Totally Unauthorized's Top 25 albums of 2021

2021 was an excellent year for music, and it's due to a deep class of young and upcoming artists. The entire Top 5 and 6 of the Top 10 are on their fourth album or less (with two debuts!). What's more important is they are creating fresh music in a variety of styles. So it's natural for this to feel like a changing of the guard type year. And it's a huge improvement over 2020, a year which gets an obvious mulligan anyway. 

25. Tune Yards - Sketchy.   

Merrill Garbus's dizzying rhythms have firmly placed Tune Yards into my ranks of long-time favorites for quite awhile now. It's good to see they're still doing good work. Sketchy is the most energized they've sounded in years, and my reward is allowing them to sneak in and capture the last remaining spot on my Top 25 albums list.

 

24. Sons of Kemet - Black to the Future

Picking up where they left off on 2018's excellent Your Queen is a Reptile, this English afro-jazz outfit continues to fascinate with the way they blur genre lines. They mix things up by dabbling in some Caribbean and spoken word influences. The most notable cut is the devastating diatribe on racial injustice, Pick Up Your Burning Cross.

23. The Weather Station - Ignorance

Much has been made of Tamara Linderman's exploration of environmental issues on The Weather Station's breakthrough album. At its most vivid, her writing practically conjures the breeze while sitting on a crag overlooking the sea. On Atlantic, she sings "In the half light, soft wind on my skin / Pink clouds massing on the cliffs / Thinking how can I touch this? How can I touch this softest petal / Softest stem, softest leaf / Bending, green, in my palm?"

The guitars and drums conjure a melancholy undercurrent on standout Robber, while a compliment of horns and flutes close it out with gentle, jazzy, brushstrokes. The first three tracks build a head of steam that dissipates well before the album's close, but it's fascinating to watch them work their hypnotism when they're on.

22. Remi Wolf - Juno

This album is just fun. It's vaguely reminiscent of 00s pop, or at least a character that makes it appeal to those of us who grew up with that stuff. If you've had a rough day, this is a good one to put on to lift your spirits. It's like a little party for your ears!

21. Ross From Friends - Tread

Mostly chillout Electronica encapsulating a wide variety of emotions. Definitely borrows a bit from Burial but also weaves in the playful exuberance of acts like Balamb Acab. At certain points, Boards of Canada even come to mind (on Thresho_1.0 in particular). Approach with an open mind and allow yourself to be dazzled.

20. tricot - 上出来 (Jodeki)

A late release which likely missed most folk's radar with its mid December street date, but worthy nonetheless. All-girl rock outfit from Japan with an impressive variety of styles, running through everything from J-rock, pop, (with some slick background vocal work) post-hardcore, and even a bit of groove splashed in for good measure.

19. Darkside - Spiral

After eight years and a seemingly never-ending staircase of solo and side projects, Nico Jaar finally gets back together with his buddy Dave and gives us the Darkside album we almost forgot we needed. Spiral takes on a much more psychedelic bent than its predecessor, triumphantly showcasing yet another side of the duo's sound.

18. Brandi Carlile - In These Silent Days

A Top 10 contender immediately for me upon release, especially on the strength of You and Me on the Rock, Broken Horses, and Sinners, Saints, & Fools. I cooled on it fairly considerably, though. This one's rife with more intimate, introspective pieces that surely hit hard if you focus on the lyrics but maybe isn't best for the album's overall flow. Mid to low Top 25 feels pretty fair.

17. Japanese Breakfast - Jubilee

I got sucked in to the singles and perhaps overrated this one for a good portion of the year based on their strength alone. The rest of the album didn't hold up nearly as well on repeat listens but even discounting that fact it's hard to not appreciate what Michelle Zauner has put forth. Jubilee is a sticky, sweet bouquet of indie/dance pop, and I eagerly await her building further upon the foundation established here.

16. Mastodon - Hushed and Grim

If you like atmosphere, Hushed and Grim is seeping in it. The production brings out a melancholy vibe you might expect to see with bands like Katatonia or older Opeth, and it has unquestionably breathed new life into a band that had been fluttering south of the Mendoza line ever since 2011's The Hunter. You have tracks like Pushing the Tides and Teardrinker that are among the band's most vibrant singles to date. Not sure this needed to be a double album, though, a fact which brings out the album's only key shortcoming -- a number of these tracks float by anchored too much by the atmosphere and lacking somewhat on sound composition. I would have been much happier with the first disc with Gigantium added in along with maybe one or two others.

15. Squid - Bright Green Field

Out of the litany of English rock bands that cropped up this year, Squid feels the most indebted to the heritage of Talking Heads. Not to mention the obvious vocal similarity with singer Ollie Judge, many of the guitar lines demonstrate the same type of groove that made late 70/early 80s Heads album famous. Their biggest divergence with them -- and simultaneously their biggest ace up their sleeve -- is their ability to weave these dense, hypnotic instrumental patterns over extended sections. See specifically the mesmerizing later sections of Narrator or the long, spacey, belligerent outro on Boy Racers.

14. St. Vincent - Daddy's Home

Dressed in her white shag coat and boasting big, bold, yellow throwback lettering on the cover, Annie Clark leaves no doubt as to where her musical sensibilities lie on her sixth studio album. A certain warming up period is in order for this one. Opener Pay Your Way in Pain slinks and slithers its way in but by no means does it kick the door down, a significant left turn from what we're used to with St. Vincent albums. The dreamy production on Down and Out Downtown is more familiar while maintaining the album's motif. Standout stomper Run packs the biggest punch, while The Laughing Man and Live in the Dream are coated in atmosphere. This one's like sucking on a cough drop. The layers dissolve and wash away, revealing greater depth as it goes.

13. Mdou Moctar - Afrique Victime

Guitar prodigy, traveler from faraway Niger, and leaker of last year's Bonnaroo lineup. Mdou Moctor is a man of many talents. His sound brings many of the musical elements of his homeland to your speakers, but also is deeply indebted to the many U.K. and American legends who shaped his style. Get yourself a front row seat to soak in his wizardry, if you know what's good for you. The man is primed to be blowing minds with his guitar displays for years to come.

12. Lucy Dacus - Home Video

Another great effort from one of indie rock's top young singer/songwriters. The best thing I can tell you is see it live if you can. There's nothing like watching her conjure forth Thumbs to an entire crowd waiting with baited breath. You could literally hear a pin drop. Some of these cuts are assuredly tailor made more for the stage than your headphones or car stereo, but it shouldn't take much to recognize the raw, ass kicking immediacy of Hot & Heavy and VBS, or the cutting lyricism of Brando.

11. Godspeed You Black Emperor! - G_d's Pee at State's End

These long standing post rock heroes barely missed out on ranking in my top 10 since 2012's Don't Bend Ascend, but there's plenty here I dig. The first side presents the type of burnt out, apocalyptic hellscape we know and love them for, whereas the second movement, beginning with Government Came, recalls BBF3 with its anti-government sound sample that runs over the course of the first few minutes but slowly becomes more esoteric from there. Never content to leave us on a sour note, however, the positively angelic OUR SIDE HAS TO WIN (For D.H.), is a rapturous palate cleanser that allows us to leave behind the grime we've experienced over the past 50+ minutes. It wouldn't sound out of place as the closing coda to The Passion of Joan of Arc's Voices of Light soundtrack, one of the greatest film soundtracks of all time.

10. Silk Sonic - An Evening With Silk Sonic

Just a fun album. This is an unabashed love letter to the golden age of funk and soul, effortlessly performed by two current titans of the genre. Every track punches above its weight class, and who can't get down to a bop like Leave the Door Open or Smokin Out the Window?

 

9. Turnstile - Glow On

They may be considered hardcore, but don't let that fool you. Baltimore-based Turnstile has broken through with their finest record yet, and it's a total genre-bender. This has some of the most effectively written riffs I've heard in a long time. They don't try to be too heavy, or too fast, or too indebted to a particular influence. They just kick ass. Mystery, Blackout, and Holiday are a pleasure to listen to again and again. Then you have experiments like Underwater, with its warbly guitar textures that perfectly create the sensation of being submerged. There are other small but effective touches, such as the dissonant piano intro on Fly again. And face it, what other hardcore act is going to have not one, but two collaborations with alt-R&B crooner Blood Orange? I can't wait to see what these guys come up with next.

8. Tyler the Creator - Call Me When You Get Lost

Out of my Top 10 selections, this is the one that fluctuated the most. I wasn't convinced it was worth a damn when it first came out, but I reminded myself Tyler never does the same thing twice. This one eschews the otherworldly production and pseudo-R&B of his last two efforts to let Tyler focus on going big with his rapping skills. His delivery is bold and in your face, especially in the beginning, but his lyrics start to show his vulnerabilities as the album wears on. Each track effortlessly segues from one into the next, leaving you with an impressive 50+ minute suite of uninterrupted music. And of course, I would be remiss not to mention DJ Drama, who is overused but serves as a crucial drop in, drop out presence building Tyler up -- sometimes styling himself as Tyler Baudledaire, sometimes as The Creator. Whatever you call him, he's never less than brilliant, witty, and inspired.

7. Converge & Chelsea Wolfe - Bloodmoon: I

Two artists I've investigated to varying degrees over the years. Never been into what I've heard from Converge. I do like Chelsea Wolfe, although my fandom for her never blossomed as much as I once thought it might. I definitely appreciate that this one has more of a progressive, post metal type of atmosphere. Slow burn opener Blood Moon, coupled with Crimson Stone near the album's close serve as twin bookends that plunge you into the album's dense world. Elsewhere, Tongues Playing Dead features the album's most ear grabbing riff, while the smoky atmosphere conjured on Wolfe's Scorpion's Sting reminds me of something Swans might have done in their Great Annihilator era if they gave Jarboe a song to herself.

6. Pharoah Sanders, Floating Points, and the London Symphony Orchestra - Promises

Another record that took some time to take its effect with me, although I respected it from the get-go. I revisited it when a friend of mine made this his AOTY and said to myself you know what, this is definitely a worthy record. My only prior exposure with Sanders was with his 1969 album Karma, which is nothing short of a masterpiece. Unlike that album, Promises makes no pretense at be overtly spiritual in any way, although it feels like the two albums share a similar ethos. What it presents is a grounded, calming experience that feels just right at its 46 minute runtime. Promises exhibits a rare divergence of artistry, musicianship, and collaboration on a major scale.

5. Black Country, New Road - For the First Time

Black Country, New Road is another band that contributed greatly to the renaissance of post punk/rock we experienced this year. Their rolling rhythms are supported by a dazzling deployment of keys and saxophones, along with frontman Isaac Wood's journal-like, stream of consciousness style lyricism. They demonstrate confidence by opening with a punchy, yet off kilter instrumental before showing off their biggest strength over the next couple of tracks - an ability to build a slow bubbling, unsettling undercurrent without sacrificing their approachability. It builds to an utterly memorable climax on Sunglasses that has to be heard to be believed. The rest of the album feels like a much needed, winding, descending come down, highlighted by what vaguely sounds like a mariachi band of the apocalypse on closing cut Opus.

4. Magdalena Bay - Mercurial World

This is some kind of futuristic, alien pop, and if you know me you know I eat this up. It has this very futurey, bassy production and Mica Tenembaum's deliriously exotic pitch shifted vocal. If you're telling yourself you've heard this gimmick before, it's not. The songwriting is strong enough to carry the album even without factoring in its disparate elements. Every track, especially the singles, are good-natured, ear grabbing fun, but a definite shout out to You Lose! and Secrets (Your Fire). With this debut album, Magdelana Bay have boldly announced themselves as a dance pop act to watch in the future.

3. Black Midi - Cavalcade

In a year of great post-punk/hardcore guitar rock, why does Black Midi stand as the best? The simple answer is their creativity. Their devilish rhythms boggle the mind, but are also very catchy and magnetic once your brain catches up with what's going on. Then they'll baffle you further every now and then with an odd genre detour on something like Marlene Dietrich or Ascending Forth. No band was as good as keeping us on our toes this year as Black Midi.

2. Spelling - The Turning Wheel

With apologies to Adele, this is the pop album of the year. Spelling went big, with a brass band, choir, and tons of other collaborators that help boost this effort over the top. There's a very theatrical, art kid vibe that sounds like a musical stage production, but is also much more. Tia Cabral's voice arrests you immediately on opener Little Deer. It bends and turns in a very unassuming way, accenting the notes as the song slowly builds up and ultimately captures you with that huge hook. Other key moments include the surging swell of the title track, the emotional melodrama of Boys at School, and the whimsy of tracks like Queen of Wands. Spelling has presented a vibrant work that serves as a fresh way of presenting pop in 2021.

1. Little Simz - Sometimes I Might Be Introvert

Like most folks, Simz first came to my attention with her blistering breakout Grey Area two years ago. But before that, she put out a very different type of album called Stillness in Wonderland. It was much more ambitious in terms of theme and concept, and tried to do some different things with the hooks and general vibe. You also had the appearance of the Simbi character as a unifying link. It wasn't terribly effective because the other elements kept getting in the way of what she does best. So it's little surprise her next move would be the more stripped back Grey Area. But when I listen to this, I can't help but feel like this is an attempt to return to some of the more far-reaching ideas she's flirted with in the past. Clocking in at a meaty 65 minutes, Sometimes I Might Be Introvert showcases numerous sides of Simz, from ally of the dispossessed to fierce fighter striving to bend a tumultuous world to her will. This is easily her most captivating statement yet.

Earl Sweatshirt's Doris delivers a dreamlike and introspective effort

Earl Sweatshirt may be aligned with hip hop supergroup Odd Future, but he's doing his damage in markedly different ways from the group's stalwarts. His 2010 mixtape, Earl, may have been heavily influenced by Odd Future's tropes at the time, yet deep down were core ideas that would compose his identity. Now with his major label debut, Doris, he has finally unveiled his first presentation of a full fledged mission statement.

On many albums, the beats are subdued so as to give the rapper the chance to take the spotlight. Yet Doris is in a minority of rap albums that actually presents its own distinctive sonic footprint. It goes beyond being simply a rap album, to being a legitimate artistic statement in itself. Much of it is low key and dreamlike, much like Cunninlynguists's 2011 release Oneirology.

The Odd Future guest spots, Frank Ocean's included, are confident and capable, but not extraordinary. The philosophy seems to be focused on not attracting attention away from Earl. RZA of Wu Tang Clan fame has a guest spot on "Molasses," but is confined to a spoken word hook. The lone exception being Tyler's is the only one that doesn't tend to fade into the patchwork. But in some way it feels like it is that way by design.

Earl lets us see what's on his mind straight off the get go. Problems with family, grandparents, and the general rough and tumble nature of his existence come together to allow Earl to weave very effective poetry. It's not really street poetry, but you can tell Earl has been through some rough environments without making it sound like stereotypical street poetry. Many songs are often esoteric lyrically, but contain lots of snippets of getting in fights, dealing with rough stuff and struggling to make it. On "Burgundy," he showcases his struggle to keep up with the fast paced nature of the music industry while balancing it with family life: "Grandma's passing/But I'm too busy tryna get this fuckin' album cracking to see her."

Later cuts, such as "Guild" and "Whoa" boast beats that sound a little more sinister and Odd Future like. "Guild" sees Mac Miller drop a totally stoned out verse, before allowing Earl to dive into some of the most sinister imagery found on the album. It's an effort not unlike the works of Memphis rapper Cities Aviv, or even Tyler himself.

"Chum" has some of his most interpersonal lyrics yet, talking about his relationship with his parents and how he looks to Tyler as a big brother figure, while the beat on "Sunday" hits with a heavy blast of nostalgia. Frank Ocean lays down a verse on this one, sort of mellow, almost more spoken word than rap, reminiscing and talking about things from past, schools, fights, but it's all done in a very poetic and lyrical way. Both guys prove themselves as great street poets.

The other main fact of Earl is that unlike Odd Future cohort Tyler, he doesn't have that powerful of a voice, and lacks a commanding presence. So he tailors his game to work with his strengths, leading Doris to have a very introspective and subdued nature, but still a very effective one.

Score: 89/100
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Related posts:  

Frank Ocean - channel ORANGE review 
Tyler, the Creator - Goblin review 

Totally Unauthorized 2013 2nd Quarter Playlist: April - June

Of all the quarterly reports, the midyear/summer one is always the toughest. April through June are typically the most fertile breeding for mindblowing music releases, and this year has proven that to be more true than most. After painstakingly narrowing it down, here is the best of the past three months.

TYLER, THE CREATOR - COWBOY

Tyler has grown and matured since his last album, and in the process his mood pieces have become even more impressive. "Cowboy" serves as a dual threat by offering a relaxed, chilled out hook and beat while contrasting that with Tyler's deep sense of personal and social tension.

BASSEKOU KOUYATE & NGONI BA - JAMA KO 

Here's a nice change of pace for you. Malian musician Bassekou Kouyate is skilled with the ngoni - a West African lute instrument. "Jama Ko" is full of political tension and dissension that has marred his homeland, but is also brought to life by rich African harmonies and intricate yet electrifying sound from Kouyate's strings.

THE KNIFE - FULL OF FIRE

No doubt one of the most insane songs of the year, "Full of Fire" is a masterwork that explores nearly every area of electronica conceivable. It's filled with primal, instinctive jungle beats, passionate sexual tension, and distorted vocals stretched to the breaking point. And that barely begins to scratch the surface.

DEERHUNTER - PENSACOLA

Few would have predicted dreamy shoegaze heroes Deerhunter would have started pumping out dive bar music, and even fewer would have guessed they would do it this well. The guitars and drums are dirty, grimy, and totally captivating, while Bradford Cox's hazy storytelling method will leave you spellbound.

SAVAGES - SHUT UP

Post punk revivalists Savages sound like a powder keg under extreme pressure throughout this song. Vocalist Jehnny Beth resurrects the image of a defiant and empowered rock and roll vocalist in stunning fashion, while Gemma Thomspon's guitar strains pierce your consciousness like shards of broken glass.

DAFT PUNK - GET LUCKY

The definitive song of summer for many, Pharrell's blazing collaboration with this French pop electronic duo had fans salivating. The long awaited return of Daft Punk was headlined by this tune, which features a supersize dose of sensuality, smooth falsetto vocal, and a heavy helping of Daft Punk's funky disco vibes.

DARK TRANQUILITY - THE SCIENCE OF NOISE

The original wave of Gothenberg melodic metal bands have been dropping like flies, so it's nice to see that at least Dark Tranquility is still putting out quality content. "The Science of Noise" is melodic metal at its best, combining winding leads with catchy, driving hooks and rhythms.

LAURA MARLING - MASTER HUNTER

Many people think of folk music as something mellow, but Laura Marling shows that intensity can crackle with nothing more than her voice and an acoustic guitar. The dizzying guitar work grabs your attention, giving Marling the chance to assert her claim as a dynamic force to be reckoned with.

QUEENS OF THE STONE AGE - I SAT BY THE OCEAN

Queens of the Stone Age have one of the best comeback stories in recent memory, and this cut is easily among the most compelling of their new material. Grooving rock and roll riffs combine with Josh Homme's heady wordplay to create one of the most footstomping sing alongs of the year thus far. 

PORTUGAL. THE MAN - CREEP IN A T-SHIRT

Funky psychedelic rockers Portugal. the Man strike back in a big way. John Gourley's high falsetto may remind some of Dan Auerbach, but the musical backdrops are far more varied. "Creep in a T-Shirt" boasts driving piano, a big brassy sound, and lilting melodies that will burrow their way into your brain.

BOARDS OF CANADA - REACH FOR THE DEAD

 With 2013 serving as the year of comebacks, this Scottish electronic duo couldn't allow themselves to be outdone. They're capable of covering many different emotional planes, but "Reach for the Dead" aims for a more blissful and serene type of vibe. It's the perfect type of sound for chilling out and vegging out.

KANYE WEST - NEW SLAVES

Kanye reinvents himself on each successive release, but now he's gone somewhere far beyond what anyone could have imagined. Aphex Twin couldn't imagine beats this dense and foreboding in his worst nightmare, while Kanye himself unleashes a unprecedented torrent of anger over racial and economic inequality.

 

RUN THE JEWELS FEAT. BIG BOI - BANANA CLIPPER

When three of the most explosive emcees of the year converge on a single track, you should expect things are going to get heady. This collaborative project between Killer Mike and El-P features lots of braggadocio and repping of Atlanta, while Big Boi steps in with his smooth delivery to provide a little contrast.

Top 50 Songs of 2011

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

50. Olds Sleeper - The Devil

49. Bright Eyes - Ladder Song

48. The Features - Golden Comb

47. Balam Acab - Motion

46. Lykke Li - Rich Kids Blues

45. Toro y Moi - Elise

44. O'Death - Bugs

43. Vexillium - The Traveller 

42. Sleeper Agent - Get It Daddy

41. Foo Fighters - White Limo

40. The Physicists - Oppenheimer

39. The Weeknd - Life of the Party

38. Anthony Wilson - After the Flood

37. The Strokes - Under Cover of Darkness

36. Arch Enemy - Through the Eyes of the Raven

35. The Roots - Kool On

34. Vijay Iyer with Prasanna & Nitin Mitta - Tirtha

33. James Blake - The Wilhem Scream

32. Rachel Brooke - City of Shame

31. Enslaved - Alu Misyrki

30. Hank III and Tom Waits - Fadin' Moon

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

28. Children of Bodom - Not My Funeral

27. Bon Iver - Holocene

26. Yuck - Get Away

25. Tyler the Creator - Transylvania

24. Lupe Fiasco - All Black Everything

23. My Morning Jacket - Circuital

22. Mastadon - Bone Dry Valley

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

20. Iron & Wine - Big Burned Hand

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

19. Radiohead - Lotus Flower

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

18. Sepalcure - Pencil Pimp

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

17. Ott - Squirrel and Biscuits

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

16. Obscura - Septuagint

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

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

15. Panda Bear - Last Night at the Jetty

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

14. Gretchen Parlato - Winter Wind

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

13. Cities Aviv - Doom x Gloom

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

12. Sleep Over - Romantic Streams

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

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

11. Black Keys - Little Black Submarines

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

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

10. Trash Talk - Gimmie Death

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

9. Tune Yards - Gangsta

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

8. Opeth - Slither

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

7. Wilco - Born Alone

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

6. The Decemberists - Down by the Water

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

5. Amon Amarth - War of the Gods

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

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

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

3. Iamamiwhoami - ;John

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

2. Fleet Foxes - Helplessness Blues

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

1. Steven Wilson - Deform to Form a Star

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

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

Goblin delivers dark and twisted journey into rap's netherworld

I'm a blogger, and I write reports about hipster indie music. Do you think Tyler the Creator wants to stab me with a pitchfork?

Goblin, the Odd Future phenom's sophomore album, hit under a huge wave of hype following the release of the initial single "Yonkers."  Dark, brooding, and methodical, "Yonkers" was able to conjure many feelings that rap hadn't really been able to generate for awhile. But it also created very high standards for the rest of the album.

Does it live up to the hype?

There's no disputing that Goblin does many things well. Like Bastard, his previous album, Goblin is set up as a conversation between Tyler and his counselor. Most of the tracks create a dialogue between the two, which Tyler uses as a vehicle to take us on a tour inside of the mind of a mentally unstable young man. Lyric wise there's quite a bit of gritty stuff that you're going to need to take with a grain of salt.

"Transylvania," which features some of Tyler's sickest rhymes and flows, is an easy standout. The vampire themed lyrics are humorous and serve as a  nice touch. "She" features my favorite beat and boasts a red hot slow jam chorus from Frank Ocean, which delivers a liberal dose of sensuality.

"Her" is Tyler's best work lyrically. It tells of romantic inclinations he has toward a particular girl. Just when he's about to make his move, she gets back together with an ex. He does a great job of describing the sense of heartbreak and wounded pride:

"I could tell them the truth and just say she didn't like me much
but instead I lie and say she moved to Nebraska."

There are a pair of tracks around the album's midway point, "Nightmare" and "Tron Cat," that are totally laid back with mellow R&B beats. I wasn't too impressed with either of these initially, but I came to appreciate how Tyler is able to work with a wide variety of beats and establish a very tangible mood on these tracks.

"Sandwitches" and "Radicals" are both aggressive and hard hitting tracks, but "Radicals" suffers from being a bit self indulgent and floats around in too much ambiance. The verses are killer though.

There is, however, a run of weaker tracks near the close of the album. "Fish/Boppin Bitch" is nothing special, but Tyler does find a demented flow near the start of the song.

That is followed up by "Analog" which mainly features Hodgy Beats, which is just a weak track in general and doesn't seem to serve any purpose.

Then you get "Bitch Suck Dick," which is an abrasive in-your-face track that comes out of nowhere and disappears before you have time to realize what's even going on. "Window" is okay, but I don't like to listen to the last part.

Goblin is certainly a solid effort, but it's not without its flaws. Tyler seems to put too much focus on shock factor here, and the album tends to wander at points. But Goblin is a very unique record, which sees Tyler establish a strong personality while also exhibiting great rap skills.

It's not rap album of the year, but you aren't like to find anything that leaves an impression on you like Goblin does.

Score: 83/100

Holy crap, it's been a year already?

As hard as it is for me to believe, today marks the one year anniversary of my posting on this blog as a part of Totally Unauthorized. I started with the desire to express myself on a broad variety of music; I wanted to show off to people what I liked, what I was listening to, and to hopefully open a dialogue about the biggest new record or a new artist with sure-fire potential.

The lack of conversation so far has been a bit disappointing, which leaves a central point of emphasis for the coming year. But most of all, I feel it appropriate to reflect, show off what I've been doing here, and hope to gain some recognition for what I've got going on. Oh, and my first post, you might ask? It was on Arcade Fire's The Suburbs.

In no particular order, here's a look back at some of my favorite albums of this past year:

Amon Amarth - Surtur Rising

Swedish melodic metallers stick to their formula, but turn in another winner with Surtur Rising.

Fleet Foxes - Helplessness Blues

Robin Pecknold & crew guide us on a CSN&Y-themed adventure through indie folk.

 

Panda Bear - Tomboy

 

Noah Lennox keeps the melodies and intricate layering flowing on yet another critically acclaimed LP.

Ott - Mir

Ott mixes, electronica, psychedelia, and dubstep as he takes you on a voyage though your subconscious.

 

tUnE yArDs - W H O K I L L

Merrill Garbus's loud personality and unique approach to songwriting make w h o k i l l a runaway hit. 

 Tyler, the Creator - Goblin

Goblin didn't live up to the hype of "Yonkers," but it still featured great delivery and a fresh approach.

Cities Aviv - Digital Lows

I just discovered this album a few days ago, but it's already made an indelible impression. Memphis rapper Gavin Mays delivers a 70s urban street sound to go along with his laid back rhymes. Definitely an artist to watch.

 Iamamiwhoami - ;john and Clump

While not technically an album, Swedish pop star Jonna Lee has delivered some great stuff under the name iamamiwhoami. The dreamy synth pop of Clump and the energetic dance beat of John are two of this year's most overlooked gems.