CHAFIN SEYMOUR PICKS
2012 TOP 10 (+ Honorable Mentions) INDIE ALBUMS
2012 TOP 10 (+ Honorable Mentions) INDIE ALBUMS
These are my top albums of 2012. I will not go overboard with
my intro except to say that 2012 was an exceptionally strong and eclectic year
in independent and pop music, and I had a hell of a time deciding what I wanted
to write about for this year end wrap-up. I decided on these fourteen albums
(four honorable mentions and a top ten) arduously and carefully.
10. Four Tet – Pink
As anyone who has spent a lot of time around me in the past year can tell you I have been really into house music. In fact, much of this fascination was instigated by Four Tet’s fabulous Fabriclive mix from earlier this year. Many of the tracks off of Pink were released as singles or EPs previously but they were really begging to be compiled. Four Tet (actual name, Kieran Hebden) is an electronic music veteran. He has put out six very different albums and more live mixes and song remixes than I care to imagine. Pink finds Hebden diving head first into the club. Where earlier records were rhythmically restrained in their minimalist tendencies, Pink lets the rhythm drive and builds the structure around those. Loops abound and bass pounds but you never get the sense that Heben is leading you on aimlessly. This is music that is based in his roots and you can tell he cares. This is really a great introduction to house music for someone with little to no experience, and rarely does a modern producer delve so deeply with no effort showing. Never has so much thought gone into music that encourages folks to stop thinking and just let go. You will dance my friends, oh yes, but you will do so consciously.
9. Alabama
I was a little skeptical of Alabama Shakes before I listened to them somewhere between the NPR accolades and adult-contemporary following. However, I allowed myself to indulge in this album. It is four-piece, grungy southern blues-rock in its purest form, nothing overly deep or onerous, and that is key. What really reaches through the speaker and grabs you is lead singer Brittany Howard’s primal howl. From the thumping “Hold On” to the trickling “Goin to the Party” to the love ballad of the year “You Ain’t Alone,” the consistency, believability, and sense of desperation of her vocals make up this album’s driving force. While there were other notable blues-rock releases this year, namely Jack White’s strong solo album Blunderbuss, nothing stuck in my mind so concretely as Boys & Girls. In this case, less is most definitely more.
8. Jessie Ware – Devotion
In
a post-Adele world how does a young, female, British singer-songwriter make her
work stand out? There probably isn’t one right answer to that question. But
Jessie Ware certainly offers an intensely-appealing album full of suggestions.
Ms. Ware made her start singing hooks on electronic dance songs by the likes of
SBTRKT and much of that club influence spills over into Devotion, her first solo work. However, despite the “of-the-moment”
nature of the production Ware manages to expertly write and sing timeless love
songs. The centerpiece ballad “Wildest Moments” is a song that could have
gallivanted into glory by expressing the joys of a one-night stand or healthy
sexual relationship. Instead, Ware manages to add uncertainty and poignancy by
singing about a relationship that only makes sense to the two people involved.
This attention and care makes an album that could easily have been merely as a
pop-diva’s introduction into a collection of smart artistic choices and
memorable intimate melodies.
7. Grizzly Bear – Shields
I’ll be
up front: I love Grizzly Bear, always have. Ever since I heard those first
tenuous notes of 2006’s Yellow House
followed by the complete work-of-art that is 2008’s Veckatimest, Grizzly Bear has managed to run the emotional gauntlet
from warm intimacy to cold distance. Shields
finds the Brooklyn band venturing out into
the wilderness to look beyond their own backyard for influence. Musical
references range from jazz to The Beatles and somehow they manage do it all
justice. The arrangements on this album conjure up landscapes as breathtaking
as they are intimidating. You can feel that Shields
came to be relatively seamlessly and naturally compared to the endlessly
worked over quality of earlier albums. In interviews, Grizzly Bear has said
that this album was the most collaborative in terms of songwriting, and you can
feel the vibe of a band intensely comfortable working together. In lesser hands,
songs like these could easily be sappy or overly buttoned-up; in this case,
it’s just What They Do. I’ll be damned if I can think of a band that does it
better.
6. Beach House – Bloom
The
most glaring critique I keep hearing about Beach House’s Bloom is that it “sounds too much like their earlier stuff.” While
this is true, that fact is also precisely what makes Bloom such a strong effort. It has taken three other albums, but
Victoria Legrand and Alex Scally finally take their synth-and-guitar-driven-dream-pop
out of the bedroom and into the big wide world. The depth and scope of this
album is impressive, as every song seems to “bloom” from start to finish.
Legrand’s voice is as scintillating as ever and the arrangements are indeed
lush. However, her newfound lyrical assertions as well as the use of more
confident percussion and rhythm structures lend themselves to deepening and
widening a sound that could easily peg a less adept band into a corner. Beach
House knows where their niche is and instead of shying away from that they have
found a way to drive deeper into it. Bloom
seems to say, in response to the criticism mentioned earlier, “Yeah it does
and try to tell me you don’t love it anyway.” I can’t, and neither should you.
5. Grimes – Visions
Grimes
is definitely a product of our over-digitalized culture. Canadian art-student
Claire Boucher makes music entirely on her laptop using technology that is,
relatively speaking, available to anyone. She has garnered a following and buzz
using just the Internet, no record label needed, and Visions is Boucher’s most accessible release to date. Despite being
an indie darling (thank you Pitchfork) Boucher does something unexpected here
by making something she clearly enjoys as opposed to trying to please
critics or an audience (a tact, I believe, more artists both in and out of
music should look into). You can tell she is having a lot of fun with this
record. Her layering of her own sugar-sweet vocals over gloppy, bounding
digital tracks is equally appealing and subversive. The fact that you can
hardly understand her lyrics (I’m pretty sure she slips into singing in
Japanese on a couple tracks) is part of the escapist absurdity of it all. Visions is not the easiest album to
listen to, to be fair. But it truly grows on you, going from ridiculous to
danceable to contemplative in just a few minutes, further reflecting
over-stimulation by the Internet. By
allowing yourself to revel in the commentary as well as the fun, Visions becomes a worthy indie-pop
experience.
good kid,
m.A.A.d. city has
already been hailed by some critics as, “the most important commercial rap
album in the last decade.” So let’s calm down and start by jumping off the
Kendrick Lamar bandwagon for a second. Yes, he is a skilled lyricist with a
strong instinct for radio-friendly hooks. Yes, he expertly chooses assorted
beats from the best of today’s hip hop producers. Yes he’s been featured on
every hot hip-hop track over the past six months. Yes, he can count such industry
heavyweights as Lady Gaga and Dr. Dre in his corner. However, despite the buzz,
what stands out most about Kendrick Lamar is his ambition. This album is
subtitled a “Short Film” and indeed the scope of the narrative-driven LP can
feel a bit cinematic at times. It contains twinges of naïveté, with stories of
adolescent peer-pressure and family alcoholism (“Swimming Pools (Drank)”),
mixed with youthful bravado (“Backseat Freestyle”), and a dash of timeless
swagger (“Bitch, Don’t Kill My Vibe”). At the edge of it all gnaws the darkness
and emptiness of growing up in South Central L.A. gang culture (or for that
matter any violent American urban center) and the cultural contradictions often
present in African-American culture, such as devotion to God and religion equal
to that of substance abuse and violence. It remains to be seen where this album
will fall historically; hence my tentative urging to give it some breathing
room. It is, nevertheless, instantly recognizable as an important and original
portrait of urban music in 2012 -- and by far the strongest rap offering I have
heard from a new artist in quite some time.
3. Frank Ocean ORANGE
There is little doubt in my mind that Frank Ocean is the future of urban and pop-music. I am also decidedly OK with that. After an early mixtape in 2011, the phenomenal Nostalgia, ultra, and tabloid fodder regarding his open sexuality, Ocean, whose birth name is Christopher Breaux, emerged from the hype with the meticulously-crafted channel Orange. The album is meant to transcend boundaries and identities, and it does. At first listen, it can come off as simply a strong debut from a pop singer. You can feel the teeth-sharpening Ocean has done while ghostwriting for such artists as Justin Bieber and John Legend. However, upon repeat listening, one can begin to recognize channel Orange as a much stronger statement; not just on Ocean’s pop sensibility but on America’s. The fact that a song as cloyingly sweet as “Thinkin’ Bout You” can slide into play on urban radio stations next to Rick Ross and Meek Mills, while still being a sing-along favorite for soccer moms, is both impressive and intelligent. This eclectic, constantly-shifting mix of pop ideas is so deftly, almost nonchalantly, executed that by the time you realize you’re listening to a John Mayer guitar solo over gloomy, ambient synths at the end of “Pyramids” it’s almost too late. From start to finish, Frank Ocean plays to our comfort zone while periodically throwing in ideas you would not expect. A delight to listen to as well as to discern, channel ORANGE is an unexpected pop pleasure.2. Flying Lotus – Until the Quiet Comes
This
album represents a musical and intellectual quandary to many people. A
traditionally hip-hop/electronic producer strips down his digital cacophony
with (get this) live musicians. Steve Ellison (a.k.a. Flying Lotus) has
embraced his heritage. He is the great nephew of Alice and John Coltrane. After
releasing three albums to increasing critical acclaim he arrives with the
wonderfully understated Until the Quiet
Comes. It is, in essence, an electronic jazz album, but before you write it
off as overly experimental, just put it on and let it take you for a ride. The
way in which Ellison can synthesize so many disparate elements (African
percussion, free jazz, West Coast hip-hop etc.) into a cohesive sonic journey
is a wonder to behold. The influence of fellow Brainfeeder Collective member,
Thundercat is clearly discernable in the strong bass lines and psychedelic
milieu. The use of live set musicians, as opposed to exclusively digital
instrumentation, further expands Ellison’s current trajectory. Nothing here
seems forced. And despite existing in a
clear and heady intellectual space, there is something discernibly intimate and
personal about this album. You really feel as though Ellison has found his
“quiet” place where all his musical ideas can flow organically and take shape
on their own.
1. Dirty Projectors – Swing Lo Magellan
For
those of us keeping score at home Swing
Lo Magellan represents Dave Longstreth’s eighth album in the past decade
with his Dirty Projectors project. What is most impressive about the latest
effort is the seeming lack of it. Longstreth finally seems comfortable in his
own skin as a songwriter. Not to say he has abandoned his distinctly complex
vocal harmonies or tempo shifts, but he has found a way to not let his
technical arrangements get in the way of simple and pleasurable song writing. Swing Lo Magellan is a collection of
literate love songs for a generation of young people hyper aware of the
impending doom of society. However even in the darker moments of the album
(such as “Offspring are Blank”) Longstreth trusts in his expressive and
eclectic musicality to carry through while allowing himself to be lyrically
playful. This is by far Dirty Projectors
most accessible and fun release to date and it is undeniably catchy. Try
getting the chorus from “About to Die” or “Impregnable Question” out your head
after one listen…Impossible.
+ Honorable Mentions
Killer Mike – R.A.P. Music
Cagey
rap veteran Killer Mike finally does his name and reputation justice.
Independent, political, and fiercely opinionated, Mike makes the album we have
been waiting for, with help from Brooklyn producer El-P who takes some of the
usual distortion out of beats in favor of banging southern bass. It is a smart
choice that allows Mike to rock in his comfort zone from start to finish.
TNGHT – TNGHT
EP
THE
party record of the year, hands down. This five song EP from producers Lunice
and Hudson Mohawke was a giant smack across the face of modern dance music.
Combining “trap” style southern hip hop bass with elements of House and Dubstep
(note the intense-ass-drops on every track) TNGHT reveled in simplicity and space
while urging pop consumers and club kids to “wake the f’ up” and notice some
real “ish.”
How To Dress
Well - Total Loss
This
was the first proper cohesive album from How To Dress Well’s Torn Krell. He
continues to play with traditional R&B arrangements by taking out all the
warm and fuzzy stuff to leave you with an anxious, empty sound. He does let
some color in on tracks like “& It was U” but overall stays distant. Never
has a bad break-up (and crippling depression) sounded so smooth.
Burial – Kindred EP & Truant/Rough Sleeper
I
have always described Burial as on “another level” from other electronic
producers and the two EPs released by William Bevan this year continue to prove
me right. While eleven-minute electronic house opuses steeped in otherworldly
distortion and dark ambiance may not be the most palatable thing in the world,
it is good to see an artist unafraid to explore the world he chooses to create.
While we wait for another jaw dropping album like 2007’s Untrue these two excellent EPS will just have to be enough.
