Category: Music Page 5 of 10

2010 in Music: #10 Broken Social Scene – Forgiveness Rock Record

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[#8-12 on this countdown are basically tied. I’ve put them in order of release date.]

My history with Canadian collective Broken Social Scene is kind of varied – I became aware of them somehow years ago but only heard a few songs here and there and didn’t really care for them, though I quickly became a fan of various related groups, especially Metric and later Stars (and Feist to a lesser degree). I wrote off BSS itself as being too experimental for me. Then I listened to them while driving one time, and everything suddenly clicked. Since then I’ve been a big fan, though I remain a bit more devoted to Metric and Stars.

When they announced a new record, their first since 2005’s self-titled album, I couldn’t have been more excited, and the fact that Forgiveness Rock Record isn’t higher on my year end list only speaks to how many albums I loved this year. It’s a solid rock album that may not quite have as many standouts favorites as Broken Social Scene or You Forgot It In People, but is also a bit more accessible. Since it came out I’ve tended to leave it alone for weeks at a time and downgrade it in my head, but then when I come back to it, I remember how awesome it is overall.

They’ve got all the crossover members of Metric, Stars, and Feist back for at least one song each (most noticeably Emily Haines’ lead vocals on “Sentimental X’s”), which is fun, but the main band really shines through as well – Kevin Drew’s soaring vocals on “World Sick,” Brendan Canning’s alt-country approach to “Water in Hell,” Lisa Lobsinger establishing herself in her own right (not just the tour singer who covers the guest stars’ songs when they’re not there) with “All to All.” And I rarely like instrumental tracks that much, but “Meet Me in the Basement” is one of the best tracks of this year or any other. Also, please please see them in concert if you can. They’re fantastic, and put on a great show.

2010 in Music: #11 Dum Dum Girls – I Will Be

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[#8-12 on this countdown are basically tied. I’ve put them in order of release date.]

I‘m pretty sure I should’ve gotten into this band way before I did. Months before, anyway. I have a tendency to ignore things that I feel like are overhyped on the blogs, and I sort of got that vibe from Dum Dum Girls (plus I initially had trouble taking a band called “Dum Dum Girls” seriously). But I even remember a friend mentioning that they were playing somewhere and I kind of brushed it off without really paying attention.

Now I’m kicking myself for that, because when I finally picked up the album (begrudgingly, out of a completionist need to at least check out most buzzed-about bands by the end of the year) I fell in love with it instantly. They’re all retro noise-poppy and chick-rocky and shoegazey – all things I love. Add in a little bit of bhangra flavor on some songs, and some well-used guest performances (Crocodiles’ Brandon Welchez on Blank Girl, which despite being highly repetitive is somehow one of my favorite songs of the year), and it really makes the album sound fresh, despite how much of a great throwback it is to earlier styles. They fill the spot in my listening that the Raveonettes left empty this year, but with a bit more sweetness.

I also love how the videos maintain the really grungy ’80s retro vibe. It may be a bit of a gimmick, but it’s one that I like, and it’s backed up by solid songwriting.

2010 in Music: #12 Los Campesinos! – Romance is Boring

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[#8-12 on this countdown are basically tied. I’ve put them in order of release date.]

When I saw Los Campesinos! in late 2009, I lamented to Gareth that they’d released both Hold On Now, Youngster and We are Beautiful, We are Doomed in 2008, and that their next one wasn’t scheduled until February 2010, leaving me unable to put any Los Camp! on my 2009 Best Of list. His response: “But see, the new one is all set to be your favorite of the 2010s, the whole decade.” Well, it won’t quite make that, but I pretty much love everything Los Campesinos! does, and Romance is Boring is no exception.

All of LC!’s albums are pretty much of a piece; you’ll find the same manic orchestration and vocals, the same clever, intellectual, self-pitying lyrics (with just enough irony and humor to keep them from being hopelessly annoying), and the same nearly cacophonous sound that somehow resolves into something awesome. But you’ll also find a growing maturity and experimentation with other sonic planes, on some songs more than others, but especially on “The Sea is a Good Place to Think About the Future,” which has absolutely heartrending lyrics and music to go with them.

I’ve moved this album up and down on the list a lot – I get tempted to move it down simply because other than a few glimpses of evolution in certain songs, it is so very similar to their other albums (I can almost literally put all three on random and not know which album any given song is from immediately), but then I listen to it again and realize I still love listening to it a lot, similar or no. It’s liable to move up and down in my estimation a lot more. But overall, I love LC! to pieces, and this album does nothing to change that.

2010 in Music: #13 She & Him – Volume Two

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DISCLAIMER: I have a huge girlcrush on Zooey Deschanel. On the other hand, I liked but didn’t love Volume One – it was one that I enjoyed listening to but never really captured me beyond being pleasant background music. I pretty much assumed that Volume Two would be the same way, but bought it anyway because pleasant retro music is often welcome.

Then a couple of months ago a few of the songs got randomly stuck in my head and I ended up listening to the album on repeat for days. Since then I’ve gone back and gained more appreciation for Volume One, but I do think Volume Two is a more assured, more confident effort from Zooey and M. Ward. They’re growing into their style, doing some really catchy originals and some really attractive covers.

Retro stylings have been a big thing this year in LA indie rock, and She & Him have definitely managed to carve out their own niche even among all the other retro bands – they wouldn’t sound out of place in a 1960s film, but there’s a great freshness and immediate exuberance to Zooey’s vocals and Matt’s arrangements. The album didn’t grab me immediately, but it’s the kind that worms its way into my head and gleefully refuses to leave.

2010 in Music: #14 Charlotte Gainsbourg – IRM

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#14. Charlotte Gainsbourg – IRM

Charlotte Gainsbourg is pretty well-respected as an actress, and that’s primarily how I’ve thought of her up until now – I’m especially a fan of her magnificent and horrifying turn in Antichrist – but she’s also fairly established as a singer. I’ve kind of known that in the back of my head for a while, but for some reason never thought to check out her music career until this year, likely when one of the music blogs posted the video for “Time of the Assassins” (see below). I’m very glad I finally got around to it.

IRM is a bit off the track from what I usually listen to, with unusual rhythms and melodies, yet even the tracks that I would consider quite outside my usual comfort zone (like the title track with its spare but almost overpowering percussive elements) somehow capture me and won’t let go. Tracks like “Time of the Assassins” had me instantly with the lush instrumentation and evocative melody. I can’t say all the songs connect with me totally, but throughout them all Charlotte’s voice is such a lovely combination of fragility and determination that it’s hard to turn your attention away from it. Much like Charlotte the actress in that way.

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