Kyle's Top 50 Albums of 2012: 50-31

The best of the best from 2012's music are here. This is the first of three lists, covering numbers fifty through thirty-one. 2012 was my favorite year in music, but since I started documenting my favorite records of the year in 2008, each following year has been my favorite. This part contains everything from rappers that have blurred the lines between mixtapes and albums to noise bands that are more brutal than a thousand nails on a thousand chalkboards. So, without further preface, here are albums 50 through 31.

50. Sleigh Bells - Reign of Terror
[Mom + Pop]

Music should be fun; Sleigh Bells know how to have fun. Though it isn't as instant as 2010's Treats, Derek Miller and Alexis Krauss crafted an excellent, saccharine piece of Noise-Pop with Reign of Terror. "End of the Line" might end up being my favorite Sleigh Bells' song, sounding like the title song for a John Hughes movie. There are still the bent strings and Krauss's dreamy vocals, but now the band has added more cheering, much like The Go! Team. Things have slowed down on Reign of Terror, and Sleigh Bells have successfully avoided a sophomore slump.

49. Moonface - with Sinai: Heartbreaking Bravery
[Jagjaguwar]

Spencer Krugg joined Finnish band Sinai to produce this well-executed Post-Punk album. The eponymous track is what hooked me on this album, a creaking, slow-burn of an opener. Krugg has never sounded as helpless as he does on Heartbreaking Bravery; he sounds just as brooding, too.
This is an evil record, though it's extremely inviting. Maybe it's the experience I had with Heartbreaking Bravery, coming down from a day on Sleeping Giant Mountain with some of my closest friends, but with each listen I love this record a little bit more, adding to that dear memory. I can say I am not the biggest Interpol fan, so thanks to Moonface I can enjoy some new Post-Punk in the year 2012

48. Joey Bada$$ - 1999
[Self-Released]

Yeah, it is a mixtape, though I am giving up on discerning between mixtapes and albums, as they blur more and more each year. A nod to classic 90s Hip Hop, 1999 is an album well beyond the years of its seventeen year-old MC. The Pro Era crew might be the reason this is so damn good - and it's very disheartening to hear member Capital STEEZ recently took his own life - as this record feels like the first round of Wu-Tang solo albums, having multiple members on a number of tracks. Bada$$, the de facto leader of the Pro Era crew and a great one at that, brings everything together with production from MF DOOM, Statik Selektah, and J Dilla, deepening the 90's pastiche. With a recent feature in an A$AP song, it won't be surprising to see Bada$$ and the Pro Era crew rise exponentially on the up-and-coming rap spectrum this year.

47. Jessie Ware - Devotion
[PMR; Island]

Calling Devotion "emotional" would be the laziest description of an album since someone dubbed Modest Mouse "indie." This is more an album detailing the macabre, lonesome aftermath of a life-defining breakup. Ware's ghostly vocals tweak heartstrings, while floating on top of airy production that owes a lot to 80s soul. In a year in which R&B saw a surge of popularity, Ware's efforts are defined by the longing and unrequited love aspect of R&B, carving out her own niche. I've heard people call this album boring, but I honestly can't see how, unless those are the same people who have never gone through a serious breakup, or lack empathy altogether. This is a sleek throwback to the days when R&B's sole purpose was to capture, or recapture, someone's heart.

46. Grimes - Visions
[Arbutus; 4AD]

I have yet to hear someone say they just kind of enjoyed Visions or just kind of hated it; it's a polarizing album, not much middle ground, though maybe with time the divide won't be so apparent. It is clear how much effort went into Visions' layers and melodies. Each song sounds like a week, nearly a year in internet time, went into its construction, even though the entire album was recorded in just three weeks using GarageBand. I can see where Claire Boucher's voice could rub people wrongly, but she implements so many different deliveries and styles, so her higher register voice never really grates. Boucher is certainly orbiting a different planet, but the alien tracks on Visions somehow still retain a familiar feel.

45. Ab-Soul - Control System
[Top Dawg Entertainment]

Definitely a fan favorite rapper, Ab-Soul delivered one of the weirdest Rap albums of 2012, a year many people though would see the end of the world - having heard Control System, maybe the world could end because I never thought I'd hear another rapper as weird as Kool Keith and his many identities. Due to his varied influences, Control System thrives on instability; no single theme or idea is ever repeated, a remarkably refreshing aspect. "Illuminate", "SOPA", and "Terrorist Threats" feature guest spots from Kendrick Lamar, Schoolboy Q, and Danny Brown, and although the first two are part of Black Hippy, it shows how well Ab-Soul uses his friends to add more dimensions to his work. Although it's the least effective in the first wave of official Black Hippy solo albums - Jay Rock's album yet to be released - it's still a strong, completely different Rap album, in a genre inundated with staleness.

44. Aesop Rock - Skelethon
[Rhymesayers]

I don't think I have ever heard anyone defend Ian Bavitz's lyrics as meaningful or pointed; that isn't what Aesop Rock is about. Skelethon is Bavitz's most direct, and recent, album since 2001's Labor Days. The five year hiatus in between records saw Aesop Rock move from the Def Junx label to Rhymesayers, a move surprising yet unquestioned. The production on this album is up to Rock's high standards, with each beat catered perfectly to his flow and nonsensical lyrics, though on Skelethon, the lyrics don't seem like total gibberish - this is the main departure from None Shall Pass, Bavitz's last album. Aesop Rock tries a lot of new tricks on this album and most of them succeed in sounding just as fresh and innovative as the first day I heard the rapper spit.

43. High on Fire - De Vermis Mysteriis
[E1]

Metal is certainly seeing its highest point of division, spanning itself across a multitude of sub-genres, though High on Fire hasn't shirked its Stoner Metal title it helped establish. Matt Pike is still a modern-day guitar god who writes phenomenal songs about a time traveling sibling of Jesus who died at birth so Jesus could live - yeah, he definitely did invent the Stoner Metal genre. De Vermis Mysteriis is a crushing boulder of a Metal album that helps Metal keep its identity during its recent identity crisis, with more bands reaching for a more melodic, softer sound. Even six albums into its career, High on Fire is still the best Stoner Metal band, well, ever, and shows no signs of stopping or aiming for a trendier sound.

42. Baroness - Yellow & Green
[Relapse]

How fortuitous that Baroness's third installment of the colored records would follow High on Fire's in my list, as they are one of the aforementioned bands aiming for a softer sound. This is still Metal, though, don't misread anything on here; there's a sharpened edge to each song defining it as Metal. Yellow & Green isn't as instant as Blue and Red were: it's a grower. And the best way to understand it is to translate "Little Things", what ended up being my favorite song on the album. "Little Things" sounds like a Metal song, save for the drums, which are light and spacey compared to the heavy guitar riffs. But as the song comes to a climax, everything falls into place, and Baroness sound more like the expected progression from Blue. And even when songs like "Twinkler" don't quite work, Yellow & Gold is still a rewarding listen, though it may be largely confounding at first.

41. Action Bronson - Blue Chips
[Self-Released] 

Another mixtape that blurred lines, like 1999, Action Bronson's Blue Chips helped, for me at least, separate him completely from Ghostface - "Don't ever say my fucking music sound like Ghost's shit" Bronson raps on "Ron Simmons". Once I was able to define Action as his own entity, I found myself playing Blue Chips any chance I got to, in order to introduce a friend to a new rapper. Bronson is hysterical - his lyrics are a mixed bag of fine food references, hockey players, and with Party Supplies aiming the production finely in the direction of polished nostalgia, Blue Chips doesn't seem to ever miss. With only three features, Blue Chips is the work of a dedicated producer and talented rapper sitting down together, collaborating thoroughly, and succeeding in spades.

40. White Suns - Sinews
[Load]

Hot damn! Does this record rip. Blast beats, drone noise, and feedback swathed in aggression, Sinews is a thousand nails dragging on a thousand chalkboards until only bloody nubs remain. Underneath all the noise is, well, another layer of noise, but that layer is coated with a malcontent's complaint list read by someone in a mental institution. This is the second full-length from the Brooklyn Noise/Drone outfit, their best. For those who like their music structured and tight, Sinews is not for them, but for those who embrace the chaotic and spontaneous, White Suns have the perfect album. Album opener "Fire Sermon" is more like a trial by fire: high-pitched feedback drones, testing the listener's patience and tolerance, though, if you can make it through the fire though, there's plenty to enjoy.

39. Dirty Projectors - Swing Lo Magellan
[Domino]

Dave Longstreth and company were not going to write Bitte Orca 2 and thankfully they didn't. I don't think a sequel would have worked, also, it isn't a Dirty Projectors' move - they are always changing the sound of their music from record to record. And although it does have some of the mathy guitar riffs, Swing Lo Magellan is its own record, a new flavor in the already great Dirty Projectors' discography. If I were to pitch the overly-pretentious genre of Art-Rock, Swing Lo Magellan would be my choice to lead. This record is catchy, bubbly, and most of all fun. There isn't much heavy lifting, the mood extremely light - "When should we bust into harmony?" on "Unto Caesar" is reminiscent of a Broken Social Scene hiccup from recording left in the recording. Longstreth said he wanted to focus on making the best pop album he could and Swing Lo Magellan is that and more.

38. Earth - Angels of Darkness, Demons of Light II
[Southern Lord]

Earth released the second Angel of Darkness, Demons of Light record in 2012, finishing the two part series, even though both were recorded at the same time. There is a distinct difference from the first record, mainly in the lighter sound presented. II is a sadder album than it is dark. Instrumental Rock is usually sorted in Post-Rock, Drone, or Math, while Earth define their own experimental path. Even though they are on a primarily Metal label, Southern Lord, Earth have departed from any traditional definition of the Metal genre, and have focused more on a classical stylings. Dylan Carlson's electric guitar is the only consistently used instrument throughout the record, providing a stable base for the light percussion, cello, and bass to fall onto. This might sound like the perfect relaxation record on the surface, but the further you get into it, it begins to incite a deep rumination, and not one that can be shirked after tuning out.

37. Spiritualized - Sweet Heart Sweet Light
[Double Six]

This is one of the worst album covers of the year. It's awful - completely unrepresentative of the record. That's a shame because Sweet Heart Sweet Light is good, really good. Though it never reaches the epic levels Ladies and Gentlemen... has the band known for, there is no shortage of highs. "Hey Jane", the album's first single, is also the album's highlight, though it's only the second song, so the rest of the record rides out the wave of momentum - Jason Pierce knows how to craft an album, so Sweet Heart... is best experienced all the way through. Implementing a beautifully crescendo of a chorus, "Too Late" might be the best of the shorter tracks, only a little over three and a half minutes - the songs range from nine minutes to a little over three, creating a perfectly uneven listen, in the terms of time not wavering quality. If you enjoy the Psych-Rock of The Beatles, you should definitely check out this album, if not, you should still definitely check out this record.

36. Deftones - Koi No Yokan
[Reprise]

"They can do no wrong," a friend of mine, a long-time Deftones fan, said after I asked him what he thought about Koi No Yokan, the seventh album from the Sacramento Alternative-Metal band. He may be right, though I still can't understand how - didn't this band start out as a Nu-Metal band, an overly tired and played-out genre? Regardless of where they started, Deftones continue its winning streak with Koi No Yokan, which translates to "premonition of love" in Japanese. As tender as it is powerful, through eleven tracks this album drives using its own momentum. "Entombed" uses programmed drums and meaningful finger tapping to pull off one of the most earned choruses on this album. With Koi No Yokan, Deftones furthers its legacy as one of the best modern rock bands.

35. Flying Lotus - Until the Quiet Comes
[Warp]

Where was Flying Lotus going to go after the maximalist perfection of Cosomogramma? The Los Angeles producer decided to strip things back on his 2012 record, a move  both wise and mature. The songs on Until the Quiet Comes are allowed to grow more. Joined again by bassist Thundercat, Ellison has crafted yet another fantastic Electronic Jazz album. The Pattern+Grid World EP FlyLo released after Cosmogramma now makes perfect sense in the already impeccable discography, bridging the gap between records perfectly. Though I'm not the biggest fan of "DMT Song" and its overt drug influences, it's nice to see the producer experimenting even more with melody and voice - Flying Lotus even has a Rap moniker with Captain Murphy. And just like everyone expected, FlyLo has reinvented a genre, making it impossible to guess what his next move might be.

34. Pallbearer - Sorrow and Extinction
[Profound Lore]

The Little Rock, Arkansas, doom quartet was signed to a label after releasing a three song demo, which sounds unbelievable, but that demo was over twenty minutes long. Bringing plenty of comparisons along with them - especially to early Sabbath, as the vocals sound much like Ozzy's youthful moan - Pallbearer definitely fight their way into any conversation about talented, young Metal bands today. Lacking a permanent place on the internet - their website is a tumblr page, their last.fm nearly description less - Sorrow and Extinction echoes the "here today, gone tomorrow" mentality, with each song sounding like an obituary. Each riff is purposeful and takes its time sinking in through the listener's ear. With such a successful debut, we now look to see if Pallbearer can repeat Sorry and Extinction's victories, which after every listen becomes harder and harder to do.

33. Sharon Van Etten - Tramp
[Jagjaguwar]

I originally thought this record would be on my "Honorable Mentions" list, but after considering the advanced musicianship and song-construction, it was nearly impossible to demote it anywhere past being the thirty-third best record of 2012. Tramp wastes no time in establishing itself as an intensely personal record. This will also be one of the records cited when detailing Aaron Dessner's accomplished production discography, featuring that buzzing, omnipresent apparition Dessner's records are all somehow haunted by. Tramp features a litany of experienced artists collaborating with Van Etten, including Zach Condon from Beirut, both Dessners from The National, Wye Oak's Jenn Wasner, and The Walkmen's Matt Barrick. Tramp is the product of a skilled musician from Brooklyn, with a little help from her friends, musing about the decay of emotional openness throughout your twenties. And to think it was predestined to be an "Honorable Mention."

32. Screaming Females - Ugly
[Don Giovannai]

Castle Talk was one of the best Hard Rock albums from 2010, no doubt, even though it never fully garnered the accolades it deserved -- I guess that proves how misguided music criticism is. Critics' main reservation with Screaming Females is that their records never quite synch up with how powerful a live performance they put on. Tragic, though that's offensively unfair. Screamales - probably the best shorthanded for a band ever - requested the use of Steve Albini's Electrical Audio studio in Chicago, getting the sound of this record as close to their live show as possible. Ugly opens with "It All Means Nothing" featuring one of Marissa Paternoster's best lead riffs, which is quite an accomplishment considering how many memorable riffs she has crafted over the years. From the opening track to the end, Ugly is a phenomenal, straight-forward Rock album, not disappointing in the slightest.

31. Joyce Manor - Of All Things I Will Soon Grow Tired
[Asian Man]

Another band refusing to find a permanent space on the internet - their website a blogspot - Joyce Manor haven't forgotten what made Pop-Punk so enjoyable: memorable melodies and lyrics. Of All Things I Will Soon Grow Tired is here just as quickly as it departs, a flash of youth and confused virility. Though some of the band's fan-base were upset with the length of the record - a little over thirteen minutes - the Californian band didn't need to make anyone happy with this record, just themselves; and it's this selfishness that, even with a cover song, albeit an excellent cover of "Video Killed the Radio Star", make Joyce Manor successfully sound cool, fresh. And yes, maybe I am sore it's a little short, but that allows the band to take whatever ideas didn't translate well onto this release and work it into new material - material that will certainly satisfy its voracious fan-base, right? RIGHT? I guess shitty fans come with the territory.


Thursday will see records #30-11, Friday #10-1. Stay tuned.

Benjamin Goodheart's "Top 50"

 The author as an "adult"

You may wonder why the title of my Top 50 is in quotes. Well, read Pitchfork's top 50. Then read this piece of shit article that Vice put up. Then read my article. Then sob yourself to sleep as you realize music journalism is mostly there to reinforce why someone likes a band. "Well pitchfork/vice/absolutepunk etc" likes it. (Also I think my jokes are better than Ben Johnson's.)

50. Sean Price - Mic Tyson
You know how Akira is so good because of it's hilarious reaction shots? Mic Tyson is like that, but with ad libs. "Shut the fuck up. Puh!"

49. Verse - Bitter Clarity
Was disappointed at how disappointed weirdo hardcore purists weren't about this album.

48. Cheap Girls - Giant Orange
Calling this the "Kyle Kinane" of 90s garage rock revival would be too easy of a joke, right? I don't even think it would make sense.

47. Heems - Nehru Jackets
Das Racist broke up, but it's okay because "Jason Bourne" makes up for all of that. Boop boop beep beep.

46. The Hiya Dunes - High Tide
NOT THE ONLY THING THAT'S HIGH AM I RIGHT GUYS

45. How To Dress Well - Total Loss
I didn't listen to this album as much as I could because I don't have sex a lot because I spend my afternoons thinking up jokes for fifty fucking albums.

44. Rise and Fall - Faith
Man, imagine if Trash Talk got this spot? That would have been embarrassing.

43. We Were Skeletons - Blame & Aging
I'm glad we're old enough where we don't resort to Scramz. Props, dudes.

42. Chelsea Wolfe - Unknown Rooms
What defines Chelsea Wolfe blah blah dark angel blah blah women playing metal question mark blah blah

41. Spider Bags - Shake My Head
SMH. #SMH. IF YOURE NOT TALKING ABOUT THIS ALBUM THEN DONT SMH

40. Murder By Death - Bitter Drink Bitter Moon
The award for least surprising album title of the year goes to...

39. Ab-Soul - Control System
Does anyone else get weirded out when music critics give rappers props for using big words? "He purports to not give a fuck in the same verse that he correctly uses the non-governmental definition of "congress," yeah, he's a conscious artist who gives a fuck about what he's making. Why would he not correctly use that form of congress? That's some weird subtle racism right there.

38. The Mountain Goats - Transcendental Youth
Read: The Mountain Goats covering Boxcar by Jawbreaker. 
(Oh holy shit I just realized that cover was over a year and a half ago. Point stands)

37. Mean Jeans - On Mars
If this album doesn't make you want to get drunk and make out with a body pillow, I don't know what will, man.

36. Sleigh Bells - Reign Of Terror
I think this album will have more staying power than Treats, but no one cares.

35. Future of The Left - The Plot Against Common Sense
Does anyone know where this endless well of vitriol comes from that Andy Falkous seems to always be sippin on? I want in.

34. Masked Intruder - Masked Intruder
Self-aware pop-punk. Fucking finally.

33. Jeff Rosenstock - I Look Like Shit
I'll miss Bomb The Music Industry, but oh wait, no, Jeff Rosenstock just put out a solo album I think I'll live.

32. Why? - Mumps, Etc.
Does Ian Cohen have a personal vendetta against Yoni Wolf? I have a personal vendetta against Ian Cohen.

31. Tame Impala - Lonerism
I refused to listen to this band for the longest time because of the fear I had it would just be pitchfork hype. But I'm glad I started, because now I can space out and kill an hour when I file at my job with zero effort.

30. METZ - METZ
Nihlistic tendencies. Self-loathing. Hopelessness. A chorus of empty space. I, too, am a fan of the New York Mets.

29. El-P - Cancer 4 Cure
He really outdid himself this time, except with Killer Mike's album.

28. P.O.S. - We Don't Even Live Here
MORE LIKE OCCUPY BALLSSTREET - P.O.S. / WE DONT EVEN LIVE HERE / 2012

27. Flying Lotus - Until The Quiet Comes
Kind of what I imagine drowning to sound like. Pretty calming, actually.

26. Glocca Morra - Just Married
The only emo album released this year that didn't come with the self-aggrandizing douchebaggery of the people who made the music.

25. ScHoolboy Q - Habits & Contradictions
Best "brake sound" ad lib tape of 2012

24. Ceremony - Zoo
"MOAR POWERVIOLENCE" - Deathwish Inc. Nerds
"MOAR JOY DIVISION" - Pitchfork  Nerds

24. Paul F. Tompkins - Labouring Under Delusions
I'm not going to make a joke about a comedy album. That's stupid.

23. Hospitality - Hospitality
I wanted to see this band over the summer but then their tent caught on fire and I stayed home and listened to this album instead. Good choice.

22. Dinosaur Jr. - I Bet On Sky
Does it make anyone else uncomfortable that J. Mascis sounds exactly the same as he did like 25 years ago?

21. The Menzingers - On The Impossible Past
Awesome album for Captain, We're Sinking to rip off. Also people ragged on the cover a lot. That's silly.

20. The Fresh & Onlys - Long Slow Dance
"Where the hell can ya score opiates this time of day?" - Me, anytime I listen to this record

19. Roc Marciano - Reloaded
Years later, after being diagnosed with "blunt cancer," the author would attribute the condition to this album and this album alone.

18. Marijuana Death Squad - Tamper, Disable, Destroy
The sound of this band is oddly apt for the name, but you wouldn't expect it. Bump this shit in front of your friends who like EDM and blow their fucking minds.

17. Loma Prieta - I.V.
I saw these guys play most of this album back in March and it was one of the scariest experiences of my life. I was sleep deprived, a little fucked up, and assaulted with a wall of noise. It was awesome.

16. Perfume Genius - Put Your back N 2 It
Someone put the chords to "Dark Parts" on ultimate-guitar. I have to wonder...who the fuck would listen to that song and be like "This is a good song to cover. I'm really trying that molestation vibe for the open mic tonight."

15. Joyce Manor - Of All Things I Will Soon Grow Tired
I paid 15 dollars for 9 songs that come out to 13 minutes? Perfect.

14. Cloud Nothings - Attack On Memory
An attack on my memory wouldn't make me forget the horrible fade out on "Cut You". (Otherwise this album crushes).

13. Ty Segall - Slaughterhouse
Wouldn't it have been funny if this was my fifth pick? Like Slaughter house five? I READ BOOKS GUYS MY OPINION IS VALID

12. Waxahatchee - American Weekend
Well, I'm alone again.

11. Screaming Females - Ugly
This album is endlessly inspiring but I also resent every single note on it because fuck how do you play guitar that well?

10. Japandroids - Celebration Rock
Living proof that when referencing prior bands, music journalists have no fucking idea what they are talking about. Comparing them to green day? Really?

9. Death Grips - The Money Store / NO LOVE DEEP WEB
Dicks make me uncomfortable and overshadow the artistic merit - Everyone

8. Titus Andronicus - Local Business
Well it's no The Monitor, but hey they're a band - Everyone.

7. Action Bronson - Blue Chips
The "analysis" this album has seen is like the bullshit Party Supplies jokingly tweets, except they're serious.

6. Literature - Arab Spring
Voxtrot is dead and they're never coming back!

5. The Men - Open Your Heart
Yeah, I like the Replacements too guys. Everyone likes the replacements. Wait a second... Well played, The Men.

4. Swearin' - Swearin'
Finally, pop-punk I can listen to under the veil of indie-pop.

3. Moonface - with Sinai: Heartbreaking Bravery
Well, The National didn't put an album out so here we are.

2. Killer Mike - R.A.P. Music
I'm progressively minded. RIGHT GUYS. RIGHT!?

1. Kendrick Lamar - good kid m.A.A.d. City
Long-winded pretension about the importance of this album even though it's impossible for me to relate to any single word. But fuck you it rules.



-- Editor's note: BEN, AMIRITE GUYZ?

The Best Albums of 2012: Honorable Mentions

These are the albums that are notable from 2012, but not exactly "best of" material; not everything can be the best. A punk legend stripping down his sound; some of the oddest, darkest pop I have ever heard; and an Odd Future member are included, here, for their originality and skilled musicianship. These are mostly grower albums, or saccharine morsels of pop with atypical substance. If you think you have exhausted the lot of great albums that came out in 2012, here are some more to enjoy.

Tindersticks - The Something Rain 
[Constellation]

"Shit. I was never a 'breast man' anyway," ends the opening track "Chocolate", a song about a man falling for a transvestite, and the ensuing embarrassment. This is the song that inspired the British band's ninth studio album, a short story written by David Boulter, the band's keyboardist. If you can make it through the nine minute opener, then you should have no trouble with the rest of The Something Rain. A well-composed, artfully pretty album, Tindersticks prove that over a decade into their career, they still have something to sing about, be it transvestites or whatever.



Loma Prieta - I.V. 
[Dethwish]

I thought Loma Prieta had achieved the benchmark of the new age of Screamo with 2009's Dark Mountain, and though I don't think I.V. is better than the aforementioned record, I do believe Loma Prieta are one of the most consistently good Screamo bands to date. Constantly innovating a tired genre - although 2012 saw an influx of increasingly excellent, original Screamo releases - Loam Prieta hits hard and efficiently, knowing exactly when to pull the punches, too. This obviously isn't a record for everyone, but for Screamo and Hardcore lovers, it would be a huge mistake to sleep on this one.



The Evens - The Odds 
[Dischord]

This is punk stripped down to two instruments and two singers. It's simple. Ian MacKaye, yet again, finds a way to make a genre struggling to be taken seriously sound fresh, reborn. Amy Farina, MacKaye's life partner, provides the drumming for the band - not overly difficult drum-work yet not Meg White simple, a perfect addition to MacKaye's baritone guitar. The lyrics are clever, the music is simple, the product is excellent. Although there isn't much variation in the songs, this is a proven formula and The Odds is certainly worth your time.



Bob Mould - Silver Age 
[Merge]

Bob Mould is still pissed off, but he knows some of it is his fault, and he's taking steps to forgive himself. Throughout Silver Age, it feels like Mould is taking on more and more blame, until "First Time Joy" finally acknowledges the aging indie legend's accomplishments. Hüsker Dü is dead, Sugar just reissued a bunch of their material, and Bob Mould is still making great rock records. "The Descent" is a self-deprecating victory lap, an anchor of a solid album from a man who has given music lovers three decades of excellent material.



 
Hospitality - Hospitality 
[Merge]

With thoughtful composition, on-point pop sensibility, and a cutesy edge, Hospitality made one of the smartest, cleanest albums of 2012. Hospitality is a carefree romp through life in New York. "Friend of Friends" features a bouncing horn section weaving in and out of its chorus with minimal effort; "The Right Profession" runs much like Vampire Weekend's "Cousins", but a few paces slower; and "Argonauts" is a confidently arranged, sweet piece of chamber pop. There is a lot of range on Hospitality, making it pretty easy to forget that this if their first full-length as a band, a mature debut.



Divine Fits - A Thing Called Divine Fits 
[Merge]

An indie super group comprised of members from Spoon and Wolf Parade: How could it fail to be anything less than the sum of its parts? It doesn't, and A Thing Called Divine Fits would have been the best album to come out in the early 80s. Calling on sounds of The Human League and Psychedelic Furs, Divine Fits string together eleven excellent tracks. Although I do prefer the Dan Boeckner songs over Britt Daniel's - I may be in the minority here - both singers proudly represent themselves, offering a dual-headed reckoning of New Wave and Brit-Pop. It's unclear as to whether Divine Fits will continue as a full-time band, so we'll just have to pray A Thing Called Divine Fits isn't the collaboration's only release.


Alt-J - An Awesome Wave 
[Infectious]

Alt-J is a band as frustrating as it is good. An Awesome Wave has excellent songs on it, but also some not so excellent interludes. For fans of Math Rock, there are plenty of syncopated drums and deft guitar riffs to keep you happy; and lead singer Joe Newman's voice sounds a bit like Maps & Atlases' Dave Davidson but more refined and clearer. These are glistening art pieces with the guises of songs, bright and shiny trinkets soft, out of focus. If you do enjoy An Awesome Wave, make sure you check out the band's music videos, as they are as artful as the music - even if you don't like this album, definitely don't miss the video for "Breezeblocks".


Hodgy Beats - Untitled EP 
[Odd Future Records]

I want Odd Future to succeed, not on a platform of misogyny and violence, but originality and unbridled youth. Hodgy Beats breaks from the now-stale, pigeonholing production of Left Brain to work with Flying Lotus, The Alchemist, and Juicy J, an unexpected move that pays off more and more with each listen. This is the human Hodgy Beats, not the false idol teenagers worship. With Hodgy taking more of a spotlight on this release - the EP has no other rappers - his voice sounds much more playful, and a lot like an edgy Childish Gambino. I would like to see more and more producers brought into the Odd Future catalog, so the Untitled EP is a welcomed breath of fresh air, in a discography full of harsh synths and choppy, bulky drums.

Flatted Third's Top 13 Records of 2012

Here at Flatted Third, Gerry, Kris, Ben, and Kyle have all voted on the best records of 2012. Originally, a collective top twenty was planned, but as each individual member's tastes differ so greatly, the gap between the top ten and bottom twenty was far too vast to be accurate. I, Kyle Murphy, decided to arbitrarily pick a number between ten and twenty and came up with thirteen, which is perfect because we had some tie scores. Enjoy.

13.  Literature - Arab Spring [Square of Opposition]

When discussing indie pop, the term "infectious hooks" gets thrown around a lot, but Arab Spring is the definition of the phrase. With bouncy riffs and breezy melodies that end as quickly as they begin, Arab Spring is the twenty-minute soundtrack to the perfect spring day. To attribute "pop sensibilities" to this band would be an egregious understatement. Even though this is Literature's first album, they have mastered more indie-pop in just ten songs than most bands ever master any genre. You should also keep an eye on Literature's label Square of Opposition. They were responsible for putting out the late Snowing's material and always have a solid roster of awesome, yet diverse bands.

-- Ben Goodheart

12.  Cloud Nothings - Attack on Memory [Carpark]

"No Future/No Past", Attack on Memory's first single, was released in November of 2011. It had everyone I knew chomping at the bits in anticipation to hear how Attack on Memory would turn out. I really enjoyed the band's previous, self-titled release and was excited to see what the rest of the Cloud Nothings band could do behind Dylan Baldi's excellent song-writing. Then I heard Steve Albini was producing; damn. About three months passed and we finally were able to experience the whole album - Attack on Memory should be considered one of Albini's best works, though hopefully it won't be Cloud Nothings'. The growth exhibited from Cloud Nothings to Attack on Memory is exceptional. These songs blister and boil over, yet also allow Baldi's bandmates to throw their hats into the ring, feeling more like a group effort than a bedroom twee-punk exercise. Attack on Memory had three singles leading up to its release, a perfect teaser to keep interest in the time preceding its release; and with each great single, Attack on Memory became more and more what it is today: entirely satisfying.

-- Kyle Murphy

11.  Baroness - Yellow & Green [Relapse]



This is my second time writing about this album for Flatted Third, and I want to make something clear for those who still might not understand: MUSIC IS NOT TAILOR MADE FOR YOU. Bands have no obligation to write music for their fans; if anything, we’re lucky they willingly share what they create. And while they’re doing that, we still back and criticize and nitpick whatever we think doesn’t sound good. This was a big lesson I learned while listening to Baroness’ double album Yellow & Green. Much like Mastodon’s The Hunter, Baroness drastically changed their signature sludge sounds, going for a mellower one. For those fans who miss classic Baroness, Yellow should be able to satisfy any longing, while Green shows the more adventurous side of Baroness, forfeiting the classics for a much fresher sound. When the album was released, many fans were either happy, confused, or infuriated with the new sound. Front man John Baizley stated in many interviews that they don’t write music for their fans. For Baroness, writing and playing music is what keeps them sane. They appreciate their fans, but like many great artists, no matter what the criticisms may be, this band doesn’t give a fuck about what you want. Personally, I wouldn’t want it any other way.

-- Gerry D'Apollo [Check out Gerry's full review from earlier this year!]

10.  The Men - Open Your Heart [Sacred Bones]

Though admittedly a step into the realm of the Replacements after residing in the influence of Husker Du prior, Open Your Heart is as loud and furious, and emotional, as its predecessors but just in a totally different way. From the very beginning, garage-y whirlwind of "Turn It Around", to the exercise in the deliberate that is "Oscilation", around the alt-country aside of "Candy", every song on this album sounds totally different, yet retaining a style that is still so distinctly The Men. This is their third album in three years, with another one on the way, so if you haven't already started listening to this band, do so before their discography is too dense and you don't know where to start -- though I'd say start with Leave Home.

-- Ben Goodheart

9.  Titus Andronicus - Local Business [XL Recordings]

“Blah blah blah the Monitor defined the past two years of my life and Local Business is a total let down because blah blah blah.” I guarantee you’ll see most every negative review of Titus Andronicus’s newest full-length Local Business begin with some variation of that line. Before I go any further, yes, The Monitor did define my freshman year of college; I played it into the fucking ground. I learned the chords to “The Battle of Hampton Roads” and played it when I was drunk. I toyed around with the idea of getting a tattoo dedicated to the band. The Monitor marks a confusing, often frustrating time in my life that I’m glad to have survived. That being said, Local Business is not The Monitor, but I don’t consider that a pejorative statement. Who wants to hear the same record twice?

Local Business, as its own entity, is a very strong release. The vision Patrick Stickles and co. puts forth is cohesive and defined. There are less instances of lyrical interpolation and more existential crises. Stickles seems even more wary and cautious of the world before him than he has previously. “Ecce Homo” kicks off the record with a confident, conversational manner. The build up for this record is deliberate, though. “Still Life With Hot Deuce on Silver Platter” is where you really have to turn the volume up, because that track rips. The momentum barrels through “Upon Viewing Oregon’s Landscape with the Flood of Detritus”, easily the most energetic song, but with insanely bleak lyrics; arguably the darkest Stickles has written. 

Local Business adds another excellent chapter in Titus Andronicus's still-shifting discography, though it certainly is not a disappointment, whatever some critics may say.

-- Ben Goodheart [Check out the original review, in its entirety, here!]

8.  Flying Lotus - Until the Quiet Comes [Warp]

Flying Lotus is easily one of the most sonically interesting producers in the game and his latest release (if you don’t count Captain Murphy’s Duality) solidified his spot at the top of the “Guys who make music that hipster aliens would probably dig” list. For the first half of the record, Until the Quiet comes sounds unlike previous FlyLo releases; it’s much more ambient and the tracks have plenty of room to breathe. However, once “Sultan’s Request” hits, the bass-heavy sound that FlyLo is know for comes back in full force.

What makes this album one of the best of the year is simply that it is one of the world's greatest producers, at the top of his game, doing what he does best. Until the Quiet Comes flows beautifully from point A to point B, and although the transitions between each song feel effortless, each track is so unique and feels like its own dense landscape on the planet that is FlyLo’s mind. It’s easy to get lost in this album, but each song clearly deserves the listener's full attention to details and the care that was taken in crafting it all.

-- Kris Giordano [Check out Gerry's full review from earlier this year!]

7.  Grizzly Bear - Shields [Warp]

There aren't many constants in the trendy, "hipster" classification of music -- I can't stand when people dismiss a band because they arouse associations with Pitchfork -- but, admittedly, Grizzly Bear is a trendy, cool band to listen to. This is not a result of hype but pure musicianship. Shields is a beautiful album. Its attack and release allows me to sometimes admit, yeah, maybe acoustic guitars aren't completely stale and overused.

It seemed like the Brooklyn outfit achieved the perfect balance of the dark and glistening with Veckatimest, an album that broadened my taste in music, but the band definitely did not stop growing in the three years between records. "Sleeping Ute" and "Yet Again" provided first insight as to what the rest of Shields would sound like: Would it continue to expand on the poppy aspect of Veckatimest or would it sink back into the sea like Yellow House? I could not tell, but I was happy with what I was hearing. When placed into the context of the album, the two singles stand out as highlights, not in greatness but volume; most of Shields is reserved, calm, a missive to the meek, up until "Sun in Your Eyes" releases everything witheld into the air. Sure, there are moments when the songs exhale above a murmur, but it is the quieter parts that end up being enjoyed the most. One could argue "The Hunt" is Grizzly Bear's best song to date, better than "Two Weeks" and "Colorado". It never reaches a boil; is never flashy, overzealous; and is completely confident with its current stasis. Shields is a major stride for a band that seems ever-shifting to please itself, a complete collaboration of its members; Shields proves Grizzly Bear's sum is exponentially larger than its parts.

-- Kyle Murphy [Check out Kyle's full review from earlier this year!]

6.  Fiona Apple - The Idler Wheel... [Clean Slate; Epic]

It is difficult to describe what Fiona Apple is without sounding a bit harsh. Her music is incredibly endearing and honest, but as a whole, you can’t quite pinpoint what her “deal” is. In the late 90s, she garnered a large amount of attention for her album When the Pawn, due in large part to the single “Fast As You Can”. Even with all the fame and awards, you could tell she didn’t want any attention. It wasn’t a modesty issue either, it was more of an “I hate people, why are you looking at me?” complex. With her new album, The Idler Wheel, Fiona returns after seven years of silence from the public, with a much braver and, well, emotional release. “Daredevil” runs through a formal apology for her old self-destructive ways, crooning "Don’t let me ruin me, I may need a chaperone." One of the most memorable tracks, and first single, “Werewolf”, details life after a bad relationship: "Nothing’s wrong with a song that ends in a minor key." After being thrown into the media spotlight at such a young age, her actions started to become self-destructive. If anything, her time off has only taught her that her old self is behind her now, and with The Idler Wheel, another chapter of her life can begin, brilliantly new.

-- Gerry D'Apollo

5.  Killer Mike - R.A.P. Music [Williams Street]

Have you noticed that in the realm of retrospective album lists this year, critics have been subtly jabbing Killer Mike for being too political? Using words like "overtly" that carry the connotation of perhaps having gone too far? I am not a purveyor of this school of thought. I loved how furious and vitriolic Mr. Render was without seeming condescending. He was never apologetic. As he tore up El-P's awesome production, he attacked the political spectrum, the church, the TSA, and everything in between, seemingly without the cloud of bias. And perhaps that was what made people so uncomfortable: Killer Mike was totally unwilling to pick a delineated side, instead opting to tear everyone apart; a bold move in a culture that attacks labels rather than policy, but in my opinion, Killer Mike made the right choice both artistically and politically.

-- Ben Goodheart

4.  Converge - All We Love We Leave Behind [Epitaph]

It’s been 4 years since Converge’s last album, An Axe to Fall, and with their new effort All We Love We Leave Behind, it is easy to see that this band is at the height of their career with no end in sight. With this new album, frontman Jacob Bannon said in multiple interviews that he wanted it to feel like one of their live shows: raw, heavy, full of energy. With AWLWLB topping metal charts around the country, Converge has shown that their near twenty year run hasn’t grown stale. Unlike other recent hardcore albums, All We Love We Leave Behind never becomes repetitive. Bannon’s vocals strain through focused lyrics while guitarist Kurt Ballou’s production of the album adds to the brutality and heaviness in each track. This was a labor of love for the band, and their ability to add so much energy and fun to their music after so long should be a credit to their longevity. 

-- Gerry D'Apollo [Check out Gerry's full review from earlier this year!]

3.  Death Grips - The Money Store [Epic]

What feels like a swift kick in the teeth, Death Grips' The Money Store is an album forged deep in the recesses of technology. Using samples from iPhones and a swathe of digital white noise, The Money Store is the masterpiece of MC Ride and Zach Hill (maybe Flatlander): their "fuck you" statement to the music industry. This is an album whose story is just as good as the music, a rare entity in the DIY era. Death Grips signed to Epic, a move into the very industry Exmilitary seemed to steer away from - who was going to sign a band who shouted incoherently over violent beats, then sell it? The music community stood nonplussed, yet foaming at the mouth to see what happened next. The Money Store comes out, it garners every critic's recommendation, and a vast tour is booked, only Death Grips now promises two releases in 2012. The tour is cancelled, production on NO LOVE DEEP WEB begins. Death Grips blow their entire advance from The Money Store at L.A.'s famously star-inhabited Chateau. They leak NO LOVE from an iPhone with a picture of Zach Hill's dick serving as the cover. I thought it was all brilliant. The band was immediately dropped from Epic, left homeless and broke, and this is all within the year of their breakthrough. This is all from a band that is increasingly reclusive, despite being one of the most sought after interviewees, and proclaimed "No representation is better than misrepresentation;" it's pretty accurate to say Death Grips functions on its own honest frequency.

The Money Store boasts forty-one minutes of brutal, often ineffable music. MC Ride is a little more coherent on here than Exmilitary, but doesn't loose his edge at all. He's also curbed back, as the songs are a bit shorter, creating a more focused album. The Money Store even features some bangers you can play whenever, not just when you want to see if you can make a Molotov cocktail; "Get Got" and "I've Seen Footage" do have some appeal, though the closer you look, the more you can see how baffling the move to Epic was. Hill bears the weight on the production - the recondite samples and beats on this album are outstandingly fresh and innovative. The album also scored two perfect ten scores from The Needle Drop and Drowned in Sound, adding to its merits.

This album certainly isn't for everyone, but those who can understand its importance and originality will be perpetually rewarded with each skittishly unpredictable listen.

-- Kyle Murphy

2.  Kendrick Lamar - good kid, m.A.A.d. city [Top Dag; Aftermath; Interscope]

Call it “Post-Hip-Hop”, or the second coming of West Coast rap, or simply one of the most well-crafted releases of 2012, but however you refer to Kendrick Lamar’s debut album good kid, M.a.a.d. City, there is no denying that there is a subtle genius at work behind this record. At only twenty-five years old, Kendrick seems to posses a self-awareness of a much older artist, which is why this album is able to hit on so many of the points that garner the label “instant classic."

The opening track, "Sherane a.k.a. Master Splinter's Daughter", is a masterful bit of storytelling which justifies the omnipresent paranoia seen in many of Lamar’s tracks, specifically those about growing up in his hometown of Compton, like “m.a.a.d city” and “Compton”. Lamar’s aforementioned self-awareness is seen most clearly in the single worthy tracks off this album; “Bitch Don’t Kill My Vibe”, “Money Trees”, and “Swimming Pools (Drank)” all touch on his insecurities with women, fame, success, alcohol and himself.

Although looking at this album as a complete piece makes it stand out above many of the other releases this year, there is a moment when listening to “Backseat Freestyle” when you think “Oh shit, is probably one of the greatest rap songs I’ve ever heard,” then you quickly follow up with “Oh shit, this is a parody of rap from Kendrick Lamar’s 16 year old mind,” then you think “Wait, if a song written almost as a joke is the greatest new thing in Hip-Hop, what does that say about everybody else is doing?” Shit, that's just Lamar’s subtle genius at play.

-- Kris Giordano [Check out Kyle's review from earlier this year!]

1.  Frank Ocean - Channel Orange [Def Jam]

Pretty much every music blog this year chose either Channel Orange or good kid, m.A.A.d. city for its album of the year: both were hugely anticipated albums, major label debuts, hyped by a rap collective at the height of their popularity, and deserving of AOTY titles. I remember when Ocean made his television debut on Letterman, revealing the album was up for digital downloads a week early; "I remember, how could I forget?" I rushed to my computer and purchased it on iTunes, something I haven't done in about two years.

Frank Ocean is the perfect storm of an artist; one that comes along only once every decade, a true original, but there are definitely shades of Prince in Ocean's persona and talents, not to undermine his vision. He is constantly misquoted, concerning his sexuality and willingness to leave music altogether; misunderstood; and extremely under appreciated, despite being a critically lauded musician. I think Channel Orange doesn't begin to scratch the surface on what we can expect from Ocean. nostalgia, ULTRA was a decent prelude, though no one could predict a song like "Thinking Bout You", which is up for a Grammy -- despite Grammys becoming less and less salient. Even songs like "Sierra Leone", a song I feel never quite coalesces, is a great exercise in harmony and rhythm that hints at more excellent music, experiments, from the twenty-five year old we have yet to hear. "Pyramids" is the most epic song I heard all year, including songs from Baroness, Converge, Cloud Nothings, Death Grips - all bands that seemingly pride themselves on being larger than life; Ocean remains just one man.

Introducing sexual ambiguity and a myriad of unconventional accompaniments, Channel Orange efficiently increases R&B's clout in the ever-shifting musical landscape in the internet age; a trend put in motion by the recent emergence of Drake and The Weeknd as a radio juggernaut. Frank Ocean even uses tumblr in a way not warranting hatred and frustration with the human race, fully understanding how the internet community, though almost entirely fickle and spoiled, can receive a person who is true to his or her online avatar, which Ocean captures in spades. Channel Orange feels more like a movement toward acceptance, away from misogyny, and twirling, twirling, twirling toward deeper music broadcasted to a larger audience than just another album from 2012.

-- Kyle Murphy

Later this week, for about two weeks, there will be more lists posted by the individual members of Flatted Third. Happy New Year (of Music)!

A Grower, Not Shower: The Art of the Veiled, True Earworm

The past couple weeks have found me constantly humming a tune, no matter what time of day or state of being I am in - it's a song I can't shake, replace, or forget. This indelible tune is not poppy or instantly familiar. This song is "Kid A" by Radiohead.

The album Kid A was meant to reshape pop music, redefine a band who already achieved a huge following, and would continue to be one of rock's greatest bands. But Kid A wasn't rooted in the foundations laid by The Bends or OK Computer, no, it was pulled from a digital caul and swathed in static. Kid A, and the proceeding Amnesiac, prove to be Radiohead's most challenging listens, but they are certainly the catalogue's most rewarding -- I often pitch these two albums to introduce people to Radiohead; if they can find comfort in these sounds, the rest of the discography is a breeze.

I use "Kid A" as the representative example of a "grower" song because it's a song that is initially off-putting, but eventually totally engrossing; coded with effect-stained vocals; and all wrapped in digital interference. It sounds like perfectly executed chaos, but with each attentive listen, more and more of the distortion is peeled back to reveal a beautiful beacon made of silicon, yet completely human, an enigmatic song - it only takes, as it did with me, about four years and countless other albums in between to fully appreciate.

There are the "Kid A"s of the world, but there are also countless others that forcibly obfuscate their messages but lack an actual core. Animal Collective is the first band that comes to mind for most people, when discussing the topic of forced avant-garde music. But their music has been more about the musicality of the odd, not odd for the sake of odd. That plight was just, up until the band's latest release, Centipede Hz, which attempted to emulate a radio broadcast, much like how Kid A simulated the internet's connectivity and messages, among other futuristic themes. Centipede Hz features YouTube samples, songs that move nowhere on the surface with no reason underneath, and dawdling movements. It's not all bad, but you can hear the effort the band put into it, where Kid A feels effortless - like the band was predestined to release the album. This is a tightrope Cosmogramma walked with ease and grace, an album so jam-packed that its pandora box is new with each opening. So, ultimately, the maximalist's plight must be true and result of personal struggle, but never reveal its scars.

How can you judge if a piece of music has been forged with planned weirdness or an extent of character? Time. And I know this negates any criticism I have of Centipede Hz, as it is still a very young album, but it's the only truth. I am going out on a limb that I believe to be trustworthy in judging AnCo's latest effort. These are the risks you bear when taking a piece of art into judgement. It is your time after all, so spend it how you like. I spent the last couple years growing to love "Kid A" more and more, though it previously was a track I considered a minor chink in an otherwise flawless album - look how wrong I am now; it's a track I skip to and play on repeat.

So, when you first get something that seems too strange or harsh to listen to, let it breathe. Give it time; walk away from it for a while. This is how you should treat all art. Don't shun something because you can't understand it; you may end up loving it.