THE MUSIC YEAR IN REVIEW
Our Critics Rank 2011 Best Albums
BRET LOVE’S TOP 10 ALBUMS BY GEORGIA ARTISTS
1. ATLAS SOUND
Parallax (4AD)
Veering from sample-laden folk and psychedelic ‘60s rock to indie-pop or even bossa nova seemingly on a whim, Bradford Cox’s latest solo album wraps listeners in a wispy hallucinogenic haze that often recalls classic 4AD bands such as the Cocteau Twins. More importantly, it suggests that Atlas Sound has grown into much more than a mere Deerhunter side-project, and may in fact be the vehicle through which he unveils his purest artistic self.
2. BLAIR CRIMMINS & THE HOOKERS
The Musical Stylings Of… (New Rag)
Crimmins’ debut blends ragtime, Dixieland and Gypsy jazz to create an imaginary soundtrack to some speakeasy from the Prohibiton era. He’s not the first Atlanta act to traffic in this anachronistic sound. But where other bands take a seductive route, Crimmins’ concoctions careen with a reckless sense of abandon that sounds like the bastard son of Tom Waits and Gogol Bordello playing piano in a salacious saloon.
3. BLACK LIPS
Arabia Mountain (Vice)
Under the guidance of producer Mark Ronson, this quartet has tightened up their sound while expanding beyond their garage-rock limitations. The fuzzy DIY haze has been replaced by a more polished sheen, with added layers of musical depth. Their attitude doesn’t seem remotely tamed, but their songwriting is more focused and inspired, honed to an edge that’s more sharp than serrated. Six albums into their careers, the Black Lips have boldly reinvented themselves simply by growing up.
4. MANCHESTER ORCHESTRA
Simple Math (Columbia/Favorite Gentlemen)
I’ve been extolling the virtues of Andy Hull’s passionate vocals, dynamic arrangements and emotive songwriting since 2008, and my affinity grows stronger with time. This concept album veers from the grungy stomp of “Mighty” to the alt-pop of “Pensacola,” from the blues-rock propulsion of “April Fool” to the haunting “Virgin.” Strings, synths and bold arrangements abound, showcasing a songwriter confronting personal demons head-on, occasionally losing control, but finding his creative voice in the process.
5. CUNNINLYNGUISTS
Oneirology (QN5 Music)
Oneirology (a.k.a the study of dreams) is this indie hip-hop duo’s best work to date. Mesmerizing tracks like “Darkness (Dream On),” “Shattered Dreams” and “So As Not To Wake You” reinforce the central theme, incorporating a variety of trippy sounds and effects to create a surreal, otherworldly vibe. But the album is hardly what you’d call sopoforic: Songs like “Hard As They Come” and “Stars Shines Brightest In the Darkest of Night” are infectious and accessible, extending an olive branch to mainstream hip-hop fans.
6. DAVID BERKELEY
Some Kind Of Cure (Straw Man)
One of the undiscovered gems of the modern folk music scene, Berkeley’s music and lyrics boast the mature, worldly sound of a person who has actually lived, with the great stories to prove it. To pay for his fourth studio album (produced by Tucker-based Will Robertson), Berkeley enlisted financial funding from his fans. Songs like the opening “George Square,” “Steel Mill” and the title track are some of his richest, most lushly arranged compositions to date, and the result is his most satisfying CD yet.
7. O’BROTHER
Garden Window (Triple Crown)
Produced by Andy Hull and Robert McDowell of Manchester Orchestra, this ATL quartet’s debut album is artful and ambitious, with dynamic, almost orchestral opuses that evoke comparisons to everyone from Tool and Godspeed You Black Emperor to Sigur Ros. You may find yourself wishing the band reigned in their sprawling compositional approach (5 of the 11 tracks run five minutes or more), but overall O’Brother shows enough originality and promise to leave prog-metal fans eager to see what they’ll come up with next.
8. GRINGO STAR
Count Yer Lucky Stars (Gigantic Music)
Working with producer Ben Allen, Gringo Star turned in an accomplished, accessible LP that further refines the raw promise of their debut. “Shadow” falls between early ‘60s garage-rock and the indie eclecticism of Vampire Weekend; “You Want It” and “Got It” benefit from perfectly harmonized vocals and infectious hooks; and guests Anna Kramer and Julia Furginele provide backup on the mesmerizing “Esmarelda.” But Gringo Star’s retro-inspired sound remains cohesive throughout, and eminently cool.
9. ELIOT BRONSON
Blackbirds (Self-Released)
Formerly one-half of beloved folk duo the Brilliant Inventions, Bronson’s solo debut proved he was ready to step out on his own, with an earnest sincerity a la Joshua Radin and Iron & Wine. With the simple-boy-with-simple-needs ballad “Old Car,” the infectious country-rock anthem “If You Need To Be Free,” the pastoral loveliness of “This Song” and the hauntingly orchestrated “Christmas Song,” Blackbirds proves Bronson a formidable songwriting talent in his own right, ready for the big time all by his damn self.
10. R.E.M.
Collapse Into Now (Warner Bros.)
R.E.M.’s latest (last?) album plays out like a guided tour through the Athens legends’ musical past. Having rediscovered their rock ‘n’ roll roots on 2008’s Accelerate, the trio feels more comfortable incorporating their folksy acoustic influences, resulting in a more expansive sound. From any other band, Collapse Into Now would be praised as a solid R.E.M. tribute. But from a group that has remained largely intact for over 30 years, it deserves recognition as a return to form that sent their influential careers out on a high note.
DEMARCO WILLIAMS’ TOP 10
1.ADELE
21 (Columbia)
Yeah, we know. This album sits atop nearly every year-end top 10. But what can I say? Sometimes you gotta call a duck a duck. Adele’s 21 is packed with emotion but never feels sappy. “He Won’t Go” and “Someone Like You” will be on melancholy mixes for years. “Rollin’ in the Deep” will leave fingers snapping even longer.
2. PUSHA T
Fear of God (mixtape)
Pusha’s fans love his dexterity. On one track, take Fear’s “My God,” he’s so damn grimy you’ll want to wash your hands. The next (“Alone in Vegas”) will be on some serious introspection. But even with two different feels, God knocks without pause, thanks to The Neptunes and Nottz’s gruff beats.
3. ROOTS
Undun (Def Jam)
How in the world the hardest working hip hop band found the time to put together this sonic masterpiece is beyond comprehension. Black Thought tells stories (“On Time”) without sounding preachy. Production is cinematic (“Lighthouse”) without being geeky. In other words, it’s the group’s best album in nearly 15 years.
4. GAME
The R.E.D. Album (DGC/Interscope)
In interviews, the Compton MC explained that “R.E.D.” means a “Re-Dedication” to the music. In the speakers, he proved just that by being vigilant with the verbs (“Ricky”) and impeccable with his taste in pissed-off percussions (Primo-produced “Born in the Trap”).
5. COMMON
The Dreamer/The Believer (Warner Bros.)
Truthfully, Rashid Lynn had nothing to prove to us. Yet, the man came out with a ninth studio record and showed everyone he still had flow (“Ghetto Dreams” with Nas), finesse (“The Believer”) and even a lil’ fight for youngsters too full of themselves (“Sweet”).
6. GOAPELE
Break of Dawn (Skyblaze/Decon)
Beyonce may have sold the records. Marsha Ambrosious might have wowed soul critics. But if you were an R&B fan who didn’t hear “Undertow,” “Right Here” or the other tender tracks on the trippy Oakland siren’s third album, shame on you.
7. DANNY BROWN
XXX (Fool’s Gold)
This Detroit slick talker won’t be everybody’s cup of Old E. Brown’s voice is almost cartoonish. And heaven knows every other song on this 19-track indie is some indirect ode to babes or barbiturates. But man, oh man, can the kid rhyme his ass off.
8. PHONTE
Charity Starts at Home (HBD)
Big Pooh, the other half of the underdog North Carolina rap group, Little Brother, dropped a hot record in ’11 too. Phonte’s gets the slight nod though because its Motown-inspired tracks stay with you longer. Oh, and then there’s “The Life of Kings,” one of the dopest posse cuts of the year.
9. BON IVER
Self-Titled (Jagjaguwar)
Ethereal. Earthy. Enya-esque. Listen, there are a number of adjectives that come to mind when taking a hike on this indie folk outfit’s second album. But there’s one word that stands out most after hearing Justin Vernon’s achy voice on “Perth” and “Calgary”: exhilaration, with a touch of oak.
10. MAYER HAWTHORNE
How Do You Do (Universal Republic)
There’s lots to dig about White Chocolate– his Temptations-like cooing (“Long Time”) and playful nature (“You Called Me”)- but what truly makes Hawthorne’s second toe-tapper special is his on-point writing from the heart (“The Walk”).
JOHN B. MOORE’S TOP 10
1. FLOGGING MOLLY
Speed of Darkness (Borstal Beat)
On their fifth full length, and first for their own label, the Celtic punks en camped in Detroit to draw inspiration about a down on the ropes America thanks to shitty political and economic policies. Equal parts righteous anger and optimism, Speed of Darkness is a perfect album for 2011. A nice “fuck you” to the 1%, penned just months before that moniker became a common term.
2. FOO FIGHTERS
Wasting Light (RCA)
I can’t fathom the backlash this band receives. They play brilliant hard rock and Dave Grohl has never tried to milk his rep in Nirvana – playing a completely different brand of music. Wasting Light is one of their best – a rock record for every Generation X kid now settled into life as a mature adult burdened with a mortgage, kids and the mind-numbingly mundane job they swore they’d never have. Though the band has made some solid albums in the past, Wasting Light is nearly spot on from the opening track to the very end.
3. CHUCK RAGAN
Covering Ground (SideOne Dummy)
There was handwringing in the punk community when Hot Water Music decided to break up to focus on their own projects. Frontman Ragan decided to pick up the acoustic guitar, pair off with a fiddle player and a stand up bassist and play working class folk rock/bluegrass. Covering Ground– his third solo album– proves all the worrying was for naught as Ragan is quickly earning a stellar reputation as a fantastic singer/songwriter reminiscent of everyone from the Guthries to Springsteen.
4. HAUNTED CONTINENTS
The Loudest Year Ever (Forest Park Recordings)
This one technically came out at the tail end of 2010, but didn’t really start to garner attention until 2011 (so I’m counting it). The 10 track album has been accurately described by frontman/guitarist James (just James) as “Old Weezer meets Buddy Holly and The Crickets,” but the fuzzed out pop songs also draw from old school R&B and soul. Can’t wait to see the follow up.
5. AMERICAN WEREWOLF ACADEMY
Everything Is Alright So Far (Damnably Records)
A baker’s dozen of new tunes and songs from earlier releases, all brimming with attitude and steeped in 60’s garage, punk-rock and Cheap Trick/Milk N’ Cookies-era power pop, one incredible song after the next. “Rock Show Tonight” (which tips its grease-smudged hat appropriately enough to The Replacements “Talent Show”) and the bratty album closer “Welcome to the Academy” (the best song The Ramones never wrote), are both worthy of any critic’s “song of the year” list… and inclusion on my top albums list.
6. TODD SNIDER
Live: The Storyteller (Thirty Tigers/Aimless Records)
On his latest album, folk’s reigning king of cool proves his studio work is still no match for his live shows. The songs themselves, while certainly impressive, like the stomper “Don’t It make You Want to Dance” and the why-the-hell-is this-song –not-a-classic-yet? “Conservative Christian, Right-Wing Republican, Straight, White, American Males”, take a back seat to Snider’s between song banter.
7. THE DROWNING MEN
Beheading the Songbird (Borstal Beat)
It helps to have fans in high places. Southern Cali’s The Drowning Men found kindred spirits in Flogging Molly, who have been touring the country with the five-piece for the better part of 2011. Flogging Molly’s frontman Dave King has been talking about these guys to anyone who will listen, so it was little surprise that he signed the band on his own new label. Beheading the Songbird is a wholly original collection of songs combining the attitude of punk with folk, indie and straight up classic rock.
8. FRANK TURNER
England Keep My Bones (Epitaph)
It’s been six years since Frank Tuner walked away from life in a hardcore band and swapped out the distorted guitars for an acoustic one. In that time he’s turned in an impressive collection of albums and defined the punk singer/songwriter genre. His latest album is just one more example (as if one were needed) of how confident Turner has become as a lyricists. A stellar collection about questioning and ultimately the choice to stay optimistic, the record may just be Turner’s best to date.
9. CHRIS TRAPPER
The Few and the Far Between (Starlit)
One-time Push Stars frontman Chris Trapper has been on his own for about a decade now, and you can’t help but feel frustrated at how undeservedly underrated he remains. His eighth album (counting EPs and a holiday release) is a nice combination of intimate folk tunes and great singer-songwriter pop songs with solid hooks. Why is this guy not huge?
10. COBRA SKULLS
Agitations (Fat Wreck Chords)
On Agitations, their third full length, Cobra Skulls have turned in their finest record so far. Not to say the early works were bad, just not as consistently great as this one. The record catches on the second track – the bouncy, Ramones-ish “Iron Lung” - and carries on strong to the end. With most songs clocking in at just around the two-minute mark the band gets in, tears it up and is gone before you realize just how much damage has been done. And isn’t that the way punk rock should be?
JON LATHAM’S TOP 10
1. WILCO
The Whole Love (dBpm)
The Whole Love takes all the great elements of modern rock music and blends them to perfection, yielding a tight, beautiful song cycle that jumps from style to style with ease. From the industrial groove of “Art of Almost” to the swell of “Born Alone,” from the catchy hook of “Dawned On Me” to the haunting slow burn of “One Sunday Morning,” Wilco proves themselves one of the greatest rock bands in the world. And they do so by delivering their music as if they had absolutely nothing to prove.
2. BON IVER
Self-Titled (Jagjaguwar)
Many a night has reached its end for me with this album playing in the background. To call this folk-rock is an injustice. Even if the rest of the album were nothing but Justin Vernon with an acoustic guitar, “Beth/Rest” sounds like the triumphant closing credits of an ‘80s movie, like a Bruce Hornsby song with a video produced by Jerry Bruckheimer. I’ll bet you Paste never described Bon Iver like THAT!
3. THE DECEMBERISTS
The King Is Dead (Rough Trade/EMI)
The new archetype of folk-infused rock. The Decemberists dropped the Rush-idolizing wet dreams that nearly wrecked The Hazards of Love and rebounded with a concise, twangy follow-up that is part-R.E.M. and part Music from Big Pink. The homegrown record is held together with Colin Meloy’s signature wordplay, which will leave many an English major quite… uh, “blithesome.” Guest spots from Gillian Welch and Peter Buck tow the line between College Rock and Appalachia.
4. HAYES CARLL
KMAG YOYO (& Other American Stories) (Lost Highway)
With a tongue that can both deliver stinging political jabs while still planted firmly in his cheek, Carll has crafted a poignant portrait of the new America in what stands as the best country album of the year. “Hard Out Here” and “The Lovin’ Cup” are delivered in the genuine beer-soaked drawl of Carll’s voice. The title track is a talkin’ blues a la Dylan set within the morphine-induced dreams of a wounded soldier. Look for appearances from fellow outlaws Todd Snider and Corb Lund.
5. JASON ISBELL & THE 400 UNIT
Here We Rest (Lightning Rod)
Here We Rest stands as the new benchmark for everything that follows it– truly a new high point for for the former Drive-By Trucker, both as a songwriter and performer. The beauty of “Alabama Pines” and “Codeine” show that Isbell’s old soul still shines, even with the amps turned down. His take on “Heart On a String” keeps the tones of home nearby, a terrific nod to the heritage of Muscle Shoals’ R&B legacy.
6. R.E.M.
Collapse Into Now (Warner)
This album is all the more wonderful in hindsight, knowing R.E.M. wrapped up their career with it. They managed to top the intensity of the fast-paced Accelerate while bringing back the classic jangly sounds of their early years. Look no further than “Mine Smell Like Honey” to find your taste of classic R.E.M., but never once does it seem formulaic or dialed in. Any band would love to see their legacy reach its conclusion with such a strong final chapter.
7. ADELE
21 (Columbia)
With less extraneous fanfare via tabloid press and a relieving lack of habitual missteps, Adele is the soulful new diva Amy Winehouse was destined to be. I’m already prepared to see this record and its artist mop up at the Grammys, considering that 21 might be the one album that NOBODY minded paying good money for. Is it possible that the savior of the record industry could actually have talent? Let’s hope so.
8. MY MORNING JACKET
Circuital (ATO)
Circuital is bombastic, announcing itself with a literal trumpet fanfare. The title track swells to Who-volume arena rock proportions. The freakish refrain of “Holdin’ On To Black Metal” is a hell of a absurd rock hook. All in all, Circuital turns up the amps and shakes loose of the Prince jams that spiced up the last record. Certainly an album that sounds best when cranked.
9. FOO FIGHTERS
Wasting Light (RCA)
Twenty years from now, kids will be discovering Wasting Light the way others are just discovering Nirvana now. Pat Smear’s signature guitar attack definitely makes a difference in the fierce edge of this record, and it’s terrific to hear him playing with Grohl again. With Nevermind producer Butch Vig at the helm and a cameo rom Krist Novoselic on bass, Grohl builds a testament to his unforgettable past while paving a new level in the legacy he has built with his own outfit.
10. COLDPLAY
Mylo Xyloto (Capitol)
Haters will hate, but this concept album’s capacity to tread the line between mainstream acceptance and indie innovation by blending alt-rock and glossy pop is impressive, “Paradise” and “Every Teardrop Is a Waterfall” are automatic fan favorites; no doubt they will be integrated gloriously into the live show. Chris Martin seems to not ever be willing to settle, yet every Coldplay record sounds familiar enough to make even the strictest pop fan comfortable.
LEE VALENTINE SMITH’S TOP 10
1. AMANDA PALMER
Amanda Palmer Goes Down Under” (Liberation)
While critics laud the admittedly great PJ Harvey epic “Let England Shake,” let’s not forget Palmer’s equally great, albeit low-key and restless little Aussie concept album. The Dresden Dolls co-founder continues her solo explorations and experiments with a very mixed bag of her unsettlingly carnal, cabaret-style tunes, each cryptically inspired by Australia and New Zealand.
2. THE BANGLES
Sweetheart Of The Sun (Model Music)
From a year that offered unnecessary collections of new material from Blondie, Duran Duran and even The Human League, The Bangles’ return is a welcome ray of sunny pop. With Matthew Sweet’s smart production, the set evokes the best of the band’s early ’80s harmonies and psychedelic leanings. Worth the price of admission for their swirling cover of Todd Rundgren’s late ‘60s nugget “Open My Eyes,” but the originals from Susannah Hoffs, Vicki and Debbi Peterson are also finely-crafted jangle hymns.
3. INDIGO GIRLS
Beauty Queen Sister (Vanguard / IG Recordings)
Amy Ray and Emily Saliers’ 14th studio LP finds the duo just as vital as in their early acoustic duo shows, continuing to blend uncompromising lyrics, gorgeous harmonies and memorable melodies. Reunited with producer Peter Collins, who worked with the band on ‘94s Swamp Ophelia, the new release continues their fairly-shared writing and lead duties, while deftly spanning genre, politics, and personal relationships.
4. NICK LOWE
The Old Magic (Yep Roc)
British New Wave pioneer Lowe continues his deliberately paced ruminations on aging and decorum with another hushed collection of warm ballads. Fans of his rough and rockin’ work be damned, he’s settled into his distinguished elder statesman role with ease. Here, he offers another collection of genteel gems, politely presented with soft-spoken grace and gentle wit.
5. WILCO
The Whole Love (dBpm)
Finally on their own label, Jeff Tweedy and the band offer yet another smorgasbord of sounds on The Whole Love. The whole album mirrors Wilco’s usual all-over-the place sensibilities, quickly shifting from rousing rockers to noisy confusion to quiet contemplation, while never leaving the listener behind -- or bored with the process.
6. TONY BENNETT
Duets II
& BARBRA STREISAND
What Matters Most: Barbra Streisand Sings The Lyrics Of Alan and Marilyn Bergman (Sony)
Bennett garnered the most attention with his successful Duets follow-up, due in part to appearances by Amy Winehouse and Lady Gaga. But both of these albums affirm the longevity of a timeless standard. Bennett’s been singing these songs for years, and the distractions of his guest stars only reinforce the subdued power of his delivery. Streisand had never recorded these Bergman songs before, but reminds us that, in the age of temporary superstars, these impeccable vocalists never disappoint.
7. PAUL SIMON
So Beautiful Or So What (Hear Music)
In a year when old-time icon Lou Reed became a punch line for his over the top collaboration with Metallica on the laborious Lulu, singer-songwriter Simon didn’t embarrass himself by continuing to embrace change and tricky soundscapes. In fact, it often works beautifully, with tinges of the standard acoustic numbers tempered with the pulse of polyrhythms and amped-up gospel and soul.
8. THE B-52’s
With The Wild Crowd: Live In Athens, GA (Eagle)
Last February the B-52’s performed a typically energetic set at the venerable Classic Center, not far from the modest house where they debuted at a party on Valentines Day 35 or so years ago. The set was typical of their current tour, with a set list including most of their catalog faves. The usual suspects are here, including “Love Shack,” “Rock Lobster,” and the live debut of fan favorite “Wig” from their often-overlooked ’86 release, Bouncing Off The Satellites.
9. THE DECEMBERISTS
The King Is Dead (Rough Trade/EMI)
The best new R.E.M. record in 20 years. The literate and engaging album features guitarist Peter Buck on several songs and his trademark sound is an undeniable thread that helps mark this release as the band‘s best (and most accessible) collection so far. The irresistible “Down By The Water” might as well be “The One I Love,” stripped of the yearning southern gothic art leanings. Fans of Robyn Hitchcock, Guadalcanal Diary and even Poi Dog Pondering will find plenty of references and listening pleasure.
10. UNCLE GREEN/3 LB. THRILL
Rycopa (Self-released)
The new album from quirky Beatle-esque quartet Uncle Green, later known as 3 Lb. Thrill, was actually recorded a decade and a half ago. Fan-funded and finally released, the massive 32-song collection was recorded in a house in Little Five Points in Atlanta, conjuring a sort of freewheeling “Music From Big Pink” feel. Instead of a rustic approach, principle songwriters Jeff Jensen and Matt Brown offer a hearty banquet of catchy Uncle Green-type songs, alternating with the heavier psych of 3 Lb. Thrill.
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