Goatwhore's Blood for the Master lashes out with unrelenting intensity

I don't know about you, but when I'm searching for new metal bands I seek someone who pays tribute to the old guard and demonstrates a mastery of the fundamentals. Many bands sabotage themselves by trying to be too experimental, or push themselves too far out of their comfort zone.

New Orleans blackened/thrash/death quartet Goatwhore doesn't try to push the envelope, and they certainly aren't flashy. But oftentimes that's the best formula. With their fifth LP, Blood for the Master, Goatwhore are solidifying their status as arbiters of the unholy. Their approach seems simple and straightforward at first, but closer inspection reveals their approach to be an amalgamation of several styles.

The opener, "Collapse in Eternal Worth," kicks off with an intense blast of fiery black metal riffing which combines with the spitfire vocal snarl of Louis B. Falgoust II and an all-out aural drum assault. The work of guitarist Sammy Duet cannot be understated. There are plenty of great grooving, headbanging riffs, there are heavy crunching riffs, and certainly there is your black metal staccato.

The guitar solos, however, are a bit of an oddity. The playing is solid, but the solos seem to be buried in the mix, as the rhythm guitar and drums overpower them a bit. Composition-wise, they are very methodical and much slower paced. They weave and wind their way to their crux, which stands in sharp contrast to the aggressive and straight ahead nature of the rest of the music.

Falgoust also provides the band with a great deal of diversity. Many songs on Blood for the Master are marked by his unmistakable raspy shrieks. But he also utilizes a much deeper, throatier growl, which is deployed to brutal effect. He also unleashes some special effects from time to time. There are a couple of moments on "An End to Nothing" and "In Deathless Tradition," he pulls off a lower pitched rasp with a slightly different cadence from what he usually does. It's like a spoken word snarl, and the effect is totally wicked.

Midway through "Beyond the Spell of Discontent" you'll also hear him revert to a super high pitched snarl that hits at the very top of his register. This song very well may feature his most viscous performance of the album.

The lyrics on Blood for the Master are just as diabolical and blasphemous as anything the band has put forth. No moment is wasted in attacking the pillars of religion and clamoring for more souls to quench Hell's fire. Goatwhore doesn't just attack the cross; it tears it down, stomps on it, and aims to leave you with no hope for retribution. On "In Deathless Tradition," Falgoust sings:

"Praise the promised words that seem timeless, stepping off a precipice into disaster/
Failed dispute of this longing regret, another shallow attempt of life after death."

Zack Simmons' drum work is not overly technical or complex. He has some nice fills from time to time, but for the most part his kit is used to channel the aggressive energy that is a key part of the band's sound. I liken his work to that of 80s thrash drummers who prized speed and endurance over technique.

As for highlights? Well, the opening riff on "In Deathless Tradition" is among the best on the album, and that song has steadily been working its way up my list of favorites. "Embodiment of this Bitter Chaos" kicks off with a winding guitar lead backed by an acoustic riff, which sounds like something dredged out of the darkest depths of Dimebag Darrell's archives. And in terms of full-blown onslaught, it's hard to go wrong with "Parasitic Scriptures of the Sacred World."

I take a few points off because the music begins to sound a bit samey after awhile. However, if you respect the no frills, unrelenting nature of bands like Pantera and Celtic Frost, or lament that Lamb of God has gone a bit too mainstream for your tastes, then Goatwhore's Blood for the Master may well provide you with the perfect sacrifice.

Score: 84/100

Change the sheets? Nope. Voyageur is more like change the disc

Ottawa singer/songwriter Kathleen Edwards has steadily built a reputation of creating home grown folk and Americana. Leading up to the release of Voyageur, she seemed primed to make her biggest splash yet.This album has been drawing attention from all over the blogosphere for two main reasons. First, this is her first album since hooking up with beau Justin Vernon from Bon Iver, who is also the album's producer.

Second, and the main reason this album caught my attention, was for the lead single "Change the Sheets." It's a captivating and airy power pop track with breathy vocals that sees Edwards indulging the rather risque pleasures of "margaritas and sleeping pills." As lushly orchestrated as "Change the Sheets" is, however, it's not a great representation of the rest of the album. The instrumentation is much richer and there are many little effects added in that give it a zestier flavor.

The remainder of Voyageur generally features a much more stripped down and quieter sound, which unfortunately doesn't work as well as one might have hoped.

She does a nice job with the slow ballads. "House Full of Empty Rooms" tells of a relationship that has begun to lose a bit of its magic, and it comes across as very moody and pensive. "A Soft Place to Land" and "Going to Hell" can also certainly stir up a few emotions. The main issue with Voyageur is that Edwards doesn't sing with much of a sense of passion.

The remaining tracks are tuneful enough, but when the focal point of your music is the voice and writing, sometimes you need to have some bite. The album as a whole is lacking in terms of drive or energy. A cursory glance at previous albums will turn up tracks like "Back to Me," which captured a great biting spirit. Nor will you find any of the organic feel that made tracks like "6 O'clock News" suck a winner.

"Comedian/Chameleon," which tells of a person who tries to hide their insecurities by acting like a comedian, may be the most lyrically visceral track on Voyageur. But it doesn't register the kind of kick that you need for a song like this.

Lyrically, Edwards tends to paint a lot of imagery and use a great deal of metaphor, a bit of a departure from her earlier works. Songs like "Alicia Ross" and "Asking for Flowers" from her previous album tended to be much more direct and to the point, but here she tends to beat around the bush and it certainly causes the album to lose a bit of immediacy.

So what's gone wrong here? By listening to Voyageur, one could easily conclude that Edwards has lost her fire. But her previous work and her blistering live performances clearly indicate such is not the case. Perhaps Mr. Vernon's production work must bear some of the blame?

He's not known for being a firebrand himself, instead being much better known for his quaint, log cabin in the woods type of sound. If that's what he was going for, he missed the mark. The production work is too crisp, clear and clean to capture that pastoral sound made famous by the Bon Iver records. Rather, he's only succeeded in engineering a work that sounds dull, bland and lifeless.

Voyageur isn't quite what I would call a bad album. It's certainly listenable, and occasionally catchy. But the core values of being a folk based singer/songwriter is that you've got to have something to say, and a spark that draws people to your persona. A bit of gravel in your guts and spit in your eye, if you will. Unfortunately, Voyageur simply doesn't present me with a reason to care.

Score: 76/100

Kathleen Edwards' hand crafted folk explosion igntes Exit/In stage

Singer/Songwriter Kathleen Edwards tears up Exit/In.

It's not often that I make the trip to see Canadian singer/songwriters, but I sensed something special in Kathleen Edwards. The Ottawa native caught my eye with the single "Change the Sheets," a hook driven power pop affair nestled in a luscious bed of organic instrumentation.

Her recently released Voyager album has been drawing more attention for who was in the production booth than it had for its actual content. The fact that Bon Iver's Justin Vernon was the album's producer has caused this album to generate much more of a buzz than it likely would have otherwise.

If you're wondering if Edwards delivers a similar recorded in a log cabin type of feel, well, the answer is yes and no. She measures each word carefully and thoughtfully, placing near as much emphasis on the message she's trying to get across as she does on the actual music itself. The result was that Voyager presented itself as a very thoughtful record, if a tad bit on the safe side. But her Jan. 28 performance at Exit/In would paint a different picture, as Edwards swept the crowd away in a gale force whirling dervish.

Fellow Canadian and opening act Hannah Georgas kept the seat warm for Edwards with a serving of plucky pop/rock. I see a girl step on to the stage in brown hiking boots, sporting bangs of burnt auburn with curls that cascade down to her shoulders. She is clad in the type of getup that suggests she may have just finished a trek through the cross Canadian ragweed.

Her music is characterized by heartfelt vocals over top of light, breezy pop music, as she gently plucks the strings of her Harmony Stratotone. Her guitar playing is generally subdued, but when she lets the full energy of each chord ring out, as she did on "Enemies," the results are striking. Other highlights incldue "Millions," which smartly captures a sense of financial angst, and she also pulled off an upbeat, bouncy cover of John Maus's "Hey Moon."

There's a  legion of twentysomething chicks armed with pen and pad who have plenty of issues to get off their chest, and Georgas didn't particularly distinguish herself from that crowd on this night. But why let that bother us as long as the music is just plain fun?

Bon Iver's Justin Vernon lays it all on the line.

As soon as Edwards appeared she left no doubt about what type of statement she was trying to make, announcing that her dress is a bit see through. "Sorry," she says, in a tone that suggests she's anything but.

Her set kicked off with the dramatic one two punch of "Empty Threat" and "Comedian/Chameleon," the first two tracks from the Voyageur album. "Comedian/Chameleon" in particular is interesting because it tells the story of a person who tries to hide their true selves by making jokes and acting like a comedian. She exposes the superficiality of such behavior by singing, "I don't need a punchline."

Elsewhere, "6 O'Clock" presented a nice small town, alt-country shuffle, while Edwards really got her feathers ruffled on the stinging "Back to Me." But the most elegant moment of the evening may have come when the band left her side to allow Edwards to give a solo performance of "House Full of Empty Rooms."

She prefaced it by explaining that the inspiration for the song came when she once owned a house that was much larger than she needed, which left many of the rooms empty and vacant. She began wondering what to do with a house full of empty rooms -- which gave rise to the theme of the song. Her quiet performance allowed the full impact of the song to fully resonate throughout the room.

Near the end of the show, we were all in for a great treat when the man himself Justin Vernon made a surprise appearance. Many fans and critics get up in arms over Vernon for his singing and songwriting skills, but at Exit/In Vernon reminded us that he's also a great guitarist. He delivered soul filled solos on "Goodnight California" and "12 Bellevue," his body twisting and jerking as he poured out every drop of emotion.

By show's end, I was more impressed than I can remember myself feeling from a show in a long time. The Voyageur album certainly demonstrated that Edwards is thoughtful, but live she reveals herself to be a firebrand as well.
Right away it's clear that there's something different about these tracks. Note wise they're the same, but Edwards brings a passion and virulent energy to these songs that was conspicuously absent from the recorded version. The intensity is etched plainly all over her face, from the burning drive behind her eyes to the way her head shakes ever so slightly when belting it out. It was evident during "Mint," when she suddenly jerked back from the microphone and violently slashed downward at her guitar strings.

There are more than a few chicks who try to be trendy by scribbling their problems onto a sheet. This is obviously a woman who's seen it, felt it, lived it, and is now trying to verbalize. And it will hit you how superficial the army of imitators are once you've seen the real thing.

We get it, Kathleen. You don't need a punchline.

Edwards shared a great sense of chemistry with axeman Gord Tough.

Iamamiwhoami breaks silence with album news

There aren't many artists who can get me this pumped up over the release of a single song, but Iamamiwhoami has truly mastered the art of self promotion. Every time a new track drops on her Youtube account, it's a like a mini event for her entire fanbase. She'd been silent since the release of ";John" and "Clump" last summer, but now Jonna Lee is a back with a whole load of new news. While ;John and Clump felt like two pieces of a whole, the new track "Sever" steps away from the chilly atmosphere of the electronic work to place a greater focus on the vocals. This time Lee pulls off a icy, otherworldly performance that presents an odd serenity I haven't heard from her since "U-1."

If that's not awesome enough, it is also apparent that we won't be waiting six months for her next track to drop. A release schedule has been posted for a few more songs over the next month, which will apparently set the stage for the release of an Iamamiwhoami album. Cooperative Music Germany made a Facebook post announcing the release of the debut album Kin, set to take place on June 8. Now excuse me while I go off to scream like a schoolgirl.

Attack on Memory generates frigid forecast for Cloud Nothings

I hope you weren't expecting to hear bright and cheery punk when you picked up the new Cloud Nothings album. You won't find it here.

Cloud Nothings are an indie/punk band from Cleveland who are fed up with the futility of life, and specialize in being extremely cold and dissonant. Their latest record, Attack on Memory, signifies a major shift in sound and attitude from their previous works.

The first two albums were generally lo-fi 90s pop punk influenced rock with a focus on delivering an upbeat sound. The first thing you will likely notice is that Attack on Memory is much more biting and acerbic in terms of tone and lyrical content. Dylan Baldi's lyrics reflect undying pessimism toward the future.

Though it isn't just in the lyrics; the music itself exudes a literal chill.

This album is like opening up your door on the first day of winter and being hit with the sudden realization that everything is bleak, barren and desolate. The opener, "No Future, No Past," isn't a very complex tune at all. Baldi's dreary, droning voice rises forth over clanging chords in what surely must be the soundtrack to a warped funeral procession. On "Wasted Days," Baldi perhaps best articulates his gloomy outlook:

"And I know I'm losing all my time
Doesn't seem like it was ever mine.
Feeling sick but I don't know why
Getting tired of living 'til I die"

It's the perfect anthem for anyone who has ever found themselves drifting aimlessly through life with no plan or future prospects. Midway through there's an extended instrumental section which builds up to a climatic crescendo. The further along it goes, the more intense it gets until eventually it degenerates into little more than noise. But it's a brilliant section for building a sense of tension. This sets the stage for Baldi's return, who emits his agonized shrieks of: "I THOUGHT I WOULD BE MORE THAN THIS!"
 
It's a chilling moment. It's certainly the closest you'll ever want to get to the fallout of a life gone down the tubes.
 
If you're familiar with previous Cloud Nothings albums, you may be a bit taken aback by the sudden shift in tone that Attack on Memory presents. There are some tunes that are a little more endearing. "Fall In" has a nice bouncy pop punk feel, and "Stay Useless has a lead in riff that sounds like something pulled from a commercial for the Winter X Games.

"Separation" takes it a step further by proving the band doesn't even need lyrics to get their point across. It feels tailor made to get a crowd rocking and grooving. Incidentially, "Separation" ends a four song stretch that I feel like is the highlight of the album. "No Sentiment" and "Our Plan" are servicable cuts, but are a bit simplistic in terms of lyrics and strucutre and don't fully feel fleshed out. The closer, "Cut You," is fine musically, but the abusive boy/girl relationship theme feels somewhat cookie cutter.

"Attack on Memory" is a huge leap forward for the band in terms of songwriting, sound quality, and for establishing an identity for the band. I still think they have some room to grow as songwriters -- sometimes the lyrics are a bit too simple on a few of the songs. But the Cloud Nothings have established a unique atmosphere that is channeling life into the admittedly stagnant punk genre. You owe it to yourself to check them out.

Score: 84/100

Graveyard and Radio Moscow unearth vintage sound of 70s rock

There lies a place, not distant but not quite nearby, where folks still remember the essence of classic heavy rock. The ringing chords of sped up blues reverberated against the walls of the Exit/In Friday night, providing everyone with a reminder of a sound that has ruled the public consciousness for half a century. For those who would say that rock is dead, Graveyard and Radio Moscow thoroughly laid that notion to rest.

Ronnie Blanton of Radio Moscow thrashes the drum kit at Exit/In.

First up was Radio Moscow, who showcased very heavy Led Zeppelin and Jimi Hendrix influences.The set was basically one guy going nuts on guitar for 45 minutes. Most songs were little more than long solos. However, I will say that Parker Griggs put on one of the best individual guitar performances I have ever seen. His control and the command of technique was nothing short of amazing.

He dazzled the crowd with the blistering speed of his bluesy sweeps and scales. However, I did get the sense that each song focused less on composition and were more about giving Griggs an excuse to showcase his individual talent.

Rickard Edlund: Insanity on four strings

They gave way to the headline act, Graveyard, who presented a rich, full, and robust blues rock sound powered by a dual guitar attack. The first thing that strikes you about these guys is their get up. They look like the type of guys you would expect to see getting blitzed with Jerry Garcia in a red brick house. Fully adorned in authentic 1970s style regalia, the band spares no expense in making sure they fully play the part.

The second thing you notice is their intensity. You can see the passion in the lines of Joakim Nilsson's face as he cuts loose with a gravelly shriek. The rest of the band doesn't hesitate to keep pace. Rickard Edlund is steadily bouncing his foot while his hand becomes a blur on the strings of his bass.

It's all propelled from the drumkit of Axel Sjoberg, whose churning drum rolls create a sense of excitement and anticipation from the crowd. And rock shows are rarely better than when the crowd is going all in. There was a guy right next to me fist pumping and wildly gesturing toward the band like he thought he was Freddy Mercury.

Despite the fact that they've only released two albums, Graveyard came across as a very veteran band. They weaved a very confident and aggressive style without needing the help of special effects or electronics that many bands rely on today. It was refreshing to see a band play without the stage being littered in switches and effect pedals. If perhaps you missed out on the golden age of classic rock or just want to relive it for a night, it would be tough to find a better bet than Graveyard.

Joakim Nilsson sold his soul for rock and roll.

Totally Unauthorized: 2011 Album of the Year Awards

I've learned a great deal in my first full year publishing to this site. I've managed to listen to and review
a great variety of music and draw from a considerable amount of resources, which was one of my goals for the site.

But I've entertained the notion of possibly narrowing my focus, or streamlining my processes in some way. I suppose it's somewhat of a reaction to the year in music. Despite it being a solid year, I don't feel like it captured the magic of 2010.

Last year featured legendary releases from Arcade Fire, Deerhunter, Orphaned Land, and Crystal Castles, and very solid albums by Best Coast, Kanye West, and Jamey Johnson. So what did this year bring us? I've laid out my top 10 albums, but first a few miscellaneous categories to touch on:

 

Best New Artist

James Blake

This was a pretty tight race between James Blake and Yuck. I had to side with the UK dubstep DJ due to his unique perspective and sense of innovation. Blake possesses a deep and creative mind, and it shows on his debut LP. 

Characterized by minimalist electronica and soulful vocals, it's an album that leaves you with something new to discover with each new listen. Each note is like a watercolor brushstroke upon a downbeat canvas. I usually have to be in the right mood to fully appreciate this record, but the potential shown here is more than enough for Blake to grab the Best New Artist crown.

Biggest Disappointment of 2011

  Lupe Fiasco

Lasers

 
The third album can often be considered a make or break moment in an artist's career. It appeared that Lupe Fiasco was on schedule to launch himself into the stratosphere following a pair of albums that were critically acclaimed but flew under the radar commercially.

But a funny thing happened along the way. Lupe found himself saddled with Atlantic Records. Lasers presented Lupe the opportunity to develop his voice and take his sense of introspection to new heights, but Atlantic instead opted to deliver an album mostly filled with soulless pop rap. It's designed to be good for a weekend on the dance floor but little more.

Very little about this record feels like Lupe Fiasco, save for maybe "Words I Never Said" and the stunning "All Black Everything." Lasers should have been Lupe's chance to unveil his talent to a wider audience. Unfortunately, corporate greed and politicking doomed that vision from the start.
 

 Most Overrated Album 

 Bon Iver
 Bon Iver

Don't get me wrong; this is still a good album. However, since its release this summer, Bon Iver has witnessed a gargantuan groundswell of support that I can't find myself getting on board with.

It seems as though Justin Vernon's sole purpose was to impress people by showing them how emotional he can be. An endeavor like that is flawed from the get-go. True emotion is something that should just show through naturally in your music without having to do anything special.

The sense I get is that Vernon was trying to be emotional simply for the emotion's sake. It's like he's saying, "Hey, look at how emotional I am! Isn't that awesome?" I know many people have deeply connected with this record, but ultimately I just can't feel what he's talking about here.

Parody of the Year

Brock's Dubs

Jenna Haze - My Jeans

Culled from the ashes of Rebecca Black, Jenna Haze sought to wreak havoc on our ears with -- what else? An ode to designer jeans. At least the good news is that's incredibly easy to poke fun at, and Brock's Dubs has time and time again proven to be one of the best at insightful criticism and gut busting humor.

Brock replaces Haze's saccharine auto tune screech with a throaty, deep pitched voice while mocking the superficiality her clothing obsession. If you also happen to like seeing cars drive off cliffs, this might be the vid for you.

Best Live Show

    Tune Yards at Exit/In

Merrill Garbus of Tune Yards experienced a breakout year with the release of w h o k i l l, and she was even awesome enough to bring her live set right up to our doorstop in Nashville. Garbus is an artist now hitting her stride, and that fact alone was enough for the Exit/In to crackle with intensity.

Not only did we get the chance to hear almost all of the songs on the album that night, it also became evident that there are several elements in the music that are much more clearly defined when hearing it live. Those thick basslines and the raw power of her ukulele are obvious examples. Innovation, personality, and originality make Tune Yards an act you won't want to pass up.

10. Cities Aviv - Digital Lows

When Gavin Mays released his debut album, Digital Lows, on his bandcamp account, it went virtually unnoticed. This is a real shame, because Mays has managed to put his own spin onto the genre and put out a product that feels fresh, unique, and full of life.

The main attraction of the album are the beats, which move around from 70s soul to banging, clanging electronica to the downbeat backing sounds of Memphis horror rap. Digital Lows is also striking because it manages to capture a broad variety of feelings.

Sometimes you are going through hell, sometimes you feel jubilant, other times you may find yourself getting wistful over past loves, and every now and then you just want to say to hell with everyone. All this is delivered through Mays's steady tone and unflinching flow. It's a promising start for a great young artist who should only continue to improve.

9. Yuck - Yuck

A band like Yuck raises an interesting debate. How closely can you emulate your influences before you lose your own identity? UK rockers Yuck wear their influences on their sleeves, taking cues from Sonic Youth, Pavement, Dinosaur Jr., The Stone Roses, and a whole host of other badass 90s rock outfits.

The instrumentation is solid, but nothing groundbreaking. So are they really just a case of a band riding the coattails of a previous generation of superior bands? The big chink in that argument is that the songwriting here is just too damn good. The aural assault of "Get Away," "Holing Out" and "The Wall" bring to mind the sun soaked joy of a summer day and the unbridled excitement of youth, while softer touches like "Suicide Policeman" and "Sunday" show off the Pavement style alt rock balladry the band has managed to capture so well. It's true that Yuck borrows heavily from their influences, but it's also clear that there is no one else capable of interpreting these sounds quite like this.

8. Opeth - Heritage

Like last year, there hasn't been much in metal that has excited me. I feel that I am losing interest in this form of music. Amon Amarth and Obscura put out technically sound releases, but I find myself coming back to Opeth as my favorite.

The first half of the album is a delicious cornucopia of sounds and senses; there's a quiet melodic piano piece, vibrant and driving hard rock, delightful blends of folk and rock, along with Opeth's own patented blend of progressive metal. The second half is more folky and progressive, and I admit I tend to space out a bit on these tracks.

But there's also sludgy Sabbath sounding riffs and twisted flute solos. What's not to like? Heritage stretches itself out in front of our imagination as the perfect embodiment of Mikael Akerfeldt's1970s inspired dreamland.

7. Ott - Mir

I have a sneaking suspicion that Ott always dreamed of being an astronaut or scientist, but he ended up producing electronic music instead. His third album, Mir, is a veritable smorgasbord of ideas. Like an all you can eat buffet; each track gives you a little of this, a little of that, and then a little something different.

He moves around from dastardly dubstep to tripped out techno reggae, and even makes time to slow it down and get insightful at times. But what doesn't change throughout the record is Ott's zany and bizarre sense of personality. This may have been a banner year for electronic music, but you won't find anything more bizarrely enchanting as Ott's Mir.

 

6. Steven Wilson - Grace for Drowning

This also takes the cake for most underrated album of the year. Why is no one talking about this record? It's so great! Anyhow, Steven Wilson, genius songwriter behind Porcupine Tree, takes advantage of the opportunity to go all King Crimson on us and releases one of the best progressive rock records in a while.

Each song has plenty of mellow and heartfelt verse/chorus parts in that are reminiscent of Porcupine Tree, but the defining trait in most songs is the darker, twisted, more experimental solos of various nature. The sound is sometimes dramatic, like you're gearing up for some epic battle. Sometimes it's subdued, and sometimes it's downright unnerving. But it will always make you think -- precisely what progressive rock is meant to do.

5. The Decemberists - The King is Dead

Colin Meloy is a master architect of sounds and melodies. Part wordsmith and part mad scientist, he's crafted overblown colonial epics and dramatic rock operas, but The King is Dead sees him opting for a different route. The formula employed is much more simple here, drawing your attention to the warmth of the bright, vibrant harmonies.

This music is much like a sugar rush, but it's also very organic and earthy at the same time. Violins, steel guitars, and other assorted instruments provide a very folky yet also countrified feel. The lyrics possess a layer of density, but are also intriguing and well worded. Meloy proves that sometimes cutting out the fat can be a highly effective method for moving forward.

4. The Black Keys - El Camino

After releasing their breakthrough, Brothers, last year, it seemed that the Black Keys 2011 release, El Camino, would be one of the best pure rock records of the year. Focusing on their love of blues, along with some slight tinges of soul, El Camino establishes itself as a very straight ahead record. The formula is predicated upon large, catchy choruses designed to get your foot tapping and have you humming along. Along the way you get great guitar work and the catchy and driving drum beats of Patrick Carney. No matter your preference, there were few artists able to match Dan Auerbach's sense of cool in 2011.

3. Panda Bear - Tomboy

The electronic genre had an incredible showing in 2011. James Blake, Ott, Balam Acab, and Toro Y Moi all had great releases, and then there was a Sepalcure album that came out of nowhere and blew my mind. But the spoils will go to Noah Lennox for the terrific Tomboy. He draws from his experience in Animal Collective, elaborately and meticulously layering his audio files to create a lush and vibrant backdrop.

In fact, I can't think of when I've heard a record with a sound like this. There's a very fluid feeling, as though I'm riding an inner tube down a river while listening to the album. But he also takes cues from the Beach Boys in the way the harmonies are gloriously constructed. These two elements combine to forge a sound that is deeply moving and instinctively unique.

2. Tune Yards - w h o k i l l

It is fitting that the original title of this album was Women Who Kill. In 2011, Merill Garbus of Tune Yards proved she was capable of slaughtering pretty much anything in her path. W h o k i l l is a fascinating blend of several different genres that come together in a way that is bold, full of personality, and totally unique. Garbus seamlessly merges Caribbean, African, and pop styles to create a blender blowing combination.

"Gangsta" and "Bizness" show off the patented power and aggression in Garbus's compositions, "Powa" gives us a peek at her emotional prowess. At times, w h o k i l l is a bit out there and may not be for everyone. But if you love innovation and creativity, it's hard to do much better.

1. Fleet Foxes - Helplessness Blues

The ultimate album of 2011, Helplessness Blues masterfully combines folk, melody and emotion in a way no one else could. The Fleet Foxes expand on the pastoral promise of their debut by crafting increasingly complex harmonies and by forging challenging and unique instrumentation. Permeating through it all is the mellow and melodious voice of Robin Pecknold, as clear and crisp as a cool glass of amber wine.

This is an album full of daring tales of adventure and regret, daring and disquiet, wonder and introspection. It's awe inspiring how a simple tune like "Blue Spotted Tail" can fill you with the same sensation you get from staring up into the starry night sky. Few have covered as much territory, or articulated it as thoroughly as Mr. Pecknold and the Fleet Foxes did here.