Grizzly Bear

Rust Is Just Right’s Best Albums of 2017

Today is April 17, and while the rest of the nation trudges through another Tax Day (a few days later this year), we here at Rust Is Just Right choose this occasion to return from the dead and release our Best Albums of the Year list.  We follow this unusual schedule for a few reasons: 1) It allows some of the albums that are released at the end of the calendar year to get some recognition, since they usually get swallowed up in the attention of the flurry of year-end lists; 2) We get the chance to analyze other lists to pick up on albums that somehow escaped our attention during the course of the year; and 3) It provides a handy consumer guide for people to focus where to spend their tax refund.

The process that is used to determine this list is highly rigorous and hardly scientific.  However, we are still in the process of attempting to patent and trademark The Process, which if you may recall, is simply tallying up the play counts on iTunes for each album.  It has served us well in years past, and a quick glance at our list this year proves that it has worked once again.

Note: Though the list is a Top 10, there are more albums than slots, because we don’t like breaking ties for the same play count.  If you’re really intent on focusing on only 10, I guess take the 10 highest performing albums from the list, but you really shouldn’t limit yourself like that if you can help it.

10. Phoebe Bridgers – Stranger in the Alps; Fleet Foxes – The Crack-Up; Godspeed You! Black Emperor – Luciferian Towers; Vince Staples – Big Fish Theory; Tyler, the Creator – Flower Boy; Wolf Parade – Cry Cry Cry (7 plays)

It should come to no surprise for our readers the band who inspired our site’s name would crack our Top Ten with our return, though their low placement on the list may raise some eyebrows.  While their return has enough artistic merit to make it more than a simple cash-in on instant nostalgia, Cry Cry Cry lacked the standout songs that marked Wolf Parade’s previous work, with the album seeming to be more competent than anything.  Still, the one-two punch of Dan Boeckner’s “Artificial Life” and Spencer Krug’s “King of Piss and Paper” (reversed for the video) should alleviate the worries of any fans that the Canadian supergroup still has gas left in the tank.

I felt bad for the short people behind me

Wolf Parade, at the Crystal Ballroom

Tyler, the Creator bounced back from a couple of forgettable efforts with an ambitious album that recalls why fans were so impressed with the Odd Future crew back when “Yonkers” first hit, mixing bangers with surprisingly introspective tracks.  We’ll leave the discussion about the lyrical prowess of Vince Staples to others (they never really impressed us that much, but the words aren’t usually our focus), but the beats on Big Fish Theory were a goddamn revelation considering the malaise that seems to be spreading over modern hip-hop these days.  We’re not sure what gets the party going with the kids these days, but bump Vince’s latest on your headphones and you should be set for one heart-pumping adventure.

Much like Dinosaur Jr., another iconic alternative group, Godspeed has shown new life after their return from their prolonged hiatus.  However, as good as their recent albums have been, they seem to be following a similar arc where the third album doesn’t quite have the juice of its two predecessors.  That said, the climax of “Bosses Hang” is exactly what we need these days.

Phoebe is the newcomer to the party, and her delicate debut is perfect for late-night listens.

9. Dieg Cig – Swear I’m Good at This; The War on Drugs – A Deeper Understanding (8 plays)

What can we say–we love duos.  The mix of the sugar-sweet vocals with the propulsive punk makes Diet Cig a welcome addition to the garage rock revival.  The War on Drugs exceeded our expectations; we had begun to get tired of the band’s style (and had read too many critiques of their sound), so we weren’t exactly pumped for their latest.  However, there are plenty of songs on Understanding which will make the band’s eventual Greatest Hits release.  That said, we pray that on the next album Adam Granduciel learns you can use drum patterns besides ones that hit on 2 and 4.

The War on Drugs, at the Crystal Ballroom

8. Alvvays – Antisocialites; Beck – Colors; LCD Soundsystem – American Dream; Protomartyr – Relatives in Descent (9 plays)

Alvvays went a bit darker with their follow-up to their self-titled debut, and added new textures to their indie-pop sound.  Beck finally released his often-teased follow-up to the Album of the Year winning Morning Phase, and while it seems the rest of the country wasn’t psyched for a return of “fun” Beck, we found this album plenty enjoyable.  Beck may have fussed over individual sounds endlessly before the release of Colors, but repeated listens prove it was well worth the effort.  LCD Soundsystem was another welcome return of indie rock royalty, and though it seems they may have stalled a bit creatively after their wonderful initial three album run, “Call the Police” was worth the price of admission in and of itself (though we wish they could have found a way to include the teaser single “Christmas Will Break Your Heart” on the album).  Protomartyr further honed their sound of post-punk mixed with the ravings of an esoteric college professor.  Relatives was not as initially catchy as The Agent Intellect, so it may discourage new fans, but eventually it hooks your way into your brain–see how the line “She’s just trying to reach you” keeps repeating throughout and how it fits with the themes of the record.  The lyric from the Michigan band of “It’s been leaded by snider men to make profit from the poor” might be the best line from 2017, but it’s the following line I keep repeating in my head: “I don’t want to hear those vile trumpets anymore.”

Protomartyr, at the Doug Fir

7. Broken Social Scene – Hug of Thunder; The National – Sleep Well Beast (10 plays)

Hug of Thunder might be the most consistent front-to-back record in the BSS catalog, with several songs that are just really damn uplifting.

Broken Social Scene, at the Crystal Ballroom

By contrast, Sleep Well Beast is a step down for The National, but they’ve been on fire since Alligator and you can’t expect them to maintain perfection forever.  The electronic flourishes to the album are a nice touch, and there are several standout songs that will be great additions to the average setlist.  Simply put, the album gets dinged only because it pales in comparison to their recent string of successes.

The National, at the Schnitz

6. Death From Above 1979 – Outrage! Is Now; Queens of the Stone Age – Villains; Run the Jewels – Run the Jewels 3 (11 plays)

Death From Above officially dropped the “1979” from their name, but it’s going to take us a while to get used to it.  However, we are thrilled that the return to form of The Physical World was no mere fluke, and we’re exceedingly pleased to see the band continue to evolve.  At first, it may seems the album dips in the middle, but after a few times through it becomes clear the forays into sludgier metal riffs are a welcome evolution for the duo (and will help save the stamina of a singing drummer).  Hell, see how easy they make metal look with the hard-hitting opener, “Nomad”.  We may overrate these guys compared to others, but honestly, we have no idea why “Freeze Me” wasn’t a bigger summer hit.

Death From Above, at the Roseland

It took a few times though to get on the same wavelength as QOTSA for their latest, with our initial impression being that a few of the better songs would have worked just fine as Eagles of Death Metal tracks instead.  But once we got lost in the sound and feel of the record, we began to appreciate it more.  Also, “Villains of Circumstance” will be remembered as one of their best ever.

Queens of the Stone Age, at the Hult Center

RTJ is in a strange position, because the schedule of their leak and official release had them straddling the line between 2016 and 2017 lists, but this feels like the right spot for them (if we included every single listen since its release, it would tie for the top spot).  RTJ3 isn’t as lean as its predecessors, but there’s plenty here that will leave listeners longing to hear the continuing saga of Jamie and Mikey.

Run the Jewels, at the Crystal Ballroom

5. Joey Bada$$ – All-Amerikkkan Bada$$; The xx – I See You (12 plays)

A couple of surprises make it into the top half of the list!  We were not impressed with Joey’s debut, but All-Amerikkan Bada$$ is an impressive step forward, effectively mixing groovy R&B and political hip-hop.

We thought The xx had already begun running out of creativity with the decent Coexist, but it turns out there is still juice left in their minimalist indie rock.  Who knew you could make introverted love songs so danceable?

4. Big K.R.I.T. – 4eva Is a Mighty Long Time (13 plays)

Big K.R.I.T.’s ambitious new record easily slides into the trinity of Wu-Tang Forever and All Eyez on Me on the list of greatest hip-hop double albums.  Though nominally split between his two personalities with the party anthem heavy “Big K.R.I.T.” and the introspective gospel-tinged “Justin Scott”, the album flows just fine as one long piece.  Hell, even the few skits on the album can be listened to more than once!

3. Cloud Nothings – Life Without Sound; Grizzly Bear – Painted Ruins; Japandroids – Near to the Wild Heart of Life (14 plays)

Now here’s a triumvirate you would expect from us.  Japandroids got an early jump on everybody with a January release, which partially explains their high ranking on this list, though we don’t want you to put too much in that disclaimer.  Wild Heart of Life is a half-brilliant, half-decent album, which explains our reluctance to fully commit to any direction in our assessment.  The title track opener is an all-time great for the band, and the run from “Midnight to Morning”, “No Known Drink or Drug”, and “In a Body Like a Grave” finish the album on a rousing note.  It’s the middle songs which sag, though we appreciate them as experimental forays necessary for a duo who wish to have a long career.

Japandroids, at Revolution Hall

Grizzly Bear once again returns with an album that sounds great on headphones, begging for you to pick out more and more details with each listen, all in a style that’s perfect for either driving in the car or listening late at night.

Grizzly Bear, at the Roseland

Cloud Nothings made the most consistently brilliant punk record of the year, and goddammit I hope that band keeps moving on to bigger and better things.

Cloud Nothings, at the Doug Fir

2. Kendrick Lamar – DAMN.; Spoon – Hot Thoughts (16 plays)

After the overflowing To Pimp a Butterfly, a record that placed a lot of its emphasis on being a complete album, it seemed Kendrick was coming back with a series of hard-hitting singles–“Humble.” and “DNA.” were huge, aggressive tracks which got everybody fired up for the release.  The initial impression of DAMN. as a series of singles eventually proved to be incorrect, as Kendrick revealed more of the thought process behind the album.  For us, though, the switch was flipped when the “Collector’s Edition” was released, which flipped the tracklisting from back-to-front.  All of a sudden, the album seemed to have a much better flow, and its themes became more readily apparent.

What more can be said about Spoon?  The band is incapable of releasing a less-than-great album at this point, and Hot Thoughts shows off a fun side that had been hiding in the background for a few years at this point.  Britt and the guys walk the tightrope of staying true to their “sound” while not repeating themselves–for example, the funky “Can I Sit Next To You” fits right alongside their early hit “I Turn My Camera On” without it being a rehash.

Spoon, at the McDonald Theater

We love the whole album, but we’re going to keep the somber “I Ain’t the One” and the relevant-to-these-times “Tear It Down” on repeat.

1. Slowdive – Slowdive (17 plays)

The return of My Bloody Valentine may have inspired more ink, but we appreciated the return of the other titans of shoegaze more.  Slowdive fits right in next to Souvlaki and Just for a Day, but doesn’t feel like a mere revival of their early-90’s peak.  The music is as gorgeous as ever, venturing from the delicate haunting vocals in the ballads to the big rush of guitars in the epics.

Slowdive, at the Crystal Ballroom

We’re not sure if we’ll look back in ten years and definitively say we made the right choice on the number one album of 2017, but we’re confident in saying we’ll still love the hell out of this album.

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Review: Moon Duo – Shadow of the Sun

With their latest album Shadow of the Sun, Moon Duo takes the listener on a psychedelic journey whose thrills are often laced with a subtle menace.  Underneath the hazy guitars and bright keyboards, the band traffics in Krautrock-inspired motifs, with the recurring figures alternately grounding the songs and pushing them forward with an ever-insistent beat.  Though the constant repetition can have an overpowering effect of grinding down the listener if their attention is focused too much on the details, Shadow of the Sun is perfect background music for getting lost and zoning out.

Most of the songs revolve around a simple bouncy riff built atop the sparest of chord progressions; a catchy introductory melody ensnares the listener, but the lack of deviation creates an almost unbearable tension that can only be pierced by the addition of a new chord or a solo of some sort.  Moon Duo does a fantastic job of crafting specific melodies like the keyboard line in “Zero” that are seemingly self-contained but in fact keep the listener anticipating a true resolution.  However, the lack of a true conclusion to most of the songs works against the album as it often leaves the listener feeling unsatisfied.

Shadow of the Sun consistently evokes the work of Suicide, as each song is anchored by straightforward and persistent drumbeats that help give the impression of a dark undercurrent lurking beneath the surface.  The consistent repetition of simple patterns mirrors the mechanistic nature of the drum machines that help characterize Suicide, but Moon Duo distinguishes itself with the addition of live drummer John Jeffrey*, who helps add a touch of vitality to the music.  Other influences pop up as well, some more obvious than others.  One can easily hear the impact of the neo-psychedelic forays of The Dandy Warhols circa-Come Down, and a song like “Slow Down Low” is dominated by a vamp on a single chord that brings to mind the Velvet Underground’s “Sister Ray” so much that one could easily sing “I said I couldn’t hit it sideways” as it bounces merrily along.  The delicate “In a Cloud” helps break the potential for monotony on the album and is a welcome change of pace, but is also the source of the most unexpected connection of the album, as its simple two chord progression bears a striking resemblance to Grizzly Bear’s “Knife”; Moon Duo add enough of a personal touch of their own, but I did spend a large amount of time racking my brain trying to pin down where I had previously heard the melody.

Moon Duo does a great job of blending the elements of psychedelic drone and Krautrock repetition to create an overall heady experience.  However, Shadow of the Sun does not exactly stand up to strict scrutiny, as the repetition of only a handful of ideas and motifs can potentially bore the listener; the album works best when the band keeps the mood as light as possible, as in the lively opener “Wilding” or the energetic finale “Animal”.  Nevertheless, Moon Duo has crafted an album that is one of the more pleasant surprises of the year so far.

*His presence increases the number of members of the group to three, making their band name a complete lie; if they wanted to be more accurate, the band should be called Earth Trio.

The Best Songs That Use Sleigh Bells

It’s time once again for another list, but this time we have one that’s a bit more season-appropriate.  Rust Is Just Right is ready to present to you the somewhat-definitive list of the “10 Best Songs That Use Sleigh Bells” that are in no way affiliated with Christmas.

10.  Death Cab for Cutie – “You Can Do Better Than Me”.  A selection that implies “we needed one more song to fill out this list” in more ways than one.

9. Grizzly Bear – “Ready, Able”.  A lot of people love this single off the excellent album Veckatimest, but it always felt a little incomplete for me.  But Grizzly Bear gets this spot because they often use a lot of unique percussion to great effect and should get credit for that effort, and I am at least certain that sleigh bells make an appearance (even if it’s a faint one) in this particular song.

8. Wilco – “Outta Mind (Outta Site)”.  While the raucous “Outtaside (Outta Mind)” has a nifty video, it’s the stripped-down reprise that’s augmented by the cheerful sound of sleigh bells.

7. The Replacements – “Kiss Me On The Bus”.  One of the highlights of the classic album Tim, you can hear the sleigh bells make their appearance on the final chorus, providing an intriguing color to the music.

6. Eric B. and Rakim – “Microphone Fiend”.  Built on a sample of Average White Band’s “Schoolboy Crush”, this is one of the landmark singles from the Golden Age of Hip-Hop and still sounds great today.  Always good to hear a smooth operator operating correctly.

5. The Walkmen – “Nightingales”.  The Walkmen were definitely not strangers to the allure of the sleigh bells, sprinkling their sound throughout their career, most notably on multiple songs from the beloved Bows + Arrows.  But we’re going to give the honor to this lovely track from their swan song Heaven, since it includes moments where the sleigh bells are given their time to shine.

4. The Hives – “Walk Idiot Walk”.  What should a band do as a follow-up for their huge break into the American charts?  If you’re The Hives, you write a single that uses the sleigh bells to keep time in the chorus for no particular reason.  If anything, it at least gives some insight to the casual listener that The Hives are willing to look outside the box of traditional garage rock sounds.  It’s too bad that Tyrannosaurus Hives has been neglected over the years, since it’s a fantastic album.

3. The Beach Boys – “God Only Knows”.  When you fill out your sound with a hundred-piece orchestra, you’re bound to have someone playing sleigh bells for some songs.  We’re going to go with one of the most beautiful songs in the deep catalog of the Beach Boys with this one.

2. Radiohead – “Airbag”.  Radiohead kicks off one of the defining albums of the 90’s with the sound of sleigh bells over sliced-up drum tracks, adding a touch of humanity to an opus about the haunting alienation of technology.  In a song about being miraculously saved from a car wreck, are we to assume that Santa was the savior?

1. The Stooges – “I Wanna Be Your Dog”

I don’t think there’s any argument here with this choice for the top spot.  Once you notice that insistent sleigh bells part chugging along with the rest of those buzzsaw guitars and ramshackle drums, it’s hard to get out of your head, and it adds a strange psychedelic element to the entire enterprise.

So there you have it–the greatest non-traditional Christmas song is “I Wanna Be Your Dog”.  Be sure to include it in your setlist tonight when you’re out caroling!

Over the Weekend (Apr. 28 Edition)

Ho hum, another Monday, another day of new music and videos.  Wait a second, that sounds great!  On to the links.

Moby re-worked a song from director David Lynch (deeming it a “re-version”) and released it on Record Store Day last week; today he uploaded the video on YouTube, and it’s a delightfully spooky black-and-white film that fits the ethereal, hazy music perfectly.

One of our favorite metal acts, Red Fang, is about to head out on tour once again, because they don’t believe in resting on their laurels.  As a bonus for showing up to their show, they’re giving out a free 7″ record which features a new single, “The Meadow”.  You can take a listen right here, courtesy of Noisey.

The first new Pixies album in over two decades will officially be released tomorrow, and the band has uploaded a track-by-track overview on YouTube.  Also be sure to check out the bonus track, “Women of War”, as well.

And Pitchfork has the video of a one-of-a-kind performance, with members of Beach House, Grizzly Bear, The Walkmen, and Fleet Foxes performing a tribute to Gene Clark of the Byrds with a recreation of his solo album No Other.  Check out the whole show here.