Though we here at Rust Is Just Right try as hard as we can, it simply is not possible for us to review all the great new albums that come across our way. However, since our goal is to highlight great music that you may have not discovered yet, we feel obligated to at least give a brief mention to some of the records that we have accumulated over the past few months that are worthy of your consideration. With that in mind, we present another slate of albums.
Frog Eyes – Pickpocket’s Locket With their previous albums Tears of the Valedictorian and Paul’s Tomb: A Triumph, Frog Eyes showed a certain flair for the dramatic, delivering cracked indie rock epics that can overwhelm listeners with their passion and intensity while challenging their preconceived musical sensibilities. For this album, Casey Mercer has pulled back a bit and offered a more stripped-down version of his group’s bombastic sound, but delivered with a similar fervor. You still get Mercer’s unique voice, but this time it is often accompanied by strings.
HEALTH – Death Magic For their long-awaited follow-up to Get Color, noise-rockers HEALTH have decided to throw on the most depressing dance party ever. Industrial affectations adorn slow, slinky beats, creating a menacing if alluring album. The only downside is a tendency early inthe album to borrow a melody from Vampire Weekend’s “Giving Up The Gun”, but that might be a problem that does not afflict everyone equally.
Lou Barlow – Brace the Wave It is really strange that two of the members of probably the loudest fucking band on the planet, Dinosaur Jr., enjoy making gorgeous acoustic music in their spare time, but such is the case for J Mascis and Lou Barlow. To be fair, Barlow has shown this side for years, even on a handful of Dino songs, but Brace the Wave is an especially gorgeous collection of songs. Recorded after the dissolution of a long marriage, there is the expected melancholic element, but it is balanced with several moments of fragile beauty.
Wire – Wire The old punks are still kicking, and they are as restless as ever. Not content to rehash their early work that has inspired countless modern bands, Wire instead dives into a dour post-punk take on shoegaze. That is probably a poor characterization of their sound, but goes to show how the band has always managed to defy description.
Wolf Alice – My Love Is Cool The band got some airplay with the aggro-indie track “Moaning Lisa Smile”, but the album as a whole exhibits far greater diversity than one might expect. Wolf Alice shows a bit of love to multiple 90’s subgenres and trends, but avoids sounding like a rehash of that decade. My Love Is Cool does not quite work as a cohesive album, but there should be plenty of stray tracks that fans will love.
Today is April 15, and while the rest of the nation celebrates Tax Day, we here at Rust Is Just Right choose this occasion to release our Best Albums of the Year list. To be technical, this is our first such list since the site was launched only a few months ago, but this is a practice that I’ve personally done for a few years now. There are a few of reasons for this: 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) I get the chance to analyze other lists to pick up on albums that somehow escaped my 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. That said, it is in the process of being patented and trademarked, so I can say that it’s not simply a look at my iTunes playcount for the year. Actually, that is what it is exactly, but I’ll choose to believe in your good faith that you won’t steal The Process. On to the list!
Note: Though the list is a Top 10, there are more albums than slots, because I 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.
We already have a surprise courtesy of The Process, as I didn’t think that Mosquito would perform so well. The first single “Sacrilege” had me really excited for the album, but there was no other song that really matched its heights. It was a bit of a letdown after the great It’s Blitz!, so my response to it may be harsher than it should be. The Terror on the other hand was a new high point for The Flaming Lips; with the band involved in so many projects and gimmicks, there were legitimate fears that the creative well may have been running a bit dry, but the Lips responded with an album that showed that even after 30 years the band still has new directions to explore. Long known for their happy outlook on life, the band channeled inner turmoil (Steve Drozd’s relapse, Wayne Coyne’s separation from his partner) and created a dark, disturbing album that often plays like an hour-long version of the horrifying “Frankie Teardrop”, incorporating new elements like krautrock influences and drum machines. The only reason it’s not higher on the list is you really need to prepare yourself to handle the despair that is prevalent throughout the album (though there are moments of pure beauty). With Th!!!er, !!! may have won Album Name of the Year, but they also back it up with some of the best songs of their career. I’m a sucker for their dance-punk style, and I highly recommend seeing these guys live. It’s fun to see a bunch of people who normally don’t dance groove to songs like “One Girl/One Boy”.
9). (7 plays) Foals – Holy Fire; The Joy Formidable – Wolf’s Law; Low – The Invisible Way; Nine Inch Nails – Hesitation Marks; Parquet Courts – Light Up Gold; Pearl Jam – Lightning Bolt; Run the Jewels – Run the Jewels.
Normally, I would say that Pearl Jam exists outside the scope of “lists”, but one cannot argue with The Process. I haven’t delved deep into my love of the band since starting this site, so for those of you unfamiliar with my passion for the band, I’ll try to sum it up like this: I’ve been to hundreds of shows over the years, and when people ask me for my all-time greatest concerts, I tell them there’s a Pearl Jam list and a non-Pearl Jam list.
As for the others, I’ll offer a few quick thoughts. Foals have been underrated for a while now, and by my calculations “My Number” should have been as big a summer hit as “Get Lucky”. The Joy Formidable put on one of the best shows I saw last year, and I’m a big fan of how the sweetness of the vocals contrast with the heaviness of the music, but all done in a very melodic way. There wasn’t a big hit like “Whirring” on this album, but “This Ladder Is Ours” should have been. Nine Inch Nails returned with a very good comeback album–I loved the incorporation of more minimalist ideas, which made it an exceedingly interesting dance record. And it’s amazing that Low once again produced an amazing album, and I hardly saw any mention of it on the year-end lists. Invisible Way saw the band returning to the more delicate sounds pre-Drums and Guns, but it was definitely not a simple rehash.
Light Up Gold is a perfect example of reason number two up above, as I heard nothing about this album before I saw it on a few year-end lists. This catchy and too-smart-for-probably-its-own-good soon became a go-to in my car stereo. You have to love a band that makes the point that “Socrates died in the fucking gutter.”
As for Run The Jewels, I’ll say this: it’s hard to believe that one of the best albums of the year was given away for free earlier this year. And it received a small fraction of the attention of Magna Carta Holy Grail.
8). (8 plays) Franz Ferdinand – Right Thoughts, Right Words, Right Action; Kanye West – Yeezus; The Thermals – Desperate Ground.
I was glad to see Franz Ferdinand return from hiatus alive and kicking. After some experimentation with Tonight, the band decided to go back to their old sound and play to their own strengths–a lot of good, hook-filled rock songs (for the record, I was a fan of Tonight, but hey, I understand the calculus). The Thermals made a similar return to their roots: after the reflective Personal Life, the band decided to keep the songs short and the tempos fast, with the furious Desperate Ground.
Vampire Weekend got a lot of credit for their show of maturity on their third album, and a lot of it is deserved–Modern Vampires is an excellent rumination on love and faith. That said, it wasn’t as great a leap as some critics made it out to be; I thought that Contra showed that the band was creative enough to find a way to connect their niche sound with other genres and still remain true to their identity. So while this is a very good album, it’s not quite the “Album of the Year”.
I’m much more surprised about the latest album from Sigur Rós. I found Valtari to be a real low point, an album that often struggled to find any semblance of creativity or inspiration, and it just seemed like an ambient mess. So when the band released Kveikur so quickly after Valtari, I was pretty skeptical. But holy shit, this sounds like a band reborn. It’s a much more aggressive album, an adjective that is rarely associated with the band, and bears some (dare I say?) metal influences.
5). (11 plays) Arctic Monkeys – AM; The Besnard Lakes – Until in Excess, Imperceptible UFO.
The instant I heard “Do I Wanna Know?”, I knew I would love this album; I just didn’t know that it would turn out to revive their career here in the States. It’s a huge improvement over the good-but-unmemorable Suck It And See and the completely forgettable Humbug, and it wins my coveted award of “Night Driver of the Year”.
I’ve been a longtime fan of The Besnard Lakes, a band far more deserving of some of the plaudits that another Canadian band whose absence you may notice from this list. If there were actual justice in this world, they’d be headlining arenas, but I’m glad I get to see them perform spellbinding sets in tiny venues like the Doug Fir. I initially was not impressed with the new album, mainly because I had been hoping that they could use some of the huge hooks from Roaring Night and hopefully catapult into the mainstream; but once I accepted the album for what it was, I was able to appreciate the subtle melodies and beautiful atmosphere.
4). (12 plays) Deafheaven – Sunbather; My Bloody Valentine – m b v.
My Bloody Valentine shocked the world when they announced that they were immediately releasing their long-awaited follow-up to Loveless. Servers were in a constant state of crashing as music buffs around the world rushed to download the album, but eventually we all got our copy. Was it worth the over two-decade wait? If you based it on trash like “Nothing Is”, then you would say no, but then you hear the gorgeous “Only Tomorrow” with its monumental guitar solo, and all is forgiven, because you are reminded that while there are thousands of bands that were inspired by them, there is truly only one My Bloody Valentine.
Sunbather might be the most surprising album on my list, because while there is a lot of heavy metal that I do enjoy, it’s usually not of the black metal variety. However, Deafheaven uses the banshee wail-type vocals to their advantage, as they blend in with the walls of guitar. If I had my preference, it wouldn’t be the style I choose, if only because it becomes hard to distinguish what are actually some pretty decent lyrics (an exchange like “‘I’m dying.’ ‘Is it blissful?’ ‘It’s like a dream.’ ‘I want to dream.'” read great on the page, but impossible to pick out when sung). That said, the actual music is pretty goddamn brilliant. I’m going to explore them in a future Feats of Strength, but I’ll say that the last half of “The Pecan Tree” was probably the best music I heard all year, but to understand its full brilliance you need to hear the 55 minutes of brutality that came before it.
3. (16 plays) Wavves – Afraid of Heights.
Wavves received the best press and sales of their career with King of the Beach, and to follow it up they release an album filled with cynicism and paranoia and plain old depression. But they made it fun as hell. I have to give a lot of respect who released a single that got actual radio airplay whose chorus is “Holding a gun to my head, so send me an angel; or bury me deeply instead, with demons to lean on”. And they played it on Letterman.
2. (17 plays) Queens of the Stone Age – ...LikeClockwork.
This one of the best albums of QOTSA’s career, and that’s saying something since they’ve released several classic albums already. It’s a brilliant mix of their desert rock with gothic horror. It’s hard for me to think of much more to say than that, because I’m still bitter thinking how not one person on the AV Club staff gave this album a single vote.
1. (20 plays) The National – Trouble Will Find Me.
In the end, the list was topped off by what I would have predicted at the beginning of the year, but when I first listened to Trouble Will Find Me this was not a foregone conclusion. But like other albums from The National before it, what initially sounded like a shapeless bore gradually revealed its subtle strength and beauty. Melodies become more apparent, and dynamics become more evident; often it’s not drastic loud-soft contrast, but a gradual intensity that builds throughout in a song. Each listen brings about a new favorite; first it was “Sea of Love”, then it was “Pink Rabbits” followed by “Don’t Swallow the Cap”. Lately, it’s been “Graceless”, a powerful look at attempts to shake the melancholy stemming from a past relationship, filled with great lines like “God loves everybody–don’t remind me” and “all of my thoughts of you: bullets through rotten fruit.” After a few listens, you notice things like the shift halfway between “graceless” and “grace” that occurs in the lyrics, and the gradual buildup of intensity in Matt Berninger’s voice as he powers through the song. It’s perfect that an album that rewards multiple listens takes the top spot.