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> RWG's Top 100 Albums of 2011
RWG
post Dec 19th 2011, 11:40 PM
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I really got into music writing this year. Because I have a list I worked on over the course of the year that I'm posting on another site, I thought I'd post it here to maybe garner some discussion about lesser known artists and throw some suggestions your guys ways.

The list includes indie, alternative, blues, country, pop, electronic, soundtracks, compilations, and top 40. It may not be right up the alley of everyone here, but I think there will be something for everyone.

I'll start posting in intervals of ten and post 100-91 later tonight.


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SpamGoddess
post Dec 19th 2011, 11:44 PM
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Bet ya wish you hadn't asked for one now eh? yep
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Stoked for this!


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post Dec 19th 2011, 11:48 PM
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Wow, so many! Excited. grin.gif


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TiredOfSex
post Dec 20th 2011, 12:52 AM
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Wow, nice. That's a lot. I don't think I've come close to listening to 100 new albums this year.


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RWG
post Dec 20th 2011, 5:46 PM
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100. Lulu
Lou Reed and Metallica
Warner Bros. Records Inc.


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For the record, Lulu isn’t actually anywhere close to being one of the 100 best albums of 2011. It’s just too difficult to have a conversation about 2011 in music without bringing up this highly anticipated chaos. To many, this collaboration brought intrigue; at his grungiest, the storied Velvet Underground frontman resembles Metallica in the key of their more upbeat singles, and difference in the two’s respective circles may have suggested some interesting artistic coordinations. At the same time, Lulu sounds exactly as awful as anyone would expect it to. Sloppy riffs, archaically structured metal, low-brow lyrics, and vocals no one expected to sound pleasant descend the album into the realm of 1980s high school starter band. As fans of both artists have matured with them and should naturally expect a high quality album from a group of rock and roll legends, nothing weird or tongue-in-cheek redeems this colossal misstep. Many of Reed’s albums, most famously, 1973’s Berlin, flopped commercially and were ripped critically upon release, but famously grew into cult classics over the decades. I can’t see Lulu sharing a similar fate.

Recommended tracks: “The View”

99. Codes and Keys
Death Cab for Cutie
Atlantic


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At this point, there isn’t a whole lot left to say for poor Death Cab, the band many love to hate and hate to love. Undoubtedly, the Washington State-based band has written some of the catchiest and most melancholic songs of love and heartbreak for young people in the past decade and change. The problem lies in the fact they simply aren’t a good enough band to enjoy a twenty- to thirty-year tenure as the kind of indie rock icons they seem to envision themselves as. Codes and Keys suggests they may have exhausted their options creatively. The band deserves a moderate level of praise for at least trying something different, but the “experimental” direction fails them for the second album in a row. This style of song downplays the band’s strengths in melody and lyrics to the point at which the songs are indistinguishable. Moreover, no one in their right mind interested in progressive-sounding experimental rock would turn to Death Cab for Cutie for the sheer fact of how they’re recognized. The album’s lone strong spot is the title track, which combines concise lyrics, keyboards, and strings to create an Arcade Fire-esque inspirational effect. “You Are a Tourist” earned itself moderate radio upon the album’s release, but nothing else here deserves much attention. Codes and Keys is a bold venture that comes up well short of its goal, and it implies Death Cab is just running out of ideas at this point.

Recommended tracks: “Codes and Keys” “You Are a Tourist”

98. The Double Cross
Sloan
Outside Music


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I’ve always liked Sloan. Timeless singles such as “Money City Maniacs,” “The Rest of My Life,” and “The Other Man” paint the picture of a band that, for a while during the late ‘90s and early 2000s, many considered to be Canada’s premier indie band. The reasons for their gradual decline into playing college campuses and relying on Cancon requirements can probably be attributed to the fact they’re not very experimental and that stylistically, they’ve been very linear for the past twenty years. The Double Cross is business as always for Sloan; their reliable brand of hard-hitting but lyrically innocuous alternative rock should get a passing grade from most long-time fans. “Unkind,” despite weak lyrics, proves the album’s best track and the first real hit they’ve had since “Believe in Me” in 2008. The Double Cross, like much of Sloan’s music, is objectively likeable, thorough, and offers the requisite “get up on the jumbotron at a hockey game and fist pump” hit in the aforementioned “Unkind.” Notwithstanding, it wouldn’t be the worst thing to see something a bit more adventurous from the aging rock group. For guys that have been making music for so long, their music’s constancy is not only starting to get boring, but innocent to the point at which fans can only hope this album’s title refers to a cross-joint.

Recommended tracks: "Unkind"

97. Who You Are
Jessie J
Universal


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British singer Jessie J’s breaking out with her debut album can be attributable to Who You Are’s nature as the encyclopaedic R&B album. In other words, the album features something for everyone. At the forefront is the objectively catchy “Price Tag,” one of the friendliest sounding chart hits in recent memory. “Do It Like a Dude” shows off a “freakier” take, and “Mamma Knows Best” is a fashionable ’40 cabaret revisited. That’s not to ignore the fact a lot of the album is redundant or that the lyrics leave a lot to be desired, but I think she makes a credible start.

Recommended tracks: “Price Tag” “Do It Like a Dude” “Mamma Knows Best”

96. The Girl with the Dragon Tattoo Soundtrack
Atticus Ross and Trent Reznor
Null


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I scanned this just in time to throw it on the list, and no, I haven’t seen the movie yet. Notwithstanding, on first listen, it appears Atticus Ross and Nine Inch Nails frontman Trent Reznor, who teamed up to win the Oscar for Best Original Score for their soundtrack for 2010’s The Social Network, have nailed another work in terms of content. As a whole, the score is a blend of the creepy and the industrial and pays due diligence to the themes of mystery and suspense prominent in the novel and sure to appear in the film. As a bonus, the soundtrack features their cover of Led Zeppelin’s “Immigrant Song,” which, recorded with Yeah Yeah Yeahs vocalist Karen O., suits the film to a tee.

Recommended tracks: “Immigrant Song”

95. A Very She & Him Christmas
She & Him
Merge Records


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A Christmas album seemed imminent for indie pop duo She & Him; Zooey Deschanel’s rich, deep, blue-sounding tone bears striking resemblance to that of Karen Carpenter, whom I’d consider one of pop’s greatest carollers ever, and the accompaniment guitarist M. Ward’s professional repertoire and musicianship makes for an old-time holiday feel that offers what people really want during Christmas: evocation. Granted, making a Christmas album of such a conservative nature isn’t the most difficult venture in that no one cares about innovation; people are sated with anything that sounds pleasant, something for which She & Him has had a formula down pat for two albums. There’s nothing challenging enough about this project on the artists’ end to land it any higher, but it’s an enjoyable holiday album kids may even be able to get their parents into.

Recommended tracks: “Have Yourself a Merry Little Christmas” “The Christmas Song” “I’ll Be Home for Christmas”

94. Native Speaker
Braids
Flemish Eye


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I struggled with Braids’ debut album for a while; months of forced listens didn’t seem to make it any less boring, and I gave up on it when a half-friend told me the reason I don’t like it is because I “don’t do enough drugs.” I still haven’t come around on it fully, but I have recently started appreciating it. The melodies are mostly light, but lead singer Raphaelle Standell-Preston shows vocal strength on “Same Mum.” “Lemonade,” the album's finest tune, and “Plath Heart” bolster an electronic Siouxsie and the Banshees lankiness while “Native Speaker” and “Lammicken” showcase softer melodies that almost take a backseat to the songs’ harmonies (I think these are the songs you need to be on drugs to like). I’d still call Native Speaker overrated, but making an attempt to appreciate its intricacies isn’t a total lost cause.

Recommended tracks: "Lemonade" "Same Mum" "Plath Heart"

93. Castlemania
Thee Oh Sees
In The Red


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Thee Oh Sees’ trippy brand of garage rock may create the most isolating sound on this list, yet there’s something wonderfully quirky about Castlemania. It clearly bears heavy hallucinogenic influence and even if it proves a listener’s cup of tea, grates the ears after two or three songs in a row. The psychedelic oddities in “Stinking Cloud” and “Pleasure Blimps,” however, find an agreeable intersection between weird and fun. The album’s centrepiece is the band’s zany cover of The Creation’s 1967 track “If I Stay Too Long.” If Castlemania isn’t your cup of tea, at least go check out the original version of one of the best love songs ever.

Recommended tracks: “If I Stay Too Long” “Stinking Cloud” “Pleasure Bimps”

92. Horses and High Heels
Marianne Faithfull
naive


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For those who haven’t been following Marianne Faithfull over the past fifty years, both the fact she has an established music career and the way she sounds can come as a surprise. Best known for her sweetly sung original rendition of “As Tears Go By” in 1964 and for the drama surrounding her relationship with Mick Jagger two years later, Faithfull now sings and writes like no one from that era would ever have expected. Her rough, gravelly vocals and hard-nosed blues tunes suggest a well-weathered artist. Her abrasive tone sounds awkward on the albums more sensitive songs, but the edgier-sounding tunes fall into niches dwelling at compelling intersections between rock, jazz, and, as far as the vocals are concerned, a certain level of creepiness. Faithfull may not be as high-profile as she was while running around with the Stones, but for someone whose music seemed unlikely to ever grow out of the shadow of her toxic public life, her sound is credible.

Recommended tracks: “No Reason” “Why Did We Have To Part?” “Stations”

91. Collapse into Now
R.E.M.
Warner Bros. Records Inc.


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Of the title and lyrical content of R.E.M.’s fifteenth and final studio album, lead singer Michael Stipe says: “these are the values and these are the mistakes we've made and these are the triumphs. These are the things that we held in the highest esteem. These are the things to learn from." Yet musically, Collapse into Now hardly starts off as a catalog of the band’s storied 31-year career (as I see it, anyways). “Discovery” and “All the Best” open the album with a hard-nosed stadium rock volume, and this heavy sounding approach re-appears throughout the album. I’m no R.E.M. diehard, but I find them to be at their best with softer arrangements that highlight—not downplay—their thoughtful lyrics and almost listless moods (I’m thinking of “Man on the Moon” and “Nightswimming.”) The band’s more mellow side does come across on tracks “Walk It Back,” “Uberlin,” and “It Happened Today,” which, on the band last album, best reflects the kind of songwriting that speaks to the band’s legacy as one of the greatest American rock bands ever.

Recommended tracks: “Walk It Back” “Uberlin” “It Happened Today”


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*Wallace
post Dec 20th 2011, 6:00 PM
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Wow a Top 100 albums list is so impressive. omg.gif I don't think i listened to 3 full albums this year. fear.gif But yay for Jessie J being on the list! w00t.gif I actually heard a lot of songs from her this year and really like or love them all. shocked.gif I am pretty sure I would end up loving her album. She's really versatile as an artist. yes.gif Then I know of She & Him, Death Cab for Cutie and R.E.M. but not any of their music from this year.


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Starry_Night
post Dec 20th 2011, 6:29 PM
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I like codes and keys too, I love you are a tourist
I haven't listened to the she & him christmas album yet


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Drew
post Dec 20th 2011, 8:14 PM
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I'm pumped for this! You've already posted quite a few I love. wub.gif Will comment individually in a few minutes.


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post Dec 20th 2011, 9:14 PM
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Rem, She and Him, and Death Cab For Cutie. heart.gif


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DiAnAmItE4LiFe
post Dec 20th 2011, 10:09 PM
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The only one of these I've heard so far is She & Him's Christmas album, which is great of course. wub.gif But I'll definitely have to check some of these albums out!


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SpamGoddess
post Dec 20th 2011, 11:38 PM
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Bet ya wish you hadn't asked for one now eh? yep
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I can't wait until I get a chance to dive into this and listen to everything! So far the only album I have/heard fully is A Very She & Him Christmas. sad.gif


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RWG
post Dec 20th 2011, 11:54 PM
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Thanks for all the comments, guys! The next part will be up shortly.

QUOTE(TiredOfSex @ Dec 19th 2011, 9:52 PM) *

Wow, nice. That's a lot. I don't think I've come close to listening to 100 new albums this year.
QUOTE(*Wallace @ Dec 20th 2011, 3:00 PM) *

Wow a Top 100 albums list is so impressive. omg.gif I don't think i listened to 3 full albums this year. fear.gif

I started doing fill-in DJing for my campus' radio station this year, and as 30% of the music every hour has to be new releases, I had to listen to a lot of new albums every week. Any other year, I'd probably listen to 10-20 albums a year.

QUOTE(Starry_Night @ Dec 20th 2011, 3:29 PM) *

I like codes and keys too, I love you are a tourist

Those two are actually really good songs. The more I listen to "Codes and Keys," the song, the more I get obsessed with it.


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RWG
post Dec 21st 2011, 5:19 AM
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90. Zonoscope
Cut Copy
Metropolis


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If this review sounds unflattering, it’s only because I had high expectations for this album. Cut Copy’s 2007 release In Ghost Colours was wondrous, with “Hearts on Fire” being one of my favourite songs to dance to ever (I don't dance a lot). Zonoscope, the Australian electropop group’s third studio album, is just a bit too deliberate and tame. For the hipsters who grew to cherish the late-night euphoria Cut Copy’s earlier work brings to a dance floor, the album’s sense of “look ma, Depeche Mode” proves somewhat of a buzzkill. The songs are slower, more synth-based, and thematically corny. Moreover, In Ghost Colours’ crunchy riffs have been replaced with unsatisfying slap-bass fillers. In isolation to the band’s earlier work, however, Zonoscope does have good things about it. The lead track, “Need You Now,” is thoughtfully catchy and entirely danceable, “Paroahs & Pyramids” features subtle glimpses of the band’s past, and “Alisa” is a passable microcosm of what the album is as a whole (a deliberate attempt and sounding ’80). Not so great are “Take Me Over” and “Where I’m Going”—simply disco—and “Corner of the Sky” proves the album’s legitimate “what the f*ck?” moment. With this album, Cut Copy goes too far with their vision, and the result is something campy. Ultimately, “Need You Now” saves the album from total irrelevance.

Recommended tracks: "Need You Now" "Pharoahs and Pyramids"

89. Heartbeats and Brainwaves
Electric Six
Metropolis


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My experience at an Electric Six show earlier this year may go down as the most fun I’ve ever had at any show. Their maniacal brand of alternative rock, indebted to heavy metal, funk, and disco; raunchy lyrics; and a tongue- in-cheek demeanour make for quite the experience. With regards to Heartbeats and Brainwaves, Electric Six doesn’t take itself seriously enough to warrant having anything negative said about them. Their intentionally tacky songs have always been construed as funny, sexy, explicit, and too ridiculous to hate. The band’s self-deprecating nature makes them hard to criticize, but I do wish this album were a bit heavier. Most songs, barring “Hello! I See You!,” rely more on synthesizers, laser noises, and other sci-fi related effects than they do the distorted guitars and juxtaposed “heaviness” that made timeless some of the band’s earlier hits, like “Danger! High Voltage,” the recognizable collaboration with fellow Detroiter Jack White that was used in an infamous Subaru commercial. Notwithstanding, Heartbeats and Brainwaves still offers the “so bad it’s good” quality Electric Six fans have come to cherish. At the end of the day, this band is too whacky to slam.

Recommended tracks: “Hello! I See You!” “Interchangeable Knife” “French Bacon”

88. La caverne
Malajube
Dare to Care Records


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The only thing holding back Montreal-based Malajube from indie rock superstardom is its own will. The infectious “Montréal -40c” raised their stock a little when it appeared in HBO’s 24/7 series, but the band’s language barrier continues to isolate it among American audiences. Any artist from non-English-speaking countries tat his serious about international fame records in English, regardless of how well they speak it. Malajube’s English, based on the interviews I’ve heard, sounds fine—certainly strong enough to record in it. Yet they continue to write, record, and perform exclusively in French. While they’re huge in Quebec, especially among unilingual French speakers, they produce a distinct experience for everyone else: listeners get melodic, upbeat indie pop with the audible effect of vocals with no lyrical value. They themselves concede their live shows are hilarious—what, with all the fans trying to sing along to words they don’t know—but thankfully, the music carries its own weight. La caverne’s best songs are upbeat, melodic, dreamy, and scream Saturday night on St. Catherine’s street (anyone who’s ever had a night out in Montreal knows what I’m talking about). If you’ve ever wondered how important lyrics are to your idea of indie and don’t want to delve into the ten-minute long creatures bands like Explosions in the Sky and Godspeed! You Black Emperor produce, check out the tracks suggested below.

Recommended tracks: “Synthésie” “Le blizzard” “Le stridor”

87. Bright and Vivid
Kathryn Calder
File Under: Music


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The second solo album by Kathryn Calder, formerly of Immaculate Machine and currently of The New Pornographers, plays as an album of moments. Her tone is clear and ethereal, but some of the songs suit it better than others. The wavy electric licks in “City of Sounds” create a catchy, dreamy quality, and simplistic arrangements in “Turn a Light On” and “Younger Than We’ve Ever Been” allow for similar moods. Unfortunately, a nice sounding voice is buried by overwhelming beats on other tracks (“Who Are You?”), and for an album that clearly tries to be a pop album, some songs take too long to get to the chase.

Recommended tracks: “City of Sound” “Turn on a Light” “Younger Than We’ve Ever Been”

86. Arabia Mountain
Black Lips
Vice Music Inc.


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The commercial success Atlanta-based Black Lips may in large part be limited to their song “Bad Kids,” wound up on the soundtrack for the 2010 film 500 Days of Summer, but Arabia Mountain proves they’re more than one song (in fact, they’re now five full-length albums deep). Produced by Mark Ronson and Lockett Pundt (Deerhunter), the album features songs that are zany, unique, and noisy but sharply decorated with punk riffs and crunchy walk-downs. Holistically, “London Calling meets The Cramps” seems to suit it. Many songs are simply bad punk, but at its best moments, Arabia Mountain's sincere wildness separates Black Lips from a growing population of destructive "punk" bands that actually sell well. The album's sharpest moments in “Family Tree” and “Modern Art” are the album’s first two tracks, and while the rest probably needs to be taken in two sittings, some more infectiously catchy tracks emerge (“Bicentennial Man” “Raw Meat” “Bone Marrow”).

Recommended tracks: “Family Tree” “Modern Art” “Bicentennial Man”

85. Ceremonials
Florence and the Machine
Universal Island Records


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Anything I say about this album may sound a bit myopic in that I still haven’t listened to Lungs outside of “Dog Days Are Over” and “You’ve Got the Love.” The most direct comparison I can make is that I don’t think Ceremonials has an equivalent to either one of those songs. There isn’t anything overly infectious or catchy, and none of the songs feature memorable hooks. If the two aforementioned tracks can serve as microcosms for the rest of Lungs, then Ceremonials is the more serious album. With soaring melodies, heavy percussion, choral backgrounds, and religious themes (some track titles include “Seven Devils,” “All This and Heaven Too,” and “Leave My Body”), this album makes evident the comparison between Florence and the Machine and Kate Bush. “Spectrum” is the most powerful track on the generally powerful album, while delicious hooks in “Lover to Lover” make it the catchiest. The album’s first single “Shake It Out” is a fair representation of Ceremonials as a whole, though she may sell the song whole on an unmelodic chorus. When listened to in full, the album emphasizes an intensity can become overbearing—if not boring—to the point at which you just want to throw on “Dog Days Are Over” and mindlessly clap along. Notwithstanding, Ceremonials is a solid follow up that showcases an artist with a big voice and a powerful conviction.

Recommended tracks: "Spectrum" "Lover to Lover" "Shake It Out"

84. Watch the Throne
Jay-Z and Kanye West
Roc-a-fella Records


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Possibly the most vainglorious album I’ve ever heard, Watch the Throne is the poeticized account of two men who love themselves very much. I’m told they play “Ni**as in Paris” around ten times a show just because they like it. In my experience, the most annoying people tend to love this album, and hoards of college frat guys who think they’re the king of the world when they put this album on lend it to off-putting connotations (think of how Ron Paul supporters make you feel about Ron Paul). Notwithstanding, it pains me to admit that Watch the Throne is hard not to like. The collaborations’ accessible brand of party rap, as heard tracks “Ni**as in Paris” and “Who Gon Stop Me?,” seem objectively enjoyable; I can’t think of a mainstream rap project ever being subject to such a wide range of people who approve of it (such success only seems attainable post-humously). I struggle with the album’s more solemn ventures (“New Day,” “Welcome to My Jungle,” and “Murder to Excellence”) and assume them wasted on the audience, but “Otis” proves one of the best samples of the year and a standout in its own right.

Recommended tracks: “Otis” “Who Gon Stop Me?” “N**gas in Paris”

83. The Whole Love
Wilco
dBpm Records


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For those fond of Wilco’s specialized alt-country roots, like the ones listeners derive from the sultry sounding “Jesus, etc.,” The Whole Love may come as a surprise. It’s the band’s first album on its own label, and in terms of artistic liberties, it shows. The soft-sounding tracks “Open Mind,” “Capitol City,” “Whole Love,” and “Rising Red Love” adhere to the band’s alt-country legacy, but the rest of the album is highly encyclopaedic. A 60s’ British Invasion theme can be picked up through “I Might” and “Standing O,” which seem to recall The Rolling Stones and early Beatles respectively; meanwhile, “Born Again” and “Dawned on Me” lend themselves to an innocuous brand of garage rock with a southern flare. The majority of these "ventures" avoid pretentiousness and total mimicking. The album as a whole isn't nearly as good as the band’s masterpiece Yankee Hotel Foxtrot, but it does feature good songs, and the band's numerous and mostly successful risks ought to be applauded.

Recommended tracks: “Dawned on Me” “Whole Love” “I Might” “Open Mind”

82. Honeymoon Punch
Jenn Grant
Six Shooter Records


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Quirky and talented Jenn Grant is now five full-length albums into a career that seems like it should have picked up more traction by now. For some reason, the same formula with which comparable Feist has emerged as an international talent seem to have failed Grant, yet even domestically, she seems less recognized than Feist was prior to The Reminder. Grant’s music is thorough, and her talent obvious. Her lush vocals accompany her brand of often hard-hitting and otherwise mellow beach rock perfectly on Honeymoon Punch, and the album’s summery feel connotes a California beach town more than it does Grant’s origins in Halifax, Nova Scotia. Distorted rhythm guitars, prominent bass, and quirky lyrics and melodies make “Oh My Heart” one of the most fun chick-rock tracks in recent memory. “Getcha Good” and “How I Met You” lend themselves to similar descriptions, while “Paradise Mountain” and “Stars to Waves” produce softer, dreamier effects with an emphasis on Grant’s siren-like crooning. Grant’s vocals appear on another album coming later in this list.

Recommended tracks: "Oh My Heart" "How I Met You" "Stars to Waves" "Paradise Mountain"

81. Muchmusic Presents k-os Live
k-os
Bell Media Inc.


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The only reason this isn’t higher is because it’s not exclusive to 2011 releases. Live celebrates the 18-year career Kevin Brereton, aka k-os, has enjoyed to date and proves his talent lies not solely in his songwriting, but in his performance. The live recording emphasizes the use of keyboards, acoustic guitars, and horns, and the performance quality captured here makes almost every song noteworthy in some way. The way he raps, writes, and performs is griping, and were all of these songs released in one year, Live would top this list over the moon and back again. K-os introduced me to the notion that hip-hop wasn’t vain or talentless, but that it could bear substance, meaning, and artistry. There isn’t a song I wouldn’t recommend, but for some reason, the lyrics to “I Wish I Knew Natalie Portman” have always resonated strongly with me: “I’ve been on the run, this shadow weighs a ton / It’s starting to make sense to me / I can’t really make you love me.”

Recommended tracks: “I Wish I Knew Natalie Portman” “B-Boy Stance” “Man I Used To Be” “Sunday Morning” “Crucial”

(Unfortunately, most of the videos for the songs on Muchmusic Presents k-os Live aren't on YouTube.)

This post has been edited by RWG: Dec 21st 2011, 3:44 PM


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#jeah
post Dec 21st 2011, 10:00 AM
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Woooah Ceremonials should be waaayyyyyy higher. That's all. haha.gif


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post Dec 21st 2011, 10:04 AM
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QUOTE(RWG @ Dec 20th 2011, 11:54 PM) *


Those two are actually really good songs. The more I listen to "Codes and Keys," the song, the more I get obsessed with it.


haha.gif cool original.gif

K-Os is awesome, I like Malajube and I like the Ceremonials album

This post has been edited by Starry_Night: Dec 21st 2011, 10:07 AM


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post Dec 21st 2011, 1:43 PM
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QUOTE(RWG @ Dec 20th 2011, 11:54 PM) *

I started doing fill-in DJing for my campus' radio station this year, and as 30% of the music every hour has to be new releases, I had to listen to a lot of new albums every week. Any other year, I'd probably listen to 10-20 albums a year.

Ooh wow, they put you to work. shocked.gif But that sounds like something fun to do. yes.gif I would love doing that.

Ooh I know Florence & the Machine of course and I love her two songs from her other album, DDAO and YGTL. yes.gif But ooh I only know of "Shake It Out" from her latest album and that song has grown on me.

Oooh yay for Jay-Z/Kayne's Watch The Throne album being on this list. I love them both as rappers/artists although again I haven't really listen to their songs. But N**gas in Paris is really starting to grow on me. I never really paid attention to it but it's def a great song. LMAO @ them performing this 10 times at their shows. roll2.gif But yay, I really like "Otis" so glad that got a mention.

I have heard of k-os but I don't know any of the other artists. roll2.gif But I'm loving your write ups. They're very professional and you sound like a music critic, which is great, cause you know what you're talking about. yes.gif


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post Dec 21st 2011, 3:52 PM
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QUOTE(aag1010 @ Dec 21st 2011, 7:00 AM) *

Woooah Ceremonials should be waaayyyyyy higher. That's all. haha.gif

It's pretty subjective. But thanks. tongue.gif

QUOTE(Starry_Night @ Dec 21st 2011, 7:04 AM) *

haha.gif cool original.gif

K-Os is awesome, I like Malajube and I like the Ceremonials album

Wow, surprised someone knows Malajube.

QUOTE(*Wallace @ Dec 21st 2011, 10:43 AM) *
Ooh I know Florence & the Machine of course and I love her two songs from her other album, DDAO and YGTL. yes.gif But ooh I only know of "Shake It Out" from her latest album and that song has grown on me.

Oooh yay for Jay-Z/Kayne's Watch The Throne album being on this list. I love them both as rappers/artists although again I haven't really listen to their songs. But N**gas in Paris is really starting to grow on me. I never really paid attention to it but it's def a great song. LMAO @ them performing this 10 times at their shows. roll2.gif But yay, I really like "Otis" so glad that got a mention.

I have heard of k-os but I don't know any of the other artists. roll2.gif But I'm loving your write ups. They're very professional and you sound like a music critic, which is great, cause you know what you're talking about. yes.gif

You should check out "Lover to Lover" from Ceremonials. It's more of an instant like, whereas, I agree, that "Shake It Out" takes warming to. I can see you liking k-os too.

Thanks Walrus. grin.gif I'm trying to sound more subjective than objective, but if you say it's professional, it means a lot.


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QUOTE(RWG @ Dec 21st 2011, 3:52 PM) *


Wow, surprised someone knows Malajube.



laughing.gif I've heard that Montreal -40c song on the tv and the radio


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QUOTE(RWG @ Dec 21st 2011, 3:52 PM) *

It's pretty subjective. But thanks. tongue.gif

I mean...I guess. haha.gif tongue.gif


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QUOTE(RWG @ Dec 21st 2011, 3:52 PM) *

You should check out "Lover to Lover" from Ceremonials. It's more of an instant like, whereas, I agree, that "Shake It Out" takes warming to. I can see you liking k-os too.

Thanks Walrus. grin.gif I'm trying to sound more subjective than objective, but if you say it's professional, it means a lot.

Ooh yes, I listened to some of this earlier and I do like that song. yes.gif It's def more instant liking than SIO, which took awhile to grow on me. Yeah my mother likes K-Os so that's how I know of them. Shocking, I bet. roll2.gif I liked some of the songs you posted from him though.

You're welcome. They are great write ups, although I don't know most of the music. haha.gif


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