As with the past few years, I have failed to listen to much new musicin 2010. Only Exclaim’s annual streaming of their bests of the year has kept my appraisal at a reasonable level. This year, like the last, I spent absorbed in older sounds, particularly baroque and romantic music, and some jazz and rock. My lack of a decent income was as much of a factor as my decision to listen to my entire collection in chronological order (which took nearly a year). So this is list isn’t anywhere near as authoritative as the movie list (not that the movie list is). As usual, the rankings are relative and the ratings are not.
The best new music experience I had this year wasn’t on record, for once. I saw Wilco live at Hamilton Place in Februrary and they knocked my socks off. Having since heard a number of their live albums, I should have known what to expect, but being there in person was a truly wonderful experience. Added to that, they covered my favourite Buffalo Springfield song of all time for the encore, even if they did it straight up. It was incredible. It was far and away the best new musical experience of my year. Now, to the fairly weak list of albums.
1. Nels Cline: Dirty Baby (9/10)
A soundtrack to an art exhibition is certainly an interesting / odd concept. I like the possibilities even though I don’t know anything about the actual installations.
2. The White Stripes: Under Great White Northern Lights (9/10)
Rabid fans claim this is one of their weaker live albums (they having sought out bootlegs) but I sure can’t tell. To me this is more engaging than the film. A number of the songs are drastically different than on record and throughout the performances the Whites sound way bigger than a two-piece. As good a live album as I’ve heard in a while (this coming from the guy who lost his shit over Wilco live and has multiple Wilco live albums).
3. Elvis Costello: The National Ransom (9/10)
4. Peter Gabriel: Scratch My Back (8/10)
When I was young, I had a problem with interpretive music; for my idealistic self it suggested a lack of creativity, a lack of artistic will, or something like that. (I definitely had a bit of an obsession with the idea of The Artist as a True Individual or some shit.) Over the years my position has markedly changed, but I do know why I felt that way: too many covers in pop rock are ‘straight-up’, i.e. the songs are clearly recognizable as as the originals and the artist has re-used the original arrangement, tempo, production etc. One of the things that first attracted me to jazz was how jazz artists were expected to be different every time out. (This is also a little frustrating in the “classical” music world where most of the industry is focused on replicating older performances of works or trying to recreate the “original intentions” of a particular composer.) But I have come to believe that covers can be truly great. It doesn’t matter whether or not the performer wrote the song really, it’s what they do with it. Yes, most covers blow donkey balls, but there are great ones. And it follows that there can be great cover albums. (One critic called this “classy karaoke”, which suggests that cover albums are always inferior to music that is original. I beg to differ: I would rather listen to a great cover album than most 2013 Top 40 pop, for example.)
5. The Claudia Quintet: Royal Toast (8/10)
6. Jason Robinson: Two Faces of Janus (8/10)
7. Grinderman 2 (8/10)
The songs are better this time out and the sound is more diverse. More Bad Seeds than Birthday party. As much as I liked the “debut” (such a silly thing to say about people this old), this sounds better and stronger. It is a significant improvement on Dig Lazarus, Dig!!! and a slight improvement on the eponymous album. I like.
8. Bill Frisell: Beautiful Dreamers (8/10)
I can’t help myself and keep wondering about how jazz this is. It’s sort of an odd approach to jazz, as it’s more seemingly about a jam or a vibe than it is about improvisation, at least to my ears. But that doesn’t remove its fascination for me: one of the early tracks could almost be prog – if that was improvised, I am very surprised – and the whole thing seems to exist in this odd space between jazz and rock and some other genres, while clearly sounding like it should be jazz. I guess this is where we’ve gotten in the genre, where some of the hallmarks that make something what it is are repressed as a way of trying to move forward. Or maybe I’m just thinking way too much about it.
The playing is excellent, the covers are all interesting and the band is clearly very much on the same wavelength. Good stuff.
9. theHEAD: Trojan Jazz Festival (8/10)
10. The Arcade Fire: the Suburbs (8/10)
I’ve never been one to follow hype, as you know. If anything I irrationally dislike things with too much hype. But I like this more than anything I’ve heard of theirs to date. There are still a couple songs which are way too obsessed with the ’80s (was I the only person my age to dislike that decade? seriously) but on the whole I can handle this more than the last two. It is well made. I won’t be buying it any time soon though. They just don’t do it for me.
11. Janelle Monae: The Archandroid (8/10)
This is entirely not my kind of music but this woman sure is talented. It kills me that most female talents are oppressed to the point of losing any and all originality. This chick’s got it in spades. I may not appreciate her particular musical tastes, but wow is she ambitious and out there. I like that, even if I could care less for the genres she pillages. Good for her. If only there were more female artists (allowed to be) like her.
12. Neil Young: Le Noise (7/10)
I love that Neil is trying to push things in his old age. I love that he is desperately trying not to rust. It would be better if he wrote some classic songs.
13. Laurie Anderson: Homeland (7/10)
This sounds an awful lot like her debut, Big Science, of thirty years ago. I wish it sounded newer. I like her politics, but the music isn’t quite as creative as something Exlcaim! claims is the best avant garde album of the year should be.
14. Drive-By Truckers: The Big To-Do (7/10)
15. John Legend, the Roots: Wake Up! (7/10)
I don’t know John Legend and I’m barely aware of The Roots. Read the rest of the review.
16. The Hold Steady: Heaven in Whenever (7/10)
From the opening notes of “The Sweet Part of the City” it’s pretty clear that this band has finally overcome their Springsteen odour. Sure, Finn is still an extremely Sprinsteenian songwriter, but the rest of the band no longer sounds like a louder E-Street band minus the sax. (I’d blame that on the departed keyboard player but I know this had already happened on the previous album.)
17. Konono No. 1: Assume Crash Positions (7/10)
Lacks the freshness and rawness of the debut. Read the review.
18. Giant Sand: Blurry Blue Mountain (6/10)
19. Crime in Stereo: I Was Trying to Describe You to Someone (6/10)
The more I hear stuff like this, the more I miss – and I think I undervalued – At the Drive-In. Post-hardcore really does seem to be the 2000’s version of post-grunge; its everywhere and its watered down. (In its defense, at least it has a lot more character than post-grunge.)
To be fair, these guys aren’t the biggest At the Drive-In rip-offs I’ve heard. In fact, to my ears they sound far more indebted to Desaperacidos. In fact, they sound like a more mature – and more aggressive – version of that band.
And I guess that’s fine, but it’s just not blowing me away.
20. Robert Plant: Band of Joy (6/10)
He takes old and new songs and makes them sound indistinguishable. Good for him. But they sound indistinguishable. What is with the reverb?
21. Torche: Songs for Singles (5/10)
Not metal. Unfortunately, somebody (Exclaim!) told me this was a metal album before I listened to it. So I was thinking it would, you know, sound like metal. Oops. If you’re going to make sludgy hooks, you should probably write better hooks.
Not Ranked: BBC Philharmonic conducted by Rumon Gamba, featuring Martin Roscoe and Orla Boylan: Hangover Square; Citizen Kane by Bernard Herrmann (9/10)
This disc collects a suite of pieces of from the 1945 film noir Hangover Square, arranged for orchestra, with a piano concerto Herrmann wrote for the film, with what seems to be the complete (or nearly complete) score to Citizen Kane.
Not Ranked: Lawrence Power: Hindemith: The Complete Viola Music 2 (9/10)
Part 2 of Power’s performances of Hindemith’s viola music focuses on the sonatas for solo viola, of which Hindemith also wrote three. Though these all lack the incredible, complex and difficult piano parts of their cousins, that doesn’t make them any less impressive and, not surprisingly, the viola parts are more complex.
Not ranked: Antonio Meneses, Northern Sinfonia: Haydn: Cello Concertos; Pereira: Concertino for Cello (7/10)
This is an odd collection that pairs Haydn’s two most famous (and likely sole surviving) cello concerti with a totally unrelated piece of music by the 20th century composer Clovis Pereira. Grumble.
Not ranked: Halle: The Kingdom by Edward Elgar (7/10)
Not Ranked: Dietrich Frischer-Dieskau, James King, Urzula Koszut, Rose Wagemann, William Cochran, Peter Meven, Chor und Symphonieorchester des Bayerischen Rundfunks conducted by Rafael Kubelik: Mathis de Maler by Paul Hindemith (7/10)
Not Ranked: Jimi Hendrix: Valleys of Neptune (6/10)
Not ranked: …Featuring Norah Jones (5/10)
This is a compilation of some (though apparently far from all) of Norah Jones’ guest appearances after she became a star. (Though some feel more like duets.) I guess it’s a way for people to see what else she’s doing? I don’t know.