Last Week's Album

At the end of each year, most people like to reflect on the past 365 days and remember the good times. We at Last Week’s Album are no different. So for our Top 10 Albums of 2011 list, we didn’t just pick all the albums we gave 5 out of 5 lighters. Instead, we selected the ones that haven’t just stood the test of time, but have gotten better with each listen. And just to keep things fair, 5 of them are from Kevin and 5 of them are from Derek. So without further ado, here are our Top 10 Albums of 2011.

Derek’s Top 5

5. Fight Less Win More by My Sad Captains

I only reviewed this album in mid-November, but My Sad Captains still find themselves in my regular iPod rotation. Their acute attention to detail and ability to meld guitars and other keys/synthesizers together into extremely pleasing melodies make for some fantastic tunes. Though Fight Less Win More has yet to be out for an entire month, limiting whatever marketing traction can be gained in such a short period of time, their tunes are absolutely solid, and should help the band continue its climb towards indie-rock success.

4. In the Mountain in the Cloud by Portugal. The Man

In my original review, I stated that I was “initially blown away by intricate array of sounds and melodies.” Three and a half months later, little has changed. The band’s first major label release allowed the fellas to spend some quality time on each track, tying up all possible loose ends, and creating a fantastic album. The vocals and vocal melodies are catchy as can be, and the added production value of a major label release really allowed Portugal. The Man to build on the strength of its vocal melodies. Further, expanded instrumentation, including synthesized strings on tracks such as “So American” and “Floating (Time Isn’t Working My Side)” allowed the band to reach new heights. One of my favorite road trips albums, I don’t see this one falling out of my playlist rotation any time soon.

3. Tripper by Fruit Bats

I had minimal expectations for this album before writing my review, yet this album has stuck with me more than most other albums I reviewed this year. Instrumentally solid front to back, Tripper really flexes its muscles in regards to the stories it tells. As noted in my original review, Fruit Bats’ frontman Eric D. Johnson wrote this album based on stories he might have encountered if he had stayed on a train with a vagrant he met. Each track tells a different tale about life on the road, against a rich folk/rock backdrop. Although this album did not reach the masses, I almost fell out of my chair when I heard “Shivering Fawn” during the credits of an episode of Weeds. After months of play on my iPod, I can definitely say that Tripper is a trip worth taking.

2. Helplessness Blues by Fleet Foxes

In my review, I claimed that this album would find its way into many Top Albums of the Year lists… and here it is! This band of bearded Oregonians released their sophomore full length with Helplessness Blues to much fanfare following the critical acclaim of their debut. I found Helplessness Blues to be a solid effort, far away from the fabled “sophomore slump.” Though Fleet Foxes did not stray far from their folk-heavy bread-and-butter sound, the album’s tracks were much more complex and in-depth than their indie-rock cohorts in the Pacific Northwest.

1. Bon Iver by Bon Iver

There was no doubt that a follow-up to For Emma, Forever Ago was going to be tough task for anyone, let alone Bon Iver genius Justin Vernon. However, Vernon showed that he was up to the task with the self-titled sophomore release under the moniker Bon Iver. Though Bon Iver presented many staggering differences from For Emma, ranging from the inclusion of drums, more distorted guitars and, at times, shockingly deep (read: non-falsetto) vocals from Vernon, it was still able to capture some of the intimacy that made For Emma as great as it was. Like I said in my review, Vernon’s expanded instrumentation also allows his songs to reach new emotional heights, as drums, distorted guitars and other instruments allowed Vernon to add a greater intensity to his already intimate music.

Kevin’s Top 5

5. Torches by Foster the People

On my original review, I called “Pumped Up Kicks” the “song of the summer for 2011.” But I was wrong –- this jam went on to become quite arguably the biggest pop hit of the entire year, and rightly so. “Don’t Stop” also made into the eardrums of almost everyone in the U.S. by way of those ubiquitous Nissan Versa TV ads (watch them here and here). Also including standout jams like “Helena Beat,” “Call It What You Want” and “Houdini,” Torches turned out to be much more than just another superficial pop album. It’s a mix of catchy hooks, dancefloor beats and subtly emotional lyrics. And even if the radio and TV made you sick of their biggest hits, you can’t deny that Foster the People can write and record some seriously contagious jams.

4. Bright Lights EP by Gary Clark, Jr.

Yeah, I know, it’s only an EP and not a full-length album. So what? Carrying on in the spirit of Stevie Ray Vaughan and others, Gary Clark, Jr. is the next big Texas blues man. Bright Lights only included four tracks, but it still encapsulates this young gun’s deft guitar playing, expansive breadth of emotions and original style. One song he’s rocking your ass off, and the next he’s ripping your heart out. The title track was so killer, it made it onto a Jack Daniels commercial. So even though Bright Lights is short and sweet, Clark has the chops to keep me coming back time and again, long after my review. He also puts on a phenomenal show at his concerts, and he’s as humble as they come. I know it’s just an EP, but Gary Clark, Jr. is definitely ready for the bright lights. 

3. Circuital by My Morning Jacket

With five albums under their belt, My Morning Jacket honed their sound as well as they ever have on Circuital. As stated in my review, they dropped the lengthy barnburners but still found ways to follow jams where they led in a tighter fashion. “Victory Dance’s” random voice-and-trumpet hook gives way to a groovy track, “Circuital” displays all five players equal time in the spotlight with its everybody-together-now bounce, and “Holdin On To Black Metal” rocks out in silly style with horns and a girl-choir backing. The album as a whole proves that My Morning Jacket haven’t lost their imaginations with age and their ability to bridge unfamiliar sounds has deepened with time. Rock on, brothers.

2. Screws Get Loose by Those Darlins

These girls (and one guy) really blew me away when I reviewed them this year. Not only can they write smart, catchy quips, but they can tear their instruments to shreds (proof of that here). And although Screws Get Loose is just their second album, they’ve somehow already mastered a signature country/garage sound and a palpable group chemistry. Their sophomore effort contained well-crafted Southern indie-rock gems like “Be Your Bro,” “Let U Down,” “Tina Said” and “Boy.” The album as a whole helped them craft their sound and gained them enough notoriety to get “Red Light Love” on a Kia Sorrento commercial. I can’t wait to hear more outta these talented ladies (and dude).

1. GB City by Bass Drum of Death

I wish I could go back to the day I gave this album just 2 out of 5 lighters and give myself a swift kick in the nuts. GB City has easily become my favorite album of 2011, mainly due to Bass Drum of Death’s uncanny ability to fuse garage rock with old-school doo-wop. It’s left their jams ringing in my ears, pulsing through my veins and blaring through my speakers ever since I got my hands on the album. “Nerve Jamming” rocks with beating drums, fuzzy guitar and effected vocals; “Get Found” has sick guitar hooks and punching percussion; and “Young Pros” boasts snarling lyrics and falsetto backing vocals that harp pack to Motown’s formative years. Even the tracks I found difficult to listen to at first have found their way into my regular listening repertoire (“Velvet Itch,” “High School Roaches,” “Spare Room” and “Leaves”). I sure didn’t call this one in my review, but I now take a trip to GB City anytime I can.

So there you have it, kids. We hope you’ve had as much fun reading out albums as we’ve had reviewing them, and we look forward to another year of even more. If you’ve really dug an album this year, we recommend showing the band some love by buying said album as a gift for someone else. After all, what better way to spread some cheer than spreading the music you dig?

What’s your favorite album of 2011? Let us know in the comments section below, our on our Facebook or Twitter.

As the artwork (painted by Gregory Euclide) would imply, Bon Iver picks up right where For Emma, Forever Ago left, just as spring follows winter. Expectations are high for Justin Vernon (performing under the name Bon Iver, French for “good winter”) on this self-titled sophomore release. Surely, it would be tough to live up the circumstances that surrounded the recording of Bon Iver’s 2008 debut, For Emma, Forever Ago (recorded nearly entirely by Vernon in a hunting cabin in Wisconsin in the dead of winter, following the break-up of a band and a girlfriend in North Carolina). For Emma this is not; those looking for a repeat of the previous album may be in for a shock, as differences abound. Hopefully, like me, you’ll find a change isn’t always bad.

Sounds Like:
It’s spring, the snow has melted, Justin Vernon (Bon Iver) has stepped out of his isolated cabin and recruited some pros to record a bigger, less dreary album

An overtly electric guitar (already a huge break from For Emma) breaks the silence on “Perth,” the album’s opener, greeted by the rat-a-tat-tat of a distant snare, reminiscent of a Revolutionary War drum (another new development), eventually giving way to Vernon’s familiar falsetto vocals. The song picks up steam, ebbing and flowing, as it barrels along, introducing more and more instruments, building to an apex driven by distorted power chords, double bass kick drums, and horns. Although the sound differs greatly from the previous album, the broader instrumentation blends together well, all carried along by the driving beat. The fervor dies to a lone picked guitar on “Minnesota, WI,” a song featuring a variety of instruments, including guitars (electric, acoustic, pedal steel), banjo, keys, saxophones, and strings. Even more surprising are Vernon’s non-falsetto vocals. Vernon’s initial booming baritone is a stark cry from For Emma, in which non-falsetto vocals were few and far between. Purists need not fear, as Vernon does return to his trademark falsetto throughout the song (and most of the album).

Key Tracks:
Perth, Holocene, Hinnom, TX, Wash., Calgary, Beth/Rest

Despite the initial and somewhat jarring differences between Bon Iver and For Emma, there are some common threads. Songs such as “Holocene,” “Michicant” and “Wash.” are the most comparable to For Emma, as these songs sound more bare-bones (compared to other songs from this album) and focused at the same time. Aside from the musical differences, Bon Iver captures much of the same vibe as the previous album, in that each song comes across as finely tuned and having a significant role in the album as a whole. This is exemplified by the last three tracks of the album, which flow together seamlessly.

Best Lyric:
“…and at once I knew I was not magnificent” - “Holocene”

In addition to the broader instrumentation found on Bon Iver and increased production (recorded with seasoned musicians over an old pool in a converted veterinarian clinic), Vernon’s vocals sound more layered than the previous album. The biggest surprise for me was the organ-sounding keys (Korg M1 per the liner notes) on “Calgary” and “Beth/Rest.” The initial sound brought me flashbacks to hearing my mom’s Bruce Hornsby albums back in the day. Another departure from For Emma, this development, like the rest of the album, fits neatly into the song. Despite the increased instrumentation, no single instrument steals the show, as everything blends together to create the perfect sound to match Vernon’s vocals. Lyrically, Bon Iver exhibits much of the same style present in For Emma (not entirely focused on a distinctive story, per se), yet significantly lighter in tone. Where loss was a central theme on the last album, Bon Iver is about growth and the good, the bad, and the ugly that comes with it.

                                        Music video for “Calgary”

Bon Iver in many ways is a clear departure from the last album, though there are numerous subtle similarities. Vernon’s vocals and meticulous songwriting are as strong and often unorthodox as ever, resulting in an album that can be just as enthralling and endearing as For Emma. The additional instruments also allow Vernon to create some unique and intimate moments, such as the ring of a bicycle bell on “Michicant” while recalling childhood memories. Overall, Bon Iver is no less sincere than For Emma, and like the Fleet Foxes in a previous review, successfully overcame the dreaded sophomore slump. Bon Iver is a strong album, and certainly sets the bar higher again for Vernon on the next go round.

Overall Rating: