The year is not yet over, but I thought I would document my thoughts on the best albums of 2012 with only a month to go. It has not been the strongest year for music, but the highlights have been strong. Some of these blurbs may turn into full-fledged posts at a later date, but right now I just want to relay the flavor of the album as briefly as possible.
(Album/Artist)
The Idler Wheel…: Fiona Apple: Easily her best album, with very raw vocals. Centering the album around percussion was very smart, and the minimalism is welcome from her after seeing what Jon Brion does to her work.
Lonerism: Tame Impala: They aren’t my favorite band, but this is a very good album. “Keep On Lying,” “Elephant,” and “Nothing That Has Happened…” are especially strong. They jam but never become the dreaded jam band.
2: Mac DeMarco: He reminds me very much of Lou Reed, and his use of distortion is simultaneously uncomfortable, evocative of the Talking Heads, and somehow welcome and new.
1991: Azealia Banks: The female rapper so many have aspired to be but have never attained. She has a filthy mouth, but she’s also smart and very talented.
Fear Fun: Father John Misty: If John Denver was the lead singer of Fleet Foxes you might get something like this. From Fleet Foxes’ drummer, J. Tillman.
Half Way Home: Angel Olsen: Josephine Foster meets Patsy Cline meets Bill Callahan meets (sometimes) The Ronettes. Compelling album.
Centipede Hz: Animal Collective: By far not my favorite Animal Collective album, but its highlights are very high. “Wide Eyed” is one of my favorite tracks of the year.
Barchords: Bahamas: One of the better live performances I saw in 2012 was Bahamas at Kung Fu Necktie in Philadelphia. It was an intimate venue, and Bahamas is much, much, much better live than on this album. Still, the album is fine and a vast improvement over their intolerably poppy, Jack Johnson-esque debut.
Swing Lo Magellan: Dirty Projectors: Got me through July while studying for the bar exam. I initially disliked this album, finding it nowhere near as interesting as Bitte Orca. Multiple listens revealed something deeper and more heartfelt than they’ve done in the past. I used to describe Dirty Projectors as a virtuosic, avant-garde modern day Mamas and the Papas. They may not be that anymore, and that’s okay. Perhaps the harmonies aren’t as complicated. Perhaps the guitar work isn’t as virtuosic. But this is still a great album in its own way.
Cokefloat!: Paws: Does for me what Wavves’ “King of the Beach” did for me 2 years ago.
Come Home to Mama: Martha Wainwright: Always old-fashioned, but still bringing edge to the proceedings is Ms. Wainwright, whose “All Your Clothes” is a great vocal performance.
Out of the Game: Rufus Wainwright: I’m always a sucker for Rufus Wainwright, though I think he can be too baroque and over-the-top. This is kind of his “selling-out” album, and he was very straight forward about it. Problem is, Rufus Wainwright’s idea of selling out is still misguided and strange. His “Rashida” performed with the Dap-Kings, “Montauk,” and “Candles” are the highlights of the soulful album. Still, Wainwright benefits immensely from spare arrangements. His solo piano performances are his most striking, and most of the songs on this album are much more impressive when in their skelatal form.
The Money Store: Death Grips: It is with a heavy heart that I report Death Grips sound more than a little like Wesley Willis. However, their production is top-notch, and “Hacker” goes in completely unexpected directions. A solid electronica/rap album.
SO, there was no great Joanna Newsom album this year. There was nothing completely out of left field like Tune-Yards. However, there were a number of solid albums from some of our more dependable songwriters.
35mm Critic 