Some years are better than others in terms of album releases, but one area that never fails is in live music. Let's reflect on the best concerts of the past year.
Honorable mentions:
St. Vincent Nov. 22 at Ryman Auditorium
St. Vincent is undoubtedly one of the most visual artists performing today. Her wild, wacky outfits and stage demeanor recall David Bowie. Her current tour is divided into two parts. The first features her wearing a tube shaped, sensual pink plastic outfit performing the best of her back catalog, and the 2nd act consists of her performing her new album Masseduction in full. The 2nd half is most definitely better. Masseduction is one of the year's best albums, with a full range of heartfelt balladry, twisted electro/rock and roll, and full throttle sensuality. The reason this set missed the top 10 was due to her heavy reliance on a backing track in lieu of a full band.
Nicolas Jaar April 8 at Marathon Music Works
What I like about Nicolas Jaar is that his sound isn't super saturated with samples; everything is constructed from the ground up, so it all feels very natural. He's not the most obliquely dancable or high energy DJ around, but he is among the more thought provoking producers you'll have the chance to see. One of the most remarkable things he's capable of is enveloping you in a crushing wave of sound, and just when you think you can't take anymore it will suddenly break and dissipate beautifully like foam on a beachead. There isn't a whole ton of melody in his music, until it comes to the immensely booty shaking "Space is Only Noise," a track which offsets Jaar's admittedly monotone vocal with a thick, arresting bassline. The euphoric, extended breakdown that came in before the song's final stanza elevated a great song to the level of a glorious one.
10. The xx June 10 at Bonnaroo
The first sight I saw at my first Bonnaroo Late Night was The xx's incredible laser show beaming from Which Stage, and since then had regretted not stopping by to take in some of their set. Catching the band's first performance at Roo since then was never going to erase missing that first time, but did enable them to sneak in and steal a Top 10 slot. The new material carries a large dose of groove and swagger, adding some much needed new dimensions to their sound. When I saw Jamie's solo DJ set a couple years ago, it was clear they were going to come back funkier, more soulful, and with a little bit of an edge without compromising the original sound. Oliver Sim and Romy Madley Croft's love duets provided the sultry soundtrack for sweating out the hot Manchester night, but Romy impressed with a some honest grit and moxie on cutting tunes like "Infinity" and the short but surprisingly crowd energizing "Intro."
9. Garth Brooks December 16 at Bridgestone Arena
The greatest spectacle in country music returned to Bridgestone arena after a seven year absence with a two and a half hour extravaganza. Out of all the big stars I've seen, he's one of the absolute best at making himself relatable. Garth reaching out and gesturing toward fans was a regular sight all night. His encore consisted of playing stanzas from songs on signs held up by fans in the stands. Hes got a hits catalog deep enough to rival almost any big act. Fans were dazzled by the strobe lights of "The Thunder Rolls," tropical backgrounds on the big screens during "Three Pina Colodas," or the romantic nostalgia of "The Dance. And to up the ante even further, he announced the night's show was being recorded for a live album. The momentum sagged a bit during the Trisha Yearwood segment and lengthy band introductions, but I never was a big fan of hers anyway.
8. Sturgill Simpson July 15 at Forecastle
Sturgill's guitar playing is what stands out most about this show. His albums don't give much indication of it but Simpson is a maniac on the axe. It's very rugged and bluesy, with hints of Stevie Ray Vaughan, but still fits in the framework of gritty country music. He reminded me of another guitar player I had seen on this same Forecastle stage a few years ago: Gary Clark Jr. Unlike Clark, however, Simpson has the songwriting chops to back up his playing. His subject matter concerns simple life truths stated directly: the joy of fatherhood on "Welcome to Earth (Pollywog)," his skepticism with religion on "Turtles all the Way Down," and good old fashioned despair on "Living the Dream." Simpson is one of today's most promising country music talents, and still doesn't get enough credit.
7. U2 June 10 at Bonnaroo
Blood red light illuminated the stage for Irish rock titans Friday night headlining performance at Bonnaroo. The occasion? None other than the 30th anniversary of their most esteemed release, "The Joshua Tree," for which they played the album in its entirety. The show started dramatically with early career stunners "Sunday Bloody Sunday" and "Pride (In the Name of Love)," followed by propulsive Joshua tree gems "Where the Streets Have no Name" and "I Still Haven't Found What I'm Looking For." The momentum slacked up once they got past the album's well known songs. You could tell they weren't used to playing these songs as often. Things got strange on "Exit," where Bono donned a black bowler hat and made a bunch of jerky movements. It looked like he was practicing to be Batman. The new school material made its appearance in the encore, before finishing off with the sublime "One."
6. Opeth May 4 at War Memorial Auditorium
Six long years had passed since the Swedish prog barons last played Nashville. To be honest, their performance then eschewed much of what endears the band to fans, focusing instead on acoustics and clean vocals while supporting the oft-maligned Heritage album. They made up for all that and more, masterfully mixing the best of their new material with the classic stuff. Old school fans were treated to a guttural gut punch with "Demon of the Fall," a punishing salvo that expertly weaves folky, acoustic proggy passages with black metal bombast. Their always artful frontman, Mikael Akerfeldt, explained the song was written with former bandmate Peter Lindgren in the early days, when they were a couple of junkies in Gothenberg. Set closer Deliverance starts off brutally heavy and ends with a trancelike riff, covering a huge swath of ground over its 13 minute run time. Akerfelt joked you'd have to call your boss to tell him you'd be late after that song. The only disappointment was no Blackwater Park material, especially glaring given that The Drapery Falls had figured into virtually every setlist this tour.
5. Kendrick Lamar August 30 at Bridgestone Arena
I was unimpressed with Kendrick as a live performer until this set. I left his last two Bonnaroo sets after only a few songs as they seemed to lack substance. But realizing he's one of the great young artists of this generation, I gave him another go. One of the craziest things I've seen is the entire crowd rapping "Humble" to him -- not just the chorus, which would be expected -- pretty much the whole song. You could tell by the look on Kendrick's face he was like damn, and so was I. Other things I appreciate about Kendrick is his ability to set a mood. During "Pride" and "Love," he had this energy going that was so positive and uplifting it could melt all your troubles away if only for those few moments. Also enjoyable was watching him dodge sword swipes from ninjas while donning his alter-ego Kung Fu Kenny.
4. Mayhem November 27 at Cannery Ballroom
This was like some shit straight out of a graveyard. I knew of the long standing Norwegian black metal band more by reputation than by their actual music, but the novelty of this band playing Nashville, coupled with a pair of positive spins of their debut, De mysteriis dom Sathanas, convinced me it was worth a shot. Mayhem's set is up there with the greatest visual spectacles I've seen. Mist machines and tortured gargoyle/gravestone statues set the scene, but the centerpiece is vocalist Attila Csihar. Cloaked in tattered robes and demonic facepaint, he looks like a wight bent on delivering unholy retribution. Presentation has been the band's calling card since their early days. The music itself's not too shabby either; the ice cold opening riff of "Freezing Moon" split the crowd's skull like a guillotine blade, as the band blazed through the eight tracks of their debut album. They didn't stick around after that, but the brief performance proved short, sweet, and deadly to the touch.
3. LCD Soundsystem July 15 at Forecastle
It's been a hell of a comeback. The New York disco/dance/punk outfit's reunion has allowed them to claim their rightful status of one of the best live bands of today after triumphantly overcoming initial chagrin from fans who felt jilted after shelling out for the bombastic "final" performances. I've seen them three times in this run, but their Saturday night headline set at Forecastle is my favorite. The densely layered dance beats of "You Wanted a Hit," the starry eyed melancholy of "Someone Great," the brazen jubilation of "Daft Punk is Playing at My House," and the fist pumping garage energy of "Movement" blew me away from my spot five rows from the front. The setlist was virtually identical to the one they played at Bonnaroo last year -- with one notable exception. I was on my way out of the crowd already when James Murphy announced the band's first ever festival encore: a deliriously twisted rendition of their renowned sing/chant along "Yeah."
2. Radiohead April 1 at Phillips Arena
Due to their somewhat elusive nature, the simple act of Radiohead announcing dates is an event in itself. This show was part of a small string of dates surrounding their headline Coachella performance, in support of last year's excellent A Moon Shaped Pool. To fans' delight, it featured a great deal more of the band's guitar based back catalog than we're used to seeing from them. Airbag, No Surprises, and fan favorite Iron Lung were among the highlights, but perhaps more astonishing was Subterranean Homesick Alien, an OK Computer cut so deep Thom Yorke warned it might be a little off-kilter, but it was nothing short of beautiful. They closed with Karma Police during the third encore, and, well, if you've never seen Radiohead, you've never lost yourself in show quite like this. I'd seen Yorke before with Atoms for Peace, but it did nothing to prepare me for this. Every individual member of the band is so talented that when the full unit is assembled, they truly are greater than the sum of their parts. This collection of talent is why Radiohead is one of world's truly great bands, arguably the defining band of its generation if there is one.
1. Iron Maiden June 13 at Bridgestone Arena
The longstanding British metal barons take the top slot after having placed 2nd on my year end list four years ago (behind Paul McCartney's once in a lifetime Bonnaroo performance). I've been big fans since high school, and I was left in awe after seeing them from about 10 feet away from them on the main floor. The energy, imagery, and general trappings of an Iron Maiden show lifted this one to the top. The show opened with Bruce Dickinson standing behind a dimly flickering flame ominously aglow. They then broke into "If Eternity Should Fail," the high octane opening cut from their excellent album The Book of souls, which they were touring for this show. Dickinson delivered a nod to the fans as reflected on all they years they've been around as a band. "The reason for our longevity," he declared, as he surveyed a full house, "I am looking at tonight." He riled them into a frenzy by waving the giant Union Jack flag during "The Trooper," donning monkey and wrestler masks, and unleashing giant monsters during "Number of the Beast." The three headed guitar battery of Adrian Smith, Dave Murray, and Janick Gers unleashed some mischief of their own during the 13 minute epic "The Red and the Black," designed pretty much as a love letter to frenetic guitar solos. Maiden shows are the perfect combo of virtuosity in musicianship and showmanship, and they don't show any signs of slowing down anytime soon.
Opeth was one of my favorite bands in high school. Blackwater Park and Deliverance made them one of the first metal bands I became a big fan of. Their latest album, 2011's Heritage wasn't bad, but in order to get the most out of it you pretty much had to have at least the same amount of enthusiasm the band had for progressive/folk rock of the 1970s. Not much of their fanbase did, and the album struck a dull note for many. The good news is that "Cusp of Eternity," the lead single from their forthcoming 11th album Pale Communion sounds like a step in the right direction. Carried by gothic tinged vocals from Mikael Akerfeldt, the song delivers a good metal crunch while also being equal parts airy and atmospheric. My hopes for this album are piqued exponentially.
To observe Katatonia is to view the portrait of a band in transition. They were once doom metal purveyors, crafting a sound that simple yet effective while packing in the level of emotion you'd expect from a doom band. But somewhere around 2006's The Great Cold Distance, a shift starting taking place.
There was a greater emphasis being placed on creating a sense of atmosphere behind the music; it was an attempt to expand their sound beyond the typical trappings of heavy metal. 2009's Night is the New Day was a much softer and even more atmospheric followup, which would set the stage for Dead End Kings.
For those familiar with Opeth's discography, Dead End Kings could be viewed as Katatonia's Heritage. They follow Opeth in stripping away the vast majority their metal elements in an effort to build a sound that is lush, dense and atmospheric. But unlike Opeth, they aren't glued to their influences. Heritage was benefited and sabotaged by its massive hard on for all things 70s prog that spent too much time looking backward and didn't do enough to further the band's sound.
Conversely, on Dead End Kings, Katatonia barely sounds like a doom metal band anymore. But they still sound like Katatonia. By slowly shifting their sound over the past few albums, they've helped ease the transition into focusing on atmosphere and subtle dynamics. But not wanting to remain stagnant, they've also introduced several new elements that pushes their sound across new boundaries.
Opener "The Parting" introduces strings and piano, decidedly softer touches that should instantly catch the listener's ear. It demonstrates that piano can work very well with Jonas Renske's voice, while the gliding guitar lead near the end of the track fits in well with their new sound.
"The Racing Heart" features one of Renske's best vocal performances. Its big chorus is a common Katatonia feature, but the real gripper is the almost acapella section that closes the song. "Hypnone" demonstrates the band's focus on atmospherics with its background instrumentals that twist and turn like a rainstorm, while "The One You Are Looking For is Not Here" sees Katatonia's take on female vocals. Guest vocalist Silje Wergeland never takes the spotlight for herself; rather she merely provides background coloring, true to Katatonia's style.
"Buildings" is perhaps the only truly punishing song on the disc. Renske perfectly captures a sense of unease and desperation, while the guitars provide something rarely heard on a Katatonia song - a minor sense of groove.
And don't think that just because they softened up that their technical ability has declined. "Lethean" proves they're still rock solid as ever with a flowing guitar solo. The beat during that section is heavy, but it's because of Daniel Liljekvist's drums and the rhythm section as opposed to the guitars.
Dead End Kings succeeds because they prove they're much more than a metal band. They mix heavy riffs in when it seems appropriate, but are no longer bound to being metal for metal's sake. Because so much of what they do is predicated on atmosphere and subtle background effects that sometimes their songs tend to float around in too much ambiance, and they get boring. They remedy this by expanding on the dense airy sound of Night is the New Day. They vastly improve the direction established there by producing a record that is much more varied and melodic. It results in one of Katatonia's most engaging and musically stimulating albums in recent memory.
The working relationship between Opeth's Mikael Akerfeldt and Steven Wilson of Porcupine Tree is well documented. These prog rock heavyweights have worked together on producing Opeth records, but they've never made an album together. At least not until Storm Corrosion.
Storm Corrosion is the concluding piece of a trilogy that began with the 2011 releases from Wilson and Akerfeldt. Opeth's Heritage was a twisted jaunt through the deepest depths of a 70s folk/metal inspired wonderland. The band covered all bases, with hints of Rainbow, Black Sabbath, and Jethro Tull shining through.
Meanwhile, Wilson's sophomore solo soundscape operated on a different approach. The cover of Grace for Drowning, like the music within, was soaked in a shade of crimson -- King Crimson, to be exact. The sprawling double disc set strongly recalled his love for these progressive rock titans, and produced more than a few tunes suitable for beckoning the end times.
Although culled from the same era, both Heritage and Grace for Drowning managed to stand apart. So it should be no surprise that a good deal of anticipation has built up over what Act III might deliver.
Storm Corrosion brings together two trademark aspects of these artists. On the one hand, you have the heavy nature influence found throughout many of Opeth's early records. The photos in the booklet are grainy and faded, like someone was playing this music from the middle of a field long, long ago. The music is designed to sound the way the pictures look, so to speak.
But there is an ominous undercurrent swirling around just under the surface, something darker and much more sinister. From time to time, you will be hit with off kilter and trippy passages that harken back to the most demented moments of 1970s psychedelia. They appear infrequently, but pop up so unexpectedly that their presence provides a subtle coloring for the entire album. It's easy to see Wilson's hand in this.
The opener, "Drag Ropes," gets the album off to an inauspicious start. Akerfeldt starts off with some slightly cheesy and melodramatic vocals, which leads into the first major drone section of the album. Steven Wilson comes in singing a bizarre line about how the truth can now be told, while organs and strings clash in the background. Each progression sounds like it's building up to something, but end of the song simply dumps you back into the initial verse that Akerfeldt started off singing.
The title track is the true standout. It contains a sampling of all the album's major elements, and does so flawlessly. The first six minutes of the song feature some beautiful acoustic guitar playing accompanied by Wilson's gentle vocal. It eventually fades into trebley sounding strings that combine with chaotic guitar strumming to create a dark and unnerving background ambiance. Eventually, some light guitar playing can be heard in the background, and the droning in the foreground slowly cuts out like a radio losing transmission. You are then left with nothing but a beautiful riff, and Akerfeldt returns with a haunting final verse.
As the album progresses, however, its main fault becomes clear. The progressions in each song seem to be build up to something. However, you never really get a payoff, and as a result the album doesn't seem to know where it's going.
The opening to "Hag" is minimalist to the extreme, with Wilson slowly enunciating each line of each verse. This sounds like something we've heard him do before. From there, you get the only truly heavy section on the entire album, although the guitar and drum work are coated in a layer of menacing fuzz. I personally like the effect; it's a great continuation of the faded and worn feel that Akerfeldt and Wilson seem to be shooting for. But instead of building on the success of that section, the song instead stubbornly reprises the the opening verse. It's like Wilson doesn't know where it wants to the song to go so he just throws his hands in the air.
"Lock Howl" is perhaps the biggest offender in this regard. I enjoy the brisk acoustic riff in the beginning, along with the sound of the bells and strings quietly chiming in the backround. From there it builds into some bizarre Egyptian sounding passage before -- maddeningly -- resetting once again to the initial riff. See the pattern?
"Happy," which sees Wilson attempt his best Fleet Foxes impersonation, is by far the album's shortest track. As such, it doesn't do enough to distinguish itself and gets lost in the album's acoustic ether.
It all comes crashing down with "Ljudet Innan." In perhaps the most offbeat twist in an album full of offbeat twists, the track begins with falsetto vocals which have a minor soul/ R&B tinge. It completely clashes with the spirit of everything else on the album. Once that subsides, the track floats around in too much ambiance for far too long. It finally reaches a conclusion chock full of bluesy, 70s inspired guitar work that sounds like it could have been pulled from Opeth's Damnation/Deliverance era. It's nice to see they finally give a song a proper conclusion, but as the album closer it really isn't an adequate climax for an album that's all about buildups.
For the most part, the progressions on Storm Corrosion aren't particularly bad. It's a listenable album with many neat elements that potentially could have led to a great record. The main issue is that it tends to rely too much on drone elements to establish its sense of atmosphere. Neither artist is particularly experienced with making this technique work, and Storm Corrosion provides ample evidence that Wilson should have left it behind in his Metatonia/Voyage 34 days.
The title track is well executed, but far too often the rest of the songs don't go through their natural progressions, so there isn't much payoff in the end. At times I can't help but wonder: what exactly is the point?
Almost as important as the top albums of the year are the best songs. There were no shortage of great songs in 2011 in almost every conceivable style and genre. I personally feel indie rock, alternative, and the electronic genres had the strongest years, but it is easy to find great quality in virtually all forms of music. I have complied a simple list for 50-21, with detailed descriptions of my Top 20 songs:
Sam Beam never fails to come up with something tender and endearing, but this prime cut from Kiss Each Other Clean shows he's also quite the funkmaster. It opens with a horn section designed to make you get down, which sets the tone for the rest of the song. This leads into Beam's mythical story about gods of war and gods of love, and I quickly gather that his intention is to put you in the mood for some sweet passionate lovemaking. The realm of gods has been oft discussed, but never has it made us want to shake our booty quite like this track does.
19. Radiohead - Lotus Flower
Behold the power of good old fashioned hypnotism. There's a time and place for spacing out, and the pounding hypnotic rhythm of the bass and drums provides the perfect soundtrack for getting sucked into a trance. But it goes beyond that. The Chinese Lotus Flower is known for its pure and pristine qualities, and Thom Yorke cleverly ties that in to a theme of turning over a new leaf and experiencing rebirth - much like that of the lotus itself. Those searching for a new beginning may find Yorke's words leave an indelible impact.
18. Sepalcure - Pencil Pimp
I've always been something of a closet fan of intelligent dance music, particularly something with an edge to it. Here, Sepalcure has conjured up something that could be suited to the dance floor, but isn't necessarily restricted to that environment. The opening beat and vocal samples are sure to get your glowsticks in motion, but the song quickly takes on an ominous tone with some oppressive and slightly psy-trancey synth coming in over the top. Along the way, there is enough variation packed in to easily make for a great club stomper, while also offering food for thought.
17. Ott - Squirrel and Biscuits
Ott released one of the trippiest and zaniest electronic records of the year, and his originality and sense of personality was one of 2011's bright spots. The bouncy beat at the beginning is a sure fire to bet to get your head bobbing and your body rocking, and the distorted warbling vocal midway through is a humorous touch, but the real highlight comes near the end with the introduction of totally tripped out Indian scat vocals. And the outro synths near the end make for the perfect climax. Listening to Ott is not like being on a trip. Listening to Ott is like being on a trip while floating over a dance floor in suspended animation, on another planet.
16. Obscura - Septuagint
When German tech death metal masterminds Obscura were faced with the task of following up the critically acclaimed Cosmogenesis, what did they do? They slayed like none other, of course. This opening track from their third album, Omnivium, threw listeners for a slight curve with its Metallica-esque acoustic opening and power build up. But. of course, it wouldn't be long before the churning cauldron of guitars began to mix with the guttural vocals of Steffan Kumerer.
This time around, though, Obscura proved they were more diverse with acoustic sections and clean vocals thrown into the mix. The soft and organic touch is a perfect counterweight to the skin shredding carnage the band is so well known for. With songs like Septuagint as evidence, it seems unlikely that Obscura's rage will be quelled anytime soon.
15. Panda Bear - Last Night at the Jetty
Noah Lennox has always been an innovator. It is this spirit that perfectly informs "Last Night at the Jetty." Like the rest of the Tomboy album, it possesses a fluid and free flowing vibe. Listening to this song is like floating down a waterway, while also feeling decidedly dreamlike. Lennox
14. Gretchen Parlato - Winter Wind
Gretchen Parlato is one of those rare women who can convince you she is knockout using only her voice. Her sultry vocal summons forth a passionate intensity that will leave you rapt and mesmerized. The melody of the piano and the thunderous rolls on the snare are invigorating, but her voice cuts through it all as crisp as an autumn breeze. This track is constantly in motion; there's a definite sense of urgency. And it all comes pouring out in the final sequence, with Parlato desperately trying to convince you to hold on - "it's the time of your life." If you've never felt electrified by jazz, it's high time you gave Gretchen the chance to sweep you off your feet.
13. Cities Aviv - Doom x Gloom
I have yet to find a rapper who can deliver such ordinary statements yet make them sound so profound. Gavin Mays has the type of voice that can make you want to run through a brick wall, but he can also make you think. Doom x Gloom evokes a mysterious mood, while borrowing elements from the Memphis horror rap scene. Mays's proclamation that "we fuck broads and the cross and they gulp the semen" is sure to make an impression, the majority of the mood in this song derives from the hellish cycle of drug use and abuse. Digital Lows was an album capable of striking up many moods, but the feelings generated by Doom x Gloom may well stick with you the longest.
12. Sleep Over - Romantic Streams
Forging the perfect blend of emotion and melody, Stephanie Francotti's catharsis as displayed in Romantic Streams is one of the year's most riveting moments in electronic music. Characterized by wispy vocals that seem to float up from a dreamlike vat, and somewhat dated sounding but soothing electronics, it may give you the urge to close your eyes and drift away into a neverending void. That's pretty powerful stuff.
But you may want to do you best to stay rooted in reality, lest you miss out on the pounding drum section near the end that punctuates Francotti's magnificent ethereal vocal. When all is said and done, the feeling provided by this song is akin to swallowing a sweet warm cup of milk and settling in to a blissful slumber.
11. Black Keys - Little Black Submarines
And then Dan Auerbach bared his soul. It begins with some pretty acoustic strains and Auerbach's Jim Croce-like attempt to have a telephone operator patch him through to his love. The acoustic guitar stands in stark contrast to the firestorm of catchy rock found elsewhere on El Camino. But it's much deeper than that. There are touches of Zeppelin that certainly enhance the effect, but it is perhaps the pained clarity of Dan's regret that leaves the strongest impression.
When the loud feedback begins to fill your eardrums, you know shit's about to get real. Auerbach releases the full wroth of his pain and anxiety, as this time he is appealing to the operator to "patch me back to my mind." The impact is increased by the picture perfect performance from drummer Patrck Carney. Truly, we haven't heard drum fills this spot on since Ringo beat the skins on "A Day in the Life." When it's all done, you feel like you have a new perspective on what it is to lose.
10. Trash Talk - Gimmie Death
In my younger days I toyed around with the notion that most hardcore was targeted toward disaffected middle class high school kids seeking an outlet for social pressures or family issues. If there were any notions of that still in my mind, Trash Talk came and totally kicked them straight out the window. Lee Spielman's disillusionment with the world around him sets the stage for one of the most visceral displays of the year. The wall of guitar aggression and the tightly compacted drum rolls wash over you like a tsunami of aggression. Make no mistake, you don't have to be a hardcore kid to feel what he's saying here.
9. Tune Yards - Gangsta
The breakout success of Merill Garbus has been one of the highlights of the year. Combining afro pop with pulsing rhythms, thumping basslines, and her own bold personalty, Garbus has established a sound that's out there even by Pitchfork standards. It's not for everyone, but personally I was sold on my initial listen. There's so much going on in this song, from the omnipresent bassline to the vocally syncopated police sirens to the way Merill's voice goes from high and fluttery to raw and back again. And the subject matter, which deals with violence on the streets where Garbus used to live, adds a rough edge to the mix. Love them or hate them, Tune Yards are a powerful new creative force whose light doesn't seem to be dimming soon.
8. Opeth - Slither
Ronnie James Dio was a man who meant much to many/ Opeth's Mikael Akerfeldt is no exception. When I heard him speak about Dio at the Cannery Ballroom this October, it was readily apparent what a large influence the man was upon Akerfeldt. So it's no surprise that Slither, the track Akerfeldt wrote to commemorate Dio's memory, was one for the ages. Slither attempts to capture pure headbanging ecstasy and turbocharged guitar assault that so many 70s rock bands like Rainbow used to make a name for themselves. It sounds nothing like a typical Opeth song, save for Akerfeldt's otherworldly vocal. And if you ever get to hear it a live show, keep a tight grip on your sandals -- the moshers go totally apeshit on this one.
7. Wilco - Born Alone
Comeback would be an apt word for Wilco in 2011, and this track was instrumental in keying that success. It opens with a set of impeccably selected mellow pop/rock chords, not at all out of the ordinary for this one time alt-country band. The lyrics focus on cleverness and wordplay, as though Jeff Tweedy seems to basking in reflection. "I am the rider at the wheel of order/ marching circles at the gate," he declares. It leads into a heavy outro which gets totally wistful and reflective. In a time when rock is seeking to innovate so much, it's comforting to know there are people who are capable of sticking to the basics and doing it right.
6. The Decemberists - Down by the Water
Perhaps the greatest sing along of 2011, Down by the Water combines folky schmaltz along with sugary pop harmonies to create one of the catchiest and most fulfilling songs of the year. Most of the magic lies in its stripped down and laid back nature. The acoustic guitar, the accordion and tambourine combine with the harmony between Colin Meloy and Gillian Welch to form an instant winner. And as always, Meloy is busy scouring the dictionary while he pens his lyrics. In just a few short lines, he is able to construct a vivid depiction of a sleepy small time port town. Pyrotechnics and big egos may dominate music headlines, but The Decemberists demonstrate that sometimes simplicity is key.
5. Amon Amarth - War of the Gods
Amon Amarth may occasionally draw criticism for being stuck in their mold, but when they're at the top of their game it's not tough to see why they stick to what they know. Nothing goes to waste here; every riff and progression on guitar sounds crisp, clear and clean. The build up and solo are a textbook demonstration of how dual guitar harmonies are meant to work, and the drums provide the perfect backing for the out of control guitar noodling. And that's without even mentioning that Johan Hegg's hearty growls about conflict between Norse gods lends a truly epic and legendary feel. War of the Gods is an iron forged piece of metal so hot you can still feel the steam rising from it.
4. Raekwon feat. Black Thought - Masters of Our Fate
If there was ever a rap song fit to serve as a soundtrack to a decisive battle, this would be it. A Winston Churchill sample surely doesn't hurt the levity of the track; you can practically hear him clenching his steely fingers as he speaks his message of courage and resolve. And it's spotlighted by a pair of emcees you would never want to meet in a dark alley. Raekwon comes in, speaking about the harsh realities of life. But even he is shown up by the mighty Black Thought, who opens one of the best rap verses ever with a statement we can all relate to -- "bridges I burn some, lessons I learn some, money I spent some, lent some, earn some." By the time it finishes you will surely understand your destiny lies in your own hands.
3. Iamamiwhoami - ;John
This is the Mac Daddy of production work. This song alone could provide a semester's worth of study on how to arrange .midi files like a boss. The main melodies are upbeat, catchy and danceable, but at the same time leave you feeling like you're stuck in a dark depressing hole you will never climb out of. There's quite a bit going on, from heavy sludgy synths to low fat beats and shimmering dancefloor electronica. Swedish starlet Jonna Lee shows off her impressive range as she weaves a tale about being subjugated, dominated, and cast aside. But through it all, she keeps on dancing. It manages to capture a feeling of jubilation while also managing to feel dreamy, isolated, and surreal.
2. Fleet Foxes - Helplessness Blues
In terms of delivering true honesty from behind the mic, Helplessness Blues is about as good as you're ever going to do. This is Robin Pecknold's clarion call of self assertion, and he couldn't have put it any more eloquently. The instrumentation is first rate, the message is empowering, and the lyrics create a powerful and vivid sense of imagery. The most jaw dropping feature comes about halfway in when the time signature changes. It's practically like two top tier songs rolled into one. This is the part where the Fleet Foxes get to show off their patented pastoral sound and lovely vocal harmonies. Pecknold has clearly laid forth his masterwork here.
1. Steven Wilson - Deform to Form a Star
As if descending from the heavens themselves, Steven Wilson's classical progressive odyssey Deform to Form a Star takes top song honors for 2011. Wilson isn't the most virtuoso musician, but every element of his compositions come together brilliantly. The piano is beautiful and melodious. Every chord he picks out seems to have been carefully mulled and considered before being inserted into the final mix. His vocals are mellow and downbeat, focusing on a sense of loss and desolation.
But the chorus shines brightest, with a mystical quality that could practically penetrate the cosmos itself. If that isn't enough, there are also a pair of magical guitar solos that drive home the point. In a year filled with powerful songwriting and unprecedented innovation, Steven Wilson captures the #1 spot by simply being divine.
Whenever your favorite band opts for a major change of direction, the results usually aren't pretty..
I've seen it happen countless times; bands that I was adored morphed into something totally unrecognizable. They lose touch with what made them great, usually for reasons no more noble than a simple cash grab.
They always have their defenders: those who claim they're naturally evolving or changing, and that the old school fans need to get over it. But who are we kidding? It's not coincidence that this supposed "evolution" is always toward a vastly more commercial direction.
But every once in a blue moon, a band elects to make a considerable shift in sound or philosophy and it actually works. Such is the case with Opeth's latest record, Heritage. Leading up the release, apprehensions were culled over the revelation that Heritage would eschew death metal vocals, which had been a key element in the band's music heretofore.
But that's not that only major change taking place in this most recent observation of Opeth; most of the fundamental metal elements are gone as well. Rather, Heritage is much more of a gothic folk record. The unbridled elements of 70s prog and folk that Opeth has mixed in with its metal on previous records takes center stage here.
Metal purists will be disappointed, but anyone who was able to appreciate both halves of Opeth's dual pronged attack should be pleased with the results.
When I first heard the lead single, "The Devil's Orchard," I was unimpressed. My main misgivings were over how thin the guitars sounded, and after repeated listens I still hold this as a legitimate complaint. But I'm more interested in the way they have been able to make something fresh and new while still infusing it with their signature sound.
Other highlights include "I Feel the Dark," which opens with a slinky acoustic riff and sticks to folk territory for the most part. But there is a great heavy section that will leave you in awe. In ancient folklore, "Nepenthe" was mythical drink that had the power to cause you to forget your hardships. Hearing the ethereal guitar work that opens said track might have a similar effect on the listener, but if it doesn't then Martin Mendez's jazzy bass groove should do the trick.
Then you have "Slither," a rollicking rocker dedicated to the memory of Ronnie James Dio, which Akerdeldt says is custom designed to sound like a Rainbow song. It sounds nothing like Opeth has ever done, but the sound suits them so well I wouldn't blame them if they penned a few more tracks like this in the future.
"Famine" has a breakdown with sludgy guitar and a demented flute solo which sounds like a deranged combination between Black Sabbath and Jethro Tull. "The Lines in My Hand" is a short 3 1/2 minute burst of groovy bass, and energetic guitar leads packaged in between a pair of longer epics. "Haxprocess" strikes an ominous mood, while closer "Marrow of the Earth" is essentially an extended suite of a track like "For Absent Friends" or "Patterns in the Ivy."
The first half of the album is easily more accessible, with tracks like "The Devil's Orchard," "I Feel the Dark," and "Slither," which are instantly recognizable classics. The second half is slightly more difficult, but reward repeated listens. Heritage may not be up there with gold standards like Blackwater Park or Deliverance, but it is still a solid entry into Opeth's catalog, and provides a vibe that only they can pull off.
Mikael Akerfeldt sang that God is dead. But it's not true. God was on the stage.
When Opeth swept into Cannery Ballroom Wednesday night, it's fair to say they carried the crowd into a rapture with them.
The titans of prog metal kicked off the show with their latest single, "The Devil's Orchard," and with the eerie wash of blue lights enveloping the crowd, it wasn't hard to feel like you were being transported somewhere otherworldly.
Who's ready for some metal? This guy fuckin' is!
Their latest album, Heritage, puts major distance between the band and their black/death metal roots, and the live act seems to be following the same philosophy. The 12 song setlist focused on Opeth's lighter, folkier side.
Heritage and Watershed, the two most recent Opeth albums, formed a good chunk of the setlist, with tunes like "I Feel The Dark" and "Porcelain Heart" getting the crowd revved up early. But one of the biggest surprises of the night was when the band totally folked out with a mini-acoustic set, in which Akerfeldt played no fewer than three separate acoustic guitars. And it was punctuated with a pair of lesser known cuts - "Throat of Winter" from the God of War III soundtrack and "Patterns in the Ivy II" from the deluxe edition of 2001's Blackwater Park.
But of course, Opeth wouldn't be Opeth if they didn't unleash some heavy metal. Akerfeldt introduced "Slither" by announcing it was written in memory of Ronnie James Dio, and it was inspired by his work in Rainbow.
"Now you can all headbang like it's 1978," Akerfeldt declared.
As soon as he began ripping off those riffs, the moshers went apeshit.
Opeth's old guard: Akerfeldt and Mendez.
And as an added treat, Opeth also played one of the best songs in their catalog -- "A Fair Judgement." A flawless combination of ethereal metal, 70s proggy acoustic folk, and majestic guitar solos, hearing this song live was an experience that was on my bucket list. I was totally pumped to cross that one off.
Akerfeldt also proved himself to be a great frontman with an awesome sense of showmanship. The performer/crowd interaction was the best I've ever witnessed. He hilariously ripped on metal bands who constantly down tune their guitars, made fun of Napalm Death's "You Suffer," and bantered over the pros and cons of eating ribs in Nashville.
And last but not least, I can't leave out the incredible drum solo by Martin Axenrot. The rest of the band stopped for about five minutes to let Martin do this thing, which resulted in an incredible display of precision as he kept perfect time while roaring away with the double bass pedals.
If there was one disappointment, it was with the lack of Mikael's death metal vocals. I don't mind them dropping that on the records, but to ditch them at live shows means some of the band's biggest concert staples get dropped from the setlist. Songs like "The Leper Affinity," "Master's Apprentices," and "The Grand Conjuration" are a major part of Opeth's identity. If those songs are never played again, then it's like they're not even the same band they once were.
Fellow Swedish metallers Katatonia were the openers, and they were no slouch either. Their captivating blend of gothic and doom inspired metal held the crowd spellbound. Jonas Renske's hypnotic vocals melded seamlessly with Daniel Liljekvist's lightning fast crossovers and wicked tom work, and the crushing guitar assault of Per Eriksson and Anders Nystrom completed the package. Katatonia pulled out a few sweet numbers, including "Leaders" and "My Twin," which were instant hits with the crowd.
Genre: Black Metal Profound Lore Running Time: 65:33
Imagine being in the middle of a dense forest. It is night and you are all alone. Snow coats the ground, while a stream babbles beside you on a clear frosty night. The silence and loneliness engulf you. You are now entrenched in Agalloch's world.
The quartet from Portland, Oregon, is one of the few bands to attempt black metal in the states, and their mixture of black/folk metal mixture is up there with almost anything produced by their Euro brethren. I've had trouble getting into black metal, but one thing I've always respected about it is how there is usually some type of nature influence in the music.
Agalloch have nailed that vibe here, creating an opus of an album that is dreary, bleak, cold, suffocating, and lonely. The album art sums up the mood nicely - you see nothing but a stream running through a snowy forest at night. Water and nature are the two main themes present on the album. In fact, two of the song titles, To Drown" and "Black Lake Nidstang," contain direct water references.
The opener, "They Escaped the Weight of Darkness," features the sound of a running stream with birds chirping in the background, while mellow strings play alongside it. You're beginning to relax when suddenly a massive drum breakdown comes in and then the furious tremolo strumming from the guitars starts kicking your ass. Vocalist John Haughm has a raspy shriek that isn't the best I've ever heard, but it is authentic.
Much of Agalloch's sound tends to wandering and ambient, although that much should be evident from listening to their previous records. Outside of the intro, only one song is under 10 minutes. However, unlike Ashes Against the Grain, this album has a much darker feel. I would compare it to Opeth's Morningrise in terms of the folk metal influences.
"Into the Painted Grey" is solidly black metal, but "The Watcher's Monolith" features extended folk rock jamming before getting heavier. That leads into the albums's staggering opus, "Black Lake Nidstang," which clocks in at over 17 minutes.
The song opens with some ominous strains before giving way to Haughm's eerie whispered vocals. The main riff and drum beat don't kick in until around four and a half minutes. Around halfway through, Haughm switches to a bizarre type of hoarse sounding shriek/yell, wich sounds extremely awkward at first but becomes one of the song's defining elements.
You get some heavier riffs after that before fading into a spooky ambience that takes up about 1/3 of the track. But the song comes back with a vengeance near the end and delivers a truly memorable outro before slipping off into the night.
I find that, along with "Into the Painted Grey," "Ghosts of the Midwinter Fires" tends to stick out as my favorite song on the album. It's a bit more guitar and melody driven than some of the other tracks, and I really enjoy the riffs on this one. The closer, "To Drown," tends to wander, but the last few minutes end the album off in grand style.
The instruments do tend to sound flimsy at times, but the playing is top notch. The vocals are few and far between,but it makes it meaningful when Haughm finally comes in. It's true that Marrow of the Spirit tends to wander a bit, Sometimes I feel it works a bit better as background music, as it doesn't honestly hold my interest all the way through.
But it's also a very deep album, full of intricate nuances that reward the listener by revealing something new on each subsequent listen. Marrow of the Spirit stands as one of the upper tier metal albums of 2010 because it captures something that not many albums can do.
Agalloch have gone beyond simply making a metal album. They have created a bleak, icy world that's easy to slip away and get lost in.
Genre: Progressive Metal Century Media Running Time: 78:23
Coming all the way from the dusty dunes of the Middle East, straight from the doorstep of Jerusalem, I give you Orphaned Land, progenitors of Israeli progressive/death metal.
It has been a long wait since thier last album, 2004's Mabool, but Orphaned Land proves the wait was worth it. The Never Ending Way of the ORwarriOR, is an imposing opus that reminds us of everything that's great about progressive death metal, and the method of delivery is probably unlike anything you've been listening to recently.
Orphaned Land works its magic by combining metal guitar riffing with acoustic, middle eastern folk inspired soundscapes. They remind me of a Middle Eastern Opeth. Both bands have folk influences.
Think of Opeth cuts like "Patterns in the Ivy" and you can get a sense of what I mean. And the combination of melodic and death vocals present on ORwarriOR is something else that Mikael Akerfeldt is well known for.
Vocalist Kobi Farhl has one of the best clean singing voices in the genre. The first several tracks on Mabool placed more an emphasis on growled vocals, but ORwarriOR focuses more heavily on actual singing. As a death growler, Farhl doesn't sound like a natural but he's adequate.
What he does possess is a truly epic, inspiring, and uplifting voice. He unleashes the full majestic quality of his voice on songs like New Jerusalem and Bereft in the Abyss, but whether he's singing, chanting, or shrieking, Farhl is guaranteed to astound you.
Also integral to the Orphaned Land mix is guitarist Yossi Sassi Sa'aron. Primarily, he's a beautiful melodic guitarist, but is also capable of delivering deafening blasts of metal riffery to deliver a shock to your senses. For proof, check out "From Broken Vessels" or "Barakah."
Sa'aron also proves himself capable of delivering spectacular guitar solos. The extended guitar outro on "The Warrior" is a wonderful example, but his solo on "Disciples of the Sacred Oath 2" is in another league. The aura delivered by the notes ringing from Sa'aron's guitar sears through the atmosphere like a heat wave rolling out of the Arabian deserts.
The female vocals delivered by Shiomit Levi provides another magical facet to the Orphaned Land recipe. She's used sparingly, but the contributions she makes on "Sapari" and "New Jerusalem" help take those tracks to the next level.
The Never Ending Way of the ORwarriOR is an epic journey, meant to be listened to as a whole, but if there's one standout track I'd recommend you listen to it would be Sapari. "Sapari" features Levi's alluring vocals followed by Arabian-sounding chants while Yossi Sassi Saron's guitar cuts through everything like a knife. The two vocalists do an expert job of playing off each other.
There are many subtle things that Orphaned Land do that make all the difference in their music, and this "Sapari" exemplifies that as well as any other. There's a great octave shift that occurs later in the song, which provides the song with a whole new level of intensity.
What I also liked is there's a refrain where the guitar riff always stops. It serves as an epic buildup to the final refrain at the 3 minute mark where the guitar just continues straight on through. It's a small touch, but it makes all the difference.
Lyric writing also proves to be another of Orphaned Land's strong suits. They tell of an epic struggle between light and darkness, and of the journey to confront evil. The lyrics also pull verses from the Bible and the Koran to provide a more authentic feel.
As with any progressive metal album, there are some moments where the album tends to drag a little bit but Orphaned Land do a good job of staying grounded and never sound too over the top. The drumming is good but I feel that it takes a backseat to the rest of the instruments and that the drummer gets forgotten about some of the time.
It's not a major complaint but I think the album would be even more amazing if the drums took a more central role some of the time. I also feel like Sa'aron's guitar solos were slightly better on Mabool, but Orphaned Land fans won't be disappointed with what he comes up with here.
All that aside, though, Orphaned Land have really outdone themselves this time and are almost a lock for metal album of the year. The Never Ending Way of the ORwarriOR is deeper than the secrets of the Nile and grander than the halls of King David. This album is a mandatory listen in 2010.
