on-Tenori-on's Top 50 Albums of 2011

These are the rules I used to qualify my top 50 albums of 2011:

• One per artist, as in the tracks list. Fortunately there were quite a few this year who decided to release more than one album.
• EP's do not count under any circumstances.
• Official mixtapes qualify, provided they aren't classed as EP's.
• Reissued albums, compilations and boxsets will also not be considered. Otherwise The SMiLE Sessions would probably be #1, and that hardly seems fair.
• Live albums and live mixes do count, but I tend not to listen to them, hence why they aren't here. You'll have to find them elsewhere.
• The top 10 albums on the list get an honourary 10/10 from me, now that the year's out.

It's time...

50. Holy Ghost! - Holy Ghost!
49. Thundercat - The Golden Age of Apocalypse
48. Russian Circles - Empros
47. Twin Sister - In Heaven
46. Frank Ocean - Nostalgia, Ultra
45. Radiohead - The King of Limbs
44. Africa Hitech - 93 Million Miles
43. Thurston Moore - Demolished Thoughts
42. Oneohtrix Point Never - Replica
41. The Antlers - Burst Apart
40. Chelsea Wolfe - Ἀποκάλυψις
39. Little Dragon - Ritual Union
38. Tom Waits - Bad as Me
37. Danny Brown - XXX
36. Atlas Sound - Parallax
35. Colin Stetson - New History Warfare Vol. 2: Judges
34. Fucked Up - David Comes to Life
33. The Horrors - Skying

32. TV on the Radio - Nine Types of Light
31. Rustie - Glass Swords
30. Julian Lynch - Terra
29. Gang Gang Dance - Eye Contact
28. Bon Iver - Bon Iver, Bon Iver
27. Clams Casino - Instrumental Mixtape
26. The Rapture - In the Grace of Your Love
25. Kendrick Lamar - Section.80
24. Beyoncé - 4
23. Shabazz Palaces - Black Up
22. Battles - Gloss Drop

21. The Pains of Being Pure at Heart - Belong
20. Nicolas Jaar - Space Is Only Noise
19. Big K.R.I.T. - Return of 4Eva
18. M83 - Hurry Up, We're Dreaming
17. Balam Acab - WANDER / WONDER
16. Girls - Father, Son, Holy Ghost
15. The Field - Looping State of Mind
14. Austra - Feel it Break
13. Iceage - New Brigade
12. Kurt Vile - Smoke Ring for My Halo
11. Thee Oh Sees - Castlemania

10. The Roots - undun
An extremely slick concept album documenting the life of fictional character Redford Stephens, the Roots' 13th studio album undun became 2011's last-minute surprise when it was released earlier in December. The Roots' usual blend of neo-soul hip-hop dominates the album, but every song hits its mark, and plays a valuable part to the bigger picture. Sufjan Stevens is enlisted to play out the incredibly moving coda, with his own "Redford". ?uestlove has called undun the album he has  always wanted to make, and the best Roots album so far. From what's on offer it's really tough to disagree with him.

9. SBTRKT - SBTRKT
SBTRKT's debut plays out like a dedication to the last 20 years of UK bass music, filtered through his contemporary "post-dubstep" production style. Whether the music is flavoured with nods to early house ("Pharaohs"), or dark garage ("Right Thing to Do"), the roster of fantastic vocalists under SBTRKT's employment mean that every track feels right on the edge of modern British electronica and dance. Little Dragon's Yukimi Nagano, Roses Gabor and Jessie Ware form the female half of the album, but Sampha's high notes are the most infectious of all, perfectly married to SBTRKT's beats. An extremely strong debut set.

8. Destroyer - Kaputt
A very stylish album, Dan Bejar's Destroyer had a very clear artistic direction for Kaputt. Bejar is often likened to David Bowie; if this is the case Kaputt is Young Americans, a set of meticulously arranged, woodwind-orientated, poetic songs. The feeling of romanticism sweeps through the set, usually causing feelings of sadness and loss. Bejar takes the jazzier side to 80's soft rock with extended instrumental segments, bringing indie rock more "full circle" than ever before. But it's as a lyricist where Bejar excels, breaking your heart through his melted voice.

7. tUnE-yArDs - w h o k i l l
An album that is as philosophical as it is sonically chaotic is hard to come by, and harder still to take seriously. The second tUnE-yArDs LP w h o k i l l is able to manage however, with Merrill Garbus's world music-leaning rhythm and vocal loops expressing postmodern attitudes towards issues of gender, race and violence, and sometimes completely smashing into them. The whole experience is both exhilarating and confusing, and very hard to put down in terms of classification, but stands as a reflection of our modern times: colourful yet irritating, familiar yet deceptive. With w h o k i l l Garbus presents us with today's ever changing face of human nature, in its boldest form.

6. The Weeknd - House of Balloons

The fact that the remainder of 2011 following House of Balloons saw Drake trying his hardest to successfully imitate his protégé The Weeknd's style speaks volumes of the the golden internet age of music discovery. The first Weeknd mixtape gathered the most hype in such a short space of time because of the conventions it seemed to break in bringing R&B a classier, more artistic end of a spectrum. And it was so fully formed right from the beginning to bring about this artistic change: fantastic production, a mysterious singer, and disturbing, masochistic tales that felt strangely relateable.

5. PJ Harvey - Let England Shake
PJ Harvey has a reputation for reinventing herself with every album, and Let England Shake provides her listeners with one of her most consistent messages yet. An historical tribute to her home country, the album is a tight set of songs that serve as a particular temporal statement of the state of England in 2011, and in relation to the rest of the world. The choir of male voices, disillusioned bugles and the ethereal autoharp set the scene for the Great War storytelling, extended metaphors that serve as political foreshadowing to the backdrop of the events of 2011 and, what seems to be the unfortunate case, beyond.

4. Fleet Foxes - Helplessness Blues
There are no shortage of reasons as to why Fleet Foxes second album Helplessness Blues ought to be looked back upon as one of 2011's greats. A timeless set of songs that mature with every listen, Robin Pecknold's chamber-folk collective build upon their ambitious 2008 debut and offer a more varied sequel, stretching the boundaries of their unique blend of sounds. Pecknold questions the universe and one person's impact upon it; at times melancholic and others triumphant. Helplessness Blues is a whirlwind of emotions, and brings back into focus questions that have troubled the people of the earth for years.

3. St. Vincent - Strange Mercy
Perhaps above all else, one thing Strange Mercy proves is that Annie Clark is one heck of a guitar player. The instrument often sounds ferocious as off -balance phrases bolt out from under her fingertips, and leads a swirling mixture of swelling strings and magical-sounding synths. This art-pop brew serves to demonstrate the extent of how far indie rock has travelled from its roots in hardcore punk and post-punk. Clark's vocals are ever-present, and in equal measures as firey as her guitar lines, and as breathtaking as the synthetic mix. The songs of Strange Mercy are at times unnerving, but always strong and truthful.

2. James Blake - James Blake
As stale the hype for new artists may sometimes be, it's also refreshing for such an artist to meet and even surpass expectations their promising previous work was hinting towards. Following James Blake through 2010 to the start of 2011 was such an experience. Blake took an unexpected and ambitious turn when he released his self-titled debut: the amount of space on the album might force you to demand half your money back, if it wasn't for the fact that his tracks resemble traditional singer-songwriter tunes with a cavernous dubstep aesthetic much more than they do the work of an expert producer. Uniquely Blake is both.

1. Death Grips - Exmilitary

For many, 2011 in music began with the spotlight on a young MC called Tyler, the Creator and his collective Odd Future Wolf Gang Kill Them All, whose single "Yonkers" promised to bring forward a new interest in horrorcore and shock-rap. I choose to end 2011 with a sorely overlooked mixtape that did much more to genuinely shock and terrify than Tyler's disappointing Goblin had managed (though I will give it an honourable mention). Even at this stage there is little known about the Death Grips project, except it a collaboration of a rapper known as MC Ride and Zach Hill, who is most famous as the insanely technical drummer of the math-rock duo Hella. Ride has a voice similar in tone to the Wu-Tang Clan's RZA, except he chooses to shout and scream for virtually the entire album, almost to the point of parody and self-parody. The urgency with which he does so makes every lyric as compelling as the last; Exmilitary's lines run like a modern day Inferno or Paradise Lost, and are worth reading just by themself. Instrumentally it feels very much like the same beast; the body to Ride's tounge. Even more experimental than Shabazz Palaces debut album Black Up, which turned up later in the year, Exmilitary uses Hill's hardcore punk and industrial influences searingly. Many of the tracks use electronic noises also: traces of techno, jungle and IDM are spliced into the album's centre especially. And samples as diverse as Link Wray and The Crazy World of Arthur Brown fall somewhere in between, dropped unexpectedly into the stormiest of moments, perhaps as a part of its twisted humour. A unique and unflinching (and free) album, the scariest element of Exmilitary is its ability to makeits listener feel pumped, as if it's relentlessness is pounding through to the brain and controlling the body from within, to become the beast you worship...

Death Grips - Exmilitary by deathgrips

Click below for the rest of the 2011 year-end lists:
Top 15 EP's of 2011
Top 100 Tracks of 2011
Top 10 Music Videos of 2011

on-Tenori-on's Top 10 Music Videos of 2011

This I threw together at the last minute, so no explnations given unfortunately. However a picture paints a thousand words, and these are moving pictures...

10. The Black Keys - "Lonely Boy"



9. Times New Viking - "No Room to Live"



8. Is Tropical - "The Greeks"



7. Destroyer - "Kaputt"



6. Fleet Foxes - "The Shrine / An Argument"

5. St. Vincent - "Cruel"

4. Beyoncé - "Countdown"

3. Radiohead - "Lotus Flower"



2. Das Racist - "Michael Jackson"



1. Tyler, the Creator - "Yonkers"



Click below for the rest of the 2011 year-end lists:
Top 15 EP's of 2011
Top 100 Tracks of 2011
Top 50 Albums of 2011

Album of the Week: Drake - Take Care

I know, hardly surprising. To my credit my internet speed has limited my choice somewhat. Drake hardly needs any introduction: Toronto rapper plus R&B singer who made a name for himself largely on the popularity of his first album Thank Me Later. His follow-up album Take Care sees the light of day after the continuous leaking of singles, that hardly remove a sense of scope from the 18-track, 80 minute album. Drake's improvement as both a singer and a rapper can probably be best observed when compared to his collaborators, both outrapping Lil Wayne and holding his own against the other great R&B artist of 2011, the Weeknd. Not just a lot of care but also money has gone into the production of this album. Drake reunites with previous producers Noah "40" Shebib and Boi-1DA, but equal highlights go to Just Blaze and Jamie xx's beats. Despite its length Take Care has some of the year's best chart singles either out already or soon to be released. It's probably safe to say Drake's made it by now.




Take Care by Drake is out now on Cash Money/Universal Republic/Young Money Entertainment.

Single of the Week: Nicolas Jaar - Don't Break My Love EP

It took me a while to bring myself to listen to the new Nicolas Jaar 2-track EP, simply because after hearing Jaar's debut Space is Only Noise only twice through when it was released at the start of the year I didn't get what the fuss was about. Needless to say that album is due for a timely revisit (after all December's coming soon and we all know what that means). I've barely been able to help myself from playing "Don't Break My Love" and its b-side "Why Didn't You Save Me" over the last few days. True, they both play the same kind of tricks, by layering intricate Aphex Twin-like drum patterns over meandering synthetic melodies, and dissolving into silence before conquering with an infectious vocal hook. Still when they're executed in such a way it's tough not to admire. Admire and repeat. James Blake fans ought to pay attention. I'm really hoping for a 12" release of this single. Badly.

NICOLAS JAAR / Don't break my love EP by Clown & Sunset

Don't Break My Love by Nicolas Jaar is availlable for free download now, courtesy of Clown & Sunset.

Album of the Week: Russian Circles - Empros

If I'm being honest, this new Rusian Circles LP, Empros, has been the only metal album I've properly enjoyed this year. In fact this is the first metal post on this blog. Empros, Chicago post-metal trio Russian Circles' fourth studio release is a 45 minute, six track titan of a record. There's a real sense of interplay between the three musicians, especially the rythm section of Brian Cook and Dave Turncrantz. As a result the loud and quiet moments (there are often several per track) sound equally dynamic and compelling, and at times adventurous and beautiful. A must for metal fans, as well as fans of post-rock and other instrumental music.


*Russian Circles - "Mlàdek"

 Empros by Russian Circles is out now via Sargeant House

Single of the Week: A$AP Rocky - "Bass"

A$AP Rocky's mixtape LiveLoveA$AP is on the tip of many people's tounges as of five minutes ago, and although not an entirely compelling listen for one blogger there are some pretty great standouts nonetheless. To me this mixtape's greatest asset is in the beats and beatmakers Rocky chose to work with. Regulars may be aware of my appreciation of up-and-comer Clams Casino's previous releases this year, and with "Bass" he has suitably altered his hazy, intoxicating trademmark style to make room for Rocky's verses. In future 2011 may be seen as a great year for hip-hop; A$AP Rocky and Clams Casino will be two names at the top of the list of artists that will prove it to be so.

A$AP Rocky - "Bass"



"Bass" features on A$AP Rocky's LiveLoveA$AP mixtape, download it for free here.

Album of the Week: Atlas Sound - Parallax

As I mentioned on Tuesday, this week has been kind to new releases so it was hard for me to come up with a 'winner' for this week. Hopefully my fanboyism of both Bradford Cox's Atlas Sound project and his band Deerhunter haven't influenced the decision too much. Cox has been gradually releasing Parallax tracks over the last few months, but this hasn't distracted from hearing the finished article. The album is made up of mostly quiet yet potent songs: here Cox uses multiple layers of both acoustic and electric guitars, sparse percussion and of course reverberated vocals to create what he himself usually describes as "ambient punk". Cox's idol Scott Walker's influence is clearly felt, but so are the voices of Peter Gabriel ("Te Amo"), Conor Oberst ("Mona Lisa", warmly greeted from its appearance on last year's Bedroom Databank series) and Lou Reed ("Lightworks"). Simply put, Cox is one of the best songwriters around, and Parallax only strengthens that claim.

Parallax is released on 7th November via 4AD. Visit the Parallax website here to stream and download "Terra Incognita". Even if you don't want the track check out the website anyway. I thought it was pretty cool.

Single of the Week: El-P - "Rush Over BKLYN"

We are currently undergoing the resurgence of El-P. This is a good thing. The ex-Company Flow member has enjoyed recent guest spots on releases by the likes of Das Racist and Mr. Muthafuckin' eXquire, and looks to release a new solo record, Cancer for Cure, sometime next year. In August he released the first single from that album, "drones over BKLYN", via Adult Swim's singles program. Now, using the new sample-clearing service Legitmix, El-P provides his own remix of the track entitled "Rush Over BKLYN", incorporating a sample of 70's prog giants Rush's "Tom Sawyer". Makes me think that DJ Shadow ought to have called El for his latest album with the prog-metal sounds he was using on his recent album. Next year can't come soon enough.

RUSH OVER BKLYN by PRODUCTOMART

All proceeds from the sales of "Rush Over BKLYN" go towards a fund to benefit DJ Mr. Dibbs, currently suffering from liver disease. You can purchase the track here.

Here's the original, "drones over BKLYN":



Sorry I missed Album of the Week last Friday, had stuff on. Tom Waits' Bad as Me if you're interested. Won't happen this week, there's too many good releases right now.

Single of the Week: King Krule - "The Noose of Jah City"

Previously releasing material under the psudeonym Zoo Kid, King Krule, aka 17-year-old bedroom producer Archy Marshall will release his first EP via True Panther on 8th November. The EP's closing track, "The Noose of Jah City" showcases the deepness of Marshall's socially conscious baritone, quiet yet potent amongst sparse guitar work and a garagey hip-hop breakbeat. The vocals, covered in echo and reverb effects, compliment rather than obscure their lyrics and Marshall's knack for songwriting, and heighten a sense of isolation and uncertainty. Just as the vocals re-emerge after the instrumental break, the song abruptly ends, adding to the "one more listen" factor. Hopefully the EP as a whole will induce that similar feeling when its released.

King Krule- The Noose of Jah City by truepanther


"The Noose of Jah City" will feature on King Krule, which will be released on 8th November via True Panther.

Album of the Week: Veronica Falls - Veronica Falls

With the release of The Pains of Being Pure at Heart's excellent follow-up LP Belong earlier this year, many bands dabbling in the same kind of British C86-influenced indie-pop may be overshadowed. Fellow Slumberland Records comrades Veronica Falls avoid this pitfall with the release of their debut album - constructed from songs recorded and released from 2009 onwards - by adding a very macabre, quietly potent flavour to their songwriting, delivered by the girl/boy vocal duo Roxanne Clifford and James Hoare. These songs are always quiet and melodic (reminiscent of Galaxie 500), drawing the listener even deeper into their often sinister narratives, be they of a lover's jealousy ("Wedding Day") or suicide ("Beachy Head"). It isn't until the final track "Come on Over" that any kind of resolution is found. Quite a different take on a popular style right now; if you enjoyed the likes of the Pains, Yuck and possibly Girls this may be worth investigating.

Veronica Falls LP sampler by Slumberland Records

Veronica Falls is out now on Slumberland Records/Bella Union

Single of the Week: Oneohtrix Point Never - "Replica"

This is another new feature, the sister to my new Album of the Week feature I began last Friday. I'll try to go over the track in as much detail in as little time as possible. I'm using the term "single" to refer to any new track including album tracks not scheduled for individual release, but I may also use this space to talk about tracks with b-sides and even EP's depending on what I think is worth mentioning.

 A very Gothic piano loop forms the basis of the title track to the new Oneohtrix Point Never album, due 8th November. Replica is actually the fifth of Daniel Lopatin's albums under the OPN guise, who is also one half of synth-pop duo Ford and Lopatin, but it's fortunately clear he's sitting on potentially one of his best releases yet. The harrowing synth drones play backup on "Replica", instead of drowning out the forefront as in past OPN releases, and likely owes something to the "Returnal" remix featuring Antony Hegarty released last year. The most beautiful part may just be at around 1:30 when a rumbling bass synth shadows over the mix and grinds the track to a momentary standstill, only for the piano to rejoin a split second later. The video of slowed stock cartoon images capture the strange atmosphere surprisingly well. Many Oneohtrix Point Never tracks need to be twice as long to capture their sentiments, but "Replica" does it more or less straight off the bat.

Oneohtrix Point Never - "Replica":



Here's another track from Replica, "Sleep Dealer":


Replica by Oneohtrix Point Never is released 8/11/11 via Software/Mexican Summer.

Album of the Week: M83 - Hurry Up, We're Dreaming

Yeah I'm doing this now, instead of bringing back the Mini Review series. Now I will be updating at least twice per week: every Friday for my Album of the Week; and starting next week every Tuesday for my Single of the Week. Helps me out a bit.

And what better album to begin the series with than the new M83 double concept LP, Hurry Up, We're Dreaming? Sole member Anthony Gonzalez follows the hugely successful Saturdays=Youth with an album even more ambitious, anthemic and enchanting, which despite it's length never feels tired or out of ideas (honestly it could probably all fit onto a single CD). The breathtaking, Zola Jesus-assissted "Intro" is just the beginning. Many tracks encapsulate a childlike wonder, with electronic harkenings as sporadic as Brian Eno's ambience, Animal Collective's reverb-laden fervour, and the Books' universal musings. Many tracks, such as the first single "Midnight City", herald an 80's synth radio sound, yet Gonzalez's approach feels entirely contemporary, with an ever-greater expanded lineup of instrumentation than ever: strings, the leftfield sax solo which closes aforementioned "Midnight City", the list goes on. Even coming from M83, this album feels special. Highly recommended.

Hurry Up, We're Dreanming is released on 18th October via Mute. Below, stream "Midnight City".

"Midnight City"

EP Review: James Blake - Enough Thunder

EP number four for hugely hyped London songwriter-producer James Blake, fresh from his stellar self-titled debut released earlier this year. Blake's no stranger to the EP format; indeed it was his triumvirate of EP's - The Bells Sketch, CMYK and Klavierwerke - that garnered praise from both sides of the Atlantic last year, elevating Blake into the most promising 21 year-old bedroom producer by the end of 2010. Admiration latched onto Blake largely due to the unique cocktail his minor handful of tracks stir: woozy R&B soundscapes, clattering piano chords, clipped dub beats and vast spaces of, well, nothing; and was eventually heralded as "post-dubstep" for those who care enough for names. Although a definitive aesthetic seemed to have been wrapped up in time for the album James Blake - signified but by no means limited to the forward single and Blake's most successful track to date, the cover of Feist's "The Limit to Your Love" - a familiarly disparate approach has returned to Enough Thunder, which goes on release next Monday.

During the release week of James Blake back in February, Blake identified two key influential albums which distinctly rub off onto the traditional singer-songwriter quality of his work: Joni Mitchell's Blue and Bon Iver's For Emma, Forever Ago. Both albums and artists are represented here, much as Feist has been already (and with Blake's next biggest track "The Wilhelm Scream" actually being a cover/homage to his father James Litherland's "Where to Turn", might there be a trend emerging?). Blake's cover of Mitchell's "A Case of You" is finally made into a studio recording after its debut as a BBC Radio 1 session piece during that same release week. To be honest, it's the flat-out dud of the six tracks here, especially as James' often beautiful falsetto struggles to  keep the pacing of his piano arrangement (ironically if Blake is known for anything, it's the pacing in his music). Although some credit ought to be given for attempting to make an imprint on such a classic folk ballad, the moment James'  London accent hits the "Oh, Canada" part is it truly realised how disastrous the idea had been. The track feels especially naked when compared to the linear dubstep arrangement "Limit to Your Love" received, as well as the remainder of the EP for that matter.

Unfortunately the much-discussed Bon Iver collaboration "Fall Creek Boys Choir" isn't a major improvement. After multiple listens since it's drop last month it's hard for me to approach the track as anything other than a shorter, less adventurous "Wilhelm Scream" or "Lindisfarne" with Justin Vernon's mapped-on vocal. Which is not necessarily a bad thing, but seems rather pointless when stacked up against those tracks. However much other fans of both artists (and believe me I am one of them) seem to enjoy the inspired-on-paper pairing, for me the novelty has very much worn off.

The other four tracks on the other hand are actually as good as to be expected, echoing all of Blake's previous releases up to this point and beyond. "Once We All Agree" opens the set and does well to fill in the space that was for some too abundant on the LP. His familiar vocal delivery, echoed and doubled, becomes twisted into a Strokes-like distorted filter as a floating bass pulse growls under it; and ultimately the whole package is enveloped in a guitar wall-of-sound crescendo which begins in the second half. But the track's most prevalent component is the uneasy, slightly dissonant piano chords (a clear Joni Mitchell influence), caging his voice throughout. The EP as a whole is particularly strong in its piano arrangements, an idea which comes full-circle by the final title track. "Enough Thunder"'s piano borrows from neo-classical, contemporary jazz and songwriters such as Randy Newman, and rarely has Blake's voice sounded so soulful and impassioned, and not struggling to extend its notes like in "A Case of You".

The second track "We Might Feel Unsound" incorporates vocal loops and samples as last year's "CMYK" did, but is more beat-centric, and is defined with a haunting, howling synth. In contrast to Blake's lead vocal the effect is especially chilling, and helps to make Enough Thunder to sound like his darkest release yet; and therefore the most refreshing change of pace for his music. Such has Blake progressed from the Burial-like "classic" dubstep range this is one of only two tracks that sound anything similar to the genre's beginnings. The second track which that statement identifies is "Not Long Now"; which features a "drop" of sorts after the slowly rising beat folds, giving way to a dub bassline similar to that in Radiohead's "The Gloaming", and in effect wipes away all other bubbling textures to build themselves up anew. Blake's multilayered vocals are especially languid, and the familiar pauses return, essentially culminating into the stereotypical James Blake track, and the EP is all the better for it. It takes its time to adapt, and makes "We Might Feel Unsound" feel a tad short in comparison.

Enough Thunder is released in the shadow of three EP's and a hugely acclaimed full-length, and it's great that such an acclaimed artist feels the pleasure of multiple further, diverse releases to compliment his short-so-far career, even if this one in particular lacks the consistency of its predecessors. The EP also follows a comment Blake made to The Boston Phoenix, comparing the modern "macho-ism" found in dubstep's "frat-boy market" to "a pissing competition", a comment that has been re-tweeted and has sent strong resonance throughout the blogosphere. Enough Thunder sees him searching and scooping out a range of alternatives, and although scattershot in comparison to the excellent James Blake (the deluxe edition of which is also being released on Monday, and features the Enough Thunder EP on a second disc; recommended value if you don't own the album), the range on offer, coupled with the knowledge this searching is set to continue, often makes it in some ways more exciting.

7/10

The full EP is available for streaming below, courtesy of jamesblakemusic.com:

Reading Festival 2011 - Report from the front line and playlist

So I'm back. I've bought back a terrible cold with me, and cold sores on both lips, but I'm still in one piece. So I'm going to talk about three bands from each day that I saw entire sets from, and how they defined the festival experience for me.
(All photos taken from the Reading + Leeds Festivals section of the BBC website, more of which can be found here.)


Friday
The Antlers
Festival Republic Stage, 17:25
Foster the People played the Festival Republic stage just before the Antlers, the second-smallest stage of the arena, and the influx of people wanting to experience their particular brand of "pumped up kicks" was so great we were forced to turn back. I managed to sneak back here later however, and happily the Antlers' set was one of the most intimate I had at the festival, with an audience of just a few hundred. Opener "Corsicana" unfortunately lost some of its studio sheen, but the closing three songs "I Don't Want Love", "Every Night My Teeth Are Falling Out" and "Putting the Dog to Sleep" more than made up the distance. I also saw the start of the new Mercury Music Prize favourite Anna Calvi's set just before I had to leave too. Needless to say, I wish I could have stayed.
SBTRKT (DJ Set)
Dance Stage, 21:10
Hot new UK producer and masked marvel SBTRKT may have only released his debut album a couple of months ago, but festival organisers made the wise decision to give him second-headline slot on the one-day-only Dance Stage. He began with what can only be described as his remix of Radiohead's "Lotus Flower", that I reported a while ago. Now, I haven't been able to find supporting evidence for this anywhere, so you're going to have to take my word that he debuted it here and I will verify it assuming it sees the light of day soon. He also spun favourites from the likes of Jacques Greene and Hudson Mohawke, all in his signature "post-dubstep" style. The set finished with his signature hit "Wildfire", which surprisingly turned into a modest group sing-a-long, ending on a high. James Lavelle's mysterious UNKLE Sounds project was to follow, however despite being intrigued I left to go and see...
The Horrors
Festival Republic Stage, 22:30
A late-night show of Horrors indeed. Faris Badwan's vocals ached over the hour-or-so set that took cues from all three of the Horrors' albums. Though putting these songs side-by-side may not have quite done the set justice in terms of consistency and continuity, it was nice to hear a retrospect of the band's progress up to this point. Although I can see myself in danger of being biased I do think that the tracks from their most recent  album Skying translated the best into the small Festival Republic tent, the loud shoegazey guitarwork of Joshua Hayward resonated aggressively through "Endless Blue", adventurously through "I Can See Through You", and wistfully through "Still Life". A great way to see one of the most celebrated bands in the UK, and to end the first night of music Reading had to offer.

Saturday
The National
Main Stage, 18:45

Working our way towards one of the best vantage points of the Main Stage, we started the magnificent Saturday three-band run with the National. Their particularly broody and angsty performance was the necessary polar opposite to the crowd-pleasers earlier in the day like Seasick Steve and Madness. Their set was nicely balanced between their huger cathartic ballads ("Terrible Love", "Bloodbuzz Ohio") and softer, more horn-led tracks ("England", "Fake Empire"), and represented their previous two albums, Boxer and High Violet, especially well. Although not as well-known as the Strokes, the National have been working together for just as long, and their expertise showed as the sun set over the festival arena, ushering in the night of fine indie-based rock music to come.

Pulp

Main Stage, 20:15

"Are you ready?" read the backdrop screen, and again for what seemed like forever, until finally it read "Do you remember the first time?". Pulp had finally returned, and Jarvis Cocker made it clear to everyone that the gap between their first appearance at the festival in 1994 and 2011 would be bridged. Virtually every song from Different Class was played; but of course "Common People" was left for the grand finale. One of Britain's all-time great live bands were bound to attract the highest of expectations, but Pulp managed to easily meet and exceed what anyone could have expected, just as electrifying and more importantly relevant as the titular "first time". If you've never seen live footage of them before, I implore you to click here.

The Strokes

Main Stage, 22:15

If it wasn't clear before Pulp's set that the Strokes would have the most pressure to deliver their audience into the night, it certainly was afterwards. Julian Casablancas and co. threw as many great songs from their catalogue as quickly as possible to create a turbocharged run that ended with the heartfelt "Someday". Ironically it was down to "the Jarv" to pick the pace back up again, the Pulp frontman joining the stage to perform the Cars' classic "Just What I Needed". It was worth waiting for the encore; Is This It's "Hard to Explain" and "Take it or Leave it" ending just as the band had started, proving worthy headliners and reminding us which side of the Atlantic rock and roll really comes from.

Sunday

Friendly Fires

Main Stage, 17:20

The image of the bird of paradise which features on the cover of Friendly Fires' recent sophmore LP Pala seemed to be the perfect indicator of what was to come during the band's Main Stage stint. They played as passionately as singer Ed Macfarlane danced, and the audience participation was so much that almost everyone got onto their feet. The crowd size also grew significantly as the set went on. "Hawaiian Air" introduced Hawaiian dancers, and "Kiss of Life" crescendoed into a rapturous grand finale, Macfarlane reminding everyone "This is your last chance to dance". Colourful, inspiring and energetic, Friendly Fires certainly delivered, no less weary after their huge UK festival tour they've already journeyed this summer. This is why they're favourites.

Death From Above 1979

NME/Radio 1 Stage, 19:00

I had to be sure that my most anticipated band of the festival, the one I had been waiting all weekend for, would not disappoint, and they certainly didn't. Death From Above 1979 played an hour-long set featuring every song from their sole album and more, and from the extended "Turn it Out" intro Sebastien Grainger and Jesse Keeler didn't let up once, thrashing monstrously in the same spot I'd seen the equally as energetic Odd Future and Fucked Up perform earlier. One of the highlights of the whole festival was when the newly beach-blonde Grainger jumped up from his drum kit during "Romantic Rights" and grabbed the microphone, and sang screechier then I'd ever heard him before, before returning to send the sucker home. You get the feeling these guys have four balls each.

The Streets

NME/Radio 1 Stage, 20:20

In a choice between Elbow and the Streets, Mike Skinner's long-running garage pop project came out on top. For me they turned out to be the best surprise of the festival. Skinner and the fans became one as they hung onto his every word, as though wishing him well in his new endeavours beyond the soon-to-be terminated Streets. Key singles "Blinded by the Lights", "Dry Your Eyes" and "Going Through Hell" were met with the most joyous singing, and it was hard not to get emotional each time Skinner announced "I die here tonight". Little did I know this was to be the Streets final performance, and I was so enthralled that the next day after returning home I went out and got a copy of Original Pirate Material on CD to find out exactly what I had missed out on. Best of luck in the future, Mike.

Other artists I enjoyed full or partial sets of, but are not mentioned here included Mount Kimbie, Kirk Spencer, Simian Mobile Disco, Seasick Steve, OFWGKTA, Fucked Up, Frank Turner and Muse.

If I were to make a playlist of the festival, it would look something like:

Moumt Kimbie - "Before I Move Off"

The Antlers - "I Don't Want Love"

SBTRKT ft. Little Dragon and Drake - "Wildfire RMX"

The Horrors - "Endless Blue"

Seasick Steve ft. John Paul Jones - "Walkin Man"

Mellowhype - "64"

The National - "Terrible Love"

Pulp - "Do You Remember the First Time?"

The Strokes - "Someday"

Fucked Up - "Queen of Hearts"

Frank Turner - "I Still Believe"

Friendly Fires - "Jump in the Pool"

Death From Above 1979 - "Pull Out"

The Streets - "Dry Your Eyes"

Muse - "New Born"

The Strokes ft. Jarvis Cocker - "Just What I Needed"

Watch clips/festival highlights of many of the artists at Reading Festival over at the Reading + Leeds Festivals section of the BBC website, here.

Top 10 bands I’m anticipating seeing at Reading Festival

I’m currently writing this from a café in the village of New Quay, Wales; the only place I can find with free Wi-Fi, and it’s been open since Saturday. The connection’s quite bad, but from what I am getting from back home I’m probably better off here for now, safe from the riots that have been happening across the country. I’m going to be at this year’s Reading Festival in a couple of weeks, as I’ve probably already mentioned, so I’ve decided to compile the top 10 bands I’m most looking forward to experiencing there. I was at first reluctant because I thought a report after I came back would be better, but I need something to do here, so here it is. The order is in how much I’m looking forward to seeing each group based on my experience of their studio output, and will probably change once I’ve actually been to the festival.

Note that line-ups for both Reading and Leeds festivals are nearly identical, the differences being Reading’s Friday will be Leeds’ Saturday, Reading’s Saturday will be Leeds’ Sunday, and Reading’s Sunday will be Leeds’ Friday. Also the Strokes and Pulp will switch times for Leeds, and there may also be minor differences I’m not aware of, so plan ahead if you’re going to Leeds. Of course if you are you’ll probably already be aware of these differences. I’ll only post Reading’s (approximate) times as that’s the festival I’m going to be at.

10. Metronomy

When?: Friday 26^th August

Where?: NME/Radio 1 Stage

Who?: Brighton dance project of Joseph Mount. Reading’s Friday will be the only one with the Dance stage, which will feature such great artists as SBTRKT, Cold Cave and Mount Kimbie, and I’ll likely spend a lot of time there. Metronomy just about pips them to the post in terms of priority. Their album The English Riviera released earlier in the year was pretty entertaining, and I hope they match its quality with their live set, given I see it.

Sounds like: Mostly like other UK non-subculture dance projects, for the most part, like Hot Chip or Friendly Fires (the latter are also incidentally playing on the main stage on the Sunday). Around half of their songs also show a casiotone influence which doesn’t sound too bad. Also reminds me of Passion Pit.

Song I hope they play: "The Bay"

9. Interpol

When?: Sunday 28^th August

Where?: Main Stage

Who?: Modern post-punk band who made almost as big an impact as the Strokes did. In fact much of Reading and Leeds this year seems to revolve around bands celebrating ten years of something. However Interpol’s ultra-modern sound helps them sound essential and timeless. Much like the Strokes they’ve wavered a little as they’ve stepped further away from their debut, Turn on the Bright Lights, but manage to stay on top with quality songwriting, production and delivery. Recently they’ve been working with cult director David Lynch, so the set’s visual effects will hopefully be off-the-wall.

Sounds like: Joy Division is usually seen as the key influence, certainly Paul Banks' baritone vocals bear more than a similarity to Ian Curtis’. The post-punk guitar stabs draw as much from the book of Wire and Gang of Four.

Song I hope they play: "Obstacle 1"

8. 2 Many DJ’s

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: The side project of Belgian rock group Soulwax, who have been playing this spiel since the late 1990s. There are a few reasons why I’m choosing these over main stage headliners Muse. For one getting to the main stage at that time would be disastrous and I’d probably get a terrible view. Secondly Muse are playing their unfamiliar 2001 album Origin of Symmetry in full for whatever reason, and not being much of a Muse fan anyway I’d probably be less than impressed. 2 Many DJ’s on the other hand are the foremost exponents of a genre coming out of the early 2000s known as bastard pop, one that throws seemingly unconnected songs together to create something danceable and apparently shameful. Having recently got my hands on As Heard on Radio Soulwax Pt 2, I can tell you it is a lot of fun.

Sounds like: Ever wanted to hear the Stooges’ "I Wanna be Your Dog" over Salt-N-Pepa’s "Push It"? Skee-Lo’s "I Wish" over the Breeders’ "Cannonball"? Destiny’s Child’s "Independent Women Part 1" over 10cc’s "Dreadlock Holiday"? Of course you have! That was from a set ten years ago though, so it’ll be exciting to hear what they have in store now.

Song I hope they play: N/A, sort of

7. The National

When?: Saturday 27^th August

Where?: Main Stage

Who?: Having enjoyed something of a popularity boost recently, due to the release of High Violet last year, Ohio's The National have found themselves in the unlikely spot of the Reading Festival’s main stage, warming the crowd for the Pulp/Strokes double headline sets. A field full of thousands of people doesn’t quite seem the natural place for Matt Berninger's croon or the Dessner brothers’ cavernous instrumentation, but I won’t know until I see them. With these and the two headliners Saturday should be an unforgettable night.

Sounds like: A folkier-sided Walkmen perhaps, or a gutsier Grizzly Bear? Okay I’m stumped on this one.

Song I hope they play: "Bloodbuzz Ohio"

6. The Strokes

When?: Saturday 27^th August

Where?: Main Stage

Who?: New York’s foremost rock & roll revivalists, that’s who. Headlining the main stage on Saturday in support of their latest album Angles no less. Though like most people there I hope they stick to the classics and don’t dig too deep into that album. Across their four albums they have enough quality tunes to make up a killer set, and being one of this festivals’ big four they’re expected by many to deliver the goods. And despite my thoughts on that last album, Julian Casablancas and co. are definitely going to keep me entertained, easily worthy headliners.

Sounds like: A modern twist of the 70s CBGB and Max’s Kansas City bands from their native city that made them so popular. Listening to their influence on any modern guitar band since ought to be evidence of their popularity and respect.

Song I hope they play: "Hard to Explain"

5. Fucked Up

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: Canadian punks fronted by man-mountain Pink Eyes, or Father Damien Abraham, who sound pretty much as their name suggests. After their 2008 album The Chemistry of Common Life wowed critics they returned earlier this year with the un-punk 78-minute rock opera David Comes to Life, a sure-fire Album of the Year contender. I missed the opportunity to see them on tour with Iceage a few months ago, a mistake which I hope to redeem myself on at Reading.

Sounds like: Very melodic as far as punk rock goes. I don’t think a Foo Fighters comparison is too out of place. Though your ears (and possibly eyes) will undoubtedly be drawn to Pink Eyes’ presence, his volcanic grumble and roar being the main live attraction. Just forget about your previous experience of "rock opera".

Song I hope they play: "Turn the Season"

4. OFWGKTA

When?: Saturday 27^th August

Where?: NME/Radio 1 Stage

Who?: OFWGKTA, Odd Future Wolf Gang Kill Them All, or Odd Future are a group of rappers, skaters, producers and music video directors from California, USA. They rose to the height of white indie popularity back in February when leader Tyler, the Creator released his self-directed video for "Yonkers", and they’ve been inescapable since. Love them or hate them, there’s no denying that their set will be one of the most energetic of the festival, and as I sit more on the side of like than hate there’s no excuse for me not to be there. The noticeable lack of black music and musicians means this might be one of my few chances to enjoy such music during the weekend, albeit not in the traditional mould. Probably not the cultural revolution some thought they were going to be (ask anyone on the street who they are and you certainly won’t hear them say the next Wu-Tang) nevertheless they have one of the most loyal fanbases around, and are sure to draw a crowd.

Sounds like: The Wu-Tang Clan connection comes from the size of the group, with at least a dozen or so members. The rhymes have the dark humour and shock of Eminem circa The Marshall Mathers LP, though Tyler’s dark voice is his own. Their energy has also been compared to hardcore punk groups such as Black Flag and Fugazi.

Song I hope they play: "French!"

3. The Horrors

When?: Friday 26^th August

Where?: Festival Republic Stage

Who?: At first they were perceived as nothing short of a fashion statement when they arrived in 2006, being hyped as NME’s next big thing, a clearly 80s goth image, appearances in TV shows like "The Mighty Boosh", a Chris Cunningham-directed video right off the bat ("Sheena Is a Parasite"), and names like Faris Rotter and Joshua von Grimm meant that even I ignored them until recently, with the release of their third album Skying, which I’m very impressed with. It’s a shame it’s taken me this long, I hear 2009’s Primary Colours was very good. It earned them a Mercury Music Prize nomination and proved they had added substance to match their style. Thankfully I’ll be forgiven for my sins when I’m baptised in the river of their headline performance at the Festival Republic Stage on the Friday.

Sounds like: A continuation of the psychedelically-looking New Romantic bands of the 80s, like the Psychedelic Furs and the Cure, who in turn owe a lot to Syd Barrett. And to all those who think the Horrors sound in any way like Simple Minds, they don’t.

Song I hope they play: "Still Life"

2. Pulp

When?: Saturday 27^th August

Where?: Main Stage

Who?: If I envy the Leeds incarnation for anything, it’s that Pulp follow the Strokes, whereas it’s the opposite order for Reading. Both bands are probably equal in their contribution to rock & roll history, so it’s arguably a fair decision to co-headline the two, but I reckon that Pulp will manage to steal the limelight from under the Strokes’ noses. Last year they announced their comeback with a string of festival dates, the ones already crossed off leaving behind nothing but glowing reports: Isle of Wight, Primavera Sound, and their surprise set at Glastonbury almost upstaged Radiohead’s. Overlooked during their time between the two warring Britpop titans Oasis and Blur, Pulp nevertheless carved their own niche into the musical landscape of 90s Britain with their politically charged smash albums Different Class and This Is Hardcore, despite beginning their career in 1983. Given today’s political climate, they’ve returned at just the right time.

Sounds like: Pretty much what you’d expect from a typical British indie band in terms of sound. They stick out from the competition with their superior songwriting and lyricism, courtesy of Jarvis Cocker, one of rock’s greatest and most theatrical frontmen. Best of luck following them, Casablancas.

Song I hope they play: "Sorted for E’s and Whizz"

1. Death From Above 1979

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: Another recently reunited band, DFA1979 almost broke Austin, TX’s SXSW Festival earlier this year when they played their first gig together since 2005, such was the rush to experience the power of their thunderous rawk. Like many garage rock bands, they create a huge sound despite being a two-piece: Sebastien Grainger covers drums and vocals, and Jesse Keeler handles bass and occasionally keyboards. They only released one studio album during their first lifetime, yet if anything has salvaged this holiday’s terrible weather, it’s staying in and playing You’re a Woman, I’m a Machine over and over. Originally simply known as Death From Above, the 1979 came about from James Murphy politely asking them to change their name (to avoid confusion with his DFA label, which also stands for Death From Above). He did them a favour.

Sounds like: I’ve heard them described as dance-metal before; although that’s kind of ridiculous, it gives an idea of the combination of incredible volume and slinky, tight grooves they achieve. Think about where the Black Keys and Lightning Bolt overlap, that’s as close of an analogy I can give.

Song I hope they play: "Blood on Our Hands"

And you can expect the report on how I actually found the festival’s artists to follow when I come back, around Tuesday 30^th-Wednesday 31^st August. I’ll come up with another format for that. That’ll explain both why there haven’t been any updates in the past week or the weekend Friday 26^th to Sunday 28^th August. Hope to post some reviews in the near future.

There are just as many I’m looking forward to seeing that didn’t make the list, and I’ll try to visit as many as possible to give you my best experience of the festival. I’m partially writing from memory as well, what with my currently limited internet access. There probably won’t be any photos when I’m there unfortunately. I’m a really bad photographer anyway.

If anyone has been to either the Reading or Leeds festivals before, are planning on going this year, or have seen any of these bands live before, I would like to hear, this being my first time and everything.

In The News: Flying Lotus, Radiohead, Arcade Fire, David Byrne

Quite a few things to get through this time around. I only planned to do a couple but things kind of got out of hand. Oh well.


Flying Lotus

This is the cover of hip-hop spacemonger Flying Lotus' gargantuan new mix, Lovers Melt 2, the sequel to his Stones Throw Podcast #66: Lovers Melt he provided for the label a few months back. It's nigh-on two and a half hours long. You know my previous post, Summer Playlist For 2011? Yeah, forget about it, for it has been overshadowed. FlyLo says "Some of my favorite songs ever.. Some you know, some you might not..". Download it *here or pick it up from his Brainfeeder label's site.

Radiohead

Meanwhile FlyLo's buddy Thom Yorke's band Radiohead have been busy recording their special From the Basement episode, the show from longtime Radiohead producer Nigel Godrich. The episode shows the band playing their recent album The King Of Limbs in its entirety, and showcased two new songs: "Staircase" and "The Daily Mail". They were also joined by Portishead's drummer, Clive Deamer. As they say, two 'heads are better than one, (moan).

The band have also commissioned a series of 12" remix singles of the TKOL album tracks. The first features Caribou's take on "Little By Little", whilst Jacques Greene tackles "Lotus Flower", and is out now. The second is reported to feature a take on "Morning Mr. Magpie" from Nathan Fake, and two "Bloom" remixes from Mark Pritchard. SBTRKT is supposedly also working on a Radiohead remix, though we can't be entirely sure at this stage whether it'll be officially released as part of this series. Here's hoping.

The special From The Basement episode premiered on Spain's Canal+ last Friday, and is available below, thanks to the magic of Youtube. Check your TV schedules to see when it'll be broadcast in your country (via BBC Worldwide). Also below is the first remix single for the streaming.

Arcade Fire, David Byrne

Arcade Fire's Spike Jonze-directed short Scenes From the Suburbs has finally surfaced. A shortened snippet served as the music video for the title track from The Suburbs last year, but now the entire 30 minute film is available right about here. Scenes From the Suburbs will also soon be packaged with the deluxe edition of The Suburbs, alongside two new bonus tracks: "Culture War" and "Speaking in Tongues", the latter of which features contributed vocals from Talking Heads' David Byrne, appropriately enough. Now that's three Heads in one post!

Music video for "The Suburbs" is below, as well as a trailer for Byrne's documentary Ride, Rise, Roar, which has recently been released on Blu-Ray and DVD by Eagle Rock Entertainment. The film, directed by David Hillman Curtis, documents Byrne's 2009 tour behind the Everything That Happens Will Happen Today album, a collaboration with Brian Eno. Check Amazon, as I always say.

Lastly, Brian Eno's new album, Drums Between the Bells has just been released via Warp Records, and might just be the best thing since sliced bread, in this bloggers humble opinion. Just thought I'd throw it out there.

Summer Playlist for 2011

A list of songs from the past twelve months to get ready for the summer weeks ahead. These are the ones I'll mainly be spinning, though of course there are others from previous years that have become mainstays, just trying to be original. Great for any upcoming barbecues, or journeys to and from festivals. I'd give them a shuffle mind, as they'e largely come straight from memory, with no particular order to them. I might come back here to add more if I think of any. Sit back with a choice cool beverage and enjoy.

Cut Copy - "Take Me Over"
The Pains of Being Pure at Heart - "Heart in your Heartbreak"
Belle & Sebastian - "I Didn't See it Coming" (Richard X Remix)
Smith Westerns - "Weekend"
Washed Out - "Eyes Be Closed"
Nicki Minaj - "Super Bass"
TV on the Radio - "You"
Toro Y Moi - "New Beat"
Hercules & Love Affair - "My House"
Beastie Boys - "Make Some Noise"
Battles ft. Matias Aguayo - "Ice Cream"
Death Cab for Cutie - "You Are a Tourist"
Cults - "Go Outside"
My Morning Jacket - "Circuital"
Times New Viking - "No Room to Live"
Thee Oh Sees - "I Need Seed"
Unknown Mortal Orchestra - "Ffunny Frends"
Givers - "Ceiling of Plankton"
Gruff Rhys - "Honey All Over"
Pure X - "Dream Over"
Antlers - "I Don't Want Love"
Fleet Foxes - "Battery Kinzie"
Yuck - "Get Away"
Metronomy - "The Bay"
Foster The People - "Pumped Up Kicks"
Dom - "Living in America"
Anamanaguchi - "Airbrushed"
The Lonely Island ft. Akon - "I Just Had Sex"
Jamie xx - "Far Nearer"
Beastie Boys ft. Santigold - "Don't Play No Game That I Can't Win" (Major Lazer Remix)
Stephen Malkmus and the Jicks - "Senator"
Sun Airway - "Wild Palms"
Ariel Pink's Haunted Graffiti - "Fright Night (Nevermore)" (Dâm-Funk Remix)
Duck Sauce - "Barbra Streissand"
Handsome Furs - "Bury Me Standing"
Black Lips - "New Direction"
Dum Dum Girls - "He Gets Me High"
Clams Casino - "Motivation"
Marissa Nadler - "The Sun Always Reminds Me of You"
Kurt Vile - "Jesus Fever"
Woods - "Pushing Onlys"
No Age - "Fever Dreaming"
Panda Bear - "Last Night at the Jetty"
Deerhunter - "Desire Lines"
The Horrors - "Still Life"
Ty Segall - "You Make the Sun Fry"
The War on Drugs - "Baby Missiles"
Frank Ocean - "Nature Feels"
Gunnar Bjerk - "Back Then"
Fucked Up - "Queen of Hearts"
Bibio - "K Is for Kelson"
Holy Ghost! - "Wait and See"
The Go! Team ft. Bethany Cosentino - "Buy Nothing Day"
Cold Cave - "The Great Pan Is Dead"
Gang Gang Dance - "Glass Jar"
Big K.R.I.T. ft. David Banner - "Sookie Now"
The Strokes - "Under Cover of Darkness"
The Rapture - "How Deep Is Your Love?"
Aloe Blacc - "I Need a Dollar"
PJ Harvey - "Written on the Forehead"
Justice - "Civilization"
YACHT - "Dystopia (The Earth Is on Fire)"
Sufjan Stevens - "Too Much"
Lykke Li - "I Follow Rivers" (Dave Sitek Remix)
Lupe Fiasco - "The Show Goes On"

Review: Bon Iver, Bon Iver

Listen to Bon Iver - Bon Iver below, and download the album track "Calgary" here: *mp3: Bon Iver - "Calgary"

Let me start with a confession. I never really have totally gotten into For Emma, Forever Ago, the 2008 album that was the first release songwriter Justin Vernon released under the name Bon Iver. That debut may have received universal acclaim everywhere else, but for me it resembles a collection of sparsely recorded acoustic, melancholic folk songs, nothing more, nothing less. Don't get me wrong, Vernon was clearly capable at what he was doing, but for some reason the songs have never clicked with me as of yet. But I'm hoping they will someday, and Bon Iver's sophomore full length has given me more than enough reason to keep that particular door ajar.

Certainly everyone else's reaction to For Emma was much more positive, in terms of both critical acclaim and sales. Part of the reason for that is likely to be in the story behind the record. Who can resist the romantic idea of a lone figure seeking refuge in a log cabin in the middle of nowhere, complete with he breakup of his previous band and relationships, and leaving with a record of such emotional turmoil? It seems as though every one of Vernon's peers have attempted it since. Meanwhile Vernon was out there working on other projects, after For Emma had helped him to shed his skin: a follow-up EP Blood Bank, the Volcano Choir, Gayngs, and most recently vocal contributions to Kanye West's most recent album, each one of them proving that debut was more than just a fluke, and each one raising the status for its true sister record to bear, the almost-self-titled Bon Iver.

Supposedly three years in the making, though only announced a couple of months ago, it was clear from an early point that any successor to For Emma would be a much more distant relative. And the release of "Calgary" proved that. The Bon Iver style before now has been known to be relatively silent and minimal, however "Calgary" is a complete 180 of that idea. Every space has been filled with lush sounds, a huge number of merged instruments, both acoustic and synthetic, each building the song's momentum to cap it off with a huge aching crescendo, and the feedback as the recording technology fails to contain each sound's individuality. Perhaps the only immediate tie any of Bon Iver's previous songs can hold to this or any of the songs on Bon Iver (or Bon Iver, Bon Iver) is the haunting falsetto of Justin Vernon, the only element of his previous songs that was prepared to step out of the cabin and tackle his subject matters face-to-face.

Despite the added instrumentation it is still this voice that guides the songs, which is probably the reason Vernon decided to publish his lyrics on his website shortly after the album had been sadly inevitably leaked. Both Vernon's words and their delivery are at the heart of the music of Bon Iver, and as a songwriter and a singer he remains as sharp as ever. The images he paints for "Michicant" are my favourite, the childhood and adolescent memories and longing for the past: "I was unafraid, I was a boy, I was a tender age". And of course Vernon can hold a tune like none other, whether it be on the hushed "Wash.", the stronger country-shuffled "Towers", or the brash, autotuned closer "Beth/Rest".

Speaking of that final track, it has proven to be the most divisive of all, sounding somewhere between Vernon's soft-rock project Gayngs and the production of the Kanye record he more recently featured on, My Beautiful Dark Twisted Fantasy (although Blood Bank's "Woods" is a truer starter for Vernon's foray into vocal effects). "Beth/Rest" sounds like a cloudy, forgotten 80's radio rip, with confident guitar lines cutting up the track's Casiotone keyboard sounds. It makes sense for this to be the ending track on the album, it shows a totally different Bon Iver, one that is completely strong and unashamed, a symbol of the complete change from the For Emma period, and hope for the future. It remains conscious, not reactionary or strategic, and all songs on Bon Iver retain themes of isolation and introspection regardless of the money, fame, production values and instrumentation, a very difficult balance to have preserved.

Bon Iver and For Emma, Forever Ago are in fact more similar than they may seem, and a great number of criticisms the new record have already and may continue to attract can in truth be projected onto the first, particularly regarding the sound quality and atmospherics, which do justice to the sounds of both albums. I'm often of the belief that a change is usually a good thing, despite its initial intimidation, and if you've noticed my previous blog post this is reflected in many of my favourite albums of the year so far (Radiohead's The King of Limbs and Battles' Gloss Drop spring to mind). The fact remains that Justin Vernon remains one of the best vocalists and songwriters of our times, and the public seem to have responded to this. Bon Iver is currently sitting at the #2 position on the Billboard charts and is at #4 in the UK, both after the albums' first week of release. Bon Iver the project is also here to stay, and all the better for it. Even though there are mixed responses to this release under the name, I predict that the superior songwriting, lyricism and sheer beauty of this record will eventually warm the hearts of many, just as one day For Emma will warm mine.

9/10

Bon Iver - Bon Iver