Hey folks! It’s been a while since I’ve shared any comics about music with you. I suppose I’ve seen them, but nothing really grabbed me enough to want to share.
But today I found this story, by Matthew Bogart, called The Chair’s Hiatus, and I highly recommend you read it.
Let’s say you are a computer programmer/nerd/punk. Could there be a more perfect expression of your person than a graphic visualization of your concert attendance for the year?
This is how my friend Pam has chosen to sum up 2011, and frankly I think it’s so awesome I wish I’d done it myself.
How would you sum up your year?
Throughout December CHIRP Radio presents its members’ top albums of 2011. The next list is from Tony Breed.
(Click here to get the complete list of CHIRP Radio members’ picks.)
It’s rare to find an album that really grabs you and smacks you around this way. There’s something about these afropop-inspired polyrhythms combined with Merrill Garbus’s balls-out singing style that just gets under my skin.
PJ Harvey has been making music for years and is still totally on top of her game. This album is really top-notch.
Yes, Fleet Foxes. Folky harmonies, sweet melodies, beards. I’m not made of wood, people.
Thanks to a long-delayed US release, I get to put this album on this year’s top ten despite having had a copy myself for two years. I can tell you it stands the test of time; I still listen to it often.
Dengue Fever has been doing more or less the same thing for a while (and doing it well). With Cannibal Courtship, they finally break the mold, with excellent results.
I love John Vanderslice, but for me his albums have always hovered at about 11 on my end-of-year list. But on White Wilderness, he teams up with the Magic*Magic Orchestra and really kicks his game up a notch.
Basically, sardonic piano cabaret music. I love this guy. (If the description “sardonic piano cabaret music” doesn’t pique your interest then I don’t know what to say to you.)
Oh Jens. Everything you do is so enjoyable.
Like Dead Can Dance with Guitars, and fantastic drumming that propels it along.
I would think that by now Radiohead would have worn out their ability to make this kind of music so well—you know, said everything they can say? Anyway, they haven’t.Throughout December CHIRP Radio presents its members' top albums of 2010. The next list is from local cartoonist, CHIRP Radio DJ, and Marketing Co-Director Tony Breed.
(Click here to get the complete list of CHIRP Radio members' picks.)
It’s been a great year for music, which makes it a hard year for making a top 10 list. (I could easily have made a top 20.) As usual, I labored too hard over this list, and will want to rearrange it in a few month’s time anyway. Well. I can stand by my decisions through the end of the year, anyway.
It’s a little bit rock and a little bit soul and a little bit hip hop and a little bit 1960’s Disney musical. Janelle Monáe debut full-length album is impressively diverse, but more importantly, it works, start to finish. It’s also proof that the album format is still vital – don’t just buy the songs you like from iTunes, buy the whole thing and listen to it start to finish.
James Murphy’s latest (and last, so he says) album is his best yet. This Is Happening mines the depths of 1980’s synthpop (think The Human League) without sounding like a retro fetishist. I think I’m OK with this being the last LCD Soundsystem album (because I suspect Murphy has developed this idea as far as it will go), but I do hope we continue to hear from him in other projects.
Brilliant. Newsom is also an artist who just keeps getting better. OK, I accept that she’s not for everyone. But if you haven’t made your mind up, this is the album to check out. The music on Have One on Me is complex and dense and gorgeous. I recommend listening to it on headphones.
More good headphones music. The Golden Archipelago explores the theme of life on islands in 11 lush and heady tracks with that prog-rock edge I find so irresistible.
Nothing sounds like Ariel Pink except Ariel Pink. And to be honest, I never really got it before. Some songs I liked, but generally I could take or leave the albums. I don’t really know what it is about Before Today that is so good, but I just love this album. It’s got a wistful, nostalgic quality to it — but not idealized; murky, like memory.
Hot, from start to finish. Kings Go Forth revisit disco and funk and make you want to get up on the floor and dance.
Avant garde music makes you think, but it’s not always easy on the ears. Cosmogramma is good music and a good listen. The album includes both samples of Sun Ra and samples of people playing ping pong. All that could have been very good, or terrible. Fortunately for us, it’s excellent.
It’s entirely possible that out of all my picks for this top ten list, this is the album I will end up listening to the most. It’s not the lyrics, though they are good; it’s not the beautiful melodies – it’s Laura Marling’s gorgeous, gorgeous voice that really carries this album.
After an 18 year hiatus, Mark Gane and Martha Johnson are back with new material. Frankly, I was worried. This is one of my favorite bands; what if it wasn’t good? Comeback material is so often weak. Well, no worries, this album is pretty great.
One of my favorite local bands, Canasta makes smart, catchy chamber pop. The Fakeout, the Teaser, and the Breather further develops the band’s sound. I have special affection for “Choosing Sides”, a cheerful-sounding tune about an ordinary, ugly divorce.Throughout the month of December we’ll be posting lists of the best music of the year as determined by the volunteers that make CHIRP what it is. Today’s is from CHIRP’s March Director and DJ, Tony Breed.
They say the album is dead; people are just interested in singles. I say the album will never die. Sure, most CDs these days are just collections of songs written at the same time — not really “albums” at all — so why not just buy the good songs and leave behind the filler? (This is not news; it’s been the case for decades, but it’s only been recently that you can buy any single songs that interests you.)
But there are still people making real albums: collections of songs around a central theme; songs that proceed in order and sound better as a whole than as individuals; or sometimes albums that tell stories, like an opera or a ballet. No less than four of my top ten albums of the 2009 are true albums: The Decemberists, The Flaming Lips, Madness, and Sufjan Stevens. And the rest? Well they are good too.
You know what I love about the Decemberists? As they’ve gotten more popular, and switched to a major label (minor-major, perhaps), they’ve just gotten weirder. the Hazards of Love is not just a concept album, it’s an actual story told in song, like any one of the story-songs from Picaresque elongated into a full album. And it’s brilliant. It’s suffused with prog-rock goodness, and features guest vocals by Shara Worden of My Brightest Diamond and Becky Stark of Lavender Diamond. The one flaw? With Colin Meloy singing two roles and narrating, it’s a little hard to follow. Two more guest vocalists would have been welcome. (Ooh! Ooh! The Magnetic Fields’ Stephin Merritt as The Rake; would that not have been great?)
Another album with a dash of prog rock and a good dose of weird. I discovered The Flaming Lips with 2002’s excellent Yoshimi Battles the Pink Robots, where the sweet, odd and tuneful title track is followed by a wild instrumental breakdown featuring screaming. Embryonic is like that track: it grabs you by the collar, throws you to the ground, demands your attention.
And now for something completely different: a fantastically adorable duo who make videos for all their songs and post them to their YouTube page. Perhaps you, like me, saw their amusing cover of Beyoncé‘s Single Ladies when that was being forwarded around. Perhaps you didn’t then go to their video home page and listen to some other songs. If you had, you probably would have fallen in love and bought their album, as I did. Singer Nataly Dawn has a gorgeous voice, and Jack Conte’s instruments and production create perfect confections. Promise me you will check them out.
Take note: if you are a band and you want to change styles for an album, this is how it’s done. It’s Blitz’s electro dance sound is reminiscent of Ladytron and CSS, as well as a good chunk of 1983. It certainly helps to have Karen O, who has great presence, vocally (see her collaborations with Har Mar Superstar and The Flaming Lips, and her work on the I’m Not There soundtrack).
I am a sucker for an album that moves through a variety of styles, and here the Noisettes are, pushing all of my buttons. Well‚ it’s more like an overview of Motown, with all the requisit hooks, but a dash of rock thrown in. Downsides: the album is a bit overproduced, particularly for a band known as one of the rowdiest live acts in London. And their disco-inflected hit, Don’t Upset the Rhythm (Go Baby Go), is a bit too slick, repetitive, and under-written for my taste (but I still groove to it every time it’s on, and never get the urge to skip to the next track).
My goodness, is Madness back? And could this be any good? YES. Peppy, cheerful ska, great stuff from start to finish, never repetitive‚ and capped off with an epic 10-minute track incorporating elements of South Asian music, in honor of the Punjabi population now living around Norton Folgate in London.
For me, Sonic Youth had always been a band that can cross the line with their dissonance and noise, into something I just don’t want to hear (e.g. the second last few tracks of Goo). The Eternal sees them instead riding that line, never crossing it, always staying close to the edge. It is a whole album that is like their best stuff. It is Sonic Youth sounding like Sonic Youth in the best possible way.
Oh Annie Clark you are an odd one, with your dark vignettes, sweet vocals, and angular notes. I dub you the inheritor of the Kate Bush/Tori Amos weird-lady singer-songwriter mantle. Keep it up. I look forward to your whole career. I can’t wait to see what comes next.
Yeah, I know, sometimes you just want to smack him. Ambitious, grand projects that get attention: Sufjan Stevens is an artist who knows how to get himself noticed. But at the same time, he’s good. He delivers. If only every artist who was this talented set themselves on projects of this magnitude. What this is, basically, is Stevens trying to make classical music. It’s like Sketches of Spain for 2009 (in fact, it has some real echoes of that great 1960 Miles Davis album), except instead of being about beautiful Spain, it’s about the BQE, the most unloved and unlovely highway in the five boroughs of New York. It features Stevens’ signature arpeggios and flute trills, as well as a funky electronica breakdown in the middle. It also comes with a DVD video (the album being really a soundtrack to the video) featuring a trio of hula-hoopers that I confess I have not yet watched. (Yes, hula-hoopers. You do kind of want to smack him, don’t you?)
Great vocals, great lyrics, great songs. She just hits the ball out of the park with this album. The singing is so emotive, and the melodies so evocative.
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