The 2nd Law-Muse
Genre: Progressive Rock
With the release of The
2nd Law, not only does Muse display one of their most impressive
studio-album performances in their 18 year existence, but gives 2012 a gem of
an album. Often compared to the likes of Radiohead and Queen, Muse paves new
paths in The 2nd Law that
still show the band’s raw eclectic experimentation, while presenting refined hints
of U2 to yes, even dubstep. With their sixth studio album, the English trio of
Matthew Bellamy (guitars, vocals), Chris Wolstenholme (bass) and Dominic Howard
(drums) show the band is still truly undefinable. My definition? Ridiculous,
wild but mainly enchanted progressive rock, where the musicians are talented
enough to sound like three totally different bands in one thirteen track album.
The main theme and title of The 2nd
Law derives from a discussion between economists on a BBC show that Bellamy
watched last summer. Referring to the second law of thermodynamics, in which
the laws of physics state that an economy based on endless growth is
unsustainable, The 2nd Law
touches on society’s neglect for the maxing out of the world in which we live
(see tracks “Survival” and “Explorers” for direct example this theme). Overall,
The 2nd Law is as
impressive as it is sporadic. Packed with powerful bombshells, catchy melodies
and reflective wisps, The 2nd
Law is an undeniably significant record of 2012.
Notable Tracks:”Supremecy,” “Madness,” “Panic Station,” “Survival,”
“Animals,” “Explorers”
Other Notes:
-The 2nd
Law is listed at number forty six on Rolling
Stone’s list of the top 50 albums of 2012
Babel-Mumford & Sons
Genre: (Arena) Folk Rock
Mumford & Sons' deliver yet another alluringly bombastic
performance for folkies and music lovers alike with their sophomore record
Babel, in which the talented Englishmen yet again prove why they're one of the
best live bands around. While it follows suit in the americana spirit of their
well-received debut in Sigh No More, Babel has a fuller sound than their
previous record, as the band includes a horn section and the fiddle playing of
Ross Holmes, who has most famously worked with Texas bluegrass band Cadillac
Sky. The bigger sound coincides with the band's passion for live music, in
which it seems they have almost created a new genre dubbed "Arena
Folk." They recorded most of the tracks on the album live, and all four
band members play multiple instruments on the record, proof of their dynamic
musicianship*. Front man Marcus Mumford crafts elegant lyrics, which include
everything from bold biblical allegories to internal grapplings, interweaving
ideas of great literature (the band has admitted to taking a line from Hilary
Mantel’s Wolf Hall) and his clever mind along the way. While “I Will Wait” is
their catchy crowd pleaser, the likes of “Whispers in the Dark” and “Below My
Feet” provide insightful and vivid reflections that all can learn to
appreciate. Nonetheless, every track on Babel has some kind of profound
statement to make, and with banjo in hand, the bearded crew pulls it off with
fiery style and genuine passion. While Mumford & Sons have been reported as
planning to change their sound for the future**, there’s no question that Babel's sound stands out in 2012.
Notable Tracks: All of them. Kidding (not really). “Lover of
the Light,” “Whispers in the Dark,” “Ghosts that We Knew,” “Hopeless Wanderer,”
“Below My Feet,” “Broken Crown,” “Not With Haste”
Other Notes:
-Babel was ranked number eleven on Rolling Stone’s list
of the top 50 albums of 2012
-Babel was nominated Album of the Year for the Grammys
*Marcus Mumford (lead vocals, guitars, drums, percussion,
ukulele, mandolin), Ted Dwane (bass, vocals, guitars, drums, percussion), Ben
Lovett (piano, vocals, keys, accordion, harmonium, drums, percussion), Winston
Marshall (banjo, vocals, guitar, mandolin, dobro, bass)
**http://www.gigwise.com/news/78516/mumford-&-sons-to-swap-folk-for-synths-on-third-album
Bloom-Beach House
Genre: Dream Pop
Beach House’s newest album Bloom, while one of the most blogged about records of the year, is
also one of the year’s best. Incredibly cohesive, consistent and original, the
duo of Alex Scally and Victoria Legrand provide a fresh indie sound that hits
you like a feather and stings like ice. It’s a sound of smoked tainted scarves,
hand-me-down pearls and second-hand shoes. To put it simply, Bloom is a hipster goldmine. At least
until it’s cool. But, in accordance with its genre, Bloom does indeed have charm, and plenty of it. Certainly enough to
crack the top 12 anyway. Beach House’s newest album’s strength is in its storytelling.
Bloom incorporates strong elements of
nostalgia and it toys with ideas of stagnant youth and the bittersweet deposits
that remain once it’s gone. For example, the track “Wild” explores an adolescent
look on broken families, while in “Myth,” Legrand asks “What comes after this
momentary bliss?” Overall, while on paper Bloom
may not have the look of an in-season flower, Legrand and Scally illuminate the
heavy words into songs of an infinite universe and ultimately, create one of
the best records of the year.
Notable Tracks: “Myth,” “Wild,” “Lazuli,” “Other People,”
“Wild”
Other Notes:
-Pitchfork Media
ranked Bloom as number seven on its
list of the top 50 albums of 2012
-Bloom was
number twenty-eight on Rolling Stone’s
list of the top 50 albums of 2012
-Rolling Stone
named the track “Other People” as the nineteenth best song of 2012
Tempest-Bob Dylan
Genre: Folk Rock
My second legend on my top 12, Bob Dylan, at age 71,
released his 35th album of his career with Tempest, and it can be described as his darkest yet. I admit, as
his voice has gotten grungier, and his personality even stranger, I was quick to
dismiss Tempest as a record worth
listening to this year. But after a few listens, I was pleasantly surprised by
the quality of Dylan’s latest record. The album starts with “Duquesne Whistle,”
an evoking of the gospel legend bound for glory where he uses a metaphor for
what is deepest and securest internally to him. The tune, which he co-wrote
with Robert Hunter, amazingly shows what has been so vividly evident in Dylan’s
music over years: making vast expressions through a simple sound. The album in
general is a selection of religious songs, all written by Dylan (with the exception
of the aforementioned “Duquesne Whistle”), and what Dylan has described as a
record where “anything goes and you just gotta believe it will make sense.” The
result is pure Dylan lyrical brilliance. You chuckle at laughable descriptions
but ponder his eloquent wordplay and allegories. The final track of the album “Roll
On, John” serves a powerful tribute to John Lennon, but also is a reminder that
Dylan is one of the last of the great songwriters of the ‘60s. And as his final
act rolls on, Tempest is impossible
to ignore as yet another great example of the prodigious songwriting of Bob
Dylan.
Notable Tracks: :”Duquesne Whistle,” “Tin Angel,” “Pay in
Blood,” “Tempest,” “Roll On, John”
Other notes:
-Rolling Stone
named it the number four album of 2012
-The Track “Pay in Blood” was named the ninth best song
of 2012 by Rolling Stone
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