While 2011 wasn't my favorite year ever, it had some good music to redeem it, at least from where I stood.
So here, in no particular order, are the albums that defined the past twelve months of my life along with my rationalizations for why they captured my head and heart.
Yuck: "Yuck"
Last winter, back when a musician friend first told me how much I'd like this album, I was unprepared for how quickly it would become a mainstay in my CD player. Whether I'm making my ears bleed with Yo la Tengo-like distortion and Dinosaur Jr.-like guitars or getting moony to some sweet slower lyrics, this collection of songs has something for every one of my moods.
Favorite track: "Shook Down" because Yuck isn't just a '90s noise copycat.
The show: October at the Black Cat, here
Washed Out: "Within and Without"
A chillwave artist named Ernest sounds like the set-up for a bad joke, but I've been a fan of his beautiful sounds since I got 2010's EP "Life of Leisure" and made it my beach record. The new full-length is even lusher and longer, meaning Ernest can take me further into his world of swirling sounds.
Favorite track: "Eyes Be Closed" because it sounds like the beginning of an evening with a lover.
Wye Oak: "Civilian"
Charm City never grabbed me like it has the past few years, first with Beach House and this year with Wye Oak. These two musicians can make a lot of noise and the resulting dream pop has enough full-on shoegaze to satisfy my needs while they can also do the earnest folk-based thing to balance it out.
Favorite track: "Holy, Holy" because girls and guitars are the root of all energy.
The show: September at the National, here.
Other Lives: "Tamer Animals"
Sometimes you hear a band and it just stirs your soul. That's how I felt about Other Lives, but the first time I heard them was live and their majestic folk pop made me wish I could make time stop. There is never a throwaway note or word sung with this band and I will sing their praises to the world.
Favorite track: "Dark Horse" because horns and folk music make me swoon.
The show: October at Black Iris Studio, here.
Bon Iver: "Bon Iver"
Believe me, I hate putting something so obvious on my list but even if no one else had, I would have had to. If "For Emma, Forever Ago" was the soundtrack to having your heart broken, this one is the sound of a man in love and so it's even more beautiful, if that's possible.
Favorite track; "Calgary" because his lyrics are poetry. "I was only for your very space." Sigh.
The show: July at the National, here
Raphael Saadiq: "Stone Rollin"
I'm happy to see how many performers are trying to keep R & B alive, or even resurrect it from what it has degenerated into. When I listen to this album, it sounds timeless to me, like it could have come from decades ago. Saadiq is mid-forties, so he may actually have memories of the music he is perpetuating. And thank god he is.
Favorite track: "Just Don't" because Stevie Wonder should always be an inspiration for the ages.
Sleepy Vikings:"They Will Find You Here"
I happened into these guys at a show and fell in love with their spacey guitars, chill drumming and overall jangly pop as they played their entire set seated. I won't deny their shoegaze influences but it's filtered through something simpler and more earnest.
Favorite track: "Calm" because it wears its emotion on its sleeve and that's a wondrous thing.
The show: June at Sprout, here.
Joy Formidable: "The Big Roar"
Last year's EP "A Balloon Called Moaning" made my best of list but I still had to put their first full length on this year's list. I worship at the altar of music from a cave and Ritzy and company deliver with an audio assault; her little girl voice and big fuzzy guitar (not to mention immense pedal board) are the stuff my late night dreams are made of.
Favorite track: "I Don't Want to See You Like This" because it charges ahead and leaves the weak behind.
The show: March at the Black Cat, here.
I know, I know. No one else could possibly have come up with this oddball assortment of favorites and call it their best of list except me.
But in my world, it's new music that makes the world go round. Well, among other things...
Showing posts with label bon iver. Show all posts
Showing posts with label bon iver. Show all posts
Monday, January 2, 2012
Sunday, July 31, 2011
For Karen, Forever Ago
I bought my ticket for the Bon Iver show the second week in May, which meant I had to wait nearly three months for it.
At the time, the opening band was an unknown entity, so I felt doubly lucky when it was announced that the Rosebuds would open.
I'm a huge fan of the Raleigh band, having seen them in May 2008 when they opened for British Sea Power in Charlottesville. I fell in love with them that night.
As I told a friend today, I'd have gone to the show tonight if it had just been them.
But of course, it wasn't; the biggest draw was Bon Iver, made all the more significant because Richmond's own Reggie Pace is a member of the band these days.
When I arrived, the crowd was already shoulder to shoulder and the Rosebuds weren't coming on for another 45 minutes. That's highly unusual.
Just as rare was the temperature inside the National. I've been to shows in July there and about froze to death because of the air conditioning.
Tonight was nothing like that. If someone bumped into you, it was sticky. Body heat radiated off of everyone.
A friend of a friend recognized me as soon as I took up my usual post in front of the sound booth. She, too, was a big Rosebuds fan so I was happy to meet a kindred soul.
There's no one genre that the Rosebuds fit neatly into because their sound varies from folk to full on rock and a lot in between.
Like countless bands before them, the relationship between the two principals (who were once married but are no longer) makes for great songwriting fodder.
Tonight's crowd was either eager to be entertained or smart enough to appreciate the talent of what they were seeing, but seemed to give the Rosebuds the audience they deserved.
But when it came down to it, most people were there for Bon Iver. From the moment the band took the stage, the energy in the room was palpable.
Having Reggie up there, such a familiar presence in Richmond with his tireless performing out with No BS, Glows in the Dark, and FTBB, made for an electricity in the room.
Justin Vernon noticed it, acknowledging the crowd throughout for their enthusiasm.
A couple of people bordered on obnoxious; a guy who tried to start chants of "RVA!" and a girl who kept shouting, "I love you, Justin."
After awhile, the crowd began telling them to shush.
Some of the fans who prefer the band's first album "For Emma, Forever Ago" have a problem with the new self-titled album being far less spare and more lushly produced.
For them, the large touring band behind Vernon gave additional weight to many originally-simpler songs. Percussion played a major role in the show (drummer nirvana even), as did horns, and Reggie did both.
That said, some of the most spare songs retained that quality with just Justin and his guitar and a surprisingly hushed crowd.
I refuse to pick a favorite album. I fell in love with "For Emma, Forever Ago" back in 2008 when I was living another life. It was beautiful; his voice and earnestness captured me. I wore that CD out.
But that album, written after Justin lost his job, got dumped and had mono resonated in a different way with me once I experienced all that (substituting pneumonia for mono) myself a few months later.
The new album sounds fuller and is obviously the work of a man in a much better place. He has a talented girlfriend, his health appears robust and, well, his job is what he was doing tonight.
Nice work if you can get it.
You can't sound heartbroken, sick and upset when you're happy. Nor should you try to.
So I can honestly say I like both the albums equally, unlike a lot of people, for the different life stages and mindsets they represent.
The band covered Bjork, closed the set with the heartbreaking "For Emma" and came back for an encore that included the crowd favorite "Skinny Love" and a crowd singalong.
Sweaty as the room was, I saw no one leave before the encore was over. Perhaps they were stuck to their neighbors, but that, too, is unusual.
As I was waiting in the endless line to exit the building, I stood next to Bon Iver's sound guy, whom Justin had introduced during the show as a major talent in their sound.
"You must love your job," I said to him.
"It takes a lot out of you," he acknowledged. "But yea."
"I'm sure it gives a lot back," I countered. "That was such an amazing show. But I guess it always is."
"Actually, this was one of the best ever. This was something special tonight," he said smiling.
"Well, it was great for us to see Justin and Reggie," I explained.
Instant reaction. "Reggie is such a sweet guy," he enthused. "And so talented!"
Seems like the rest of the world is discovering that Mr. Can't Stop, Won't Stop Reggie Pace is one in a million.
At the time, the opening band was an unknown entity, so I felt doubly lucky when it was announced that the Rosebuds would open.
I'm a huge fan of the Raleigh band, having seen them in May 2008 when they opened for British Sea Power in Charlottesville. I fell in love with them that night.
As I told a friend today, I'd have gone to the show tonight if it had just been them.
But of course, it wasn't; the biggest draw was Bon Iver, made all the more significant because Richmond's own Reggie Pace is a member of the band these days.
When I arrived, the crowd was already shoulder to shoulder and the Rosebuds weren't coming on for another 45 minutes. That's highly unusual.
Just as rare was the temperature inside the National. I've been to shows in July there and about froze to death because of the air conditioning.
Tonight was nothing like that. If someone bumped into you, it was sticky. Body heat radiated off of everyone.
A friend of a friend recognized me as soon as I took up my usual post in front of the sound booth. She, too, was a big Rosebuds fan so I was happy to meet a kindred soul.
There's no one genre that the Rosebuds fit neatly into because their sound varies from folk to full on rock and a lot in between.
Like countless bands before them, the relationship between the two principals (who were once married but are no longer) makes for great songwriting fodder.
Tonight's crowd was either eager to be entertained or smart enough to appreciate the talent of what they were seeing, but seemed to give the Rosebuds the audience they deserved.
In a particularly satisfying Rosebuds moment, a very tall couple moved directly in front of me just before the band started.
But when they began putting their heads together and talking to each other non-stop, a girl behind me yelled "Shut up!" at them and they soon moved.
She was my hero
But when it came down to it, most people were there for Bon Iver. From the moment the band took the stage, the energy in the room was palpable.
Having Reggie up there, such a familiar presence in Richmond with his tireless performing out with No BS, Glows in the Dark, and FTBB, made for an electricity in the room.
Justin Vernon noticed it, acknowledging the crowd throughout for their enthusiasm.
A couple of people bordered on obnoxious; a guy who tried to start chants of "RVA!" and a girl who kept shouting, "I love you, Justin."
After awhile, the crowd began telling them to shush.
Some of the fans who prefer the band's first album "For Emma, Forever Ago" have a problem with the new self-titled album being far less spare and more lushly produced.
For them, the large touring band behind Vernon gave additional weight to many originally-simpler songs. Percussion played a major role in the show (drummer nirvana even), as did horns, and Reggie did both.
That said, some of the most spare songs retained that quality with just Justin and his guitar and a surprisingly hushed crowd.
I refuse to pick a favorite album. I fell in love with "For Emma, Forever Ago" back in 2008 when I was living another life. It was beautiful; his voice and earnestness captured me. I wore that CD out.
But that album, written after Justin lost his job, got dumped and had mono resonated in a different way with me once I experienced all that (substituting pneumonia for mono) myself a few months later.
The new album sounds fuller and is obviously the work of a man in a much better place. He has a talented girlfriend, his health appears robust and, well, his job is what he was doing tonight.
Nice work if you can get it.
You can't sound heartbroken, sick and upset when you're happy. Nor should you try to.
So I can honestly say I like both the albums equally, unlike a lot of people, for the different life stages and mindsets they represent.
The band covered Bjork, closed the set with the heartbreaking "For Emma" and came back for an encore that included the crowd favorite "Skinny Love" and a crowd singalong.
Sweaty as the room was, I saw no one leave before the encore was over. Perhaps they were stuck to their neighbors, but that, too, is unusual.
As I was waiting in the endless line to exit the building, I stood next to Bon Iver's sound guy, whom Justin had introduced during the show as a major talent in their sound.
"You must love your job," I said to him.
"It takes a lot out of you," he acknowledged. "But yea."
"I'm sure it gives a lot back," I countered. "That was such an amazing show. But I guess it always is."
"Actually, this was one of the best ever. This was something special tonight," he said smiling.
"Well, it was great for us to see Justin and Reggie," I explained.
Instant reaction. "Reggie is such a sweet guy," he enthused. "And so talented!"
Seems like the rest of the world is discovering that Mr. Can't Stop, Won't Stop Reggie Pace is one in a million.
Thursday, December 31, 2009
My Favorite Music of 2009
I'm finally posting my Best Music of 2009 list, complete with justifications and occasional long-winded back stories. Five of the bands on my list I also saw live in 2009 (and three of them prior to that) and several others are on my wish list for seeing live in 2010. So here goes:
Fanfarlo: Reservoir because I think this album is flawless start to finish. There's not a weak song on it and it's an amazing debut for a band with the ability to play any and every instrument. I will always feel fortunate to have seen them with only 100 other devoted fans at the tiny Iota.
Passion Pit: Manners because no one reinvents 70s dance music so well. Also, for its back story; any band whose starting point is a guy writing a collection of songs for his girlfriend for Valentine's Day is a guy I want to listen to. A real shame that more people weren't at this show.
Neko Case: Middle Cyclone because she's Neko Case. Because she deigns to sing for us. Because she's had a hard time with her love life. Just because of that voice. I saw her twice this year, if that tells you anything.
The Decemberists: Hazards of Love because who else wrote a rock opera on this most intimate of subjects in 2009? Because even though seeing them in early 2007 was a far more transcendental experience than this year's show, they have a gift that no one else does.
Grizzly Bear: Vekatimest because of their unique acoustic sound and to-die-for vocal harmonies. Their combination of psychedelic, pop and folk is incredibly alluring to me, especially live, even if Norva crowds are obnoxious.
Yo La Tengo: Popular Songs because a band that can remain this creative after 25 years together is doing a whole lot right. Yes, you could call them shoegaze or noise pop and definitely experimental, but they never cease to impress me. And their live show in C-ville last year with its listening room environment is forever etched in my head.
Muse: Uprising because they make an amazing amount of sound for just three skinny Brits. Their symphonic (bombastic even) sound is unlike anything else I regularly listen to. I saw them back in 2007 at W & M and lamented that they were only the opening band.
Animal Collective: Merriweather Post Pavilion because someone needs to move the neo-psychedelic banner forward and these guys are just the ones to do it. Listening to this album is an exercise in pure sound and endless texture, no drug enhancement needed.
Great Lake Swimmers: Lost Channels because I love this whole folk resurgence going on now. GLS make pretty music and I mean that in the most complimentary way. Their incredible harmonies are the stuff of lost love and hope.
The XX: The Xx because of its spare sound, haunting male and female vocalists and because it's night time music. Listening to this album is like having an audio dream. I'd like to take it out of my CD player and give it a rest, but I can't bring myself to do it.
My only entry in the Best EP category is Bon Iver's Blood Bank and I include it for sentimental reasons. When I first discovered Bon Iver last year, it was the full-length "For Emma, Forever Ago" which took on a whole new meaning for me after the personal trauma of my life early this year.
Musician Justin Vernon created that album as a way of dealing with the breakup of his band, his relationship and being sick with mononucleosis.
Since I had been laid off, dumped and hospitalized for pneumonia, I could seriously relate to his pain.
He created heartfelt music in order to stay sane and I'm still trying to figure out what I can create to do the same. Blood Bank is his most beautiful song to date, hence the EP's inclusion here.
I know my list would not match another human being's on the planet and I'm okay with that. I took a lot of pleasure from these albums in 2009 and, god knows, I needed it.
Music and love are the essentials of life and since one was absent from mine, the other took on an even greater importance.
So thank you to these musicians for giving me part of what I needed in 2009.
Fanfarlo: Reservoir because I think this album is flawless start to finish. There's not a weak song on it and it's an amazing debut for a band with the ability to play any and every instrument. I will always feel fortunate to have seen them with only 100 other devoted fans at the tiny Iota.
Passion Pit: Manners because no one reinvents 70s dance music so well. Also, for its back story; any band whose starting point is a guy writing a collection of songs for his girlfriend for Valentine's Day is a guy I want to listen to. A real shame that more people weren't at this show.
Neko Case: Middle Cyclone because she's Neko Case. Because she deigns to sing for us. Because she's had a hard time with her love life. Just because of that voice. I saw her twice this year, if that tells you anything.
The Decemberists: Hazards of Love because who else wrote a rock opera on this most intimate of subjects in 2009? Because even though seeing them in early 2007 was a far more transcendental experience than this year's show, they have a gift that no one else does.
Grizzly Bear: Vekatimest because of their unique acoustic sound and to-die-for vocal harmonies. Their combination of psychedelic, pop and folk is incredibly alluring to me, especially live, even if Norva crowds are obnoxious.
Yo La Tengo: Popular Songs because a band that can remain this creative after 25 years together is doing a whole lot right. Yes, you could call them shoegaze or noise pop and definitely experimental, but they never cease to impress me. And their live show in C-ville last year with its listening room environment is forever etched in my head.
Muse: Uprising because they make an amazing amount of sound for just three skinny Brits. Their symphonic (bombastic even) sound is unlike anything else I regularly listen to. I saw them back in 2007 at W & M and lamented that they were only the opening band.
Animal Collective: Merriweather Post Pavilion because someone needs to move the neo-psychedelic banner forward and these guys are just the ones to do it. Listening to this album is an exercise in pure sound and endless texture, no drug enhancement needed.
Great Lake Swimmers: Lost Channels because I love this whole folk resurgence going on now. GLS make pretty music and I mean that in the most complimentary way. Their incredible harmonies are the stuff of lost love and hope.
The XX: The Xx because of its spare sound, haunting male and female vocalists and because it's night time music. Listening to this album is like having an audio dream. I'd like to take it out of my CD player and give it a rest, but I can't bring myself to do it.
My only entry in the Best EP category is Bon Iver's Blood Bank and I include it for sentimental reasons. When I first discovered Bon Iver last year, it was the full-length "For Emma, Forever Ago" which took on a whole new meaning for me after the personal trauma of my life early this year.
Musician Justin Vernon created that album as a way of dealing with the breakup of his band, his relationship and being sick with mononucleosis.
Since I had been laid off, dumped and hospitalized for pneumonia, I could seriously relate to his pain.
He created heartfelt music in order to stay sane and I'm still trying to figure out what I can create to do the same. Blood Bank is his most beautiful song to date, hence the EP's inclusion here.
I know my list would not match another human being's on the planet and I'm okay with that. I took a lot of pleasure from these albums in 2009 and, god knows, I needed it.
Music and love are the essentials of life and since one was absent from mine, the other took on an even greater importance.
So thank you to these musicians for giving me part of what I needed in 2009.
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