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The Top 40 Albums of 2014 (20-1)

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A few days ago I posted the first 20 in my “Top 40 Albums of 2014” list (check it out here). Below you will find this year’s edition of what I consider the top 20 albums of the year. You’ll find albums from varying genres and possibly a few albums that are new to you. I think it’s important to note what I define as a top caliber album. Great songs are always a plus, but more important to me is the ability of an artist to create a series of songs that tell a story, that convey an overall theme, that complement each other, and that make the listener think differently about the human experience. We are moving into an age where most consumers are more concerned with hit songs, which is why I feel compelled to highlight those musicians that have stayed honest to the age-old art of The Album and created something that’s about the whole and not a couple catchy songs.

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BDWPS Podcast #31

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In this episode you’ll hear new tracks from Meatbodies, Caribou, Mick Jenkins, Ariel Pink, Young Widows, S. Carey, and Electric Wizard. I also discuss the documentary “The Ballad of Ramblin’ Jack” and take a look at the year Bob Dylan broke, 1965. You can now subscribe to BDWPS Podcast on Stitcher (search: BDWPS) and, of course, you can subscribe on iTunes.  You can also listen to it online over at podomatic (click HERE!).

Playlist:

Meatbodies “Wahoo”

Caribou “Can’t Do Without You”

Mick Jenkins “Healer”

Ariel Pink “White Freckles”

Young Widows “Kerosene Girl”

S. Carey “Alpenglow”

Electric Wizard “Sadiowitch”

Bob Dylan “Ballad of a Thin Man”

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Top 40 Albums of 2010 (40-26)

It would be an understatement to say 2010 was a great year for music.  Throughout the year I found myself listening to new album after new album and thinking, “This will definitely make my Top 20 Albums list.”  Which of course explains why I’ve doubled the list this year from 20 to 40.  While 2009 left me disappointed with many of my favorite artists releasing less than stellar albums, everyone showed up to play in 2010. Let the games begin.

Honorable Mention:

Blitzen Trapper “Destroyers of the Void”

Erykah Badu “New Amerykah Part Two (Return of the Ankh)”

Meursault “All Creatures Will Make Merry”

Sam Amidon “I See the Sign”

Shearwater “Golden Archipelago”

40. S. Carey

“All We Grow”

[Jagjaguwar; 2010]

While Bon Iver’s Justin Vernon was off exploring the world of hip-hop with his Kanye West affiliation, his band mate and disciple Sean Carey carried the Bon Iver flame in 2010 with his solo album “All We Grow”.  But while Vernon’s music is often barren and cold, Carey’s exudes the warmth of a winter’s fire.  The cover art of an aged childhood photo builds off this intimacy and helps stir the embers of memory within the listener.  Manned with simply a guitar, drums, and a piano, Carey build’s compositions that crescendo with emotional swells and soften for moments of contemplation.

39. Shining

“Black Jazz”

[Indie Recordings; 2010]

Back in July, I wrote of Shining’s “Black Jazz”: “On their latest release, “Blackjazz”, the doom-heads decided to try combining the two most devilish music forms from the past 100 years (jazz and black metal), resulting in an album of hellacious proportions.  Upon first listen, “Blackjazz” seems to be simply a polished black metal album, but beyond the familiar machine gun drums and crunching guitar riffs, this is more than simply black metal.  Shining rely heavily on synth, but instead of providing simply an ominous cloak, the keyboard is twinkled sporadically like a possessed Duke Ellington, venturing through scales and chord progressions more familiar to jazz night clubs than church burnings.  At times the album doesn’t even resemble music, rather a Jackson Pollock of sound, splattering up and down the malicious jazz scale in search of melody. The jazz meanderings are more obvious when Jørgen Munkeb picks up the saxophone and honks out notes like a line of tumbling dominos, notes rising and falling at will as the horn meshes with the chaos surrounding it.  These Norwegians have exorcised the true, dark spirit of jazz and unleashed it back into the world to wreak havoc.”

38. Perfume Genius

“Learning”

[Matador; 2010]

Perfume Genius’sMike Hadreas is a master storyteller, using his lo-fi, piano-motivated songs to reveal one heartbreaking tale after another.  With so many emotional stories of suicide, molestation, and drug abuse, you would think that Hadreas moonlights as a psychiatrist.  And maybe he should because beyond his captivating narratives, he also whispers one memorable melody after another, counteracting the depressing nature of the album.  His soothing melodies lift up the down-trodden characters, giving them a voice and in a strange way, giving them hope.

37. Grinderman

“Grinderman 2”

[Anti-; 2010]

On “Grinderman 2”, Nick Cave unleashes the sexual deviant within, throwing all of his 50 year old caution out the window and letting the women know that him and his “loch ness monster” have arrived with its “two great humps”.  Yes, this is 9-straight songs about Nick Cave’s penis (what I’m saying is this album pretty much dominates).  On “Grinderman 2” the band took a loose approach to their songwriting, taking a improvisational stance, and the songs thrive because of it.  Without restrictions, the album is free to be as dirty and untamed as it wants to be.

36. Caribou

“Swim”

[Merge; 2010]

Caribou’s Dan Snaith is such a show off.  On each album he’s produced a completely new sound, showing that there really is nothing he can’t do. We get it; you’re talented! On “Swim” Snaith takes the opportunity to show us all that he can make a great dance album.  Think of all those struggling other bands in the genre that have been trying to hone there sound, and then along comes Caribou and blows any progress they’ve made out of the water.  Not only does Snaith create some groovy dance beats, but he also provides a poppier sensibility to the world of club music.  And I guess that’s his secret – these aren’t dance songs at all, rather pop songs disguised in a dance beat garb. Where’s a glow stick when you need one?

35. Big Boi

“Sir Lucious Left Foot the Son of Chico Dusty”

[Def Jam; 2010]

“Sir Lucious Left Foot the Son of Chico Dusty” has the potential to be the best album of 2010, but a handful of less than stellar tracks hold it back (Jamie Fox…really?!).  Still, when this album is on, “it is on!”  The story of this album has become one of legends with the label not knowing what to do with it when Big Boi first presented it to them.  They asked, “but where’s the hit?”  Morons. The only explanation I can come up with is that with so many great songs they couldn’t tell which was the best.  The problem probably arose because what Big Boi brought to them sounded like nothing they’d ever heard before in the hip-hop world with it’s funky bass, 70s style chorus chants, and lyrics that require more than an urban dictionary to understand.  You dig home skillet?

34.Les Savy Fav

“Appetites”

[Frenchkiss; 2010]

Everyone loves a come back story, so when Les Savy Fav returned in 2007 with their album “Let’s Stay Friends”, their first album in six years, it was cause for rejoice. But now, three years later, “Appetites” didn’t receive nearly as much love, which is a damn shame because the band is still as potent as ever with track after track of raucous art rock.  “Let’s Stay Friends” gave hints toward a more melodic approach and “Appetites” continues this tradition, expanding more upon this friendlier stance. I can’t lie, I will always prefer the earlier Les Savy Fav stuff that is completely reckless and insane, but I still can’t deny myself of a great song, especially with Tim Harrington’s lyrics as biting as ever.   The band is far from finished as shown when Tim shouts in the opener, “WE STILL GOT OUR APPETITE! WE STILL GOT OUR APPETITE! WE STILL GOT OUR APPETITE!” Let the feeding frenzy continue.

33. Four Tet

“There is Love in You”

[Domino; 2010]

I hate the term “background music” because it implies that the music isn’t worthy of your attention, yet I almost just typed that “There is Love in You” is a background album. This would be misleading.  Yes, it works perfectly as the soundtrack to your day, to your work, to your play, but to suggest it’s easy to ignore? Unwise. In fact, if the music of Four Tet’s 2010 release does anything, it intrudes your mind with a wide range of thoughts and ideas, and through its hypnotic beats you are capable of organizing your thought process.  The title “There is Love in You” implies that we all have love, but if you don’t (ahem…me) this album will nourish your heart with it’s upbeat rhythms and give you a great big hug.

32. The National

“High Violet”

[4AD; 2010]

In the latest issue of SPIN, comedian Patton Oswald was asked to listen to some of the top albums of the year, and I felt his take on The National needed to be repeated. “Is this guy lying on a couch about to fall asleep? ‘Dude, do you want to have a half-hour nap before we record? Because we have time. We don’t need to do this right now, you look really jet-lagged.” While this would seem like an insult, the lethargic, overly dramatic presentation is what makes The National’s music so spellbinding.  It would be easy to say that Matt Berninger’s voice is the source of all the syrupy sentimentality that makes “High Violet” such an absorbing listen, and I think that’s the band’s goal. But back behind Berninger’s vocals hides the Dessner brothers with their astute songwriting that lifts the emotions to a higher shade of violet.

31. Frog Eyes

“Paul’s Tomb: A Triumph”

[Dead Oceans; 2010]

I’ve seen Frog Eyes perform live a handful of times, and I’ve always enjoyed their wild live shows with singer Carey Mercer spastically shaking through each song. But for some reason, I pigeon holed the band as simply a great live band not thinking much about their music beyond the stage. Not only is “Paul’s Tomb: A Triumph” a (ahem) triumph, it’s one of the most ambitious albums to come out in 2010. The record is broken into four parts, all adding depth to the overall story of an escape from the constraints of life, the perils of war, and the mourning that comes with death. The guitars fight for space, battling for supremacy as General Mercer transfers his manic energy into a war cry that will chill you to the bone.  So much love is paid to Mercer’s friend Spencer Krug, but with “Paul’s Tomb: A Triumph”, it might be time to give Frog Eyes the respect that is due.

30. Tobacco

“Maniac Meat”

[Anti-Con; 2010]

I’ve never really gotten into Black Moth Super Rainbow, and prior to this year, I’d never heard of front man Tom Ferc and his side project Tobacco.  Then of course after a chance run-in with his remix of HEALTH’s “Die Slow”, I gave into the temptation and bought Tobacco on vinyl.  Now my addiction to its grimy sound is in full force: the affected vocals, the crunchy synth that seems to be run through a twisty straw, the basic drum tracks that call back to the age of old school hip-hop. When my friend Justin heard me listening to Tobacco he asked, “Is that an 80s band?”  While the lo-fi, 80s feel is in full effect, nothing like “Maniac Meat” ever existed in the age of Reagan.  A lot of artists take sounds from the 80s and recreate it for nostalgic purposes. Not Tobacco.  Ferc has taken the 808 drum beats of Run DMC and the synth sounds of the Eurhythmics and created something completely original.  This is what “Walk this Way” would have sounded like if Annie Lenox moved in next door to Run DMC (oh, and if Annie Lennox had throat cancer, God forbid).

29. How to Dress Well

“Love Remains”

[Lefse; 2010]

Imagine all of your childhood R&B tapes getting water damaged in your parent’s basement. Instead of throwing away all your PM Dawn, Bobby Brown, and Billy Ocean away, you decide to give them one more listen.  You locate your dusty Walkman and begin relistening to your old favorites, quickly realizing that the damage has altered these once crystal clear, overly produced 90s standards. Yet, instead of just stopping the tape, you continue to listen.  The mold and mildew have created a cacophonous atmosphere, muffled the once pristine beats, created a ghostly R&B world where love songs have turned sour with sorrow. Then you realize that you aren’t listening to your old tapes, that you aren’t in your parent’s basement, and that you don’t even own a Walkman anymore. You’re just listening to How to Dress Well’s “Love Remains” (no flood damage required).

28. Ty Segall

“Melted”

[Goner; 2010]

My friends who have kids try convincing me of the joy associated with fatherhood.  And despite what they may think, I get it.  As an obsessive music fan, I’ve watched someone like Ty Segall grow up.  On his first self-titled release the songs are ornery and fun, yet not fully developed with his barebone tambourine drums set-up (he started as a one-man band on the street corners of San Francisco).  On “Lemons” his songs grew up with a full piece band backing him, yet his songwriting seemed to be going through an awkward stage, not quite as self-assured and free as seen on his first release. But now, with “Melted”, Ty Segall is all grown up.  The songs are still youthful in spirit but more mature and confident in form.  For me, listening to “Melted” is like watching my son get his diploma (and I didn’t even have to change a diaper).

27. Kylesa

“Season of Mist”

[Spiral Shadow; 2010]

The double lead guitar has been a mainstay in metal for years, but what of the double drum lead?  Kylesa beg to answer this question with a double drum set assault that beefs up their psych metal assault. The two drummers Carl McGinley and Tyler Newberry create intricate rhythms that bounce off each other like atoms on the verge of explosion.  These pummeling beats back up a band that has created some striking metal riffs and melodic anthems for 2010.  The Devil went down to Georgia, not to find a soul to steal, but to keep metal alive within the likes of Kylesa, Baroness, and Mastodon. And based off the out-put of these bands in the last few years, the Devil did his job quite well.

26. Liars

“Sisterworld”

[Mute; 2010]

The scariest album of 2010 is not by a black metal band; it’s by a little band that was labeled as “disco-punk” early in their career.  Since that label, the band has explored a wide range of sounds, venturing off into other territories musically.  On “Sisterworld”, Liars have taken a major journey away from their roots towards what I would describe as the auditory equivalent of the “Twilight Zone”.  The music is not of this world, rather an eerie environ where danger lurks around every corner.  Or maybe it’s not another land at all, rather similar to a trip to the Overlook Hotel where the mind takes its own jaunt to the dark side.  Whatever the case, this is Liars most complete album.  They are able to transport the listener to a nightmarish soundscape and keep them planted within the horror for the entire 42 minutes.   While past releases have shown the band’s versatility, on “Sisterworld” they remain locked in the “Sisterworld” where dissonance and death reign supreme. Disco is officially dead.

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Top 100 Tracks of 2010 (100-76)

 

Just like every other year end list I’ve done for 2010, I decided to up the anty with my top tracks list by taking it from 50 to 100 songs. I know…I know…it may seem like a bit much. I can explain. Every year I compile my best songs list while making the 18 hour, cross-country drive to my parent’s house for the holidays. As I drive, I explore my i-Pod for the year’s stand-out songs and jot down titles into a notebook when I feel one is worthy of the list (not the safest driving method, I understand). By trip’s end this year, my list totaled 114.  I had a lot of fat to trim, and as I reached the 100 mark, it became more and more difficult to cut great song after great song. As a result, I’ve doubled my workload, but I don’t mind. These tracks have meant a lot to me this past year – the least I can do is give them the recognition they deserve.

 

100. “2012”

PS I Love You

What better way to start a 2010 list than with a song titled “2012”? Okay, it doesn’t make much sense, but I couldn’t help but squeeze this song on as the caboose to the list.

 

99. “Who Fingered Rock n’ Roll”

Cornershop

Back in the mid-90s Cornershop scored a hit with “Brimful of Asha”, a groovy track saturated with sitar and lyrics about using bosoms as pillows.  Unbeknownst to me, Cornershop survived the 90s and are still kicking out strange middle-eastern versions of the theme to “Wonder Years”. And they do ask a great question: who did finger rock n’ roll? My bets on Richard Marx.

98. “Arkansas”

Damien Jurado

Its nice to see Damien still thriving in the music world. His 2010 “Saint Bartlett” shows him taking his sound back to the sparse environs of “Ghost of David”, but the stand out song of the album, “Arkansas”, is probably the most produced. In the tradition of love songs to states, Jurado focuses his break-up with Arkansas.  It doesn’t necessarily have the double meaning found in a “Georgia On My Mind”, but then again, I did once date a girl named Rhode Island.

97. “I Don’t Believe You”

The Thermals

“I Don’t Believe You” is one of the only songs on The Thermals 2010 release “Personal Life” that features distorted power chords and – SHOCKER – it’s the best song on the album. A lesson in not straying from what works.

96. “Thank You For Your Love”

Antony and the Johnsons

A few months ago a fellow BDWPS contributer, PtheStudP, asked me if I’d purchased the new Antony and the Johnsons. I replied by saying, “Nah, I think I’m kinda done with Antony and his voice.” He of course berated me and called me a fool.  His verbal beating forced me to give The Johnsons one more chance, and I was quickly humbled by my disrespect.  Antony and the Johnsons – I want to thank you for your music.

95. “Racer X”

Japandroids

The Japandroids covering the Big Black song “Racer X”? YES PLEASE!

94. “What To Say”

Born Ruffians

2010 was a rough year for Born Ruffians with their disappointing release “Say It”.  Amidst the sloppy collection of songs, “What To Say” is a stand-out due to its memorable melody and its discussion of the age old inability to talk to women. Is it sad that a 32 year old man still relates to this teenage dilemma?

93. “Ain’t No Grave”

Johnny Cash

Would it be wrong of me to accuse Rick Ruben of manipulating Johnny Cash near the end of his life? I understand that Ruben’s production helped give Cash a rebirth in the music world, but now that Cash has died, more and more music keeps coming out from their sessions together, and it seems lik 90% of the tunes are about dying. I’m just saying… Despite the discomfort associated with listening to the ghost of Johnny sing on the 2010 release “American Recordings VI”, I can’t deny what an excellent song “Ain’t No Grave” turned out to be with its layers of dragging chains, spooky organs, and creaking piano keys. “Ain’t No Grave” is more evidence that Rick Ruben, manipulator or not, can make a good song great.

92. “38 Souls”

Bottomless Pit

Although I loved the music of 2010, I have to admit that the year was truly defined for me by Pavement. I spent most of my life scoffing at the suggestion of Pavement, but this year I opened up to the possibility that they may actually be good, and damn it, they were! As a result, I spent a large portion of the year searching for the modern equivalent of Pavement. I thought Bottomless Pit could fill that void, but I found that they are influenced by more than just Pavement.  For example, on “38 Souls”, a song about capturing souls, the band is able to conjure the ghosts of the 90s, channeling the sounds of Jawbox, Sebadoh, and even Dinosaur Jr. Now if they could just capture the soul of Stephen Malkmus.

91. “One Polaroid a Day”

Ted Leo and the Pharmacists

This song stood out to me simply because it shows Ted Leo trying something new.  Instead of his usual falsetto rantings, this is a slow groove with Leo exploring his lower register.  He’s no Isaac Hayes, but the change of pace was welcomed in 2010.

90. “Threshold”

Beck

Doesn’t Beck sound happy on this song? That’s the sound of a man escaping the clutches of Danger Mouse. Rejoice!

89. “Be Yourself”

Robin Pecknold

I’ve always thought that Fleet Foxes sound a lot like CSNY, so it’s probably fitting that the best song on the tribute album to Graham Nash be by Robin Pecknold.

88. “Jail La La”

Dum Dum Girls

Only the Dum Dum Girls could make being “covered in shit” sound adorable.

87. “In Every Direction”

Junip

If I were to make a year end list for video games (which I have no right attempting), I would put “Red Dead Redemption” at the top due to its never ending landscape that I wasted hours of my life exploring.  My favorite part of the game’s storyline though is when you first enter into Mexico – the game shifts from its annoying harmonica music to an actual soundtrack of Jose Gonzalez’s “Far Away”.  A month after passing the game, I purchased Junip’s 2010 release “Fields”, and everytime I listened to it, Jose’s voice would bring back the image of John Marston entering Mexico where there is nothing but desolation “in every direction”.

86. “General Patton”

Big Boi

When your nickname is General Patton, you better have a song that lives up to Patton’s legacy, and Big Boi steps up to the challenge with this song, an operetic-orchestral chaos that is more fit for Darth Vader than Patton.  It’s possibly the only song that will have you nodding your head to the chants of a concert choir.

85. “Heartbeat Song”

The Futureheads

When I posted my list of the “Best Summer Albums of 2010”, my friend Tim emailed me, pointing out that I once made fun of him for liking The Futureheads. I was forced to admit defeat writing, “Yeah, that’s because I’m a pretentious douche”.  Not even a pretentious douche can deny the melody of “Heartbeat Song”.

84. “Angry World”

Neil Young

Neil Young was a bit misleading with he called his new album “Le Noise” a folk metal album.  Lyrics about the plight of polar bears and bison aren’t necessarily the most metal of subject matter.  If only the album had more songs like “Angry World”, matching the wave of distortion with lyrics that delve into the darker side of the human psyche.  I’d like to believe “Angry World” presents what it may have sounded like if Neil had joined Black Sabbath when Ozzy left.

83. “Roman Candles”

Suckers

I present to you the Seven Dwarves of indie rock!  “Roman Candles” is a reminder that whistling was fun before Andrew Bird came along.

82. “July Flame”

Laura Veirs

Most depressing 4th of July song ever.

81. “Norway”

Beach House

I don’t necessarily love this song. It’s more of an addiction to the disorientation felt while listening to the sickly guitars.  Not even Robitussin can save you from the nausea of “Norway”.

80. “ONE”

Yeasayer

Yeasayer’s “Odd Blood” pissed me off. When did they become a dance band? Unfortunately, “ONE” made it very difficult to hate them for long.  I would be lying if I said I’ve never danced to this song while cooking pork chops with a plum-ginger sauce. I’m straight, I SWEAR.

79. “Early Warnings”

Love is All

What if John Lennon woke up and didn’t fall out of bed, rather knocked his head on a bookshelf? What if instead of dragging a comb across his hair he almost choked on his toothbrush?  Yes my friends, we’ve discovered the anti-thesis to The Beatles “A Day in the Life”.

78. “Odessa”

Caribou

The actual city of Odessa, Texas is not nearly as fun as this song would suggest.

77. “Kids On the Run”

Tallest Man on Earth

With “Kids On the Run”, Kristian Matsson ditches his acoustic guitar for a piano, and surprisingly it’s the best song on the album.  It could be due in part to the poignant lyrics that reveal a story of two scorned lovers, still running away from their past like children. Basically, it’s “Born To Run” except in this version Wendy is trying to escape Bruce and his velvet rims.

76. “Fuck You”

Cee Lo Green

Yesterday I was riding in the car with my mom when this song came on the radio. Even though I’m a grown man, I still felt uncomfortable as the chorus arrived, knowing the YouTube sensation lyrics of “Fuck You!” were just ahead. Then, just when it arrived, the lyrics “Forget you!” came out the speakers as my mom sang along. I took comfort in knowing my mom was oblivious to the actual lyrics, and it made me realize this song is great, with or without the cursing (although I’ll take the cursing version if I must choose).

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