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…
As with all movements, the lo-fi trend has tapered off over the past couple years. In its wake, many of the artists who found their niche within the genre have had to step outside the tape hiss and attempt to tread water on the strength of their songwriting. The entire ethos of the lo-fi movement was the idea that great songs will always be great, regardless of the production (this is the gospel of Robert Pollard). As the dust has settled, some have found success moving away from the 4-track recorder (Ty Segall, Wavves, Times New Viking) while others have been exposed (Male Bonding, Matt and Kim, Psychedelic Horseshit).
After the release of Wood’s 2011 album “Sun and Shade,” I felt that they belonged in the latter category. Without the amateurish production, the band seemed lost. Many of the songs come off as lazy, while others meander aimlessly from one guitar solo to another with several songs stretching past the seven-minute mark. The band’s knack for melodies seemed all but gone and the charm of the past erased.