David Comes to Life - Fucked Up (Matador, 2011)
I wasn't sure that things could get much better from Toronto's experimental yet extremely accessible hardcore band, Fucked Up, than 2008's The Chemistry of Common Life. Well, I was wrong. Their first long player since (and it really is long) is even better in suprisingly substantial ways. If someone had a gun to my head and forced me to complain about one thing on David Comes to Life, it would have to be that perhaps the drums are a bit overproduced. Everything else concerning the record is damn near perfect. The guitars are ridiculously layered, bright, thick, and are just about the best sounding one could ask for. The rhythm section's masterful subtleties are easy to miss, which always makes for a fun listening experience. If it weren't for Damien Abraham's grunting and screaming, David Comes to Life just might have been an over the top pop punk album. Instead, it is an artful, intense, highly energetic, bright sounding monster of a hardcore record, and I haven't even had the chance to dive into the concept-y lyrics. Oh, and pretty much every song is really great too. I feel like it's been a while since I've been so excited about a new album.
The January EP - Here We Go Magic (Secretly Canadian, 2011)
So far, I've been pretty happy with Here We Go Magic's recent run of recorded material. The band's move from the moody and slight experimental folk of their self-titled debut to the tight and upbeat psychedelic pop of last year's Pigeons is similar to the progression that Grizzly Bear made between Yellow House and Veckatimest. The January EP is a good if not great continuation of the higher powered sounds of Pigeons, and it may even be an improvement. I'm not sure anything Here We Go Magic have done touches last year's kraut-pop masterpiece, "Collector," but pretty much every song on The January EP is strong. Opener "Tulip" features a nice, steady groove and probably the best chorus on the EP, but "Backwards Time" reminds me a little bit of an even more jittery Dismemberment Plan (with awesomely funky bass), and thus it is the best song here.
Giving & Receiving - Lake (K, 2011)
It's always nice when you randomly decide to take a chance on an album and it turns out to be a big deal to you. This occured to me with Lake's 2009 jamhouse, Let's Build a Roof, which I think was my sixth favorite album of that year? With the consistency of all of its 70s soft adult contemporary pop sounds and almost complete lack of Sufjanisms (with the exception of one song), Giving & Receiving should be the better album. But it's not, and I'm not sure if its because the outright jams aren't quite as good as the ones on Let's Build a Roof, or if its due to the loss of the element of surprise. Regardless, Giving & Receiving is a high quality boy/girl pop record full of smooth, subtle ballads not unlike those of Fleetwood Mac or even Steely Dan. "Roger Miller" is THE JAM.
Terra - Julian Lynch (Underwater Peoples, 2011)
I will not disagree with anyone who feels that Julian Lynch's music is boring. However, I cannot deny its beauty. It is ambient, artful, quiet and just gorgeous. That being said, Terra isn't all that different from its predecessor, and aside from two or three songs, there isn't anything all that memorable. I guess Lynch just makes some sort of special mood music where you can get lost in all the weird but pretty saxophone solos, guitar loops and reverb-drenched vocals. 2010's Mare is definitely better, but both are perfect to fall asleep to. I mean this in the best way. Honest.
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