Uncovering the best of the web, while pointing and laughing at the worst.
January 25, 2013 Leave a comment
In case you missed our Best Music of 2012 series, here are all the links you need to catch up.
Even if you don’t agree with our ranking, there’s a massive Spotify playlist you can use to peruse the selections and create your own epic countdown!
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Rumors on the Internets presents THE BEST MUSIC OF 2012 |
December 24, 2012 Leave a comment
Our countdown concludes with the ten albums ROTI deems most worthy for the year 2012.
Thanks again to all those who have helped assemble this list with their collective wisdom and keen ears.
Our Spotify playlist has been completed with the addition of sample tracks from these great records. Enjoy!
Enjoy this final installment with our best Christmas wishes!
Emerson College student Michael Angelakos did something really smart when he decided to form a band, building upon the buzz of a dorm-room recording he’d made for a girlfriend: he linked up with a bunch of crack musicians from the Berklee School of Music. The resulting 2009 album Manners caught a lot of ears, but with Gossamer, Passion Pit’s project seems much more fully realized, and this is a collection of songs that are both poignant and catchy. “Take A Walk” is a great example — a hook infectious enough to sell D’reets Tacos, but with lyrics that reflect sorrowfully on the economic apocalypse. Angelakos’ songs skillfully juxtapose troubled tales with head-nodding melodies, and tracks like “Carried Away” and “Mirrored Sea” exploit this formula while also sounding distinct and unique. “Hideaway,” a classic pop hit that somehow manages to be a deep cut on this single-ready indie record, is probably the highlight of the entire album. All in all, Gossamer is a bittersweet gem from a clan of skilled musicians led by an inspired songwriter.
For those of you who haven’t heard this magnificent record, I mourn the fact that it’s vanished from Spotify, although Jessie Ware has stated it shall return soon. Devotion is a soulful wonder from an incredible new talent, 11 exciting songs that blend modern beats with Sade-inspired vocals. “Running” is my jam — Ware unveils her gorgeous melodies over a thumping soundtrack with SUPER tasty background vocals sliding in to enhance the experience. “Still Love Me” has a sound that seems to synthesize the best of soulful dance music over the past three decades, sending funky harmonies scampering over chunky synth-bass. The ability to balance rhythm and sensuality is this record’s greatest achievement — for further evidence, check out the killer “Night Light” and the stunning, mournful “Taking In Water.” Ware’s voice always sounds amazing and she also has one of my favorite Twitter avatars. More than enough reason to rank her outstanding record firmly within the top 10.
It’s been a whirlwind of success for Megan James and Corin Tucker, who spun Purity Ring off another band called Gobble Gobble two years ago and delivered Shrines in April. It’s keyed by “Fineshrine,” the second cut off the record, which firmly establishes the band’s winning template of catchy electronic pop coupled with James’ winning lead vocals. Tucker’s instrumental wizardry keeps the songs moving in compelling directions and he constantly adds delightful flourishes to the mix. “Lofticries” is another favorite of mine, with a dope synth beat and a clutch chorus. But the album arguably peaks with “Grandloves,” which shows Tucker skillfully pairing James’ quirky, digitally-processed vocal with key samples from Young Magic’s “You With Air”; by mixing fresh thoughts with found gems, it’s a perfect demonstration of what makes Shrines a great record.
Put on “Elephant” and crank up the volume and you’ll get the idea right away. Lonerism is a tremendous rock album of the sort we’ve loved for decades. Drawing on everything from 60s psychedelic rock to 90s garage rock revival, Australia’s Tame Impala build upon their superb 2010 record InnerSpeaker with this outstanding collection of slightly warped jams. “Music To Walk Home By” is a particularly jaw-dropping specimen, a twisty-turny creation that bubbles along on a steady rhythm while hazy vocals and tweaked-out guitars fade in and out. “Apocalyse Dreams” is an excellent song that showcases frontman Kevin Parker’s superb voice with some nasty instrumental backing — most of it laid down by Parker as well. Tame Impala do an outstanding job of balancing pop sensibility with mind-bending arrangements, which keeps this album both highly listenable and highly interesting. Without question, it’s one of the very best “rock” albums of the year.
On several occasions since I first heard it, I’ve awoken in the morning with songs from Confess circling in my head. Whether this indicates the deep power of this record or some barely-repressed crush I may harbor on George Lewis Jr., I’m not sure. Probably both. But Confess, self-produced by Lewis as part of his Twin Shadow project, is a work of synthpop genius either way. “I Don’t Care” is so good, it transcends genre, blending classic new wave passion with hints of twentytweens chillwave weirdness. It doesn’t even seem right to lump Twin Shadow in with bedroom-pop masters Washed Out and Toro y Moi, because as much as I like those artists, the quality and depth of Lewis’ vocals blows them out of the water in terms of emotional impact. “Golden Light” is a marvelous number with intense verses and a massive hook that would make even a freshly heartbroken listener pump a fist while a single tear rolls down their cheek. Also not to be missed is the video for “Five Seconds,” inspired by Lewis’ novel about “a motorcycle gang in the future…it’s about friendship, in a way; two black motorcyclists who are fighting the good fight.” SOLD.
One of the most unique, and potentially polarizing albums of the year. Half the people I know who have heard this album have celebrated it instantly; the other half have wondered what all the fuss is about. Personally, I listened to An Awesome Wave more often than almost any other record this year. And at least some critics agree, since this record was awarded the UK’s prestigious Mercury Prize. Five years in the making, this album runs the gamut from medieval motet to EDM bassdrop, sometimes in one song (“Fitzpleasure”). “Taro” is on my short list of best songs of the year, winding through acoustic folk-rock, harmonic symphonic pop, with a Bhangra beat thrown in for good measure. “Breezeblocks” flies out of the speaker, with its charming, shambling initial rhythm transforming into a skittering electronic beat and back again. And the almost anachronistic “Interlude 1″ is a silly great a cappella flight of fancy. An Awesome Wave is all over the place, but the combination of styles and sounds simply works.
Two years on, the Odd Future Wolf Gang hip-hop posse seems to have been kinda overhyped, with the glaring exception of the New Orleanian singer tacked on to their crew almost as an afterthought. Frank Ocean blew minds in 2011 with his hook for “No Church in the Wild” — hands down the best part of Watch The Throne – and his intriguing EP Nostalgia, Ultra. But even with all that advance acclaim, channel ORANGE shattered expectations. “Thinkin’ Bout You” is a R&B masterpiece, straight up, with a falsetto hook that could melt steel. With producer Malay usually riding shotgun, Ocean blasts through one genius track after another. “Super Rich Kids” is as devastating a takedown of nouveau riche society as Steely Dan ever uttered, with the mysterious Earl Sweatshirt dropping in for an appearance. “Pyramids” is a titanic, ten-minute masterjam that MJ would have been proud to have released. “Sweet Life” feels like the next iteration of the R&B tradition that runs from Stevie Wonder to D’Angelo. And “Pink Matter” features a superlative verse from Andre 3000, whose style feels more vital than ever. channel ORANGE is the best R&B record of the year and — as with the next three records on this countdown — while may not have made the #1 slot on my overall list, I certainly wouldn’t object if it tops yours.
“Everybody gon’ respect the shooter, but the one in front of the gun lives forever.” Seems we’ve been waiting for this album for 15 years. On this incredible record, Kendrick Lamar successfully blends and integrates the Compton rap that defined the 90s with the more introspective, soul-searching Outkast records that have aged far better. Through what he refers to on the cover as “a short film,” he takes the listener on a journey through the South LA lifestyle, not flinching from the appeal of the street life, but also laying out its perils and karmic drawdown in stark terms. Interstitial segments where Kendrick’s mom pleads with him to bring back her minivan are perhaps the only example in history where recordings of a nagging mother actually make her seem like a pretty cool lady. Breakout single “Swimming Pools (Drank)” manages to build a stunning hip-hop song around the perils of alcoholism, and Kendrick channels psychic pain in the amazing “Bitch Don’t Kill My Vibe.” In 2012, when the old “fuck bitches, get money” ethos that West Coast hip hop was built on seems even less relevant than mafioso rap, Kendrick Lamar has managed to engage with that tradition in a way that’s intelligent, insightful, and still thoroughly enjoyable. This is the best hip-hop record of the year.
The greatness of Celebration Rock is simple — eight songs, all killer, no filler. An exhilarating listen of punk-inflected rock music that is built around three pillars — power chords, explosive drumming, and massive hooks. The Canadian band that was on the verge of breaking up before Pitchfork took up their flag get hearts racing with every big chorus and every thrilling chord progression. Evoking nostalgia, epic nights of celebration and big dreams, it taps into some primal rock emotion that few contemporary bands have tapped with such unmitigated success. There’s no record I put on as often in 2012, and with as little hesitation, as Celebration Rock. Its appeal is immediately apparent and long-lasting. The best straight-ahead rock record of the year.
Of all the great records in 2012, Visions is the one that sounded most like the future. A monumental achievement primarily by one person — Claire Boucher, aka Grimes, produced and recorded this album essentially alone in her apartment using the mass-produced Apple software program Garage Band. Its mesmerizing electronic loops and haunting vocal tracks can be both enervating and energizing, depending on what level you engage with them. The highlight of the album is the song “Oblivion,” which is a harrowing narrative of assault that also wouldn’t sound out of place as the soundtrack to a nighttime car chase in a Michael Mann film. Balancing intense, personal lyrics with engaging beats is a difficult feat that Grimes pulls off time and again.
Tracks like “Genesis” are intriguing and hypnotic, beginning as hazy reveries, then hardening into subtly mighty hooks. Best of all, the record works as a seamless whole, figuratively pulling you into Grimes’ darkened apartment for a listening session of a record that appeared from a time machine visiting from 2050, a glimpse into a dystopian future. In a year when tons of great musicians are recording albums on their own, Visions rises above them all, with a depth of sound and engagement that would seemingly take a small army of music wizards to craft. This odd, personal little record is, for my money, the very best of 2012.
December 23, 2012 Leave a comment
This next set of great musical performances really runs the gamut from fun and upbeat party music to pretty scary punk-rap. All part of the majesty we call The Best Music of 2012!
Our Spotify jam session has once again been updated to add these 10 magnificent artists.
Zachary Cole Smith leads this Brooklyn crew of indie rockers, cementing their place in the scene with the release of this debut-full length. Oshin rewards with each listen, with its layers of vocals embedded in walls of reverb and glimmering guitar lines. The album truly gathers steam midway through, keyed by the terrific “How Long Have You Known,” and building to a climax that includes album highlight “Doused.” The latter track manages to build intense engagement with/despite a nearly incomprehensible vocal. For those who enjoy losing themselves in an indie rock haze, Oshin is a crucial listen.
Cloud Nothings prove their punk-as-fuck credentials by, if nothing else, refusing to move out of Cleveland. Dylan Baldi’s troupe of angry young men rampage on this album, but always with an underpinning of melody — a dynamic perhaps best encapsulated on “Fall In,” which pairs a tasty hook harmony with a full-ahead attack. This tight, explosive record earns every ounce of its acclaim, and the band that started out as a one-man show in 2009 displays impressive cohesion on tracks like the rumbling instrumental “Separation.” The album peaks with “Stay Useless,” one of the best rock songs released in 2012.
This Baltimore band set everyone back on their heels with their sophomore release. Give the track “Brains” a listen, it’s all there — Jana Hunter’s eerie vocals, some creepy chanting, driving rhythms, and bold synth-raging. “Lamb” is another mother of a track, laying down dense tones that transmogrify into soaring melodies, laying the groundwork for the incredible moments that begin at the 2-minute mark. Like some other indie rock albums on our countdown, Nootropics seems monotonous on first listen, but rewards with repeated plays. Make the investment.
Capacity to surprise is a key driver in making ROTI’s best music countdown, but this is a record that absolutely shocked me. Solange has been almost a punchline, the forgotten little sister who dlisted’s Michael K calls “Basement Baby” for her persistent sidelining by dadager Mathew Knowles in Beyonce’s favor. And now, with B mostly on hiatus, Solange delivers a 7-song EP that is one of the tightest and most thrilling R&B records in years. Highly-regarded British-American hitmaker Dev Hynes (aka Lightspeed Champion) is an extremely able sidekick on this set, and the songs hit you instantly. “Lovers in the Parking Lot” is a tale of infidelity and lust over a MIGHTY groove that has you trying to figure out if there’s any way to turn your headphones any louder than max volume. “Bad Girls (Verdine Version)” is the powerful album closer that rolls along on a filthy bassline, with Solange’s lovely voice soaring over top. This little record is a soulful masterpiece.
Billy Jeans, Jeans Wilder and Jr. Jeans aren’t changing the course of music history with this record. They’re just delivering one three-minute gem after another, chugging along in their Ramones/Clash-inspired style and chugging beers aplenty along the way. These Portland punks aren’t sorry for party rocking and their album is a sheer delight. With tracks like “Life on Mars,” “Nite of the Creeps,” and my personal favorite “Hangin’ Tuff,” Mean Jeans slam away on their axes and drums and unleash supremely catchy hooks. Crack a brew, lighters up and enjoy this record.
Tons of amazing bands have come together at art school, and Django Django (out of the Edinburgh College of Art) is no exception. On this Mercury Prize-nominated disc, this combo delivers. The Beta Band comparisons arise naturally since Django Django’s drummer is the younger brother of BB’s DJ/keyboardist — but they seem most apt when you hear this outstanding self-titled album. ”Default” is a hungry earworm that mixes weird vocal effects with crunchy harmonies and throbbing rhythms. ”Waveforms” lays tasty Britpop vocals above an electronic groove, with a chorus that evokes the Beatles tradition, then descends into a psychedelic chant. Django Django are at least as strong in their debut as great British bands like Blur and Metronomy were on theirs. Baby Jesus willing, they’ll follow a similar path of growth on future releases.
Let me preface this by saying this ranking will seem wrong for just about anyone. If you are a current or future fan of Swans’ sounds, this is easily one of the best records of the year; and if this isn’t for you, it’s way too high at #14. Splitting the diff, I’ll place it here. With a sonic palette that ranges from dense symphonies of thunder (the epic “The Seer,” which serves as the album’s centerpiece) to lovely balladry (as on “Song For a Warrior”), this resurrected team of 90s NYC lo-fi all-stars sound more vital than ever before. Not to mention that The Seer probably has the best album cover of the year. This is a headphone listen and really should be swallowed in one long dose and then repeated nightly until acceptance sets in. Much respect for bandleader Michael Gira for getting the band back together and unleashing a magnum opus.
Some wags say this falls short of the Brooklyn mainstays’ apex; some say it’s their best yet. I’m in the latter category. Experimental, unique, at times profoundly weird, at other times straightforwardly enjoyable, Swing Lo Magellan mixes and matches vocal riffs, harmonies, hand claps, lovely guitar and piano lines. It’s all laid down in a delightfully casual manner, with throat-clearings, laughter and side conversations left in — making you feel like you’re sitting in on a freewheeling jam session among absurdly talented friends. If you can bend your mind around the odd musical twists and turns, you’ll find a delight around every corner.
Folk-rocker Sharon Van Etten has assembled a wrecking crew of collaborators on her third album: Aaron and Bryce Dessner of The National, Zach Condon (aka Beirut), and Jenn Wasner of Wye Oak — all of whom have been celebrated in this Best Of series in years past. Most of ‘em are on the bold and bellowing “Serpents,” one of the mightier tracks you’ll hear in 2012. But Van Etten is just as affecting with less firepower, as on the gripping of “Leonard” and the astonishing “Give Out.” Her ear for chord progression and her mournful voice combine to make her music some of the most compelling of 2012, and certainly one of the best records of its kind to come along in many moons.
Punk-rap that’s intense, in your face and at times a little scary. Dial up “I’ve Seen Footage” and it’s all there — fierce, pounding beats and aggressive flow. Now recognize that this is their most accessible song. MC Ride rages on every track, backed by the assaultive drum attack of Zach Hill, with Andy “Flatlander” Morin adding additional electronic weirdness. The Money Store unleashes its fury on tracks like “Hacker,” from the POV of an ATM phreaker shouting at the listener that “I’m in your area…when you come out, your shit is gone.” Death Grips followed up the explosive Money Store with NO LOVE DEEP WEB, an album self-released over the vehement objections of their record label, and with a cover featuring Hill’s erect peen with the title written on it in Sharpie. As you might expect, this album is even darker and more pissed-off, with cuts like “The Fever (Aye Aye)” rampaging through your speakers with no hint of mercy. Death Grips merge the full-throttle percussive attack of Battles with two movements that essentially define popular music in 2012 — hip-hop and EDM. They do it with an uncompromising frenzy that keeps the listener off balance and they don’t slacken the intensity until each album spins to a stop. Death Grips aren’t an easy listen, but they are working on the edge and producing material that is undoubtedly compelling and well worth checking out.
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