2011 saw the release of some great albums but it wasn't too difficult to make a top ten list. That being said I would like to mention a couple releases that didn't quite make the cut. The Civil War's they're-not-together-but-make-a-great-folk-duo-anyway debut Barton Hollow is a soulful Americana record where the dynamic vocals never leave centre stage. Another album worth mentioning is Mother Mother's Eureka. It's fun, quirky pop rock that would be huge in Japan. Enough said.
So without further ado here are the top ten albums released in 2011 that I had the pleasure of listening to.
10. Your Sparkling Death Cometh by Falling Up
I love it when a rock band discards accessibility in order to write music that is more meaningful for the members of the band even if it alienates casual fans. Falling Up has been taking this route for a few years now and it has finally paid off with Your Sparkling Death Cometh. This is an epic in the classic sense, requiring commitment from the listener and offering a sonic journey in turn. Falling Up has a knack for writing memorable album closers. In fact I wish they wrote every song as if it was the last song on their album. Here "Slow Waves" is a journey in itself, both foreign and comforting, a perfect way to end an already ethereal experience.
9. Oh Fortune by Dan Mangan
Canada's blossoming folk-eteer Dan Mangan marries indie rock and folk in Oh Fortune with great ease. From the get-go there is a fullness and variety in the instrumentation that adds a sense of scale to Oh Fortune not present in Mangan's previous record Nice, Nice, Very Nice. Yet this album is not without the quiet and vulnerable moments where Mangan truly shines. "Daffodil" in particular is haunting and beautiful, but ends before it's beauty has truly sunk in. What a tease.
8. The Reckoning by Needtobreathe
These arena (folk) rockers have already proven that they know a thing or two about writing catchy tunes but The Reckoning takes it to another level. Sounds like touring with that country-pop superstar rubbed off on them. Though it falls short of their previous outing, it's nonetheless a crowd-pleaser and one of the better albums to come out of mainstream (eek!) faith-based music.
7. Children of Fire by Oh, Sleeper
Every year fewer and fewer metal albums catch my attention. It's not so much that I've lost interest in the genre, it's that I've kind of listened to it all and I'm not so easily impressed anymore. I want my metal to be fast, brutal and technical. Oh, Sleeper was the only band (in my small circle of favs) that really delivered in 2011. Children of Fire is equally epic and chaotic, retaining many of the themes of its predecessor but adding more technical (and greatly appreciated) guitar work. It doesn't hurt that the lyrics are interesting to read as well. The conviction and passion required by the lyrics and story behind "Hush Yael" is well executed and treated with respect. It is really worth researching the inspiration behind this emotionally charged song. "End him slow" indeed.
6. El Camino by The Black Keys
Right off the heels of their 2010 record Brothers The Black Keys released El Camino, a rock 'n roller with some serious southern vibes. This short, upbeat record bounces and chugs from beginning to end, making it a great album for dull car rides. Fun stuff.
5. Bon Iver by Bon Iver
There is a fullness and depth to Bon Iver's new album that stands in contrast to the stripped down approach of 2008's For Emma, Forever Ago. It takes multiple listens to hear all that is going on in each song and it takes a live concert to fully appreciate it's diversity and scale. In the hands of a lesser musician "Beth/Rest" would have been a cheesy 80s ballad but here it swells and soars with sonic bliss. There is a strong sense of vision here that transcends genre, resulting in a record that is at once cohesive, diverse and beyond definition. It's Bon Iver and you have to listen to it to understand.
4. The Head and the Heart by The Head and the Heart
In their fantastic debut The Head and the Heart capture something often missing in folk albums: fun. It's not just fun, it's loads of fun. The playful harmonies and choruses are effortlessly entertaining and beg for listener participation. The three vocalists regularly take turns in the spotlight and do well both individually and as a group. It is not often that the joy the musicians had in making a record is so evident and infectious. It's very refreshing. To quote the timeless wisdom of Michael Scott it was "love at first see with my ears."
3. Helplessness Blues by Fleet Foxes
I find that when the beauty of music is gradually and subtly made evident after repeated listens it sticks with me longer and has a greater impact on me. Fleet Foxes have been that kind of band for me. Their music did not immediately grab my attention, but I slowly built a relationship with their music and style. Helplessness Blues is Fleet Foxes’ sophomore release; a record that both evolves and matures in its sound and themes.
Fleet Foxes’ brand of folk can be described in a number a different ways. It has a classical, or baroque, sound to it that one can imagine would be played in an old European cathedral. If sound could be described in geographic terms then this would be unquestionably rural. While Appalachian music may come to mind this is neither bluegrass nor country. It’s folk. Beautiful, eclectic folk.
Frontman Robin Pecknold is pleasantly introspective and reserved, reflecting on his own selfishness and reconsidering the value of individual autonomy. “Montezuma” (perhaps my favorite song of 2011) begins with a quiet reflection that I’m sure many will relate to.
“So now I am older than my mother and father
when they had their daughter
now what does that say about me?”
“Oh, how could I dream of such a selfless and true love;
could I wash my hands of
just looking out for me?”
The humble contemplation coupled with superb song writing makes for a highly memorable and refreshing record.
2. Ghosts Upon the Earth by Gungor
I have often wondered why the genre of corporate worship music is generally lacking in creative and complex song writing. While I intend to discuss my thoughts on the worship genre in an upcoming post, suffice it to say that I was a tad sceptical of the latest album from worship leader Michael Gungor and Co. This scepticism turned out to be unwarranted, as Ghosts Upon the Earth is a masterpiece.
The record begins with the quiet whisper of sounds forming in the darkness until Lisa Gungor’s voice fills the void, soon followed by a children’s choir. The ensuing crescendo of “Let there be light!” is one of the most beautiful musical interpretations of the Creation I have ever heard. “Brother Moon” follows with all creation praising the Creator in what I like to describe as Sufjan Stevenian bliss.
These songs are as varied as the Biblical themes they draw influence from and like the Psalms and Jesus’ parables they do not pull any punches. “Wake Up Sleeper” is a wake-up call to a tired and divided church and “Ezekiel” laments the unfaithfulness of God’s people. Honestly what worship leader bases a whole song on an Old Testament prophet? Gungor does it and their music is that much more rewarding because of it.
“This is not the End” and “You are the Beauty” are both rapturous tracks that put most contemporary worship music to shame in both concept and execution. Album closer “Every Breath” begins as a quiet prayer of dedication but halfway through swells into an enormous orchestral climax with proclamations of “Here I am Lord, I am yours!” Nothing is held back in this chorus, as both Michael and Lisa, the children’s choir and string and wind sections are united in a sweeping finale.
I was taken completely by surprise by Gungor’s Ghosts Upon the Earth. It covers everything from the fall of man to the redemption of the world, yet remains an intensely personal and cohesive act of worship. This is an album that must be experienced as a whole. Every song matters. It must be listened from beginning to end in one sitting for its full impact to be felt. Here art and worship are truly one and the same.
1. Major/Minor by Thrice
If you have followed Thrice for the majority of their career then they will feel much like a close friend. Like a good friend, Thrice has matured over the years, experimenting with different styles of self expression and exploring its identity and place in the world. Not only have they grown up musically and stylistically, they have increasingly formed their beliefs and convictions. With every new record Dustin Kensrue has become more vocal and creative in the expression of his faith.
In order to put this last statement into perspective I must briefly speak of labels. Conventional labels such as “Christian band”, “faith-based music” or “Christians in a band” do not apply to Thrice as they are not representative of the varying beliefs of the band members. The fact that Dustin can freely write and sing about his Christian beliefs is a testament to his personal convictions and the strong relationship of the band members.
Musically, Major/Minor is a natural evolution from Beggars, albeit more guitar driven. After the more technical and experimental acts that were Vheissu and The Alchemy Index, Thrice has pursued a more refined and nuanced rock sound that is less engineered, giving it a very authentic quality. Now more than ever the line between Thrice’s live performance and the recording is blurred and the difference is nearly indistinguishable. Dustin’s voice on the album is his most natural singing voice and the instrumentation is such that it does not require any compromises when played on stage.
Do not take this to mean that it is a simple, watered down version of Thrice. Nothing could be farther from the truth. Strap in ‘cause this record will rock your socks off. Teppei Teranishi’s guitar work is as good as ever. Few guitarists can capture your attention like Teppei. Also I’m convinced that Teppei has found the coolest guitar tones known to man.
Ever since Vheissu was released in 2005 Dustin has become increasingly open with his personal beliefs, all the while advancing in taste and presentation. The lyrics of Major/Minor reveal a man with a mature faith, one who not only understands the darkness around him but is also painfully aware of his own shortcomings. Lyrically, Dustin’s strength has always been his deep understanding of what makes modern, Western life so incredibly empty and unfulfilling. In Major/Minor he finally presents the solution that he has been hinting at in his lyrics for years: the Gospel. It is his lyrical ultimatum for the listener.
“See my ragged shoes? The soles have worn straight through, while I’ve proclaimed the king who sang the blues.
I you’ve got better news then make it plain.
He laid aside his crown, all our crimes he carried, was lifted from the ground, and with our burdens buried.
Listen to me, though I speak of sober things; listen through me, though a man of lips unclean.
I speak truly what you only think you’ve heard; everything hangs on a word.
Sparing no expense, he made recompense for all the earth; this story’s an offense, so get down from that fence and bless or curse.
When shadows all had clung and the light diminished, he emptied out his lungs, crying ‘It is finished!’”
- “Listen Through Me”
What were once subtle and creative Biblical references have become profound stories of redemption with deceptively insightful scriptural and theological backing. This is no clearer than in the masterful “Words in the Water.”
“Standing knee deep in cold water, swiftly moving, somehow I knew I'd lost something.
Wading waist deep I saw a book there in the river, waiting for me to find it there.
I tried to read it, neck deep, treading water, but the tide; it pulled me out to sea.
Then, with water in my eyes, the words began to rise from their place.
They were beautiful and dread; I reached for them and fed on each phrase.
They were honey on my lips, but then a bitter twist in my side.
I knew they'd lay me in my grave; ‘Is there no one who can save me?’ I cried.
Sinking, down deep through cold water and heavy silence, shadows stirring in the gloom,
What things that lay sleeping down deep in the darkness woke then, to find me in that tomb?
And when I lost all hope to look, someone took that heavy book from my hands;
All its weight they set aside, after they had satisfied its demands.
I felt white and black reverse, and the lifting a curse from my heart.
Then like one receiving sight, I beheld a brilliant light in the dark.”
Drowning in the ocean is not a new theme for Thrice (see The Alchemy Index Volume II: Water); however it is most potent here, symbolizing the inevitable grave awaiting all mankind. As he is pulled further into the depths of the sea the speaker comes across the Law of Moses in the form a book. His initial delight at the contents of the book is a clear echo of King David’s elation in reading the Law. This praise for the commands of God is common in the psalms, but here Dustin seems to be referencing Psalm 19:8-11 in particular. They are beautiful and dreadful words to behold. The lines “They were honey on my lips, but then a bitter twist in my side. I knew they’d lay me in the grave” first recall the psalms of David but also mark a transition in the narrative. Like a gut wrenching twist in a film, the book with the beautiful words does not save but damns instead. Though it is a far cry from Psalm 19, this image of the Law as a curse is also Biblical. Paul’s letter to the Galatians comes to mind (specifically Galatians 3:10-14 & 21-25). Paul speaks of the Law in this way to stress the necessity of a savior.
In a few simple lines Dustin Kensrue captures the beauty of redemption from both sin and condemnation and points to The Redeemer, the giver of light. The references to Paul’s writings are especially insightful and thought provoking. Very few songs, whether sung in a church or not, have urged me to look into the Bible for answers as has “Words in the Water.”
I could go on for ages about this record but you will have to discover its beauty for yourself. Major/Minor is the culmination of Thrice’s 10+ years of excellent music making and the apex of Dustin Kensrue’s much loved lyricism. It is a far more engaging and effective anthology of their career than any “best of” collection could be. Yet it is an entirely unique and powerful album. If this is to be their swan song then it will not soon be forgotten. Goodbye Thrice, my old friend.
In order to put this last statement into perspective I must briefly speak of labels. Conventional labels such as “Christian band”, “faith-based music” or “Christians in a band” do not apply to Thrice as they are not representative of the varying beliefs of the band members. The fact that Dustin can freely write and sing about his Christian beliefs is a testament to his personal convictions and the strong relationship of the band members.
Musically, Major/Minor is a natural evolution from Beggars, albeit more guitar driven. After the more technical and experimental acts that were Vheissu and The Alchemy Index, Thrice has pursued a more refined and nuanced rock sound that is less engineered, giving it a very authentic quality. Now more than ever the line between Thrice’s live performance and the recording is blurred and the difference is nearly indistinguishable. Dustin’s voice on the album is his most natural singing voice and the instrumentation is such that it does not require any compromises when played on stage.
Do not take this to mean that it is a simple, watered down version of Thrice. Nothing could be farther from the truth. Strap in ‘cause this record will rock your socks off. Teppei Teranishi’s guitar work is as good as ever. Few guitarists can capture your attention like Teppei. Also I’m convinced that Teppei has found the coolest guitar tones known to man.
Ever since Vheissu was released in 2005 Dustin has become increasingly open with his personal beliefs, all the while advancing in taste and presentation. The lyrics of Major/Minor reveal a man with a mature faith, one who not only understands the darkness around him but is also painfully aware of his own shortcomings. Lyrically, Dustin’s strength has always been his deep understanding of what makes modern, Western life so incredibly empty and unfulfilling. In Major/Minor he finally presents the solution that he has been hinting at in his lyrics for years: the Gospel. It is his lyrical ultimatum for the listener.
“See my ragged shoes? The soles have worn straight through, while I’ve proclaimed the king who sang the blues.
I you’ve got better news then make it plain.
He laid aside his crown, all our crimes he carried, was lifted from the ground, and with our burdens buried.
Listen to me, though I speak of sober things; listen through me, though a man of lips unclean.
I speak truly what you only think you’ve heard; everything hangs on a word.
Sparing no expense, he made recompense for all the earth; this story’s an offense, so get down from that fence and bless or curse.
When shadows all had clung and the light diminished, he emptied out his lungs, crying ‘It is finished!’”
- “Listen Through Me”
What were once subtle and creative Biblical references have become profound stories of redemption with deceptively insightful scriptural and theological backing. This is no clearer than in the masterful “Words in the Water.”
“Standing knee deep in cold water, swiftly moving, somehow I knew I'd lost something.
Wading waist deep I saw a book there in the river, waiting for me to find it there.
I tried to read it, neck deep, treading water, but the tide; it pulled me out to sea.
Then, with water in my eyes, the words began to rise from their place.
They were beautiful and dread; I reached for them and fed on each phrase.
They were honey on my lips, but then a bitter twist in my side.
I knew they'd lay me in my grave; ‘Is there no one who can save me?’ I cried.
Sinking, down deep through cold water and heavy silence, shadows stirring in the gloom,
What things that lay sleeping down deep in the darkness woke then, to find me in that tomb?
And when I lost all hope to look, someone took that heavy book from my hands;
All its weight they set aside, after they had satisfied its demands.
I felt white and black reverse, and the lifting a curse from my heart.
Then like one receiving sight, I beheld a brilliant light in the dark.”
Drowning in the ocean is not a new theme for Thrice (see The Alchemy Index Volume II: Water); however it is most potent here, symbolizing the inevitable grave awaiting all mankind. As he is pulled further into the depths of the sea the speaker comes across the Law of Moses in the form a book. His initial delight at the contents of the book is a clear echo of King David’s elation in reading the Law. This praise for the commands of God is common in the psalms, but here Dustin seems to be referencing Psalm 19:8-11 in particular. They are beautiful and dreadful words to behold. The lines “They were honey on my lips, but then a bitter twist in my side. I knew they’d lay me in the grave” first recall the psalms of David but also mark a transition in the narrative. Like a gut wrenching twist in a film, the book with the beautiful words does not save but damns instead. Though it is a far cry from Psalm 19, this image of the Law as a curse is also Biblical. Paul’s letter to the Galatians comes to mind (specifically Galatians 3:10-14 & 21-25). Paul speaks of the Law in this way to stress the necessity of a savior.
In a few simple lines Dustin Kensrue captures the beauty of redemption from both sin and condemnation and points to The Redeemer, the giver of light. The references to Paul’s writings are especially insightful and thought provoking. Very few songs, whether sung in a church or not, have urged me to look into the Bible for answers as has “Words in the Water.”
I could go on for ages about this record but you will have to discover its beauty for yourself. Major/Minor is the culmination of Thrice’s 10+ years of excellent music making and the apex of Dustin Kensrue’s much loved lyricism. It is a far more engaging and effective anthology of their career than any “best of” collection could be. Yet it is an entirely unique and powerful album. If this is to be their swan song then it will not soon be forgotten. Goodbye Thrice, my old friend.