Top 50 Songs of 2011

Almost as important as the top albums of the year are the best songs. There were no shortage of great songs in 2011 in almost every conceivable style and genre. I personally feel indie rock, alternative, and the electronic genres had the strongest years, but it is easy to find great quality in virtually all forms of music. I have complied a simple list for 50-21, with detailed descriptions of my Top 20 songs:

50. Olds Sleeper - The Devil

49. Bright Eyes - Ladder Song

48. The Features - Golden Comb

47. Balam Acab - Motion

46. Lykke Li - Rich Kids Blues

45. Toro y Moi - Elise

44. O'Death - Bugs

43. Vexillium - The Traveller 

42. Sleeper Agent - Get It Daddy

41. Foo Fighters - White Limo

40. The Physicists - Oppenheimer

39. The Weeknd - Life of the Party

38. Anthony Wilson - After the Flood

37. The Strokes - Under Cover of Darkness

36. Arch Enemy - Through the Eyes of the Raven

35. The Roots - Kool On

34. Vijay Iyer with Prasanna & Nitin Mitta - Tirtha

33. James Blake - The Wilhem Scream

32. Rachel Brooke - City of Shame

31. Enslaved - Alu Misyrki

30. Hank III and Tom Waits - Fadin' Moon

29. Cunninlynguists - Stars Shine Brightest In the Darkest of Nights

28. Children of Bodom - Not My Funeral

27. Bon Iver - Holocene

26. Yuck - Get Away

25. Tyler the Creator - Transylvania

24. Lupe Fiasco - All Black Everything

23. My Morning Jacket - Circuital

22. Mastadon - Bone Dry Valley

21. The Pains of Being Pure at Heart - Heaven's Gonna Happen Now

20. Iron & Wine - Big Burned Hand

Sam Beam never fails to come up with something tender and endearing, but this prime cut from Kiss Each Other Clean shows he's also quite the funkmaster. It opens with a horn section designed to make you get down, which sets the tone for the rest of the song. This leads into Beam's mythical story about gods of war and gods of love, and I quickly gather that his intention is to put you in the mood for some sweet passionate lovemaking. The realm of gods has been oft discussed, but never has it made us want to shake our booty quite like this track does.

19. Radiohead - Lotus Flower

Behold the power of good old fashioned hypnotism. There's a time and place for spacing out, and the pounding hypnotic rhythm of the bass and drums provides the perfect soundtrack for getting sucked into a trance. But it goes beyond that. The Chinese Lotus Flower is known for its pure and pristine qualities, and Thom Yorke cleverly ties that in to a theme of turning over a new leaf and experiencing rebirth - much like that of the lotus itself. Those searching for a new beginning may find Yorke's words leave an indelible impact.

18. Sepalcure - Pencil Pimp

I've always been something of a closet fan of intelligent dance music, particularly something with an edge to it. Here, Sepalcure has conjured up something that could be suited to the dance floor, but isn't necessarily restricted to that environment. The opening beat and vocal samples are sure to get your glowsticks in motion, but the song quickly takes on an ominous tone with some oppressive and slightly psy-trancey synth coming in over the top. Along the way, there is enough variation packed in to easily make for a great club stomper, while also offering food for thought.

17. Ott - Squirrel and Biscuits

Ott released one of the trippiest and zaniest electronic records of the year, and his originality and sense of personality was one of 2011's bright spots. The bouncy beat at the beginning is a sure fire to bet to get your head bobbing and your body rocking, and the distorted warbling vocal midway through is a humorous touch, but the real highlight comes near the end with the introduction of totally tripped out Indian scat vocals. And the outro synths near the end make for the perfect climax. Listening to Ott is not like being on a trip. Listening to Ott is like being on a trip while floating over a dance floor in suspended animation, on another planet.

16. Obscura - Septuagint

When German tech death metal masterminds Obscura were faced with the task of following up the critically acclaimed Cosmogenesis, what did they do? They slayed like none other, of course. This opening track from their third album, Omnivium, threw listeners for a slight curve with its Metallica-esque acoustic opening and power build up. But. of course, it wouldn't be long before the churning cauldron of guitars began to mix with the guttural vocals of Steffan Kumerer.

This time around, though, Obscura proved they were more diverse with acoustic sections and clean vocals thrown into the mix. The soft and organic touch is a perfect counterweight to the skin shredding carnage the band is so well known for. With songs like Septuagint as evidence, it seems unlikely that Obscura's rage will be quelled anytime soon.

15. Panda Bear - Last Night at the Jetty

Noah Lennox has always been an innovator. It is this spirit that perfectly informs "Last Night at the Jetty." Like the rest of the Tomboy album, it possesses a fluid and free flowing vibe. Listening to this song is like floating down a waterway, while also feeling decidedly dreamlike. Lennox

14. Gretchen Parlato - Winter Wind

Gretchen Parlato is one of those rare women who can convince you she is knockout using only her voice. Her sultry vocal summons forth a passionate intensity that will leave you rapt and mesmerized. The melody of the piano and the thunderous rolls on the snare are invigorating, but  her voice cuts through it all as crisp as an autumn breeze. This track is constantly in motion; there's a definite sense of urgency. And it all comes pouring out in the final sequence, with Parlato desperately trying to convince you to hold on - "it's the time of your life." If you've never felt electrified by jazz, it's high time you gave Gretchen the chance to sweep you off your feet.

13. Cities Aviv - Doom x Gloom

I have yet to find a rapper who can deliver such ordinary statements yet make them sound so profound. Gavin Mays has the type of voice that can make you want to run through a brick wall, but he can also make you think. Doom x Gloom evokes a mysterious mood, while borrowing elements from the Memphis horror rap scene. Mays's proclamation that "we fuck broads and the cross and they gulp the semen" is sure to make an impression, the majority of the mood in this song derives from the hellish cycle of drug use and abuse. Digital Lows was an album capable of striking up many moods, but the feelings generated by Doom x Gloom may well stick with you the longest.

12. Sleep Over - Romantic Streams

Forging the perfect blend of emotion and melody, Stephanie Francotti's catharsis as displayed in Romantic Streams is one of the year's most riveting moments in electronic music. Characterized by wispy vocals that seem to float up from a dreamlike vat, and somewhat dated sounding but soothing electronics, it may give you the urge to close your eyes and drift away into a neverending void. That's pretty powerful stuff.

But you may want to do you best to stay rooted in reality, lest you miss out on the pounding drum section near the end that punctuates Francotti's magnificent ethereal vocal. When all is said and done, the feeling provided by this song is akin to swallowing a sweet warm cup of milk and settling in to a blissful slumber.

11. Black Keys - Little Black Submarines

And then Dan Auerbach bared his soul. It begins with some pretty acoustic strains and Auerbach's Jim Croce-like attempt to have a telephone operator patch him through to his love. The acoustic guitar stands in stark contrast to the firestorm of catchy rock found elsewhere on El Camino. But it's much deeper than that. There are touches of Zeppelin that certainly enhance the effect, but it is perhaps the pained clarity of Dan's regret that leaves the strongest impression.

When the loud feedback begins to fill your eardrums, you know shit's about to get real. Auerbach releases the full wroth of his pain and anxiety, as this time he is appealing to the operator to "patch me back to my mind." The impact is increased by the picture perfect performance from drummer Patrck Carney. Truly, we haven't heard drum fills this spot on since Ringo beat the skins on "A Day in the Life." When it's all done, you feel like you have a new perspective on what it is to lose.

10. Trash Talk - Gimmie Death

In my younger days I toyed around with the notion that most hardcore was targeted toward disaffected middle class high school kids seeking an outlet for social pressures or family issues. If there were any notions of that still in my mind, Trash Talk came and totally kicked them straight out the window. Lee Spielman's disillusionment with the world around him sets the stage for one of the most visceral displays of the year. The wall of guitar aggression and the tightly compacted drum rolls wash over you like a tsunami of aggression. Make no mistake, you don't have to be a hardcore kid to feel what he's saying here.

9. Tune Yards - Gangsta

The breakout success of Merill Garbus has been one of the highlights of the year. Combining afro pop with pulsing rhythms, thumping basslines, and her own bold personalty, Garbus has established a sound that's out there even by Pitchfork standards. It's not for everyone, but personally I was sold on my initial listen. There's so much going on in this song, from the omnipresent bassline to the vocally syncopated police sirens to the way Merill's voice goes from high and fluttery to raw and back again. And the subject matter, which deals with violence on the streets where Garbus used to live, adds a rough edge to the mix. Love them or hate them, Tune Yards are a powerful new creative force whose light doesn't seem to be dimming soon.

8. Opeth - Slither

Ronnie James Dio was a man who meant much to many/ Opeth's Mikael Akerfeldt is no exception. When I heard him speak about Dio at the Cannery Ballroom this October, it was readily apparent what a large influence the man was upon Akerfeldt.  So it's no surprise that Slither, the track Akerfeldt wrote to commemorate Dio's memory, was one for the ages. Slither attempts to capture pure headbanging ecstasy and turbocharged guitar assault that so many 70s rock bands like Rainbow used to make a name for themselves. It sounds nothing like a typical Opeth song, save for Akerfeldt's otherworldly vocal. And if you ever get to hear it a live show, keep a tight grip on your sandals -- the moshers go totally apeshit on this one.

7. Wilco - Born Alone

Comeback would be an apt word for Wilco in 2011, and this track was instrumental in keying that success.  It opens with a set of impeccably selected mellow pop/rock chords, not at all out of the ordinary for this one time alt-country band. The lyrics focus on cleverness and wordplay, as though Jeff Tweedy seems to basking in reflection. "I am the rider at the wheel of order/ marching circles at the gate," he declares. It leads into a heavy outro which gets totally wistful and reflective. In a time when rock is seeking to innovate so much, it's comforting to know there are people who are capable of sticking to the basics and doing it right.

6. The Decemberists - Down by the Water

Perhaps the greatest sing along of 2011, Down by the Water combines folky schmaltz along with sugary pop harmonies to create one of the catchiest and most fulfilling songs of the year.  Most of the magic lies in its stripped down and laid back nature. The acoustic guitar, the accordion and tambourine combine with the harmony between Colin Meloy and Gillian Welch to form an instant winner. And as always, Meloy is busy scouring the dictionary while he pens his lyrics. In just a few short lines, he is able to construct a vivid depiction of a sleepy small time port town. Pyrotechnics and big egos may dominate music headlines, but The Decemberists demonstrate that sometimes simplicity is key.

5. Amon Amarth - War of the Gods

Amon Amarth may occasionally draw criticism for being stuck in their mold, but when they're at the top of their game it's not tough to see why they stick to what they know. Nothing goes to waste here; every riff and progression on guitar sounds crisp, clear and clean. The build up and solo are a textbook demonstration of how dual guitar harmonies are meant to work, and the drums provide the perfect backing for the out of control guitar noodling. And that's without even mentioning that Johan Hegg's hearty growls about conflict between Norse gods lends a truly epic and legendary feel. War of the Gods is an iron forged piece of metal so hot you can still feel the steam rising from it.

4. Raekwon feat. Black Thought - Masters of Our Fate

If there was ever a rap song fit to serve as a soundtrack to a decisive battle, this would be it. A Winston Churchill sample surely doesn't hurt the levity of the track; you can practically hear him clenching his steely fingers as he speaks his message of courage and resolve. And it's spotlighted by a pair of emcees you would never want to meet in a dark alley. Raekwon comes in, speaking about the harsh realities of life. But even he is shown up by the mighty Black Thought, who opens one of the best rap verses ever with a statement we can all relate to -- "bridges I burn some, lessons I learn some, money I spent some, lent some, earn some." By the time it finishes you will surely understand your destiny lies in your own hands.

3. Iamamiwhoami - ;John

This is the Mac Daddy of production work. This song alone could provide a semester's worth of study on how to arrange .midi files like a boss. The main melodies are upbeat, catchy and danceable, but at the same time leave you feeling like you're stuck in a dark depressing hole you will never climb out of. There's quite a bit going on, from heavy sludgy synths to low fat beats and shimmering dancefloor electronica. Swedish starlet Jonna Lee shows off her impressive range as she weaves a tale about being subjugated, dominated, and cast aside. But through it all, she keeps on dancing. It manages to capture a feeling of jubilation while also managing to feel dreamy, isolated, and surreal.

2. Fleet Foxes - Helplessness Blues

In terms of delivering true honesty from behind the mic, Helplessness Blues is about as good as you're ever going to do.  This is Robin Pecknold's clarion call of self assertion, and he couldn't have put it any more eloquently. The instrumentation is first rate, the message is empowering, and the lyrics create a powerful and vivid sense of imagery. The most jaw dropping feature comes about halfway in when the time signature changes. It's practically like two top tier songs rolled into one. This is the part where the Fleet Foxes get to show off their patented pastoral sound and lovely vocal harmonies. Pecknold has clearly laid forth his masterwork here.

1. Steven Wilson - Deform to Form a Star

As if descending from the heavens themselves, Steven Wilson's classical progressive odyssey Deform to Form a Star takes top song honors for 2011. Wilson isn't the most virtuoso musician, but every element of his compositions come together brilliantly. The piano is beautiful and melodious. Every chord he picks out seems to have been carefully mulled and considered before being inserted into the final mix. His vocals are mellow and downbeat, focusing on a sense of loss and desolation.

But the chorus shines brightest, with a mystical quality that could practically penetrate the cosmos itself. If that isn't enough, there are also a pair of magical guitar solos that drive home the point. In a year filled with powerful songwriting and unprecedented innovation, Steven Wilson captures the #1 spot by simply being divine.

Totally Unauthorized 2011 Video Game Year in Review

There's no questioning 2011 was an incredible year for gaming. There was something for you no matter what you were into. Hardcore puzzler? Racing aficionado? Maybe you enjoy RPGs or multiplayer shooters. Heck, there was even a new Zelda game. When reviewing everything I'd played this year, I noticed that many of those well known, well renowned games that had drawn a large amount of hype or critical acclaim.

Rather than sprinkle them all throughout the year, I thought it would be fitting to make one large recap post taking a look back at the year in gaming. Of course, I couldn't help but name my own personal GOTY at the end. The only major GOTY contender I wasn't able to sink a major amount of time into was Skyward Sword (due to my not owing a Wii). However, I did play the first couple hours of it and came away feeling like it could easily be one of the best games of the year. Some of what I have here are GOTY candidates and some are not. Regardless, here's my say:
 

Dead Space 2

Cross my heart and hope to die. Stick a needle in your eye.

EA had a big task in following up one of the most acclaimed horror shooters of its generation. The original Dead Space has become endeared by fans for its unique atmosphere and focus on survival, but everything about the sequel just feels bigger, better, and more badass. Instead of being trapped aboard a lonely mining ship, you're given the liberty to explore an entire sprawling space station. The necromorphs are sicker and more twisted than last time, with plenty of awesome new ways to fight them.

And there's also more attention paid to the story, as Issac Clarke wrestles his inner demons while trying to stay one step ahead of the morally conflicted station director Tiedemann. The frightening atmosphere that fans loved in the first game was curtailed significantly here, but what Dead Space 2 sacrifices in fear factor it more than made up for with improvements across the board.

Portal 2 

Okay. Look. We both said a lot of things that you're going to regret. But I think we can put our differences behind us. For science. You monster.

In what was already a fantastic year for puzzle games, Portal 2 easily stands as a game of the year candidate. When Valve introduced the original Portal, the concept of shooting portals into walls to get around bowled gamers over. This time, the focus is on expanding the narrative, adding to the quirky cast of characters, and installing additional wrinkles with brand new puzzle elements.

You're no longer confined to just shooting portals; now you redirect lasers to activate switches, create tunnel-like bridges, and there are also a few different varieties of gel that allow you to sprint, bounce, and portal your way to new heights. The puzzles are much more intricate and difficult this time around.

Character-wise, Glados is back, along with her hilarious attempts to degrade you. But there are some newcomers; Wheatley is a reactor core with a British accent who is a bit intellectually bereft. You'll also meet Aperture founder Cave Johnson, a take on 1950s military/scientific researcher who seems to care more about results than the safety of his test subjects. But no matter how you view it, Portal 2 is easily one of the brightest of 2011. On this there will be no stalemate.

L.A. Noire

Dealing with corruption is like chasing shadows. You never know whether the guy you're talking to is on the pad, or whether it's your partner, or maybe even the watch commander. So who do you trust, Cole? I made up my mind a long time ago. 

I've always been in a odd position when it comes to Rockstar Games. I don't like the GTA series, and Red Dead Redemption bored me, but I loved this game. L.A. Noire challenges you to enter the mind of the suspect and use your own gray matter to crack open the case. Ever read a good mystery novel? L.A. Noire is chock full of them. The main appeal of the game for me was in trying to predict how each case was going to play out and to recognize what evidence adds up and what doesn't.

The facial recognition system is awesome. Some of the interrogations with the murder suspects are among the most intense moments I have experienced in gaming. If there's a negative point, it might be that the story isn't that great near the end. This game may have disappointed some who wanted nothing but pew pew pew. But the characterization, film noir atmosphere, and innovation should be ample evidence to prove that L.A. Noire is worth a shot.

Alice: Madness Returns

The train is coming with its shiny cars. With comfy seats and wheels of stars. So hush my little ones, have no fear. The man in the moon is the engineer.

From the demented mind of American McGee, comes the demented tale of a girl named Alice. The big hype over this game revolved around the unique art style. Creative and distinctive level designs were not only a treat to the eye, but gave you incentive to keep playing to see what was next. Where else can you go to wander through Japanese villages while fighting samurai wasps with a giant croquet mallet?

The story focuses on an mentally scarred Alice, who is struggling with her emotions in the wake of a gruesome fire that took out her entire family. The production values are nice, but it becomes clear Spicy Horse isn't that experienced when it comes to developing major console games. There are a few issues in the gameplay. The God of War style hack and slash gameplay is fun at first, but quickly grows old.

I got tired of the fights against the ruins. I didn't like how they kept drawing out the battle by concealing their weak points. Many of the checkpoints are awkwardly inserted, and toward the end I felt like they were just throwing slide sections in there just to pad the length of the game. The platforming is fun enough, but the quadruple jump they give you takes most of the challenge out of it. So you're left with a game that is easy on the eyes, but comes nowhere close to living up to its potential.

Deus Ex: Human Revolution

These people, they're like ghosts, always hiding in the shadows, always hiding behind lies and proxies.

When I think of cinematic gaming, I think of the opening to Deus Ex: Human Revolution. You're plunged into a secret web of corporate spies and espionage, all centering on the ground breaking research of a dazzling scientist known as Dr. Megan Reed. It is a future where humans are being fitted with robotic augments to turn them into superhumans. There isn't a detail left to chance in Edios's futuristic techno-digital world. It's beautifully defined, straight down the steampunk newscasters broadcasting in the bottom corner of David Sarif"s computer monitors.

Hell, I wanted to grab a bag of popcorn while watching it.

You control of Adam Jensen, security director for Sarif industries, who is tasked with locating a kidnapped team of scientists. You're accompanied by a strong yet compassionate fighter pilot, a douchey but dependable IT specialist, working for a boss you trust about as far as you can throw. The gameplay is based heavily on stealth, and you die quickly if the enemies catch a whiff of you.

Though it is possible to play as a shooter, the mechanics don't support that very well. I had more fun trying to sneak around and silently pick off guards one by one. And when you aren't busy fighting the opposition, you can debate them. There are a few sections where you are presented with a text options and you attempt to talk a character into helping you or giving information. Deus Ex: Human Revolution has already gained much love, and in my opinion deserves even more.

Dark Souls

Take care out there. None of us want to see you go hollow...

When it comes to mood, atmosphere, and downright badassery, few can top Dark Souls. The penultimate dungeon crawling series returns, and once again captures the epic feel and jaw gnashing difficulty of its spiritual predecessor, Demon's Souls. The major upgrades this time around include expanding the game world and streamlining the weapon upgrade system.

The environments are some of the most lushly imagined and beautifully rendered I've seen. Mystic forests, silent tombs, and demonic palaces spread out before you, and you'll also find some of the greatest boss designs ever. They're so totally mind blowing that I just can't ruin them for you if you haven't played. And it possesses one of the most simple but effective combat systems to date.

There are tons of hidden secrets too, if that's your bag. My main caveat is that the difficulty was a bit much for me. Demon's Souls was my 2009 game of the year, and I ran through it without too many problems. This in no way prepared me for Dark Souls. I made a good run through the game, but ran into a brick wall with the end bosses. It's not really a legitimate complaint, but it's not something I feel like selecting as my personal game of the year. Still, it's hard to find a world more enchanting, combat more heart pounding, or an experience more fulfilling.

Batman: Arkham City

So you know my name? Good, because I know everything about you. I know your darkest secret, your ultimate weakness; I know that you are Bruce Wayne.

Most developers would probably be satisfied if they could point to a game like Arkham Asylum as their crowning achievement. Leave it to Rocksteady to go and improve on an already fantastic formula. From the get-go, it feels like something is unique about this game. The plotline sees Bruce Wayne headed to Hugo Strange's penitentiary, Arkham City, but as an inmate, not as the Caped Crusader.

I thought it started slowly, mostly due to the fact that it felt virtually identical to Arkham Asylum in the beginning. Many sequels attempt to expand upon their core gameplay or streamline it, but Arkham City does neither. Rather, it expands the game world, adds in sidequests, and takes its time building up a sense of tension within the story. Major plot points are slowly unveiled. It also doesn't hurt to be able to pick from one of the most memorable vaults of villains ever conceived. Little seen masterminds Hugo Strange, Ra's Al-Ghul and The Penguin are given center stage here, and the quests to hunt them down are exhilarating.

To spice things up, there are also sections where you switch off to Catwoman and get a chance to play around with slightly different physics. It's a brilliant mechanic that I hope games will take notice of. By combining stealth, refined beat 'em up gameplay, and dark twists in the storyline, Arkham City easily stands as one of the year's flagship titles.

Call of Duty: Modern Warfare 3

There's a clocktower in Hereford where the names of the dead are inscribed. We try to honor their deeds, even as their faces fade from our memory. Those memories are all that's left, when the bastards have taken everything else.

For years I never understood the hysteria over Call of Duty. Then I realized there are different types of games meant for different people, and perhaps I'm one of those not meant to totally get it. Still, I at least check these games out to see what the fuss is over. The Modern Warfare 3 storyline concludes the trilogy, and the campaign mode is besmirched by two common flaws: it's short, and what little you get is packed with filler. 

Although there's plenty of action, the story doesn't really begin to pick up until about 2/3 of the way through the game. Seeing as it only took me 6 1/2 to beat the campaign, take that as you will. In terms of multiplayer, you pretty much know what to expect. Although there is a new mode called Kill Confirmed, which requires you to pick up dogtags in order for your kills to be counted on the scoreboard. I suppose that makes it a bit more objectivey. 

The only part of the game I somewhat liked was the new horde mode, very similar to the co-op modes in Uncharted and Gears of War. I also liked some of the two player spec ops missions; I enjoy having to work as a team to complete a mission. But it all boils down to the fact that I just can't get into this twitch arcade multiplayer no matter how I try. So the legions of COD fanboys can go on being rabid over this game, and I can go on not caring.

Uncharted 3: Drake's Deception

 All men dream - but not equally. Those who dream by night, in the dusty recesses of their minds, wake in the day to find that it was vanity... But the dreamers of the day are dangerous men, for they may act their dream with open eyes, to make it possible. This I did.

Coming into the year, Uncharted 3 was one of my most anticipated games. Its predecessor was one of those rare games that virtually achieved perfection in both its singleplayer and multiplayer modes. Uncharted 3 takes us to the desolate, arid desert sands, while expanding on Drake's relationship with Sully. The desert setting is really nice, and the core gameplay is still as solid as ever, but Uncharted 3 seems to put too much focus into adding pointless bells and whistles to the multiplayer when that focus could have been better invested elsewhere.

The buddy system was massively hyped, but it's basically just a glorified way to spawn on a teammate. And I barely ever use the class slots. For what it's worth, the multiplayer does feel more fleshed out this time around. The medal kickback system allows you to cash in medals for some nice weapons and upgrades, and I enjoy some of the new game modes. I had fun with Free for All and Three Team Deathmatch, and there are more maps in the co-op and even a new game mode as well.

The singleplayer, however, is not as good as it should be. There are glaring plot holes, and the villains are paper thin. In addition, there are a few sequences that almost feel like they were ripped straight from Uncharted 2. I did like some of the directions they tried to go with the story. At several points, Drake's friends feel he is going too far and pushing too hard in the pursuit of treasure. But most of the key plot points don't feel fully fleshed out and leaves the player wanting more. Drake's actual deception is touched on so briefly that I couldn't even remember what it was by the time the game was over. As it is, Uncharted 3 is a captivating experience but does show some chinks in the armor.

Totally Unauthorized's 2011 Game of the Year:

Elder Scrolls V: Skyrim

Dovahkinn. You have tasted the Voice of the Greybeards, and passed through unscathed. High Hrothgar is open to you. 

 

No trendy pick here. No other game this year offered a more expansive world or different styles of gameplay, and no other title came close in terms of quality content available. It begins with a dragon sighting that breaks up the execution of rebel leader Ulfric Stormcloak, and it will lead to a battle to determine the future of Skyrim itself. Along the way you will come to know what it means to be dragonborn.

The possibilities are endless. You can be a thief and silently cut down your foes, take on the role of warlock and bolster your spellcasting and alchemy skills, or become a barbarian and straight up go Rambo on everyone. If you've got a taste for blood and dark contracts, you may fancy becoming an assassin for the Dark Brotherhood. Or maybe you say to heck with all of it and just join the bard's college.

There are so many well written storylines waiting to be unearthed, and each will have you guesting at what twist will come next. I've dumped most of my time into the Thieves Guild, hot on the trail of a shadowy traitor and restore the Guild to its former glory. It doesn't hurt that my character has gotten filthy rich in the process. Come to think of it, that actually ties in perfectly to the reason this is game of the year. Thanks to the depth of the world and the variety of possible playstyles, Bethesda has done more than virtually anyone else to give you the greatest bang for your buck.

Black Keys zoom down your alleyway with El Camino

The Black Keys are bluesy, ballsy, and best of all, they're back. The Akron, Ohio, natives were saluted for their adherence to good old fashioned rock music on their 2010 breakthrough Brothers, and El Camino makes no effort to radically break away from that blueprint.

The Black Keys pull no punches and raise no smokescreens. Mixing rock, blues, and slight tinge of soul, El Camino is the band's decleartion that this is who they are and what they do, and like it or not, this is how it's going to be. Although I've got a strong feeling you're going to like it.

The opening notes of "Lonely Boy" are raw, loud and uncompromising, and set the stage for what's to come. Big, catchy choruses serve as the meat and potato of the album, but each verse gives Dan Auerbach a chance to display his patented hipness that gives the music a slight indie vibe.

If you like rock guitar, "Gold on the Ceiling" will be your wet dream.  It opens with some great riffing before breaking out a grooving keyboard piece. You'll quickly find yourself bopping your head to the groove of the chorus, but the best part yet is the slick little guitar lead that comes right after.

For the most part, El Camino sticks to a pretty strict formula. "Little Black Submarines" is one of the few times when the script is set aside.The acoustic guitar, coupled with Auerbach's seraching vocal, calls to mind the softer, folky side of Led Zeppelin. It's a buildup to the second half, where the fuzzy wall of guitar feeback begins to cascade upon your earbuds, and Patrick Carney capitalizes with some oh so perfect fills. This leads to a feeling of pure catharsis when Auerbach cuts loose during the final verse and chorus. It's tough to think that Jimmy Page himself wouldn't be impressed. 

The Black Keys also bring a bit of soul to the table with "Stop Stop," which sounds like it could be a Temptations song. The main riff is a slice of funkadelic heaven, the bells in the chorus provide a flavor of old school Motown, and when Auerbach hits that high note you'll be ready to boogie like it's 1976.

El Camino is relatively straightforward and tends to rely heavily on its choruses, which can cause the album to feel a bit repetitive at times.  But it is very, very catchy and is well executed piece of rock with a remarkable amount of zing. Hats off to El Camino -- it is one of the best records of the year.

Score: 87/100

Ghost Protocol's mission? Not entirely impossible.

I initially wasn't excited when I heard there was a new Mission Impossible film on the horizon. Nothing personal against action films, but I find that most titles from the genre are little more than a sugar rush -- chock full of adrenaline and nice window dressing, but little in the way of substance. Though perhaps the standard can't be thoroughly applied to the Mission Impossible franchise. Mission Impossible II was the coolest thing in the world to my seventh grade mind, but tastes and theories change.

Would Mission Impossible: Ghost Protocol ignite a similar spark?

If nothing else, director Brad Bird does make some effort to buck the rules of the genre to some degree. The IMF is disbanded and disavowed after being accused of detonating a bomb within the Kremlin, which ensures that Ethan Hunt and his merry men have their back against the wall throughout the duration of the film.

The main plot sees Hunt and his crew attempt to stop Swedish nuclear scientist Kurt Hendricks (Michael Nyqvist) from obtaining Russian launch codes and launching a nuclear weapon. The catch is that the Hunt's team is off the grid and in the dark, and has to draw up all their plans from scratch. Perhaps the most exciting aspect of Ghost Protocol is that it bucks the trend of elite spy team who is always in control of all things at all times.

The film's sense of dramatic tension is simply astounding, and it derives from the fact that the team's plan seems so improbable. Something is always going wrong, and a good deal of that derives from the actions of the bumbling Benji Carter, (Simon Pegg) who has been upgraded to a field agent since the last film. He attempts to assist the team with his computer hacking skills, but often does more harm than good. Often to humorous effect.

And there is also the fact that Ghost Protocol simply executes its action scenes much better than most action flicks do. The pacing is breakneck, and the stunts are out of this world. You get to see chase scenes through a sandstorm in Dubai, a climactic battle inside a technologically advanced parking garage, and a game of switcheroo played against a dazzling femme fatale. And then there is also Tom Cruise's gasp inducing climb up the side of a building using nothing but sticky gloves. What's not to like?

In many action films, the acting often tends to take a backseat to cinematic action and dramatic tension. Ghost Protocol is no exception, but there are some examples of quality acting. Paula Patton tackles the role of IMF agent Jane Carter, and her grief and furor is highly evident as she embarks on a quest to avenge a fallen colleague.

Jeremy Renner also does a top notch job playing the role of an analyst with a conflicted past. If there's a weakness, it's that some of the characters aren't fully fleshed out. Patton's role gets downgraded later in the film to the point that she's little more than a bombshell , and I can't help but wish I had more backstory on the mysterious assassin Sabine Moreau (Léa Seydoux).

Perhaps in the end, the action film genre is just going to be a genre that I don't see much substance in. However, I do have to give credit where credit is due. Mission Impossible: Ghost Protocol delivers a level of suspense and tension that is second to none, and is a masterful representation of all that an action film should be

Steven Wilson's star shines bright on Grace for Drowning

I'm a collector and I've always been misunderstood
I love the things that most people always overlook.

These two lines could sum up how Steven Wilson has built his career. Wilson has always had a peculiar outlook which has always colored not only his music but also his view on things in general. He's always gone outside the bounds of what people thought music should be, or could be, and in the process he's developed some of the most thoughtful and pertinent music in recent memory.

On his latest solo record, Grace for Drowning, he's tinkered the formula even more. His previous outing, Insurgentes, was a very eclectic record, hopping from one musical style to another. Conversely, Grace for Drowning builds up slowly and deliberately, enveloped in a fog of ambiance and mystery.

Wilson has never shied away from utilizing extended instrumental pieces in his music. In fact, he's released a pair of 100 percent instrumental albums with Porcupine Tree, which helps explain his decision to eschew lyrics on the first two tracks on Grace for Drowning.

After a brief uplifting intro, the album kicks in with Sectarian. The beginning sounds like the prelude to some epic battle, then tapers off after awhile but hits you with a sweet bassline. But the moment when it became obvious that this album wasn't going to play by the rules came during the heavy conclusion to the song. It was not at all what I was expecting and totally threw me for a loop.

From there we get into the real meat of the album. "Deform to Form a Star," easily one of the best songs of the year, opens with a series of absolutely beautiful piano chords and is accompanied by vocals to match.

The chorus feels dreamlike and mystic, as if a star is being formed before your very eyes. And there are a pair of majestic guitar solos to boot. The lyrics Wilson sings wrap around a haunting melody, focusing on the raw emotion of listlessness and despair. In the opening verse, he croons:

"No god here I'm sure,
this must be the cure
for all this carrion
and aimless drift"

In many ways, the sentiment delivered here is the overriding theme of Grace for Drowning; Wilson's words deal with picking up the pieces and attempting to deal with stagnation and regret. Though the event that prompted him to pick up the pieces is never made totally clear.

The thread continues onto the next track, "No Part of Me," which seems to be about a former lover that he realizes he never had true feelings for. Musically, the track is defined by a frantic and frenetic drum beat, but the music over top of that is hazy and and relaxed. It's a total contrast. But it's clear that the song is building up to something big, and then it hits in the second half when a meancing heavy riff breaks out, along with a guitar solo.

Then comes "Postcard," on which Wilson might as well be John Lennon lording over his piano. The track is still downbeat but has a vague sense of optimism that was largely absent on the two preceding tracks. It's like going through hell after a breakup, and then you finally hit that point when you realize that things might actually be okay, and that it isn't the end of the world as you know it.

The first disc concludes with "Remainder the Black Dog," a song title that sounds pretty creepy of its own accord. The eerie piano riff that plays through most of the song will nothing to dispel that notion. What impresses me about this track is how many different types of solos the band plays off that initial piano riff.

About halfway through you get a free form jazz solo played over a heavy riff, followed by a wall of riffing and some spastic solos, which then leads into a great bassline and acoustic guitar riff. There's a bit of minimalism, some ambiance, some messing around on the drumkit, and even a flute solo. It's enough to make even Yanni's head swim.

The second disc I don't feel like is as strong. My favorite song on that one is "Index," a very downbeat, minimalist piece with slight tinges of electronica. The theme of the song is about a compulsive collector who becomes obsessed with trying to organize and catagorize everything and it eventually puts a great mental strain upon him.  "Track One" is nice, but doesn't feel fully fleshed out, and "Belle De Jour" is an okay attempt at a New Age sounding intro piece. It's just that we have enough of those on the album already.

This brings us to "Raider II," the 23 minute behemoth and clearly the intended centerpiece of the album. The song's premise focuses on the elements that are damaging our planet and lives, to which Wilson assigns the term "Raider." The first 8-10 minutes are are great. Wilson's delivery grows increasingly intense on each verse, and the instrumentation is as taut as a drum. Later on it gets a bit indulgent. There's your fair share of progressive rock guitar noodling and several minutes of minimialist ambiance, but he's simply repeating himself.

If there is a major criticism of Grace For Drowning, it is that does perhaps feel a bit indulgent at times. While we do get to see more than a passing glimmer of the man's talent, I can't help but feel like this album is simply an indulgence for him. Much of the album feels like he's just dicking around; it's like he's trying to wade though layers of sonic soundscapes to see what sticks to the wall and what doesn't. Sometimes the album sounds somewhat unfocused, particularly on the second disc.

The 1-2-3 punch of "Deform to Form a Star," "No Part of Me" and "Postcard" is terrific, and I also really liked "Remainder the Black Dog" and "Index." It's a very good album, but Wilson seems to be more concerned in tinkering with various progressive landscapes and experimenting with different songwriting mechanics. It doesn't appear that he's aiming to make his next career defining LP here. That can wait until the next Porcupine Tree LP.

Score: 89/100

Th1rt3en not a lucky number for Megadeth

Megadeth has been building up a head of steam over the past few years. United Abominations was a nice kick in the pants that served notice to all Dave Mustaine doubters. But 2009's Endgame delivered the band's biggest statement in over a decade. That album was a career revitalizer, packed full of aggressive energy and brimming with thrashy take no prisoners riffing that signaled a full fledged return to form for the Southern California metallers.

How do you follow that up?

Apparently not by sticking with what got you to that point in the first place. Th1rt3en vies for much simpler song structures and cuts away most of the excess riffing and intensity that made Endgame such a standout. Instead, Dave Mustaine is left to carry much of the load with his voice rather than his guitar, and the results are about what you'd expect.

The guitar solos are nice, for sure. The opener, Sudden Death, perhaps comes the closest to capturing Megadeth's signature thrashy rage. The lead single, "Public Enemy No. 1" has a nice lead in that recalls the carefree exuberance of 1980s heavy metal, coupled with a blistering solo that takes me back to the Peace Sells days. But only for a moment.

One major problem is that most of the song structures are very simple and formulaic, whereas Endgame had fewer qualms about mixing things up. Another issue is that Dave's vocals are really no longer up to par at this stage in the game. Mustaine's voice was widely considered the fly in the ointment on Endgame, but everybody was too busy paying attention to the instrumentation on that album to care.

His voice in general comes out very flat and lifeless, and when coupled with the safe and predicatble song structers it causes the album to feel flat and lifeless as well.

Lyrically, Megadeth continues with many of its conspiracy/anti-government themes, but it often comes across as more farfetched. On "Millenium of the Blind," Mustaine urges the American people to abandon U.S. leadership entirely, while "New World Order" treads on similar material we've heard Dave spout all too often before.

But perhaps the political soapbox suits Megadeth better, because the lyrics certainly don't get better when they tackle other subjects. "Fast Lane" feels like an old, cold retread of "1320" from the previous album, while "Whose Life (Is It Anyways?)" is a blantant attempt to cash in on the teenage angst/Hot Topic crowd.

"Wrecker" starts off with one of the best intro riffs on the album, but is quickly washed away by lyrics dealing with drama and realtionship issues. "Guns, Drugs, and Money" at least goes for a slightly different bent, telling of a doomed drug dealer who winds up in a heap of trobule after trying to execute a drug deal south of the border.

Th1rt3en isn't the worst album Megadeth has done but it does come across as extremely derivative and lackluster. Most of the best riffs are only found in the intros in most songs. There are some nice solos too,, but Megadeth seems to have forgotten one key thing.

Metal is all about attitude, which is one area where Endgame never faltered. Amidst all the riffs and the mayhem, there was always a cocky, fighting spirit that permeated that entire album. Th1rt3en, unfortunately, feels completely dead by comparison.

Score: 68/100

Trash Talk's Awake: the most devestating nine minutes of 2011

Not everyone understands hardcore. But for those who do, there's nothing else in the world that gives you a similar sensation. When it's done right, you feel something sweeping you up and taking hold of you. You're not sure if it's the kickpedal of the drums or the power of the message, but you don't want it to let you go.

Trash Talk is not the type of band to mess around; there are no frills, no excess, just straight ahead, stripped down thrash/hardcore. Their latest EP, Awake, has injected a welcome sense of variety into my playlists this year, and anyone who's interested in checking out this great band should consider this an excellent entry point.

Like the crack of a gunshot, Awake hits you with violent force. And at just under nine minutes, it shows up, slaps you in the face, and then it's gone again. It leaves you wanting more, but never overstays its welcome.

Many hardcore bands try too hard to dress it up, but Trash Talk stick to what they know best. It kicks off with the title track, a take no shit anthem tailor made to get your fist pumping in the air. Then follows "Slander," which packs in so much visceral brutality into such a small time frame that even Ian McKaye would be impressed.

Lee Spielman sounds like he must be totally devastating his vocal chords with each scream, and the rhythms pounded out by guitarist Garrett Stevenson will force you into prime headbanging position. For that matter, Sam Bosson's snare rolls prove that he's not a man to be trifled with.

It all wraps up with "Gimmie Death," the most devastatingly visceral track in the collection. It features Spielman dealing with intense feelings of disillusionment:

"I thought I was important. I thought I had worth. I used to think the world needed me, until I needed the world."

The frustration and confusion that he feels creates a wave which simply crushes the listener.

Awake may be short be sweet, but every now and then you need something raw and unrelenting to give you a kick in the ass. Listen to Awake before you hear any other hardcore disc this year.

Score: 89/100