Totally Unauthorized Presents: the Top 25 Live Shows of 2014

If nothing else, the concert scene in 2014 shows why it's important to strike while the iron's hot. Two of my top six acts are highly unlikely to tour again in the imminent future, and one of those are headed out on their final tour next year. That said, it was still another great year for live music. Here's the best I saw:

25. Deafheaven

February 18 at The End

Watching Deafheaven on stage isn't like watching a typical metal band.  This was an epic, energy draining set. Their frontman was kind of weird, but in a good way. He practiced lots of exaggerated hand motions, and he liked to scream right in the faces of people that were close. Of course, they were eating it up. His vocals were barely audible, though. I stopped by a Papa John's on the way back to ask for a bottle of water. They were closed, but thankfully they let me have one. 

24. Goat

June 15 at Bonnaroo

Even with all the shows I've seen, there's still few bands like Goat. Their sound is a carefully culled mixture of 60s psych folk rock, but the colorful gypsy costumes they don onstage and their bold sense of creativity makes this a must see. They're a rare act to catch stateside but with any luck a successful new album might bring them around more frequently.

23. Lily & the Parlour Tricks

June 13 at Bonnaroo

Glorious harmonies from this band. They showcase three part girl harmonies backed up by crunchy rock guitar. And if that's not enough, they closed with a cover of Black Sabbath's War Pigs, which segued into Ann Peebles' "I Can't Stand the Rain" before finally morphing into Nine Inch Nails' "Closer." They harmonized their three voices together to replicate the closing piano coda of "Closer." My jaw was on the ground.

22. Samantha Crain

October 29 at Ryman Auditorium

Crain is a consummate singer/songwriter, in the sense that she definitely expounds on the motivations and inspirations behind her songs. Onstage, her manner of speaking to an audience causes her to feels very down to earth, and easy to relate to. An example of her loveable, quirky personality: she wrote a song inspired by a movie Convoy about a trucker running away from cops and said if Convoy 2 ever came out she hoped it would make the soundtrack. 

21. Swans

June 30 at Exit/In

They rose from the grime and grit of the early 80s New York art scene, but now Swans have finally arrived and they're here to kick your ass. There is also a strong art house vibe with frontman Michael Gira doing some weird Native American spirit dancing, and rolling his tongue all around the microphone. But more than anything else, it's all about those riffs.  The opening salvo on "Bring the Sun" hit with so much force it felt like the equivalent of being mugged on a street corner.

20. Machine Head

July 21 at Exit/In

Rob Flynn of Machine Head is one of the most well respected voices within metal today, not to mention one of the most thoughtful and insightful. On stage, he will stop at nothing to fire up a crowd. It may have been an odd, between album cycle tour but it marked the band's first headlining gig in Nashville in almost 20 years. The spitfire riffing in "Aesthetics of Hate" and the pounding, old school punishment of "Ten Ton Hammer" were as good of a welcome back present as any.

19. MS MR

June 12 at Bonnaroo

If you know me you know I love my synth pop bands, so the moment I found out that's what they were I had to check 'em out. They're more about vocals/hooks as opposed to electronics/production, which has its pros and cons. On stage though, the band is far too infectious to deny.

Lizzy Plapinger and Max Hershenow ripped their way through most of the cuts from their debut, Secondhand Rapture, and tossed in covers of the Arctic Monkeys' "Do I Wanna Know" and LCD Soundsystem's "Dance Yrself Clean" for good measure. This was the first band of the weekend I saw people seriously getting hype over, and it looked like the band themselves were blown away by the reception they were getting. We were feeding off their energy as much as we were feeding off ours.

18. First Aid Kit

October 29 at Ryman Auditorium

The Swedish dual threat of Johanna and Klara Soderberg have emerged as one of the day's most compelling indie folk duos, and the grand glory of their dual vocal harmonies rang forth in fine fashion at Nashville's Ryman Auditorium. They also put on display considerable charm that wowed the audience, and left little doubt the only direction they're headed is up.

17. Rodrigo y Gabriela

August 8 at Ryman Auditorium

A duo doing little more than playing guitars on stage might not sound that exciting at first glance, but there's something living, breathing, and vital about Rodrigo y Gabriela onstage. They capture the giddy, whirlwind energy of street performers. Rodrigo works out speed metal inspired guitar leads and Gabriela practices the most insane rhythm playing I've ever witnessed. If that's not enough, they throw in a pretty bitchin' set of covers as well.

16. Cake

June 14 at Bonnaroo

Bahaha, these guys are insane. I knew of Short Skirt Long Jacket and The Distance, but didn't get really turned on to these guys until I started researching the fest lineup and heard their cover of I Will Survive. I had a front row spot for this show, and one of my friends caught a drumstick they tossed into the crowd. It's fun, sing along, breezy feel good music that makes you feel good and doesn't make you think too much.

15. Tune Yards

October 9 at Marathon Music Works

It has been a joy to see Merrill Garbus's band and stage show grow over the years. The band's presence is delightfully bizarre, while never deviating from their brand of exotic rhythm based pop music. They've gotten more diverse and electronic since I first saw them, and seem to be getting into the artier side in terms of dress and presentation as well.

14. Hundred Waters

November 11 at Marathon Music Works

I caught these guys opening for Interpol. I knew very little going in but they turned out to be one of the most pleasant surprises I've had in a while. What impresses me most is their versatility. They vary from James Blake like downtempo soul vibe but can also get more upbeat and frenetic in their drumwork without losing their aesthetic. They can be more electronic/ambient at times, and sometimes the girl even pulls out a flute and starts wailing away. I found myself wondering if there's anything this band isn't capable of.

13. Janelle Monae

June 13 at Bonnaroo

Her set was significantly shorter than the last time I saw her, but Monae was undeterred as she demonstrated that sparkling, vivacious, electric showmanship that's made her one of today's must see acts. It was mostly an energetic set, only slowing down for rosy cheeked love tune "Primetime," in which Monae urged us all to bring our lover closer together for a slow dance. She closed the set by hopping off stage and mingling with the crowd before being carried off piggyback by one of her crew members.

12. Cloud Nothings

June 12 at Bonnaroo

One of my favorite Bonnaroo moments was raging out with this band. The set was a pure unleashing of energy and emotion.  So cathartic moments: the shrieking of "Psychic Trauma," the colossal build up and release of "Wasted Days", straight up to the eerie parting drone of "No Future No Past." The crowd responded in kind, whipping up some of the most intense moshing of the entire weekend. Apparently it was too much for some, as people were leaving the show in droves.

11. Kvelertak

November 6 at Marathon Music Works

Norwegian heavy metallers Kevelertak come across like viking conquerors onstage, come to smite us with heavy metal. Their frontman, Erlend Hjelvik, knows how to play to a crowd; he came out wearing an owl mask for their opening number "Åpenbaring," and never let up from there. The gang is very energetic on stage. They hit loud, fast, and hard, and played with the swagger of 70s rock and roll stars.

10. Elton John

June 15 at Bonnaroo

Seeing Elton was a highlight of the year, even if his show didn't quite live up to other headliner caliber sets I've seen. He opened with the 11 minute epic "Funeral For a Friend/Love Lies Bleeding," which was among the greatest songs I heard at Bonnaroo. After drawing top billing, many festivalgoers began to wonder how he'd compare to last years #1 billed act, Paul McCartney. He didn't come close to the majesty of that set, but that's not a bad thing. Unlike fellow headliners Kanye West and Jack White, Elton didn't have much to say. He simply kept his head down and powered his way through his hits. It seemed like he was going through the motions to a certain extent, but when your catalog contains "Bennie and the Jets," "Tiny Dancer," and "All the Girls Love Alice," it's not hard to forgive. Not to mention that Ben Folds came out to join him for "Grey Seal." Before hitting the exit gate, I saw a group of people who joined hands together and ran/danced around in a circle, and then brought it in and high fived one another, and I managed to get in on it. It was one of my favorite moments of the weekend for sure.

9. Mastodon

June 13 at Bonnaroo

Mastodon has gained a reputation as one of the best live acts in their field for good reason. I saw them twice this year, and it was tough to decide which performance was better. Ultimately I'm going with their Bonnaroo set for its more varied setlist. They pulled a good amount of traditional metal from fan favorite albums Blood Mountain and Leviathan, but delved into their more noodly, progressive side also. They've got great stage presence, one of the best drummers walking the planet, and a killer light setup. I was also jazzed for Capillarian Crest, one of the best deep cuts they've done.

8. Beck 

July 15 at Ryman Auditorium

Last time Beck hit Nashville, we saw him stealthily slipping into a nearby restaurant to wow patrons with secret set. No such festivities occurred this time, but what we did get was a career retrospective from a stunning artist who observes no rules but his own. He shared the tale of how many cuts from his latest album, Morning Phase, originated from recording sessions in Nashville and wooed us with a handful of those dreamy cuts. The highlight, however, was when Beck rolled out yellow police tape and finished his set with a combination of crazed harmonica playing, 90s hip hop, and a mashup of Rolling Stones' "Miss You."

7. Nick Cave & the Bad Seeds

June 14 at Bonnaroo

I only caught the last half of Nick Cave, but even from that it is dead obvious the man was born to be onstage. He cast a sinister shadow as he leered over his crowd and wove his tale of the murderous madman Stagger Lee.  I loved how the drummer clashed his stick against the kit to make it sound like gunshots when Billy Dilly got filled full of lead. But if that wasn't enough, Cave drops a secret verse on us where Stagger Lee straight up kills the Devil! I loved the the chilled out dissonance of his Push the Sky Away material as well as the gothic, Quentin Tarantino vibe, but Stagger Lee was the most badass moment of Bonnaroo for sure!

6. Outkast

July 18 at Forecastle

Forget everything you've heard about that off-kilter Coachella performance. Hip hop's most dynamic duo dominated Forecastle during their Friday night headlining set, delivering spitfire rhymes and hooks tastier than Southern fried steak and gravy. The duo's reunion was one of the inescapable music stories of the year, and with a chance to hear "Ms. Jackson," "So Fresh So Clean," and "The Whole World," among many others, it's no surprise why. The only nagging concern was whether or not Andre was truly on board, and apparently he wasn't. In a post tour interview he talked about how much he disliked the entire experience so it's almost certain we'll never have the chance to see them again.

5. Damon Albarn

June 14 at Bonnaroo

Albarn is pound for pound one of the best pure performers I have ever seen, but the frontman of Blur and Gorillaz had no designs on hogging the stage during this solo set. Along with him came a dazzling cast of guests, paving the way for one of Bonnaroo's most unforgettable main stage acts in recent memory. He belted out hard rockers, hip hop inspired beats, more downtempo fare and even a bit of circus style music as he weaved his way through material from all the various bands and collaborations he has been a part of over his career. But when he brought out De La Soul for "Feel Good Inc." followed by Del the Funky Homosapien for "Clint Eastwood," an uproarious celebration broke out and engulfed the entire field.

4. Neutral Milk Hotel

June 13 at Bonnaroo

Few reunions have been more lauded by fans and critics than that of 90s indie folk darlings Neutral Milk Hotel. After a somewhat disappointing performance at Ryman Auditorium, their set at Bonnaroo showed me exactly why.What is typically a laid back affair became balls to the wall as the normally timid Jeff Mangum unleashed a torrent of buzzsaw guitars. The moshing, pushing and shoving became so intense that several people had to flee the set. But suddenly you got hit with the 8 minute ballad Oh Comely. After all the roughhousing we were all so drained it felt you were dying and that song was the only thing keeping you alive.

3. Darkside

June 14 at Bonnaroo

Navigating Bonnaroo, especially on a Saturday night, can be a trying experience. Fortunately, Dave Harrington's minimalistic, ethereal guitar work coupled with Nicolas Jarr's heavenly, all encompassing synth washes proved to be the perfect healing salve. Jarr's high pitched vocals sneak in to a track and then slip back out like a thief in the night. There was an booming bass beat that keeps kicking you in the chest. And then there was their gigantic mirror, reflecting radiant beams of light throughout the tent.  This was one of those experiences that made me forget where I was -- to just forget about everything for a moment. For that reason, I'll always hold it in the utmost regard.

2. Arcade Fire

May 1 at Bridgestone Arena

Win Butler and crew are some of the brightest, most innovative and forward thinking musicians of our day. It's hard to put a finger on what exactly it is, but everything about their stage show and production is a breath of fresh air. The band's first stadium tour had it all: raging calypso drums, blankets of confetti, Mexican wrestler masks and crystal monsters dancing around. Famed DJ Kid Koala even showed up to jam while the equipment was set up. But Arcade Fire also have the booming catalog to back it up. They could rattle the arena with Springsteen-esque rock or get experimental with more exotic material from their latest album, Reflektor, but it was the giant anthems that carried the night as the entire building was swept away in a riveting rendition of "Wake Up."

1. Jack White

June 14 at Bonnaroo

He may hail from Detroit, for but three hours in a field in Tennessee Jack White did all he could to position himself in the pantheon of all time greatest Southern musicians. He had a particular concept in mind, so I'll let him tell you in his own words:

"All the musicians up here with me now, I think they all mentally decided that the best thing to give to you right now was not a show that would put on a bunch of explosions behind us and give you some sort of pyrotechnics for some festival or something like that. But the kind of show that we show you what kind of music we would play if we were in a room all by ourselves and you were there too."

As simple as it may seem, some performers put too much stock into presentation or focus too much on trying to girls onstage topless with them. With Jack White it was not just about the music; it was a celebration of music. This show was special because everything about his delivery felt very personalized; it was like he was talking directly to you in the crowd no matter where you were.

But you also have to excel in terms of musicianship to make a concept like this work, and in White's case he's capable of doing things that many musicians can't. There are plenty of blues players with amazing instrumental skills, but White combines electrifying charisma with awe-inspiring musical chops, and he can actually write songs too. I found myself mesmerized by his playing. He belts out blues inspired solos but can also jam out quite a bit.

"Seven Nation Army" was the moment the audience had been anticipating all night. When he hopped onto the speaker and belted out that riff it was a full blown coronation. Of all the iconic, instantly recognizable guitar riffs that one is the most recent, and may well be the last for all we know. But what we do know is this: there may not have been any pryo at this show but you're out of luck if you're trying to determine anything else it was lacking.

Tune Yards branch out into bold pop music collage on Nikki Nack

The opening track on Tune Yard's latest album, Nikki Nack, sees frontwoman Merril Garbus meditating on making changes, both inward and outward, and coming to grips with the difficulty of flipping that switch. It's a fitting opening for an artist who's been ever changing and evolving, and now her third album, Nikki Nack, sees the dynamic singer emerging from the cocoon all set to splatter our world with a palate of brighter colors.

Since the last album, whokill, in 2011, everything has gotten bigger, more complex, and, for the most part, better for the band. The brass and bass, which were huge driving forces on whokill, have been toned down in favor of a more complex, mulittracked electronic approach which at times borders on synthpop.

However, she hasn't ditched her emphasis on rhythm. Along with bassist Nate Brenner, the percussion and syncopation has reached new heights, and it complexity now rivals that of Thom Yorke's electro-precussive side project Atoms For Peace. But the production is also far bigger now than it has been on any of Garbus's previous offerings. The horn section that so wonderfully colored whokill are mostly absent, but in their place are a bevy of glorious electronic synths are present here. "Wait for a Minute" features cool, subtle background washes, while "Time of Dark" is backed by buzzy techno that wouldn't sound out of place on a 2000s era Nine Inch Nails record.

Garbus, as always, comes through with a big and bold personality. She brings plenty of swagger and attitude, her lyrics often bring the sense that she is a survivor, incapable of being held down. She is also the chief percussionist in the band, but this time around she's added another drummer as well.

"Water Fountain" with its playful and innocent nature, sounds like it could be a jump rope rhyme for the kids on the sidewalk.  But Garbus begins to cut loose as the track progresses, and it builds into something much more forceful and intricate. By the time the familiar melody arrives for the final chorus, it's the same but it has altogether changed. The clanging electronic production and much more complex vocal arrangements shows off Garbus's impressive ability to mix various layers together and make a song that is much more than the sum of its parts.

"Wait for a Minute" takes things in an opposite direction, showing off her mastery at slowing down and taking on more serene material, as well as confirming her status as a fantastic singer. She delivers power but also shows she knows how to reel herself in and deliver, sublime, beautiful melodies. The song shows off her stunning range, and the production is bang up as well.  "Wait for a Minute" is one of the best synthpop songs of the year, and one of the best she's ever done. It offers a dramatic contrast to her raw, jackhammer delivery on songs like "Real Life." Her ability to belt it out is impressive, but this song demonstrates that when she keeps it up too long it can become one note and lack variation, and after a while it grates on the nerves.

Meanwhile, "Stop That Man" continues to explore a lyrical theme of violence and crime in her native California, previously examined on "Gangsta" from whokill. It also sounds the most like her old material, as she declares in her ominous lower register that we'll have to be our own policeman. "Left Behind" and "Sink-o" are the most complex tracks rhythmically, but also are the most bass heavy and provide the best opportunities to shake your booty.

Nikki Nack is a strong listen from front to back, but the problems that do come up on on the album tend to result from mixing and arranging the various layers together. This is the most complex album Garbus has put together. There are more musicians, more layers, and just generally more going on here than on either of her two previous albums. Although it happens rarely, in some places things don't come together quite right. Opener "Find a New Way" kicks off with an awkward Vampire Weekend sounding opening and abrasive FIND A NEW WAY refrain. All the layers previously present in the song are reintroduced simultaneously at the end, but instead of meshing well with one another they all clash and conflict with one another.

The biggest offender, however, is "Look Around," which is super surreal but in all the wrong ways. Her dissonant ukulele combines with something in the background that sounds like a demented cuckoo clock, and is paired up with a halfhearted vocal track that doesn't mesh well with the music at all.

The entire album is abound with an African, Caribbean and world tribal influences, as well as playground chants that give the album a playful and inviting feel. It may sound like a lot to wrap your head around, and it is. But what's great is that the entire album operates off a pop sensibilities, so every song is pretty easy to get into without taking too many listens to get into, but the more time you do invest into this record the more layers you peel back that you may never have even noticed in the first place. This is what makes this one of the most refreshing and rewarding albums in recent memory. 

Totally Unauthorized 2014 Mid Year Recap: Top 25 First Half Albums

The 2014 musical year started off slowly, but has gradually been shaping up into what may be another excellent year. It hasn't been as good as the past two years, although 2013 was a banner year and may not be topped by decade's end. That said, 2014 has still seen some great releases. Here are my favorites from the first half:

25. Mogwai - Rave Tapes

24. Beck - Morning Phase

23. Little Dragon - Nabuma Rubberband

22. Anathema - Distant Satellites

21. Damon Albarn - Everyday Robots

20. Freddie Gibbs & Madlib - Pinata

19. Mastodon - Once More Round the Sun

18. Lana Del Rey - Ultraviolence

17. Animals as Leaders - The Joy of Motion

16. Future Islands - Singles

15. Real Estate - Atlas

14. Lykke Li - I Never Learn

13. War on Drugs - Lost in the Dream

12. The Roots - ...And Then You Shoot Your Cousin

11. Badbadnotgood - III

10. Jack White - Lazaretto

At this point, Jack White is who he is. You know what to expect from one of his records. The best thing about Lazaretto is that it doesn't waste the audience's time; it gets right down to business by focusing on his greatest strength - rocking hard. White tosses in flourishes of folk and country to supplement his infectious brand of blues rock, weaves in interpersonal lyrics, and mixes it with some of his best guitar playing to date.

9. Thee Silver Mt. Zion Memorial Orchestra - Fuck Off Get Free We Pour Light on Everything

This is a fantastic album to crawl inside of and get lost within. Efrim Menuck of Godspeed You! Black Emperor brews up post-rock in the vein of his flagship band, but this mix boasts more of a hard edged, punk rock vibe that is sometimes whimsical and sometimes ominous. Add a sense of child-like wonder and a theme loosely based on the band's home of Montreal, and you have one of the year's most unique and inspiring albums.

8. Tune Yards - Nikki Nack

This is the biggest and boldest sound Merrill Garbus has had yet. Her patchwork pastiche of world music and electronic influences, coupled with her dizzying drum work merge together to create a mix both intoxicating and impossible to ignore. After two fantastic albums I was hoping she'd knock it out of the park here. It ultimately doesn't live up to its predecessor, w h o k i l l, but for your buck, you won't find an album with a louder sense of style than this.

7. Sun Kil Moon - Benji

This may be the most unique entry on the list in the sense that this is more like reading a short story as opposed to a musical experience. Benji takes a look into who Mark Kozalek is, recounted over various ruminations about his family, losing loved ones, and youthful loves. There are also more specific events including discussing the Newtown shootings in an exchange of letters with a fan, or feeling out of touch while seeing his friend Ben Gibbard of The Postal Service in concert. The level of detail Kozalek recalls is stunning, and he complements it with gorgeous finger picking.

6. Kishi Bashi - Lighght

This is simply a splendid, joyous record. The product of Japanese violinist K. Ishi Bashi, known for his work in Athens psychedelic indie rock band of Montreal. He has long stood out with his signature style of guitar playing, and whimsical, feel good songwriting approach, but now he's expanded his sound by giving keyboards a much more prominent place in the mix. With Lighght, he puts forth an album that is like Wonderland in musical form, and is guaranteed to put a smile on your face.

5. First Aid Kit - Stay Gold

Easily the girls' best effort yet. The harmonies are wondrous enough alone to merit this a spot on the list, but there's also an alluring vintage feel to much of this album. Sometimes they sound pensive, at others they sound like they were born to play the Ryman, but mostly their music moves along with a determined grit and heads held high. Their last effort, The Lion's Roar, suffered from consistency issues, but this time there's not a weak track to be found.

4. Swans - To Be Kind

Swans are tough as nails and impenetrable, but they make no apologies about who they are. That said, there is still some great dark art rock here, alongside some of the year's most sweat soaked riffing. Michael Gira's haunting cadence rings out from the shadows. It's oppressive yet fascinating simultaneously. At times there are more straight ahead numbers at and at times it's really esoteric, but it's equally difficult not to find yourself sucked in by swans' sinister vortex.

3. Cloud Nothings - Here and Nowhere Else

If you're looking for a torrent of pure adrenaline, this album's for you. The Ohio indie rockers barrel full speed ahead with a harder hitting sound than ever before, tempered with catchy, effective song writing and strong hooks. And every now and then they show off their ability to launch into an extended post punk rage. For his part, frontman Dylan Baldi alternates between jagged edged screams and passionate clean singing in what is surely one of the most explosive albums of the year.

2. St. Vincent - s/t

This is the album that's been on everyone's list this year, and for good reason. Her rose tinted art pop might color her as a little weird and off kilter, but Annie Clark's fourth album is perhaps her boldest yet. She's wistful and provocative with an intoxicating sense of confidence, and at the end of the day she's irresistible because she's a knockout songsmith crafting a dizzying collection of fragrant rock and roll.

1. Rodrigo y Gabriela - 9 Dead Alive

This has been my go to jam this year. I was initially drawn into the band thanks to their white hot single "Hanuman," which led to me exploring their previous album, 11:11. This one is much more relaxed and low key, but no less breathtaking in terms of aesthetic or technicality. I like this record whenever I'm upset, or agitated or anxious about something; it helps mellow me out. But I also love it for the sheer splendid beauty of its arrangements. I am surprised that no one is paying attention to this one after the success that their previous two albums had. It must not be the type of sound media outlets are looking for, which is a shame. Because to me, it sounds better than any record released this year.

Arcade Fire brings hard rocking dance party to Bridgestone Arena

The biggest indie band of their day just keeps growing. The best way to summarize what Arcade Fire aims to do live is to discuss their sense of unpredictability. No doubt, the band's first arena tour is a momentous occasion in their history. It is wholly unexpected in itself considering few would have predicted a band from the mid-2000s indie circuit would have ever reached the level of stadium headliner. But throughout their numerous performances and television appearances since the release of their latest album Reflektor in October, Arcade Fire have showcased a penchant for outside the box stage configurations and a strong sense of creative direction.

Arcade Fire frontman Win Butler puts on a spectacle for his fans.

A boisterous world music dance party from opening act Tune Yards segued flawlessly into a DJ set from Deltron 3030's Kid Koala, who, as he put it, was invited by Arcade Fire to "play records incorrectly for you guys." It's clear a great deal of thought has been put into this tour. Oftentimes it's little touches, such as Arcade Fire leading lady Régine Chassagne dancing around with streamers during the closing coda of "Sprawl II (Mountains Beyond Mountains)," or holding up mirrors to reflect rays of light during "Reflektor." It's small details that showcase personality and elevate the performance from just being a band on stage playing songs to something more special. Throw in some elaborate costuming, Mexican wrestler masks, and blasts of confetti everywhere and you have a legitimate spectacle of a show. But it is so much more.

From the get-go it became clear the band's intent was to craft ringing stadium anthems, and that's just what they did. Their debut, Funeral, brought a left of center vibe with imagery bringing to mind a snowy French Canadian neighborhood.  If Scott Pilgrim grew up passing by the frosty front doors of Montreal, it's not hard to imagine him making something like this. "Neighborhood #3" pulls off this vibe exceptionally well with its frigid, yet still hopeful demeanor, while cuts like the heartfelt "Crown of Love," "Rebellion (Lies)" and "Wake Up" delivered enough vigor to warm the entire arena.. Elsewhere, "Month of May" and "Normal Person" provided the perfect moments to rock out, the latter being preceded by a parody of Miley Cyrus's "We Can't Stop."

Régine Chassagne gets hands on with shiny mirrors during Reflektor.

The Reflektor material is every bit as brilliant. As the main curtain fell, frontman Win Butler climbed onto stage at just in time to kick off "Here Comes the Night Time," complete with thundering calypso drums. The Greek mythology inspired "It's Never Over (Oh Orpheus)" dazzlingly showcased a duet between Butler and Chassagne while facing one another on opposite stages. Also fabulous was the heavy handed dance beat of "We Exist," a song that Win Butler described as a young man having a conversation with his father about being gay. "Every generation they try to pick on somebody," he spat. He also poked fun at those who criticized the band for their dress up request. "We're so pretentious," he declared sarcastically. But he showed a solid sense of humor as well. Near the end of the set he got distracted by a guy dressed up as Jesus in the crowd and everybody got a good chuckle out of it, Butler included.

 Merrill Garbus of Tune Yards is a queen of propulsive rhythms.

Throughout the tour, they've also made a habit of doing location specific covers dedicated to the city they perform in. Following the night's sole Neon Bible cut, "Intervention," Butler declared that that was "enough Devil music for one night," before launching  into a cover of the Louvin Brothers' "Broadminded." The vocal twang of the old timey harmonies, delivered by Arcade Fire axemen Richard Reed Parry and Tim Kingsbury, sounded right at home amidst the honky tonks of Broadway. It proved to be a great night due to incredible energy flowing throughout the crowd, powered by well beloved songs played by one of today's most daring and stimulating bands. They may not be radio staples, but are becoming well ingrained in our musical culture regardless.

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Related posts:

Arcade Fire - The Suburbs review 
Arcade Fire - Reflektor review

Tune Yards release new single "Water Fountain"

The new Tune Yards single, "Water Fountain," just hit the interwebs, and it's every bit as wild, eclectic, and awesome as we all hoped it would be. The lead single from Merill Garbus's indie/world music based band pursues many silly (in a good way) themes lyrically and sonically, but wins because it just sounds like a good old time from start to finish. She speaks of bear killing, blood soaked dollars, and massive chicken dinners, while decking in all out in delicious tribal rhythms.

And if you needed any more good news, Garbus also revealed a series of tour dates the same day that have her making a trip to Nashville's Bridgestone Arena to open for all the rage indie rockers Arcade Fire on May 1. This promises to be one of the best twinbills Nashville will see all year, so if you needed any more motivation to make the trip, do it!

Totally Unauthorized's Most Anticipated Albums of 2014

It's been a great decade for music thus far, and 2014 seems like a year that could top all of them. No joke. Kendrick Lamar, Fleet Foxes, Agalloch, Frank Ocean, and Adele are all at least somewhat likely for sometime later in the year. Meanwhile, British stalwarts Radiohead and Blur have been working on new material, but it is not known yet whether those works will be pushed into 2015. Here are some of the can't miss releases of 2014:


Beck -  Morning Phase
TBA February

How can you not love Beck? The super versatile musician and songwriter responsible for classic tunes like "Loser" and "E-Pro" hasn't had much to cheer about in several years, but Morning Phase is looking like it will be among the early contenders for album of the year. The album will apparently cull from a collage of classic 60s and 70s artists; Beck tells David Fricke of Rolling Stone that he drew inspiration from The Byrds, Crosby Stills & Nash, and Gram Parsons among others.

St. Vincent - s/t
February 25

Whenever St. Vincent puts out an album, you can rest assured that it will be just plain fun. There are already a pair of singles out. The first, "Birth in Reverse," is a fun and bouncy number that sounds like new wave updated for a 2014 audience, with a bit of a very intentional mechanized feel. "Digital Witness," meanwhile, has a similar vibe but manages to pack in her trademark horns into the fabric. It gives the image of an album with pretty heavy production, but still with enough charm and life to fit it into the themes she's developed over her career.

Tune Yards - TBA

Merril Garbus of Tune Yards released one of the most eclectic and aurally stimulating albums in 2011's w h o k i l l, blending all sorts of world music influences with a rough, homespun, do it yourself type of vibe. But most of all it was the overpowering bass and tribal drums that underpinned the tracks more than anything. Garbus revealed a tentative title for the album, Sink-O, back in July but not many details have emerged since then. It is known, however, that she spent time in Haiti learning more about African tribal rhythms.

Cloud Nothings - TBA

Cloud Nothings made one of the most intelligent fusions of punk, indie, and post-punk with their 2012 album Attack on Memory, but don't think that the Cleveland rockers are content to sit on their laurels for the followup. Frontman Dylan Baldi claims the new album will be nosier and much less melodic, meaning that the guys will be free to work their chaotic brilliance in all new ways.

Rodrigo y Gabriella - TBA
TBA April

The Latin acoustic guitar playing duo released their last album, Area 52, in 2012, but their newest release will be their first proper studio album since 2009's 11:11. All that's been released so far is a brief clip of a new song, as well as a release date -- April 2014 -- on the band's website. But if their past material is any indicator, the new album will be another captivating piece of heavy rhythm and breathtaking lead work.

Modest Mouse - TBA

All I can say is that it's been far too long since Modest Mouse put out a full length studio album. It's been seven years since We Were All Dead Before the Ship Sank, and going on 15 years since their magnum opus The Moon & Antarctica. However, as recent history has shown, a long layoff can often enable a band to come back with a fresh approach. They cancelled a run of European dates last summer to work on the new album, which is set to include a guest appearance from former Nirvana bassist Krist Novoselic.

Grimes - TBA

Canadian electronic synthpop artist Claire Boucher, better known as Grimes, is one of the more overlooked personalities out there. Her excellent tumblr reveals a silly and fun loving personality, and this is one of the qualities that made Visions such a gem. Boucher said in April that she was influenced by Enya and Paramore while recording the new album, and wants it to have a Nine Inch Nails level recording quality, which will be much easier with the resources she'll have after her signing with Jay Z's Roc Nation label.

Badbadnotgood - BBNG3

If you're looking for jazz music that thinks outside the box, Badbadnotgood will be your jam for 2014. This trio of early 20s musicians is well known for infusing their deep, and introspective compositions with a hip hop nature. They've worked Tyler, the Creator, Frank Ocean, and Earl Sweatshirt of Odd Future Fame, while reinterpreting material from artists as diverse as James Blake and Wacka Flacka Flame. They released a new tune, "Hedron," last summer, but it is unknown whether it will be on the final album.

Run the Jewels - TBA

Atlanta hip-hop artist Killer Mike and New York based producer/rapper El-P gave us one of the most exciting rap collaborations last year with their self titled Run the Jewels album, and fortunately the duo isn't making us wait long for more material. Killer Mike didn't give a release date but did disclose that recording was taking place in December and January. If it's anything like its predecessor, you can expect forceful and combative hip hop that never messes around and gets straight to the point.

Totally Unauthorized: 2011 Album of the Year Awards

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

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

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

 

Best New Artist

James Blake

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

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

Biggest Disappointment of 2011

  Lupe Fiasco

Lasers

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

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

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

 Most Overrated Album 

 Bon Iver
 Bon Iver

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

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

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

Parody of the Year

Brock's Dubs

Jenna Haze - My Jeans

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

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

Best Live Show

    Tune Yards at Exit/In

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

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

10. Cities Aviv - Digital Lows

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

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

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

9. Yuck - Yuck

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

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

8. Opeth - Heritage

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

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

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

7. Ott - Mir

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

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

 

6. Steven Wilson - Grace for Drowning

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

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

5. The Decemberists - The King is Dead

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

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

4. The Black Keys - El Camino

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

3. Panda Bear - Tomboy

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

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

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

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

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

1. Fleet Foxes - Helplessness Blues

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

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