Todays' Top 10 comes from Dan Bond who plays guitar and sings in
Apologies, I Have None. A bands who have never had the chance to have their album voted the best of the year, because they've never had an album. However, come 20th March all will change. And I'm pretty sure you'll be seeing their debut album in a lot of Best of 2012 lists next year. You can download/stream their new song "60 Miles" for free
here.
I figured this needed an intro. Sorry its kind of long.
Dan Bond, top ten 2011
I should probably start this by stating the truth. I am almost consistently a year or more behind the times when it comes to records. I don't seem to get into records when they come out, I think I subconsciously wait until the overwhelming majority of my friends tell me something is good while in the meantime I work my way through whatever finds me, old or new.
So, this list was a little tricky to write - I've spent most of the year on records from 2010 and (much) earlier. That said, a few records have stood out a mile from everything new that I listened through this year and I'll try to explain why.
I didn't spend much time on the first record when I became familiar with it a few years ago, but when we got asked to tour with IATA I spent a long time on both the first record and the newest which came out just as the tour was being booked. I loved it instantly this time around - the opener sets the tone for the whole record immediately: "I'm alone for the first time in five years. Holy fuck, things have changed". Their style of pop-punk mixed with the aggressive vocals and hardcore style attack just sets this apart from almost all vaguely similarly styled bands. I'm a sucker for melody and hooks and this record ticks every box for me. Vinnys vocals are on a whole other level and every song sounds just massive. Seeing this live 16 times in a row just made me like it even more.
I'd only been listening to La Dispute for a short while in the van before they played London and so within the space of a few months I went from having not listened to them at all to being a huge fan. Their last record was the most exciting thing I have heard in ages so when Wildlife was released I was so happy to see that the quality had remained as high as ever and the intensity was as prominent as previously. Its the vocals, as always, that make or break a band for me and Jordans voice is what keeps me coming back to their records and for probably the next few months, to their new record specifically.
Was it better than Sasha Fierce? I don't think so, but even at this level Beyonce put out the pop record of the year. Her vocals seem just a little gruffer at times than previously and her lyrics and flow seem a little more pushed and strained which has given the record a touch more identity. Her stage presence comes through the record so well and she puts almost all other solo pop stars to shame with her output and ability. Definitely a grower, but worth the time.
This isn't strictly an album but its my list and I can put what I want on it. For those who have never picked up on Kano, he's a rapper from East London who has had brief mainstream success and was in the drama Top Boy. This EP was released over a few weeks, with a new song every seven days or so and features some collaborations with other grime artists and is a welcome return to more dirty, heavy grime based beats. I think this is easily some of his best work demonstrating his ability to rap with complex, changing styles with such a high level of energy and a great sense of flow. The last track, House of Pain, featuring Ghetts is the opinion divider - its slow pace and personal lyrics about the Grime scene can make it more difficult to listen to, but perseverance pays off - its an awesome tune to round off an amazing EP.
What did everyone expect? Loud and quiet, simple and technical. I don't know how they manage to get so much into their songs and its a testament as to how skilled they are as musicians that they have made this record so intricate yet easy to listen to. They have their heaviest and poppiest songs on this album and yet it flows together without sounding forced at all. Darrens voice is the focal point for me and I think his ability as a singer is more evident on this album than the first. Vickys vocals feature heaviliy and it just sweetens the whole record. Still probably the best band in the country.
Giles has been a friend for a while and I'm pretty sure I was at his first solo show in Walthamstow a few years back. Since then he's grown from being the scrappy acoustic opener to a stage filling headliner and he's done it with perseverance, determination and a good attitude, backed up by catchy hooks and a great sense of melody. I doubt many bands can claim to have worked as hard as Great Cynics this year and the record, despite its quick recording process, stands up as a genuine and honest work. I cannot wait to hear what's next after they've had a few hundred shows as a solid three piece.
I loved Adeles first record, 19 and I think she has surpassed it by miles with this LP. Its the detail in her voice that you cannot get with auto tune or effects that gets me and I have spent so many hours focusing on how she delivers her lines to understand just how much more she is doing than is first apparent. Even her live recordings are flawless and manage to carry even more weight than the more polished studio versions. She's a master.
Its crazy how many good songs Alkaline Trio have written and this album could have been twice as long with no filler at all. The reworkings have all stayed true to the originals and are almost all far more interesting than the song simply being transferred to an acoustic guitar and slowed down. I'd like to have heard more from Dan on this record, I'm a huge fan of his songs which tend to take a few more listens to really appreciate, but Matts voice sounds amazing throughout this record and its such a good go-to record for long drives because everyone seems to love it. I had high hopes for this and I'm so happy they were exceeded.
Strictly speaking, White Crosses came out last year and I loved it. The re-release, with the Demos and dropped songs came out this year though and I love it still. I find it really interesting hearing how songs develop and how they sound stripped right back and I often find myself liking the earlier, rougher versions just as much as the polished album edits. I guess if you didn't like the album then the demos won't hold any weight for you, but as a big fan of thje band and the record, I'm a sucker for it. The song Hot Shots is killer and while I can see why it never made the album, I'd love to see it live. One for the fans I guess, but I'm a fan.
I love Brians voice so I tend to be a fan of all of his stuff, right from Early "This Charming Man" to his Kelly Clarkeson cover. I don't think this record came as a big surprise in terms of its content and sound, but Brian is great at creating atmosphere and melody and I found listening to this was so easy, like it was an old record I had put back on for the first time in years. I hope that doesn't sound disrespectful, its an art to make original records that feel exciting to listen to but feel very familiar. I'm just excited now to hear more Gaslight - I'd like to listen to the inverse of this album - straight up heavy rockers like on Sink Or Swim.
This was Sharks year and this compilation of previously difficult-to-find songs was just what someone like me needed - a simple "in" to what the band were doing. There's some great songs on this record and I love that the band wear their influences proudly, like a badge of aspiration. Their first full length next year is right at the top of albums I can't wait to hear, it'll be cool to hear a whole record with a consistent sound and flow. For now though, these songs have turned me into a fan.
