St. Vincent – Strange Mercy (Cruel)

On the last St. Vincent album, Actor, the amazing Annie Clark was still finding out the strengths of her craft. An album that was one of the best of that year, she returned with Strange Mercy for more of the great form we’ve come to expect from St. Vincent. Already a strong discography, this album featured more of the same bite with a fusion of songwriting and blends of sounds that focused more on the greatness of timely touches, rather than Disney love. There were a lot of strings again and more of the fitting guitar solos with her now trademark spectacular voice and yet I barely got it on vinyl today. I wanted to share at least some of it here and well, mostly her since she is so tremendous (for sure) here as well. Maybe some other and more later.

On “Cruel” she sounds instantly sweeping at first, with those lush and enveloping strings before she paces it with a steady beat. As she sings “Crr---uuu—ee—lll” and the guitar comes scratching in, the way the strings balance out the grittiness with the whimsical is brilliant. There’s a play on rhythms and how the drums can bounce off each other’s beats, her guitar as it gets a little more forceful as the song sways in and out and her voice: bellowing, sounding entirely mesmerizing. Her voice really is a thing of beauty – the way she is able to maneuver the slightest of adjustments and turn them into head-turning twists of magnificence – there’s a strong skill set due to her classical leaning but man, she sounds so assured here. The song is crisp and in your face. An unabashed good time of morbid decadence. It’s pretty bad ass really.

I found this video just recently and decided it would be good to show it here. I love the way she shows off her guitar playing and how she’s in these beautifully dainty and sweet outfits. – Bryan

The Antlers – Burst Apart (the best of 2011…)

I’ve written about this album a lot this year. I’ve been able to group a lot of my music into one semi-cohesive ball of gel in my head and during much of late November and most of December I focused on really honing in on a tight 2011 list of favorites. Burst Apart was probably one of the safest hitters in that I knew it was easily a top 5 album for me but without a doubt, my #1 of the year. I am still searching for music to find and am still finding various 2011 albums that will probably be added to my list later on but until then, I was able to make a solid list and this is my favorite. I might list that whole thing later, I might write more about it. But before I exasperate all I have left to say about Burst Apart, some more songs here to check out.

I love the very beginning of it, with “I Don’t Want Love,” it brilliantly leads into the overflowing charm of “French Exit.” There’s just something so defiant about it and yet so reassuring and resounding with it: I don’t want love. The guitars are rough around the edges, a pacing melody is heard throughout and while the vocals highlight on a moving-on theme, there is no doubt that this is all about personal growth. The music swells to where the drums are forcefully on full display and Peter Silberman’s voice is allowed to sing in falsetto above everything else. It’s like a blend of U2 when they made Achtung Baby with a blend of Radiohead back when The Bends was currently being made. It’s a lovely entryway onto the album – it neatly introduces a lot of the themes, moods and expressions felt all through Burst Apart – and it justly places the focus off the desolation of Hospice and onto the aching beauty of this new album.


While the album maintained itself as my personal favorite, it was always due to its flawless flow and sequencing. Every song is a new slice of life, a new rendering of magnificent music to take hold of. On “Every Night My Teeth Are Falling Out” the macabre appears in lush and ornate The National-like style with chugging guitars and swirling keyboards that are juxtaposed between soft, tempered verses and banging, rousing choruses that feature fantastic percussion. The song melts away the scope for a rigid look into pop and rock perfection and how the two still seemingly work hand-in-hand. And still, it’s just part of one massively great album. Ha, as already probably noted too much before. – Bryan

Atlas Sound - Parallax

The best sounds of 2011 came at different times for me. It’s always best to find as much music as possible but sometimes I can sure get in a rut. But still, music was flowing like a river and by the time Parallax flowed in, I was lost. I’ve probably already developed a bad case of fanboyism for too many bands and artists; regardless, I love Deerhunter and well, now this album is probably the best thing Bradford Cox has done in three years? So better than Halcyon Digest is my main take; it’s by far my favorite Atlas Sound album so far and well, Logos, is spectacular. Here’s “Mona Lisa” and flawless guitar pop with enveloping vocals.


I love “Te Amo” probably the most. It begins with this arpeggio-like melody played on a scaling keyboard that introduces a soft light; there’s a dark, but very subtle shade of gray that permeates in the atmosphere, you hear it in the beginning and it leads into the swell before his voice appears – just listen to the light mist at the very beginning. I love the tapping pattern of the drums and the way every instrument and new layer counter off each other: it’s endearing how advanced his compositions are, now. Everything sounds vibrant and very lush and ornate, as if you’re inside of the dreams (or nightmares) that Cox lives. He sings, “You can come around, when you’re down you’re always down…always down,” and there’s a tremble of guitar and bass that coalesces into a perfect slice of pop. It’s mostly what Parallax is about, he’s still sad, we all are but the music is just so sugary bliss. – Bryan

Feist - Metals

I love the new Feist album because of how amazing everything around her tremendous voice sounds. Right off the bat, on “The Bad in Each Other,” she rides on a grimy, biting, trudging-along rhythm that focuses on the terrible-ness in relationships. Her voice has always sounded very very very great but on Metals she sounds like a magnificent instrument on top of her fantastic arrangement of instruments. This particular songs starts off the album with rich colors of sounds that are provided through a careful attention to stirring effects; her voice is like a persevering hope and her range is downright impeccable. It took me a long time to find out the magic of Feist’s music, I’ll admit I am not a fan of previous efforts but am going to re-visit them based solely on how much I love Metals. Because I do, I really do.


I’m glad I gave it an honest chance, although I knew I didn’t like her previous albums. Simply because it sounded great and well, it just made sense. And well, also, my ears suck. Ha.

I like “A Commotion” because it reminds me of Spoon with its stabbing drums and propulsive hits. It sounds out of place and when the voices shout “A commotion!...A commotion!” with the horns blaring, it all sounds some kind of fantastic. Pulsating like a chugging train, the motion underneath Feist is supported by strings and she’s allowed to dance around it all. Her voice sounds breathy and seductive most of the time, dynamically-flavored throughout and stunning all of the time. The song ends up being like something left off Strange Mercy (reminders, reminders)? That’s the beauty of the album, her amazing voice and how it’s front and center. This song places the strong, impressive force of her songwriting and matches it to her stellar voice. Plus this song is a recent live recording of it and you can see her ha. Just a couple of songs off this probably already over-talked, but very deserving spectacular album. – Bryan

Little Dragon - Seconds

Man on man, I've been bad lately. But I've been really good in other, professional aspects. I'm not sure if anyone even really cares on this side of the pond anymore. I find myself constricted on where to focus my attention a lot of the time. And still, I find myself singing those great lyrics: "But honestly, and be honest with yourself, how much time do you waste? How much time do you blow every day?" It's pretty honest stuff really.

I'm here writing about my end of year lists for various outfits and I'm thinking about the blog in the back of my head. December has been a mostly good month I would say and it certainly hasn't dragged on - it's moved like a fast, steady roller coaster actually. Anyways, I'm writing about how I love that M83 album, the Burst Apart is the best, Feist's voice (reminders reminders) and actually making a list and compiling a major one for a print magazine and I got this song, "Seconds," in my head.

I'm spinning all kinds of music and listening to all kinds of stuff, while writing about an assortment of different albums and I got this song in my head. Her voice is spectacular for starters, the steady beat is sweet and as an album closer, it's remarkable. I've got to say that this is an awesome band that I really enjoy, this album is firmly in my top 20 of 2011 with a feel every now and then to sneak in the top 10. it's so good. Here's to this song being engraved in my musical memory for a bit before I jam out to Undun again - amazingly special album, too, btw.

Anyways, the lyrics too. They are very sweet. This album kills. I hope to write more. - Bryan

Atlas Sound – Logos

I was presumptuous last time when saying November would have double digit posts. I am bummed we didn’t get more than five. December will be different; let’s be modest and say at least double that. Here’s to not being presumptuous.

By the way, I’ve never said this here I’m not sure but "Breaking Bad," please watch it. I might write on it soon. I think I could form some decent, objective reasons as to why it is the best show on TV. Then they would turn into passionate, deep subjective reasons that has everyone wondering if I’m nuts. I might be. I’m not. But that show, is spectacular. The best. Until then, "It’s Always Sunny in Philadelphia" is the best show too, comedy wise. Nothing beats it, except maybe "Louie." But those three, yes, the best right now. "Breaking Bad," I highly recommend it.

This album, Logos, has barely seemed to set in for me. I’m not sure what it is with music but I can live with something for years and barely get the magnificence of it years after. This happens maybe because I have a lot of sounds coming in and out. It might be because it gets filed in a categorical, canon-style like manner. It could be just poor excuses that amount to a lack of focus on what music is really about: bursting aesthetic pleasure. Wait, that’s still an excuse.

Either way, somehow I didn’t quite understand the glittered luster of “Sheila” and its driving percussion, the drowning guitar and Bradford Cox singing “Cuz no one wants to die alone…” and how it is pop bliss. There’s a shimmering guitar, layered in between a tattered shaker and Cox’ longing vocals to Sheila. Like a modern-day, awkward and dorky Stanley Kowalski – as heroic really – shouting “Stella, Stella.” He’s crying for her, he’s calling to her, and he’s yearning for her. And if she comes, yes, please, let’s die alone together.


I’m talking about this album because his new one, Parallax, is amazing. The year is slowly coming to a close and I am going to try and better it all here. The last song here, title track, powers with drumming pulse and shrouded, cloudy vocals from Cox. It’s an upbeat, springing feeling to end it all and I love the hopeful vibe. It’s a ray of light at the end, a great album for all to enjoy, now or later or whenever. – Bryan