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.
