Beer and Pavement

Top 10 Albums of 2011

Posted in MoL, Pavement, Records by SM on December 16, 2011

OK. I’ve waited long enough. Here are my top-10 albums of the year. Most should come as no surprise, if you’ve been reading this blog all year. To start things off, we have the #10 album that I picked from a list of albums just outside the top-10

10. War on Drugs – Slave Ambient

I currently do not own this record. I missed their show in town. Finally, at some point in November, I gave the record a listen on Spotify and was blown away. Ever since, I’ve been playing the shit out of this record. I don’t think it cracks the top-9 as they have stayed constant all year or at least since they’ve been released. Either way, this is a strong, strong record. It has that lazy garage rock mumble former member Kurt Vile does so well, but there’s an aura of shoegaze and shitgaze all in one album. It’s cool and hauting, even beautiful in some parts. I still regret not seeing this band when they came to town. Oh well. I’ll make up for it by propping their album up as one of the best of 2011, a year that has turned out a surprising amount of good-to-great music.

9. Bon Iver – Bon Iver

Although “boring”, there is nothing wrong with this album and that should count for something. After falling instantly in love, I soon decided that it was my mission to hate it. I couldn’t. Somehow, Justin Vernon achieves epic soundscapes, big noise, soul, urgency, and bitter cold in the most subtle of ways. I want to hate this record, but I can’t. It just feels right. Gone are the quiet, hushed log cabin recordings of yesteryear, but the intimacy is still there. This album is a major achievement and should be recognized as such.

 

8. Eleanor Friedberger – Last Summer

I missed this album’s release somehow. Insound was having a sale on Merge albums and I grabbed it since I’ve enjoyed quite a bit of Friedberger’s material with Fiery Furnaces. Anyway, this record is incredibly more approachable than the FF’s stuff. It doesn’t hurt that she was so cool hanging out the night she played St. Louis. I have a soft spot for artists who are nice people. Anyway, the album held up that night and I haven’t stopped listening since. Equal parts Patti Smith, Stephen Malkmus, and Joni Mitchell. It’s a really strong album from beginning to end. I can’t wait to hear what Friedberger does next.

7. Thao & Mirah – Thao & Mirah

I loved Thao Nguyen’s We Brave Bee Stings and All and saw she and Mirah perform some covers online. That was all I needed to purchase this largely overlooked yet timely album. Aggressive, percussive, completely danceable, and very fun, Thao & Mirah was a strong contender for this list from the first time I listened to it. This is a powerful record by two accomplished female artists about which I want my daughter to know. If this album somehow missed your awareness this year, go buy it and have some fun.

 

6. Cults – Cults

I don’t know what it is with all the nostalgia for Phil Spector these days, but Cults captured that and more with this solid effort, turning in the song of the summer in “Go Outside”. The album was a breath of fresh air since its release last spring. There was a time when I considered it an outside shot at album of the year. It captured my imagination that much. I worry that the band will struggle to put out anything as good as their first, but this isn’t a bad legacy to leave either.

5. Tune-Yards – W H O K I L L

Something about Tune-Yards was rubbing me the wrong way. Not sure what it was, but it didn’t last long. Everywhere I went, this record was playing. In fact, my favorite hangout often had this record spinning. I couldn’t resist. It’s infectious, raucous, fresh. I love the mixture of a lo-fi, nineties, guitar thing mixed with this dance-centric, percussive aesthetic all the kids are going for these days. I could listen to this album over and over, something I could say for any of these records, but especially for this one.

 

4. Wye Oak – Civilian

Wye Oak’s earlier material did next to nothing for me. Then, they did a couple of those AV Club things where they played cover songs. Then, they released a video and I was taken back to some mid-nineties indie. Stuff like Throwing Muses or Madder Rose when all these female voices began to emerge above the feedbacked fray of that era. This album is pure retromania for me and it’s plain good from first track to last. Jenn Wasner’s deep voice over a cacophonous racket fills my nineties nostalgic needs, much like the following albums on the list…

3. Yuck – Yuck

I have gushed enough about the nostalgic love I hold for this band and this release, but I have to say more so as to justify its placement in my top-10. And this is coming from a guy who doesn’t actually like the bonus material on the deluxe version of the record. Not everything these youngsters touch is gold. So, with this in mind, one has to consider that it’s impressive how right they got it when they put together an album that should have come out 15-20 years ago. Feedback, angsty lyrics, more feedback… It’s as if they invented the 90’s indie aesthetic and not Pavement or Sebadoh. I love this record. It’s nothing new or groundbreaking, but it perfectly captures what will be some pretty perfect moments in the development of my musical tastes.

2. Wild Flag – Wild Flag

When I heard this group was getting together, my head nearly exploded at the thought of all the possibilities. Then, they toured and my head blew up again re-imagining the ruckus Sleater-Kinney used to cause back in the day. Then, the music began to trickle out. Early on, the urgency detected in “Future Crimes” made me realize that this band was going to blow away all expectations. Wild Flag’s self-titled (a lot of these lately) debut is the perfect mix of S-K riot grrrl, Helium-style classic rock, garage punk, Runaways barnstorming, and indie sensibility. This album may be an all-time top-10 pick forever, assuming their follow-up isn’t more awesome. The guitar and vocals interplay between front women Mary Timony and Carrie Brownstein is only surpassed by the work Rebecca Cole and Janet Weiss are doing with backing vocals and holding down the low end. This is the super group to end all super groups.

1. Stephen Malkmus & The Jicks – Mirror Traffic

Yes, I’m biased, but how is this album not on every end-of-year list. I either missed the memo or have yet to change out of my Pavement-tinted glasses. I’ve never thought a Stephen Malkmus solo album to be a top-10 record much less a #1, but Mirror Traffic is different. The prog wizardry and blues riffs have been taken down a notch with the perplexing and sly wit of Malkmus’ songwriting coming to the front. Plus, the accumulation of talent in this band is pretty insane considering the ramshackle band Malk fronted for a decade made some of the most memorable music of my lifetime. This is the first album he’s done that doesn’t feel like the continuation of Terror Twilight, a complete break from his former trajectory and an album that sounds like another band wrote and recorded it. Then, there’s the production which is quintessential Beck Hanson all over. This is the easiest Malk album to which to listen since those halcyon days of Slanted & Enchanted and Crooked Rain, Crooked Rain. In fact, I’d say Mirror Traffic falls somewhere between those two great albums and Wowee Zowee. Yeah, I said it. So what?

I’m rambling a bit now, but that’s the list and I stand by it. (BTW, it’s no accident Janet Weiss is part of the top-2 records of the year.)

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