In my head, record shop instores are meant be like the final scene of Empire Records- with a band playing on the roof and slackers rolling kegs down the street. In reality, this never ever happens, and perhaps that’s a good thing as no one really ever wants to see Renee Zelwegger sing more than once in their lives. And in spite of my shattered teen movie dreams, sometimes, in record stores, with their poor sound systems and randomly congregated audiences, in stores can be truly quite remarkable gigs. Craig Finn’s recent performance at Rough Trade East definitely falls into that category.
As a huge Hold Steady fan, I did (wrongly) wonder if Finn’s debut ‘Clear Heart, Full Eyes’, was just going to be an album of ‘not making the grade’ Hold Steady outtakes. Instead, it is full of wonderfully unique country-esque songs, with simple guitars focussing topics such as on punk rock wisdom (‘No Future’) and the dying days of a relationship (‘Not Much Left of Us’)- much more contemplative than some of the party tales of The Hold Steady but with all the lyrical brilliance.
Playing at Rough Trade with just a slide guitarist as back up, to a small audience of pre-sale album buyers, journalists and the odd hipster who had stumbled in off Brick Lane, Craig Finn still managed to bring new beauty to stripped down versions of the highlights from ‘Clear Heart Full Eyes’. Songs such as ‘Sarah, I’m Surrounded’ sounded beautifully melancholic, and ‘My Friend Jesus’ provided a humorous interlude.
Considering this, perhaps then the main outcome of the Rough Trade East, is actually something quite awe-inspiring: whilst The Hold Steady are undeniably one of the greatest live bands around, this short set demonstrated that with a very different set up, with a different array of material, and without a full band, Craig Finn still has the ability to host an enchanting live show. It’s not just the party soundtrack of The Hold Steady he has up his sleeve, but now its an album and live show of truly beautiful, enigmatic songs.
I’m pretty sure no one from the cast of Empire Records couldn’t even come close to that achievement.
Made the Cougar Microbes Top Albums of 2011 list here
2. Beirut- The Rip Tide
Made the Cougar Microbes Top Albums of 2011 list here
3. Death Cab for Cutie- Codes and Keys
I have been a Death Cab super fan since about 2001. ‘We Have the Facts and We’re Voting Yes’ is one of those albums that stopped me in my tracks, and ‘The Photo Album’ will always be one of my favourite albums of all time. However, whilst Death Cab’s quirky under the radar indie sensibilities may have been what won me over in the first place, I am unashamed in saying that indie rock pop songs (such as 2005’s ‘Plans’) are often when they’re at their strongest. Which is exactly why ‘Codes and Keys’ is so fantastic- tracks such as ‘Stay young, go dancing’ and ‘Portable Television’ are perfect indie pop for the Portland generation.‘Codes and Keys’ basically solidified it for me: Death Cab For Cutie are most definitely the band that I will never fall out of love with.
4. Bon Iver- Bon Iver
Made the Cougar Microbes Top Albums of 2011 list here
5. Braid- Closer to Closed
Okay, so it was only an EP, but if 2011 can be remembered for only one thing, it has to be the welcome return of Braid and their melodic pop accompanied by Bob Nanna’s distinctive vocals. This 4 track EP is hopefully the shape of what’s to come from a full length in 2012- Kinsella-core style tunes with heartbreaking lyrics. Roll on that 2001-era emo comeback..
6. Surfer Blood- Tarot Classics
Another EP, but one that is too good not to mention. Surfer Blood’s follow up to their 2010 debut ‘Astro Coast’, is all kinds of wonderful. ‘Tarot Classics’ is 4 brilliantly upbeat Beach Boys-esque tracks- the kind of songs that make you want to do spontaneous handclaps as you listen along. Main single ‘Miranda’ is Surfer Blood showing they can take the sound they encapsulated on their debut to the next level- polished hyperactivity if you will. With their second full length due next year, Surfer Blood well and truly remain ones to watch.
6. The Horrible Crowes- Elsie
Filling this year’s Hold Steady/Gaslight Anthem void in my life, The Horrible Crowes debut album oozes Jersey and Springsteen sensibilities. This is the kind of record that is made for dive bar jukeboxes, soundtracking ill advised all night whiskey drinking (the above may or may not have been based on personal experience). Brian Fallon’s vocals sound just as affecting as they do on Gaslight Anthem records, but yet benefit from the stripped down simplicity of The Horrible Crowes’ recording style. It’s a rare thing when side projects contain enough good songs to stand along, but ‘Elsie’ most definitely slots into that elusive category
7. Fleet Foxes- Helplessness Blues
Made the Cougar Microbes Top Albums of 2011 list here
8. Bright Eyes- The People’s Key
Made the Cougar Microbes Top Albums of 2011 list here
9. Mister Heavenly- Out of Love
An indie-rock supergroup comprising of members of Modest Mouse, Unicorns, Man Man with Michael Cera on touring bass, Mister Heavenly had pretty good odds in producing one of the albums of 2011. Bursting full of upbeat style indie-pop, accompanied by 1950s influences, ‘Out of Love’ is a must listen for anyone who has a remote leaning towards catchy indie rock that doesn’t take itself too seriously. And if that’s not enough, their biography states that Mister Heavenly are ‘very excited by the prospect of their music being used in a big-screen, teen romantic comedy’, which is pretty much all I could ever want from a band’s press release. Instant scene points? Yeah, I think so.
10. Alex Turner – Submarine (Original Movie Soundtrack)
Movie soundtracks aren’t often strong contenders for albums of the year, but Alex Turner’s self composed soundtrack to Richard Ayoade’s ‘Submarine’ is more than worthy of a place in the list. As a huge fan of the book, the songs that Turner produced for the film managed to perfectly encapsulate the melancholy and quirkiness of the story, whilst also showing that there is more to his musical repertoire than just the Arctic Monkeys. All haunting vocals, slow beats and acoustic guitars,especially on stand out track ‘Stuck On The Puzzle’, this a mini album that is most definitely one of the best things to emerge in 2011.
It feels like it was only yesterday that we started hearing about The Decemberists. It amazes me to think that the band has released six official studio albums earning a spot amongst indie rocks biggest success stories. Cougar writer Emily added them to her list describing ‘The King Is Dead‘ as “A folky album with well-crafted song after well-crafted song; it is the quiet and beautiful dark horse in my collection this year“.
Jazmin mused that ” Something that makes The Decemberists one of my favourite bands is their ability to make each of their albums so very different but yet distinctively Decemberists-esque. The folk undertones of ‘The King is Dead’ are absolutely no exception.
Perhaps their best album since ‘Your Majesty’, ‘The King is Dead’ is the perfect mix of beautifully crafted acoustic melodies such as ‘June Hymn’ and singalong anthems such as ‘This Is Why We Fight’. If the best bands are those that keep evolving, The Decemberists’ 2011 outing is a case study in why they’re already a step ahead of the rest“.
Bon Iver‘s much awaited sophomore album did not disappoint warranting a spot on numerous “Best of 2011″ lists including a handful of Cougar Microbes types.
Nicole justified its selection saying “Bon Iver continues to carve out his niche, and the deeper he goes the better. If the listener follows as he continues his subterranean exploration, they will find many heartfelt and triumphant moments; ultimately proving that things don’t have to be conventional, but just the opposite”
Jazmin added “Bon Iver’s self titled second album is one of those records I haven’t been able to stop playing all year. Each song is beautifully crafted, layered in different musical elements and building further on the vocals that made ‘For Emma’ so wonderful. It feels hard to say anything that a hundred positive reviews haven’t already said this year, but it’s a testament to Bon Iver’s emerging brilliance that album so simple and basic can be so unbelievably breathtaking“.
Finally Cole said “‘Bon Iver’ by Bon Iver is very simply a lovely album. It swells and swoons in a dreamscape that never falters. I am personally guilty of repeating “Perth” and “Calgary” exclusively for the complete duration of my commute to work. The album just works from beginning to end“.
Following the success of Fleet Foxes‘ debut self titled album interest in their follow up was understandably high.
Cougar writer Jazmin added them to her year end list adding: “Fleet Foxes embody everything about why I love indie-folk- consistently brilliant albums, and consistently wonderful live shows, both of which combine simple musical elements to make complex songs. ‘Helplessness Blues‘ maintains that holy grail- 12 songs of heart-rendering songs that mix modern day indie rock with elements of 1960s Americana.
Whilst, third rate bands such as Mumford & Sons continue to claim that they are flying the flag for folk, Fleet Foxes are actually doing exactly that without all the fanfare developing meticulously crafted albums that radiate musical authenticity”.
Our girl Olivia added “Like The Beach Boys, I always thought of Fleet Foxes as the type of band that has the ability to project a cute and naïve image while still managing to sing about death and quasi-Nick Cave-esque songs without people really noticing. I just love this ambiguity. This album is darker than the previous one, Pecknold‘s voice more prominent and confident, but other than that it’s almost the same perfect recipe from their self titled debut.
Conor Oberst oversaw the evolution of Bright Eyes over the past 10 years offering a series of constantly changing albums which displayed the frontman’s outstanding ability to write a pop song in his many evolving guises.
Hardcore fans may have been left disheartened by the apparent refusal to return to what brought Bright Eyes to the limelight in the first place. Perhaps with ‘The People’s Key”s sciencefiction themes Oberst has travelled back in time for a little bit.
Cougar writer Jazmin commented “As someone who gave up on Bright Eyes a long time ago, ‘The People’s Key’ was an unexpected surprise in 2011. Harking back to the elements that made Conor Oberst lovable in the first place- strong vocals and acoustic guitars- this album seems like the natural follow up to 2002’s ‘Lifted’, not an album that comes almost 10 years later.
The People’s Key seems a genuine, emotional record, a far cry from Bright Eyes’ over produced outings such as ‘I’m Wide Awake, It’s Morning’, that often lacked the sincerity of his earlier records. So, if Conor Oberst has finally reconnected with what made his music so impressive in the first place, I hope there are many more albums like ‘The People’s Key’ to come‘.
Beirut‘s third full length album ‘The Rip Tide‘ does not see Zach Condon divert wildly from the nostalgia tinged sounds he has offered on past efforts. Whilst introducing new ideas the bulk of this material builds on the Beirut strengths we knew and loved.
Cougar scibe Jazmin added the album to her top 10 stating: It may have been a wait 4 years since ‘The Flying Club Cup’, Beirut’s last full length outing, but on the strength of ‘The Rip Tide’, sitting it out was more than worth it. Bursting full of beautiful brass and accordion heavy tunes, ‘Rip Tide’ manages to do exactly what Beirut’s 2006 debut ‘The Gulag Orkestar’ did so well- combine melancholy lyrics with wonderful optimistic melodies.
There was always a risk that the novelty factor of Beirut’s unique sound might wear off someday, however with consistently brilliant albums such as this, and heart stopping live shows, it doesn’t seem like that’s a risk we need to worry about anytime soon.”
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In my head, record shop instores are meant be like the final scene of Empire Records- with a band playing on the roof and slackers rolling kegs down the street. In reality, this never ever happens, and perhaps that’s a good thing as no one really ever wants to see Renee Zelwegger sing more than once in their lives. And in spite of my shattered teen movie dreams, sometimes, in record stores, with their poor sound systems and randomly congregated audiences, in stores can be truly quite remarkable gigs. Craig Finn’s recent performance at Rough Trade East definitely falls into that category.
