Seraphina Lotkhamnga on December 20th, 2011

6

[It’s Buzz Bands LA staff writer Seraphina L’s turn to share a year-end list …]

By Seraphina Lotkhamnga

Choosing one’s favorite albums of the year is always a daunting task, and it’s even worse when you have to whittle your list down to 25.

Here are my thoughts on 2011 albums (local and non-local), and I’ll go ahead and say that it’s been a really great year for L.A. bands to break out. My special mentions are after #1, with some of them actually having some of the best songs of the year. However, one song doesn’t make a great album. If you have any rebuttals, I’ll be glad to hear them.

25. Smith Westerns, “Dye It Blonde” (Fat Possum)

It’s hard to remember Smith Westerns are a bunch of kids from Chicago when their sophomore album “Dye It Blonde” heavily echoes influences of T-Rex, Beatles (Lennon, specifically, with their “Imagine Pt. 3” as a nod) and even some David Bowie. Almost doing a complete 180 from their self-titled debut in 2009, undeniable licks in songs such as “Weekend,” along with the budget and opportunity to work with Chris Coady (TV on the Radio, Beach House) magnified the hooks this time around. The melodies have always been there, and the lovable scuzzy soundscape also remains in tact. However, when Cullen Omori sings “Love is lovely when you’re young,” one can’t help but think these are kids who dreamed big and succeeded.

||| Previously: Live FYF Fest review.

24. Real Estate, “Days” (Domino)

If there was one album that was consistent track after track, it would be Real Estate’s sophomore album “Days.” Certainly a mood-lifter for even your darkest day, these Jersey boys basically sum up their vibe with the lyrics “floating on an inner tube in the sun” in the appropriately-titled song “Easy.” Real Estate shouldn’t necessarily be labeled as a surf-rock band, but there’s a simple pleasure in knowing that all songs revolve around the sun. Rolling rhythms and looped guitars are also common denominators on this album, but it’s hard to deny a solid wave of breezy tunes.

||| Previously: “It’s Real.”

23. Fleet Foxes, “Helplessness Blues” (Sub Pop)

Although Seattle and Sub Pop darlings Fleet Foxes didn’t seem to make that big of a splash with “Helplessness Blues” as they did with their self-titled debut back in 2008, the three-year wait certainly wasn’t a disappointment for loyal fans. Harmonies from Robin Pecknold and his boys came back ringing louder and tighter, especially on the title track. Final lyrics on that song in particular (“If I had an orchard / I’d work till I’m sore”) came as a revival of earnest folk rock. Once again, this band has offered some of the most beautiful melodies without any harsh frills.

||| Previously: “Helplessness Blues.” “Grown Ocean.”

22. Future Islands, “On the Water” (Thrill Jockey)

If there was any synth-pop from this year that made it worth your time to stop everything and dance until your pores screamed they were out of sweat, it would be the melodramatic new wave of Future Islands. Going back and forth between operatic vocals and growls befitting for heavy metal, the theatrical Samuel T. Herring and his band triumphantly presented a balance between eloquence and mania on “On the Water.”

||| Previously: Live FYF Fest review. “Give Us the Wind” video.

21. tUnE-yArDs, “W H O K I L L” (4AD)

Merrill Garbus is not your typical singer-songwriter and “w h o k i l l” boasts her talents on this album. Before Glasser came around, Garbus was the one-woman indie rock show with her ukulele and drums on loop and complex fusions of folk, rock, R&B and Afro-beat. Her vocal range has been commendable from the beginning of her career (specifically showcased in “Powa”), but off-kilter melodies she inserts in to songs such as “My Country,” “Gangsta” and “Bizness” transform her playfulness into beautiful tension with political undertones.

||| Previously: “Bizness.”

20. Florence + the Machine, “Ceremonials” (Universal Republic)

Sure, Florence Welch’s flair for drama may have critics likening her to Kate Bush and Stevie Nicks, but the heavy arrangements on “Ceremonials” wouldn’t be the same without the intense delivery. The haunting bellows, the crescendos and the thunderous drums, organs and ethereal harp were already entrancing on their 2009 debut “Lungs,” but the melodies have grown larger arches and the lyrics have developed better-detailed stories on this record. Ostentatious? Yes, but also very thrilling.

||| Previously: “What the Water Gave Me.” “Shake It Out” video. “No Light, “No Light” video.

19. Apex Manor, “The Year of Magical Drinking” (Merge)

Shining like a beacon of hope for power-pop in the indie rock realm again is L.A.’s very own Apex Manor. The brainchild of Ross Flournoy, “The Year of Magical Drinking” is a dead ringer for Weezer and Replacements fans alike with anthems such as “Teenage Blood” and “Under the Gun.” Hooks, riffs, gritty vocals, and attitude – this record’s got it all and deserves multiple spins from any modern rock fan.

||| Previously: Interview. “My My Mind” video.

18. Vanaprasta, “Healthy Geometry” (self-released)

Those just a tad obsessed with numbers, shapes, sleigh bells and dueling guitars are most likely already fans of L.A. band Vanaprasta. Branding themselves as “guitar-wave,” this rock quintet’s full-length debut was worth the re-working and most certainly worth the wait. “Healthy Geometry” is a record that bursts with tunes from all angles when tunes ricochet in between prog-rock to psychedelia – and even with pop-rock (with the radio-ready feel-good anthem “Self Indulgent Feeling). With Steven Wilkin’s powerhouse vocals draping arena-worthy rock arrangements, even R&B undertones in opening track “Nine Equals Nine” couldn’t hurt their stage cred.

||| Previously: Video. “G-.” “Supernumerary.” “Nine Equals Nine.” An interview. “To Haiti with Love” compilation.

17. Mogwai, “Hardcore Will Never Die, But You Will” (Sub Pop)

If one were solely to award the best album of the year based on the name, Mogwai’s “Hardcare Will Never Die, But You Will” would surely win the title for 2011. But the record is also full of amp-blowing post-rock, track after track. Sometimes all that’s necessary is an arpeggio, and in Mogwai’s case, that is the simplest start to a song that ends with marvelous chaos. The dynamics between the three guitarists are almost battles that eventually find a resolution toward the end of every song, even if the fight has been straightforward as the melody in “San Pedro.” And, hey, any post-rockers whom can pay tribute to pop singer Lionel Richie are all right by me.

||| Previously: “How to Be a Werewolf” video. “Mexican Grand Prix” video and “San Pedro” download.

16. Lykke Li, “Wounded Rhymes” (Atlantic)

Although “Get Some” seemed to bury Lykke Li’s playful innocence on her debut “Youth Novel,” the front which the Swedish singer put on for “Wounded Rhymes” worked in her favor. Her sophomore record came off as a letter to the boy who had surely broken her heart since the last album. Sprinkling lust in to a thick mixture of bitterness and loneliness this time around, her anger eventually flourished into her first true stage of avant garde songwriting.

||| Previously: Album review. Live review.

15. Destroyer, “Kaputt” (Merge)

At the top of the list for experimental indie pop is the latest collection of songs from Canadian songwriter Dan Bejar. With opening track “Chinatown,” Bejar immediately warns listeners that it would be a long listen but one worth staying for. With only two tracks under four minutes (with the longest being under 12 minutes), dreamy lyrics which sometimes seem like self-references, and the jazz undertones that fall somewhere in between Roxy Music and Steely Dan, each song is a journey in itself. By time you’re done listening to “Kaputt,” you have a strange feeling that you’ve just experienced something tragic but worthy.

||| Previously: “Kaputt” video.

14. Gardens & Villa, “Gardens & Villa” (Secretly Canadian)

Alongside Destroyer’s album, Gardens & Villa may make an indie rock fan a little nervous for dipping in to so many jazz elements at once. However, the Santa Barbara quintet charms with the flute rather than ironically flaunts it, and that skill in itself, is an amiable factor. But aside from how they’re able to tickle listeners with an instrument are the arrangements, and any Richard Swift fan will able to nod along with approval. Light-as-a-feather falsettos and electronic textures in the midst of organic instrumentation and songwriting make this debut a standout.

||| Previously: “Black Hills.” “Star Fire Power.”

13. M83,”Hurry Up, We’re Dreaming” (Mute)

Certainly not an album to be considered one disc too long, M83’s “Hurry Up, We’re Dreaming” finally arrived with dream-pop back in full force. In fact, it’s difficult to imagine what this collection of songs would be like if only half the songs were selected for one CD. Anthony Gonzalez doesn’t apologize for heading toward an electronic-heavy route (as opposed to his heavy shoegaze past) and he had no need to when he follows up with “Midnight City” ”“ one of the best songs of the year.

||| Previously: “Midnight City.” Christian Strobe remix. Video.

12. Foster the People, “Torches” (Columbia)

Mark Foster and his posse win the title for most exponential popularity within a year’s span. Not only were they granted a late slot at Coachella based on a 3-song EP, but their debut album “Torches” continues to climb the charts. If there’s one group to prove that accessibility isn’t the downfall of a band, Foster the People is that band. With hook-embedded single after single, and a respective music video for each these tracks, “Pumped Up Kicks” and “Helena Beat” will be the anthems for a new mainstream generation.

||| Previously: Coachella review. “Pumped Up Kicks” video. “Pumped Up Kicks (MNDR remix).” “Helena Beat” video. “Call It What You Want” video. “Don’t Stop (Color on the Walls)” video. Way back when.

11. Laura Marling, “A Creature I Don’t Know” (Ribbon Music)

Refusing to believe Laura Marling is only 21 years old isn’t uncommon for a first-time listener. Even for long-time fans, her intricate storytelling in tandem with her musicianship is astonishing to hear both on record and live on stage. The angelic-looking singer-songwriter once again impresses with songs such as the pop-driven “I Was Just a Card” and the intimate “Sophia” which has listeners whisked away into a lush chorus by the end. Tales of ghosts, death and love generally will never get old, but they’ll never stop sounding as astute as long as Marling continues to sing about these subject matters.

||| Previously: Live review.

10. Anna Calvi, “Anna Calvi” (Domino)

Anna Calvi’s songs are like sneaky tornadoes, and you don’t realize you’re in the eye of these massive windstorms until you’ve heard her belt out the chorus in songs such as “Desire,” Suzanne and I” and “Blackout.” Her songs are seductive and delicate until there is a magnificent roar, and when a track is over, you simply want to hear it again. Dramatically wielding her stunningly powerful vocals and guitar, Calvi has released one of the albums of the year with the most substance. Fans of PJ Harvey and Siouxsie should not have to think twice about purchasing this self-titled album.

||| Previously: Live KCRW “Are Friends Eclectic?” review.

9. Hanni El Khatib, “Will The Guns Come Out” (Innovative Leisure)

Hanni El Khatib answers his own question with this gritty garage rock yet pop-heavy full-length debut, “Will the Guns Come Out.” Yelps, guitar, and drums are refreshingly the only components to this razor-sharp record. “F–k it, You Win” and “Build.Destory.Rebuild” are nice slices of Khatib’s tough skater boy days whereas old doo-wop-infused tunes such as “Dead Wrong” and “Loved One” are winning as ever after production polish. Bonuses? His takes on Louis Armstrong’s “I’ll Be Glad When You’re Dead You Rascal You” and Parliament-Funkadelic’s “I Got a Thing” (with the latter being featured in Nike’s campaign this year.)

||| Previously: At Buzz Bands LA’s Austin 2011 Showcase. At Also I Like to Rock. “Come Alive” video. Video/documentary. “Loved One video.”

8. Kurt Vile, “Smoke Ring For My Halo” (Matador)

Kurt Vile’s combination of cynicism and warmth is an odd experience and hard to pull away from. His ambient drone of vocals and looping guitar about heavy subjects are attractive but get almost too in-depth for strangers at some points, then suddenly the pop sensibilities in songs such as “Jesus Fever” soften the blow. Vile’s songs almost viciously sneer at his subjects (“Puppet to the Man”), but then his edges disappear and wrap you in a lovingly glow in songs such as “Baby’s Arms.” Whatever mood swings Vile has on “Smoke Ring For My Halo,” they all balance each other out for an endearing luster in the end.

||| Previously: “Jesus Fever.” A video. “Baby’s Arms.”

7. Eastern Conference Champions, “Speak-Ahh” (self-released)

You could call Joshua Ostrander the next Bob Dylan but Eastern Conference Champions is about what all three members have worked together on for this outstanding local release. Going beyond the “band that got on the Twilight soundtrack” status, ECC’s long-awaited full-length “Speak-Ahh” is a record of dueling guitars with Melissa Dougherty and bombastic drumming from Greg Lyons yielding a downright explosive listen from beginning to end. Opening track “Attica” is an adrenaline rush, “Bull in the Wild” is bliss for the indie rocker who also happens to be an R&B lover, and “Hell or High Water” picks right up where “Sideways Walking” left off in terms of heartrending odes.

||| Previously: Interview. “Middle of the Night.” “Hurricane.” “Bull in the Wild” video. [SXSW diary, 1-6.]

6. Cold War Kids, “Mine Is Yours” (Downtown)

“Mine Is Yours” may be the most accessible album Cold War Kids have written yet, but with the help of producer Jacquire King, the Kids have also never shone so brightly with such pop-driven anthems. For an album focusing on the ups and downs of relationships, songs such as “Finally Begin” and “Skip the Charades” are standouts with Nathan Willet’s vocals ringing loud and clear. Accessible yet quirky arrangements such as “Bulldozer” are ready to accompany any lover’s tale, tragic or triumphant.

||| Previously: Interview. Coachella review. “Skip the Charades” video. “Louder Than Ever (Active Child remix).” Live FYF Fest review. “Louder Than Ever.” Video.

5. Dum Dum Girls, “Only In Dreams” (Sub Pop)

Although their debut album “I Will Be” garnered critical acclaim among fans who like their all-female rock groups with extra reverb, Dum Dum Girls have outdone themselves with Kirsten Gundred (aka Dee Dee) at the helm on “Only In Dreams.” Growth can be heard from their former ditties to these substantially heavier subject matters and more daring melodies on songs such as “Coming Down” and “Wasted Away.” However, the jangly sun-drenched themes still support the Dum Dum Girls’ original playful stance on tunes with songs such as “Always Looking” and “Heartbeat.”

||| Previously: “Bedroom Eyes.” “Coming Down.” “Bedroom Eyes” video.

4. Telekinesis, “12 Desperate Straight Lines” (Merge)

When it comes to sad lyrics and upbeat power-pop rock, there is no one who understands the stealthy concept better this year than Telekinesis’ Michael Benjamin Lerner. The energy never falls on “12 Desperate Straight Lines” despite songs woefully titled “Car Crash” and “I Cannot Love You.” In fact, singing about dying alone has never sounded so cheerful with Lerner on vocals and drums. Jaded outlook on life or not, Telekinesis offers a great sugar high with their power pop.

||| Previously: “Car Crash.” Live review. “Newermind” compilation (Nirvana tribute album).

3. Active Child, “You Are All I See” (Vagrant)

Leave it to a boy and his harp to bring something different to the indie scene. Pat Grossi’s vocal technique is wonderfully shameless as he sings deep from the diaphragm and elongates his vowels ”“ not caring one bit about what is currently deemed “cool” in the indie rock world. This is also what makes Active Child brilliantly out of place as his operatic singing is paired with heavy R&B undertones. Standout tracks include “Hanging On” and “Playing House,” both tracks beautifully arranged with haunting intros and driving beats throughout the choruses.

||| Previously: “Playing House.” “Hanging On.” “Playing House” video.

2. Other Lives, “Tamer Animals” (TBD)

Although Other Lives may have released one other album under the moniker Kunek, it wasn’t until the name change and release of the gorgeous “Tamer Animals” that the Stillwater, Okla., band got the attention they deserved. With a multitude of talent from each member (who switch between as many as five instruments), the rich arrangements of vocal harmonies, keys, guitar, trumpet, cello and violin make for one extraordinarily surreal record. As frontman Jesse Tabish wistfully (but not too wistfully) sings “We’re just tamer animals,” it’s difficult to disagree.

||| Previously: At Buzz Bands LA’s Austin 2011 Showcase. “Tamer Animals.” “For 12” video. A gallery. Live KCRW “Are Friends Eclectic?” review.

1. Wye Oak, “Civilian” (Merge)

“Two Small Deaths” opens Wye Oak’s “Civilian,” and although there is the sound of people chattering, it becomes distant and a lonely guitar intro begins. But when Jenn Wasner opens her mouth to sing about all her ties being broken with ones whom she used to love, it all suddenly hits too close to home for any listener. Pathos becomes an understatement with tracks such as “Holy, Holy” and “Plains.” The duo from Baltimore has always had a knack for communicating heart-wrenching stories of loneliness, but on “Civilian,” they unshakably cut their wounds deeper so everyone can hear just how much it stings. The only thing is, Wasner and drummer Andy Stack manage to transform heartache into beauty and wonderfully wild shoegaze-infused folk songs that take off and soar for the sake of catharsis.

||| Previously: “Civilian.” “A SXSW preview. SXSW review. “Holy, Holy” video.

Special Mentions:

Gotye, “Making Mirrors”
Feist, “Metals”
The Features, “Wilderness”
Explosions in the Sky, “Take Care, Take Care, Take Care”
Friendly Fires, “Pala”
The Antlers, “Burst Apart”
Yuck, “Yuck”
St. Vincent, “Strange Mercy”
British Sea Power, “Valhalla Dancehall”
The Dodos, “No Color”
Girls, “Father, Son, Holy Ghost”
The Lonely Forest, “Arrows”
Raphael Saadiq, “Stone Rollin’”
Little Dragon, “Ritual Union”
The Feelies, “Here Before”
Wild Flag, “Wild Flag”
Beirut, “The Rip Tide”
Robotanists, “Plans In Progress”
Austra, “Feel It Break”
Justice, “Audio, Video, Disco”
Panda Bear, “Tom Boy”
Bon Iver, “Bon Iver”
Light FM, “Buzz Kill City”
Allen Stone, “Allen Stone”