Top 10 for 2012- #6-10

When critics publish their annual Top 10 lists in November, it's usually against their will and all about deadlines rather than good criticism. Not only are there still more weeks in the year for music to still be released, but there's also a need for reflection. With that said, I finally present my Top 10 for 2012, starting with #6-10...

6. Richard Hawley- Standing At The Sky's Edge

A beautiful rock record. And at a time when I didn't think I'd have a chance to ever say that again, it is a real gem to be cherished. It's intimate and immense at the same time, and oozes sentiment without ever sounding obvious or cloying.

7. Dwight Yoakam- 3 Pears

It took Dwight Yoakam 7 years to get back to making records, but his talent is none the worse for wear. Typically quixotic for Yoakam, 3 Pears is an undeniably country record, but finds inspiration in George Harrison as much as The Flying Burrito Brothers. Also including collaborations with Beck and (gasp!) Kid Rock, this is a one of a kind country music record, and one only Dwight could create.

8. Low Cut Connie- Call Me Sylvia

I have been asking the music gods for a piano rocker in the vein of Jerry Lee Lewis for years now, and finally, Low Cut Connie has answered my prayers. A rollicking good time band with respect for original rock 'n roll as well as doo-wop, rockabilly, garage rock and boogie-woogie, Low Cut Connie will remind you why Jerry Lee was (arguably) the real king of rock n roll.

9. The Vaccines- Come Of Age

A fitting title for a band who previously had the songs, but none of the attitude. The sophomore release  seems to have taken to heart some of the criticism given to their debut and made plenty of adjustments. A bit edgier, a bit darker and a bit tighter, Come Of Age is a good reminder that good simple rock songs always win.

10. King Tuff- King Tuff

I am a sucker for garage rock. But even though I admit my soft spot for the entire genre, I also take more of an offense when it's executed poorly. And unfortunately, in the last few years, there have been so many bands with a fuzzbox that think that's all it takes. Not so for King Tuff. Juvenile in all the right ways, this record is a stomp monster with the all the right attitude and energy. And the hooks, oh yes, so many hooks.

The Vaccines and King Krule

5. The Vaccines- What Did you Expect from The Vaccines?

This might be one of my biggest surprises for 2011. I did not expect to enjoy this record anywhere near as much as I did. I figured the initial high of the catchiness of the tunes would be euphoric but short lived. Seeing The Vaccines live also put a dapper on things. Not that they are bad live, but their look and overall demeanor is a bit bland. But in the end, good songwriting will always win out, and compared to most pop/rock records of 2011, this record has the sharpest hooks and tightiest compositions by far.

It seems that as more bands try to churn out "summery west coast surf rock 50s pop," the more inspired this record seems. This is how it's done. It's garage rock, it's the Everly Brothers meets the Kinks, it's the kind of rock music that will never die. It's about youth, love, loss, heartbreak, fun, and it usually comes in a tight 3-minute package. This is how it's supposed to sound.




6. King Krule- King Krule EP
Somehow this record flew under my radar for a few months after it's August release, and barely made it onto this list, but I'm very glad I found it. The best thing about this record is the fact that it sounds like nothing else out there, and is terribly difficult to describe without seemingly short changing it. From one angle, it's a dub inspired paranoid nightmare, from another angle it's a jazz fusion beatnik poetry record with a dash of electronic flourishes. It's an old sound filtered through fresh ears, and hopefully is the start of a new synthesis that will bring even more invention.

Additionally, the lyrics ooze of lost frustrated British youth with too much education/medication and not enough to do. It seems like a great bookend for the last ten or so years with the Streets "Original Pirate Material" at one end and this at the other, as both give people a true sonic representation of the mind of the UK teen right at the moment of their release.

Brother

Since I have commented on The Vaccines, it's only right that I follow that up quickly with one on Brother.

Splitting British music fans right down the middle, most people think that Brother are either the devil incarnate or the second coming. The critical intelligentsia are dismissing them out of hand as rehashing grave-robbers with no real musical chops but tons of gall and a lot of lip service. Unfortunately for those critics, there seem to be a real market for an Oasis redux act, filming their interviews at a football stadium, claiming they are the only real music in town and insulting other bands with reckless abandon. Claiming their own sound as "gritpop" didn't help either.

But notice that I haven't mentioned much about the music. That's the thing, for the slings and arrows, the music is rarely the real topic, and I think I know why. Brother's songs are... not bad. They aren't great either. They have all the earmarks and swagger, but the things that made Britpop and particularly Oasis so inviting was the sound. Huge loud and imposing while also simple-minded dumb pop music that drives deeply into your brain after one listen. Brother's songs are ok, they aren't offensive, but they aren't inspiring. They might do better with some touring, some punch ups and a good amount of lager and a few more records in their collection. I can wait.

The Vaccines

I had been planning to do a quickie post about 8-10 new bands that I have been checking out but then figured I have the time to do individual posts bout them, so why not take the time and do right be each of them.

I'll start with The Vaccines. yet another victim in the UK crush of immediate hype, the resulting backlash and the inevitable stateside launch. The funny thing is that for these guys, it's all happened in a matter of about 4 months. I won't go into the merits of the hype, or the reasons (or merits) of the backlash. Instead, I'll just give you my take as I caught them live last week here at the Bowery Ballroom in NYC.

The songs are pretty well-crafted, and they excel when they stick to the 2 and a half minute pop song. They are capable enough players, with the drummer really standing out oftentimes, which is always nice to hear. It's good to see basic simple rock songs being played quickly with a sense of urgency, and with little to no noodling and spells of introspection.

The problem comes in the other areas of rock that they (admittedly) are just not interested in. They have no look, there is no sense of danger in the band's persona, and are overall just nice boys. (Check out this quick interview with them from Live4Ever for more on this). Now I am not asking that they be Oasis or the Sex Pistols, but with the energy and songwriting chops, I just wish they'd spend a month or so locked in a studio with Graham Coxon to figure out how to be a proper nice boy, yet dangerous, rock and roller.

Check out the video for the single that won me over in the first place: