2011 Albums of the Year: 50-41

Last week had me counting down my Top 100 Songs of the Year for 2011. This week I will be counting down my Top 50 Albums of the Year, starting today with Numbers 50-41.

50. Salva - Complex Housing

West Coast producer Paul Salva certainly knows his way around a production studio. His debut cd Complex Housing runs the gamut in styles from standard hip-hop, electro-house, LA beat obsessives, Dirty South, to dubstep, barely letting the listener catch their breath. Even with so many different genres, each track still flows together seamlessly. Standout tracks are the hyper-programmed "Issey Miyake," glitchy throbbing bass-heavy "Blue," and the re-imagining of Robert Owen's Chicago house classic "I'll Be Your Friend." Complex Housing is constantly morphing itself, new sounds and textures emerge and disappear, all floating in a perfect mix.

49. Nicolas Jaar - Space Is Only Noise

21 year old Providence/New York/Chilean producer Nicolas Jaar has a lot on his plate these days. In between running his own record label (Clown and Sunset), remixing other artists (Matthew Dear, Azari & III, The Bees), and attending Brown University He has been compared favorably with Chilean techno lord Richard Villalobos, however, Jaar's sound is not likely to make you move swiftly to the dancefloor. While his base is dance music, he, like James Blake/Mount Kimbie et al, are interested more in texture and subverting the normal expectation as to what dance music is. Jaar's debut album Space Is Only Noise, is what I wished James Blake to be. Blake's album was too one-note at times, which resulted in killing the album's momentum. Jaar's album is more varied and interesting, constantly keeping the listener on edge, not knowing where he is going to lead. He balances the track list with gorgeous instrumentals, full of found sounds and audio collages, along with haunting electro ballads that show his bank of impressive production skills. Jaar's voice is not as lovely an instrument as Blake's, but he uses his more texturally, making it more of another component of the music.

48. Azari & III - Azari & III

2010 was the year everyone seemed to be on a 90s rave kick, every dance song flavored with glow sticks and ecstasy, and now 2011 is the come down from the excess, songs haunted by the hangovers of the the night before. Canadian mystery R&B collective The Weeknd detail nights of debauchery and shifty morality, unable to hide the shame in the blaring morning light. Similarly, Canadian house music group Azari & III also deal with the effects of all night partying, however, instead of focusing on the seediness of it all, there is much room for joy and excitement amidst all the darkness. Drawing from artists like Soul II Soul, Massive Attack, and newer acts like Hercules and Love Affair, showcasing an affinity for deep Chicago house. Azari & III are made up of Alphonse Lanza and Christian Farley on the boards, with two front vocalists, soul diva Cédric Gasaida , who is full revelry mode, tempered by the deep pulsing counterpoint voice of Fritz Helder, acting as the world weary guide to the proceedings.

47. Kate Bush - 50 Words For Snow

Eccentric British art-rock goddess Kate Bush is never predictable, releasing music at her own pace and not following any trends. You are not going to hear any hip-hop rhythms or dubstep breaks in her tracks. 50 Words For Snow is only her second release of new material in over 17 years, and is a particularly odd concept album about snow. Each of the tracks touch in some form on snow, winter, and how human beings and nature interact with one another. It is a languorous album, with only 7 tracks, the shortest of which is just under 7 minutes, while the longest clocks in at almost a quarter of an hour. Bush is in no hurry to get to her destination, allowing the songs to breathe and choose their own path. Most of the tracks are composed of merely piano, and delicate backing instrumentation, and of course, Bush's dramatic voice. Only someone like Bush could create music this loopy and strange and make it come out haunting and moving, rather than silly and out of touch.

46. Gil Scott-Heron and Jamie xx - We're New Here

Jamie xx, the beat master behind The xx, was approached to "rework" Gil Scott-Heron's 2010 album I'm New Here, bringing it up to date with the latest sounds and trends. In addition to his phenomenal production work and instrumentation for his own band, Jamie xx has recently been the go-to remixer for a wide array of acts, from Adele, Glasser, and Nosaj Thing; so, it made perfect sense to get the old guard and the new guard together. Interestingly enough, Smith only met Scott-Heron a couple of times at some gigs, and only communicated with him via traditional mail. Smith would articulate his approach for each track, and Scott-Heron would either agree or make suggestions. The resulting work, while not a track for track reworking of the album, is a fascinating album in its own right. The raw and gritty feel of I'm New Here, while still a background presence, is instead replaced with a brighter, more urgent pulse. "I'm New Here" is almost spoken word performance featuring Scott-Heron's voice reminiscing about trying to pick up a woman, and counter's it with a pitch-shifted sample from Gloria Gaynor's "Cassanova Brown," which makes it a Rashoman-like recounting of the event. Jamie xx is careful not to tamper too much with what made the original tracks so special, usually adding minimal touches or surprising counterpoints. In only a couple of instances does he radically change a song. On the original album "NY Is Killing Me," the track was a minimal rush of handclaps and haunting atmospherics. The re-imagined track retains the paranoia and creepiness, but propels it forward with an almost reggaeton beat. We're New Here is a fabulous coda to the late Scott-Heron's legendary career.

45. Esben and the Witch - Violet Cries

Esben and the Witch, lead by Siren-voiced singer/percussionist Rachel Davies, leapt out the gate with their debut album Violet Cries, their sound fully formed. Mining from artists as diverse as Dead Can Dance, Siouxsie and the Banshees, probably the entire 4AD label roster, Esben and the Witch are dramatic and gothic (but not goth) without being pretentious or mocking. Songs usually build from a minimal template (heavy, droning guitars, hushed and muted electronic beats and keyboards, and Davies' haunting voice) while gathering strength and force. Violet Cries is a very difficult, dark listen, full of moody passages and haunting melodies. At times, it feels that the weight of the music will come crashing down, but there are so many amazing, subtle textures lurking around the corners. Tracks like "Eumenides" are crafted with such care, taking time to build, respecting and utilizing silences as well. Expect major things from this band in the future.

44. The Field - Looping State of Mind

The Field's (Swedish producer Axel Willner) debut album From Here We Go Sublime was an instant classic of minimal trance techno. His uncanny ability to take simple loops and build them into such gorgeous works of art was nothing short of breathtaking. Listening to the album now, I still get the same rush I did when I first heard it. The follow up, Yesterday and Today, seemed hesitant and stagnant. While it was still beautiful and excellently produced, it just seemed like more of the same, and was a slight disappointment. With his third album Looping State of Mind, Willner doesn't exactly reinvent the wheel, but he definitely takes more risks, adding subtle touches that surprise and charm. Looping State of Mind began as more of the same to me, but ended by really subverting my expectations. By adding just slight new touches to his trademark sound, Willner opens the door to allow for a lot of whimsicality to his tracks. With every listen there is something new I discover, and yet all of the tracks are bound by his distinctive sound. Looping State of Mind is a definite grower that latches on to you and won't let go. By far, one of the best techno albums of the year.

43. Yuck - Yuck

Similar to when Interpol was compared with Joy Division and other post punk luminaries a few years ago, UK buzz band Yuck is similarly saddled with comparisons to their heroes, however, in this case, the albatross around their neck are the 90s alterna-guitar bands like Dinosaur Jr., Sonic Youth, Pixies, Pavement, Jesus and Mary Chain, et al. There really is no way to sidestep these comparisons I'm afraid. The band definitely wears their influences on their sleeves, but unlike bands who are mere parrots, Yuck uses those sounds merely as a base, building their own unique take on driving, fuzzed out, effects heavy guitar rock. And with the band members barely into their 20s, it is amazing how fully formed that sound is.

42. Hauschka - Salon Des Amateurs

Volker Bertelmann is a Dusseldorf, Germany experimental composer who creates music under a variety of monikers, but uses Hauschka as an outlet for playful mixes of treated piano in a more pop vein. Treated piano usually consists of objects (which can be anything really) placed between the piano strings to create new sounds. Salon Des Amateurs is Hauschka's latest album and one that is an interpretation of dance music, more specifically house music. Of course, this being dance music based on treated piano, it is not the kind of music that will make you rush the dance floor. It is more headphones music than four to the floor head bangers. But what it lacks in BPMs, it more than makes up for it in textures and complexity, which sounds more academic than it is, as this is very playful music with lots of subtle touches. While the piano is front and center on the album, it is not all ambient, new age doodling. Hauschka works on this album with Múm drummer Samuli Kosminen and Calexico's John Convertino and Joey Burns for additional percussion which propels the album and gives it force and drive.

41. Kuedo - Severant

One half of the moody, dubstep duo Vex'd, Jamie Teasdale, aka Kuedo, drops the beat heavy compositions in favor of a more retro-leaning sound, pulling from sources such as Vangelis, Mike Oldfield, and Tangerine Dream, to create a languid collection of pristine instrumentals that sound both futuristic and anachronistic at the same time. The most obvious touchstone would be the icy instrumental soundtrack to Blade Runner run through a Georgio Moroder beat machine, but the contrast is with the vaguely hip-hop-esque beats, with crisp snares and tinny hi-hats. While a few tracks hint at Teasdale's more BPM friendly work, the majority of tracks unfold deliberately, taking several listens before their charms are discovered. The synths are sparkling and clean, and the programming is precise, and you get lost in the world that Teasdale creates. In fact, the more I listen to the record the more I find myself entrapped in its beauty.

Drake: Take Care - Album Review

Drake
Take Care
Rating: Grrrr

Canadian rapper/singer Drake has said that he was upset with how his debut Thank Me Later came out, wishing it were more polished and deliberated over. Based on the high quality of that album, Drake must be an unforgiving perfectionist. His tracks are thoughtful, unlike most high-profile rappers, relentlessly pursuing new, fresh sounds, willing to skirt the fence between pop music and more experimental textures. And his verses and rhymes, while boastful at times, are also surprisingly self-depreciating and sincere. Take Care, the follow up, continues that trend, finding Drake still dealing with becoming successful, rich, and famous, enjoying the trappings of success, but wanting more. Drake is still utilizing producer Noah "40" Shebib, but finds room to use friends The Weeknd and Jamie xx for other tracks. While there are plenty of pounding, dancefloor beats on Take Care, the majority of the album is muted and minimal, focusing on mood and nuance.

The first track leaked from the album, "Marvin's Room" is a perfect example. Recorded in Marvin Gaye's Hollywood studio where he dissected his divorce from wife Anna Gordy, veering from regret, pain, bile, sadness, and spite. Drake similarly dissects a past relationship, turning to the ultimate drunk-dial fantasy, imploring his ex to "fuck that ni**a that you love so bad/I know you still think about the times we had/I say fuck that ni**a that you think you found/And since you picked up I know he's not around." But knowing he has lost her for good, his refrain of "I'm just saying you can do better/tell me have you heard that lately" becomes lonelier and lonelier as the track progresses.



Drake sings more than raps on Take Care, and while his range is fairly limited, his voice is silky and smooth and imbibes the songs with the right amount of sadness and pathos. The standout track "Doing It Wrong" has Drake lamenting the loss of a girl, but knowing he has to get away from her if he will ever heal, singing "so cry if you need/I can't stay to watch you/it would be the wrong thing to do." Drake enlists Stevie Wonder to end the track with a hauntingly sad harmonica solo.



"Shot For Me" lays Drake's velvet voice over skittering mid-tempo beats, telling off the woman who left him for another man.

Shot For Me - Drake by worldhiphopfirst

The most interesting tracks are those where he goes outside of the mainstream. His collaboration with Jamie xx and Rihanna on the title track is particularly successful. Jamie xx takes a sample from his own collaboration with the late Gil Scott-Heron and adds it to a light, moombahaton beat and dark, house piano chords.



And on "Crew Love" he takes a cue from The Weeknd, creating a track full of the paranoia and darkness associated with the Toronto R&B collective.



Drake is still game for his style of boasting, but looking at it from a distance, both loving it, appreciative of it, but curious as to why it is happening to him. A series of tracks shows Drake's increased confidence in his rap style. "Headlines" is a buzzy rap/sung track dissing the people who don't believe in him.



"Underground Kings" chronicles Drake's rise to the top, laying a lowkey flow to busy programmed beats and twinkling guitars.



"We'll Be Fine" is a hard hitting lament that fame is fleeting and Drake is going to enjoy it while he can.

Drake - We'll Be Fine by pashaivanov

"HYFR (Hell Ya Fuckin' Right)" has Drake dizzily rushing through the opening verses showing his improved flow.



Some of Drake's other collaborations are somewhat predictable, but don't suffer because of it. I love the bouncy, rapid-fire flow of "Make Me Proud" with a typically hyper-freaky rap from Nicki Minaj:



"The Real Her" is a gorgeous ballad, with stuttering beats and treated pianos, featuring lovely guest verses from Lil' Wayne and Andre 3000.

Drake Ft. Lil Wayne - The Real Her by LitoStarr

Take Care shows Drake with improved confidence in his rapping/singing, and being more focused with his music ideas. At 16 songs and 80 minutes, there is a bit of bloat to the record. The first half is such perfection that the back half has to suffer from it. Aside from that small issue, Take Care is one of the best records of the year, and for those looking for rap and R&B with something more substantial to it, this is the record to buy.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Gil Scott-Heron and Jamie xx: We're New Here

Gil Scott-Heron and Jamie xx
We're New Here
Rating: Grrrr

Gil Scott-Heron's 2010 album I'm New Here was his first release in over 16 years. I will admit I have not followed Scott-Heron's career all that closely, so I can't attest to how that album stands up to the rest of the music in his catalog, but I will say it was a striking release. The music was minimal, ghostly, and cavernous, the perfect canvas on which to showcase Scott-Heron's gravelly baritone and seen-it-all survivor lyrics. Richard Russell, XL label founder and the producer of I'm New Here, approached Jamie Smith beat-maker and producer of The xx to re-contextualize the album, bringing it up to date with the latest sounds and trends. In addition to his phenomenal production work and instrumentation for his own band, Smith has recently been the go-to remixer for a wide array of acts, from Adele, Glasser, and Nosaj Thing; so, it made perfect sense to get the old guard and the new guard together. Interestingly enough, Smith only met Scott-Heron a couple of times at some gigs, and only communicated with him via traditional mail. Smith would articulate his approach for each track, and Scott-Heron would either agree or make suggestions. The resulting work, while not a track for track reworking of the album, is a fascinating album in its own right. The raw and gritty feel of I'm New Here, while still a background presence, is instead replaced with a brighter, more urgent pulse.

Smith, although only 22 years old, has a vast knowledge and respect for music of all ages and genres, and what could have come off as a ridiculous attempt to "modernize" Scott-Heron, is more a tribute to him and how he really is ageless and timeless. Smith draws inspiration from many different sources, even sampling Scott-Heron's vocals from older tracks and merging them with the new tracks. One of the standouts is lead track "I'm New Here," almost a spoken word performance featuring Scott-Heron's voice reminiscing about trying to pick up a woman, and counter's it with a pitch-shifted sample from Gloria Gaynor's "Cassanova Brown," which makes it a Rashoman-like recounting of the event.



The centerpiece of the album, "My Cloud," takes vocals for an unreleased track for the I'm New Here sessions and marries it to a lush, Four Tet soundscape, casting Scott-Heron as an R&B lothario:



Smith is careful not to tamper too much with what made the original tracks so special, usually adding minimal touches or surprising counterpoints. In only a couple of instances does he radically change a song. On the original album "NY Is Killing Me," the track was a minimal rush of handclaps and haunting atmospherics. The re-imagined track retains the paranoia and creepiness, but propels it forward with an almost reggaeton beat.



"I'll Take Care of U" is transformed into what could easily be an xx track. Smith uses all the weapons in his arsenal, creating a sweeping canvas of house music piano, haunting guitar work from The xx's Romy Madley Croft, and squiggly electronics.



Although Smith draws from many different genres, there is a nice cohesiveness, and thoughtful juxtaposition of styles within the flow of the record. Moving swiftly from dub:



to dubstep/sub bass explorations:



and even drum and bass:



The only thing that keeps this release from being higher up on my scale is the reliance on too many interludes. Five of the thirteen tracks are interludes, and some are less than twenty seconds long. I am assuming Smith incorporated them as a way to connect the longer tracks together, perhaps thinking the stylistic differences would be too jarring. Unfortunately, I think the opposite occurred, and it takes the listener outside the experience too often. With that said, however, it is a minor quibble and doesn't detract from the overall success of the record.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top albums of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been trimmed or polished.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

What a weird, strange week it has been. I need for things to get back into a more stable routine. To take my mind off all the craziness, here is the latest roundup of videos that are making me drunker than a Catholic priest on Saint Patrick's Day:

I've really been getting into the new "re-imagining" of Gil Scott-Heron's album by Jamie Smith of The xx. In all deference to Scott-Heron, I will have to admit that I enjoy this album better than the original. This is a great version of the track:



Coachella is thankfully coming up in a little over a month. Glasser is a band I am really interested in seeing. This is a live version of one of my favorite tracks on her album Ring:



I will have to give props to my friend Dan for making me listen to hardcore punk supergroup OFF! I love their album which is descriptively titled First Four Eps. 16 songs blazing over 17 minutes. Perfect.



Hercules and Love Affair released this cover of The xx track "Shelter" and take a plaintive ballad and turn it into a sexy house track.

Shelter (XX Cover) by moshi moshi music

Last week I posted the first video from the new Radiohead album The King of Limbs. Of course, due to the odd sight of Thom Yorke doing a choreographed dance routine, the inevitable parodies ensue. I've seen ones with Yorke dancing to Beyonce's "Single Ladies," but the funniest to me is this small clip of "outtakes." Classic.



Another band I am excited to see is the Canadian collective Broken Social Scene. This is a typically humorous video from them.



Dense, thick, viscous dubstep from Joy Orbison:



Although none of my Coachella compatriots shares my enthusiasm for seeing The Chemical Brothers, I am very excited about seeing their live set, as I have never actually seen them before. Here is one of my favorite videos they did. It is very creepy.



Planningtorock is a very strange, but very interesting performer in the same mode as Fever Ray. Love this oddly captivating video.



Lauryn Hill is playing Coachella this year and we're all betting she will put on a cracktastic set. She should be this year's Sly and the Family Stone.



This single from the new Lykke Li album Wounded Rhymes has vaulted itself into the top single of the year for me at the moment.

Videos of the Week

Once again the weekend is mercifully upon us and we are supposed to have incredibly unseasonable warm temps for at least another week. So, to get things started out right, here is the roundup of the videos this week that made my spring sprung:



The shock surprise of the week was the announcement that Radiohead was releasing their new album this week via download. Another surprise was them moving up the download date from tomorrow to today. Of course, I left home before finding out and won't get to download until later. To whet my appetite, they've released the first single and video for "Lotus Flower." Sounds very minimal and beat heavy. I like it so far. Not so sure about Thom Yorke's dancing though.



My friend and Coachella buddy Dan introduced me to this band, and their album Eyelid Movies keeps getting better with each listen. This is the second single/video from the album, and I hate to say I never noticed how hot Josh Carter is. I might have to get on the rail at their show at Coachella.



If you have ever been around enough hipsters, you will understand how true this video almost is.



Tremendously silly first video from Cut Copy's new album.



Bouncing and buoyant song from Daedelus; with a really cute, sweet animated video.



I think Adele has one of the best voices in music today; unfortunately, I think she needs to stretch the boundaries of the songs and music she sings. This remix from Jamie Smith of The xx shows how, in the hands of the right musicians/producers, she could really stand out.



This is another remix from Jamie Smith, taking a stark and almost impenetrable track from Gil Scott-Heron and making something wonderful out of it.



Kele, the lead singer of Bloc Party, released a solo album this year of really cool electronica. The album is a definite grower. This is one of my favorite songs.



Really well done commercial that takes a long time getting to what it is about, but makes you immediately want to watch it again to see how you could have missed it.



PJ Harvey commissioned Seamus Murphy to direct videos for a majority of tracks for her brilliant new album Let England Shake. This is one for the title track.



Arcade Fire won the Grammy for Album of the Year. Here is the amazing video directed by Spike Jonze for the title track.



Flood and Alan Moulder produced the new album from The Pains of Being Pure at Heart and you can definitely tell they have given their sound some extra muscle.



Duran Duran is playing Coachella this year in support of their phenomenal new album. This is probably my favorite song by them. If they do not play it I am going slap a bitch.



I was lucky enough to see Baths at this show. He has some boundless energy.



This Kraut-rock inspired track is one of my favorites off Mogwai's latest album, Hardcore Will Never Die, But You Will.