As we’ve nearly reached the halfway point of the year 2010, I thought it an appropriate time to assess the state of the “Album of the Year” race as far as I am concerned. This will be my first, and probably last, foray into writing about music in this space. Music is not one of those things I’ve ever felt comfortable writing about, but I thought it worth giving it a try.
2010 has been an absolute Renaissance year for me (in a strictly musical sense). I have discovered new, wonderful bands, finally gotten into established bands, rekindled loves for bands, continued to love bands, and watched as my love has grown for bands. At the end of last year, I was left with an unimpressive 2009 music collection that I know will never stand the test of time for me. I was grasping at straws (old bands (New Found Glory) and albums that frankly weren’t great (Wolfgang Amadeus Phoenix) to try and find something. At the end of the year, I gave the “Album of the Year” title to New Found Glory’s “Not Without a Fight” in an almost cute way of book-ending the decade with AOTY awards for the same band. I don’t think I’ve listened to “Not Without a Fight” this year. And this is not to degrade that album. It’s terrific pop-punk if that’s your thing. And in a weak year of discovery for me, it was the clear cut choice. But in hindsight, it would not have stood a chance this year. And here’s why…
Sometime in April, I received a mass email from a friend with a list of bands who were coming to DC that he thought his social circle should be aware of. One of those bands was a completely unknown (they had no Wiki page at the time) outfit called Gold Motel. Long story short, their EP and live show spawned this musical Renaissance. With that, here is a sampling of my 2010 (almost) Halfway Album of the Year Contenders (in reverse alphabetical order because why not?)
Vampire Weekend “Contra”- A much more complete album than their 2008 self-titled and critically acclaimed debut. I bought this the day it was released in January and was blown away from listen #1. The growth exhibited here astounds me. 2008’s “Vampire Weekend” was a solid album, but was mish-moshed in its own way. There was no cohesive flow. With “Contra” the flow and emotion it creates was apparent from my first listen. The final three songs continue to blow me away every time I hear them and I never get tired of how quickly the title track erupts, recedes, and erupts again. Lyrically, handsome man Ezra Koenig is less abstract, which is a true benefit to the music which itself is less abstract, but frankly better than “Vampire Weekend.” This album strikes me as having potential to be an all-time favorite in a few years.
Surfer Blood “Astro Coast”- For as awful as their band name is, Surfer Blood is actually very good. “Astro Coast,” their debut, evokes memories of late 90s Weezer, Built to Spill, Nada Surf, The Shins, Pavement and other bands of their ilk. The common thread with “Astro Coast” is that it sounds like _________________ (90’s Alt Rock Band). And frankly, that’s good. As an album, this is not ground breaking music, but what it does, it does very well. Album opener “Floating Vibes” may well be my favorite song of the year, a terrific combination of pretty guitar work and pretty, direct lyrics. “Vibes” is followed by “Swim” an anthemic, almost soaring rock song, that gave me the impetus to buy “Astro Coast.” The rest of the album is good, but never does live up to its beginning, except maybe with its conclusion (“Anchorage” and “Catholic Pagans”). I don’t actually believe that this can be an “Album of the Year” in such a great year, but I thought that it definitely deserved mention here as a band that maybe you should check out, dear reader.
The New Pornographers “Together”- I am the only person in the world who has never listened to “Twin Cinema.” I really had no base for The New Pornographers before buying “Together.” They were a band I was always told I would like (just like the next band) but had never actually pursued. My mistake. “Together” hasn’t received the plays that some of these other albums has, but start to finish, track-by-track I think it is the “best” album I’ve listened to. The impact of “Contra” isn’t quite there yet for me with “Together,” but that could be a matter of time.
The National “High Violet”- I had heard the National before, but never actually listened to them. Again, my mistake. “High Violet” had the impact on its first listen, which is often difficult to achieve. I first listened to “High Violet” on an aimless drive, when I needed to think, and it made me think. A lot. While at times “High Violet” sounds like it could melt into the wall and dissipate, it never actually does. It remains constantly interesting and thought provoking, which cannot be said of “Together,” which I hear, enjoy, but have yet to feel anything for.
Motion City Soundtrack “My Dinosaur Life”- Consider this 2010’s version of 2009’s “Not Without a Fight.” MCS is a band that, to me, was always a step well ahead of the rest of the mid-2000’s pop-punk universe. Lyrically, they were way darker (with the exception of the lackluster, boring “Even If It Kills Me”), due in complete part to lead singer Justin Pierre’s less than stellar mental state. For me, “My Dinosaur Life” is an album that will always find itself in lists like this. I will always need one pop-punk album per year. As with Surfer Blood, this won’t be my album of the year, but I’m giving it mention because I think it deserves a word or two. It will never be a classic, but it will likely be 2010’s pop-punk Album of the Year (an award that does not exist).
The Hold Steady “Heaven is Whenever”- My expectations for this album were similar to my expectations for me to win the 2010 American League Rookie of the Year. I had read that “Heaven…” was a recycled “Stay Positive”-lite. Nevertheless, I bought it the day it was released, because it was a Hold Steady record. 2008’s “Stay Positive” bore me to no end. The stories were so similar to “Boys and Girls…” and the music was a step back. However, with “Heaven is Whenever” I felt complete freshness. Album opener “The Sweet Part of the City” is a gorgeous song, and the right song for this band to begin an album with. Not a fast, anthemic rocker, but a slow, burning, longing track. Lyrically, Craig Finn manages to continue his well-constructed narratives without mentioning the same old characters (No Holly, Charlemagne, or Gideon here). “Hurricane J” rocks with the best of “Separation Sunday” or “Boys and Girls…” and “The Weekenders” might be the best pop song Craig Finn has ever written. And as for impact, it’s there too. A great album that I didn’t expect to be great.
Gold Motel “Summer House”- (see below)
Gold Motel “Gold Motel (EP)”- Here we have the leader of the pack so far. Yes, an EP. The LP, “Summer House” brings five more tracks to the fold, but none of them (except for “We’re on the Run”) can approach the five songs previously found on this EP. I think the thing that strikes me about the EP most is just how beautifully it flows together. The songs themselves evoke a certain 1960’s California pop feel, but they lack the triteness that I often feel that genre possesses. These songs might sound sunny, but lyrically Greta Morgan sings of vulnerability and insecurity and love. This EP and their terrific live show brought about the 2010 musical Renaissance for me. There was and still is something very special to me about their sound and abbreviated or not, this EP has impacted my year more than any other album. And so it finds itself here, for now.
Tomorrow, We Are Scientists and The Gaslight Anthem release new albums. And also, we’re a month and a half away from a previous Album of the Year winner, The Arcade Fire, releasing their much anticipated third album, “The Suburbs.” Or perhaps there’s another Gold Motel sitting out there. That’s the great thing about music. You never know when something is going to come along and completely change your perspective.
Mid-Atlantic Bias 