2012 Music Reviews
Alcest, Les Voyages de l'Âme (2012) C
Had the majority of the album been as coherent and dream-like as "Beings of Light" I could see the "shoegazer" label fitting them, but then they go back to the tired screaming-followed-by-melodic junk. Even Isis has trouble making this work....
Battles, Dross Glop (2012) C-
As a rule, remix albums are generally a mess, as the various artists tend to 'reinterpret' their source track with great liberties, making it a dischordant listen; this is no different, with some of the remixes being quite memorable (The Field, Gui Boratto), while most are all-over-the-sonic-map (The Alchemist, Shabazz Palaces) or just ugly (Silent Servant, Yamantaka Eye). The original album (from 2011) is marginally better.
Battles, Gloss Drop (2011) C
The gap between Williams et al. and Phish just got a little smaller.
Beach House, Bloom (2012) B+
I knew I had to listen to this through several times because there was no way it was going to be the masterpiece "Teen Dream" was and I needed to evaluate it on its own terms (I had to do the same, for example, with Interpol's second LP). Legrand's voice is still majestic and Scally's guitar still compliments her keyboards magnificently, but the blissful, teary-eyed memory trip-out that was their previous album isn't as potent this time around; that album came from a (deeper, more agonizing) place that few musicians can access while for this one the two of them are happy to ride on pure talent. And don't get me wrong, they're really, really talented. I appreciate it - and enjoy it - without being transported.
Andrew Bird, Break It Yourself (2012) B
Finally, a Bird album I like! You have no idea how much of a relief this is to me: I didn't care much for his previous LPs, then I saw him in concert (and was stunned), then I relistened to his LPs and realized he wasn't maximizing his potential on record (which happens with a few acts; for some, it's the complete opposite). This one is sweet and delicate, and whoever he's working with got him to tone down the preening and pretentiousness (still apparent in tracks like "Near Death Experience," but it's lessened for the most part). The man knows how to play the shit out of a violin.
The Brian Jonestown Massacre, Aufheben (2012) D+
It's like Newcombe and Co. came up with nice riffs for songs, proceeded to play those riffs over and over again and forget about musical structure, lyrical complexity and the like - almost every track seems to get stuck in the same looping rut. Don't get me wrong, they can rock the crap out of those guitars and that tambourine ... but after twenty years and some incredible albums and songs, they're so much better than this.
British Sea Power, EP1 [EP] (2012) B
These kind gents from England have decided to release six EPs to coincide with some sort of continuous gig thing they're doing in Brighton. Why do it like this? Why not one massive LP? Why have signal flags on the stage? Why the stuffed wildlife? From EP1, "French Pornographic Novel" is a personal favorite.
Burial, Kindred [EP] (2012) B
So precise, so consistent, so transfixing: Mr. B. stands in front of his machines and mutters to himself, "I'm going to make dubstep that isn't garbage." It's like a cooking show with Emeril or Fabio: there are all the ingredients on the table, and then he throws everything in the bowl. It tastes like heaven.
Cardinal, Hymns (2012) C-
Sometimes when a band hasn't released new material in eighteen years, it's best not to kick up the old amps, you know what I mean? The lyrics are lame ("Love Like Rain" is like nails not on a chalkboard but being pulled from their sockets with pliers) and these jingle-jangle pop tracks are hackneyed. According to their distributor's web site, back in 1994 they were "arguably the best band in the world." They should have quit when they were ahead.
The Caretaker, Patience (After Sebald) (2012) B+
This is the spectral, dark lullaby-inspired soundtrack to the Grant Gee film (inspired by W.G. Sebald) that I haven't seen yet, but if the quality of the music here is any indication of how the good the movie is, it has to be at least half-decent. A lot of the 'compositions' sound like they were slowed down and played backwards, which might seem like a gimmick, but Mr. Kirby makes it all sound majestic and eerily soothing. Turn off the lights, shut out the world, mentally prepare yourself a watery grave. (He also released, for free, "Extra Patience (After Sebald)" for even more creakiness!)
Ceremony, Zoo (2012) D+
You know sometimes when you take a medication that they tell you is going to knock you out and you take it and are staring at your clock literally trembling with the jitters at 4 AM? Well these guys are the opposite: their warning label states that they're aggressive and loud, but I seem to get distracted mid track and tune them out. They're ordinary people. They say ordinary words.
Chairlift, Something (2012) C-
This tacky 80's revival needs to have its life support pulled. I believe the right to do so is listed in its (barely) living will. "Take It Out on Me" is dreadful, but then near the end of the album they almost seem to get it together ("Turning," "Guilty as Charged").
Christian Mistress, Possession (2012) C
Not bad for a hard rock bar band, but I listened to this sober and not surrounded by truck drivers staring at their glasses of Lord Chesterfield. Having a booze-swilling, heavily-tattooed female lead is a little different, but the music is fairly standard (for the genre).
Cloud Nothings, Attack on Memory (2012) C-
A tad more refined than their last album (released, oh, a few months ago), though that really isn't saying much, and those lyrics need a re-write by someone a little older than a perturbed high school sophomore.
Leonard Cohen, Old Ideas (2012) B
I've always believed that aging artists should never ever, ever, ever write their own personal eulogies, and the spectre of death hangs over this one a bit uncomfortably, but it's Leonard-freaking-Cohen we're talking about here, and even when he's facing his own eventual demise, he's got his tongue in his cheek and a smile a mile wide, ready to saunter into heaven and pat St. Peter on the back. He's less lustful but still loaded with regret; that's inevitable, I guess.
Death Grips, The Money Store (2012) C+
Their debut mixtape was this shotgun blast of fury with some clever wordplay; this lacks the same intelligent declarations and wordplay ("System Blower" and "Double Helix" are lame) and even the blasts of frenzied noise sound like add-ons to make one think there's more going on in this than there is. Basically, it's an average hardcore rap album with digital effects.
Lana Del Rey, Born to Die (2012) C+
She was unfortunately attacked for her performance on Saturday Night Live - and sure, she looked a bit awkward (particularly with her goofy single "Video Games"), but what did everyone expect her to do, writhe on the stage like Karen O? Shoot up heroin and foam at the mouth? Anything that garners that kind of immediate criticism has to be hitting some sort of nerve ... and if you really want to take shots, go right for the stupid lyrics ("One for the money! Two for the show!") not the production value or her voice. She makes Willow Smith read like - and seem as deep as - Anne Sexton.
Die Antwoord, Ten$ion (2012) D-
I'm just glad that I called how terrible they are with $O$. The only actual words I can make out of this are the expletives; they have nothing distinctive to say, and the novelty of them hailing from South Africa has worn off.
Geographer, Myth (2012) C
Starts well enough with the somewhat vibrant "Life of Crime," but then it becomes more of the same, like a soda that's gone flat or a whiskey with too much ice in it. They get a little life in their routine with "Shell Beach," then proceed to underwhelm with "The Boulder" - routine is routine....
Grimes, Visions (2012) C
Kind of drifts in and out like a weird dream and could have used a touch more consistency; it's atmospheric but also kind of forgettable. Her voice reminds me of Joanna Newsom's ... and that's an individual I'd rather not listen to again.
Jucifer, Calling All Cars on the Vegas Strip (2000) B
Sometimes the good stuff slips by without me knowing - I can't listen to every record out there, although I certainly wish I could. This husband-and-wife duo make some grungy, catchy noise-rock (the horns in "The Movements of Swallows" are simply great) - this release, their first, came out twelve years ago but if someone told me it was a 2012 release I'd believe it. According to the Wikipedia page on them, they tour constantly in an RV and play live "with extreme volume." That's a coupling that will hopefully last for a while.
King Crimson, In the Court of the Crimson King (1969) A-
If this did indeed inspire the progressive rock movement ... how come this is outstanding and those that followed lost the blueprint? Gets a bit roundabout in parts - they wander off and take a little long to 'get back' - but it's still an amazing journey.
Lotus Plaza, Spooky Action at a Distance (2012) B-
Pleasant (if a teensy bit flimsy) shoegazing from Lockett Pundt from Deerhunter - it starts stronger than it ends, probably because Pundt's voice (think of a sedate Julian Casablancas) and melodies tend to become a little static over time. Still, there are some really strong moments on this, including "Strangers" and its ambient lead-in.
The Magnetic Fields, Love at the Bottom of the Sea (2012) C
The gap between Merritt et al. and "Weird Al" Yankovic just got a little smaller.
The Men, Open Your Heart (2012) C
Inconsistent, and sometimes they come across as alt-country ("Candy"), while sometimes caustic art-rock ("Animal"), sometimes progressive rock-ish ("Country Song"), sometimes almost punk ("Cube"). Maybe the band name is spot-on: men can be fickle.
Miike Snow, Happy to You (2012) B-
Giddy Swedish pop that gives pop (and Sweden) a good name, and those synths are infectious. "Paddling Out" and "The Wave" just make me want to dance (in my head, of course).
Charles Mingus, The Black Saint and the Sinner Lady (1963) A
One of our mad, brooding, bruising jazz geniuses died young but left behind a stellar catalog of albums I've been, over the years, working through - I don't know the technical aspects of what he's doing a lot of the time, but knowledge of the mechanics of his music don't detract from the end result, which was always frenzied, dynamic and emotional. This four track album belongs in the (already crowded) top tier of his work, and that last number (the multi-part "Trio and Group Dancers") is a doozy.
The Mount Fuji Doomjazz Corporation, Egor (2012) D
Sorry, I don't feel comfortable attaching the beloved word "jazz" to anything this outfit's doing - sure, there may be instruments used for jazz compositions in this, but they're just so jumbled and tiresome, and the four pieces on this saunter and bellow but don't arrive at any place remotely powerful. They start light, then get louder and more dissonant; all it leaves you with is a headache. Obnoxious.
Napalm Death, Utilitarian (2012) B-
Yes, a shout-out to Bentham and Mill! Seriously, though, there is little more that I expect from death metal outfits than to be unrelenting and empowering (in their hostility) and this latest release from the long-running Napalm Death fellows is just that. Metal in all forms has been a guilty pleasure of mine from back when I was in grade school, and it's nice to know an old-standby is still just as fierce as ever. In the I-Listen-to-Too-Much-Weird-Music category: I knew that was John Zorn on "Everyday Pox" without reading the liner notes (he's either Just That Distinctive or I'm Just That Dorky).
Frank Ocean, Nostalgia, Ultra (2011) B
The Ocean exclusives that fill the bulk of this (from "Novacane" to "Dust") are really good - he's a thoughtful lyricist, and even when he gets vulgar it's kind of charming. It's the bookends that have me cringe: his rapping over MGMT's "Electric Feel" isn't the best, and blabbing over Coldplay's "Strawberry Swing" is an odious offense.
Omar S, It Can Be Done, But Only I Can Do It (2011) C
Widely-praised ... if only because he takes the safe road (sonically) and keeps it basic ... and dull. I don't think playing audio clips from porn movies in tracks is ever a good idea, unless you're Mr. Bungle. Because they knew how to do that.
Porcelain Raft, Strange Weekend (2012) A-
Italian Mauro Remiddi - currently holed up in Londres - decides to quit working on the countless other projects he has set before him, finishes that third glass of Campari and orange juice (for breakfast, naturally), duct tapes together ten luscious dream pop tracks and makes what's bound to be one of the most stunning musical breakthroughs of the year. It's impassioned without being pretentious, which is way more difficult to achieve than it might seem.
Portico Quartet, Portico Quartet (2012) B-
Eclectic mix of Radioheadesque digital creakiness and jazz - oh, and somewhere along here a guest singer pops up and occassionally there's that Kenny G-ish tenor sax that pops up. Still a rewarding listen, of course, and the mixture of all the musical elements sometimes adds up to something big ("Lacker Boo").
Frankie Rose, Interstellar (2012) C
Maybe Ms. Rose didn't get the memo, but we already have a Best Coast and Cults and we have Zooey, and we don't need any more nasally lead singers projecting over silky celestial backgrounds.
Shabazz Palaces, Black Up (2011) B
I didn't know a lot about them when this album was given to me, and the first thing I thought was "they sound like a slightly updated Digable Planets" ... and whattya know, that's precisely the origin. Ishmael Butler didn't reinvent himself, he just modernized his sound, and though the same complaint I had with Digable Planets applies (Butler's delivery is too dry for me), the chill-out, relax vibe and minimal construct makes it a solid recording. He's (still) cool like that, he's (still) smooth like that....
Shearwater, Animal Joy (2012) C-
This strikes me as being preening and self-important, and it may have something to do with Jonathan Meiburg's voice or it could be the unnerving delicacy of the tracks (finally breaking out with "Pushing the River"). Either way, it's a challenge to endure.
The Shins, Port of Morrow (2012) C
It's been close to a decade since the release of their highly praised "Chutes Too Narrow," and they're still basically doing the same thing, on both knees praying to college radio to play them. They try so very hard to be accomodating and pop-friendly and layer their sticky sweetness over the bread pudding they're spoon-feeding you.
Sigur Rós, Valtari (2012) C+
... And suddenly they're back with that iciness that made them so famous in the first place. Trouble is, of course, that they've become a little one-note in their time, and the tracks are barely distinctive from each other: an hour of creakiness.
Sleigh Bells, Reign of Terror (2012) C
Their first album was decent but I wasn't super impressed with it: there's a lovely woman singing over over-amplified guitars and pounding drums. It was a production trick, and it worked to some degree. This is more of the same, with the drums smashing and the guitars squeeling and, on certain tracks, there sounds like there's a stadium full of people cheering them on. They're like a faux-artsy hair band from the eighties. Like Whitesnake. With a degree from SUNY Purchase.
Spiritualized, Sweet Heart Sweet Light (2012) B
This latest release from Mr. Pierce, who had yet another ailment when recording this record (liver disease? dear Lord!), is both sonically inspired and lyrically drab, yet comes across as being a success by the time he ends up on the oddly sweet "So Long You Pretty Thing" and all but cajoles his audience to sing along with him ("God save your little soul"). It isn't his strongest album, but all those drugs and all that sickness can get the better of you after a while - he's now taking medicine to get better to make music for you to feel better to hear.
Squarepusher, Ufabulum (2012) C
Same problem I have here I have with Sigur Rós' newest - namely that I'm not sure Jenkinson (who's been at this for years) has really made his newest release that distinctive; it certainly isn't bad, but it's more of an alteration of the past than a step to the future.
Steinvord, Steinvord [EP] (2012) B
I remember when this "mysterious" IDM artist - whoever he or they could be - posted some tracks on Myspace a few years back and I was impressed with the talent of such a "no name" (ahem) electronic musician. If it is RDJ - and I'm thinking it is - he's the musical equivalent to Pessoa (and equally enigmatic). Regardless, it's an unpredictable and mesmerizing EP.
St. Lucia, St. Lucia [EP] (2012) C
Has a bit of the ol' Passion Pit running through this ("The Old House Is Gone") and gets a little too close to the Easy Listening category for my taste ("All Eyes on You"), but "Paper Heart" gets it right.
John Talabot, ƒIN (2012) B
Talabot needs to run a seminar in how to make house music, setting up a classroom-like setting where up-and-comers can sit down and he can curse at them in Spanish when the tracks his students make are too tame. See, there can be actual vocals! And the vocals can be uplifting (like Ekhi's contribution to "Journeys")! Sound samples can be unorthodox (the screaming on "Oro y Sangre")!
Zammuto, Zammuto (2012) B-
So low-key and basic it almost runs the risk of being inconsequential, but he keeps his head (and the album's) well above the waterline - the same thing could be said for his work (with Paul de Jong) as half of The Books. In fact, the tracks here sound a bit more cohesive and direct than The Books albums, which leads me to believe De Jong was the less organized/more experimental component of that duo.
Singles of the Year: Beach House: "Other People," The Brian Jonestown Massacre: "Blue Order / New Monday," British Sea Power: "French Pornographic Novel," The Caretaker: "Everything Is on the Point of Decline," Lana Del Rey: "Without You," Grimes: "Genesis," Lotus Plaza: "Strangers," Porcelain Raft: "Unless You Speak From Your Heart," Spiritualized: "So Long You Pretty Thing," St. Lucia: "Paper Heart," Zammuto: "The Shape of Things to Come"
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