Top Tracks 2011: In 80 Minutes or Less

I’ve given you 2011’s best albums. Now, behold, the year’s top tracks in 80 minutes or less, as selected by a distinguished panel of me.


NB: For about half these artists, I would’ve chosen more than one track (esp. Fleet Foxes, Twin Sister, Dawes, Real Estate). So there are some pretty great tracks that didn’t make the cut.

"Chinatown" by Destroyer & "Stop" by Twin Sister: It’s difficult for me to separate these two out, because I love them for very similar reasons. Both feature dueling male/female vocals, romantic themes, 80’s soft-soul ambiance, and just the right touch of silliness and excess. This was the sound of 2011 in my book.  (“You can’t believe/The way the wind’s talking to the sea/I heard that someone said it before/I don’t care/I can’t walk away/I can’t walk away…”)

"Calgary" by Bon Iver: I’ve never been an admirer of Vernon’s vox, but "Calgary" comes off like the omega to Another Green World‘s alpha. It is quite possibly the most unusual song I heard last year, and also, quite possibly, the very best. Amazing video too.

"It’s Real" by Real Estate: Although I missed the wonderful nostalgic haze of Real Estate’s debut on 2011’s Days, the band’s second LP featured some flip-floppingly breezy garage-pop goodness. "It’s Real" is perhaps the best cut, a sing-along inducing nugget that makes the case for Real Estate being one of the best bands on the block.

"Bedouin Dress" by Fleet Foxes: "Innisfree" is apparently some sort of mythical paradise of Celtic lore, and after hearing Robin Pecknold’s joyful paean to the place, I’m inclined, in the words of Liz Lemon, to "want to go to there." A huge stylistic leap for an already great band, and they nail it. (“And I can’t/No I can’t get through/The borrower’s debt is the only regret of my youth…”)

"Us Against the World" by Coldplay: Chris Martin has to be one of the most under-appreciated songwriters in the world today. True, I’m sure the guy gets "appreciated" mighty well in the pounds-sterling department, but the point is the dude can write a freakin’ song. It’s that point where Martin’s voice ascends into the lyric mimetically that slays me: "If we could float away/Fly up to the surface and just start again/Lift off before trouble just erodes us in the rain…"

"Dear Avery" by The Decemberists: Ready to weep? Listen to this song, envision that bit about grabbing the child "by the knape of [the] neck", and then realize that Meloy wrote this song from the perspective of a parent sending their son off to war. Like "Tears of Rage" without the bitterness(?), this one just makes you want to sigh hallelujah. (“There are times life/Will rattle your bones and will bend your limbs/You’re still far away the boy you’ve ever been/So you bend back and shake at the frame/The frame you made/Don’t you shake alone/Please Avery, come home…”)

"Civilian" by Wye Oak: Last year I included Wye Oak’s "I Hope You Die" on my best tracks list. This year, I’ve included the driving, downtrodden rocker "Civilian", a tune that seems to owe quite a bit to Neil Young’s folk-rock period. Builds from a circular guitar figure into a storm of distorted catharsis, it’s a harrowing take on loneliness, and features great drumming. ("Perfectly able to hold my own hand/But I still can’t kiss my own neck")

"Hard Times" by Gillian Welch: It’s a simple little story of the wearing down of sincere promises, a ballad of poverty, will, and the inevitable. I wasn’t greatly impressed by Welch’s 5th released last year, but this ranks among her very best songs. Listen to those lyrics, and try not to cry. ("C’mon sweet ol’ girl/I bet the whole damn world/We’re gonna make it yet to the end of the road/Hard times ain’t gonna rule my mind…”)

"Million Dollar Bill" by Dawes: It starts with that slow-tempo drumming that instantly calls to mind The Band, Big Pink-era, fronted by Richard Manuel. It would be unfair and simply stupid to draw all things Dawes back to The Band, but with "Million Dollar Bill", they offer up something that is unmistakeably a tribute to one of their biggest influences, showing that they are every bit as capable of Robertson’s brotherhood of creating "melt-your-face" Americana. ("When it hits me that she’s gone/I think I’ll run for president/And get my face put on the million dollar bill")

"Turn A Light On" by Kathryn Calder: Of all the tracks on 2011’s Bright And Vivid, "Turn A Light On" most recalls the pleasantly noisy pastoral beauty of Calder’s 2010 debut LP. It emphasizes all of the things that have quickly made her one of my favorite new artists – the airy acoustic strum, the angelic melodies, the gracefully crafted harmonies and dissonant flourishes – and fits in perfectly with the album’s overall theme. ("Throw the table/It began to waver/The wine is cloudy too/So I watch it go/You wonder if/When it’s almost gone/So what’s the use/If you missed it all/We’ll make the rounds/But what’s the use…")

"In My Eyes" by Givers: One of the band’s more "downbeat" tracks, "In My Eyes" is nevertheless still pretty bouncy and catchy and all that. But there’s more texture here, a narrative arc more dynamic than some of the band’s more prominent tunes. The breakdown at the end is one of the band’s best moments, showcasing all of their strengths. Love those voices, love that tropical post-punk sound.

"Supercollider" by Radiohead: 2011 was the full realization of Radiohead’s independent dream. They released not only their shortest album to date, but a couple of outstanding non-LP singles as well. "Supercollider" is the best of the lot, a tense builder that recalls the bleak tunefulness of In Rainbows, the icy synthscapes of Amnesiac, and the utter brilliance of Thom Yorke’s voice.

"Ring Them Bells" by Sarah Jarosz: Oh Mercy! How did this one ever get dropped from the pile o’ Dylan classics? , Thank Jarosz for digging it up. Her voice owns it, and the bluegrass accompaniment weds it with humble joy. (“Ring them bells ye heathen from the city that dreams/Ring them bells from the sanctuaries ‘cross the valleys and streams/For they’re deep and they’re wide/And the world’s on it’s side/And time is running backwards/And so is the bride…”)

"Days Like This" by Over the Rhine: The best cut on Over The Rhine’s latest wasn’t their own tune, but a composition by Kim Taylor. It’s the kind of simple song that lets the strongest of strengths shine forth for Linford and Karin…that voice, the moody instrumentation. Perfection. ("All I wanna do is live my life honestly…")

"Tree By The River" by Iron & Wine: An optimistic and warm address to Mary Ann. "All the thorns and the roses/Beneath your window panes…" A lovely peace of nostalgia.

"One Sunday Morning (Song for Jane Smiley’s Boyfriend)" by Wilco: Gorgeous, epic, blissful, unsettling, final, hopeful, sad, wow. Holy blessings what an amazing song. Quite possibly the song that Wilco was destined to make. (“Outside I look lived in/Like the bones in a shrine/How am I forgiven?/Oh, I’ll give it time…”)

Top Albums 2011: Honorable Mention

I listened to somewhere in the neighborhood of 90-100 new albums in 2011. Here’s an armload of records that I really liked last year, but for whatever reason didn’t make my Top 5.

  • Givers – In Light: Really enjoyable, very promising, though maybe a little too dense and overly vocalized. It goes like this: in each song, Givers reach a sort of climactic groove, a swirl of rhythm and harmony, but through some process that I can’t explain the ascent to this point often seems hurried and a bit planned. I just want them to slow down and live in the moment. "In My Eyes" and "Atlantic" hit the right pace. I don’t mean to sound like an ingrate – this is a really enjoyable record. I’m glad this crew is on the scene, and can’t wait to see what they cook up for round 2. (original review)
  • My Morning Jacket – Circuital: Now here’s an album I was essentially wrong about. JJ’s (or are we calling him YY?) game here is to divorce himself from the irony that has become so closely linked with rock and roll that folks have apparently forgotten how to have silly fun. What results seems a bit too emotionally direct at first, but at the heart of this album is a vision that isn’t afraid to make something beautiful out of simply feeling wonderful. Sure, it’s not a high concept, but try to find a more beautiful tune than "Movin’ Away" among last year’s bunch. (original review)
  • Fleet Foxes – Helplessness Blues: Hands down, a great follow-up to their brilliant debut, one that pushes them beyond any previous laurels. After a nearly perfect first half, the record flags a bit in the middle and toward the end, mostly due to the fact that the first four songs (and then the title track) transcend space, time, and human emotion, and it’s almost not humanly possible to stay consistent with something so great. Hard to fault an album for that, but it’s also hard to come down from that kind of high and keep interest. (original review)
  • Real Estate – Days: Real Estate’s debut was one of my favorite of 2009, and I really expected this to make my top 5 without a doubt. While there are a handful of outstanding breezy garage pop cuts, the band unfortunately departs from one of the things that made their first album so great: that layer of sonic ointment that smudged everything to the point of uncertainty. There was a impressionistic magic to the first LP, the sense of looking at old, grainy home video footage and feeling like "that was the past, when things were better." Days is simply a more immediate record, and while some of the tunes are better than those on the debut, overall it’s not the cohesive artistic statement that its predecessor was. (original review)
  • Sarah Jarosz – Follow Me Down: I don’t know why Sarah Jarosz was a big deal a few years back – I never really listened to her debut LP – but what I hear with this offering is a strong set of tunes, from gorgeous originals ("Run Away", "My Muse") to choice covers (Dylan’s "Ring Them Bells", Radiohead’s "The Tourist"). It’s not going to blow any minds with a concept – it’s basically just a gal and her pals making beautiful music – but weirdly enough that’s part of the magic of this LP.  (original review)
  • Death Cab For Cutie – Codes & Keys: "Eno" and "Another Green World" were buzz terms that preceded this record, and the influence of the experimental overlord’s escapist masterpiece is easily discernible from the opener "Home Is A Fire" to the middle passage of "Unobstructed Views."  But really, this is just another Death Cab record, no sharp left turn, no mid-career creative revolution,  just business as usual with a few new influences thrown in for good measure. Nothing wrong with that, and one finds that the songs and the production hit all the right notes. It may not be the latter-day crown jewel we are still expecting Death Cab to make, but it’s a highly enjoyable record in its own right, and maybe the best of their major label efforts, with enough multi-dimensionality to keep you coming back for more. (original review)
  • Laura Veirs – Tumble Bee: I’ve heard bits of her work in the past, but this, her children’s album, is the first full album I’ve listened to from Laura Veirs. It’s impressive, and while I’d argue that it’s more of a "kids music for grown-ups" album than a straight-up kids album (trust me – I’m a father), I’d also say that the fact that it’s marketed as a kids album makes it far more accessible than it might otherwise be. Let’s not haggle with labels though. Simply put, Tumble Bee is a memorable effort because it’s a well performed, well produced collection of choice tunes. Light with humor, heavy with whimsy. Gives the world what it needs, a little more music and a little more melody. (original review)
  • Wilco – The Whole Love: Not a great album unfortunately, but The Whole Love deserves mention because of 3 important highlights. First, there was the pre-release single "I Might", which was essentially Wilco reminding us that they are freakin’ Wilco, and that they can blow our minds with great pop tracks at will. The next was "The Art of Almost", this album’s opener, and Wilco’s reminder to us that they are the American Radiohead (when they choose to be). And then there’s the closer, the epic "One Sunday Morning", which is basically Wilco reminding us that they can operate outside the box and move us to tears at will. Those three highlights are enough to make this a worthy album, even if it’s not great, or even one of Wilco’s best. (original review)
  • Over the Rhine – The Long Surrender: Like a couple of bands on this list, Over The Rhine are automatically at a disadvantage because I am such a fan that I have extremely high expectations for any new work from them. And while The Long Surrender may not be my favorite album from the duo, it’s nevertheless a promising and enjoyable next step forward. Maybe it has something to do with the hand of producer Joe Henry (what the hell is wrong with me, yes, I know), maybe I got the slight sense that their tunes were becoming a bit too musicious (new word!), but for whatever reason The Long Surrender didn’t grab me like some of their past efforts. However, the album is still a first-rate listen, and there’s plenty to love about it, especially dark and intimate cuts like "The Sharpest Blade", "Oh Yeah By The Way", and the stunning, Kim Taylor-penned "Days Like This." (original review)

Quick Review (LP): Patience by Over the Rhine

Over the Rhine

My Rating: C (51/100)

Best Tracks: "Jacksie", "How Does It Feel", "How Does It Feel (Reprise)", "Sister", "Little Genius"

…wherein they don’t use the word “ubiquitous” in any song titles.



  • Love the atmosphere here.
  • Also, it doesn’t really sound like an opener, but it works.
  • Sort of eerie. Muy bueno.

”I’ve Been Slipping"

  • They definitely get the atmosphere thing this time around. This one’s ethereal.
  • I really like Karin’s angelic vocals, dated though they may be.

"How Does It Feel"

  • Catchy.
  • It’s fun to listen to Karin sing this song. She sounds really young, but she’s still a pretty great singer.
  • Hordinski puts himself up there with the likes of Buck and Marr on this one. Great guitar playing.

"How Does It Feel (Reprise)"

  • Exotic.
  • Seriously, as dated as this may sound, I like it.
  • Yessir, I do.


  • It’s right around this track that I start to realize how much better they got from album 1 to album 2.
  • Excellent guitar work by Hordinski. Nice n’ noodly.
  • Great vocal performance by Karin.

"Il Est Dans Mon Poche"

  • "It is in my pocket." (?)
  • Pretty and catchy, but leaves something to be desired.

"Fladers Genius"

  • Pretty little acoustic number.

"Little Genius"

  • They should really cut Linford loose on the piano more often.
  • This is good – sort of reminds me of a Bruce Hornsby instrumental.
  • Nice cello work too. Very pretty stuff here.


  • Good stuff. Only drums, Karin’s voice, and the sound of rain.
  • At first, I wasn’t crazy about this, but on second thought, I really like it.

"Circle of Quiet"

  • Nice job on the mandolin.
  • Very CCM-ish. Not that there’s anything wrong with that.
  • Also reminds me of Lone Justice a bit. That’s a good thing, even though it also means it sounds very 80’s.

"I Painted My Name"

  • Lite alterna-pop on this one.
  • Nice enough, but forgettable.


  • This looks forward to their late 90’s/early 00’s sound.
  • Very earnest.
  • Like, more earnest than a late 80’s Mello Yello commercial. Nowwhutumean?

"Grey Monologue"

  • Yeah Daddy-o.


  • They still sound like Edie Brickell, but they are better at that this time around, and they wear the sound with a little more grace and feel.
  • Very strong first five to open things up. That gives way to a whole bunch of pretty passages that don’t really go anywhere. They are actually quite good, and I’m not sure if I like the effect of them or not.
  • Come to think of it, the evidence is that they ran out of ideas here and had to substitute some unfinished thoughts in order to fill out an album proper.
  • While it may not be a masterpiece, it’s a pretty significant step forward for Over The Rhine, and at least half of it holds up remarkably well.

Cohesion (4/5)
Concept (3.5/5)
Consequence (3.5/5)
Consistency (3.5/5)
Songs (3.5/5)

Quick Review (LP): Till We Have Faces by Over the Rhine

Over the Rhine
Till We Have Faces
Scampering Songs; 1991

My Rating: C (51/100)

Best Tracks: "Eyes Wide Open", "Like a Radio", "And Can It Be",
"Sea and Sky"

A long time ago in a coffee shop far, far away…


  • Let’s just be honest – "Eyes Wide Open", while catchy, sounds extremely dated to the "college rock" scene of the late 80’s/early 90’s.
  • "Someday" showcases the thing that makes this album stand out – the guitar work of Ric Hordinski. Otherwise, Linford’s not playing piano, and Karin sounds guarded and insecure.
  • "Like a Radio" hints at the kind of intimacy the band would be capable of well down the road. Pretty good.
  • "Iron Curtain" = kind of creepy.
  • "Cast Me Away" is a nice little vocal passage.
  • "And Can It Be" is one of the album’s highlights. A little mandolin thrown in for effect. Muy bueno.
  • Man, if "Gentle Wounds" don’t sound like "What I Am" then philosophy is not, in fact, a walk on the slippery rocks.
  • At times, Ms. Bergquist kinda sounds like Maria McKee. But she also sounds like Enya too. Weird.
  • "If I’m Drowning" just sort of slips by.
  • "Sea and Sky" is peppy. Another album highlight. That guitar lead reminds me of Belly. Coulda seen this being a radio hit back in 92 or 93.
  • There was this other, coffee house funk side to OTR back in the 90’s. The live cut "Fly Dance" is an excellent example of that. It also tells me that OTR have always been a live band.
  • "Paul and Virginia" is pretty, but nothing particularly special.
  • Oh goodness – the track is called "Ubiquitous Hands" – I had to look that word up. That’s a mighty big word. Very literati. Sort of a sleepy tune, but not bad for what it is.
  • "Genius of Water" closes things out with very little spark. Pretty forgettable.
  • Thankfully, I have 20 years perspective on this record.
  • What a radically different band this is from the Over the Rhine of today. Linford’s piano is nowhere to be found, Karin sounds measured and out of breath at times, and the star of the show is the guitar work of Ric Hordinski. I’m sure real OTR fans love this stuff, but I didn’t stumble upon the band until Ohio was released, so I’m not going to pretend to dig this. I’ll probably never listen to it again, but there a handful of catchy tunes here. Probably for completists only, and perhaps also for those who were there when it all went down. Me? I was 11 at the time, and listening to Guns n’ Roses.
  • For a more appreciative take, see the AMG review. “Later releases are stronger and more confident, but what they gain in confidence and surefootedness they lose in freshness and unpredictability.”

Cohesion (4/5)
Concept (3.5/5)
Consequence (4/5)
Consistency (3/5)
Songs (3.5/5)

Quick Review (LP): The Long Surrender by Over The Rhine

over the rhine the long surrender Over The Rhine
The Long Surrender
Great Speckled Dog; 2011

My Rating: B+

Best Tracks: “The Laugh of Recognition”, “Infamous Love Song”, “Oh Yeah By The Way”, “Days Like This”, “Rave On”

Let me be honest: it’s been a struggle to get my bearings with this record. The band scored a couple of no-doubt triumphs mid-decade with Ohio and Drunkard’s Prayer, but their last one, The Trumpet Child, never quite grabbed me in the same way. The Long Surrender has, so far, left me with the same feeling. By my own reckoning, the best I could do was to see this as a hybrid of DP‘s intimate chamber folk and The Trumpet Child‘s hope-against-hope spirituals. I didn’t think that was enough, so I decided to read the liner notes. The album’s producer, Joe Henry, mentioned two of his own takeaways that stuck with me. The first came from the tattoo on Karin Bergquist‘s arm: “Comparison is the thief of joy.” The second came from the memory of Linford Detwiler: “Leave the edges wild.” Sage words, I’d say. There’s some deep magic about this duo that urges you to stay the course. There aren’t any “wow!” moments here in the way of “Spark” or “Jesus In New Orleans”, but I think I know what Karin would have to say about comparing past efforts with those of today. The “fuzzy wuzzy” moment may seem a bit cringeworthy on “Only God Can Save Us Now”, but I’ll keep Linford’s admonishment in mind. Gratitude should always come first, even for a music snob, and I’m thankful that a band like Over The Rhine even exists, and that they allowed us in on great tunes like “The Laugh of Recognition” and “Oh Yeah By The Way.” Still, I’d have to say the record’s defining moment is the Kim Taylor-penned “Days Like This.” The no frills chorus – “All I want to do is live my life honestly” – drives right to the heart of what it seems to me Over The Rhine is all about. When all is said and done, it might just be that what Bergquist and Detwiler have given us is their most honest record yet, one that revels in the teensy, quiet victories that keep us all afloat.

Stereo Subversion review
My review of Good Dog Bad Dog

Quick Review (LP): Good Dog, Bad Dog by Over the Rhine

Good Dog Bad Dog - Over the RhineOver the Rhine
Good Dog, Bad Dog
Narada; 2000

My Rating: A

Best Tracks: “Latter Days”, “All I Need Is Everything”, “Faithfully Dangerous”, “Poughkeepsie”

I’ve never quite understood the details of this record, but it would seem it was the last released by the “original” incarnation of Over the Rhine, that which included Ric Hordinski. The album title seems quite appropriate, the songs being wrapped in a swirl of existential angst toward God (whose existence the band never really seems to doubt). It’s quite an excellent album to that end as well, best enjoyed from the declining months of autumn into the dreariness of the late winter. “Latter Days” is absolutely gorgeous, and “All I Need Is Everything” features an outstanding vocal performance from front-gal Karin Bergquist. Let’s just put it this way though: you seem to hear her heart bursting forth with every subsequent note. To say that the songs on this album are heartfelt would be to call the Crucifixion a random act of kindness. That is to say, this record is an emotional and spiritual atom bomb. What a beautiful piece of heartache indeed.

Allmusic Guide review
Liner notes and such

Listening Log: “The Long Surrender” by Over the Rhine

4a2c0178-f941-4a20-b098-080ac0f75172[4]Just finished listening to the latest (as yet unreleased) long player from Over the Rhine, wonderfully titled The Long Surrender. It’s pretty great, but in the interest of not spoiling it for anyone, I’ll just offer a few brief reactions:

  • Strikes me as a cross between Drunkard’s Prayer (instrumentally) and Good Dog, Bad Dog (thematically). No disrespect to The Trumpet Child, but this is the record I was hoping they’d follow up Drunkard’s Prayer with!
  • Joe Henry did a fantastic job with the production. These tracks are as dense and mysterious as a dark forest. This is a total “headphones” album!
  • That’s a gorgeous album cover.
  • Was that Lucinda Williams on track 5?

All in all, I think the L&K Express has gone and made one of the best records of their career.  Can’t wait to get my hands on it come January 11th.

UPDATE: Read my actual review here.

Release Rundown: Fall 2010


from The Young Scamels page on Facebook


The air is getting cool, the wind is getting brisk, the leaves are changing color, and Death Cab is sounding fantastic again. Fall is officially here. Here’s a rundown of some new and/or forthcoming stuff and why I’m excited about it:

  • Belle & Sebastian, Write About Love: Their last full-length, The Life Pursuit, was their best since If You’re Feeling Sinister. It sounds like the record shares a kindship with The Beach Boys’ Pet Sounds in being a pop record very focused on God and things spiritual. Listen to the whole thing at NPR.
  • Young Scamels, Tempest: I’ve already mentioned why I’m excited about this one, but I’ll just say it again. What I’ve heard sounds great, and it’s Shakespearean indie rock from 2/3’s of Rachel’s. I’m sold. Sample their stuff at Myspace.
  • Parlour, Simulacrenfield: I’ve loved everything they’ve done until now, and it’s been a long time since their last release, the excellent Hives Fives EP. “Imagine a heavier, more disturbing Neu! with more unexpected twists and turn. . .” Enough imagining, I’m ready! Get an MP3 here.
  • Shipping News, One Less Heartless To Fear: Shipping News is good news, plain and simple. It’s been a long time coming, and this one’s apparently going to be a little more hot and heavy than their previous releases. Sample a track here.
  • Over the Rhine, The Long Surrender: Over the Rhine is an old favorite at this point, and I’m looking forward to whatever surprises they may have in store. All I know right now is that it was produced by Joe Henry, it has a great title, and that I’m getting a sneak preview this weekend. Can’t wait! Band website here.
  • Young Hunting, Attachment in a Child and the Subsequent Condition: I know very little about these guys, but I’m very excited by what I hear on their Myspace site. Their first 7″ sounds really good – I might have to pick it up. File under Landscape Rock?
  • Pavement, Terror Twilight [Deluxe edition]: We don’t have an official release date from the Matador website yet, but I do have two unconfirmed “sightings” of a November release date. How about a tracklist already?
  • Real Estate, “Out of Tune” b/w “Reservoir”: One of my favorite new bands of 2009 continues to roll out new music. “Out of Tune” is a great track, and I’m excited for something new on the flip side. You can listen when you pre-order.
  • Sufjan Stevens, The Age of Adz: Listened to this a few times so far, and I am not too sure what to make of it. “Too Much” is insanely catchy, and he is definitely stretching himself in multiple directions. I’ll suspend judgment for now, but one thing is for sure: Sufjan has probably made his Kid A, for better or for worse.

I’ll be that new Strand of Oaks LP is going to sound even better with the dropping temperature as well.

If you’re in a band that’s looking for a review of a CD, 7″, or some other recorded format, drop me a comment and I’ll be glad to oblige with e-mail and/or shipping address.

Cool News: Over the Rhine Concoct Harebrained Scheme to Fund New Album!

Looks like Over the Rhine is gearing up for recording a new album in the next few months. They’ve released their last few records on their own label, Great Speckled Dog, but this time around they are looking to partner with their (completely obsessive in a good way) fans in order to fund the album up front. You can get the details by going here, but the short of it is that if you can shell out, oh, $2,500, you can get credit for producing the record in executive fashion! BAD-ASS!!!

You can also pay a lot less and still get some pretty cool stuff, but this is the first time I’ve heard of something like this, and I have to say, daggonit, I think it’s a totally cool idea. No matter what you think, a new Over the Rhine LP is a worthy cause, so get on over and donate your kids’ futures!