Totally Unauthorized's Top Concerts & Festival Sets of 2022: Emptying Out the Bucket List 50-26

I say it every year, but 2022 really feels like the year that totally outdid every other year in terms of live music experiences. I'm not sure if it was because of things coming back online after the pandemic, but it feels like can't miss shows were happening pretty much every weekend from about late July through  the end of the year. 2022 was a monumental year because I finally had the chance to knock most of the rest of the bands out of my bucket list, and then some. The result is the largest live music list I've done to date, with an all out recounting of the Top 50 live music performances I witnessed this year.

50. Charli XCX

August 3 at Ryman Auditorium, Nashville, TN

English pop star Charli XCX received a major boost to her career a few years back when she started experimenting with hyperpop, characterized by unusually higher pitched, noisy, or glitchy frequencies to drive a sense of energy in the music. This was best exemplified by setlist staple Vroom Vroom, which is absolutely dripping in attitude and is backed by futuristic/tech production that makes it easy to picture racing down the interstate in a state of the art sleek, sophisticated ride. The set also featured a full album playthough of her recent album Crash, highlighted by Lightning, a fun stomper drenched in 80s style beats and production.

49. Frank Turner

July 5 at Brooklyn Bowl, Nashville, TN  

Few performers in the business manage crowd interaction better than Frank. Whenever you go to a show, you know you're always going to walk away feeling uplifted by Frank and welcomed as a part of a larger community. And also rocking the fuck out to about 25-30 tunes per night, which range from white knuckle hardcore to more pronounced meditations on time, loss, and life. This show was part of Turner's Never-Ending Tour of Everywhere, which featured the folk-punker playing show in all 50 U.S. states. He gently prodded on the crowd saying that their mosh circle would be pretty good for South Carolina, but this is Nashville, he proclaimed! You guys can do better. He also had a segment where he would scream out the state motto before launching into hardcore rager In Serviam each night, noting that some mottos worked better for that than others. He said he was pretty sure this is the first time someone has ever shouted Agriculture and Commerce before playing a punk rock song.

48. James Blake

October 21 at III Points, Miami, FL 

Normally this would be higher but an unprecedented number of technical errors plagued the set and threatened to derail it entirely. As a result, we got only a glimpse of the churning, billowing production that plays such a key role in the English's crooner's sets. Blake himself was openly frustrated for most of the duration but played through as best he could. The disruptions did shift attention over to his magnificent piano work, highlighted by a cover of Don McClean's Vincent. Some sense of regularity was restored near the end of his set, just in time for a haunting rendition of Overgrown.

47. Melvins

March 19 at Ryman Auditorium, Nashville, TN

Godfathers of sludge? You be the judge, but what can't be denied is these guys are always a treat. They played the middle slot on the bill before Ministry but after Corrosion of Conformity on their springtime tour and stole the show with their unrelenting riffage and raw power.

46. Mastodon

September 3 at Gas South Arena, Duluth, GA

Another middle slot performance here, with the Atlanta prog metallers playing basically a hometown show on the Imperatour alongside Ghost and Spiritbox. They sound resurgent and re-energized since the release of Hushed and Grim in late 2021. Setlist highlights Teardrinker and Pushing the Tides stack up favorably against anything in teh band's catalog, and are primed to be live staples for a long time to come.

45. Disclosure

June 17 at Bonnaroo

Nearly a decade ago, I caught the tail end of Disclosure's late night Bonnaroo set and got to see Sam Smtih come out to do Latch with them. At that time, it seemed the English duo of Howard and Guy Lawrence were on the precipice of world domination. The moment may have passed them by to some extent since then, but their Friday night Bonnaroo set demonstrated why the brothers still command prime late night billing at the country's biggest festivals. Crowd favorites White Noise and When a Fire Starts to Burn waste no time in turning up the temperature, while more recent cuts like Douha (Mali Mali) show they still know how to get the pulse racing.

44. The Marias

October 21 at III Points, Miami, FL

Imagine spending the afternoon in the waves of Miami Beach and following that up with the smoky, Latin stylings of The Marias? Sign me up, please! A dizzying blend of jazz and world rhythms provide a stirring backdrop for Maria Zardoya's smooth vocal. This stunning combination placed The Marias among the many highlights of Miami's III Points festival.

43. Magdalena Bay

November 19 at Basement East, Nashville, TN 

One of the big challenges in live concert performance is keeping your audience engaged. The Miami duo's future/spacey/bassy sound has a lot to do with that but they have a lot of tricks onstage as well. At various points throughout the set, frontwoman Mica Tenenbaum can be seen playing a flute and wearing an animal mask. Being that they were in a prog band before this, they're well versed in how to switch up the beats and keep their crowd guessing. One of the best examples comes during "Chaeri," when Mica urges the crowd to chat the "three, four down to the floor" part. Which might sound like a pretty standard thing for a performer to do, but it comes right at a moment in the song when the beat changes and transitions to something that sounds truly astral.

42. Animal Collective

March 24 at Marathon Music Works, Nashville, TN

Veteran indie pop rockers Animal Collective put our their best album in over a decade this past year, and it coincides with the best set I've seen from them since the 2013 Bonnaroo late night performance. To no one's surprise, they line up a murder's row of the best material from Time Skiffs, but also worked out plenty of new and unreleased material in front of crowds. Chief among them is the slow burning, moody build up of Defeat (A Not Suite), which totals over 15 minutes and the aptly titled "Magicians from Baltimore." They wrap things up with a punchy blast from the past in "Chores" and the delightfully acidic "For Reverend Green," both from the band's landmark 2007 album Strawberry Jam.

41. Haim

September 21 at Ascend Ampitheater, Nashville, TN

Nine years ago I was at my first Bonnaroo, and nine years ago it was when my dumb ass walked away from that stage to get a good spot for Purity Ring (who were okay, but not mind blowing). The next band up on the stage I left? None of than HAIM (with Father John Misty coming later behind them, oof) and ever since then I had been looking for the moment to correct my mistake. With their latest album, Women in Music III being their strongest statement yet it was the perfect time as the pop/rock and roll sister trio gave the record its much deserved showcase by playing all but one of its songs. They can go from kicking out super fun bops like Gasoline and The Steps one moment to unleashing their fury on Man From the Magazine. But the best moment came mid-set when the sisters convened at center stage for “Leaning on You” and “Halleujah,” backed only by a tender acoustic guitar. The full beauty of their harmonies shined strongest here.

 

40. Sheryl Crow

September 1 at Live on the Green, Nashville, TN

Her name hasn't been sexy in a long, long time, but this show is up there for one of the most underrated I saw this year. Her band is well oiled, they have excellent camaraderie, and she has more hits than you probably credit her for. Give Crow a chance and she'll get you moving.

39. Clozee

June 16 at Bonnaroo

When I was told Clozee is a very visual artist I prepared myself as best as possible, but was still wowed. I feel like I was transported to the middle of a fairy forest or something. French producer Clozee, also known by her surname Chloé Herry, has been described as everything from Jungle to Bass to World Electronica, and her eclecticism has enabled her to become one of a select few electronic artists on my radar. This early evening set, taking place right after sunset, set the stage on the first day of Bonnaroo and split my head right open like a atom.

38. Billy Woods

June 29 at Elsewhere, Brooklyn, NY

Over the past decade, experimental hip hop artist Billy Woods has quietly built a career off constructing deep, dark, methodical wordscapes that seek to elicit an emotional response from the listener as much as an intellectual one. That has culminated in what is arguably his most provocative statement to date with his latest album Aethiopes, of which this was billed as a release show for. If you're wondering how that might translate to the stage, rest assured that Woods wows by tempering his hard hitting delivery with an up-tempo, celebratory atmosphere. Accented by the picturesque sunset on the rooftop of Elsewhere in Brooklyn's Bushwick district, Woods barreled us over with career spanning cuts and a long line of guests and frequent collaborators who joined him on stage. One of these was none other than Euclid, who, together with Woods, make up the hip hop duo Armand Hammer, and they took the time to revel us with some of their tunes from that project. What was even cooler was many of those guests stuck around to mingle out in the crowd after the show was over. I actually passed right by Euclid on my way out of the venue!

37. Wet Leg

September 4 at Variety Playhouse, Atlanta, GA

To call them a buzz band would be a colossal understatement. The Isle of Wight rock duo, consisting of Rhian Teasdale and Hester Chambers, exploded onto the scene with their 2021 single Chaise Lounge, which bubbles under a solution of sexual tension before exploding in a big, ebullient, fuzzy chorus and final coda, and sounds like it was sung by Napoleon Dynamite's dream girl. It's an unconventional formula that turned a lot of heads and enabled the gals to leave long string of sold out shows in their wake. Their live set is a sprint through their devilishly deadpan self titled debut but is elevated even further by Teasdale's magnetic presence. And what a presence she has. Half the guys there must have left with a crush on her. While it remains to be seen how high their star may rise, they have the live tools to maintain dominance for a long time.

36. Violent Femmes

October 29 at Marathon Music Works, Nashville, TN    

Get out of there with that nonsense that only the first album was good. Maybe they never topped it, but the absolute clinic they put on at Marathon Music Works is more than sufficient evidence the boys have produced an full career's worth of excellent tunes. Brian Ritchie, with his signature acoustic bass, and stand up percussionist John Sparrow are the true standouts, impressing with their dazzling array of rhythms. One of the undeniable highlights of the night came when Ritchie took his sole turn on lead vocals to blast out "Dance, Motherfucker, Dance," a skittering punk scat blast with an edge that hits every bit as hard as it sounds. Gordon Gano, not to be outdone, flexes his muscle on a variety of instruments while delivering his inimitable vocal style that has proven so vital to band's sound.

35. Sons of Kemet

June 16 at Bonnaroo 

If you think jazz is just easy listening, background music, give these guys a shot. They hit with the intensity of a punk or hard rock group, and are dedicated to being firebrand spokesmen on racial issues. This tour was, unfortunately, their swan song, as the group announced they would be disbanding after their 2022 run of shows. Drummer Tom Skinner now has a prominent spot alongside in The Smile alongside Thom Yorke and Johnny Greenwood of Radiohead fame. Saxophonist Shakaba Hutchings has returned to star in his excellent jazztronica outfit The Comet Is Coming, and they'll be on the road at least through 2023.

34. Molly Tuttle & Golden Highway

December 31 at Ryman Auditorium, Nashville, TN

My only prior live experience with Madam Tuttle came on the blazing fields of Bonnaroo for a blink and you'll miss it three song Grand Ole Opry set on the festival's first day. Was this a better atmosphere for her, serving as the lead in to a rowdy New Year's Even celebration in the Ryman's hallowed halls? Oh, a bit. The gal from California, and her whole band, prove themselves to be dedicated students of the folk/bluegrass scene, and we welcome her with open arms.

33. The War on Drugs

June 17 at Bonnaroo

Second time seeing them on the farm and they never disappoint. This Philadelphia based quartet has established themselves as one of the most consistent and satisfying bands of the past 10 years with their patented blend of heartland rock with a fuzzy coating of dream pop. Hearing those tones ring out under the hazy orange and purple hues at sunset enhances what is already a very impressive set, and ensures their legacy will only grow over time.

32. The Chicks

June 17 at Bonnaroo

More than a few eyebrows were raised when The Chicks were announced as one of the main attractions of the Bonnaroo lineup. Those of us who grew up around their music knew better. They've shed their somewhat girl pop leanings of their early days and evolved into an impressive instrumental act who fit in well on the contemporary alt/country folk circuit. This show hit on all cylinders, with impressive musicianship, a deep catalog of hits, great visuals that at one point lambasted Russian leader Vladimir Putin. 

 

31. Andy Stott

October 22 at III Points, Miami, FL

Cold, dissonant, and nostalgic are descriptors that come to mind when thinking of English producer Andy Stott's output. In a live setting, it becomes all these things and much more. It is positively frenetic. It's the most glorious combination of abrasive rhythm and warm sound. The stage also contributed greatly to the atmosphere. It was constructed out of a bunch of metal beams and rafters that enclosed a courtyard type space where you would go in and see him play, giving the environment a unique industrial flavor.

30. Jack Antonoff's 1984 Superjam

June 18 at Bonnaroo

Confession time. This was my 7th Bonnaroo and first time ever experiencing the Superjam. The diminished crowds this year made it much more palatable. This one was based on 80s covers and as always, boasted a great selection of guests. Lauren Mayberry dropped by right before heading across the field for her set with Chvrches to deliver a cover of Madonna's Material Girl, while Spoon's Britt Daniel broke up the pop hits with an assured cover of Echo & the Bunnymen's steely edged Killing Moon. Rising jam band Goose made a strong push this weekend to secure their status as Bonnaroo darlings, and that continued with their frontman Rick Mitaronda making an appearance to drop a great rendition of Take on Me and It's My Life. There's little that's more fun than surprise guests though, and this year's Superjam certainly made its mark with Carly Rae Jepsen's appearance to sing What's Love Got to Do With It and Cyndi Lauper's Time After Time.

 

29. Tchami

August 26 at Deep Tropics Fest, Nashville, TN

Although Nashville isn't traditionally known for house music, Deep Tropics festival has served as an oasis for many of the genre's more notable acts for a few years running now. French house producer Tchami's headlining set was the clear highlight of the festival's first day. It's rare to find a set that you can get lost into dancing like this, forgetting everything around you while becoming enveloped in this dense layer of sound.

28. Denzel Curry

June 17 at Bonnaroo

Curry has started a fire that's been burning for a few years now on the strength of several excellent releases. His latest, Melt My Eyez See Your Future, Might be his best yet. There was little doubt he was going to kill it during his late night Bonnaroo set which kicked off just before 2am. His intensity was on full display as he barrelled though each song without missing a word. One of the most notable moments in this set is what's become known as the 2am wall of death. Curry split the crowd into two halves down the middle and directed the two sides to charge right at each other. After being out here on a hot festival ground all day since 1pm? Are you kidding me? I wasn't sure I was going to survive. But it was beautiful in its own way when you consider that it was one of the most potent ways for a performer as fervent as Curry to transmit that sense of surging energy into his crowd.

 

27. Rolo Tomassi

September 10 at The End, Nashville, TN

Sometimes you really need one of those sweat drenched shows at a tiny club. I had forgotten how good those could be for your soul. These guys are a mathcore/post hardcore/metal band from Sheffield, England, who are readily picking up steam, and it had been eight long years since I’d been to this venue. It’s about 150 something person capacity with no barricade between you and performers, so shit gets pretty intense. It was one of the most cathartic, if not a little bit downright terrifying experience when I ended up at the very front near the end of the show and had the band literally inches in front of my face. It's a real mindfuck because you try to give as much energy back to them as they're putting out for you. Fun fact: out of every show I've been to, this is the only one I've ever gotten the setlist from.

26. Kendrick Lamar

July 31 at Bridgestone Arena, Nashville, TN

What strikes me the most about the evolution of Kendrick's live show is the visual aspect of it. It avoids the trap of being overly exuberant or over the top and instead manages to strike the perfect balance of being tasteful and elegant. His Big Steppers tour begins with all his dancers taking big marching steps single file up the catwalk toward the main stage, with shoulders shrugging in time. When the curtains are drawn, Kendrick appears somewhere you might not expect -- behind a piano. It's like you're watching the opening cutscene to the final boss of rap music. The new material, from the Mr. Morale and the Big Steppers album, holds its own against his established catalog classics but the highlight of Kendrick's shows lies in music made for your feet, not your head. It's hard to beat throwing down with Backseat Freestyle, DNA, Money Trees, or his dynamic collaboration with his show opener and cousin Baby Keem on a rendition of Family Ties.

Whiskey Gentry and Animal Collective = scatterbrained weekend

I saw two shows last weekend, which leaves me in a bind. Which one do I cover for my monthly concert review? Why not both? Let's start with The Whiskey Gentry, who rocked Atlanta's Variety Playhouse Saturday night. There was a strong Christmas theme, due in part to the fact that this show was their 5th annual Merry Y'all Tide Celebration, which apparently they do in their hometown of Atlanta every year in December.

Blair Crimmins and Michael Smith find themselves in the holiday spirit.

Their basic sound is that of country mixed with folk, but what caught my attention with this band is they mix in gypsy/punk influences into the music. It's not exactly woven into the actual sound, but their demeanor on stage and the way they interact with one another has an almost punk mentality to it. And they're all practically virtuoso level on their instruments. There was a violinist, a mandolin player, a guy who played a banjo-tar, and they would all go nuts on their instruments cranking out crazy solo after crazy solo. There's a southern vibe to it to be sure, but it's almost as if New York or Boston was trying to emulate a Southern hoe-down.

Whiskey Gentry singer Lauren Staley rips it up.

It was also cool that they alternated singers. Lead singer Lauren Staley is a typical country/western girl, who
did have a great voice, but they let the violinist sing for one song and he impressed with his great, smooth tenor. They also had a big, unshaven guitarist who looked like he could have been from the Dropkick Murphys, who sang a song about New York in a rough bristling voice. The diversity of this band was incredible. Of course they did have their winey country tinged songs. There was song about getting drunk and making out with strangers, which was supposed to be a tribute to one of the singer's friends, and there was also this smartass song she wrote in response to one of her bandmembers who said she hadn't been writing enough songs.

But there was also the fact that this was apparently some sort of jubilee, and as such the band had several guests, all from other Atlanta area bands, that came out with them onstage periodically. There was a guy that looked like John Lennon who came out and sang a Christmas Carol with Staley, there was a lady who came out and did backup vocals on one song, and even a guy who came out and started playing crazy harmonica. During the encore, everyone came out on the stage, including Blair Crimmins, the opening act, along with his entire horn section. All told there were 15 people on stage at once all going nuts and singing, while confetti was raining down all over the stage. I'm not even from this town, and I was still feeling the vibes.


Animal Collective, on the other hand, was a completely different experience, for more reasons than the obvious. To be honest I was not really into this show. A few songs I liked, but as a whole I don't feel much of a connection with most of the material they have been playing on this tour. The setlist, which is dominated by their latest album, Centipede Hz, and tunes from a few obscure EPs, don't show off the band at their best. It's too noodly, too trippy, and spends too much time floating and wandering around without making much of an indelible impact. Opening with "Applesauce" was cool, but other cuts like "I Think I Can" and "Pulleys" just float around with too much abstract silliness and ambiance, that sound like it would be suited to sync up perfectly with an acid trip, but not everyone is into that.

Deakin of Animal Collective sets a dreary mood.

With their fanbase expanding, Animal Collective seems hard pressed to hold on to their status as the leading drug band which is what they seem to be trying to do. Merriweather Post Pavillion and Strawberry Jam are filled with great, challenging material that shows off various different components to the band than what they've played live recently, but judging by their setlists it's like they're trying to do as much as they can to disown those albums. It's like they're trying to maintain their indie/hipster cred by downplaying the fact they now have a successful/more accessible record and are trying to act like it doesn't exist. I respect they aren't selling out but it feels like they're going a bit far.

Certain songs did sound a bit different, which is a nice change. I didn't even really recognize "Lion in a Coma" until one of my friends pointed it out after the show. I did notice the song's trademark bouncing didgeridoos but wasn't sure if they were just trying to work those into the mix for some other song. The middle section of "Brother Sport" was also quite different from the recording, which was cool. I also appreciated "Amanita." The closing refrain of "I'm going to come back and things will be different/I'm going to bring back some stories and games" captures the childlike wonder that the band so masterfully captured during their early career. 
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Related post:

Animal Collective - Centipede Hz review

Top 10 sets from Bonaroo 2013

10. Nicki Bluhm & the Gramblers

Nicki Bluhm was kickass. She’s got an old school country/southern rock vibe with plenty of heart and soul. Many of her lyrical themes take their cues from this era – a lot of “my man ain’t no good” vibes. It’s been done many times, but Nicki presents it with so much passion and authenticity that she will make you believe in it all over again. She’s got an incredible set of pipes and a kickass guitarist to boot.

 9. Of Monsters & Men

Another of my must sees, and they proved my reasoning to be solid. I love their onstage demeanor, so carefree, laid back, and humble. The setlist was a bit by the numbers, but with only one album that’s to be expected. They were really good at interacting with the crowd; once or twice Nanna or the other guitarist would walk out on a platform jutting into the crowd and everyone would just soak it all in. One unexpected moment came when they did a cover of “Skeletons” by Yeah Yeah Yeahs. The original is really electo/new wavey, but OMAM folked it out, added in their harmony arrangements and really made it their own.

8. Alt-J 

Alt-J has been a tough nut for me to crack. I couldn’t get into the album much from what I listened to it and had considered skipping the set entirely, but decided to give them one more shot to change my mind live. I was up pretty close to the front, which seems to be a great accomplishment as this show was totally fucking packed from what I’m told. That said, I certainly have obtained a new appreciation for the band. It’s tough to think of any band to directly compare them to.

Many people have said there’s not much energy which is true, but this set was really sort of hypnotic in a way. The drummer is really talented; he moves around the kit with some really spastic, offbeat patterns I don’t hear often. And songs like “Tesselate,” along with most of their set really, just have this really chilled out vibe like you’re drifting through space and becoming one with the stars or something.  Still don’t think this band is a good as most people try to make them out as, but I’ve gained a new willingness to open up to them.

7. Tom Petty

Making my way toward the What Stage for this one was bittersweet,  knowing it was the final act but also getting excited for the awesomeness of Petty. After all I had seen and experienced over the past four days, I couldn't think of a more fitting way to wrap it all up than a Tom Petty concert.  I hope they continue to stick with the classic/vintage rocker act for the closing spot in coming years. I couldn't imagine some shitty jam band closing it out. 

Anyhow, I was on the field for the first 45 minutes or so of his set. The plan was to meet up with the rest of my group and we would sit on top of our cars and watch the end of the show, since our campgrounds were so close to the What Stage field. The weather ruined those plans, though it was pretty gratifying singing "Free Falling" in the rain with tens of thousands of other people. I really liked his demeanor and manner of speaking on stage. "I predict we're going to have an incredible time tonight," he declared, before announcing, "I don't have anywhere to be for hours!"

I didn't know many of the songs he played while I was out there, but I liked "Tweeter and the Monkey Man," a song he did with the Traveling Wilburys about a guy trying to escape from an undercover cop. It provided a nice flavoring for the evening. I headed back to camp and heard his final songs, "You Wreck Me" and "American Girl" as I was making a call home.

6. Animal Collective

I don’t buy it when people say you need to be on drugs for this set; this set is drugs.  You can be straight sober and still feel in a slightly different state of mind when these guys play. They had some big pointy acid colored blowup balloons that filled half the stage, along with blowup teeth balloons protruding from gums. The well water ran out before Wilco so I arrived in a state of increasing dehydration but otherwise stone sober.

As they said before the release of Centipede Hz, the set was structured a continual running stream of music. In between songs they would keep playing/jamming/dicking around, so it was like listening to a late night radio broadcast and there would be a bunch of fuzz for awhile and then suddenly you would hear something familiar and get back into it. I give them props for the idea, but it tends to make their set feel disheveled and unorganized at times. There are sections where nothing much is going on for awhile, but the set was scheduled for two hours and I’m guessing is longer than they normally play, so that might have had something to do with it.

As a tribute to the band in front of me, I’m trying my best to imagine I’m on hallucinogens, a task which is made complicated seeing as I’ve never done them. I find myself staring at images projected onto one of the teeth. It’s flipping back and forth between a yellow alarm clock waving his arm and a big pile of purple jello oozing around. Avey gazes into the lights and seems to get lost for a moment, then stares blankly at the crowd and then goes back to what he’s doing on his keyboard. He seemed a bit out of it for most of the show, but was still able to perform well.

The setlist was great, “Purple Bottle” was very catchy and fantastic, and “What Would I Want? Sky” was a great surprise. From Merriweather and Centipede Hz we got pretty much the usual. Avey was all herky jerky when he got up to sing “Peacebone,” but it totally rocked.  Deakin also had some great moments; he did Monkey Riches and a couple other songs that frankly I don’t know what they were. The set was a bit long and I got bored at some points, but after the fact all I really tend to remember is the awesome.

 5. Weird Al

I was utterly conflicted over whether to catch this set or the Superjam. The Superjam felt like the set that I should see, but Weird Al was the set I wanted to see. I headed over shortly after PHJB to get a good spot, and waited at least an hour before At this point that my feet were horribly hurting, to the point I was getting seriously irritated. The long wait was not helping, but did prove to be worth it. He got off to a great start by busting out the accordion for a medley parodying current pop songs. Justin Beiber, Lady Gaga, and even Ke$ha found themselves victims of his satirical barbs.

His costume changes were excellent, and an easy highlight of the night. He dazzled in his half red, half white maple leaf jacket for "Canadian Idiot," while donning a thick black rimmed hat and fake beard for "Amish Paradise." But he went all out in his blonde mop and early 90s grunge getup for "Smells Like Nirvana." He even brought out the cheerleaders. The videos that played during his costume changes were also a riot, taking aim at everyone from Edward Cullen, Megan Fox, and Johnny Cash documentaries. But he was equally engaging while preforming deep album tracks without the help of any visual aid. He captured the crowd's attention with his humorous rendtion of the Spiderman saga on "Ode to a Superhero," while describing the joy (and horror) of selling products online on "eBay." Al undoubtedly endeared himself to the crowd and proved to be one of the best performers on the farm this year.

4. David Byrne & St. Vincent

Spectacular! Very funky, jazzy, and brassy sound presented by two of the more oddball personalities in popular music these days. Coming into this I knew virtually nothing about the material from either artist, but now I will certainly be on the lookout to hear more. It was a delight to see how well they interacted with one another, excitedly exchanging hand gestures and fist pump. And their themes were always delightfully wacky. Byrne did a song about how he used to think that TV was a good thing, but then realized it wasn't.

Annie was even more about there, doing a song about bone connecting to the marrow and weird stuff like that. They even let their band step into the spotlight, doing a song where the entire backing band formed a single file line and each came up to the microphone in turn and sang a single line. It was phenomenal, and everyone looked like they were having a wonderful time.

3. Preservation Hall Jazz Band

To continue Saturday's theme of mistakes, I missed the beginning of this set. I was busy eating a veggie burrito with sweet potatoes and various kinds of foliage. This set was fantastic though; the band members were dressed up in finely pressed suits, ties, and vests, overpowering you with the sheer sound of brass. Trumpets, trombones, horns, and blaring tubas led the charge; I'm pretty sure there was even a clarinet or two. They majored in traditional New Orleans jazz, the type made famous by Louis Armstrong and Jelly Roll Morton. But almost as engaging as the performers was the crowd itself. All around there were guys dressed as cool cats from the 20s, losing themselves to dance.

Right in front of me was a couple dressed up in white swan feathers, covered in all sorts of white material and fabric along with plenty of beads and colorful stuff. Suddenly, there were squeals and everybody started pushing closer to the stage. The man himself Jim James was making a guest appearance. I hadn't planned on catching either of his scheduled performances, but now it's easy to see Bonnaroo wouldn't have been complete without seeing him in some capacity. They did a mournful dirge called "St. James Infirmary" that blew my mind; it's about a guy who searches for his love and then finds out she's dead. If they haven't already, I demand that they record it so I can download it on MP3 and play it endlessly.


2. Bjork

It's a safe bet that Bjork made loads of new fans with this set. Throughout her career she's always been a fringe artist, but a very well respected one who know what she's doing. The first part of the set felt more akin to performance art than a music concert. She comes out backed by about 10 or 15 choir girls clad in blue and gold outfits. With their extravagant dress, they look like a retinue that Bjork purchased from a caravan off The Silk Road or something. As for Bjork herself, her face and head are covered in long white pointy ice spikes, while the bottom half out her outfit is like a dress made out of weird squids squished together. The setlist was more balanced than what she's been doing lately; most of her shows since 2011 focused on playing most if not all of her latest album, Biophillia, but she got most of those songs out of the way early. During "Crystalline," her drummer beat on a strange dark black semicircle shaped pad that he sat between his knees, and it sounded like a marimba when he hit it. Along the way we got most of the classics from her back catalog, including the silky synths of "Hunter" and "Joga," followed by curt little thank yous following every song. Otherwise, she wasn't very vocal. Occasionally she'd come over toward my side of the stage and attempt a little funky dance, but stayed focused on her game.

As the sun began to set, she approached the mic and announced, "It's getting darker." Then shit got real. The beats, which had generally been elegant and reserved suddenly became abrasive and visceral. These are my favorite kind of beats, because it's so easy to totally lose yourself while dancing to them. The choir girls, meanwhile, who had been pretty restrained, cut loose in some amped up dancing as well. It was also refreshing to see a wholly different side of Bjork. She moved into a stunning rendition of "Hyperballad," which was a great surprise because I figured we would get either "Isobel" or "Possibly Maybe" as our Post contribution. At the end she did an awesome raging extended jam session which I later learned was "Freak" by LFO merged into the end of "Hyperballad." The next cut, "Pluto," is easily one of the most visceral songs in her catalog. I was curious to see how well she could pull off the ultra high pitched screams near the end of the song. She couldn't quite get up there, but compensated by slamming the mic stand down and bolting off the stage.

She closed the main set with fist pumping anthem "Declare Independence" before ending with the frantic "Nattura" as her encore song. Flames lit up the back of the stage, bringing back memories of the devastating  pyro show that closed out Paul's set the night before. Although Bjork couldn't come close to topping him in that department, it still resonated powerfully as a finisher to an experience that was no less unique.

1. Paul McCartney

10/10… what else? It was been supremely satisfying to witness the mass reaction to this set, both in person and with regard to what’s been posted online in the following week. There’s not much that tops seeing everyone react like hysterical squealing fangirls, which was more or less my reaction when I first saw Paul in the fall of 2010. Naturally, I don’t feel like anything can compare to my first time seeing McCartney – not even this set – but there are more than a few merits to this show that more than justify the hearty applause it’s gotten.

Not a ton has changed from the show he played at Bridgestone Arena in 2010. This time around I found myself much quicker to pick up on the stories he tells. He’s talking about writing a song to give hope to the civil rights fighters – it’s time for “Blackbird.” Now he’s talking about a guitar he wrote a song on a long time ago – here comes “Paperback Writer.” Oh, now it’s the first verse of “Live and Let Die”? Oh snap, grab your camera – and try not to have your face melted if you’re up close. But knowing how the story ends beforehand doesn’t take an ounce of enjoyment away.  A Paul concert is like watching your favorite classic film. You can watch it over and over and rewind it and play it again and it never gets old. These are top notch performances of some of the best songs ever written, and done so by a man who knows a thing or two about showmanship.

There were, of course, many great moments worth going over here as well. “Lovely Rita,” “Being for the Benefit of Mr. Kite,” and “Your Mother Should Know” are all great mid/late period Beatles tunes that haven’t seen the light of day in some time. Also impeccable were his accents of Russian government officials that he met when he played a concert there, which served as the lead in to his free Pussy Riot declaration.  And to cap it all off, a fan threw a plush walrus on stage, which Paul took and put on top of his piano while he played “Golden Slumbers/Carry that Weight/The End.” It provided a fitting finale for Bonnaroo’s definitive set.

Animal Collective returns to earth with solid, not stellar Centipede Hz

I had a hard time getting into Animal Collective, until a friend gave one of the best pieces of advice ever about this band. You can't be preoccupied with what your expectations are or what you think their music should be. Each album is its own unique journey, and the listener has to be willing to let the band take them where they want you to go. They aren't the only band this applies to, but for a band as out there as Animal Collective it's non-negotiable. Take their music on these terms or not at all.

Naturally, this requires the ultimate test of open mindedness on the listeners' part. But few bands are capable of taking you to such exotic, otherworldly locales as Dave Portner, aka Avey Tare, and crew.

Coming off the career affirming success of 2009's Merriweather Post Pavillion, the band found itself in a dilemma. Merriweather was not wholly representative of the sound they had been issuing on the eight albums that preceded it. Do they be true to themselves, or streamline their sound further?

Those who jumped on the Merriweather Post Pavilion bandwagon may be less thrilled with the route they chose. Centipede Hz is a return to form for the Baltimore psych rockers, while still signifying they understand the importance of melody. It presents a dizzying blend of fuzz, static and radio waves, while projecting an image of being stranded in deep space.

Opener "Moonjock" clatters and sputters to life like a projector that hasn't been used in a long ages, then kicks into gear with a series of sharp buzzing percussive cymbal clashes before launching into a tune that sounds like Avey is broadcasting from space. It ends with a joyous climax that gives a hint of the party that Animal Collective is gearing up for.

Some songs sound like they were written by someone with severe ADD. "Applesauce" and "Monkey Riches," in particular, are a massive clusterfuck. They are characterized by an ever shifting, ever evolving gyroscope of different hooks and melodies. Keeping up with the structure of "Monkey Riches" can trip up even the most steadfast listeners; at over six minutes it can't sit still for any significant length of time. Even Avey Tare seems in awe of the staggering collection of riffs he's assembled here, as he sings: "It makes me wonder how I even wrote this song/ Does this not occur to almost everyone?" In truth, the lyric actually reflects more upon trying to make it through a tough day to day existence, but one could be excused for thinking it a comment on Portner's songwriting.

Both Panda Bear tracks are loopy slow burners. "New Town Burnout" in particular sounds like he's suffering from a drug burnout as he slowly meanders his way through the song. It captures the droning atmosphere of pieces like "Scheherazade" and "Drone" from Tomboy while also possessing a watery, fluid sound like something from Down There. The instrumental break feels like The Little Mermaid on acid. It isn't the only song with fluidy, watery beats. "Pulleys" and "Father Time" also fit into this mold, seeming to draw influence from Down There.

While Panda Bear's voice sounds very similar to Avey Tare's, there's no mistaking Deakin, who takes lead vocal on "Wide Eyed." His voice is flat, but gives the track a psychedelic Indian vibe. The track gets loopy at the end with maniacal laughing and tape loops running over each other.

There are even progressive elements in play at certain places. "Today's Supernatural," for example, goes through several clear phases, and when it ends it's clearly a different type of song than it was in the beginning. The opening verse is bolstered by a demented buzzing riff which is reminiscent of the organ grinder guy in the windmill who teaches you The Song of Storms from The Legend of Zelda: Ocarina of Time. But it gets spacier and more thoughtful as it progresses, ending with Portner musing: "Today feels so supernatural."

Another key element on this album is transitions. It's something the band has been obsessed with ever since flawlessly merging together the first two tracks on Campfire Songs, and over the years they've further refined the technique. Songs seamlessly flow into one another, often assisted by spacey, radio wave effects that earmark the album. "Moonjock" and "Today's Supernatural" both float around in a warbly spacey wash of radio wave effects before transitioning into the next piece. Recognizing that the audience needs a breather from time to time, however, the band does insert clear start and end points at the end of songs at regular intervals.

Animal Collective's lyrics are often bizarre and rambling, but despite that they do manage to get a clear theme across. It's like reading an essay paper from a slacker student; there's often a bunch of excess and extraneous verbiage that doesn't seem to relate to their central point, but you can see what they're getting at. "Today's Supernatural," for instance, contains imagery including dressing yourself up in chains and paint dripping from a canvas on an easel. But the real story is told by the central refrain let-let-let-let go; the song at its core talks about relaxing, easing up, and taking things as they come.

Some songs provide more clarity. "Applesauce" is quite clearly about the awesomeness of eating fruit, while "Moonjock" charmingly tells the story of a long backseat ride on the way to a family vacation. "Amanita" is the best representation of that childlike parading off into the forest vibe they championed on Spirit They're Gone, Spirit They've Vanished. Portner sings: "What are you gonna do? Go into the forest/ Until I can't remember my name/ I'm gonna come back and things will be different/ I'm gonna bring back some stories and games."

Animal Collective have employed a masterful range of sounds and musical concepts throughout their career. Their albums have focused on everything from gentle campfire acoustic music to sounds fully drenched in electronica, and some albums have even bordered on freak folk. Centipede Hz sounds like a logical progression from Feels and Strawberry Jam, with Merriweather being the true outlier in the band's catalog.

Yet Centipede Hz, which was influenced by CDs of radio station call signs, doesn't live up to some of its predecessors. Some of the ADD pieces, particularly "Monkey Riches," get a bit wearisome  and some of the drone/burnout pieces don't quite hit the right notes. Yet Animal Collective succeed in playing to their key strength. The new album is every bit as endearing and charming as anything they have put out. Though it isn't perfect, it fits in perfectly with the rest of their output.

Score: 82/100

Totally Unauthorized 2012 3rd Quarter Report: July - September

Heading into the third quarter of 2012, September was shaping up to be not only the dominant month of the quarter, but the best month of the entire year. There's probably tons of great tracks I haven't mined out of that month yet, but July and August proved to be no pushovers either.

Advent Sorrow - The Wrath in Silence

If you gotta run before you can crawl, Usain Bolt best look over his shoulder. Rather than trying to push the envelope,  Aussie black metal outfit Advent Sorrow instead chose to work on mastering the basics of their craft on their debut EP, Before the Dimming Light. The results are best exemplified on "The Wrath in Silence," which masterfully mixes haunting organ, frenzied shrieks, and the coal black crunch of black metal riffing. It shouldn't be long before Advent Sorrow is running with the leaders of the genre.

Frank Ocean - Pyramids

With rich imagery like Cleopatra, faded jewels, and serpents, it's no surprise Frank Ocean is becoming one of today's most acclaimed songwriters. Here, he takes tales of Ancient Egyptian pyramids and connects it to the story of a modern girl working at a club called The Pyramid. Over its 10+ minute length, the Odd Future superstar weaves in heavy rave breakdowns, foreboding soul vocals, and sense of regret and longing.

Jimmy Cliff - Children's Bread

Jimmy Cliff has always made music for the people, and after over 40 years he hasn't eased up. The main thrust of the song is crystal clear: it's about heartbreaking tragedy and oppression inflicted upon people at the hands of a brutal regime. Cliff wisely sidesteps modern trends of infusing pop elements into reggae, instead creating a composition that feels authentic and organic.

Emily Portman - Old Mother Eve

Drifting over the moor is the sound of Emily Portman, Glastonbury folk singer and aficionado of old  English folklore. Everything she does sounds like an old children's storybook brought to life, from her rich accent to her traditional folk approach. Think Celtic Thunder but less overwrought and more organic. "Old Mother Eve" paints a relaxing picture of an afternoon in an apple orchard, but its most striking aspect might just be those harmonies.

Emily Portman - Old Mother Eve bandcamp page

Purity Ring - Fineshrine

Canadian electro/synth pop newcomers Purity Ring are projecting themselves into a rapidly growing scene. Grimes, Crystal Castles and Iamamiwhoami, among others, have picked up the ball and run with this thick synth laden production backed by ethereal female vocals, but Purity Ring just may best them all. "Fineshrine" smacks you with a heavy hip hop vibe coupled with twinkling electronica, and it's punctuated by the sexy, smooth voice of Megan James pouring forth like sweet honey.

Destini Beard - My Last Goodbye

Expert of all things Gothic, Pennsylvania bred singer Destini Beard is best known for her work with horror/electronic duo Midnight Syndicate. Their latest album together is about a fictional Victorian hotel that catches fire in the early 1900s. "My Last Goodbye," however, gives her a chance to shine solo. Her choral experience shines through as her mesmerizing soprano soars above the sound of her gentle piano, complimented by forlorn harmonies.

Katatonia - Lethean

Why be confined to heavy metal if you're capable of so much more? This is the question Katatonia pondered before launching their retooled sound on Dead End Kings. "Lethean" is dripping in atmosphere and melody. The keyboards and vocals carry the day here, but the glistening guitar solo near the end is there to remind you of their technical prowess. 

Animal Collective - Applesauce

The buzzed out distortion and dissonant radio waves emanating from Animal Collective's latest had listeners reaching for their FM dials. "Applesauce" remains faithful to the pop-based direction of their last two LPs while successfully assimilating it into their new sound. The result occasionally sounds like it's being projected through a bent antenna, but AC fans wouldn't have it any other way.

Grizzly Bear - Yet Again

Shields is so great it's tough to pick out a single track. This narrowly wins out over "Sleeping Ute" just because of my preference for Ed Droste. The dense opening chords gives the song an airy and atmospheric nature, while Droste's magnetizing yet easy going vocals form the meat of the track. There's one more treat that comes in near the conclusion, when a hazy wash of psychedelics take over.

Menomena - Heavy is as Heavy Does

"Heavy are the branches hanging from my fucked up family tree."  This opening salvo from the lead single to Moms may catch the uninitiated off guard, but those who know Menomena know better. They dig a different type of rabbit hole on each album, and we're the ones who gleefully plummet into it. Justin Harris expresses feelings of pain, isolation, and loneliness framed around a lack of acceptance from his father. A tripped out guitar freakout near the end adds due weight to the track.

Lupe Fiasco - Around My Way (Freedom Ain't Free)

Smart, driven, and socially aware -- this has been Lupe Fiasco's calling card. He returns to form on his latest album, hoping to deliver America a wakeup call. "Around My Way (Freedom Ain't Free)" is built around a sweet brassy beat as Lupe examines a list of social issues facing the nation. He touches on everything from declining education standards to planned obsolesce, while also speaking on America's lack of empathy toward less fortunate nations. Lupe's at his best when he makes you think, and it's good to see him doing that again.

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.