2012, like every year before it, seems busier than ever. With some new projects on the plate, there was less time for deep listening. But, onwards and forwards!
There were a few things from 2011 that I didn't get to until this year. Included was Feist's fourth album Metals. Lacking anything like 1234, Feist continues to progress as an artist. Metals reminds me of open coastal views near Big Sur where it was recorded.
Although I have been interested in African music for a few years, I hadn't caught up with Tinariwen. After hearing a track on NPR's Afro-Pop Worldwide show, I enjoyed hearing more on their latest album, Tassili, where they forge on, playing their brand of desert blues. Some of the other African bands I have enjoyed are long gone, so it's great to hear a modern group like Tinariwen still releasing essential music.
Although I have been interested in African music for a few years, I hadn't caught up with Tinariwen. After hearing a track on NPR's Afro-Pop Worldwide show, I enjoyed hearing more on their latest album, Tassili, where they forge on, playing their brand of desert blues. Some of the other African bands I have enjoyed are long gone, so it's great to hear a modern group like Tinariwen still releasing essential music.
Ty Segall was my introduction to the psych/garage San Francisco scene. I had seen him perform with just a kick drum and a guitar at SMOG a few years back, and his continual tour/release cycle has honed his skills. In 2012 alone, Segall released three records, which I have yet to hear. Goodbye, Bread was his 2011 release. A hard man to keep up with.
After enjoying and listening to Bon Iver, Bon Iver last year, it somehow became overlooked in my review. Yes, he is no longer that man in the cabin. Yes, that's Colin Stetson on sax. No, I am still not a fan of Beth=Rest. Yes, the album is great.
Kurt Vile's Smoke Ring for My Halo was my sleeper hit of the year. On first listen, it sounded slow, laconic, and tired but, after multiple listens, the record opened up as something great.
Kurt Vile's Smoke Ring for My Halo was my sleeper hit of the year. On first listen, it sounded slow, laconic, and tired but, after multiple listens, the record opened up as something great.
Marissa Nadler's Little Hells was my random library cd of the year. I think I first read about her when I was reading about Sharon van Etten (see below). Nadler's vocals pack a punch, even on first listen. It's the type of record you feel you have heard somewhere before, not too long ago.
My favorites from 2012 are as follows:
My favorites from 2012 are as follows:
For records that came out this year, 2012 didn't really break a lot of new ground for me. Of my favorites, most were from bands I already knew of and liked. The only "new" artist for me was the previously mentioned Sharon van Etten. On Tramp, Etten's hushed, haunting vocals play well with production from The National's Aaron Dessner. A great cathartic record.
Jack White delivered the goods on his first solo title release, Blunderbuss. Sometimes it's hard to believe how much energy this guy has. So many releases in the last few years with all of his many bands, and he still delivers on this one. So many blues, so little time.
Despite sounding quite different, these bands are both connected in my mind because they both released records I loved in 2009 as well. Shields is beautifully recorded choral avant-pop with an increased emphasis on lyrics. Swing Lo Magellan is Dirty Projectors at their loosest. Both solid releases.
Beach House: Bloom
Beach House was a band that took a while for me to get into. I love the dream-pop sound of their previous albums, but I couldn't seem to find the patience to love any of their records. Bloom changed that. It made me go back to and fall in love with Teen Dream and Devotion. These guys aren't making huge stylistic shifts each album or following a trend. They are here for the long run.
Beach House was a band that took a while for me to get into. I love the dream-pop sound of their previous albums, but I couldn't seem to find the patience to love any of their records. Bloom changed that. It made me go back to and fall in love with Teen Dream and Devotion. These guys aren't making huge stylistic shifts each album or following a trend. They are here for the long run.
