It’s been a year of disappointment in terms of releases this year. Oh sure, there’s been a few very good albums for well-established artists. Some; who had amazing debuts have also delivered very entertaining follow-ups. Then there are issues with well established artists who have fallen at the peak of their own hype and delivered something disappointing or in some cases, truly horrifying.
I’ve listened to forty-two new albums this year (and depending on your own preferences; this is either mind-blowing or incredibly small). Although I tend to listen to more mainstream alternative artists (Radiohead, Coldplay, Snow Patrol etc), I also listen to obscure Pitchfork favourites (Girls, Fleet Foxes (if you can call them obscure), Driver Drive Faster etc). I even managed to cram some metal and rap (not together…never together) just to immerse myself in different genres in the hopes of finding a true gem amongst a steady pile of boredom.
There have been a large number of albums I consider very good which is reflected on this site for earning an eight out of a possible ten.
Out of all forty-two though, only one gained a nine and thus, is undeniably, my favourite album of the year and that album is…
I bought this album purely because of its striking cover. I’ve been lucky previously by buying albums purely on how nice they look (I actually bought Fleet Foxes and Sleigh Bells’ debuts prior to finding out they were two of the press’ darlings). I didn’t really know what to expect but being on the Domino label, I hoped for something special (and possibly with influences from the sixties).
What unfolded was something of unadulterated beauty.
Smother (as I’ve discovered now buying Wild Beasts’ entire back catalogue) is a very minimalist album compared to the baroque pop of Limbo, Panto or the alternative dance vibe of Two Dancers. It feels incredibly quiet, ashamed even, of its own existence, almost as if it it’s aware of its introverted, perverse nature which it can’t help but share with the world.
It has plenty of moments that break the mould where Hayden Thorpe’s truly haunting falsetto or Tom Fleming’s authoritive and contrasting baritone vocals lament on lyrics that are part animalistic lust, part melancholy and part movie monster. The backdrop is often filled to the brim with pleasant sounds of unrivalled confidence or nerve-shattering nervousness and when every track accumulates into a climax or a powerful middle section; it comes together so perfectly, it reminds me of how wonderful music can truly be.
It’s an album unrivalled with creative and ingenious lyrics, a wonderful backdrop of sound that balances ambiance, electronica and pop music, wonderful vocals from contrasting styles and a feeling of something fresh from genres that are so often plagued with generic pieces that are too timid to push boundaries at the sake of alienation.
By far; 2011’s best album from one of music’s unsung heroes.
H
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