A few days ago I posted the first 20 in my Top 40 Albums of 2012 (check it out here). The first half of the list is always easier to compile than the final 20. With this, the top half of the list, I find myself swapping albums from one spot to the next, trying to refine my list to the perfect order. Of course, this “perfect order” is never truly found. On one day I’d much rather listen to my number 17 than my number 5 and vice versa. I can promise you, all of these albums are fantastic. In order to come up with a definitive order, I took into account the overall significance of an album, not just which has the best collection of songs, but which is the perfect album – the themes, the order of the songs, the cultural significance. Within those parameters, I had no doubt what would be the number one album of 2012. But I’m getting ahead of myself…
Ty Segall Band
[In the Red; 2012]
I’m beginning to think Thee Oh See’s John Dwyer must be some sort of mentor for his younger fellow San Francisco friend Ty Segall. Many of the choices Segall has made, both carreer-wise and aesthetically, have followed in Thee Oh Sees path. One obvious lesson learned from Dwyer is hard work. Thee Oh Sees have released five albums in the past three years. Segall has followed suit, releasing four albums in the past two years, with reports that another album may make its way to shelves still this year. As a result of this constant flow of new material, I’ve felt that some of these albums have been hit-and-miss affairs. “Goodbye Bread,” although fun at times, came off as a bit silly, a little sleepy, and slightly sloppy. This year’s collaboration with White Fence took on the same carefree approach, and although I enjoy its psychedelic folk experimentation, a few tracks seemed like left-overs dressed up as the main course.