ESTE [Design By Play Bleu]
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Its pretty sad seeing 2010 go, and as I sift through my collections, drafting this list its making me all the more nostalgic. These songs are not necessarily the best, just the ones which struck the deepest with me over the year. They are the ones which I have had the best relationship with, strike up the best memories and relate to a particular positive time or place throughout the 2010. These twenty five are the melodies which i’ll recall in a year, two years or even five years down the line and think, “Ah, 2010, what a fantastic year for music.” Enjoy.
A song about the carelessness of youth, city and country life, and the art of ‘Zorbing’. This bassy and upbeat indie folk track, taken from 2010′s Beachcombers Windowsill, takes an organic twist with the addition of optimistic brass, a clap-along outro and evocative lyrics.
Perhaps Cults didn’t head the 60s revival which seemed to come to prominence 2010, but they were certainly instrumental in sustaining it. ‘Go Outside’ was arguably their breakthrough track, with simple bass-lines reminiscent of Spector’s hit parade providing the skeleton for the tight-knit xylophone riffs and guilty pleasure song-writing to grow around.
This was one from the inbox – a long-time busking band from Philadelphia who earlier this year decided to get their act together and release some formal recordings. From the Empty Side EP, La Mariposa was a clear highlight, mixing English and Spanish language on a bassy indie pop shuffle, periodically transformed into one of those lazy, catchy choruses that never quite leave you.
I found out only recently that one member of all-girl lo-fi trio PENS is also a Last.fm employee – strange considering its pretty difficult to imagine the purveyors of these short, atonal and irresistably catchy punk songs ever keeping a full-time job. Freddy is a crunchy and distorted punk rock track that will sweep you off your feet, if you let it. At just over two minutes, I neither know what the song is about, nor do I really care.
We Are Trees is a bedroom project which gained some decent press for the strength of their band camp page in the middle of Summer – think lo-fi folk with heavily muffled vocals and streaming brass lodged somewhere back and to the right. Sunrise, Sunset starts life fairly modestly, but the listener is quickly swept away into a choral haze of crashing percussion and counter-melodies.
Best Coast, the L.A fuzz-pop trio centred on cat-lover and former Pocahaunted musician Bethany Cosentino, is best taken in moderation. There’s only so many 3 minute grungy lo-fi songs a person can take. If I had to choose one to take with me to a desert island, it would be In My Room, for its gorgeously overdriven tones and careless execution.
Quite how The Tallest Man On Earth manages to consistently sound so different without the use of any technique or instrument which other than an acoustic guitar is something which never ceases to amaze me. King Of Spain is a pastoral and intense one-man arrangement which appears to be about Swede Kristian Matsson’s ardent desire to rule over the Western European country. Not sure what the rest of this good-humoured but exceptionally tense 3 and a half minuter is about, or what was wrong with his native Sweden? It hardly matters, this song is something quite special.
CocoRosie, now on their fourth full length album, have become known for their seemingly effortless navigation between freak folk, electronica and hip-hop, and their fourth album ‘Grey Oceans’ is no exception. Lemonade is the standout track of that album, opening with a painfully simple piano line before swooping into a very St. Vincent-esque orchestral pop chorus. This, combined with the straight out weirdness of their voices, makes for number 18 on the list.
The promising debut release from Our Husband, ‘Villages’, was sent over to me a few months back – its washy dream pop with tonnes of reverb, Beach House guitar lines and long-held falsetto vocals which repeat and resonate through the outro. A truly great song in itself, will be very interesting to see what else this Australian duo come out with in 2011.
His Clancyness is the solo project of Jonathan Clancy, who, as a precursor to his new tape ‘Always Mist’ which came out on Mirror Universe in Summer, dropped a free download in April called ‘Summer Majestic’. This is bass-led dream pop mixed with some of the most captivating of post-punk. The song will really stick with you; the verse sees simple percussion giving rise streaming lead guitar and a hurried, multi-layered vocal taking precedence in the chorus. Summer Majestic may be ultimately a very simple lo-fi song, but it is the new-wave nostalgia, heavy reverb and lo-fi recording which bring out the best parts of it.
You can pick up both of South Carolina lo-fi acoustic artist Coma Cinema’s first two albums free from his website. I downloaded them, and I know a lot of other people did too. Pitchfork and Altered Zones, and many other influential blogs caught wind, and now Wonder Beard Tapes will release his third effort ‘Blue Suicide’ sometime in 2011. ‘Only’ is organic and subtle, with the bass dubbed high against the low-cut vocals, drowned out as such by scratchy guitars and slow percussion. Its simple and laboured charm puts the song, from 2010′s ‘Stoned Alone’ at number 15.
Beach House’s 2010 album ‘Teen Dream’ is shaping up to top a lot of end of year lists. Why shouldn’t it? Gorgeous vocals partner dreamy guitar pedal and piano-led arrangements in some of the most innovative and consistently impressive song-writing of the year. Used To Be, as well as Norway, stood out as tracks which implied as much excellence as they portrayed. Used To Be is one of those melodies so frustratingly simple, so obvious in retrospect that not only do you kick yourself for not having recorded it, you feel as if the song has been with you, innately, for your whole life. The structures complicate themselves a little in the chorus, but the song remains a truly great effort.
Thomas Krell, aka How To Dress Well, probably broke through to some extent with this Michael Jackson sampling psych-dance track. Moulding the resonance of MJ’s drug anthem ‘We can share this ecstasy’, with icy European synth work and dark Burial-style under-dubs, these samples and snippets slide together with just enough structure to hold down a beat.
Carolina has been a part of Girls’ live set for a couple of years now, but its only this past November 23rd that its seen its first physical release, as part of the band’s elaborate return ‘Broken Dreams Club’. This eight minute jam is ridden with surfer chord changes, heavy guitar effects and a chorus line so classically Girls’, held back for so long – that when it finally comes in after several minutes, its totally worth the wait. This one will have you singing ‘Carolina’ to yourself all week – quite possibly their strongest song yet.
The most shameless pop song of Jack Tatum’s collection, Summer Holiday is just as the name suggests. Quick strumming and washy vocal harmonies evoke memories of late summer evenings, the hushed vocals a firm whisper through the misty recording. The guitar and bass work is simple and repetitive and nostalgic – the epitome of the bedroom pop movement of the last few years. I contributed this song to the At The Sinema Blog’s Summer Mixtape – read what I had to say here.
The mysterious bedroom folk project Blackfeet, based in Bournemouth, started releasing music through obscure label Box Social Records in Summer with the ‘Sleep’ single, before going on to drop his ‘Choral Reef LP’ at the end of November. As a friend of mine put it, this is music ‘like a warm whisper in your ear’. Vocals are reminiscent of perhaps Charlie Fink of Noah & The Whale, or maybe Matt Berninger of The National, gracing dark acoustics and cold surf strums with Bon Iver-esque style harmonies and subtle arrangements.
Tame Impala’s ‘Desire Be Desire Go’ is twisted psychedelic rock jam, blending elements of The Beatles’ White Album psychedelic stylings with a certain natural, organic theme which runs through their grungy, effect-laden guitar set-ups. There’s plenty of 70s influences which shine through clear, and plenty of heavily distorted sections of controlled yet intense overdrive.
8. Four Tet - Love Cry (MP3)
From somewhat unconvincing semi-ambient beginnings, Love Cry is sharply grounded by direct and decisive percussion, portraying not only a marked musical reference to the Four Tet of old, but also a new level of experimentation never before seen or heard from the London based experimental musician. The drums repeat almost un-changed for the duration of the track, joined at different times by the sounds of years of experimentation, pulsating, hypnotic rhythms and lightly dubbed resonances of atonal delay. There’s also a hint of folk about the music; beautifully orchestrated and considerably manipulated strings give the rigid structures an organic colouring – one which drops out to full force in the track’s closing sections. Repetitive samples take on almost a paranormal, emotionless direction in the mixing – one where the leaving of the climax to the imagination works out a surprisingly effective tactic.
Gigi is the project of Vancouver’s Nick Krgovich and producer Colin Stewart, who across five years took contributions from a huge range of musicians around the Vancouver music scene to feature on their debut album ‘Maintenant’. The album was finally released in January (read my review), and Strolling Past The Old Graveyard is possibly the pick of the bunch. The music was inspired by the 60s hit parade, and though its a significant stretch to call any of these songs particularly original, it is refreshing to hear such a high quality tribute to the era recorded and released with some successes. There’s tight boy-girl harmonies, heavy reverb and traditional and era-appropriate recording quality which all contribute towards a solid and entertaining album of 60s revivalist pop songs.
Now famous for his frantic and distorted lo-fi punk jams, Hey Cool Kid, from Baldi’s March debut, is one of the Cleveland, Ohio based teenager’s more peaceful arrangements. A rattling and repetitive chorus is broken up guitar work distinctively ‘chill-wave’, an influence from around this album’s release which is only slightly characteristic in the rest of his work. Hey Cool Kid is ultimately relaxed and anthemic, a stand-out track from his debut.
Yuck’s Georgia is straightforward noise-clipping shoegaze pop – with the guitars too loud, vocals too quiet and melodies drowned in reverb. But in spite of all of this – its just so infuriatingly catchy and repeat-able, with such an undeniable youthful charm about its blistering and nostalgic lo-fi recording, that you can’t help but love it. The album drops in 2011, and they’ve also just announced a UK tour – so i’d advise looking out for those in the new year.
Cloud Control are relocating to London in 2011 (from Australia), and having already busied many a venue in these parts with their distant harmonies, airy guitar set-up and anthemic indie pop charm, look likely to cause a far more direct buzz on their part after their imminent arrival. I reviewed a show of theirs in Brighton not too long ago, and spoke of their “unparalleled strength in delivery, the seemingly aimless but nevertheless wonderfully tight vocal harmony, and the psych-folk electronic tones which occasionally filtered through into the mix”.
From 2010′s critically acclaimed High Violet, The National’s deep and darkened post-punk sound is epitomised on Conversation 16. Sinister opening phrase ”I think the kids are in trouble // do not know what all the troubles are for // give them ice for their fevers // you’re the only thing I ever want anymore” joins rattling tremolo and steady drumming, before the song climaxes and calms into a disturbed and depressive gentle mid-section. This song is intense, repressive, personal and beautifully performed and produced – it lies at number 3.
Avi Buffalo is the Long Island indie pop quintet headed by 19 year old singer-songwriter Avigdor Zahner-Isenberg, who put out their debut album earlier this year, to almost universal acclaim. What’s In It For? is the single from that album, one filled with Shins-esque licks, surfer progressions and confrontational love-song lyrics. They ooze naivety and youth, with colourful guitars and desperate harmonies accompanying evocative lyricism – “I can feel you’re on fire because you’re drunk and acting too cool” before a repetitive chorus of “What’s in it for, someone with nothing to do, what’s in it for me”. Avi Buffalo have mastered the art of love-songs to near epic lengths, encompassing everything about their genre with an undeniable charm and heart-felt authenticity.
