are seven good LPs, one GREAT EP and two very good albums that crossed our radar in 2011:
The Antlers,Burst Apart Top Track: "Corsicana"
Took some getting used to, but we ended up really liking the new direction they took. Still sporting haunting vocals and atmosphere, but the tunes had a more varied sound to them.
Generationals, Actor-Caster Top Track: "Please Be It"
Bouncy summertime tunes done right. We've been hearing these guys in commercials and couldn't be happier. Auction off your sonic sunshine to the highest bidder and sell some VWs!
Lykke Li, Wounded Rhymes Top Track: "I Follow Rivers"
When we brought our car to the mechanic, this album was in our CD player. When he was done fixing it, he asked us what we were listening to. We said Lykke Li and he looked confused, shrugged and said "sounds like some creepy little girl." That may be, but that little lady can craft some catchy tunes.
Pete And The Pirates, One Thousand Pictures Top Track: "Motorbike"
These Brits get NO love, and we can't understand why. There are some seriously tight tunes on this and their debut album that pack a punch while still having pop appeal. Well, if no one else will give them their due, then we'll be really over the top. Pete And The Pirates, with your help, can SAVE ROCK MUSIC.
Phantogram, Nightlife Top Track: "16 Years"
Just a killer EP that's following up an already impressive debut last year. Think Stars if Stars weren't sappy pussies (no offense to Torquil and the crew) and could lay down some beats.
Cut Copy, Zonoscope Top Track: "Blink And You'll Miss A Revolution"
These guys solved the post-punk/synth pop equation in 2008's In Ghost Colours, and here they expand their palate a bit to include some world beats. Overall it fell short of expectations, but was still dynamic enough to merit inclusion. We appreciate ambition at Mitchfork (we're full of it, with 95% currently unrealized), and this had it in spades.
The Drums, Portamento Top Track: "Book of Revelations"
This one had us from the very start, and when it let us go four tracks later to stumble starry-eyed through a mediocre back 2/3rds we couldn't hold any grudges. These guys, while inconsistent, clearly comprehend what it takes to make a great pop song, which is more than we can say for most of the other fuzzed-out beach comber bands out there.
Washed Out, Within and Without Top Track: "You and I"
"Youand I" might be our favorite song of the year, but beyond that you'll still find enough chillwave (perfect name for a genre by the way) bliss to keep you coming back for more. There's a natural progression from Life of Leisure, their debut, to this album, and that progression hints at greater things yet to come.
and now...
Best Album of 2011 (It's a tie!)
Bon Iver, Bon Iver Top Track: "Perth" Mitchfork has a ladyfriend who we'll call KK. KK loves being cozy; it's her raison d'etre. We would describe For Emma, Forever Ago as a cozy album. It made you want to find the Wisconsin cabin where it was recorded, settle down in front of the fire and have some cocoa.
The self-titled follow-up had big shoes to fill, but the hardest thing to recreate from the debut would be its atmosphere. There was a melancholy yearning contained in Justin Vernon's voice, but also in the songs themselves. They oozed it.
Suffice to say, mission accomplished. Without sounding at all like a retread, Bon Iver manages to spirit us away away yet again to a world we never want to leave. Say what you will about the lyrics, but there's a richness to these songs that is compelling in a very distinctive way. Bon Iver's first two albums go a long way to creating a signature sound, and that's a rare thing in today's music world. There are only a few true auteurs out there, and Ke$ha needs some company.
Neon Indian, Era Extrana Top Track: "Polish Girl"
Huge surprise here. Huge. Neon Indian's debut firmly fell in the chillwave camp for better and for worse. The tunes were laid back and hearkened back to 80's synth nostalgia, but they also felt underdeveloped and largely forgettable. However, like Washed Out, the follow-up was bigger and bolder, showcasing the full talents of one Alan Palomo.
Tracks like "Halogen [I Could Be a Shadow]" and "Fallout" strain at the seams, brimming with wide-eyed wonder that feels both familiar and fresh. The easiest comparison we could come up with was Saturdays=Youth, the M83 album we mentioned earlier as setting the bar too high for Hurry Up, We're Dreaming. We'll see where they go from here, but we'll have our eyes on them. Maybe we'll even have them around for one of our fireside chats. Well, once we settle the lawsuit with Malkmus.
Folks, we're back. To make a long story short, the fireside chats got a little out of hand during the Stephen Malkmus installment. A spark landed on his plaid, which was shockingly flammable and, just like that, we had ourselves a bit of situation. Steve stormed out, and once word about his "episode" circulated throughout the indie rock ranks we couldn't get any more guests to stop by our fireside.
Fine by us. We were running out of books to burn to keep the blaze going.
However, a little setback like second degree burns won't discourage us; we'll still keep on posting occasionally with or without Malkmus, throwing the starving masses a few scraps of meat to satisfy their appetites.
This time around, it's our:
BEST OF 2010!!!!!!!!!!!!!!!!!!!!!!!!
My goodness, was 2010 a year for music. Our favorite year since 2005, filled with hidden gems and long-awaited follow-ups that didn't disappoint. However, we'd like to take a moment to hand out awards to a few bands that made us less than proud this past year.
First off is Interpol, winning our:
"RIP DEAR FRIEND" AWARD
This year, the RIP Dear Friend award goes to the boys in black, greatly admired by us folks at Mitchfork for Turn on the Bright Lights, slightly less for Antics, and then, yes, even less for Our Love to Admire.
Now, in 2010 they give us a self-titled album that was released shortly before bassist Carlos D (guy with the fine stache) left the band. Our guess is Carlos left because he realized what the rest of the world has learned since Interpol landed-- the band is creatively exhausted.
And will most likely break up anyway not long after they're done touring for this album. That, combined with how Interpol isn't a "bad" album, just one which shows they're further than ever from reclaiming their initial post-punk magic, means we won't rip on NYC's finest. They've earned their place in history with one of our favorite albums of all time, and their last show in Boston this year was really solid (despite lacking Carlos and his gun holster). Plus, lead singer Paul Banks told us we were their best crowd on the tour. He wouldn't lie, would he?
We will bid them a fond adieu though. Time to hang it up boys. You've done your part reviving post-punk, giving us at Mitchfork a chance to get into Joy Division and the rest. Take that vacation, and reunite when the world is again mired in a Limp Bizkit/Korn phase. We look forward to seeing you, sharply dressed as always.
Next comes The Wrens, recipients of our:
"JESUS FUCKING CHRIST JUST RELEASE ANOTHER GODDAMN ALBUM ALREADY" AWARD
Hey look, it's a rare find! Two Wrens found in what should be their natural habitat, THE STUDIO. RECORDING NEW MUSIC. We get it, you guys have lives outside of the music, jobs and families, which is why it's been 7 years since The Meadowlands. But after a certain point, come on. We're not picky-- any 10 songs will do. Just give us something, because we're huge fans and we're not going to patiently sit by as your kids go to college and your hips get replaced but no new music emerges from Camp Wrens.
Look, if friend of Mitchfork Dave Mancinelli can clear time out of his busy schedule (typically filled with counting ceiling tiles and plotting the downfall of one Jake Grindal) to record an album, then you guys can get your shit together. Maybe in 2011? Or else you'll win this award again. And you don't want that. No, you certainly do not...
Finally, to Best Coast goes the:
"THE HYPE MACHINE STRIKES AGAIN" AWARD
See that pretty young lady up there holding the fluffy cat? That's Bethany, and she's Best Coast. Sadly, and maybe through no desire of her own (maybe she wanted to play largely uninspired lo-fi music in obscurity forever), she was snapped up by the hype machine in 2009-2010. Fueled by a few nice singles, including the really really good "Boyfriend", Bethany gained a lot of internet traction and, like many bands before her (Vampire Weekend, Voxtrot, Wavves, etc) she released her first LP after many months of accompanying build up. Thing is, that album really isn't too good. It took a few listens for us to realize it, but it's not. It's all same-sounding tunes with some honest to goodness dumb lyrics that aren't validated by anything she's doing musically. Nothing really offensive, but nothing stands out, outside of "Boyfriend", as worthy of any praise. And we're pretty sick and tired here of these surfer acts getting more love than they deserve just because they have a sunny atmosphere, bad production values and sound like they could have made their album in an afternoon. We can't help feel like Crazy For You is aspiring to be something like Weezer's Blue Album, but it's not even in the same ballpark.
Does this mean Bethany and her crew are crap? Nah. They're ok, but it's good to take a jab at internet hype every now and again. As opposed to non-internet hype, like the fliers we're seeing around town for that cat Bethany is holding. Jeez, sure hope Whiskers is ok. Also, if the hype machine wants to set its sights on Mitchfork-- please do. We've been waiting for our chance to have the slightest excuse to be insufferable douches. Give us that chance.
Ok, so now that the demons have been exorcised, let's get down to why 2010 was such a great start to the new decade.
Without FURTHER ADO, our top 10, plus an honorable mention. We'll try to keep the descriptions short and functional, just like Squires' s donger.
HONORABLE MENTION!
Sufjan Stevens, The Age of Adz Best Track: "Vesuvius"
Back about this time last year, we predicted Sufjan was up to something. And gosh darnit, we were right. More right than we knew, because The Age of Adz is certainly something.
At times, it's something amazing. At others, it's something frustrating. Occasionally, it's just something that we can't quite describe but still want to listen to again.
It's Sufjan spreading his wings, shooting for the moon and almost making it. "Impossible Soul", the 25 minute closer, pretty much encapsulates the entire album's issues. It's a song that'll get you so fired up (and succeeded in fine fashion at his Boston show), but it'll also put you to sleep (no joke, we actually napped from roughly minute 7 to minute 10). It's too much, but you also have a hard time wanting it to be anything but, because the greatness is a byproduct of that same excess.
In conclusion, definitely an album worth listening to repeatedly, but let's just say we're already ready for another album where Sufjan streamlines his sonic journey a bit.
#10!
Phantogram, Eyelid Movies Best Track: "Mouthful of Diamonds"
First, a shout-out to John Richards, aka John in the Morning, one of Mitchfork's musical idols. We don't hear John anymore at our new job because our computer has sound issues, but this was one of the last albums the pride of KEXP Seattle turned us on to. Thankfully, we know that friend of Mitchfork Von Hann will keep us in the loop regarding all the latest music being played by John from 9am-1pm every weekday if we would just ask, but we're shy.
Anyways, Phantogram. Frontloaded, but those first couple of songs ("Mouthful of Diamonds", "When I'm Small") especially are just so good. And while it might climax early, the electropop goodness remains throughout. Fragile vocals paired with beats that can work in the bedroom (not like that--like, chilling on your bed. Ok, that too) or the dance floor, Eyelid Movies is solid stuff. Even better-- it's only these guys' debut (and one of only two debut albums on this list), meaning there's plenty to look forward to in the future.
#9!
Tokyo Police Club,Champ Best Track: "End of a Spark"
Tokyo Police Club was also swallowed up by the Hype Machine at a young age (they're still all under 25) during the build up to their 2008 debut Elephant Shell, but a lot of that hype was deserved. There were so many great things going on that album, it just got a little claustrophobic now and again. Now though, they're giving these songs a little more room to breathe, creating a more expansive sound that's still as propulsive as ever. Plus, a lot of their songs fixate on lost youth, and if you know Mitchfork you know we love that coming of age shit. It's our bread and butter, and our favorite album this year (you've probably already scrolled down by this point) fixates on just that.
#8!
Broken Social Scene, Forgiveness Rock Record Best Track: "Romance To The Grave"
There's something to be said for consistency, and BSS has been a steady source of great since You Forgot It in People, their 2002 breakthrough. Going to their concert this past fall, we knew exactly what we were going to get: fantastic energy and passion, combined with some superb slow jams and epic breakdowns. There's no "It's All Gonna Break" or "Cause=Time" on Forgiveness Rock Record, but it makes up for it with "Sweetest Kill" and "Romance to the Grave", two ballads that still sizzle with that sexy energy BSS delivers in spades. They're always a band that goes for the heart rather than the head, and once again Cupid's arrow has struck home.
#7!
Wild Nothing, Gemini Best Track: "Chinatown"
"Cause our lips won't last forever, and that's exactly why I'd rather live in dreams and I'd rather die." Yes yes yes. There's the chorus of "Live in Dreams", the inviting opening track of Wild Nothing's debut Gemini. The music matches the lyrics-- it's fuzzy and ethereal, perfect for that never-ending summer day. Atmosphere is so essential for a great album, and the way Jack Tatum (Wild Nothing is Jack Tatum), effortlessly captures a unique mood and dynamically maintains it for twelve songs gives us big hopes for his future. You want to lose yourself in Gemini's depths, to fall into your own dreams and leave behind the everyday realities that threaten the whimsical youth you once treasured. Seems a little much right? Fine, it's just a catchy, fun album that you'll like playing in your ears as you fly kites in the park. On acid.
#6!
Foals, Total Life Forever Best Track: "What Remains"
More of the same from Foals on their second album. Thankfully, we love overly dramatic post-punk that sounds like it was recorded on the moon. There's just something so big about the production here, making each instrument, including the vocals, sound like they are miles away from each other. "Spanish Sahara" and "Alabaster" both embody this sprawling vastness, but it's closer "What Remains" that reveals what makes Foals special--Yannis Philippakis's voice. It hits the same notes that Paul Bank's does-- powerful, keening notes that make the music resonate and all that drama seem justified. Maybe Yannis really has been to the "darkest place you know", and maybe he does have some wisdom to impart about it. Only Yannis knows the answers. Yannis. Greek names are funny.
#5!
Wolf Parade, Expo 86 Best Track: "Ghost Pressure"
Return to form! We love that phrase, and are glad to use it on such a deserving band. We cut At Mount Zoomer a lot of slack when we were first digging our teeth in, but the subsequent listens in these last couple of years have not been kind. It felt scattered and disjointed, like Spencer and Dan couldn't get on the same page. Well, they've found their balance again and it shows. Consistently superb throughout, with the four songs from "What Did My Lover Say (It Always Had to Go This Way)" through "Ghost Pressure" providing the best stretch of music this year. Fittingly, both Dan and Spence contribute a pair of songs to this section of the album, and when they combine forces at the end of "Ghost Pressure", it's a sight (or listen rather) to behold. Now, time for a couple more Handsome Furs and Sunset Rubdown albums before they team up again. Not that we're complaining.
#4!
Crystal Castles, Crystal Castles (II) Best Track: "Empathy"
We're not exactly sure what kind of electronica sub-genre Crystal Castles inhabits, and we do suppose you could have some fun dancing to these tracks. But there's just something fundamentally introverted about their music, a kind of shattered beauty conveyed by Alice Glass's wounded, haunting voice and the frantic, aggressive beats Ethan Kath puts forth that demands we put on our headphones and immerse ourselves in it. The prime example of this is "Not in Love"-- it's a up-tempo, new wavy track that you could definitely cut a rug to, but there's something damaged about it that makes it something you want to engage with your mind as well as your feet. That was true on Crystal Castles, and it's especially true now. Back in 2008 we posted on Yoontunes (a much more well-updated music blog run by a better man) that Crystal Castles was a shower of an album, and Crystal Castles (II) is the same. But it's value lies not in the initial appeal, but in the subsequent layers you are enticed to peel away.
#3!
Beach House, Teen Dream Best Track: "Norway"
Don't let the barely there album art fool you, this was a BIG album from Beach House. It was their third album, and everyone knows that your third album is the one where everything culminates into awesome. In our opinion, this was the case with Modest Mouse, The National, Radiohead, TV on the Radio, Silver Jews and more. So it is with Beach House, who delivered two solid albums up to Teen Dream; releases that seemed intent on perfecting their brand of dream pop. They had atmosphere, but not much in the way of experimentation. Then, BAM. The instant we heard "Norway", we knew these two had taken a quantum leap forward.
Teen Dream reeks of ambition. It expands their sound without losing that unique atmosphere, and catapults Beach House into the upper echelon of indie rock. A large part of this ascension is due to the increased emphasis on Victoria Legrand's voice, which is now a commanding presence in every song. Maybe the best female voice in indie rock, it conveys the emotional depth that anchors this album. "10 Mile Stereo" rivals "Norway" in its "epicness", but the song soars because of Legrand's vocals reaching up to the heavens. What's most impressive is, unlike the long months between Mitchfork posts, this album never drags. Man, we tell ourselves everyday how big Mitchfork would have been if we had just kept it up like our collegiate binge drinking. Alas, blogging is a much easier habit to break.
#2!
The National, High Violet Best Track: "Terrible Love" (This is taking into account how spellbinding it is live)
Our favorite band of the last five years is at it again. They found their musical voice with Alligator and have spent the last two albums finessing it, albeit in more subdued ways. While we rather liked the moments of epic bombast in Alligator, we've accepted that, by in large, the National are not that kind of band. Arcade Fire (foreshadowing) are that kind of band, but The National make music for weary adults attempting to maintain love, friendships, jobs and a sense of self in a chaotic urban backdrop. Arcade Fire give you anthems to rage against the injustice of the world, songs to pump your fist to as you bemoan the youth you've lost, and that's fine. There's a time and a place for that angst, but Mitchfork isn't an 20 year old at the cusp of adulthood anymore. We're professionals in our beloved white shirts, and, because of that, the malaise of The National speaks powerfully to us. It's expressed profoundly through Matt Berniger's baritone as he moans cryptic yet evocative lyrics, and it's cathartic to hear those words uttered by someone whose personal insight is always tempered by an understanding of his place in the wider world. They're specific to his experience, yet they still feel universal, at least to the demographic he's speaking for.
Yet, High Violet, while dark, isn't a downer. Just because The National aren't as "epic" anymore, doesn't mean they aren't some truly inspired and soaring moments. "Terrible Love", "Lemonworld" and "Vanderlyle Crybaby Geeks" all come to mind as songs that build up to fantastic flourishes that always feel deserved. Then there's "Anyone's Ghost", which would be our favorite song on the album were in not that we saw "Terrible Love" live. The whole song gives us chills, especially the climax, where the words "I told my friends not to worry" vaguely menace in way that sticks with you long after the music ends.
So, as you uncertainly weave your way through adult life trying to balance your responsibilities and your idealism, listen to High Violet and know you're not alone.
#1!
Arcade Fire, The Suburbs Best Track: "Suburban War"
But you know what? After saying all that stuff about maturely "coming to terms" with the sacrifices we all have to make as we age, we also realize sometimes you need anthems that actively try to reclaim that passion we've lost. Sometimes, we get fucking sick and tired of adult life, of being worn down by a world that seems intent on stripping our remaining youth away from us. Sometimes, we want unbridled emotion that lashes out at the vague and sinister forces that seek to destroy the children. Won't someone think of the children?! The children we once were, and the children that we still treasure because they're not cynical and disillusioned like us.
That's where Arcade Fire comes in. They've been hard at work protecting the children for three albums, but neither Funeral or Neon Bible reached the heights found on The Suburbs. We're not afraid to already put this album in our ALL-TIME top 10, because this time their music and their message are completely in sync. This is the album this Canadian collective were born to make-- it's a triumphant "statement" LP that strikes a blow at...the inevitable?
A huge chunk of The Suburbs is spent looking back, on the beautiful boredom and the endless wait for an adulthood that would be spent yearning for what was lost in the transition. But where it succeeds is in its ability to capture that angst and render it relevant to the people we are now, the same folks who are still frantically trying to figure shit out but don't have the panacea of a looming adulthood to set their hearts at ease.
A substantial part of that success is predicated on Win Butler's voice, so vulnerable and raw, but still reflecting the charisma of a man who sincerely believes he's saying something worth hearing. The lyrics are deeply personal, reflecting on his youth in the suburbs of Houston, but when he yells out "oh my old friends, they don't know me now; oh my old friends are staring through me now" in "Suburban War" (this is the highlight of the entire album for us), you intuitively know exactly what he's saying.
There are so many other fantastic moments in this album ("Ready to Start", "Deep Blue" and "Rococo" come to mind), and none of them are subtle. Arcade Fire is not a band that deals in subtlety-- they want to get you out of your seat and screaming along with them, a community of disciples who are primed and ready for something nearing a religious experience. That's fine by us-- they've earned their spot as the face of indie rock with stadium anthems that are meant to have 50,000 people singing along. Sometimes you don't just want a band to yourself; sometimes you want to share them with all your friends, their friends, and those friends' mothers. And you're all the better for it.
Thanks, Arcade Fire, for headlining one amazing year of music.
And there you have it. 2010. We at Mitchfork hope you enjoyed it as much as we all did.
