Totally Unauthorized Presents: the Top 25 live shows of 2013

Let me begin by saying that this is easily the best concert year I've ever had in my life, and I don't expect this to be topped. 2012 got the ball rolling with plenty of great acts, which led me to attempt to up the ante this year. I succeeded, and then some. Here are the best 25 I saw this year:

 

25. Ty Segall Band

January 28 at The End

This show deserves a mention if for no other reason than for just how rowdy it was. It's probably lucky no one was hurt, but seeing as no one did it presents a fascinating case study on the type of impact an environment like this can have on a rock show. Broken bottles had to be swept from the stage, a massive Hispanic kid tried to stage dive directly on top of me, and I had to be hoisted over the side railing just to get back to the bar area. Ty Segall pulled off a rare sellout at The End, and had the place busting at the seams with sludgy garage rock influenced by everyone from Black Sabbath to Iggy and the Stooges.

24. Run the Jewels

July 16 at Exit/In

When you combine one of the boldest, most outspoken emcees with one of today's most free thinking producers (who also happens to kill it on a mic), it makes for a one-two hip hop combo that's hard to top by anyone, anywhere. Killer Mike and El-P even had guys in the crowd with cardboard cutouts of their faces taped to the end of wooden sticks,  and invited them onstage. Mike's intensity combines with El-P's face shredding beats to create arguably the best hip hop act touring the club circuits right now. For those who aren't sold on sitting in a dank arena for Kendrick, Drake or Yeezy, Run the Jewels is your best bet.

23. Wilco

June 14 at Bonnaroo

Wilco has consistently been billed among the best live bands for well over a decade, and it's simple to see why. Their Friday night pre-headlining set at Bonarroo had all the elements of a great rock show. Jeff Tweedy showcased himself as a relatable and  clever frontman, while guitarist Nels Cline let loose with ample amounts of rock shreddery, not to mention a back catalog that boasts plenty of influential, game changing tunes from their late 90s/early 2000s output. If that wasn't enough, they even brought out alt-country brethren Calexico onto stage for a ravishing guest spot for a song or two.

22. Nicki Bluhm and the Gramblers

June 13 at Bonnaroo

She's not well known, but knows how to put on a good time. Imagine a gritty, southern rock sound coupled with Bluhm's impressive set of pipes, which also features great classic rock guitar soloing to boot. It's the kind of music designed to get you set to head to the bar and kick your good for nothing man to the curb.

21. Megadeth

September 5 at Bridgestone Arena

Unfortunately, their opening set for Iron Maiden at Bridgestone Arena didn't deliver the type of spectacle these Bay Area headbangers are known for putting on. Despite their extensive back catalog, they rushed through a short set that didn't even touch the hour mark. The only pause came before the final song, when Dave Mustaine delivered a few short remarks on the conflict in Syria. Yet it's still hard to argue with the pure headbanging power of "Hangar 18" or the god-tier soloing on "Tornado of Souls."

20. Of Monsters and Men

June 14 at Bonnaroo

For a relatively new band, Icelanidc indie pop folk band Of Monsters and Men have set a solid foundation for live shows for years to come. With only one album out, there's not much pomp, flair, or elaborate stage setups, but what comes across best is the demeanor of the band. Onstage they're all so easy going and laid back, and it makes it easy to feel endeared to the band and their material.  They played their album My Head is an Animal in full, while also impressively transforming Yeah Yeah Yeah's "Skeletons" into a mellowed out, deep sea submerged sounding version of an old Icelandic folk tune.

19. Bad Religion

March 20 at War Memorial Auditorium

Anyone with any interest in punk whatsoever should revel in frontman Greg Graffin's tales of the San Fernando valley scene the band came up in and the slam dancers they once played in front of. This set would have been a couple of notches higher had I not accidentally gotten balcony tickets, where the energy level was lethargic. But it was easy to see the kids on the main floor were in a frenzy. Bad Religion's influence runs wide and deep, and they tore through a career spanning setlist that featured everything from their old school hardcore hits to their newer, more melodic driving rock sound.

18. Menomena

February 23 at Mercy Lounge

This Portland based indie rock duo put on a great sing along performance with a very clever and unique songwriting style. The best part is that it's hard to know where their songs are going to end up when they start. The music is predicated on a great sense of rhythm from drummer Danny Seim, while frontman Justin Harris keeps the crowd on their toes by switching between bass and saxophone

17. Patty Griffin

October 21 at Ryman Auditorium

Griffin displayed a very warm and inviting personality while touring her album American Kid, which focuses on her family relationships. She told personal stories about her dad and grandfather and explained how they connected with the themes of each song. She also cleverly tinkered with different arrangements for several songs. She transformed "Don't Let Me Die in Florida," with the presence of blusey, warbly electric guitar, while a dash of accordion was injected into the teary eyed eulogy "Go Wherever You Wanna Go."

16. Animal Collective

June 14 at Bonnaroo

Their set was insane, and had great stage production value. With rows of teeth and and giant pointy blowup balloons adorning the stage, it looked like something out of an acid trip. Michael Winslow from Police Academy announced the band's entrance, and they played late into the night. It came across like listening to an old transistor radio late at night, fading from one song into the next. One of the highlights was Avey Tare twerking around onstage with nothing but mic in hand while singing "Peacebone." They played a bit long, but their dieheards probably would have taken much more.

15. The Whiskey Gentry

December 7 at Variety Playhouse

This show marked a special occasion for these Atlanta based country/folk rockers as they celebrated their 5th annual Merry Y'all Tide Celebration. The band was a blast onstage, ripping into breakneck solos on banjo, mandolin, violin, and more. Although they may be country/folk based, the intensity they play with rivals that of a punk band. Throughout the set they were joined by various artists from the Atlanta area, ending with a folk/gypsy extravaganza that featured over 15 performers onstage. No matter your spirit, The Whiskey Gentry proves there's no better band for celebrating the holidays with glasses raised high.

14. Preservation Hall Jazz Band

June 15 at Bonnaroo

It's hard to discount the way good old New Orleans jazz can positively affect the soul. Preservation Hall Jazz Band have not only kept this incredible tradition intact, but have impressively expanded upon it. Their Saturday night Bonnaroo crowd responded in full force, dressing themselves up in 1920s style suit and ties and kicking it like it was still pre-Depression era.The best treat, though, came near the end when My Morning Jacket's Jim James joined them onstage for a jaw dropping rendition of blues/jazz classic "St. James Infirmary."

13. Atoms for Peace

October 3 at War Memorial Auditorium

Atoms for Peace take the cake in terms of unique stage setup. The Thom Yorke fronted superband relies heavily on percussion and electronics, eschewing guitar almost entirely. This leaves Flea to play bass like a lead instrument, which is essentially what it functions as in this band. There are flourishes of guitar, but it tends to get eaten up by their impressive wall of sound.  Nigel Godrich's deep knowledge of electronics enables him to crank out impressive beats, while a pair of percussionists layer over top of that. Also consider that you have Thom Yorke and Flea on the same stage, and that's almost too much badassness to comprehend.

12. Savages

October 7 at Municipal Auditorium

For a band with only one album, Savages are way better live than anyone has a right to expect them to be. The band is powerfully propelled by their rhythm section, bassist Ayse Hassan and drummer Fay Milton. They have a versatile guitarist in Gemma Thompson, who can alternate between light, gentle brushstrokes and jagged riffing, while frontwoman Jhenny Beth generates a blast of defiant, feminist energy while slipping back and forth from steely edged rock singer to performance artist and back again.

11. David Byrne/St. Vincent

June 16 at Bonnaroo

Dave Byrne and Annie Clark are about as good as you can ask for when it comes to performers who know how to have fun. They promote a quirky, fist pumping nature, while singing songs covering all sorts of zany topics. Their band presented a big, loud, and brassy sound, and the duo even mixed it up by letting all of their bandmembers go through line and sing a line into the microphone. If that's not enough, hits from the Talking Heads catalog, along with gems from Clark herself should be ample to convert almost anyone. These two clearly have a blast on stage, and make sure you do too.

10. Weird Al

June 15 at Bonnaroo

Some might scoff at Weird Al, but don't write him off.  His showmanship is first rate, and his decades of experience have enabled him to perfect the art of his live shows. It's a very production heavy show, as Al's costume changes see him parody everyone from Nirvana to Green Day to Amish preachers. Also charming is his use of video screens to poke fun at non-musical entertainment figures in between costume changes. The popular culture he satirizes is so ingrained in our culture that almost anyone can relate to his shows on a variety of levels.

9. Janelle Monae

November 17 at Ryman Auditorium

When it comes to meticulously planning and arranging a concert, few put more work in than Monae. She entered the stage strapped to a dolly like a mental patient, then proceeded to blow our minds. Her shows are highly thematic, her upbeat demeanor rivals that of Matt & Kim, and she can also lay claim to the best set of pipes I have ever witnessed live. But it all paled in comparison to her 25 minute extended jam of "War of the Roses," where she moonwalked, led the audience in a Cab Calloway style sing along, jumped into the crowd, and even conducted an audience costume contest.

8. Sleigh Bells

November 8 at Marathon Music Works

This was the best I physically felt after any concert this year. After soaking in all the energy this duo left on stage, I felt like I was ready to go level a forest. Guitarist Derek Miller's playbook extends far beyond mere headbanging, allowing him to craft musical backdrops that are threatening and dissonant, while others are rowdy and rollicking. Alexis Krauss, meanwhile, draws from her experience fronting a girlpop band and proves she knows how to play to a crowd, getting them riled up with throat stomping badassery. 

7. Steven Wilson

April 17 at Variety Playhouse

Wilson's previous band, Porcupine Tree, was a regular entrant on many best live bands list. He hasn't garnered as much press since their hiatus, but it would be a major error to write off his solo shows. The musicianship is first rate, with famed British guitarist Guthrie Govan joining Wilson's live band, along with a slew of other virtuoso musicians. Wilson weaves an impressive multimedia aspect into his act, projecting eerie, dissonant video clips to complement his creative concoctions. Touting material from his excellent album, The Raven That Refused to Sing, Wilson haunted the auditorium with tales of ghosts, supernatural beings, and other menaces, while also breaking out cataclysmic prog rock from his first two albums. The highlight goes to their captivating performance of "Raider II," which silenced the crowd for its 25 minute duration.

6. The Wayne Shorter Quartet with Esperanza Spalding and the Nashville Symphony

April 12 at Schermerhorn Symphony Center

This was easily the jazz event of the year in Nashville. Shorter's backing quartet features some of the most talented musicians in the world, on any instrument in any genre. Shorter can't blow the pipes like he used to, but just seeing him preform is a treat. The symphony upped the ante by joining in after the first set, but that was no preparation for what Spalding brought to the fore. I admit I wasn't well versed in her work prior to the show. That changed after her glorious and dominating voice pierced every square inch of Nashville's cavernous Schermerhorn Center.  It served as an overpowering testament to jazz's legacy, along with a strong affirmation that its future is indeed bright.

5. Queens of the Stone Age

October 7 at Municipal Auditorium

Queens of the Stone Age aren't flashy, but they operate like a well oiled machine. With Josh Homme showing off muscular rock and roll chops, bassist Michael Shuman going nuts all over the stage, and guitarist Troy Van Leeuwen clad in his signature black suit and red tie, these are some of the meanest, leanest rockers around.  They got off to a blazing start, instantly hooking the audience with great rock and roll sing alongs "No One Knows" and "Burn the Witch," but demonstrated their catalog is much more diverse than the hits their known for. They pack plenty of well known crunching rockers, but can also deploy raging piano power ballads, grooving funk pieces, and even dissonant jam tunes. Their songs always have a distinctive flavor, and it is predicated on being slightly different in their rhythm section. Many songs will have very distinctive beats but are also very simple, to the point it makes you wonder why someone else hasn't thought of it first.

4. Bjork

June 15 at Bonnaroo

This is the show that made me a fan of Bjork. Up till this point I always had a curious interest in her but had never found time to listen to her works. Her sunset set on Bonnaroo's main stage vindicated that sentiment in a big way. She came out in a dress that looked like it was made of mangled fish, wearing that unforgettable icicle headgear and supported by a choir dressed in blue and gold cloths. The early part of her performance felt like a New York art museum translated into a musical equivalent, with songs that were mellow and restrained but serene and majestic. As the sun began to set, however, she broke out much harsher beats in songs like "Hyperballad" and "Nattura" that you could free yourself to get lost in. There was no more absorbing dance related experience this year, and certainly nowhere else you can go to get an audiovisual experience quite like Bjork.

3. Nine Inch Nails

October 22 at Bridgestone Arena

When I heard talk about the Nine Inch Nails light show, I had no idea what I was in for. Thinking of it in terms of a light show is simply missing the point. The vision designed by Trent Reznor and Rob Sheridan is a full on embrace of the various ways technology can transform our idea of what a concert can be. Full on digital scanning creates various images that complement each song, the most jaw dropping of which was the giant NiN logo at the end that was made by what was initially just nine clusters of lights. But to pull it off the way these guys also requires a killer band onstage, and Nine Inch Nails is a band capable of tearing it up with or without fancy tricks. This was proven by the final three song run in the main set, consisting of "Head Like a Hole," "The Hand That Feeds," and "Wish," undoubtedly my most breathless concert experience of the year. 

2. Iron Maiden

September 5 at Bridgestone Arena

I'd seen clips of Bruce Dickinson electrifying massive crowds on TV specials and Youtube videos, but an opportunity to physically see one of the world's most passionate, intense, and beloved bands is an incomparable experience.  Their Bridgestone set was ripe with an amazing setlist, and the stage setup and production is second to none. The concert's theme was based upon their Seventh Son of a Seventh Son album, and had the corresponding icy glacier/mesa setup, Bruce wore his aviator cap and waved the UK flag, and Eddie stalked around all over stage. Far from just a band onstage playing old songs, like contemporaries Metallica and Megadeth. This is one of the last few remaining bands that still capture the spirit of 1980s metal and communicate it to younger generations. It's a shame I couldn't have been there to drink in that scene, but thanks to Iron Maiden I was able to live it for one night.

1. Paul McCartney

June 14 at Bonnaroo

Paul McCartney has been enjoying a heavy dose of visibility lately. He's had a great new album, Saturday Night Live cameos, and continual touring over the past few years. I was fortunate in that this was my second time seeing him. His performance was on par with his Bridgestone Arena set I saw three years ago, although that show will always be my favorite as it was my first time seeing him. Nevertheless, his headlining set at Bonnaroo allows McCartney to top my list for the second time in four years. It was an incredible shared collective experience with 80,000 other people.

The final remaining core of the Lennon-McCartney songwriting battery preformed a slew of songs from his solo projects, Wings, and The Beatles and showed us why he's one of the most electric performers and songwriters to ever walk this planet. Massive screens broadcasted all of his antics and fireworks all the way to the back of Bonnaroo's massive main field. He broke out several old Sgt. Peppers songs that hadn't been heard in years, including "For the Benefit of Mr. Kite" and "Your Mother Should Know." Even more fittingly, someone tossed a plush walrus doll on stage, which Paul placed on his piano while he played his final encore. There isn't a better live show on earth than this.

Totally Unauthorized 2013 4th Quarter Playlist: October - December

With the final installment of the quarterly playlist for 2013, the overall list for the year is now complete. And what a year it has been! 2013 has refused to go into the night quietly, pumping out amazing tracks even in the typical November-December dead period. This should give you a head start on stocking stuffer ideas for anyone interested in keeping up with the best of today's contemporary sounds. And to make the list complete, I have provided links to the first three sections of the list, covering the other parts of the year. Happy Holidays!

 

1ST QUARTER PLAYLIST: JANUARY - MARCH

2ND QUARTER PLAYLIST: APRIL - JUNE

3RD QUARTER PLAYLIST: JULY - SEPTEMBER

SLEIGH BELLS - SUGARCANE

Sleigh Bells may be best known for Derek Miller's headbanging guitar antics, but "Sugarcane" demonstrates Alexis Krauss's ability to headline a song on her own terms. Her breathy, airy voice leads the listener through an infectious melody, while the buzzsaw guitar riff lends an ample amount of energy. 

DANNY BROWN FEAT. PURITY RING - 25 BUCKS

The low, bassy, hip-hop styling of Purity Ring's production have always begged for the presence of a bonafide emcee, and Danny Brown is here to save the day. Corin Roddick's production provides a new perspective to Brown's bleak tales of street life, while Megan James delivers a smooth but dissonant hook.

VV BROWN - IGNEOUS

Janelle Monae released a popular album this year about an android. But VV Brown's latest sounds as though it actually could have been made by an android. "Igneous" packs a sneering, acidic edge and presents a bold, breathtaking representation of her mystical, whimsical, and highly conceptual space age pop music.

PUSHA T FEAT. KENDRICK LAMAR - NOSETALGIA

If you haven't paid attention to rap for awhile, here are two vibrant names to look into. If you have, you can barely escape mention of them. Pusha's flow is laid back but clearly focused as he delivers an intimidating verse. Not to be outdone, Kendrick rips into a tale of how he rose from the streets to find his own success.

PEARL JAM - GETAWAY

Crunching, guitar driven rockers are Pearl Jam's bread and butter, and the opening track from their 10th album, Lightning Bolt, is one of their best in years. Jeff Ament's grooving bass, Eddie Vedder's questioning of the accepted order, and a litany of solos firing off here and there create a tasty rock and roll confection.

PELICAN - DENY THE ABSOLUTE

Although it gets off to a rollicking start, Pelican's vision unfolds slowly but deliberately. Once their full vision of ravaging instrumental metal is laid out, however, you will come to appreciate the boundless sense of direction with which this band operates. That the song has such a badass title is just more points in its favor.

PAUL MCCARTNEY - NEW

Everything about this song is Paul McCartney doing what he does best. It's very simple and straightforward pop/rock with crunching guitars, great harmonies, and a boundless sense of optimism, but what seals the deal on "New" is McCartney's undeniable sense of charm and charisma.

 

ARCADE FIRE - REFLEKTOR

Everything about this song delivers chills. It builds as it goes, contrasting Win Butler's airy vocals with Regine Chassigne's French language verse, before adding in some dramatic guitar work and piano that will make the hairs on your arms stand up. Butler's desperate pleas near the track's close could not be more perfect.

M.I.A. - BAD GIRLS

It may be unfair including this song on the list, as it was first released in early 2012. Yet "Bad Girls" is easily the most infectious cut from her newly released Matangi album. She stays true to her world music influences, but the main meat of the song is carried by a series of catchy hooks soaked in her irresistible accent.

CUT COPY - TAKE ME HIGHER

When you hit play on a Cut Copy album, you can always be sure a good time is about to ensue. The Australian dance outfit keeps things festive on "Take Me Higher," the third single from their third album "Free Your Mind," but the dazzling outro to this song ranks as one of 2013's most dancable moments.

CHILDISH GAMBINO FEAT. JHENE AIKO - PINK TOES

Donald Glover may be searching for his identity as a rapper, but he has great production to help him find his way. This song is very flowery; it feels like sitting in a garden orchard somewhere. It's the musical equivalent of drinking raspberry lemonade. Aiko's vocals, meanwhile, are pristine, calming, and totally groovy.

BURIAL - COME DOWN TO US

The work of Will Bevan has always been dense, wandering, and haunting, but "Come Down to Us," from his Rival Dealer EP, shows something more. It sounds at times mythical and Eastern, and at other times uncharacteristically warm for his standards. It ends with Bevan's thought provoking anti-bullying plea. 

Sleigh Bells live act rattle concert venues down to their foundations

Let's admit something. Sleigh Bells' latest album, Bitter Rivals, is easily their least successful to date. In comparison with their first two records, the reviews were worse, the buzz was negligible, and it seemed most listeners have already forgotten about it.  Seeing that Sleigh Bells stock is at a low ebb, it naturally cast a shadow of doubt as to just what could be expected from their latest tour. It was a fair question going in, but if there are any doubters left after their demolition of Nashville's Marathon Music Works Friday night, be ashamed of yourselves. The studio albums (outside of Treats) may bear their fair share of dank tracks, but the Brooklyn noise/hardcore/pop duo have been regarded as a killer live act since their inception, and nothing about that appears to be changing anytime soon.

Alexis Krauss's infectious intensity spread through the crowd like a disease.

Intensity and badassery are two buzzwords that get thrown around a bit when discussing Sleigh Bells live shows, but let's expound on that. Guitarist Derek Miller spent time in a hardcore band, and being that he's the chief influence on the band's sound you can expect a hammering assault of guitar riffery along with an level of energy comparable to, if not on par with, a hardcore show. The other half of the equation, singer Alexis Krauss, has pedigree as the frontwoman of a girlpop group, and as such she knows how to play to a crowd.

Guitarist Derek Miller lays a smackdown.

She kicks, yells, jumps, screams, drops to her knees, lifts the mic stand, and does generally whatever to get the crowd into a frothing frenzy. She even hit the stage in style, donning a dazzling tiger print robe for the first couple of songs. On initial blush, Joan Jett and Brody Dalle of The Distillers seem apt comparisons in terms of their charm and magnetism, but whereas they championed rough, motor oil style vocal deliveries, Krauss has a voice that is much smoother and cleaner.

The setlist showed off the best material from Bitter Rivals, but also made sure to show proper respect for Treats, their 2010 debut and still their most successful album to date."Riot Rhythm" and "Infinity Guitars" were ultimate headbanging moshing anthems covered by plenty of fuzz, while the heavy, plodding rhythms of "Born to Lose" represented a somewhat slower paced approach for the band -- at least by their standards. The new material continues in the same hard hitting vein they've always been known for.

"Sing Like a Wire," "Minnie," and "Bitter Rivals" felt perfectly natural being played alongside their older material. The biggest deviation took place on "Young Legends," which comes across as their take on a Disney pop song, and is covered in Krauss's distinctive fingerprints. She ended the night by diving over the railing and crowd surfing during the final song, "A/B Machines." Sleigh Bells hit like a bottle rocket, and never let up for the duration of their set. They played just long enough to cover the essential tunes in their catalog, yet short enough to leave the crowd screaming for more.
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Related posts:

Sleigh Bells - Bitter Rivals album review
Sleigh Bells - Reign of Terror album review 

Bitter Rivals sees noise/pop duo Sleigh Bells return to fine form

After delivering an attention grabbing opus with their 2010 debut, Treats, Brookyln indie/noise rock duo Sleigh Bells ran into an identity crisis on the followup. Their sophomore release, Reign of Terror, was a hardcore noise rock album that was trying to be a mainstream pop album, and sounded like it couldn't decide what it wanted to be. It got stuck in an awkward gap between noise and pop, without suitably satisfying either side of the aisle. To make matters worse, the band had seemingly lost the edge that had turned so many heads on their debut, not to mention the fact that Krauss's continual cheerleader shouts added an air of superficiality to the whole affair.

Now re-energized for their third go around, Sleigh Bells sound like a band intent on dominating the globe all over again. Bitter Rivals captures the sound of Sleigh Bells not messing around. The first four tracks all hit like laser guided torpedoes, guaranteed to get you fired up. "Sugarcane" hits like a jack knife with Derek Miller's buzzsaw guitar, while Alexis Krauss's lighter than air vocals provide a compelling contrast. The title track, meanwhile, sees Krauss's vocals hitting like a jackhammer in the verses, while still managing to toss in an oh so infectious chorus riff. The song's lyrics are also packed with attitude, as Krauss tells about her victorious confrontation with the town sheriff. Lyrically, the album still tends to be incoherent/scatterbrained in terms of lyrics, but it is clear they are meant to get the listener pumped up even if they tend to lack cohesion.

"Sing Like a Wire" is the hardest hitting track the album has to offer. It sounds like a stadium/arena rock anthem that recalls shades of Treats with its pulsing and pounding electronic work and percussion. The album begins to slow down as it progresses, however. "Young Legends" and "To Hell With You" flash of heavy dose of girlpop vocal melodies, with the latter sounding like it literally could have been a Disney song if not for the loud, crashing guitars. "Tiger Kit" and "You Don't Get Me Twice" showcase the most successful blending of the band's pop and hardcore rock elements. "Tiger Kit" is one of the busiest tracks on disc, tossing in blaring electronics along with what sounds like disc scratching sounds to forge a pure adrenaline stomper.

Softer pieces near the album's close turn to some elements rarely employed by the band. "24" has a high pitched guitar line that noodles and caroms all over the place, sounding not entirely unlike circus music. During the chorus, Miller switches over to some clean strumming that wouldn't sound out of place in an 80s hair metal ballad, but it manages to work when backed by Krauss's exuberant girlpop delivery. Sleigh Bells demonstrate the harder edged numbers are still their forte, but prove they can detour into softer material and pull out fine results most of the time.

Bitter Rivals may not satisfy from start to finish, yet it is still a successful outing for this Brooklyn noise/pop outfit. It's filled with plenty of attitude and a hodgepodge of various far flung elements that seem like they should conflict but mostly don't. It won't overtake Treats as the crown jewel in their catalog, but will give it a good run for its money.

Score: 81/100
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Related post:

Sleigh Bells - Reign of Terror review 

Sleigh Bells' demented Christmas jingles ring like carols from Hell

What has four legs, jingles, and has steadily been gaining hype in the indie community? Brooklyn duo Sleigh Bells raised eyebrows a couple years back with their debut album Treats, which combined heavy metal guitar riffing with sugary sweet vocals backed by infectious indie dance pop.

Unfortunately, the followup, Reign of Terror, fails to live up to the potential of the debut. Once you look past the wigged out song structures, you'll realize Sleigh Bells are still guilty of blinding us with too much flashy pop and not enough substance.

But first, let's try to explain exactly what it is Sleigh Bells do. On initial listen, this music will likely sound chaotic. Imagine looking at a great piece of artwork. Perhaps a watercolor painting, or a pencil sketching done on notebook paper. Now picture someone crumpling it up. As you're eying this crumpled ball, you can see all the lines, shapes and textures are all bent back onto one another and have collapsed together into a big jumbled pile.

That's kind of how this is. Alexis Krauss's airy vocals tend to overlap the background cheerleader shouts in ways that may seem awkward, while the various electronic effects mesh with the guitar parts in a seemingly clumsy manner. With repeated listens your mind will slowly begin to untangle the hodgepodge. At that point it becomes clear how heavily the record relies on strong pop elements, in spite of all the experimentation.

It could be argued that Reign of Terror is little more than Top 40 pop marketed to a hipster audience. Indeed, many of the hooks themselves are strong enough to be featured on mainstream radio. In their defense, this is certainly one of the most unique, and perhaps on initial listens one of the most perplexing albums you'll you'll hear this year. However, Reign of Terror also commits several of mainstream pop's worst tropes. Namely, the album is horribly, horribly repetitive on virtually every track.

I'm not going to be signing up for Krauss's fanclub anytime soon; they should have been left her in whatever girl pop group she was plucked from. Krauss is responsible for overloading the music with bubblegum. And this isn't good girlpop either, ala Best Coast or Dumdum Girls. Everything from her "sha-la-la" girl group delivery on "You Lost Me" to her continual ah-ah's and oohs and ahhs are straight out of the deepest recesses of the girlpop textbook. Every so often she'll actually sound ominous, or mysterious. But again, the music itself is just too bloody repetitive for my taste.

I know. Sleigh Bells are an experimental noise group. Cutting edge, it's said. They're supposed to be above such reproach. But if you listen closely, you'll see that it really isn't as artsy as some would have you believe. Guitarist Derek Miller had a chance to produce truly outstanding instrumental work on this record. Treats was packed with tracks like "Riot Rhythm" and "Straight A's" that conjured a very dark and exotic feel by cleverly making use of their industrial/noise/electronic influences. But this time around they didn't even get that right. The overall production was massively cleaned up, which was probably necessary. But it had the added effect of making the music feel safe and sterile. It's certainly unique, but it lacks the punch that Treats had. 

The lyrics are pretty scatterbrained. Every now and then you'll get a song like "Comeback Kid," which speaks of pulling yourself up by your bootstraps. But more often you get songs like "You Lost Me," which seems to glorify death, or "Never Say Die," where she keeps repeating random words. Is it supposed to be deep? What exactly does she mean? Nobody really knows, on any of these songs. It's all just such an incoherent jumble. On the first album that worked to some extent, as the bizarre nature of the music lent itself to having equally bizarre lyrics. Now that the sound has been cleaned up, that approach doesn't make as much sense.

When she's actually writing something coherent, her lyrics have a viscous tendency to play on our deepest fears and insecurities. Observe this passage from "Born to Lose;"

Heard you say
Suicide
In your sleep
Just get on with it 
You were born to lose

She certainly isn't coy. There are moments that make you think Krauss and Miller are capable of writing worthwhile lyrics, but it just doesn't usually come through. 

Some of the better tracks include "Comeback Kid," whose hooks are minor variations of one another, yet play off each other very well. The foot stomping "Demons" is also a pretty nice find, which contains high energy pep rally chants which might make this track a perfect fit for Zumba classes.

You'll be humming the riffs of these songs for the rest of the night, and they'll be stuck in your head all through the workday the next day on a neverending, repeating loop. That gets annoying after awhile.

Ultimately, I can't help but view Reign of Terror  as a watering down of the band's sound. I can see the need to clean up some of the muddiness from Treats, but it feels like an overcorrection and a push towards commercialization. The result is that I can no longer listen to this record. The constant jingling of Sleigh Bells in my head gets to be too much sometimes.

Score: 61/100

Totally Unauthorized 2012 1st Quarter Report: January - March

I've begun compiling my playlist for 2012, and the plan is to issue quarterly reports running down the best individual tracks. Here are the highlights from the first three months of 2012:

 

Alcest - Là Où Naissent Les Couleurs Nouvelles

With their blend of shoegaze, black metal and prog, French outfit Alcest has gained a heady reputation even among those who don't listen to much metal. The music sounds important; the opening riff and vocal work sounds like something that might be the soundtrack for a march into a Nordic battlefield or something. Crushing riffs are complemented by quieter, cleaner guitar work, and the agonized shrieks are offset by beautiful clean vocals. By the time the final notes fade out, you'll feel like you've experienced a lifetime in the course of a single track.

Cloud Nothings - Wasted Days

In raw post-punk tradition, Cloud Nothings bring us the tale of a life where each day goes by faster and faster, with little and less taking place. Dylan Baldi screams his heart (and guts) out on this one, punctuated by a blistering and bleak instrumental build up followed by some of the most raucous vocals this side of Sonic Youth. Make no mistake, it's the closest you'll want to come to the fallout of a life gone down the drain.

Kathleen Edwards - House Full of Empty Rooms

When it comes to living arrangements, Edwards makes a strong case for favoring apartment rental rather than buying a home. The Canadian singer/songwriter weaves a melancholy and pensive tale while describing a relationship that's lost its luster. It's tough to doubt the sincerity of Kathleen's words or voice here.

 

Goatwhore - In Deathless Tradition

Fast, unrelenting, and brutal, Goatwhore's "In Deathless Tradition" impresses by paying homage to blackened death metal's old guard. Louis B. Falgoust II delivers a ghastly performance, while the guitar battery grinds out one of the best riffs on the album.

Swallow the Sun - This Cut is the Deepest

Finnish doom metallers Swallow the Sun are renowned for unleashing a tidal wave of crushing rage, but here they opt for a softer approach. Mikko Kotamaki's ephemeral vocals float to the surface of the mix, while his band produces a lush backdrop that is melodic and moving. Few bands are capable of measuring the depth of your regret like Swallow the Sun.

Sleigh Bells - Demons

The Brooklyn noise collective's sophomore album Reign of Terror may be getting attention for a slew of pop singles, but this track is just good fun. Grinding guitars complement the amped up cheerleader shouts of Alexis Krauss, which lends itself to being a perfect track for sporting events or Zumba classes.

Brad Mehldau - 26

Brad Mehldau has steadily cemented his position as one of jazz's most exciting artists, and the arrival of his latest critically acclaimed disc is plenty of reason to jump for joy. The notes flow effortlessly from the keys of Mehldau's piano; his playing is evocative, thought provoking, and well constructed. Bassist Larry Grenadier and drummer Jeff Ballard lay down the foundation for joyous music that serves as the perfect soundtrack for the coming of spring.

Soap&Skin - Voyage Voyage

Experimental pianist Anja Plaschg is well known for composing erratic classical music, along with constructing a twisted bed of Apehx Twin inspired electronica, but her hallmark has the emotion she delivers to her music. "Voyage" sounds like it could be part of the soundtrack to a foreign film, with Plaschg's mournful wail setting the tone for an absolutely heart rending tune.

The Big Sleep - Four Wishes

Perhaps one of the greatest indictments of indie rock is that how often it forgets to rock. Brooklyn trio The Big Sleep seeks to remedy this with a slab of dark driving hard rock. Guitarist Danny Barria plays with speed and precision, while Sonya Balchandani seeks to hypnotize you with her vocal work. In the end, the only criminal aspect about the band is how delicious those riffs are.  

Link: The Big Sleep - Four Wishes

Brothertiger - I've Been Waiting

Brothertiger's Golden Years album is an exemplary piece of chillwave, and is also great springtime music. Thick, heavy synthesizer lines are paired with a shimmering, playful melody running over the top, and complemented perfectly with moody vocals. It's a fantastic tune to just close your eyes and drift away to.