For an artist last seen playing the clown on the UK X Factor 2 years ago (a role much better suited to actual clown Nicole Scherzinger), Kelly's recent single "Dirty Laundry" seemed to come from a much less mass-appealing place. An uncharacteristically cold but characteristically sparse production from The-Dream provided an empty canvas for Rowland to paint a brutally honest and squirmingly blunt account of her experiences of post-Destiny's Child life, particularly dealing with Beyoncé's rise to solo fame and simultaneously an abusive relationship. It was as refreshing as it was uncomfortable to listen to, and the first real sign of Kelly Rowland stepping out as a solo artist.
The subsequent album "Talk A Good Game" speaks even further volumes about the importance of fearlessness and self-expression as a solo artist, as opposed to the terrifyingly shallow and money hungry US pop market Kelly has often associated with. "Talk A Good Game" takes less to nothing from the Guetta Dance or Schmaltzy R&B of her past and associates more with organic, soulful and gorgeous Post-R&B, and before you disregard this as a sad attempt at maintaining relevant, consider that Kelly has the songs to back up the choice. Not to mention the style suits her simmeringly sexy lower range down to a T.
It's not perfect, the album begins somewhat colourlessly with tracks like uninteresting first single "Kisses Down Low" and the anonymous electropop of opener "Freak", but it warms up considerably as "Dirty Laundry" ushers in a string of heartwrenchingly gorgeous tunes including the glorious Dreamgirls-sized "You Changed" featuring her old band mates, the fragile and ethereal Europop of "I Remember" and the seductive "Red Wine", which showcases a aching and emotional depth to Rowland's performance that the showy, worldwide brand Beyoncé could never quite perfect. And it comes from a long-standing personal struggle and insecurity that the most successful Destiny's Child member couldn't possibly relate to.
BEST TRACKS: Dirty Laundry, You've Changed, I Remember
FOR FANS OF: Drake, The-Dream, Beyoncé
Showing posts with label drake. Show all posts
Showing posts with label drake. Show all posts
Wednesday, 19 June 2013
Thursday, 30 August 2012
TOP 10 OF AUGUST (Includes Mixtape)
A distinct lack of real summer anthems this month, and in true spirit of the non-summer which seems to have passed us by, the most impressive music this month seemed keener to advance into the colder, darker months.
Listen to my monthly mix below, and then scroll down to read what I have to say about my favourite tracks of the month.
10. Bebe Black - Deathwish
(Taken from 'The Black Lion Sessions' EP)
You may know her as the voice of Benga's 'Icon', but on "Deathwish", Bebe Black reveals a new side to herself as an artist. Unlike her assured swagger on 'Icon', Black's tone is more emotional and desperate here, her higher range recalling the distinct soft-opera of La Roux. She sings hopelessly, with chorus hook "loving you is turning to a deathwish, and there is no way out but this" flirting tragically with self-destruction and low self-esteem. An organic, Flo&TheMo-lite backing track, driven by an addictive, dancy synth piano hook leaves plenty of space for her fragile voice to breathe.
DOWNLOAD 'THE BLACK LION SESSIONS' EP FOR FREE HERE.
9. Teengirl Fantasy - Efx (feat. Kelela)
(Taken from 'Tracer')
Quirky bass/synth/whateverpop act Teengirl Fantasy, thus far known for icy synth house tracks such as "Motif", have taken a slight detour via the new wave of US dark'n'B ala Drake and The Weeknd, and it's a delightfully weird middle ground between the bajan pop vibes of old Rihanna and difficult but gorgeous swedish pop like The Knife and Niki & The Dove.
8. Ne-Yo - Let Me Love You (Until You Learn To Love Yourself)
(Single)
After guesting on Calvin Harris' functional but unambitious "Let's Go" not so long ago, it's predictable that Ne-Yo would continue with this direction in his solo material. However, when a big dance production is paired with the saccharine emotional piano led chord sequence and overwrought melodies that Ne-Yo so often brings to the table in his solo work, "Let Me Love You" ends up being a surprising pop triumph. Melodramatic yes, cheesy yes, but oh so, OH SO catchy and unfairly uplifting. Makes one grin like a buffoon.
7. Noisettes - Winner
(Taken from 'Contact')
After providing two stomping indie dance anthems on their last record, in "Never Forget You" and "Don't Upset The Rhythm", it's good to see them hit right back with a fist-pumping comeback single. Menacing guitars pace the room, the beat stomps aggressively and singer Shingai Shoniwa yells triumphantly "I feel like a winner!", and its an infectious feeling. Effortlessly feel-good and sassy, the Noisettes remind us why there's still a place for them.
6. The 1975 - The City
(Taken from 'Facedown' EP)
When The Big Pink failed to deliver another "Dominos" on their close-but-no-cigar sophomore, it's good to hear the best pop rock anthem that band never wrote, with a gritty heart and emotive delivery. A massive britpop beat meets a truly anthemic wall of distorted bass and waves of guitar, as the singer announces triumphantly in the chorus "if you wanna find out you know where the city is". An uplifting move-to-the-city anthem with an aftertaste of rebellion.
5. Benga - Pour Your Love (feat. Marlene)
(Taken from 'Chapter 2', release date 29/10)
If anyone misses the 2009/10 days of dubstep's real breakthrough to the mainstream, "Pour Your Love" reminds us just how big a role Benga's work with Magnetic Man and Katy B played. In the same vein as a track like "Katy On A Mission", but twice as big, the pulsating basslines and soaring lead melodies courtesy of superlative featured singer Marlene are truly thrilling in a way that no amount of cliched Skrillex bleeps and bloops could achieve, and is a perfect reminder of how melody in dubstep can be crucial to its longevity and commercial stance. In other words, WHAT a tune.
4. Passion Pit - Constant Conversations (St. Lucia Remix)
(Unofficial Remix)
On Gossamer, the original "Constant Conversations" is earthy and gritty, and sad in a mopy way, despite the beauty of its melancholic, self-reflective subject matter. But New York producer St Lucia had bigger ideas for the track. It's new wavey synth chords and vast reverb catapault the track into the stratosphere, and inject the previously depressive track with a heart-leaping sense of hope, especially once the track finally bursts free at 1:50. The vocal sample sounds epic as opposed to quirky, and that 70s keyboard lead is simply perfectly placed.
DOWNLOAD THE TRACK FOR FREE HERE.
3. Aaliyah - Enough Said (feat. Drake)
(Single)
Not quite a hologram, but hearing Aaliyah's silky and insanely sexy voice matched with Drake's producer 40's thick, ambient, bass heavy production in 2012 is something undeniably quite wonderful. It's almost a shame when Drake turns up, Aaliyah's voice is that show stopping, from the irresistible string of "yeah"s that make up the songs focal hook to her heavenly, fragile ad libs. Nevertheless, Drake is full on 'Take Care'-reflective here in his verse, and although he's upstaged by the late diva, they make a strangely apt pairing, the song playing like a hazy dream, in which Aaliyah is still alive and producing beautiful music, and Drake wakes in the morning, rubbing his eyes, trying desperately to recall what he just dreamt.
Listen to my monthly mix below, and then scroll down to read what I have to say about my favourite tracks of the month.
10. Bebe Black - Deathwish
(Taken from 'The Black Lion Sessions' EP)
You may know her as the voice of Benga's 'Icon', but on "Deathwish", Bebe Black reveals a new side to herself as an artist. Unlike her assured swagger on 'Icon', Black's tone is more emotional and desperate here, her higher range recalling the distinct soft-opera of La Roux. She sings hopelessly, with chorus hook "loving you is turning to a deathwish, and there is no way out but this" flirting tragically with self-destruction and low self-esteem. An organic, Flo&TheMo-lite backing track, driven by an addictive, dancy synth piano hook leaves plenty of space for her fragile voice to breathe.
DOWNLOAD 'THE BLACK LION SESSIONS' EP FOR FREE HERE.
9. Teengirl Fantasy - Efx (feat. Kelela)
(Taken from 'Tracer')
Quirky bass/synth/whateverpop act Teengirl Fantasy, thus far known for icy synth house tracks such as "Motif", have taken a slight detour via the new wave of US dark'n'B ala Drake and The Weeknd, and it's a delightfully weird middle ground between the bajan pop vibes of old Rihanna and difficult but gorgeous swedish pop like The Knife and Niki & The Dove.
8. Ne-Yo - Let Me Love You (Until You Learn To Love Yourself)
(Single)
After guesting on Calvin Harris' functional but unambitious "Let's Go" not so long ago, it's predictable that Ne-Yo would continue with this direction in his solo material. However, when a big dance production is paired with the saccharine emotional piano led chord sequence and overwrought melodies that Ne-Yo so often brings to the table in his solo work, "Let Me Love You" ends up being a surprising pop triumph. Melodramatic yes, cheesy yes, but oh so, OH SO catchy and unfairly uplifting. Makes one grin like a buffoon.
7. Noisettes - Winner
(Taken from 'Contact')
After providing two stomping indie dance anthems on their last record, in "Never Forget You" and "Don't Upset The Rhythm", it's good to see them hit right back with a fist-pumping comeback single. Menacing guitars pace the room, the beat stomps aggressively and singer Shingai Shoniwa yells triumphantly "I feel like a winner!", and its an infectious feeling. Effortlessly feel-good and sassy, the Noisettes remind us why there's still a place for them.
6. The 1975 - The City
(Taken from 'Facedown' EP)
When The Big Pink failed to deliver another "Dominos" on their close-but-no-cigar sophomore, it's good to hear the best pop rock anthem that band never wrote, with a gritty heart and emotive delivery. A massive britpop beat meets a truly anthemic wall of distorted bass and waves of guitar, as the singer announces triumphantly in the chorus "if you wanna find out you know where the city is". An uplifting move-to-the-city anthem with an aftertaste of rebellion.
5. Benga - Pour Your Love (feat. Marlene)
(Taken from 'Chapter 2', release date 29/10)
If anyone misses the 2009/10 days of dubstep's real breakthrough to the mainstream, "Pour Your Love" reminds us just how big a role Benga's work with Magnetic Man and Katy B played. In the same vein as a track like "Katy On A Mission", but twice as big, the pulsating basslines and soaring lead melodies courtesy of superlative featured singer Marlene are truly thrilling in a way that no amount of cliched Skrillex bleeps and bloops could achieve, and is a perfect reminder of how melody in dubstep can be crucial to its longevity and commercial stance. In other words, WHAT a tune.
4. Passion Pit - Constant Conversations (St. Lucia Remix)
(Unofficial Remix)
On Gossamer, the original "Constant Conversations" is earthy and gritty, and sad in a mopy way, despite the beauty of its melancholic, self-reflective subject matter. But New York producer St Lucia had bigger ideas for the track. It's new wavey synth chords and vast reverb catapault the track into the stratosphere, and inject the previously depressive track with a heart-leaping sense of hope, especially once the track finally bursts free at 1:50. The vocal sample sounds epic as opposed to quirky, and that 70s keyboard lead is simply perfectly placed.
DOWNLOAD THE TRACK FOR FREE HERE.
3. Aaliyah - Enough Said (feat. Drake)
(Single)
Not quite a hologram, but hearing Aaliyah's silky and insanely sexy voice matched with Drake's producer 40's thick, ambient, bass heavy production in 2012 is something undeniably quite wonderful. It's almost a shame when Drake turns up, Aaliyah's voice is that show stopping, from the irresistible string of "yeah"s that make up the songs focal hook to her heavenly, fragile ad libs. Nevertheless, Drake is full on 'Take Care'-reflective here in his verse, and although he's upstaged by the late diva, they make a strangely apt pairing, the song playing like a hazy dream, in which Aaliyah is still alive and producing beautiful music, and Drake wakes in the morning, rubbing his eyes, trying desperately to recall what he just dreamt.
2. Jessie Ware - Wildest Moments
(Taken from 'Devotion')
On first listen, with its gently distorted heavy handed drum beat, it would be easy to dismiss "Wildest Moments" as a power ballad, but it's much simpler and more elegant than that. There is no musical climax, not much range for Ware to enjoy, but it her effortless, unaffected and beautiful delivery that really allow the words of this understated, yet incredible ballad to resonate and emotionally connect with her listener. She sings calmly of the bittersweet turmoil in her relationship, and despite this calm, her voice shimmers as she sings "we could be the greatest... we could be the worst of all", and what is left unsaid, is said here without words. When Jessie Ware demonstrates such a powerhouse voice on other tracks, a song like this being a highlight on her incredible debut is nothing short of remarkable.
On first listen, with its gently distorted heavy handed drum beat, it would be easy to dismiss "Wildest Moments" as a power ballad, but it's much simpler and more elegant than that. There is no musical climax, not much range for Ware to enjoy, but it her effortless, unaffected and beautiful delivery that really allow the words of this understated, yet incredible ballad to resonate and emotionally connect with her listener. She sings calmly of the bittersweet turmoil in her relationship, and despite this calm, her voice shimmers as she sings "we could be the greatest... we could be the worst of all", and what is left unsaid, is said here without words. When Jessie Ware demonstrates such a powerhouse voice on other tracks, a song like this being a highlight on her incredible debut is nothing short of remarkable.
1. Wild Nothing - Paradise
(Taken from 'Nocturne')
(Taken from 'Nocturne')
After the shoegazery new wave of their debut Gemini, Wild Nothing's sophomore full length Nocturne is certainly the stronger, more confident record, and "Paradise" is its restless, romantic heartbeat. Five and a half minutes pass without much changing, but each melody that introduces itself is a beautiful revelation. A jangly lead guitar and feathery flute melody provide enough musical joy between them than was heard on the entire of (the still quite enjoyable) Gemini, and the brief vocal refrain is subtle but effortlessly grand. It is however the two and a half minute breakdown, carried on three gorgeous chords, that truly makes the track, giving it its warm, welcoming heart. When the whole band kicks back in for the final minute, it is one of the most joyous moments in pop music this year.
- Joe Copplestone, 30/08/12
Friday, 10 August 2012
Popdar: Best New Music - 06/08
Another moderate quality music drought this week, thank you very much Olympics (!), but there are, as always, some proper finds if you look hard for them.
AALIYAH - ENOUGH SAID (FEAT. DRAKE)
Not quite a hologram, but hearing Aaliyah's silky and insanely sexy voice matched with Drake's producer 40's thick, ambient, bass heavy production in 2012 is something undeniably quite wonderful. It's almost a shame when Drake turns up, Aaliyah's voice is that show stopping, from the irresistible string of "yeah"s that make up the songs focal hook to her heavenly, fragile ad libs. Nevertheless, Drake is full on 'Take Care'-reflective here in his verse, and although he's upstaged by the late diva, they make a strangely apt pairing, the song playing like a hazy dream, in which Aaliyah is still alive and producing beautiful music, and Drake wakes in the morning, rubbing his eyes, trying desperately to recall what he just dreamt.
For fans of: The Weeknd, everyone involved with the track.
Aaliyah - "Enough Said" (feat. Drake) by FUTURESOUND / BGR
AYLEN & D!RTY AUDIO - DIFFERENT CITIES (FEAT. JITTA ON THE TRACK)
FREE DOWNLOAD ON SOUNDCLOUD
Thanks to @poundpoundpound's INSANE moombahton mix last week on www.moombaplus.com radio, I came across this filthy, untamable monster of a track. A thunderous kick beats sparsely, as a string of rapid deadmau5 chords build to a crescendo before dropping into beautiful chaos, the rabid lead flailing and foaming at the mouth.
For fans of: Knife Party, Diplo, DIRTY Moombahton.
D!RTY AUD!O x Aylen feat. Jitta On The Track - Different Cities (Original Mix) by D!RTY AUD!O
BEAT CONNECTION - THE PALACE GARDEN
ALBUM OUT NOW
After last year's blissfully euphoric slice of balearica that was Beat Connection's debut EP Surf Noir, the chillwavers are back with their first full length record. Whilst nothing here quite matches the sheer sunkissed splendour of "In The Water" or "Theme From Yours Truly", the band have found a comfortable niche between Friendly Fires and Washed Out, with tracks like "Palace Garden, 4am" and "Further Out" oozing chilled poolside party charm with their deep, funky basslines and some delicious steel pans flourishes. "Think Feel" stands out however, with the subtly steamy vocals of Chelsey Scheffe perfectly complimenting the track's dark xx-tinged synthpop.
For fans of: Friendly Fires, Washed Out, The xx.
Think/Feel by Beat Connection
KISSES - FUNNY HEARTBEAT
SINGLE OUT NOW
More summer fun in Kisses's new single. Whilst not quite topping their stunning debut single "Bermuda" or its beautiful follow up "People Can Do The Most Amazing of Things", the summery indiepoppers gain points for the sheer effortlessness in which the laid back optimism gleams from this track, in which two lovely chords loop round and round beneath a driving beat and shooting star synths. Twee in the extreme, and unashamedly so.
For fans of: Fun, The Cure, The Smiths.
Funny Heartbeat by Kisses
NE-YO - LET ME LOVE YOU (UNTIL YOU LEARN TO LOVE YOURSELF)
SINGLE OUT NOW
After guesting on Calvin Harris' functional but unambitious "Let's Go" not so long ago, it's predictable that Ne-Yo would continue with this direction in his solo material. However, when a big dance production is paired with the saccharine emotional piano led chord sequence and overwrought melodies that Ne-Yo so often brings to the table in his solo work, "Let Me Love You" ends up being a surprising pop triumph. Melodramatic yes, cheesy yes, but oh so, OH SO catchy and unfairly uplifting. Makes one grin like a buffoon.
For fans of: This kind of chart pop shit.
"Let Me Love You" - NE-YO by Neyo Red
REDLIGHT - LOST IN YOUR LOVE
SINGLE OUT NOW
Continuing in the 90s dance mould of Redlight's last smash "Get Out My Head", "Lost In Your Love" is more commercial with its piano house intentions, with flecks of decade old funky house combined with a very current ravepop sound.
For fans of: Calvin Harris, Funky House.
REDLIGHT ‘LOST IN YOUR LOVE’ – ANNIE MAC SPECIAL DELIVERY, RADIO 1 by Redlight UK
TEENGIRL FANTASY - EFX (FEAT. KELELA)
SINGLE OUT NOW
Quirky bass/synth/whateverpop act Teengirl Fantasy, thus far known for icy synth house tracks such as "Motif", have taken a slight detour via the new wave of US dark'n'B ala Drake and The Weeknd, and it's a delightfully weird middle ground between the bajan pop vibes of old Rihanna and difficult but gorgeous swedish pop like The Knife and Niki & The Dove.
For fans of: Rihanna, The Knife, Niki & The Dove.
EFX ft. Kelela by Teengirl Fantasy
WILD NOTHING - PARADISE
ALBUM "NOCTURNE" OUT 27/08
After the shoegazery new wave of their debut "Gemini", Wild Nothing's sophomore full length Nocturne is looking to be a tad more anthemic, if second preview track "Paradise" is anything to go by. First single "Shadow" was earthier and lovelier than anything off "Gemini", with its Fleetwood Mac 70s rock demeanor and a majestic lead melody, but "Paradise" is an even further step into the epicsphere. Five and a half minutes pass without much happening, but each melody that introduces itself is a beautiful revelation. A jangly lead guitar and feathery flute melody provide enough musical joy between them than was heard on the entire of (the still quite enjoyable) "Gemini", and the brief vocal refrain is subtle but effortlessly grand. It is however the two and a half minute breakdown, carried on three gorgeous chords, that truly makes the track, giving it its warm, welcoming heart. When the whole band kicks back in for the final minute, it is one of the most joyous moments in pop music this year.
For fans of: The Radio Dept, The Cure, JJ.
Wild Nothing // "Paradise" by capturedtracks
THE 1975 - THE CITY
"FACEDOWN" EP OUT NOW
To finish, a grand pop rock anthem, with a gritty heart that The Script et al could never hope to touch. A massive britpop beat meets a truly anthemic wall of distorted bass and waves of guitar, as the singer announces triumphantly in the chorus "if you wanna find out you know where the city is". An uplifting move-to-the-city anthem with an aftertaste of rebellion.
For fans of: The Big Pink, Bloc Party, White Lies.
The City by the1975
Friday, 30 December 2011
TOP 50 OF 2011: #20 - #1!!!
After little bite sized chunks of 10 great 2011 tunes at a time, I now present to you in one fell swoop my TOP 20 SONGS OF THE YEAR!
This... is SERUS (not serious) business.
- - - - - - - - - - - - - - -
#20
"I Can't Make You Love Me/Nick of Time"
Bon Iver
Bonnie Raitt's "I Can't Make You Love Me" is one of the most covered songs in pop music history, which is unsurprising as it's also one of the most powerful. But Bon Iver, covering this as a b-side to his "Calgary" single, gives it a surprisingly icy and non-saccharine touch, with a heavily compressed piano and rough vocal that sounds like a single take. Justin Vernon's falsetto is fully fledged, and painfully high, almost uncomfortably so. But this raw, flawed take is all the more emotional because of it, making the song less self-pitying and more lonely and isolated. It's ambiguous use of lyrics from another Raitt song at this track's close, the song being "Nick of Time", one with a decidedly more uplifting message, suggests an eventual comfort in solitude that no other version of the track would even consider, and it's a move that only Bon Iver would make.
#19
"OK Pal"
M83
On a record with enough "epic" to span over a Fantasy trilogy, "OK Pal", for me, is the track that provides the biggest heart leap every time, out of several contenders for the title. A simple two note hook looping for most of the song, and guitars epically twanging in the guiltiest of 80s pleasures, somehow, this one is the warm, cheese-loving centre of the wonderful "Hurry Up, We're Dreaming".
Download M83 OK Pal
#18
"This" (feat. Thom Yorke)
Modeselektor
This is what Thom wishes his solo material sounded like. "This" is creepy, brilliant and unsettling, with very little actual audible words coming from Thom's feature-spot, his voice mainly being cut and paste over deep, menacing bass-driven electronica. 6 and a half minutes gives the track plenty of time to build and breathe, and we eventually hear Yorke break gloriously out into a reverb laden falsetto with a non-cut and pasted vocal, and even letting moody guitars creep in towards the end, reminiscent of Radiohead's darkest moments. But nothing quite matches that first spinetingling moment, when Yorke's voice is heard on a loop, whispering "This/This/This/This..."
#17
"Over My Dead Body"
Drake
The piano/female vocal chorus alone is spine-tingling enough to warrant a placing in my top 50 songs of the year, but Drake's opener to his remarkably emotional (for a rap record) "Take Care" album, features some of the most honest adjusting-to-fame lyrics heard from a superstar, and not in a self-indulgent, self-pitying Eminem or Tyler manner, but in a fearful way, an emotion that one imagines many stars feel, but very few admit to. "I was drinking at the Palms last night, and ended up losing everything that I came with..." See? They're just like us.
#16
"Codex"
Radiohead
As with "Nude", "Sail to the Moon" and "Pyramid Song", no one does a surreal power ballad like Radiohead. But this time round, we're hearing the message clearer than ever. "Jump off the edge, into a clear lake" Thom peacefully murmers to us, and so enchanting is the shimmering piano that we could well be enticed in ourselves without realising. As with all of Radiohead's thoughtful suicide ballads (or what we assume to be), there is a level of innocence and even optimism that makes it even more beautiful and poignant. Thom rhymes "dragonflies" with "fantasise", and all of a sudden we enter the fantasy world that only Radiohead can open up to us.
And with every record, although it seems we are let further and further into the mindset of Mr Yorke, it's my bet that we will probably never understand quite what these beautiful words mean. But isn't that where the magic lies?
#15
"Life is Life"
Noah and the Whale
After the clinically depressed "First Days of Spring" let frontman Fink wallow in his post-break-up self-pity, it was a true delight to hear this track open the band's third record. Burbling synths and an amateur drum machine burst into a triumphant life-affirming anthem, that would seem hollow if it were not for the knowledge of where Fink has been mentally, and that the writer of hopeless odes to heartbreak "Stranger" and "I Have Nothing" is now singing "it feels like his new life can start". The use of third person is telling, and it's a common feature on "Last Night on Earth"; Fink has come to peace with himself, and is now taking inspiration from outside of himself, something a lot of songwriters are too proud to do. Although probably the least folk-sounding track the band has ever produced, lyrically, this tale of triumphing over depression, of changing one's life, proves Fink to be as adept a folk songwriter as any of his peers.
#14
"Shuffle"
Bombay Bicycle Club
After the lazy summer afternoon soundtrack that was "Flaws", it was refreshing to see Bombay Bicycle Club take an big risk in airing yet another a sunny new sound on "A Different Kind of Fix". But it all started with the most experimental track of all, the indie dance anthem "Shuffle". From the moment that stuttering honky tonk piano kicks in, til the final jumping vocal sample bows out abruptly, it's a plethora of hooks, yet Jack Steadman's heartbreaking cotton-candy voice and the band's wonderful songwriting still manages to shine through, better than ever in fact. "Shuffle" doesn't so much shuffle as bounce, and it was a new spring in the step of a band who, three very different records down the line, have yet to disappoint.
Funny youtube comment: "I asked Siri to play this song, but it just shuffled my iPod!"
#13
"Blue Cassette"
Friendly Fires
It's hard to think of another chorus this year that takes your breath away quite like "Blue Cassette" does the first time you hear it. Although it doesn't have the stargazing message of "Paris", "Blue Cassette" could well be the bands' biggest anthem to date. Once the tribal drums crash through the sonisphere, those orchestra hits smack you once, twice, THRICE in the face, and Ed Macfarlane yells "As I hear your voice, it sets my heart on fire!", it ceases to matter that the song is essentially about a grubby tape cassette found buried in the back garden, like some sort of glorified time capsule. But any band that can take THAT, and make a song like THIS, I'd wager that Friendly Fires could take anything and turn it into a blissful summer anthem. Glorious.
#12
"U&I"
Lady Gaga
Lady Gaga's "Born This Way" record is predominately about self-acceptance and self-expression, so it's quite ironic that its most affecting track is a big country rock ballad about true All American love. There's no mistaking that this is one of Lady Gaga's most powerful melodies, and one of her most straight forward, memorable songs. However, by performing a country ballad, Lady Gaga instantly crushes the stigma of country and closed-mindedness, and it's a bold move, one only she could make. When Gaga cries out "You and I!" repeatedly at the track's emotional climax, it becomes apparent that the Nebraska thing is a façade, sang with tongue firmly in cheek. This is a love song to every one of her fans, and it indeed makes one proud to be amongst them.
#11
"Green Aisles"
Real Estate
Amongst an album full of heartbreaking songs, "Green Aisles" is the one that just about has the edge of them all. The daydream tapestry of guitar is a perfect background to the wonderfully simple vocal. "And if you just sit tight, I'll be there soon" is delivered as the most touching lyric of the record, closely followed by "The phone lines, the street lights, led me to you". This ain't nothing but a suburban love song, and few other songs this year have expressed love in such an honest way. It doesn't do much to draw attention to itself, but when it comes to songwriting and emotion, "Green Aisles" is pure perfection.
- - - - - - - - - - - - - - -
Now, THE TOP TEN TRACKS OF 2011. Ok, here we go...
- - - - - - - - - - - - - - -
A lot of dance music from Europe follows these trancey disco rules, but nothing this year even approaches the emotional power and heart of this track. Swedish producer Agebjorn brings the shimmering walls of synth, and plenty of sweeps and swooshes, but it is the typically hushed vocal performance of featured Le Prix, in an undecorated and gentle take, that really delivers the uplifting rush of a melody honestly and perfectly. Lyrically, she sings of a typical fantasy of running away with a loved one, and the lyrics, on page, come across a tad saccharine, but when the chorus explodes into "I never wanted to be special, I just wanted someone who was special to be mine", all cynicism is irrelevant. These sentiments have been heard before, especially in dance music, but never before have they been expressed so sincerely and beautifully.
#9
"LYF"
WU LYF
WU LYF's music exhudes rebellion and youth at every turn, with every vocal racket (an acquired taste for certain), every reverb heavy guitar line and every restless drum beat. But what makes it so impressive is the sheer passion with which each song is performed, each one sounding like a single live take (which they probably were, recorded in a chapel of all places, which explains the vast echo). "L Y F" opens the record, and soars to #9 in my list because in 4 minutes it seems to bare the soul of the band, and what an introduction. A simple organ motif opens the song peacefully, and the track shuffles and fidgets through its verse before bursting into its heavenly, vast chorus. The scream of "I love you forever", as a majestic guitar line weaves its way tearfully, sticks with you for the rest of the album, and in that one simple phrase, the band's heart couldn't be worn more on their sleeve.
#8
#6
"Marvin's Room"
Drake
"I'm just sayin' you can do better". At first, "Marvin's Room" seems to be his ode to love and fame, and how the two suit each other. But for all the lines about groupies and spending all his money drinking, you realise this is just a regular old drunk dial to an ex. "Fuck that n*gga that you love so much" he drawls drunkenly, and the woozy trip hop backing courtesy of producer 40 suits the mood perfectly. What's so affecting however is the line "the girl I would try, is happy with a good guy, but I'mma call her anyway". It's a surprisingly touching, and very self-aware lyric, one that shows his vulnerability, and also admits his lack of morality. Hip Hop so rarely admits its weaknesses and addresses its stereotypes in this way. Only someone as talented and honest as Drake could've really expressed hitting rock bottom like this.
#1
"Calgary"
Bon Iver
"Calgary" has been my song of the year ever since I heard it, but it is very difficult to explain why. I could have written twice as much about how Adele's "Someone Like You" has touched listeners world wide, or how Azealia Bank's "212" is a quiet revolution for hip hop, but "Calgary"... the sound of the opening three chords is all I need to confirm that this is a song that will stay with me for a long time.
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Well, that's it folks! 2011 still had great music if you went and looked for it, let's hope 2012 will make it easier for us, hmm...??
- - - - - - - - - - - - - - -
Here's a summary of my entire Top 50:
50. Major Lazer feat. The Partysquad - Original Don
49. Neon Indian - Halogen (I Could Be A Shadow)
48. Will Young - Jealousy
47. Lady Gaga - Heavy Metal Lover
46. Toddla T - How Beautiful It Could Be
45. Korallreven feat. Victoria Bergsman - Honey Mine
44. Chad Valley - Shell Suite
43. Beyonce - Love On Top
42. Friendly Fires - Hurting
41. The Weeknd - What You Need
(Click here to read more about #50-41)
40. The Vaccines - Norgaard
39. M83 - Reunion
38. The Joy Formidable - The Greatest Light is The Greatest Shade
37. Charli XCX - Stay Away
36. Dillon Francis feat. Diplo & Maluca - Que Que
35. SBTRKT feat. Yukimi Nagano - Wildfire
34. Katy Perry - Last Friday Night
33. Emeli Sandi - Heaven
32. Wild Beasts - Lion's Share
31. Foster The People - Call It What You Want
(Click here to read more about #40-31)
30. Friendly Fires - Live Those Days Tonight
29. Classixx - Into The Valley (Julio Bashmore Mix)
28. Chad Valley - Fast Challenges
27. Noah And The Whale - Give It All Back
26. Wynter Gordon - Til Death (Denzal Park Mix)
25. James Blake - The Wilhelm Scream
24. Radiohead - Give Up The Ghost
23. Cut Copy - Need You Now
22. M83 - Midnight City
21. Cut Copy - Take Me Over
Click here to read more about #30-21
20. Bon Iver - I Can't Make You Love Me/Nick of Time
19. M83 - OK Pal
18. Modeselektor feat. Thom Yorke - This
17. Drake - Over My Dead Body
16. Radiohead - Codex
15. Noah And The Whale - Life Is Life
14. Bombay Bicycle Club - Shuffle
13. Friendly Fires - Blue Cassette
12. Lady Gaga - U&I
11. Real Estate - Green Aisles
10. Johann Agebjorn feat. Le Prix & Lake Heartbeat - Watch The World Go By
9. WU LYF - L Y F
8. Unicorn Kid - Boys Of Paradise
7. Bon Iver - Beth/Rest
6. Drake - Marvin's Room
5. Adele - Someone Like You
4. Unicorn Kid - True Love Fantasy
3. Bon Iver - Holocene
2. Azealia Banks - 212
1. BON IVER - CALGARY
(Click here to see what runner-up tracks were only just cut from the Top 50)
HAVE A GREAT NEW YEARS!!!
This... is SERUS (not serious) business.
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#20
"I Can't Make You Love Me/Nick of Time"
Bon Iver
Bonnie Raitt's "I Can't Make You Love Me" is one of the most covered songs in pop music history, which is unsurprising as it's also one of the most powerful. But Bon Iver, covering this as a b-side to his "Calgary" single, gives it a surprisingly icy and non-saccharine touch, with a heavily compressed piano and rough vocal that sounds like a single take. Justin Vernon's falsetto is fully fledged, and painfully high, almost uncomfortably so. But this raw, flawed take is all the more emotional because of it, making the song less self-pitying and more lonely and isolated. It's ambiguous use of lyrics from another Raitt song at this track's close, the song being "Nick of Time", one with a decidedly more uplifting message, suggests an eventual comfort in solitude that no other version of the track would even consider, and it's a move that only Bon Iver would make.
#19
"OK Pal"
M83
On a record with enough "epic" to span over a Fantasy trilogy, "OK Pal", for me, is the track that provides the biggest heart leap every time, out of several contenders for the title. A simple two note hook looping for most of the song, and guitars epically twanging in the guiltiest of 80s pleasures, somehow, this one is the warm, cheese-loving centre of the wonderful "Hurry Up, We're Dreaming".
Download M83 OK Pal
#18
"This" (feat. Thom Yorke)
Modeselektor
This is what Thom wishes his solo material sounded like. "This" is creepy, brilliant and unsettling, with very little actual audible words coming from Thom's feature-spot, his voice mainly being cut and paste over deep, menacing bass-driven electronica. 6 and a half minutes gives the track plenty of time to build and breathe, and we eventually hear Yorke break gloriously out into a reverb laden falsetto with a non-cut and pasted vocal, and even letting moody guitars creep in towards the end, reminiscent of Radiohead's darkest moments. But nothing quite matches that first spinetingling moment, when Yorke's voice is heard on a loop, whispering "This/This/This/This..."
#17
"Over My Dead Body"
Drake
The piano/female vocal chorus alone is spine-tingling enough to warrant a placing in my top 50 songs of the year, but Drake's opener to his remarkably emotional (for a rap record) "Take Care" album, features some of the most honest adjusting-to-fame lyrics heard from a superstar, and not in a self-indulgent, self-pitying Eminem or Tyler manner, but in a fearful way, an emotion that one imagines many stars feel, but very few admit to. "I was drinking at the Palms last night, and ended up losing everything that I came with..." See? They're just like us.
#16
"Codex"
Radiohead
As with "Nude", "Sail to the Moon" and "Pyramid Song", no one does a surreal power ballad like Radiohead. But this time round, we're hearing the message clearer than ever. "Jump off the edge, into a clear lake" Thom peacefully murmers to us, and so enchanting is the shimmering piano that we could well be enticed in ourselves without realising. As with all of Radiohead's thoughtful suicide ballads (or what we assume to be), there is a level of innocence and even optimism that makes it even more beautiful and poignant. Thom rhymes "dragonflies" with "fantasise", and all of a sudden we enter the fantasy world that only Radiohead can open up to us.
And with every record, although it seems we are let further and further into the mindset of Mr Yorke, it's my bet that we will probably never understand quite what these beautiful words mean. But isn't that where the magic lies?
#15
"Life is Life"
Noah and the Whale
After the clinically depressed "First Days of Spring" let frontman Fink wallow in his post-break-up self-pity, it was a true delight to hear this track open the band's third record. Burbling synths and an amateur drum machine burst into a triumphant life-affirming anthem, that would seem hollow if it were not for the knowledge of where Fink has been mentally, and that the writer of hopeless odes to heartbreak "Stranger" and "I Have Nothing" is now singing "it feels like his new life can start". The use of third person is telling, and it's a common feature on "Last Night on Earth"; Fink has come to peace with himself, and is now taking inspiration from outside of himself, something a lot of songwriters are too proud to do. Although probably the least folk-sounding track the band has ever produced, lyrically, this tale of triumphing over depression, of changing one's life, proves Fink to be as adept a folk songwriter as any of his peers.
#14
"Shuffle"
Bombay Bicycle Club
After the lazy summer afternoon soundtrack that was "Flaws", it was refreshing to see Bombay Bicycle Club take an big risk in airing yet another a sunny new sound on "A Different Kind of Fix". But it all started with the most experimental track of all, the indie dance anthem "Shuffle". From the moment that stuttering honky tonk piano kicks in, til the final jumping vocal sample bows out abruptly, it's a plethora of hooks, yet Jack Steadman's heartbreaking cotton-candy voice and the band's wonderful songwriting still manages to shine through, better than ever in fact. "Shuffle" doesn't so much shuffle as bounce, and it was a new spring in the step of a band who, three very different records down the line, have yet to disappoint.
Funny youtube comment: "I asked Siri to play this song, but it just shuffled my iPod!"
#13
"Blue Cassette"
Friendly Fires
It's hard to think of another chorus this year that takes your breath away quite like "Blue Cassette" does the first time you hear it. Although it doesn't have the stargazing message of "Paris", "Blue Cassette" could well be the bands' biggest anthem to date. Once the tribal drums crash through the sonisphere, those orchestra hits smack you once, twice, THRICE in the face, and Ed Macfarlane yells "As I hear your voice, it sets my heart on fire!", it ceases to matter that the song is essentially about a grubby tape cassette found buried in the back garden, like some sort of glorified time capsule. But any band that can take THAT, and make a song like THIS, I'd wager that Friendly Fires could take anything and turn it into a blissful summer anthem. Glorious.
#12
"U&I"
Lady Gaga
Lady Gaga's "Born This Way" record is predominately about self-acceptance and self-expression, so it's quite ironic that its most affecting track is a big country rock ballad about true All American love. There's no mistaking that this is one of Lady Gaga's most powerful melodies, and one of her most straight forward, memorable songs. However, by performing a country ballad, Lady Gaga instantly crushes the stigma of country and closed-mindedness, and it's a bold move, one only she could make. When Gaga cries out "You and I!" repeatedly at the track's emotional climax, it becomes apparent that the Nebraska thing is a façade, sang with tongue firmly in cheek. This is a love song to every one of her fans, and it indeed makes one proud to be amongst them.
#11
"Green Aisles"
Real Estate
Amongst an album full of heartbreaking songs, "Green Aisles" is the one that just about has the edge of them all. The daydream tapestry of guitar is a perfect background to the wonderfully simple vocal. "And if you just sit tight, I'll be there soon" is delivered as the most touching lyric of the record, closely followed by "The phone lines, the street lights, led me to you". This ain't nothing but a suburban love song, and few other songs this year have expressed love in such an honest way. It doesn't do much to draw attention to itself, but when it comes to songwriting and emotion, "Green Aisles" is pure perfection.
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Now, THE TOP TEN TRACKS OF 2011. Ok, here we go...
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#10
"Watch the World Go By" (feat. Le Prix & Lake Heartbeat)
Johan Agebjorn
"Watch the World Go By" (feat. Le Prix & Lake Heartbeat)
Johan Agebjorn
A lot of dance music from Europe follows these trancey disco rules, but nothing this year even approaches the emotional power and heart of this track. Swedish producer Agebjorn brings the shimmering walls of synth, and plenty of sweeps and swooshes, but it is the typically hushed vocal performance of featured Le Prix, in an undecorated and gentle take, that really delivers the uplifting rush of a melody honestly and perfectly. Lyrically, she sings of a typical fantasy of running away with a loved one, and the lyrics, on page, come across a tad saccharine, but when the chorus explodes into "I never wanted to be special, I just wanted someone who was special to be mine", all cynicism is irrelevant. These sentiments have been heard before, especially in dance music, but never before have they been expressed so sincerely and beautifully.
#9
"LYF"
WU LYF
WU LYF's music exhudes rebellion and youth at every turn, with every vocal racket (an acquired taste for certain), every reverb heavy guitar line and every restless drum beat. But what makes it so impressive is the sheer passion with which each song is performed, each one sounding like a single live take (which they probably were, recorded in a chapel of all places, which explains the vast echo). "L Y F" opens the record, and soars to #9 in my list because in 4 minutes it seems to bare the soul of the band, and what an introduction. A simple organ motif opens the song peacefully, and the track shuffles and fidgets through its verse before bursting into its heavenly, vast chorus. The scream of "I love you forever", as a majestic guitar line weaves its way tearfully, sticks with you for the rest of the album, and in that one simple phrase, the band's heart couldn't be worn more on their sleeve.
#8
"Boys of Paradise"
Unicorn Kid
Unicorn Kid may not be the most famous bedroom synth-meister, but he's been doing this since he was 15 years old. Listening to his early material, hyperactive glitchy 8 bit Game Boy music, he may have polished and commercialised his sound over time (he's 19 now), but the love and celebration of the music he makes still shines through. His stunningly fresh sounding "Tidal Rave" EP takes startling euro-synth lines, mixes them with the melodies of early PlayStation games (not literally, metaphorically) and throws them over a mix of early 90s rave beats and glowing, balearic pads. "Boys of Paradise" has the happiest of happy melodies, and bounces along like a 5 year old on Haribo, and it's utterly, utterly joyous.
Unicorn Kid
Unicorn Kid may not be the most famous bedroom synth-meister, but he's been doing this since he was 15 years old. Listening to his early material, hyperactive glitchy 8 bit Game Boy music, he may have polished and commercialised his sound over time (he's 19 now), but the love and celebration of the music he makes still shines through. His stunningly fresh sounding "Tidal Rave" EP takes startling euro-synth lines, mixes them with the melodies of early PlayStation games (not literally, metaphorically) and throws them over a mix of early 90s rave beats and glowing, balearic pads. "Boys of Paradise" has the happiest of happy melodies, and bounces along like a 5 year old on Haribo, and it's utterly, utterly joyous.
#7
"Beth/Rest"
Bon Iver
Bon Iver's Justin Vernon never had any qualms with a sickly sweet balladic melody, but the aching beauty of his falsetto always let him get away with anything. Yet for many, the 80s keyboards and power ballad mantra of Bon Iver's second record's closing number "Beth/Rest" were a step too far into Phil Collins territory. But this is the reason it is in fact, an utterly perfect way to end a perfect record. On a record that carries you to every beautiful corner of its far away fantasy world, "Beth/Rest" continues the fantasy by using sounds so retro and unexpected that you can't help feel like you're dreaming. But given all that, regardless of the medium Bon Iver has used to communicate "Beth/Rest", it is undeniably heart stoppingly wonderful. 2.29: "I ain't living in the dark no more, it's not a promise, I'm just gonna call it". The rest of the lyrics might be nigh on gibberish, but, as with most Bon Iver tracks, that one line says all that needs to be said. The music says the rest.
"Beth/Rest"
Bon Iver
Bon Iver's Justin Vernon never had any qualms with a sickly sweet balladic melody, but the aching beauty of his falsetto always let him get away with anything. Yet for many, the 80s keyboards and power ballad mantra of Bon Iver's second record's closing number "Beth/Rest" were a step too far into Phil Collins territory. But this is the reason it is in fact, an utterly perfect way to end a perfect record. On a record that carries you to every beautiful corner of its far away fantasy world, "Beth/Rest" continues the fantasy by using sounds so retro and unexpected that you can't help feel like you're dreaming. But given all that, regardless of the medium Bon Iver has used to communicate "Beth/Rest", it is undeniably heart stoppingly wonderful. 2.29: "I ain't living in the dark no more, it's not a promise, I'm just gonna call it". The rest of the lyrics might be nigh on gibberish, but, as with most Bon Iver tracks, that one line says all that needs to be said. The music says the rest.
#6
"Marvin's Room"
Drake
"I'm just sayin' you can do better". At first, "Marvin's Room" seems to be his ode to love and fame, and how the two suit each other. But for all the lines about groupies and spending all his money drinking, you realise this is just a regular old drunk dial to an ex. "Fuck that n*gga that you love so much" he drawls drunkenly, and the woozy trip hop backing courtesy of producer 40 suits the mood perfectly. What's so affecting however is the line "the girl I would try, is happy with a good guy, but I'mma call her anyway". It's a surprisingly touching, and very self-aware lyric, one that shows his vulnerability, and also admits his lack of morality. Hip Hop so rarely admits its weaknesses and addresses its stereotypes in this way. Only someone as talented and honest as Drake could've really expressed hitting rock bottom like this.
#5
"Someone Like You"
Adele
For many normal people, not necessarily music fans, this will be the song they most associate with 2011. It was widely acclaimed on the release of "21", but then Adelemania began when she performed the song on the BRIT awards. Ordinary people who wouldn't normally buy CDs, went out and bought hard copies of "21" as if Adele was a charity for heartbroken women everywhere.
"Someone Like You"
Adele
For many normal people, not necessarily music fans, this will be the song they most associate with 2011. It was widely acclaimed on the release of "21", but then Adelemania began when she performed the song on the BRIT awards. Ordinary people who wouldn't normally buy CDs, went out and bought hard copies of "21" as if Adele was a charity for heartbroken women everywhere.
Now, this doesn't happen for just any artist, or for just any song. "21" is a great album, great songs, big, back to basics arrangements, hints of soul, and Adele's voice has matured aeons since her debut, BUT... "Someone Like You" is on a different level. There are no gospel choirs, no big thumping drums, no heartfelt string arrangements... just Adele and a piano.
All this has been written a thousand times before about the song, but it cannot be said enough just how perfectly expressed the lyrics of "Someone Like You" really are. Tapping into the subconscious of every vulnerable, insecure person who has held on to a memory of a past love for too long, she sings "I had hoped you'd see my face, and that you'd be reminded that for me it isn't over". The song is painfully accurate in soundtracking the horrible moment of realisation that a love is well and truly over. The chorus begins, now famously, "never mind, I'll find someone like you". Such a throwaway phrase, one that feigns hope, but really resembles deep fear of being alone. The song itself is light and simple, but the meaning alone makes it dark. And this darkness can be related to by the millions of people who have watched the video on YouTube, plus the hundreds of millions who heard it on "21" and still listen to it religiously.
It may not be the most groundbreaking 'song' of 2011, but it is one song, above all others from this year, that is undoubtedly a modern classic.
#4
"True Love Fantasy"
Unicorn Kid
Technically "True Love Fantasy", playlisted on Radio 1 this year (a big step for the unsigned Unicorn Kid), has 'sell-out' written all over it. But actually, although the track takes the generic eurosynth chord procession that we've heard a million times this year in the pitiful charts, it files every soft edge to a hazardous point, as rebellious youths shout out rallies and chants (courtesy of U.K.'s previous split EP pals Talk to Animals) and the track builds to a glorious early 90s rave bliss. So I say, if Unicorn Kid can take chart-friendly sounds, and inject them with his infectious, hyperactive rave vibes, we could be in for a treat in 2012. Fingers crossed he sold out enough, eh?
"True Love Fantasy"
Unicorn Kid
Technically "True Love Fantasy", playlisted on Radio 1 this year (a big step for the unsigned Unicorn Kid), has 'sell-out' written all over it. But actually, although the track takes the generic eurosynth chord procession that we've heard a million times this year in the pitiful charts, it files every soft edge to a hazardous point, as rebellious youths shout out rallies and chants (courtesy of U.K.'s previous split EP pals Talk to Animals) and the track builds to a glorious early 90s rave bliss. So I say, if Unicorn Kid can take chart-friendly sounds, and inject them with his infectious, hyperactive rave vibes, we could be in for a treat in 2012. Fingers crossed he sold out enough, eh?
#3
"Holocene"
"Holocene"
Bon Iver
Once you watch the heart-stoppingly gorgeous video for the equally heart-stoppingly gorgeous "Holocene", it suggests that the track is about being humbled by the earth's natural beauty, as does the line "and at once I knew, I was not magnificent". As a picked acoustic guitar line gently washes in and out like the tide, brass burbles like a brook in the background, and percussion shuffles like the wind, Justin Vernon sings contently "I could see for miles, miles, miles...". For nearly six minutes, you escape your current time and place when you listen to "Holocene", and those six minutes drift along like hours, hours, hours...
#2
"212"
Azealia Banks
"212" became infamous for constantly being removed from youtube, because of its frequent use of a certain 'c' word. But the great thing about Ms Banks' breakthrough (and a half) single, is that the NYC-based 20 year old rapper/singer Azealia Banks has a way of sounding controversial before you even know she's caused controversy. Cut said word out of the track and its still incredible and deliciously threatening, a loose, dancehall-tinged house beat and clubby synth hook providing the infectious groove for what is a riviting performance by Banks. She starts off MCing conversationally, taunting at first with lines such as "you know what's up, or don't you?", before chucking in that phrase "I'mma ruin you c*nt", and eventually by the end of the track she's distorting the mic because she's shouting so loudly. It has to be heard. It HAS TO BE. To understand how exciting this track is.
"212"
Azealia Banks
"212" became infamous for constantly being removed from youtube, because of its frequent use of a certain 'c' word. But the great thing about Ms Banks' breakthrough (and a half) single, is that the NYC-based 20 year old rapper/singer Azealia Banks has a way of sounding controversial before you even know she's caused controversy. Cut said word out of the track and its still incredible and deliciously threatening, a loose, dancehall-tinged house beat and clubby synth hook providing the infectious groove for what is a riviting performance by Banks. She starts off MCing conversationally, taunting at first with lines such as "you know what's up, or don't you?", before chucking in that phrase "I'mma ruin you c*nt", and eventually by the end of the track she's distorting the mic because she's shouting so loudly. It has to be heard. It HAS TO BE. To understand how exciting this track is.
#1
"Calgary"
Bon Iver
"Calgary" has been my song of the year ever since I heard it, but it is very difficult to explain why. I could have written twice as much about how Adele's "Someone Like You" has touched listeners world wide, or how Azealia Bank's "212" is a quiet revolution for hip hop, but "Calgary"... the sound of the opening three chords is all I need to confirm that this is a song that will stay with me for a long time.
Saying this, the said three opening chords are, as one youtube viewer puts it, "written in blood from Peter Gabriel's heart". And they have a point. The track is another instance where the band have taken a clear prog rock influence, and are shamelessly tugging at the heartstrings of the listener with no restraint in a very Gabriel (dare I mention Genesis...) manner. It's by no means as blatant as the aforementioned "Beth/Rest", but maybe it's the right ratio of "cheese" to sincerity that makes "Calgary" so perfectly pitched.
Starting with just pads and voice, the track exhudes the trademark "Bon Iver" peace. Vernon's multitracked and reverb-heavy vocal still manages to give the track a campfire feel, despite the instrumentation, and it is one that it returns to at the close of the track, which features just Vernon and a strummed guitar. But between these two points, the tracks builds to a glorious out of body experience, spanning what seems like every calling card that Bon Iver has.
Dreamy and ethereal to begin with, the track soon kicks in with thunderous drums and a wall of guitar, as the vocals get louder and more celebratory, including a delightful falsetto hook towards the climax, before all is stripped away to, as I mentioned, guitar and vocal. The track resembles falling into a deep sleep, and being whisked away into an intense dream world before suddenly waking up, and wondering where on earth you've just been.
Where you've been is "Calgary", and you've just been "Bon Iver'd", as I'll clumsily put it, which is to say you've been given an out of body experience by their music. And "Calgary", with all its sweet and sour musical stops along the way, is now their triumphant benchmark. Let's see if they can top this. Because sure as hell no one else even came close in 2011.
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Well, that's it folks! 2011 still had great music if you went and looked for it, let's hope 2012 will make it easier for us, hmm...??
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Here's a summary of my entire Top 50:
50. Major Lazer feat. The Partysquad - Original Don
49. Neon Indian - Halogen (I Could Be A Shadow)
48. Will Young - Jealousy
47. Lady Gaga - Heavy Metal Lover
46. Toddla T - How Beautiful It Could Be
45. Korallreven feat. Victoria Bergsman - Honey Mine
44. Chad Valley - Shell Suite
43. Beyonce - Love On Top
42. Friendly Fires - Hurting
41. The Weeknd - What You Need
(Click here to read more about #50-41)
40. The Vaccines - Norgaard
39. M83 - Reunion
38. The Joy Formidable - The Greatest Light is The Greatest Shade
37. Charli XCX - Stay Away
36. Dillon Francis feat. Diplo & Maluca - Que Que
35. SBTRKT feat. Yukimi Nagano - Wildfire
34. Katy Perry - Last Friday Night
33. Emeli Sandi - Heaven
32. Wild Beasts - Lion's Share
31. Foster The People - Call It What You Want
(Click here to read more about #40-31)
30. Friendly Fires - Live Those Days Tonight
29. Classixx - Into The Valley (Julio Bashmore Mix)
28. Chad Valley - Fast Challenges
27. Noah And The Whale - Give It All Back
26. Wynter Gordon - Til Death (Denzal Park Mix)
25. James Blake - The Wilhelm Scream
24. Radiohead - Give Up The Ghost
23. Cut Copy - Need You Now
22. M83 - Midnight City
21. Cut Copy - Take Me Over
Click here to read more about #30-21
20. Bon Iver - I Can't Make You Love Me/Nick of Time
19. M83 - OK Pal
18. Modeselektor feat. Thom Yorke - This
17. Drake - Over My Dead Body
16. Radiohead - Codex
15. Noah And The Whale - Life Is Life
14. Bombay Bicycle Club - Shuffle
13. Friendly Fires - Blue Cassette
12. Lady Gaga - U&I
11. Real Estate - Green Aisles
10. Johann Agebjorn feat. Le Prix & Lake Heartbeat - Watch The World Go By
9. WU LYF - L Y F
8. Unicorn Kid - Boys Of Paradise
7. Bon Iver - Beth/Rest
6. Drake - Marvin's Room
5. Adele - Someone Like You
4. Unicorn Kid - True Love Fantasy
3. Bon Iver - Holocene
2. Azealia Banks - 212
1. BON IVER - CALGARY
(Click here to see what runner-up tracks were only just cut from the Top 50)
HAVE A GREAT NEW YEARS!!!
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