Songs from 2011 - Part 10 - Spidey's Curse

A little research reveals that Mark Ronson produced the new Black Lips record, and a little more research reveals this fella manned the boards on records by powerhouses Nas and Wale, as well as on a record by someone named Adele, whose Limp Bizkit cover, "Keep Rollin' Rollin' Rollin' in the Deep," wowed critics this year.

Not surprised Arabia Mountain sounds so good anymore. Psychedelic punk with nods to the 60s. I hear King Khan and the Shrines too.

I only wish the songs were better. Some are good and many are so-so, but "Spidey's Curse" is a stunner. The vocal melody takes surprising turns, and it turns me on. I also vibe on that lead guitar line. Bonus points for the dumb lyrics.

Songs from 2011 - Part 9 - Queen of Hearts

In this interview, Fucked Up's Damian Abraham talks about a touring version of the band, one without him as vocalist. I say he's got it backwards. Fucked Up rules live because he's got the mic. What I want from Fucked Up are more guest vocalists on-record, a paring-down of Damian's role. Fucked Up's hour-long records, such as 2011's David Comes to Life, wear on me because of that bark that I adore so much in person.

That in mind, "Queen of Hearts" is the finest song on DCTL. The guitars are layered gorgeously, Damian gets two minutes to do his thing, and then it's the triumphant break for the female vocalist. The latest iteration of Fucked Up needs this song as a template. I want a record of songs like "Queen of Hearts."

 

Songs from 2011 - Part 8 - All the Sun that Shines

It's the best time of the year for people who follow online music journalism. What I do is cross-check the year-end lists, note the records that keep cropping up, listen to them in rapid succession, and winnow out the wack (like Kate Bush, Youth Lagoon, Liturgy, Bon Iver, Beyonce, Drake, Joyce Manor, Adele, James Blake, and on and on) from the dope (Black Lips, Paul Simon, James Ferraro, Julianna Barwick...). 

The lists also remind me about what I should have listened to all along. The distinctive cover of Peaking Lights's 2011 release, 936, caught my eye since spring. Worried that it might be standard psych rock revival, I ignored it. Joke was on me, though, because it's wonderful.

I mostly get down to "All the Sun that Shines" and "Birds of Paradise Dub Version." Deep grooves, reverbed chant vocals, spaced-out synths. "All the Sun" even begins like "Kokomo," which should clue you in to the sunshining mood that prevails. Peaking Lights were a nice surprise.

Songs from 2011 - Part 7 - Blue Eyes

Destroyer's new album, Kaputt, seemed destined to garner hype for a week and then disappear. A record with its quirks (corny saxophone, corny keys, corny everything) should not be enduring. Too many bands recycle 80s tropes, but we don't include Dan Bejar in that conversation because he's motherfucking Destroyer, and he's been on his game for like two decades. For me and for a lot of the internet with year-end lists, Kaputt was durable and worthy of revisiting. "Blue Eyes," with its quick start, sultry female backing vocalists, and laid-back groove stood out to me, but I wouldn't blame you if you prefer "Chinatown," "Savage Night," or "Poor In Love." Don't be ashamed or disgusted with yourselves.

Unfortunate end-note: Kaputt didn't work live for me at p4k.

 
 

Songs from 2011 - Part 6 - Sad Girls

I first heard Big Troubles while panning for Gold Zounds, and I thought they were great. That song, though, was from their first lp, and it sounds totally different from the offerings on 2011's Romantic Comedy. The song-writing is better on Romantic Comedy, but I hold the squelchy production on Worry close to my heart. They switched labels, and that's okay, because Slumberland took the reins from Sarah Records. 

"Sad Girls" is endlessly addictive with its sweet melody and melodramatic lyrics. Great record, great band.

Songs from 2011 - Part 5 - Doughnut for a Snowman

Could it be that all Robert Pollard needs to make another stellar lp is the name Guided By Voices? The solo work since 2006's From a Compound Eye has been marginal, at best. Boston Spaceships were sorta cool, but I'm still listening to Alien Lanes when push comes to shove.

"Doughnut for a Snowman" is the second mp3 from the new album Let's Go Eat the Factory. The first was "The Unsinkable Fats Domino." Whereas that sounded like a wack solo-Pollard deep cut, "Doughnut" is the best song he's put out since songs from FACE. That record is phenomenal, in case you couldn't tell, and so is "Doughnut." It's not "classic" in most senses; it's a mid-fi, mid-tempo Pollard vehicle that sounds like a solo cut. But it's the flourishes that make GBV records from Pollard songs, and this one's got loads: the bizarre pan flute intro, the subtle orchestration, and the abstract lyrics.

The hammer, of course, is Tobin Sprout. As usual, his backing vocals complete the song. His entrance at the second verse is so welcomed, and before we can tire of "Doughnut," GBV ends it. Now that's classic.

"When everything goes right for her, when everything goes wroooonggg."

Songs from 2011 - Part 4 - Jamie Marie

If tonight's sold-out show at Lincoln Hall is any indication, the hype surrounding San Francisco's Girls is outta control. I watched a 20 minute interview they did with John Norris, fer Chrissake. On the other hand, they deserve the hype because the record is terrific. It's the best to come out this year, and I am obsessed with it.

Here's the cut that the hypebeasts keep missing. It's "Jamie Marie," and it closes Father, Son, Holy Ghost. I guess it's easy to ignore a song when the full band doesn't participate, but check out these lyrics. Goddamnit, those are some poignant break-up lyrics. Almost wanna break up to wallow in them all the way. Crystal-clear electric guitar playing from my savior Chris Owens, followed by the thrilling full-band organ-solo drop-in take this shit into the next stratosphere, and also to the top of my carefully monitored top 25 on iTunes and last.fm. In case there was any doubt about whether or not I really like the music I post.

Songs from 2011 - Part 3 - Believer

A friend recommended John Maus's Heaven is Real to me years ago on the strength of the song "Do Your Best." I loved that record then, but it took Maus four years to follow it up and I forgot about him.

"Believer" is Maus's best song yet. Like "Do Your Best," "Believer" relies on bass drum on the 2s and 4s and a plodding bass line keep the pulsing, antiquated synths in check, and when he sings they call me the believer! I must take his word for it. "Believer" is a song from another time and place---maybe space, maybe the future, or maybe the past. It's just about the finest thing I've heard this year. I'm especially fond of the bridge and final choruses. You'll see this one on year-end lists, believe me.

Songs from 2011 - Part 2 - Out of the Eye

In 2009, Woods damaged the flow of their new LP Songs of Shame by slotting "September With Pete" fourth. Normally I approve of risky decisions like this, but the song is bad. And long. I skip it, and you probably do too. Check the play count on iTunes.
And it's a shame because Woods can create memorable experimental sounds. When they performed at Pitchfork Fest 2011, their jams weren't the best part, but they weren't bad either, not like "September" is.

The new album Sun and Shade is good. "Pushing Onlys" and "Who Do I Think I Am?" probably should be my songs of 2011, but here's "Out of the Eye," in which Woods uses their homemade sonics to write a Neu! song. Motorik drumming, psych guitar, and that distant echo-y noise thing that only Woods' weirdo with the headset can make. It's like we're back in '77. Not as thrilling as "Negativland" but what is? Sun and Shade has one other long song, and while not as memorable, it also doesn't point so obviously to one genre or musical movement like "Out of the Eye". This might appeal to you, oh dear listener. Woods in 2k11: writing the complete LP.

Songs from 2011 - Part 1 - If You Leave...

Last year, I started talking about my favorite songs in September, but mostly in December when everyone else was talking about them. I denied my readers access to great music because of it, and I apologize---oh my god---I'm sorry. You could have been downloading instead of carrying on with your lives.

Anyway, it's useful to talk about these things now, so here goes.

The Men nearly de-mapped you last year with songs like "Lazarus" from their lp Immaculada. This year, they're back with Leave Home, a ripper on Sacred Bones (check out their offerings). As with "Lazarus," "If You Leave..." opens with noise/ feedback/ fuzz/ a preview of the noisy music to come, and then launches into a delayed, reverb-y shoegaze jam. The rest of the record is mean.

I only mention it because they're playing in Chicago next Friday. How come Googling "The Men Show Chicago" didn't turn up what I wanted? (Got weirder when I included "hardcore").