2014 in Music - Top 10 Albums

10. Electric Wurms - Musik, Die Schwer Zu Twerk

9. St. Vincent - St. Vincent

8. Run the Jewels - Run the Jewels 2

7. Panda Bear - Mr. Noah [EP]

6. Tame Impala - Live Versions

5. D'Angelo and the Vanguard - Black Messiah

4. Avey Tare's Slasher Flicks - Enter the Slasher House

3. Thom Yorke - Tomorrow's Modern Boxes

2. Flying Lotus - You're Dead!

1. Jack White - Lazaretto

Green Day - ¡Uno! ¡Dos! ¡Tré!

The recent trilogy of albums re-imagined as a sole double album, minus the filler. Plays extremely well.

1. Nuclear Family

2. Stop When the Red Lights Flash

3. Carpe Diem

4. Let Yourself Go

5. Makeout Party

6. Kill the DJ

7. Nightlife

8. Troublemaker

9. Lady Cobra

10. Rusty James

11. Amy

12. X-Kid

13. Fell for You

14. Loss of Control

15. Drama Queen

16. Fuck Time

17. Stray Heart

18. Sweet 16

19. Oh Love

20. Walk Away

21. 99 Revolutions

22. Wow! That's Loud

23. Dirty Rotten Bastards

24. The Forgotten

A Sufjan Stevens Christmas - Frankincense [Side B]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

6. Frankincense [Side B]

Frankincense was one of the three gifts given to Jesus at his birth. It is an incense used to symbolize a deity.

1. Christmas Unicorn [12:28]
2. Silent Night [0:45]

Total: 13:12


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A Sufjan Stevens Christmas - Frankincense [Side A]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

5. Frankincense [Side A]

Frankincense was one of the three gifts given to Jesus at his birth. It is an incense used to symbolize a deity.

1. The Winter Solstice [3:23]
2. Do You Hear What I Hear? [9:14]
3. Joy to the World [5:25]

Total: 18:01


Download

A Sufjan Stevens Christmas - Gold [Side B]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

4. Gold [Side B]

Gold was one of the three gifts given to Jesus at his birth. It is a valuable used to symbolize a king.

1. Mysteries of the Christmas Mist [2:10]
2. Christmas Woman [5:33]
3. Star of Wonder [7:08]
4. Hark! The Herald Angels Sing [1:51]
5. Ah Holy Jesus (Acapella) [1:00]

Total: 17:39


Download

A Sufjan Stevens Christmas - Gold [Side A]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

3. Gold [Side A]

Gold was one of the three gifts given to Jesus at his birth. It is a valuable used to symbolize a king.

1. 'Maoz Tzur' [0:42]
2. I Saw Three Ships [2:35]
3. Christmas Face [0:40]
4. Good King Wenceslas [4:18]
5. Alphabet St. [1:36]
6. Have Yourself a Merry Christmas [3:42]

Total: 13:30


Download

A Sufjan Stevens Christmas - Myrrh [Side B]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

2. Myrrh [Side B]

Myrrh was one of the three gifts given to Jesus at his birth. It is an embalming oil meant to symbolize the mortal.

1. Ding! Dong! [0:56]
2. Come On! Let's Boogey to the Elf Dance! [3:50]
3. We Need a Little Christmas [2:03]
4. I am Santa's Helper [1:52]
5. Jingle Bells [1:19]
6. Santa Claus is Coming to Town [2:41]
7. Happy Family Christmas [1:23]
8. A Holly Jolly Christmas [2:27]

Total: 16:23


Download

A Sufjan Stevens Christmas - Myrrh [Side A]

Introduction
Over the course of 11 years, electro/folk artist Sufjan Stevens has recorded nearly 5 hours of Christmas music, spread out over 10 volumes.

I picked my favorites of the bunch and re-ordered them into 3 distinct "records."

Each "record" is laid out like a real LP and consists of two 15-20 minute "sides." Each record and side has its own unique feel.

1. Myrrh [Side A]

Myrrh was one of the three gifts given to Jesus at his birth. It is an embalming oil meant to symbolize the mortal.

1. Angels We Have Heard on High [0:46]
2. Put the Lights on the Tree [1:48]
3. It's Christmas! Let's Be Glad! [1:55]
4. Lumberjack Christmas / No One Can Save You from Christmases Past [3:22]
5. Sister Winter [5:05]
6. We Wish You a Merry Christmas [1:16]

Total: 14:10


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How to destroy angels_ - An Omen [EP]

6.8

The unthinkable has happened. If How to destroy angels_' new series of songs is any indication, Nine Inch Nails maestro is finally happy. At least as happy as a goth superstar can get. The male half of the married duo's band has made a decidedly significant gap in his musicianship since putting his calling card on the shelf in 2009. Three years, two soundtracks, various singles and upcoming collaborations later, Reznor emerges properly with An Omen.

"The beginning is the end and keeps coming 'round the bend." One of the first things Reznor utters on this EP loops back to the finality of his 2009 performances. It was clear NIN, like the Who and Jay-Z before them wouldn't disappear after their "final" tour but still, fans knew 2009 marked the end of an era. The brilliant Social Network score and its bloated companion score to Dragon Tattoo painted a picture of a man settling. Soul-crushing synths and yelps of anguish were replaced with gentle orchestration and the overall sound of decay. Does the transition continue with An Omen? Yes and no.

One of the first noticeable aspects of the band's second outing is the overwhelming calm inherent throughout. "Ice Age" is haunting, ominous and easily the most beautiful thing the band has ever recorded. I get the feeling that the duo behind Angels have traded pain in isolation for shared loneliness. The latter is no less depressing and reflects music that fits right along side "The Fragile" or "La Mer." But there's an inner warmth to the new material, proving there can be an upside to eternal darkness. There are plenty of highs and lows throughout the EP's 32 minutes but it lacks the forward momentum of the original EP. The new EP unfortunately also dips into boring electric territory towards its conclusion.

If nothing else, An Omen reassures us Reznor has not gone quietly into the night. It is nowhere near a proper return but serves to bridge the gap perfectly between his subdued movie soundscapes and a new era of industrial rock Gods Nine Inch Nails.

Kendrick Lamar - good kid m.A.A.d city

9.4

Its about damn time a rapper fully committed to the "concept album." Amidst the contemporary scene filled with blunt smoke and dubstep crossovers, Kendrick Lamar turns the clock back to the early 90's and (gasp!) weaves a cohesive story! Hints of Tupac, Ice Cube, Kanye West and every notable rapper of the past 20 years pop up throughout Lamar's ambidextrous flow. The real treat is, even after wearing his influences on his sleeve, the album still could only have come from Kendrick. Contrasting the refreshing riffs from the Clinton era ["m.A.A.d city (part 2)," "Compton"] the majority of the album is akin to the freshness of Kanye's debut. At its best, Lamar's origin-story LP marks a new direction in hip-hop.

Thankfully, the album avoids most of the pitfalls of any rapper's auto-biography. All the ingredients of ghetto life are present but tired concepts like shootouts, 40's and bitches are turned upside down through Lamar's unique point of view. Every blunt hit and party is seen solely through Kendrick's eyes, building a strong character and a vibrant, detailed story. The creative device of videotape interludes index the album's mosaic of Compton and maintain the LP's stone-faced seriousness. Lighter moments peek out here and there to remind listeners that any life, no matter how ghetto-centric isn't all doom and gloom. One of the album's highlights, "Backseat Freestyle" contextualizes Lamar's chest-beating rhymes as the character's first freestyle. Thus his hubris chanting "Damn I got bitches!" actually feels endearing.

Overall, the album paints a bleak picture that, for all intensive purposes is real as fuck. Kendrick censors names and fills the gaps between songs with tape-recorded slices of ghetto life. Featuring characters we are all familiar with through pop culture, the skits are ridiculously well-performed. Equally overdramatic and off-the-cuff, they feel surprisingly genuine. Herein lies the key to the album's message of redemption, which wouldn't work so well if it wasn't so damn real.

The transformation of rap music in the last decade is mainly due to the over-exposure of the Internet. When anyone can make a career out of rhyming, newer artists strive to set themselves apart using bizarre studio techniques and one-of-a-kind personalities. Enter the Danny Browns and Odd Futures who justify their existence with off-kilter flows and in-your-face personas. Kendrick Lamar message-driven music overshadows his fellow newcomers by not letting his unique voice outweigh the enjoyment of listening to his music. Lamar does occasionally falls victim to this pitfall and alienates his listeners. "Bitch Don't Kill My Vibe" and "Sing About Me" feature competent verses that are slaughtered by annoying, unbearable choruses.

The puzzling choices in a few of his cuts don't overshadow the fact that is easily the best rap album of 2012. It doesn't come close to comparing to the front-heavy disappointment of Kanye's Cruel Summer. Compared to that, the production is refreshing and straightforward. Lamar's lyrics can hold up on their own. Its too early to tell if good kid, m.A.A.d city will stand among the Chronics and the Reasonable Doubts but compared to every other high profile release of the year, it's a breath of fresh Compton air.

My Chemical Romance - Conventional Weapons #1

7.1

The first two tracks of the ditched album that got replaced by 2010's Danger Days finds the band rekindling the raw fire that fueled their breakout album, Three Cheers for Sweet Revenge. Both are tightly-constructed rock/pop cuts that show off the harsh side of the band. On the other hand, I can completely understand why they abandoned the safe zone of this session for a new direction. Neither come close to the glory of the The Black Parade but offer interesting insight into a lost road.

The dangerous energy of Three Cheers feels glossed over and over-produced here. The true highlight of the set is the last half of "Boy Division" which mimics the call and response that eventually got carried over to Danger Days. Both are enjoyably empty listens but new nonetheless. The first entry in what will surely be a set of interesting b-sides purposed to tide over fans while the band plots their next project.

Os Mutantes - Os Mutantes

9.0

A group of Brazilian musicians melt down their favorite Rolling Stones and Beach Boys records. They add hearty portions of whistles, kazoos, dreamscapes and bells. The resulting muck is molded like Playdough, reversed, and stretched bone thin to dry. Eventually the dried wax is formed into one of the most (well, not really) psychedelic tropical rock oddities of the 60's. It is playful and vibrant from start to finish. Songs play by their own rules, changing shape and volume at will. It all makes for an exciting trip that ends just as suddenly as it began. It definitely soundtracked numerous freak-out sessions and groovy get-togethers in its heyday. Now, it remains an interesting pop gem that mutates with every listen.

Scarface - The Diary

5.2

Hardcore rapper Scarface has issues. He is the self-proclaimed bad influence on the youth, encouraging them to smoke, drink, and kill. His friends are dying all around him and he has no one to lean on. He can't talk to his mother, let alone his diary. Lend an ear and the prolific 90's rapper will spit all his problems, wrapped up in dismal metaphors and rhymes. Trouble is, Scarface's problems aren't all that different from any other rapper's. Even worse, those guys are saying the same damn thing, but more eloquently.

Instead of trying even harder to differentiate himself, Scarface adapts a little of everyone's style. His flow and voice is eerily similar to Biggie's. His production and beats; Dre and Snoop's left-overs. I'm not discounting him entirely. A few gems ("No Tears," "Goin' Down") rise to the top but can't overshadow the fact that you can hear better versions of these songs on Doggystyle and The Chronic. Poor Scarface.

Green Day - ¡Uno!

6.7

Remember last year when the Beastie Boys released their promotional short film Make Some Noise? Featuring a cast of today's best funny men, the film explored the idea of the '86 Beasties facing off against the '11 Beasties. While the band will never be the same hard-partying frat rappers they once were, they were essentially the same three MCs.

More than a year later, Green Day are out to prove a similar point with ¡Uno!, the first of their 3-part pop-punk opus. For most, this refreshing return to their roots of 90's power chord-laden singles is just what the doctor ordered after the one-two political punch of American Idiot and 21st Century Breakdown. Contrary to these, there seems to be little to no agenda here, aside from fist-pumping laments of teenage angst and heartbreak.

The era of trying their damnedest to impersonate The Who seems to have given way to Green Day simply trying to emulate Green Day, despite a blatant Clash shout-out (Kill the DJ). But without the driving fire to reinvent the Quadrophonic wheel or preach to the masses of the 99%, does the band loose momentum in treading old ground? Yes and no.

Throughout its lean 41 minute running time, there is a prevailing feeling that I have heard better versions of these songs before, 15 years prior. These tunes are in a tough place. I applaud the band's direction to meld Idiot's clean production with the vivacious energy of Nimrod and Dookie. But in the big scheme of things only one (Let Yourself Go) will make my greatest hits mixtape. With two more albums popping off one after the other, one can only hope they don't pull a Weezer (Red/Raditude/Hurley) and disprove the theory that "more is better."

On the plus side, Green Day has surely won back some punk credentials and early fans in creating a fun throwaway soundtrack to back-to-school. ¡Uno! kicks off a new era emulating those passed and promises riotous live shows and two more albums worth of Green Day being themselves. And if Oh Love is any indication of what a sequel to Breakdown might have sounded like, this blast from the past is the band's best choice for a fresh start.