and the top 5...
5 Bend Sinister | Small FameTheir 1st album since 2008's masterpiece Stories of Brothers, Tales of Lovers . They released 2 EPs leading up to this record, and it's odd how those EPs were good, but not as amazing overall as their other work. But this record seemed to include a lot of music I love still, so much I enjoy it more than those 2 EPs.
Now, compared to Stories, and especially another previous release like Through the Broken City, Bend Sinister seem to be leaning more towards 2 genres specifically. Power Pop and Classic Rock. Which I can't say I prefer, but also can't say I don't like. This new album Small Fame, maybe has the most music of those styles, compared to any of their other releases.
Just take the shorter, catchy tunes like "She Don't Give It Up," "One Shot," "Got You On My Mind," and "Give It a Rest," all have those little hooks that I enjoy. They also feature some of Dan Moxon's extended vocal lines that I have always loved about Bend Sinister.
But getting more into this album, the tracks that I totally look forward to are the likes of "Quest for Love" which to me is like an Iron Maiden tribute (although Moxon I recall mentioned Dio, which I hear as well). It's really epic, yet it's just over 3 minutes long. I actually think that tune could have been on various radio stations, from Hard Rock/Metal to the college rock ones, and it would have fit. But has it? no, of course not. But perhaps it may in 2013, when they do more touring in the States.
"My Lady" is another I totally love the back and forth/call-and-response element. And the bad-ass bluesy keyboards, have this energy I totally love."Hot Blooded Man" and "She Lost Her Love For Rock and Roll" as well. Really great, infectious melodies, that lead to a twist, which is kind of a Bend Sinister trademark of sorts.
Even the slow, dark ballad "Black Magic Woman" I fall for, as it does kind of remind me of Led Zeppelin (and not Carlos Santana) in some ways.
The only track I skip, is the the repetitive "We Know Better." I'm not sure how or why they included this on the record, but it just seems rather simplistic and namely the lyrics just seem to be repeated too many times. I wish they had included "Things Will Be Better" from 2010's Spring Romance EP instead, but I suppose that song was older and didn't fit with the writing period of the music for this album. But so be it.
I am drinking a little of their Kool-Aid here, but after 6 or more long years hoping this band will finally get their due, I am thinking it may finally come in 2013 when they get to do some more extensive touring in the US. Whether it does happen or not, I am a fan no matter. But it is nice to finally have a little bit of optimism about 1 of MY bands for once. I guess we'll see what happens next year. But in the mean time, Small Fame, another excellent record from maybe my favorite band from Canada (save for Rush of course,
).
4 Gatherer | So Be ItThis band and debut LP sort of came out of nowhere. Thanks to fellow down-under musician Kimbra (who this blog of course knows pretty well), mentioning this group, shouting out to the prog fans, I was led to their music.
I guess first and foremost, the thing I like about them is they really don't sound like any other band specifically. And they also managed to write driving, memorable songs, that combine a bunch of genres, but still don't lose sight of the songwriting.
The two standout tracks on this album I find to be I think the 2 singles. "Thrive" and "Regular Frontier." Both of those have these twists and surprising harmonic and melodic parts, while still being heavy and riffy. Take a band like Faith No More, who combined pop with Metal and experimental elements; Gatherer, while they don't sound a lot like FNM, are sort of doing the same thing.
Their use of vocal harmonies, and their approach to vocals, while I didn't love right away, really began to grow on me fast. I would go back to them and not have issue with them at all after a few times through. Their singer yells, certainly, much in the Punk or Post-Hardcore punk style, but actually he sounds like he has refined his style quite a bit. I say that, after checking out the music they made under the name "This City Sunrise" which naturally, I found shared qualities with Gatherer, but the screaming was more chaotic.
Although, I'll fully admit, I have grown to really love This City Sunrise as well, which is odd because bands like Deftones and even Exotic Animal Petting Zoo (or even a band like The Fall of Troy), I never got past the screaming fully. EAPZ I did to a point, but this band, I think I've found a kind of hardcore screaming I am able to get past. So much, I'm reminded when I got into Between the Buried and Me and so many other of those Extreme Metal bands. There's just too much to offer in their style of music and songwriting itself, the screaming issues become non-issues.
And the fact Gatherer seem to have toned that part of their style down a little bit, may ultimately be in my preference and their favor.
To mention other highlights, I suppose songs like "Camp Creative," 'Elvis Horizon," 'Hammer," "Sinister," "Mr.," all really grew on me, rather fast actually. The whole record did. They also had excellent production work on this. The drummer is quite technical, I wonder if he may enjoy his Jazz or much like Kimbra, a lot of those drummer using poly-rhythms. I actually think the drum work is as great a part of this record as anything. Its just that with it's changing times so often, and odd minor key parts, may be what throw some people off. They sort of remind me of Everything Everything in that sense, in that you can hear the pop side and a lot of their influences, but they seem to blend those with such an unorthodox style of songwriting, they really require some time digest. At least I think for some. Myself? well, I enjoyed Pain of Salvation right off the bat, and many other bands, so I may have a little bit more of an ability to digest subtle things that may bug others right away.
But this album was really not talked about much, save for in their home country. And that was largely due to the build up, as like Kimbra, I guess they built a local fan base gradually every year since their inception, just not yet really outside of their home. Maybe in 2013 that will happen. And maybe like Kimbra, their record will get released overseas and they could even tour here. I think for the avant-garde Prog, Metal, Post-Hardcore, etc fan, this band could really be one to get into. Perhaps with some time, or their next record even.
3 Vuvuzela | The Hollow ChoirI posted about the Kickstarter campaign this project was setting up, during the Summer of 2011. And their goal was to raise enough money to kickstart their work on a Debut EP. And they did reach and exceed their goal in fact, and I do wonder a little bit, if the exceeding of their goal led them to record enough songs for a full-length album.
Now, Vuvuzela is one of Josh Benash's main focuses as a musician, with Kiss Kiss out of commission. Along with a solo record he released earlier in 2012, Josh had a pretty busy and big year in 2012.
Kiss Kiss released an EP and 2 full-lengths in their history. The 2 full-lengths, namely their debut record Reality vs. the Optimist among it's unique qualities, was how short it was. Something like 32 minutes long, but it always *felt* longer, at least to me and some others. And I suspect this debut record of Vuvuzela's was about that long as well, in that I think Josh almost comes by making albums of that length.
There are 8 tracks on here, and while there's a ton of ideas and different twists and turns, the length is absolutely perfect, I've come to conclude. Each track has just enough of their waltzy-prog, to satisfy. Perhaps that is 1 of Josh's many talents, in the ability to compose albums of the perfect length, regardless of how short they look like on paper.
Style wise, this album uses a lot of wonderful harp along with piano, male (Josh) and female (Stephanie Babirak) vocals. Stephanie's are in spots, and harmonies which really complement's Josh impassioned and great range of vocals at times.
I would suggest songs, but I honestly love every song on here. In other words, this album would be best just to listen to all at once. But just to say specifics, "Star Shoes," "Sylvia," 'The Hollow Choir," and "Rings and Things" all have those little sections I totally love. I wrote down some words about this album the other day that describe it:
Magical
Dramatic (and not Melodramatic)
Operatic
Emotional
Fantasy-like
Frantic
Symphonic (just some of the orchestral arrangements, and some of the choir vocals kind of give this element).
I really can't say enough good things about this, although unlike a few other projects like Forest Park, I knew about this a few years ago, and know how good of a songwriter Josh Benash is/can be. So, the end result didn't come out maybe as surprising as some others. But that doesn't change how I love this record and imagine I will go back to often in the future. As in, if I'm up for some Kiss Kiss, I probably will pull this record out as well. In fact, I think in some ways, it may be the best thing Josh has done, which is great to notice. I hope Vuvuzela has a lot more in-store, even with the experience of Kiss Kiss hiatus, perhaps the 2nd time around, will be a little more fruitful for Josh and co.
I must not forget, the upright bass work on this album was played (and written?) by Kiss Kiss bassist James O'Keefe. So, at least part (and more than just Josh) of Kiss Kiss are still making music together in Vuvuzela. But Stephanie Babirak I really enjoy and appreciate her great harp work on this as well as vocals, and drummer Ben Goldstein as well. So, it's not as if Josh didn't surround himself with some great musicians, like he did in Kiss Kiss. But it will certainly be interesting to see what happens with Vuvuzela in the coming years. Hopefully there's more where The Hollow Choir came from.
2 Brice Plays Drums | Man the Animal CannonI'm not sure how in-depth I am going to be able to get about this record, in a blurb that doesn't maybe allow it. But simply put, I fucking love this record, and enjoy it more probably every time I listen to it. Just the little nuances, secondary guitar parts, point-counter-point reflective parts between the guitar and bass, or guitar and piano (or more than 1 guitar?).
This album consists of 3 epics, and I would say you likely have to enjoy multi-movement/multi-part songs to dig this. But of course, when they work well, I am a total sucker for them (and probably regard them as greater than any normal 3-5 minute song, even however great it may be).
"Freight Train Blues" I think it's worth mentioning, even though it's kind of obvious, the fact the rhythm at the beginning sounds like a train starting to take off. I failed to mention that earlier this year. But among the 3 epics on this record, I think I lean towards that being my favorite. But between those little sections of guitar parts, or basslines. Some piano, or the drum rhythms. Or even just Michael Higgins vocal lines, despite some that are not entirely understandable, I think he has improved a fair amount as a singer.
"The Jester" includes one of those great, ironic, lyrics "all the while I'm on the brink. I'll make you clap, or make you think, all the while on the brink, I'll fade my loyality to poison-your-drink!"
The organ parts, the wah-wah pedal guitar interludes, fast-picking sections. This track amazes me sometimes, and also it creates sort of a fantasy element, given the name, I sort of imagine it telling a tale taking place in Ancient times, with a King, Queen, subjects, etc and the Jester working for the King, but also being devious and plotting.
"Delta Waves" of course the longest of the 3 epics, but it doesn't necessarily feel the longest (nothing on this record feels long to me anyway). The transitions are excellent, between a bunch of different tempos and guitar and bass lines, along with piano. I really do hear Yes/Steve Howe a lot on this track, sort of in the Tales From Topographic Oceans or Close to the Edge period. The harmonics are happy, and it sort feels uplifting at times, the flow makes it work so well. The 2nd half has this cool marching melody that gets faster gradually, and you just have to follow where it leads. Of course Michael comes up with a line in the epic climax that I always love, "You've got to run before you driiiiiiiiiiiiiiiive!"
I really am marveled by this record, a band who just know how to make the extensive, multiple idea-ed (to make up a word) song/suite work so fucking well. Whether the progressive rock scene, and the "super secret society of taste makers" (who need to go on "double/super secret probation" of course
) ever actually catch on or even just give this band a shot, is totally unexpected. But still not without warrant to want or hope for.
This band among some others, are proof progressive rock is alive and well in Minnesota. At least for however long they can make music. And like Lehto & Wright who made a prog masterpiece in 2010's Children's Songs, and Greg Herriges whose last record, 2009's Telluric Currents, this album and band's music will be around to discover. Cloud Cult is doing progressive rock and from my hometown, which is great, but there are others, like those I just mentioned and on the 2012 Index (Media Addicts, Mike Linden, The Royal Veil, etc) and BPD who could find a wider audience, it just may take some time. Either way, I know I am on board no matter who else catches on to Brice. And I totally can't wait to see what they put out next.
1 Pepe Deluxé | Queen of the WaveWell well well. The band and album I got into early in 2012, just out of curiosity in seeing this record #1 on rateyourmusic.com's Chart. And I caught on to this fast, but also said I still doubted this would finish as the #1 album by the end of the year. And, while I did confess to later not thinking that, I was wrong. This became a classic with just a little time.
It became one of those records that had so many reasons to like and listen to it. It reminded me of many other bands/artists, and the vintage element helped that. But somehow I totally fell for the cinematic/theatrical side to this, while the energy, catchy-ness., textures, tones, instrumentation (vintage sounding as in Hammond Organ, Harpsichord, Flute, fuzz guitar, surf/Dick Dale guitar channeling), vocal lines, vocalists, and concept just all grabbed me.
I think this band has created over the evolution of their sound, a very unique style. Some have called it campy, I just don't give a shit. The songs, and atmosphere, and layers, and even the length being about 40 minutes or so, just work perfectly.
I guess the only thing that gets me is the way they have this mysterious quality about them. Those short films/videos sort of make you wonder how much money they spent to make them. They look really vintage, like they were taken from films or television from the 1960's. Irwin Allen or something out of The Twilight Zone. And I love that, but also just wonder, what is the deal with them? Their online presence is just mysterious. I suppose I never invested hours upon hours into their background. I know James Spectrum is maybe the biggest force behind this group and Paul Malmstrom also is pretty involved. And those 2 guys are from and may still reside in Finland. But other members of the band reside in other parts. Even just the different female singers, who sound like they are from a Motown group.
One comparison was to Janelle Monae, which that fit with those singers certainly. But there are more than one. And I'm not sure if it's Spectrum or Malmstrom, or someone else who has the deep, baritone Sinatra-like voice, but he has more vocals on their older records for some reason.
I guess as far as Queen of the Wave, like many other records on the index, I like it best as a whole, but of course the tracks that are worth mentioning I suppose
-"Go Supersonic!"
-"A Night and A Day"
-"Contain Thyself" (love the organ on this one, although most of the organ work on this album is outstanding and totally vintage sounding).
-'The Storm" (one of a number of tracks that feature that incredible Dick Dale-esque guitar work)..
One other thing I can't forget is, one band I don't think I ever compared them to was, in little sections, one of my all-time favorites, in Apes and Androids. Some of those operatic, chanting vocals ala Queen, Pepe Deluxe use on this. Just off the top of my head, but there are a few other points where I am reminded of Blood Moon and the cool textures Apes and Androids used. I suspect the people in Pepe don't have any clue who Apes and Androids are, but it would be interesting to learn if they did.
And something I can say that Pepe Deluxe and this album do share in common with Apes and Androids is, I discovered it/them just randomly one day, and fell in love after doubting them. I totally love it when that happens. But it doesn't happen every day, or even to this extent every year. But with them, it did sort of happen this year, and to that I am grateful. Whether 2013 holds for that to happen or not, I have no clue. I do know 2013 there's a boatload of artists who have albums I'm extremely excited about to hear. And it wouldn't surprise me at least in terms of depth, 2013 surpasses 2012. But, 2012 at least did have a number of great releases and EPs namely. But for now, 2012 was only top-heavy, hence why I didn't even rank the releases past 23. But as usual, I wouldn't be surprised if in the coming years, a lot of 2012 albums will come up and impress me, some even that I knew about but didn't have enough time for this year. But with that thought it is time to put this portion (I have an editorial/confessional that's still in the oven, that I should get to finishing soon) of the 2012 Index to bed.
Here's looking forward to 2013....and plans to better the process for myself especially, as I have some new plans again to do this as best as I can