The Year In Music: Tracks Pt. 2

Welcome back! This right here is the second of five installments covering 50 standout tracks from 2014. Arranged in alphabetical order, this segment extends from Eagulls (no not those Eagles…) to Danish princes of punk Iceage. Click the track names for music videos and follow the link(s) at the bottom of the page for more aural/mind pleasure. Enjoy.

Eagulls | “Tough Luck”

TOUGH_LUCKThe year wouldn’t be complete without a story about some fresh young band armed with a couple of hot-blooded rock songs getting caught up in a scandal over some minorly embarrassing word vomit as they fast forwarded into indie music stardom. Of course, with a name based on a homophonic variation on a baby boomer rock icon, what could you expect? Eagulls deliver a refreshing blast of hooky punk with “Tough Luck”, a standout from their self-titled debut. What’s perhaps most respectable about Eagulls is how disinterested they are in playing the role of “band on the rise.” As compared to their eager contemporaries in Palma Violets, Eagulls seem content to rail against their hand selected targets with or without the attention of the international music press. “Tough Luck” contains plenty of arena-rock ethos though you can just as easily picture the band pounding it out inches above a sweaty basement moshpit. For all their unwillingness to pander, “Tough Luck” still comes on like a legend and it’s hard not to feel excited about this band’s potential. Here’s hoping they can keep their angst aimed outward and not disintegrate under the strain of the world stage.

Ex Hex | “Hot and Cold”

HOT_AND_COLDThe iconography of rock’n’roll is decidedly masculine. Think: Bruce’s butt or what made those fingers so sticky. On every page in the history of rock there are boys thrusting and humping, inducing hysteria with every bump and grind. For history’s favorite sons, clothing is optional, wild behavior is celebrated and no price is too high for the magic of music. For girls the story couldn’t be any different. Shamed and discouraged, the women of rock’n’roll (and music in general, for that matter) have never had the same permissions as their male counterparts. Last year there seemed to be a renaissance afoot. It was the year of Savages, Lorde, Perfect Pussy, Priests, Courtney Barnett and Beyonce, along with many many others. Yet, at the time it felt like there was a hesitation to celebrate. To call 2013 “The Year of Women” would have underlined the fact that women have historically been a minority in rock’n’roll, despite having played key roles in its various high water marks. And yet to deny the achievement seemed as unacceptable then as it does now. A year later, you can enjoy the infectious self-titled debut from Ex Hex, an all-women power trio fronted by Mary Timony (Wild Flag, Helium), without acknowledging the context in which it arrives. You can enjoy its sugary sweet kiss offs without recognizing that their debut is probably the best pure rock’n’roll record of the year. You can enjoy its confident craft without considering that it has invigorated a genre that many have been treating like a wounded animal since the guitar-driven glory days of the aughts. Yes, you could do all of those things but Ex Hex are just so good they’re liable to leave you wishing all your favorite bands would let go of their cocks and rock out like girls.

Flying Lotus | “Never Catch Me” ft. Kendrick Lamar

NEVER_CATCH_MEAnyone who’s wanted to share their enthusiasm for Flying Lotus but hasn’t wanted to burden unsuspecting listeners with the thousand-ideas-a-second aesthetic of FlyLo’s albums has been largely out of luck. Despite its quality, “Never Catch Me” works as an entry point to You’re Dead largely because it is the only track that can be gently pulled from its place without tearing the delicate, insanely intricate web that holds all of mastermind Steven Ellison’s work together. If Flying Lotus’ albums are mountain marathons (and I mean this in the best way possible) than “Never Catch Me” represents a moment to catch your breath. Of course, it’s all relative. Kendrick Lamar use the opportunity to demonstrate, via his rapid fire delivery over Ellison’s ludicrous BPMs,  that he is, above all, the most versatile high profile MC alive. Following the thematic arc of “i”, “Never Catch Me” finds Lamar between death and life. It’s a fitting space for him as he navigates his passage from urban poverty to super stardom. And he has found an ideal spirit guide in Flying Lotus who has always been above and beyond total comprehension. Together the two elevate each other’s powers and in doing so form a kind of mystical force with the power to stop time altogether.

The Fresh & Onlys | “Animal of One”

ANIMAL_OF_ONEAs a signifier, “San Francisco” has, in recent years, come to stand for a rather specific breed of psychedelic garage rock. At first glance artists and groups like Ty Segall, Mikal Cronin, John Dwyer/Thee Oh Sees/Castle Face Records seem to be mining a singular vision of Golden Era rock’n’roll. At the fringes of this vision there’s plenty of experimentation though it requires seeing past the Nuggets-biting guitar tones, major chord progressions and wailing blues riffs to recognize it. In these abundant times, The Fresh & Onlys saw fit to release House of Spirits, a record that was no less enjoyable for its eclectic tastes and came to feel like a welcome reprieve from the overdrive onslaught. That isn’t to say this record doesn’t kick ass. The rollicking “Animal of One” aptly demonstrates the band’s ability to write dynamic, captivating songs that use their enigmatic underpinnings to win your attention. “The point of forgiving is so you forget that being forgiven is all in your mind,” singer Tim Cohen intones wearily, the circuitous nature of his logic clearly getting the better of even his best intentions. But “Animal of One” offers redemption in the form of its weightless chorus. Cohen’s cooing blends with a snaky guitar, each climbing toward a state of sheer bliss. Though they may not exert their muscle quite as plainly as their peers, The Fresh & Onlys offer a transportative, “free your mind” take on garage rock that is San Francisco to its core.

Future Islands | “Fall From Grace”

SINGLES“Another synth pop band. Great.” is a sentence that can be read one of a few different ways depending on your tastes. Being a part of something popular is a double edged sword. You may want to be invited to the party but what happens when the party follows you around wherever you go? Some people are liable to think you’re a nuisance. Future Islands certainly benefited from synth pop’s surge in popularity during the last few years and while they may have elements in common with their peers (a predilection for romance, an ear for melody, a heartbeat-like bpm range), it’s their maturity and willingness to make gutsy but earnest diversions into less popular musical territory that set them apart. Samuel T. Herring’s vocals edge toward the darkly melodramatic more than once before he and his band arrive at “Fall From Grace” but there is no better place to appreciate the true dexterity of Future Islands. Lyrically residing in some dusty gothic hallway, the track smolders hauntingly before Herring unleashes a full throated wail. It’s a shocking turn, as unexpected as it is satisfying. After riding the crest of stardom elegantly this year (performing on The Late Show with David Letterman, opening for St. Vincent, landing a spot at Pitchfork Festival’s Paris extension), it is reassuring to know that the momentum that drove the band to their current success was not derived from the need to anticipate a perceived audience. The sincerity of synthpop can sometimes get overshadowed by its trendiness but there are deep layers of substance to Singles that are manifested in both subtle and bold ways. Future Islands are pioneers of nonconformity, addressing, by their very nature, the joys of abandon and the pleasures of personal truth.

Hamilton Leithauser | “Alexandra”

BLACK_HOURSThe Walkmen crooner stepped out on his own this year and the results were mixed in every sense of the word. Black Hours roams airily over the landscape of early pop (50s rock’n’roll, blues, easy listening) with surprising listlessness. Lead single “Alexandra”, a nugget of pure AM radio gold, proved sadly deceptive in this regard: little else on the album gets anywhere near its ecstatic buoyancy. Leithauser finds an unlikely muse in Vampire Weekend’s Rostam Batmanglij who lends “Alexandra” a hefty dose of charm and musical wit. Yet ultimately it’s Leithauser’s gifts as a songwriter, his crafty choruses and inimitable voice, that make “Alexandra” one of the most replayable songs of the year. If only he had employed the same level of genuine inspiration on the rest of his album, Black Hours may have emerged as a classic instead of a relic.

Hiss Golden Messenger | “Mahogany Dread”

LATENESS_OF_DANCERSThere are few things that have made me happier over the years than seeing success come to MC Taylor and the rest of Hiss Golden Messenger. The first album on their hometown’s most famous label, Lateness of Dancers builds on HGM’s increasingly excellent discography. The band’s intimacy and communion with the spirit of Southern music is only enhanced by the added production values of Lateness and “Mahogany Dread” easily fits in among their best songs. A beautiful accompanying music video reveals what any dedicated HGM listener already knew: family is everything for Taylor though things are never easy. Looking over Taylor’s lyrics since Poor Moon you can identify an increasing sense of solace in the struggle. “The mystery of love is a funny thing,” he muses, “the more it hurts the more you think you can stand a little pain.” Rich and mature, tinged with melancholy yet unsentimentally uplifting, “Mahogany Dread” is absolutely one of the best love songs of the year.

Hospitality | “Rockets and Jets”

TROUBLEAfter their promising twee beginnings, Hospitality took a beguiling turn on their aesthetically divergent second album, Trouble. Flitting from 60s folk to synth-infused prog, Trouble is certainly not without its pleasures. Among them is the longing-laced “Rockets and Jets”, a satisfying mix of what is now old hat for the band and their newer, sharper threads. The band is a shrewd packager of musical detours, often taking you places you might not expect from their outwardly sunny pop songs. “Rockets and Jets” momentarily disappears down a harmonic rabbit hole before emerging once again at the surface, changed in some invisible way. Many of the band’s assets have become more prominent: Amber Papini’s voice has increased its versatility, Brian Betancourt’s bass lines remain as memorable as ever and the songs on Trouble are undeniably ambitious even if they are not always cohesive with one another. The evidence suggests that while Hospitality may not always be consistent they will continue to surprise, which is, in many ways, a more hopeful prospect.

How to Dress Well | “What You Wanted”

WHAT_IS_THIS_HEARTAfter being saddled with the worst subgenre of the still-young decade, How to Dress Well’s Tom Krell has admirably overcome the cultural implications of PBR&B. Like his sonic peers (Drake, Frank Ocean, Autre Ne Veut), Krell works by layering passion and vulnerability, telling intricate and complex romantic tales. While How to Dress Well tends to fall on the ambient side, there is plenty on “What Is This Heart?” that bumps though the various build ups can sometimes be more than the casual listener may be ready for. “What You Wanted” is a perfect example: the track really kicks in only after 2 minutes of bubbly, sparse soul which outlines the eventual figure of the full bodied groove. The wait is worth it for Krell’s dissection of the unrelenting mystery of attraction and the bottomless pit of loneliness. Krell operates in a space within and outside of himself, able to see the faults in his character but seemingly unable to do anything about them. “I know it’s lame, it’s basic, childish, self-obsessed,” he rattles off, “but when I love it, I love it.” Wrapped in a haze that can sometimes feel impenetrable, How to Dress Well offers moments of ecstatic revelation, musically and lyrically.

Iceage | “Forever”

PLOWING_INTO_THE_FIELD_OF_LOVEIf one band truly represented the immortal spirit of “punk” this year it was Iceage. Their latest album, the simply staggering Plowing Into the Fields of Love, finds these Danish lads raping and pillaging their way through the annals of music history to often jaw dropping results. The band wildly mixes tradition with bold experimentation, keeping their own ideas so fresh and raw that many of these tracks feel ready to fall apart from exhaustion by the time they conclude. This is what historians may refer to as “genuine genius” and you’ll find little argument from anyone who’s watched these boys grow up. Take “Forever”: after a breathtaking bridge that finds Elias Bender Rønnenfelt intoning “Dive into the other like it was the ocean/caressed by its waters, I lose myself forever,” the song is ripped in two by a trumpet screaming across a choppy sea of strings and jangly guitars while thunderous drums and bass battle for rhythmic supremacy. It is one of many surprising, provocative and generally disarming moments scattered across the album. Iceage have been great since their inception. Now they have become masters of their craft, fearless pioneers of truth and terror.

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The Year In Music: Tracks Pt. 1

Herein lies the first of five installments covering 50 standout tracks from 2013. Arranged in alphabetical order, this segment extends from hip-hop duo Action Bronson & Party Supplies to soul revivalist Charles Bradley. Click the track names for music videos. Enjoy.

Action Bronson & Party Supplies | “Amadu Diablo”

BLUE_CHIPS_2The boy’s come a long way since those Ghostface comparisons. Action Bronson’s second outing with producer Party Supplies, Blue Chips 2 some how manages to improve on its predecessor while sticking to its tried-and-true formula of popular samples and ridiculous rhymes. Case in point: “Amadu Diablo” finds Action spitting about sex (“I nutted in like three strokes/now that ain’t no way to rep the East coast,” drugs (“coke shits in the toilet”) and, of course, food (“turkey sandwich in aluminum foil”) over Tracy Chapman’s “Give Me One Reason.” What is perhaps most impressive about Bronson is that this album, which sounds initially quite off-the-cuff, reveals, under closer analysis, something more like linguistic Olympics, a phrase I can imagine him using to describe some nasty nighttime activity. Mmm….gross.

AlunaGeorge | “Your Drums, Your Love”

YOUR_DRUMS_YOUR_LOVEOn paper, AlunaGeorge doesn’t sound all that interesting. Their take on 90s club music and R&B is fairly repetitious and lacking in conventional dynamics. The production borrows heavily from hip-hop/pop crossover hits while singer Aluna Francis’ voice is admittedly kind of weak. The capstone of their frontloaded debut, Body Music, “You Drums, Your Love” initially stood apart for its use of simple verse-chorus structure. Yet after a dozen or so listens I began to wonder what is was that really kept bringing me back. My best guess it that the track’s verses are as great as its choruses, a trick that’s more difficult to pull off than you’d think when your choruses is as infectious as it is here. Otherwise, it’s an inexplicable, addictive mystery.

Arcade Fire | “Reflektor”

ReflektorsingleEarlier this year, I called the title track from Arcade Fire’s latest album the “speed walking around your old neighborhood anthem of the year.” Allow me to explain: Arcade Fire’s Funeral (2004) was my preferred “aimless driving around with friends” record in high school. An intimate album full of swells and bursts, Funeral’s sing-a-longs were private yet joyous affairs. Nearly ten years later, Arcade Fire have changed their sound but still retain the same ability to inspire emotional and physical movement. In “Reflektor” there’s an emphasis on the latter without sacrificing the former. A disco gem with James Murphy’s fingerprints all over it, this track, like much of the album that bears its name, brings the rhythm section forward to meet Win Butler’s esoteric pronouncements about “the reflective age,” whatever that means. Of course, when the chorus drops with its jangly guitars and big horn blasts, Butler could be reading out of the phonebook and it would still be intoxicating and electric. “Reflektor” has power and control, the signs of true song craft. Listening to it is like traveling forwards and backwards in time simultaneously, much like a quick jaunt through the place where you grew up.

Arctic Monkeys | “No. 1 Party Anthem”

AMAll I have to say is: where the ballads at? I hadn’t spent much time with Arctic Monkeys since 2007’s Favourite Worst Nightmare but AM brought me right back to those post-punk revival glory days when Bloc Party was still burning through hits and the next Franz Ferdinand release was worth getting excited about. Sorry. That was harsh. I actually quite like Franz’s new album. Surprisingly, Arctic Monkeys, who exploded in 2006, have actually gotten better with age. While the riffs may be bigger, the band’s early brashness has been replaced by razor sharp observances, as if the party starters are now the guys hovering around the bar wondering when the last train home is. “No. 1 Party Anthem,” the best-named track of 2013, brings this mood home without ever becoming dour. “I just want you to do me no good/and you look like you could,” singer Alex Turner moans with reluctance. He knows exactly where this night is going but just can’t help himself. And that’s an anthem I think we all know the words to.

Autre Ne Veut | “Play by Play”

ANXIETYI’m still not sure what to make of Autre Ne Veut. Sharing the distinction of an unapologetic love of 80s pop and 90s R&B with Devonte Hynes’ Blood Orange, Autre Ne Veut’s Anxiety is spectacular for how weird and effusive it is, playing like a kind of experimental American Idol. “Play by Play” is a shape-shifting masterpiece, which begins with sparse drums and synthesizers while Arthur Ashin warms up his voice like an aging Olympic gymnast preparing for their last shot at glory. Building up from an epic breakdown, the track launches into its climatic glory. “I just called you up to get the play by play,” Ashin chants adding, “never leave me alone.” “Play by Play” is one of the unforgettable moments of the year, exhaustingly passionate and achingly beautiful. It captures something universal about the nature of longing and independence. It wants like a child and stands tall like an adult. While the music may borrow from the past, the emotion is all now.

Boy | “Little Numbers”

MUTUAL_FRIENDSBetween the piano bass line and the handclaps, the Swiss/German duo Boy easily filled the Feist-shaped void in indie pop this year. “Little Numbers” is full of stray observations made by a lovesick narrator waiting on a call from her special someone. “Red cars are quite rare, I realize,” she notes before following it with melancholy, “I wonder which color you’d like.” A delicious nugget of sing-a-long verses and sweet harmonies, Boy’s best asset is their sense of dynamics: the bare bridge explodes into a chant-worthy chorus, lending “Little Numbers” anticipatory momentum that’ll carry you through your own days of waiting.

Brainstorm | “She Moves”

SHE_MOVESBrainstorm got a lot of play over on NPR’s “All Songs Considered” earlier this year. Bob Boilen’s comparison of the band to British post-punk legends Gang of Four had me hooked before you could say “melodica.” While Brainstorm’s post-punk has a little more production meat on its bones than Gang of Four’s lean and dry punk blasts, they retain their predecessors propulsive spirit and predilection for call and response. “She Moves” has a wide, hip-shaking groove driven by a massive bass and syncopated guitar chops. While lines like “I got no money/only tea and honeycomb” lack any sort of concrete significance, there’s an undeniable fusion of melody and rhythm that will keep you shaking for days on end.

Caitlin Rose | “Waitin’”

THE_STAND-INCaitlin Rose makes country music for the skeptics. As a genre, country is about as maligned as they come. Talk to enough people and someone will invariably tell you that they don’t like “opera, techno, metal or country.” Each of those genres have impressive, dedicated followings and appear relatively closed to outsiders. If the accessibility and sentimentality of Kacey Musgraves left you cold, then this Nashville-by-way-of-Dallas singer may be more your speed. Rose’s “Waitin’” pairs the singer’s impressive pipes with a spunky slice of authentic Grand Ole Opry-style country. An undeniable stunner, Rose keeps things tight but never rigid as she muses on Cupid’s fickle spirit. “Cause there’s love that’s new and all the rest/ but the love that’s gone, baby, hurts the best,” Rose proclaims. “Waitin’” won’t melt your heart so much as set it on fire.

Chance The Rapper | “Good Ass Intro”

ACID_RAPThe new king of free association rap is barely out of high school. Chance The Rapper, a bubbly, energetic talent from The Windy City, is a welcome addition to the growing crowd of fresh-faced rappers from around the country who are ushering the old hands into retirement. “Good Ass Intro”, the opening cut to his latest mixtape, Acid Rap, is instant ear candy. Chance’s playful, rubbery flow (“I keep a tab on my ex’s/keep some X on my tongue”) is augmented by a slippery bass line, soulful background singers and chugging percussion. Chance is a rapper who occasionally gets so caught up in the internal rhythm of his rhymes that it can sound like he is losing the beat. Yet, his skills as an emcee far exceed his age. Brimming with insights over his lost youth and the condition of his home, Chicago’s infamous South Side, Chance brings a good deal of emotion to the table which serves as a breath of fresh air in a field that is chokingly crowded with empty braggadocio.

Charles Bradley | “You Put the Flame On It”

VICTIM_OF_LOVEWhile the millenials dig through their older siblings’ record collections the internet to discover Pavement, Dinosaur Jr., Pixies, Sonic Youth and all the other bands that inspired Yuck, Charles Bradley is doing the Lord’s work. Alongside the unstoppable Sharon Jones and the entire Daptone crew, 60s soul is getting a much deserved revival. Bradley has one of the most expressive voices in music and he puts it to great use on “You Put the Flame On It,” a highlight from his second album, Victim of Love. Bradley croons and croaks with tenderness and passion in a display of genuine attraction that’s becoming distressingly rare in popular music. Next time you need to heat things up, forget Drake and Beyonce. Just let Charles in.

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