10 Years has always been a “gateway” band. Their ability to take the modern rock style of their contemporaries and shift it to something that is something genuinely more than radio rock has been impressive. With their major label debut The Autumn Effect, and its follow-up Division, they showed how the music could be singles for the radio while still forming a cohesive, artful album for the more critical listener. Then with 2010’s Feeding the Wolves, we saw 10 Year’s come back to the pack a bit. The album did just as its title indicated, gave the record exec’s something to sell. This was a disappointment to many of the fans 10 Years had presented that “gateway” to, and in fact, was a disappointment to the band itself. Thus, we were given a 2012’s aptly titled Minus the Machine, and attempt to bring back the things that made 10 Years special in the past.
It should be noted that this is an independent release by the band. And it’s almost too obvious. It’s apparent that the band themselves are not use to having this type of creative freedom. The amount of ideas swirling around within this albums 44 minute runtime is impressive. The problem however, is the lack of precision that this leads to within the songwriting department. The album opens with the hard hitting “Minus the Machine” and “Battle Lust”, both of which are clear attempts to say, “Hey, we can rock super hard when no one is holding us back!” to their fans. Of course this backfires a bit, as the songs end up being just that, heaviness for the sake of heaviness.
Next up, we have “Forever Fields”, which isn’t a bad track per se, if nothing but for the reason that it is a clear attempt to bring back that famous 10 Years’ atmosphere back into the fray. And it’s a welcome sound to be sure. The problem lies in the fact that the song turns out to be pretty much entirely atmosphere, and no real substance. Yet, it’s not until we reach the end of this song and it becomes clear what the album is really missing, something this band has spoiled us into expecting from every release, and that’s a sense of cohesiveness from start to finish.
The rest of the album is considerably more finely tuned from a songwriting perspective. The songs become less of a reminder of what’s possible, to actually using these possibilities to form more solid songs. From the haunting finger-picking of “Writing on the Walls” to the impressive bass line leading the way in “Soma”, we see that the potential is clearly still there for 10 Years. And, with the exception of the momentum killing chorus of “Knives”, it all works on an individual song basis. It seems that this album was a necessary stepping stone to get away from the vices of the mainstream rock world, and move towards the realm where 10 Years is the most comfortable. It just so happens that they weren’t fully ready for this new found freedom, and, like a kid let loose in a toy store, just couldn’t keep their hands off of absolutely everything.
3/5
Saturday, August 11, 2012
Thursday, July 26, 2012
Tremonti - All I Was
It’s not a rarity in today’s music to see the individual members of successful bands branch out and try to do something on their own. More often than not, these efforts are met with trepidation due to the spotty history of such side projects, most of which leaving much to be desired. Yet when Mark Tremonti set out to write an album all by his lonesome, there was a different kind of uneasiness surrounding the release. Tremonti had been such a big part of the writing process of Creed and Alter Bridge throughout the years that it’s hard to believe that this solo project could present anything he had not already displayed with his already solidified bands. Yet with a promise of a much heavier outing, Tremonti set out to prove that he’s not only a riff machine, but also has the finesse to write an intriguing LP.
Overall, the effort turned out to be entirely adequate. Each song is given life by the unsurprisingly strong guitar work from Tremonti, along with an impressive performance from the rest of the band keeping things together. It’s song after song of solid hard rock. Although nothing incredible, Tremonti’s vocals are also strong, showing that his talents do extend beyond the frets. This was all expected though. Nothing in Tremonti’s past indicated anything different from what is presented here. And that’s where a bit of the disappointment lies.
There is nothing here that is heavier than most of Alter Bridge’s material. The heaviness factor, that was the selling point of the album, was greatly exaggerated. Sure, songs like So You’re Afraid and You Waste Your Time have terrific guitar work, they are not anything that would be classified further then the hardest of rock. This presents us with a record that sounds almost identical to its predecessors from an instrumental standpoint. Add on to this the sloppier songwriting resulting from trying to achieve the aforementioned heaviness, such as song-derailing solos and occasional repetitive riffs, and we are left with a product that doesn’t amount to anything more than decent.
That’s not to say this is a bad album by any means. His choruses are catchy, if shallow, and overall the guitar work is fun, exactly what we’ve come to expect from Tremonti. And from the standpoint of a fan of his previous work, we have another fine slab of hard rock from one of the genres strongest guitarists. Just this time we don’t have the chops of Myles Kennedy or (to a much lesser extent) Scott Stapp to really grasp our attention. All I Was is an adequate album of above average hard rock tunes for fans of the genre, nothing more, nothing less.
3/5
Overall, the effort turned out to be entirely adequate. Each song is given life by the unsurprisingly strong guitar work from Tremonti, along with an impressive performance from the rest of the band keeping things together. It’s song after song of solid hard rock. Although nothing incredible, Tremonti’s vocals are also strong, showing that his talents do extend beyond the frets. This was all expected though. Nothing in Tremonti’s past indicated anything different from what is presented here. And that’s where a bit of the disappointment lies.
There is nothing here that is heavier than most of Alter Bridge’s material. The heaviness factor, that was the selling point of the album, was greatly exaggerated. Sure, songs like So You’re Afraid and You Waste Your Time have terrific guitar work, they are not anything that would be classified further then the hardest of rock. This presents us with a record that sounds almost identical to its predecessors from an instrumental standpoint. Add on to this the sloppier songwriting resulting from trying to achieve the aforementioned heaviness, such as song-derailing solos and occasional repetitive riffs, and we are left with a product that doesn’t amount to anything more than decent.
That’s not to say this is a bad album by any means. His choruses are catchy, if shallow, and overall the guitar work is fun, exactly what we’ve come to expect from Tremonti. And from the standpoint of a fan of his previous work, we have another fine slab of hard rock from one of the genres strongest guitarists. Just this time we don’t have the chops of Myles Kennedy or (to a much lesser extent) Scott Stapp to really grasp our attention. All I Was is an adequate album of above average hard rock tunes for fans of the genre, nothing more, nothing less.
3/5
Saturday, June 23, 2012
Three-peat, pt. 3
Sup y’all. Summer is finally here and I’m working every damn day. But that’s alright, because we actually have some interesting stuff in the way of music now, and hopefully the pacing continues for the rest of the year. It’s great to see that the artists we expect to release solid material have done so, as well as new faces emerging as players for this year’s top albums. Here’s another sweet 3-peat of releases.
First of all, the ageless wonders, Rush. I’m going to be completely honest with you, but I’ve only given a small portion of their vast collection of solid material the listens they deserve. However, when I heard reviews saying that “Clockwork Angels” was the heaviest thing they’ve released in years, I had to give it a listen. And I still can’t believe this is the same band that sang Tom Sawyer. Sure, they are still progressive rock masters, but this stuff pillages your ear drums in a way that you would never think 58+ year olds could accomplish. Geddy Lee’s high pitched singing is buried a little more in the mix, while his superb bass, Lifeson’s brilliant guitar work, and Peart’s jaw dropping drumming steal the show and show that these guys are not even close to running out of gas (4/5).
Next we have the newcomers in the metal department hailing from Australia. Ne Obliviscaris bring a highly dynamic progressive metal album to the table as their first LP, and my, oh my, is it epic. The immediate comparison would be Opeth, a highly melodic progressive band with death and black metal elements, but when the violin comes in, we see they are something different entirely. Something fresh and exciting. Look out for these guys in the coming years, especially if they can tighten up the sometimes messy songwriting and lose the weird, verbose lyrics (3.5/5).
He is the best folk artist in the world right now. Period. The Tallest Man on Earth recently released his follow up to 2010’s The Wild Hunt, and I have it on vinyl! But seriously, it’s just as good as its predecessor, albeit not in the same ways. Sure, Matsson still is a man with his guitar (and piano), but instead of being very upfront and boisterous with his cryptic (for me anyway), nature themed lyrics, he is more reserved this time around. This allows for him to expand his palette while still staying true to himself. I absolutely adore this record (4.5/5).
Thanks all. Look in the future for a crazy in depth talk about Linkin Park's new album and a talk about who the hell Linkin Park is anymore. I'm looking forward to it.
-Caleb, the kid who works in a bakery and can't even write on cakes.
First of all, the ageless wonders, Rush. I’m going to be completely honest with you, but I’ve only given a small portion of their vast collection of solid material the listens they deserve. However, when I heard reviews saying that “Clockwork Angels” was the heaviest thing they’ve released in years, I had to give it a listen. And I still can’t believe this is the same band that sang Tom Sawyer. Sure, they are still progressive rock masters, but this stuff pillages your ear drums in a way that you would never think 58+ year olds could accomplish. Geddy Lee’s high pitched singing is buried a little more in the mix, while his superb bass, Lifeson’s brilliant guitar work, and Peart’s jaw dropping drumming steal the show and show that these guys are not even close to running out of gas (4/5).
Next we have the newcomers in the metal department hailing from Australia. Ne Obliviscaris bring a highly dynamic progressive metal album to the table as their first LP, and my, oh my, is it epic. The immediate comparison would be Opeth, a highly melodic progressive band with death and black metal elements, but when the violin comes in, we see they are something different entirely. Something fresh and exciting. Look out for these guys in the coming years, especially if they can tighten up the sometimes messy songwriting and lose the weird, verbose lyrics (3.5/5).
He is the best folk artist in the world right now. Period. The Tallest Man on Earth recently released his follow up to 2010’s The Wild Hunt, and I have it on vinyl! But seriously, it’s just as good as its predecessor, albeit not in the same ways. Sure, Matsson still is a man with his guitar (and piano), but instead of being very upfront and boisterous with his cryptic (for me anyway), nature themed lyrics, he is more reserved this time around. This allows for him to expand his palette while still staying true to himself. I absolutely adore this record (4.5/5).
Thanks all. Look in the future for a crazy in depth talk about Linkin Park's new album and a talk about who the hell Linkin Park is anymore. I'm looking forward to it.
-Caleb, the kid who works in a bakery and can't even write on cakes.
Tuesday, April 17, 2012
Three-peat pt. 2
Well, shit, this week has caught me off guard. Seemingly, 2012 took a really long ass time to get going, and it was almost frustrating that the of amount new music we were getting was so unbelievably low. But just when you least expect it, you get slapped in the face with a helping of orgasmic music that you can’t help but sit back and say “Thank you for existing.” Here’s another three-peat of songs to enjoy.
First this is Dead Sara, an up-and-coming alt rock band from LA. They take their version of high octane hard rock and blend it with a wide variety of influences from all over the board. This band deserves to be huge, and hopefully songs like “Sorry for It All”, off their debut self-titled, can make that happen for them (4.5/5).
Next up are two songs from opposite ends of the indie spectrum. MewithoutYou have been around for ages, and with their new album they have declared a return to their previous sound. The first track is one of the leading singles from the upcoming LP. Next up is some new kids on the block The Neighborhood, with a ridiculously catchy offering that might just propel them into the mainstream. New and old, both of these bands are ones to look out for during the rest of 2012.
I seem to have nothing but good things to say about the stuff that I’ve heard this year, but that’s not entirely the case. One of the bands that got me into music back when I was younger, Shinedown, released their 4th LP this year, and it was a bit of a disappointment. There is nothing exceedingly special about it, and only 1 or 2 songs on the entire album actually have replay value. For a band I’ve loved for so long, it sucks to see that the song writing, particularly in the lyrics department, has fallen off so drastically. Shit happens, I guess.
Interestingly enough, I’ve started my vinyl collection over the past two weeks, and I’m loving the shit out of it. If you love music as much as I do, it’s well worth the investment to start one up for yourself. The music sounds richer and the experience of listening to an album gets returned to that sense of wonder you had when you were a kid. So far, I’ve got 3 albums, The Tallest Man on Earth – The Wild Hunt, Radiohead – OK Computer, and Explosions in the Sky – The Earth is Not a Cold Dead Place. Post-rock turns out to be absolutely unbelievable on vinyl, so I’ll definitely be looking to get other albums from the genre to supplement my collection.
Ah, well, I’ll keep you guys updated on when other new albums are being released this year. As always, if there’s anything you guys want me to review or listen to, let me know, as I’m always on board to hear new stuff. Any feedback is greatly appreciated.
-Caleb, the guy who is exceedingly happy that tonight is chicken fajita night.
First this is Dead Sara, an up-and-coming alt rock band from LA. They take their version of high octane hard rock and blend it with a wide variety of influences from all over the board. This band deserves to be huge, and hopefully songs like “Sorry for It All”, off their debut self-titled, can make that happen for them (4.5/5).
Next up are two songs from opposite ends of the indie spectrum. MewithoutYou have been around for ages, and with their new album they have declared a return to their previous sound. The first track is one of the leading singles from the upcoming LP. Next up is some new kids on the block The Neighborhood, with a ridiculously catchy offering that might just propel them into the mainstream. New and old, both of these bands are ones to look out for during the rest of 2012.
I seem to have nothing but good things to say about the stuff that I’ve heard this year, but that’s not entirely the case. One of the bands that got me into music back when I was younger, Shinedown, released their 4th LP this year, and it was a bit of a disappointment. There is nothing exceedingly special about it, and only 1 or 2 songs on the entire album actually have replay value. For a band I’ve loved for so long, it sucks to see that the song writing, particularly in the lyrics department, has fallen off so drastically. Shit happens, I guess.
Interestingly enough, I’ve started my vinyl collection over the past two weeks, and I’m loving the shit out of it. If you love music as much as I do, it’s well worth the investment to start one up for yourself. The music sounds richer and the experience of listening to an album gets returned to that sense of wonder you had when you were a kid. So far, I’ve got 3 albums, The Tallest Man on Earth – The Wild Hunt, Radiohead – OK Computer, and Explosions in the Sky – The Earth is Not a Cold Dead Place. Post-rock turns out to be absolutely unbelievable on vinyl, so I’ll definitely be looking to get other albums from the genre to supplement my collection.
Ah, well, I’ll keep you guys updated on when other new albums are being released this year. As always, if there’s anything you guys want me to review or listen to, let me know, as I’m always on board to hear new stuff. Any feedback is greatly appreciated.
-Caleb, the guy who is exceedingly happy that tonight is chicken fajita night.
Monday, April 2, 2012
Three-peat
Every now and then I’d like to take a moment and share 3 recent album releases that I’ve been listening to over and over with you all. Typically I will try to keep them of different genres, as to appeal to a wider range of listener, but that’s not always going to work. But hey, I’ll give it a shot, and if there’s a type of music, or new album, that I missed, please don’t hesitate to tell me and maybe I can fill it in later. For now here’s the first Three-peat of 2012.
1.Janus – Nox Aeris (Hard Rock, Alt Rock)
Sometimes that album comes along that’s just super fun to listen to. There is no breaking of the rules, no blaring original-ness, no “next big thing” involved with it all. It’s just good old fashioned rock music. That’s what Janus has done here. They have created an album in the vein of Chevelle and Red that still stands on its own without feeling too copied from their books. Hard rock done right. Catchy choruses, driving riffs, neat atmospheres. (3.5/5)
2.Every Time I Die – Ex Lives (Metalcore, Hardcore)
“I want to be dead with my friends!” Metalcore is a dying genre. The good bands are starting to dwindle away, as the genre creates deeper and deeper holes for itself with every new band trying to emulate their influences work, but never picking the correct paths. Every Time I Die doesn’t give a shit. A band that’s been around the block as much as these guys realize what they have to do to create a good album. And they do it here again. Heavy, angry, and well-written, Ex Lives is the Metalcore album of the year thus far. (4/5)
3.Loma Prieta – I.V. (Screamo, Hardcore)
I was kind of surprised when I took a chance and gave this a listen. Normally not my cup of tea, Loma Prieta is a true Screamo band from San Francisco. Upon first listen, the dissonance of it all, the speed of the guitar, the frantic drumming, and the violent screams underneath come across as pure “noise”. But I couldn’t stop listening. Every single song has a strong underlying melody that holds it all together. It’s abrasiveness is what makes it so gorgeous. (4/5)
As always, follow me on twitter at @calebuseswords and leave any feedback you want. I'm always willing to listen to something new, so if you have something you want me to review, send it my way and I'll give it a shot. Thanks for reading.
-Caleb, the guy who ate a whole wheel of cheese and isn't even mad.
1.Janus – Nox Aeris (Hard Rock, Alt Rock)
Sometimes that album comes along that’s just super fun to listen to. There is no breaking of the rules, no blaring original-ness, no “next big thing” involved with it all. It’s just good old fashioned rock music. That’s what Janus has done here. They have created an album in the vein of Chevelle and Red that still stands on its own without feeling too copied from their books. Hard rock done right. Catchy choruses, driving riffs, neat atmospheres. (3.5/5)
2.Every Time I Die – Ex Lives (Metalcore, Hardcore)
“I want to be dead with my friends!” Metalcore is a dying genre. The good bands are starting to dwindle away, as the genre creates deeper and deeper holes for itself with every new band trying to emulate their influences work, but never picking the correct paths. Every Time I Die doesn’t give a shit. A band that’s been around the block as much as these guys realize what they have to do to create a good album. And they do it here again. Heavy, angry, and well-written, Ex Lives is the Metalcore album of the year thus far. (4/5)
3.Loma Prieta – I.V. (Screamo, Hardcore)
I was kind of surprised when I took a chance and gave this a listen. Normally not my cup of tea, Loma Prieta is a true Screamo band from San Francisco. Upon first listen, the dissonance of it all, the speed of the guitar, the frantic drumming, and the violent screams underneath come across as pure “noise”. But I couldn’t stop listening. Every single song has a strong underlying melody that holds it all together. It’s abrasiveness is what makes it so gorgeous. (4/5)
As always, follow me on twitter at @calebuseswords and leave any feedback you want. I'm always willing to listen to something new, so if you have something you want me to review, send it my way and I'll give it a shot. Thanks for reading.
-Caleb, the guy who ate a whole wheel of cheese and isn't even mad.
Wednesday, January 18, 2012
Electronic Encroachment
I, for the longest time, never understood the electronic side of music. Speaking now, I still firmly know that I comprehend next to nothing about it, and trying to sound smart in the slightest will be writing a check my ass can't cash. That's why I'm not going to sit here and tell you who you should try, but rather, why it would seem as though you're not going to have a choice in the matter in the future.
As most of you have noticed (if not, how does the bottom of that rock look?), pop music has taken a dramatic swing into electronica lately. And much to my chargrin, has ruined any chance of allowing a fresh start into what I would consider the "good stuff". At least I won't have to explain instrumental styles and the bare bones of it all, so I won't complain too much. It's truly a marvel at how much it has engrained itself in a such a short period of time, where use of a vocodor is almost second nature. It's the fresh thing to do.
It's not just pop music either. Bands like Linkin Park, who already had the electronic tinge in the past, have started to fully embrace it and create something new. Which from a music fan's perspective, I absolutely love. As another example, Korn has decided since they already claimed to have "started dubstep" (oh really?), have made an almost entirely electronic album with their latest LP (all signs point to it as being awful). Still, as with all of the mainstream, their is a lack of comprehension of what should be done to make the music better.
From the top down, these ventures into electronic music can seem new and different. The rock bands are doing things they've never attempt before, and the pop stars have a equally as catchy backdrop to sing their sugary sweet chorus hooks over. Yet when you strip it down and listen close, you're left with nothing. It sounds cold and lonely, with nothing bringing any warmth whatsoever into the fray. Honestly, this is where the ball is being dropped the most. The atmospheric potential of this genre of music is basically limitless, and the mainstream yet again decides to dumb it down and ruin perfectly good potential. But hey, let's not complain about things we can't change, but rather enjoy the ones who have already done things right.
It's here that I bring myself back to my statement from earlier, about the unavoidableness of it all. The singer/songwriters of today aren't just sitting with their guitars anymore, but rather are crafting things through electronics (Bon Iver, Sufjan Stevens). Metalcore bands such as Underoath and hardcore acts like Refused use the electronics between songs and as introductions to add a seemlessness that was never really found before. Oh, and Radiohead does it good too (but they do everything good, so take that as you will). Every year it creeps more and more into the foundation of our music. So we better start getting used to it.
As I don't know too much about the actual specifics of the genres, I'll just leave you with some cool music that shows what can be done with electronic music if done right. As always, follow me on twitter at @calebuseswords and feedback is wholly appreciated. Thanks!
-Caleb, who was going to originally name this post "The Electronic Penetration" but thought better of it.
As most of you have noticed (if not, how does the bottom of that rock look?), pop music has taken a dramatic swing into electronica lately. And much to my chargrin, has ruined any chance of allowing a fresh start into what I would consider the "good stuff". At least I won't have to explain instrumental styles and the bare bones of it all, so I won't complain too much. It's truly a marvel at how much it has engrained itself in a such a short period of time, where use of a vocodor is almost second nature. It's the fresh thing to do.
It's not just pop music either. Bands like Linkin Park, who already had the electronic tinge in the past, have started to fully embrace it and create something new. Which from a music fan's perspective, I absolutely love. As another example, Korn has decided since they already claimed to have "started dubstep" (oh really?), have made an almost entirely electronic album with their latest LP (all signs point to it as being awful). Still, as with all of the mainstream, their is a lack of comprehension of what should be done to make the music better.
From the top down, these ventures into electronic music can seem new and different. The rock bands are doing things they've never attempt before, and the pop stars have a equally as catchy backdrop to sing their sugary sweet chorus hooks over. Yet when you strip it down and listen close, you're left with nothing. It sounds cold and lonely, with nothing bringing any warmth whatsoever into the fray. Honestly, this is where the ball is being dropped the most. The atmospheric potential of this genre of music is basically limitless, and the mainstream yet again decides to dumb it down and ruin perfectly good potential. But hey, let's not complain about things we can't change, but rather enjoy the ones who have already done things right.
It's here that I bring myself back to my statement from earlier, about the unavoidableness of it all. The singer/songwriters of today aren't just sitting with their guitars anymore, but rather are crafting things through electronics (Bon Iver, Sufjan Stevens). Metalcore bands such as Underoath and hardcore acts like Refused use the electronics between songs and as introductions to add a seemlessness that was never really found before. Oh, and Radiohead does it good too (but they do everything good, so take that as you will). Every year it creeps more and more into the foundation of our music. So we better start getting used to it.
As I don't know too much about the actual specifics of the genres, I'll just leave you with some cool music that shows what can be done with electronic music if done right. As always, follow me on twitter at @calebuseswords and feedback is wholly appreciated. Thanks!
-Caleb, who was going to originally name this post "The Electronic Penetration" but thought better of it.
Sunday, December 18, 2011
Top Albums of 2011
Without further ado, here's my top albums of 2011.
10.
Bon Iver
Bon Iver
When I first heard For Emma, Forever Ago a few years ago, I was startled by how lonely the music was. It was as if there was a single fire burning in the middle of a barren tundra, and that fire had one hell of a falsetto. With his sophmore release, Bon Iver still has that fantastic voice, but instead of a frigid atmosphere, he gives us a heaping helping of straight up indie, while still holding onto everything that allowed For Emma to be such a strong record. You can even hear some cautious optimism this time, and for that we are thankful.
9.
Radiohead
The King of Limbs
It's never blatantly obvious exactly what Radiohead is trying to acomplish. Leaning more to the electronic side of their sound, Radiohead surprised a lot of people with The King of Limbs, especially when it followed the wildly successful In Rainbows. Yet it's not what comes before or what comes after that an album should be judged by, but rather by what it is in and of itself. And by that logic, The King of Limbs is a fantastic (albeit brief) collection of electronic-laced alternative rock that could easily stand out even among a discography as heavy as Radiohead's. And I'm not just saying that because Thom Yorke's dancing in the Lotus Flower music video is gorgeous.
8.
The Dear Hunter
The Color Spectrum
This was hard to digest at first. It seemed overwhelming, the sheer volume of material released at once. But when you really started to break it down, you could see that each one of these EP's, each color, was terrific. Couple that with the fact that there was 8 (!) in total, and you can really see that The Dear Hunter did something special here, and despite it's enormous size, it really deserves repeated listens.
7.
Foo Fighters
Wasting Light
"Oh, the Foo Fighters released another album? News to me. And it's good? Well, shit, I guess I'll listen to a little bit of it." Best decision I made all year. Not only was the new Foo Fighters' album good, it ranks right up there with the best albums they've released. Not one single track sticks out as mediocre, something that has plagued the band in the past. Hard rock done right, the Foo Fighters succeed where other bands in the genre fall short. Plus they have Dave Grohl. That helps.
6.
Chevelle
Hats Off to the Bull
There's something to say here about progress. Following Chevelle through the years has been rather predictable, as with every 11 track release we get the same Chevelle, heavy riffs with Loeffler wailing his cryptic lyrics giving each song a much needed melodic base. This is no different. Yet with the lack of progress we get quite the refinement in songwriting. The maturity of the band is clearly evident throughout, and it allows for that lack of progress to be overlooked, and even preferred. Hats off to sticking to your guns and learning to draw better.
5.
Thrice
Major/Minor
Being around the block as long as Thrice has, it's natural for a band to get tired of trying to be something else every couple of years. Sometimes you just want to sit back and make some tunes, and not reinvent the wheel. That's what I see Major/Minor as for Thrice, a relaxing of the constraints for a band that really just wants to make some rock music, and the result is wonderful. The passion is back and the music is tight. It's just Thrice being Thrice.
4.
Manchester Orchestra
Simple Math
When Manchester Orchestra released the title track from this album, Simple Math, I was taken aback. It was an indie masterpiece, and certainly foretold of an LP to match, right? Unfortunately, not quite. What Manchester Orchestra delivered was an excellent album, nothing more, nothing less. It cements them at the top of the alternative indie pile for years to come, to be certain, it just didn't quite live up to what a few of the highlights suggested it would be. Maybe next time.
3.
La Dispute
Wildlife
This is so freakin' depressing. It takes your soul and sucks it out, steps on it a few times, defecates on it, and hands it back to you. And after all that, you still can't help but thank it for being so damn wonderful. The musicianship and cohesiveness has improved vastly from Somewhere at the Bottom, and their story telling has elevated them to places few bands dare to reach. This is one of those bands that at first repel with their abrasiveness, but if you can see past it, there is a treasure underneath.
2.
Frank Turner
England Keep My Bones
I can't really put my finger on the reason I was hesitant to give Frank Turner a shot. Something about his name I guess, reminded me of some old, washed up "rock" star who was far past his prime. And there, my friends, is where we finally find out that I'm a fucking idiot. He truly is a gifted songwriter, and his folk-tinged rock'n'roll is clearly something that deserves to be admired. While with this release he seems to move away from his music-off-the-cuff style of previous albums and his development of songs becomes more apparent, it still astounds me how real and geniune he sounds. Of all the rock stars in the world, there is not one person I would rather have a beer with than Frank Turner.
1.
Fair to Midland
Arrows & Anchors
RIKKI TIKKI. Even I laughed the first time I heard that, so don't be too worried if you couldn't stifle your own. Regardless, this album was far and away my most anticipated album of the year, and it sure as hell didn't disappoint. It took all the expectations left by Fables and left them in pieces on the floor. From start to finish, Arrows & Anchors is an ingenious venture into alt, metal, and progressive euphoria that I have never seen rivaled. Each song is crafted to perfection, creating a whirlwind of activity that re-emerges new and exciting upon every spin. There is no way I could try to describe it and do it justice, other than to say it is amazing. To put it simply, it's the best album of 2011.
Thanks for taking time to read this. Hopefully next year can live up to what this year has so easily accomplished.
-Caleb, aspiring awful pro video game player.
10.
Bon Iver
Bon Iver
When I first heard For Emma, Forever Ago a few years ago, I was startled by how lonely the music was. It was as if there was a single fire burning in the middle of a barren tundra, and that fire had one hell of a falsetto. With his sophmore release, Bon Iver still has that fantastic voice, but instead of a frigid atmosphere, he gives us a heaping helping of straight up indie, while still holding onto everything that allowed For Emma to be such a strong record. You can even hear some cautious optimism this time, and for that we are thankful.
9.
Radiohead
The King of Limbs
It's never blatantly obvious exactly what Radiohead is trying to acomplish. Leaning more to the electronic side of their sound, Radiohead surprised a lot of people with The King of Limbs, especially when it followed the wildly successful In Rainbows. Yet it's not what comes before or what comes after that an album should be judged by, but rather by what it is in and of itself. And by that logic, The King of Limbs is a fantastic (albeit brief) collection of electronic-laced alternative rock that could easily stand out even among a discography as heavy as Radiohead's. And I'm not just saying that because Thom Yorke's dancing in the Lotus Flower music video is gorgeous.
8.
The Dear Hunter
The Color Spectrum
This was hard to digest at first. It seemed overwhelming, the sheer volume of material released at once. But when you really started to break it down, you could see that each one of these EP's, each color, was terrific. Couple that with the fact that there was 8 (!) in total, and you can really see that The Dear Hunter did something special here, and despite it's enormous size, it really deserves repeated listens.
7.
Foo Fighters
Wasting Light
"Oh, the Foo Fighters released another album? News to me. And it's good? Well, shit, I guess I'll listen to a little bit of it." Best decision I made all year. Not only was the new Foo Fighters' album good, it ranks right up there with the best albums they've released. Not one single track sticks out as mediocre, something that has plagued the band in the past. Hard rock done right, the Foo Fighters succeed where other bands in the genre fall short. Plus they have Dave Grohl. That helps.
6.
Chevelle
Hats Off to the Bull
There's something to say here about progress. Following Chevelle through the years has been rather predictable, as with every 11 track release we get the same Chevelle, heavy riffs with Loeffler wailing his cryptic lyrics giving each song a much needed melodic base. This is no different. Yet with the lack of progress we get quite the refinement in songwriting. The maturity of the band is clearly evident throughout, and it allows for that lack of progress to be overlooked, and even preferred. Hats off to sticking to your guns and learning to draw better.
5.
Thrice
Major/Minor
Being around the block as long as Thrice has, it's natural for a band to get tired of trying to be something else every couple of years. Sometimes you just want to sit back and make some tunes, and not reinvent the wheel. That's what I see Major/Minor as for Thrice, a relaxing of the constraints for a band that really just wants to make some rock music, and the result is wonderful. The passion is back and the music is tight. It's just Thrice being Thrice.
4.
Manchester Orchestra
Simple Math
When Manchester Orchestra released the title track from this album, Simple Math, I was taken aback. It was an indie masterpiece, and certainly foretold of an LP to match, right? Unfortunately, not quite. What Manchester Orchestra delivered was an excellent album, nothing more, nothing less. It cements them at the top of the alternative indie pile for years to come, to be certain, it just didn't quite live up to what a few of the highlights suggested it would be. Maybe next time.
3.
La Dispute
Wildlife
This is so freakin' depressing. It takes your soul and sucks it out, steps on it a few times, defecates on it, and hands it back to you. And after all that, you still can't help but thank it for being so damn wonderful. The musicianship and cohesiveness has improved vastly from Somewhere at the Bottom, and their story telling has elevated them to places few bands dare to reach. This is one of those bands that at first repel with their abrasiveness, but if you can see past it, there is a treasure underneath.
2.
Frank Turner
England Keep My Bones
I can't really put my finger on the reason I was hesitant to give Frank Turner a shot. Something about his name I guess, reminded me of some old, washed up "rock" star who was far past his prime. And there, my friends, is where we finally find out that I'm a fucking idiot. He truly is a gifted songwriter, and his folk-tinged rock'n'roll is clearly something that deserves to be admired. While with this release he seems to move away from his music-off-the-cuff style of previous albums and his development of songs becomes more apparent, it still astounds me how real and geniune he sounds. Of all the rock stars in the world, there is not one person I would rather have a beer with than Frank Turner.
1.
Fair to Midland
Arrows & Anchors
RIKKI TIKKI. Even I laughed the first time I heard that, so don't be too worried if you couldn't stifle your own. Regardless, this album was far and away my most anticipated album of the year, and it sure as hell didn't disappoint. It took all the expectations left by Fables and left them in pieces on the floor. From start to finish, Arrows & Anchors is an ingenious venture into alt, metal, and progressive euphoria that I have never seen rivaled. Each song is crafted to perfection, creating a whirlwind of activity that re-emerges new and exciting upon every spin. There is no way I could try to describe it and do it justice, other than to say it is amazing. To put it simply, it's the best album of 2011.
Thanks for taking time to read this. Hopefully next year can live up to what this year has so easily accomplished.
-Caleb, aspiring awful pro video game player.
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