Wednesday, January 15, 2014

Favorite Albums of 2013: #40-21

Knots
(40) Knots - Crash of Rhinos (Topshelf)
I was very skeptical of Crash of Rhinos, though, I'm not exactly sure why. Surprise, surprise, turns out, Knots is a good emo record, especially in a year that's pretty weak with the stuff (at least compared to 2012). It helps that there's a lot of variety in dynamics and vocal styles (between nice and yell-y) here. It gets a little too post-rock in some places for my taste, but that gets cancelled out by the noodly guitars and wanky drumming that pop up from time to time. Track two, cleverly titled "Opener," might be the emo jam of the year.
Top jam: "Opener"

The Constant One
(39) The Constant One - Iron Chic (Bridge Nine)
Iron Chic got the Pitchfork hype treatment at the very end of this year, and of all the like-minded bands that somehow Ian Cohen was allowed to write about on that site, they might be the most deserving. A couple complaints: all the gang vocals get a little tiring, and I'm not a huge fan of singer-guy's voice. BUT, these are some really great, huge sounding pop punk songs, and the element of unity is strong in this one, in a similar way to Japandroids' Celebration Rock. "Spooky Action at a Distance" is one of my favorite songs of the year, though I prefer the 7" version.
Top jam: "(Castle) Numbskull"

I Won't Hold This Against You
(38) I Won't Hold This Against You - Light Years (Paper + Plastick)
Obviously, I know that music is a subjective, personal thing, and I don't have to be embarrassed of anything I like or listen to. It is hard for me to admit to the internet public (the three or four of you who read this) that I am into this record. Light Years sound like New Found Glory, Blink-182 and MxPx. There are some really great moments on I Won't Hold This Against You (mainly when they shift from double-time to half-time in a variety of choruses), and the melodies are sooooooooo catchy. I have been suckered into this. Stop laughing at me.
Top jam: "Parking Lots"

The World is Real
(37) The World is Real - Lake (K)
Here's my selfish, pretentious hipster side (which I try to keep hidden most of the time) talking: I kind of love that none of my friends know about the K Records band Lake. Among the large number of people that I commune with over music, Lake are mine and no one else's! Seriously, though, it really is unfortunate that this band is by and large ignored. They are not just another twee band that has ties to K Records. There is an element of that to their sound, but I would say they're influenced more by adult contemporary legends like Fleetwood Mac and Steely Dan. Their latest, The World is Real, even nods to some early-90s R&B (not sure if that's a turnoff or a bonus to anyone who reads this). Nothing else that they've done has come close to their wonderful 2009 record, Let's Build a Roof, but, this certainly will suffice.
Top jam: "Perfect Fit"

Anything in Return
(36) Anything in Return - Toro y Moi (Carpark)
With the release of his third Toro y Moi LP, Anything in Return, Chaz Bundick pretty much came right out and said, "This is a big, straight-up pop record." And, it is. Had this been the follow-up to 2010's Causers of This, I think I would have appreciated it more. But, instead, he threw a curveball in 2011 with the psychedelic R&B masterpiece that is Underneath the Pine, and then backpedaled to craft some straightforward, grandiose, expertly-produced pop jams. Don't get me wrong, Anything in Return is good, it's just a little bit of a come-down.
Top jam: "Never Matter"

Lucky Leaves
(35) Lucky Leaves - Krill (self-released)
Krill are part of the whole Massachusetts indie rock/Exploding in Sound scene, which really seems to have taken off this year. Lucky Leaves is pretty awesome (especially the first half), and the closest comparison I can make for it would be Built to Spill and Pavement, though these songs don't really sound like either of those bands. That probably doesn't make any sense, but it feels right. Intricate guitars, driving bass, shitty production, which is sort of charming, though I'd like to hear this record with a real producer behind it. The vocals sometimes sound a tad bit too Born Ruffians, but there's enough interesting stuff going on to make up for that.
Top jam: "Sick Dogs (For Ian)"

I Hate Music
(34) I Hate Music - Superchunk (Merge)
It's crazy to think that Superchunk have been churning out quality punk-infused rock music for almost 25 years now (give or take). I Hate Music is their 10th LP, and while I prefer 2010's Majesty Shredding, it proves that these seasoned indie rock veterans still have it in 'em (even if some of the songs can be a little boring). The highlights: "Void" is a badass rock song with the type of tricky structure that I love, "Low F" and its subtle emo undertones, the chord progressions and melodies in "Breaking Down."
Top jam: "Breaking Down"

Bankrupt!
(33) Bankrupt! - Phoenix (Glassnote)
Not quite the follow-up to Wolfgang Amadeus Phoenix that I was hoping for, especially after a four-year wait, but I'm over that now. The production on Bankrupt! is equally as appealing, even if the songs aren't (though "The Real Thing," "SOS in Bel Air," "Trying to be Cool," and "Drakkar Noir" are all great). There's just no "Too Young," "If I Ever Feel Better," "Lisztomania" or "1901." Which, is fine. If you already like Phoenix, there's plenty to enjoy here.
Top jam: "Drakkar Noir"

Always Whatever
(32) Always Whatever - Sundials (Asian Man)
Richmond, VA's Sundials are so good at this classic alternative rock/pop punk thing that this collection of b-sides, rarities and forgotten songs made my year-end list. Yes, there is most definitely some inconsistency in recording fidelity and quality of songwriting, but, that is to be expected. Plus, the great moments rival the best ones on When I Couldn't Breathe (which, in retrospect, should have ranked higher than #16 on my 2012 list). "Assailant" and "Shelter Girl" are true JAMS.
Top jam: "Assailant"

The Things We Think We're Missing
(31) The Things We Think We're Missing - Balance and Composure (No Sleep)
I will forever associate this record with the Daylight record that also came out this year (SPOILER ALERT: that one is #23 on this list). I wrote the blurb for Jar first, and I guess I'll be elaborating more now, which might make things a bit disjointed. Continuing on, music that sounds like these two records has become quite the trend in popular punk rock in 2013. What do you call this? Post-nu-emo? Nu-post-alternative? Anyway, there were times this year where I thought I liked this Balance and Composure record more than the Daylight one. The Things We Think We're Missing is a bit more diverse, especially rhythmically, structurally and in vocal style. So, that should mean I should like it more, right? However, there are surely some outright duds here, which is not the case with Jar. Also, my favorite moments on Jar are probably more memorable than the ones on The Ts We Think We're M-ing. So, there's that. Oh, and in case I convinced you otherwise, this is still a good record!
Top jam: "Back of Your Head"

Jar
(30) Jar - Daylight (Run for Cover)
Sometimes I listen to this record and wonder: "Do I really like this? If so, why? Doesn't it sort of sound like the terrible radio rock you hated in the late-90s/early-2000s? This is almost nu-metal, isn't it?" Other times I listen to it and think: "Yes, this rules! It sounds like Deftones' Around the Fur and STP's Purple and Soundgarden's Down on the Upside and Title Fight's "In-Between" all rolled into one! This record is bad ass and huge!" So, as you see, I have a conflicted relationship with Daylight's Jar, and I'll just leave it at that.
Top jam: "In On It"

You're Nothing
(29) You're Nothing - Iceage (Matador)
I liked the idea of Iceage's 2011 debut, New Brigade, more than I actually liked the album (although it had two total bad ass jams). Their sophomore LP, You're Nothing, is more in line with what I was hoping for. The vocals still snarl in the most atonal way, and the drums are still primal as shit, but, thankfully, some melodicism comes out more in the guitars (which are still pretty discordant at times, of course), and that helps flesh these songs out in a way that I really dig. These melodic moments are few and far between, but they make the waiting for them well worth it. Especially when the album ends so strongly (the last three songs kill). In case this blurb has been confusing and uninformative so far, overall, I'd describe the sound of You're Nothing as heavy post-punk mixed with exotic hardcore. Something like that.
Top jam: "You're Nothing"

Shade Perennial
(28) Shade Perennial - Bottomless Pit (Comedy Minus One)
Admittedly, my knowledge of the classic 90s Chicago indie rock band Silkworm is at an extreme minimum. I've listened to some songs, and I know that they seem like a band I could get way into because of their guitars. I know that they were on Matador and Touch and Go at different points. I know that their drummer died in a terrible car accident. I know that three of my bandmates love them. I know that Stephen Malkmus loves them. I know that I love the song "Couldn't You Wait?," and that a documentary about the band with the same title was produced. And, I know that two of the guys went on to form Bottomless Pit, of whom I know even less about. However, knowing that I need to at least start somewhere, I have spent ample enough time with their latest, Shade Perennial, to know that an intense, longstanding love affair with both of these bands is bound to happen in 2014. Shade Perennial is a mellower form of Albini-rock, or at least it sounds like it was recorded by Steve Albini. My favorite moment is the stupid-long fade out and then sudden stop in closer, "Felt a Little Left."
Top jam: "Felt a Little Left"

Stop Breathing
(27) Stop Breathing - Donovan Wolfington (Community/Broken World)
Here's a band that came out of nowhere for me. Donovan Wolfington is a loud, noodly, super fuzzy, emo-y pop punk band from New Orleans, and Stop Breathing is their debut full length. 90s-referencing all around, they remind me of a sloppier Luther with more yelling, or a less technical Glocca Morra... somewhere along those lines. "Spencer Green," "Ryan Rowley," and "Hell" are JAMS.
Top jam: "Hell"

Uncanney Valley
(26) Uncanney Valley - The Dismemberment Plan (Partisan)
I will openly admit that my expectations for The Dismemberment Plan's reunion were completely unrealistic. I was really hoping for Uncanney Valley to rival Emergency & I and Change, but, I should have known that was not going to happen. I think Dinosaur Jr. spoiled us all by how awesome their reunion records Beyond and Farm were. Now, I will say that, as maligned as they were, I enjoyed Travis Morrison's two solo albums, and Uncanney Valley feels more in line with those than any previous D-Plan recording. Maybe if the band had chosen a different name for this endeavor, that would have helped things? Anyway, all of this complaining only to say that with each listen, Uncanney Valley grew on me, and I have come to appreciate it. It's still a smart, unique take on danceable guitar pop, and I'm very glad that it happened, even the regrettable moments.
Top jam: "Waiting"

X'ed Out
(25) X'ed Out - Tera Melos (Sargent House)
Tera Melos' most recent full-length, X'ed Out, was another one of those surprise albums for me in 2013. I had never really spent any time with the band, though based off things that I'd read, I assumed I'd like them. I didn't realize how much, though. They do noodly guitars and mathy drums well, and without overwhelming, as there is a strong sense of melody, especially in "Weird Circles" and "Sunburn" (best song). 2002-2006 Quillen would have lost it over this.
Top jam: "Sunburn"

Days Are Gone
(24) Days Are Gone - Haim (Columbia/Polydor)
It seems like almost everyone loved the Haim sisters' debut Days Are Gone, and I totally get it. While it didn't blow my brain out of my head, the talent these gals display is undeniable, as is their penchant for quality pop songwriting. My bud and bandmate Bravender tried to hook me by describing this record as 80s Fleetwood Mac mixed with Phoenix. I definitely hear that in the melodies, musicianship and especially the production, and, bonus that there is even more to it that drew me in further.
Top jam: "Honey & I"

Modern Vampires of the City
(23) Modern Vampires of the City - Vampire Weekend (XL)
On first listen, I was hugely let down by Modern Vampires of the City. Vampire Weekend's self-titled debut LP was my favorite album of 2008, and Contra was my fifth-favorite of 2010, so, maybe my expectations were a little unfair. I finally came around thanks to jams like "Unbelievers," "Diane Young," "Everlasting Arms" and "Finger Back" (and in spite of the annoying "Step"), and realized that M Vs of the C is just another VW record, perhaps more mature, and with a little more focus on production and changing moods. It's good, but not album-of-the-year good.
Top jam: "Everlasting Arms"

An Object
(22) An Object - No Age (Sub Pop)
No Age continue to do two things that I love on their latest, An Object: (1) Not sound like anything else going on in music, but, still somehow sounding punk, and, (2) show such restraint from song to song to the point that I feel like, to quote Arrested Development, they get off being withholding. Example: Album opener, "No Ground," is one of the louder songs on the album, and certainly is the one that calls for the most bad ass of drumming, and, yet, there are no drums. I hate that, but, I also love that. This is An Object. The first seven tracks are pretty much untouchable, the main highlights being the jangly guitars and chord progression in "I Won't be Your Generator," the general weirdness of "Defector/Ed," and how completely gorgeous (strings and all) "An Impression" is.
Top jam: "I Won't be Your Generator"

Clash the Truth
(21) Clash the Truth - Beach Fossils (Captured Tracks)
Captured Tracks' representation on this year's list is much thinner than the last two years, and that's kind of a bummer. I guess we have officially moved on from the 80s revival to the 90s revival. Beach Fossils' second LP, Clash the Truth was largely ignored, which, I kind of understand. It is a great collection of 80s-style melodic, poppy post-punk like earlier New Order, The Cure and The Wake, with a smidge more shoegaze thrown in. Lots of layered, chimey guitar leads, bored, reverb-y vocals and driving drums and bass. This is probably the exact same stuff I was saying about their 2011 EP, What a Pleasure. "Birthday" and "In Vertigo" = best guitar chord usage!
Top jam: "Birthday"

Thursday, January 9, 2014

Favorite EPs and 7"s of 2013

Though I listened to more new releases in 2013 than any given year prior, and was still able to come up with a list of 40 favorite albums, and even an additional list of 15 favorite EPs and 7"s, I would consider the year a downer overall in music. I LIKED a lot of stuff, but LOVED very little. Oh well, it happens.

Sore Subjects EP
(15) Sore Subjects EP - Best Practices (self-released)
On the Sore Subjects EP, Best Practices play loud, messy, melodic, emo-y punk rock with nice, full chords and  some barking vocals that remind me of Bear Vs. Shark. It's only four songs, but these are some real jammers. Am I crazy, or does the bass guitar on the EP closer cleverly wink at Limp Bizkit's "Re-Arranged?" Am I crazy for noticing this and Googling the LB song to make sure?
Top jam: "Home for Halloween"

Totale Night EP
(14) Totale Night EP - Merchandise (Night People)
Merchandise's latest, the Totale Night EP, is nowhere near as good as last year's Children of Desire, but, it didn't really need to be. For such a young band, it still shows plenty of promise, and I respect the more difficult aspects of some of these songs. There are no outright 80s goth-pop bangers like "Time" (which was probably my favorite song from last year), but there's still plenty of that goth drama to go around, as are there the continued inevitable comparisons to Morrissey's vocal stylings. I'm intrigued to hear what a proper full-length from these guys would sound like now.
Top jam: "Winter's Dream"

Jaws 7"
(13) Jaws 7" - Multicult (Reptilian)
Multicult are a band that one of my bands had the pleasure of playing with back in the summer. They are a three-piece muscular rock group in the vein of Dischord/Touch and Go/Matador/Sub Pop records from the 90s, ie ALBINI-ROCK. At the show, when asked (by me) what kind of music they were inspired by, the drummer said, "Well, singer/guitarist is really into 80s Detroit techno, bassist is really into industrial music, like Ministry and Skinny Puppy, and I am SUPER into Prince and Michael Jackson. But, in reviews, we always just get compared to Big Black." Regardless, these two songs are really bad ass.
Top jam: "Luxury"

The Worst Part EP
(12) The Worst Part EP - Martin (Square of Opposition/De Nada)
Here is some most excellent pop punk from one of the guys from recent technical pop punk legends, Spraynard. Martin is much more straightforward: simpler song structures, not nearly as much guitar noodling. There is some real bad assery going on, especially in "Sandy" and EP closer "Tiny Scratch." The Worst Part is a truly great debut and shows a ton of promise. Hoping for a full-length in 2014?
Top jam: "Sandy"

Deer Widow EP
(11) Deer Widow EP - Deer Widow (Save Your Generation)
My friend Tony started a record label this year, Save Your Generation, and things took off very quickly for him. Deer Widow is made up of four guys who play or have played in The Most Dangerous Animal, Kid Brother Collective and Dead by Sunday. This is my favorite release that Tony has put out thus far, and it is 90s-style emo of very high quality. The catchy melodies, intermingling, clean guitars, bouncing bass and upbeat drums are things I would have loved in high school, and that I actually still love today.
Top jam: "The Path Forsaken"

Analog Weekend EP
(10) Analog Weekend EP - Their/They're/There (Polyvinyl/Topshelf)
Their/They're/There is a supergroup consisting of Evan Weiss (Into It. Over It., Pet Symmetry, numerous other projects), Matthew Frank (Loose Lips Sink Ships) and Mike Kinsella (Owen, ex-Owls, ex-American Football, ex-Cap'n Jazz). If that doesn't give you an emo boner, I don't know what does. And get this: Analog Weekend is their SECOND EP released in 2013. I know, right? They pretty much sound like exactly what you'd expect, considering their collective discography, ie mathy, intricate, extremely catchy emo. No ifs, ands or buts about it. It rules.
Top jam: "Travelers Insurance"

Split 7"
(9) Split 7" - Glocca Morra/Summer Vacation (Lauren)
Probably my favorite newer band, Glocca Morra, had a very quiet year, but, at least I got two songs out of 'em. "Burning Love, Burning Desire" and "Number 2" are groovy, melodic indie rock jams in the vein of Archers of Loaf, which is quite a bit different than the bright, noodly, uber catchy emo of Just Married (my favorite album of 2012), and I am totally okay with that. The Summer Vacation tracks don't even really matter, but they're fine exercises in poppy emo punk.
Top jam: "Number 2" (Glocca Morra)

Empty Estate EP
(8) Empty Estate EP - Wild Nothing (Captured Tracks)
A new EP from Wild Nothing was quite a surprise in 2013, and though it didn't quite reach the heights of 2012's brilliant Nocturne, it did not disappoint, either. Some of these songs are bigger, more straightforward, and even poppier than anything Jack Tatum's done yet (see: fantastic opener and second-best moment of the EP, "The Body in Rainfall"). And, then there's more indulgence and experimentation than usual ("Ocean Repeating (Big-Eyed Girl)," "Data World"). The best moment, of course, is the jangly, funky synth-pop we've all come to expect in "A Dancing Shell."
Top jam: "A Dancing Shell"

Split 7"
(7) Split 7" - Pet Symmetry/Dikembe (Storm Chasers)
Pet Symmetry is another new project from Evan Weiss (see: three blurbs ago), this time in collaboration with two dudes from Chicago emo pop group Dowsing. Dikembe are a very good, technical poppy emo band from Gainesville. Both of these songs are fantastic, especially the Dikembe one, which is their best yet.
Top jam: "Keys to the Jeep" (Dikembe)

Wish Hotel EP
(6) Wish Hotel EP - Ducktails (Domino)
2013 was quite a year for Real Estate-er Matthew Mondanile. The Wish Hotel EP, which elaborates on the dreamier, funkier sounds of the fourth Ducktails LP, The Flower Lane (released earlier in the year), is a sort of victory lap. As much as I love The Flower Lane, I'm intrigued by how much progress was made even from those songs to these ones. There's a little bit more of a psychedelic element here, and throw in the even beefier production, this EP is sort of reminiscent of Tame Impala, which isn't a bad thing at all. A full length of songs like these could be dangerous.
Top jam: "Wish Hotel"

Double Weirdo 7"
(5) Double Weirdo 7" - Double Weirdo (self-released)
This debut release from Ypsilanti boys Double Weirdo is shockingly stellar. It's been a while since I've been truly excited about an Ypsilanti band, and it feels nice. There's quite an interesting mix of sounds going on here, from folk (finger-picked guitar), garage and post-punk (driving bass and drums), bringing to mind The National and even The Sea and Cake in some instances, but still sounding entirely their own.
Top jam: "Tame Tame"

Their/They're/There EP
(4) Their/They're/There EP - Their/They're/There (Polyvinyl)
Here's the first EP released by Their/They're/There this year. It's definitely better than Analog Weekend, but not really by much, and possibly only because it has more songs. The only thing I'll add is that, man, it's so nice to hear Mike Kinsella playing drums in a rock band again.
Top jam: "Their/They're/Therapy"

I'll Wait 7"
(3) I'll Wait 7" - Husband & Wife (Crossroads of America)
My friends from Bloomington, Husband & Wife, went out with a small bang in 2013. Before the release of their career-spanning b-sides and rarities collection (which I still need to pick up), they put out this little ditty, which features, probably, their two greatest songs. "I'll Wait" is an outright pop/rock jam with Mike Adams' typically catchy melodies and some nice fuzzy guitar leads. "Don't Rush" is a slower, groovier tune reminiscent of Built to Spill at the top of their game, with Tim Felton's best vocal melodies to date and a fantastic, cathartic ending (with some excellent, surprising chord changes to boot). I will miss these guys.
Top jam: "I'll Wait"

Admiral Airwave 7"
(2) Admiral Airwave 7" - Javelins (Suburban Sprawl)
I could spend this entire blurb complaining about how it took Javelins five years to release their first new material (two songs!) since 2008. But, I'll end it there, since "Admiral Airwave" and "Secret Safe" prove that even though they take forever to do anything at all, this band continues to get better. These songs may be a tiny bit darker, but they're still bouncy, and tend to focus more on a repetitive groove rather than intricate structures (nothing wrong with that). There's still the whole MBV-meets-The Sea and Cake thing going on here, but compared to 2008's Heavy Meadows, the vocals are catchier, the bass soars even higher, and the guitars sound more like outerspace and aliens than ever. No one else around sounds like this, and that is quite a feat. The only real issue I have here is the lack of artwork/packaging for the $6.00 I payed for this. The pink vinyl is really nice, but, c'mon, guys!
Top jam: "Secret Safe"

Spring Songs EP
(1) Spring Songs EP - Title Fight (Revelation)
Are Title Fight the best band going right now? Quite possibly. Sure, the Spring Songs EP could be considered a continuation of 2012's instant classic (and my second favorite album of that year) Floral Green, but, it is more than just that. The band is scaling back their punk rock and hardcore tendencies even more to showcase a sound that harkens back to the beardy emo-punk of Dead Reckoning-era Small Brown Bike just as much as heavier classic alternative rock. An interesting thing about the track order here is that each song is better than the previous one, thus the EP ends just about perfectly. Title Fight's next full-length could end it all.
Top jam: "Hypnotize"

2013 Songs

For the third year in a row, I've decided to make two mixes showcasing my favorite songs from albums that either just missed the cut for my favorite albums list or that were from records that I didn't care about aside from this one song. I just wanted to at least highlight these particular diamonds in the rough. These are not listed in order of quality, but in track list order. Here you are:

Part One
1. "Spooky Action at a Distance" - Iron Chic, from Spooky Action EP
2. "Check My Heart" - The Pastels, from Slow Summits
3. "Kids Get Away" - Jamaican Queens, from Wormfood
4. "Man" - Neko Case, from The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You
5. "Do You Remember?" - Radiator Hospital, from Something Wild
6. "Swim and Sleep (Like a Shark)" - Unknown Mortal Orchestra, from II
7. "Here Comes the Night Time" - Arcade Fire, from Reflektor
8. "My Own World" - Eleanor Friedberger, from Personal Record
9. "Rage Flows" - Born Ruffians, from Birthmarks
10. "A Detailed and Poetic Physical Threat to the Person Who Intentionally Vandalized My 1994 Dodge Intrepid Behind Kate's Apartment" - Pet Symmetry, from Two Songs About Cars. Two Songs With Long Titles 7"
11. "Pond Rot" - California X, from California X
12. "Shout It Out" - Mikal Cronin, from MCII
13. "Collector" - I Kill Giants, from I Kill Giants
14. "Once" - Sebadoh, from Defend Yourself
15. "Rebirth" - Yuck, from Glow & Behold

Part Two
1. "Lucky Young" - Someone Still Loves You Boris Yeltsin, from Fly by Wire
2. "Sleepwalking" - Deerhunter, from Monomania
3. "Cat Fantastic" - This Town Needs Guns, from 13.0.0.0.0
4. "Coffee With Pele" - Bars of Gold, from Wheels
5. "Shithead" - Potty Mouth, from Hell Bent
6. "Tight Sleeves" - Destroy This Place, from Destroy This Place
7. "Lux" - Braid, from Braid/Balance and Composure Split 7"
8. "Contractual Obligation" - Into It. Over It., from Intersections
9. "A Tout a L'heure" - Bibio, from Silver Wilkinson
10. "Grind" - Les Sins, from Grind EP
11. "Everything's Fine" - Minks, from Tides End
12. "Graceless" - The National, from Trouble Will Find Me
13. "Worlds Gone Weird" - Crystal Stilts, from Nature Noir
14. "Sorrow" - Frankie Rose, from Herein Wild
15. "Bad Blood" - Owen, from L'Ami Du Peuple

Wednesday, January 8, 2014

Favorite Books Read in 2013

Snow Falling on Cedars
(15) Snow Falling on Cedars - David Guterson (1995)
A beautifully written account of a murder trial and the events leading up to it in a post-World War II northern Puget Sound region of Washington state. I'm not sure if this was intended, but, there is an eerie element of impending doom throughout the novel, so, the (SPOILER ALERT - kinda) pseudo-happy ending is actually a nice twist.

The Tortilla Curtain
(14) The Tortilla Curtain - T.C. Boyle (1995)
I love T.C. Boyle's writing style, even if he gets off track or lost in his own overwhelming detail a little too often. His sixth novel, The Tortilla Curtain, is about the middle class, illegal immigration, poverty and the destruction of the environment. While I did not love it as much as his previous novel, The Road to Wellville, that sense of impending doom  that I love (SPOILER ALERT: and it delivers!) is thankfully present. There are some truly terrifying moments that obviously are difficult to get through, but, are this novel's real strengths.

Revolutionary Road
(13) Revolutionary Road - Richard Yates (1961)
A humdrum novel about marrying and having children at a young age, turning 30, trying to be successful at and care about a job you don't really care about, and then the dissolving of said marriage. A biting, subtly humorous, depressing domestic drama. The monotonous tone fits very well with the subject matter.

World Leader Pretend
(12) World Leader Pretend - James Bernard Frost (2007)
An ambitious story written in an inspiringly unique and post-modern style. Four characters are deeply and obsessively invested in their MMORPG world, and tragic events in their real lives somehow bring them together. Completely unbelievable? Absolutely. Imaginative and really, really fun? Oh, most definitely!

The Visible Man
(11) The Visible Man - Chuck Klosterman (2011)
The voice found in Chuck Klosterman's second novel, The Visible Man, is, without question, very much his. So, this original style of storytelling is much appreciated. The events in The Visible Man unfold via the therapist narrator's recollections of conversations with her newest, bizarre, unlikeable patient, until we are brought into real time, where the climax is unexpectedly shocking. Well played, Mr. Klosterman.

100%
(10) 100% - Paul Pope (2002-2003)
Another insane sci-fi story written in Pope's conveniently simple form and drawn with his fantastic manga-esque flourishes. Not sure which I prefer between 100% and Heavy Liquid.

Ready Player One
(9) Ready Player One - Ernest Cline (2011)
This was a complete blast. Ready Player One is laced with hilarious and truly fun references to some very popular, but, mostly obscure 80s pop culture (television, music, board and video games). Additionally, it tells a highly enjoyable, suspenseful, and intense story with  characters that may lack depth, but are a joy to follow along with. This is a novel for the nerdiest children of the 80s who are sentimental about their childhoods.

Life of Pi
(8) Life of Pi - Yann Martel (2001)
I was pleasantly surprised by how much I loved Life of Pi. It is incredibly captivating for focusing on one character who doesn't interact with another human for 80% of the book. The fantastical moments are understated in an awesome way, and the terrifying moments overwhelm with intensity. And, I am always a fan of the ambiguous, open ending when it is done this well.

Shock Value
(7) Shock Value - Jason Zinoman (2011)
Shock Value documents the history of 70s cult classic horror films, namely the most highly lauded ones like Rosemarry's Baby, The Texas Chainsaw Massacre, The Exorcist, Halloween, Alien, etc. Fascinating stuff, for sure.

Then We Came to the End
(6) Then We Came to the End - Joshua Ferris (2007)
A novel chock full of smart, hilarious office humor. The plot is disjointed, but, that helps the zaniness of the characters (which is the most appealing aspect of the story) to really come out. Reading Then We Came to the End really reminded me of watching those first three seasons of the American version of The Office, minus any sentimentality.

Catch-22
(5) Catch-22 - Joseph Heller (1961)
It's a shame that it took me until 2013 to finally read Catch-22. Also, I feel stupid that I don't think I got the whole effect of the novel, as I read it during a time where I was extremely distracted (lots of travelling, playing shows, transitioning from jobs, etc.). About half-way through, I finally hit my stride in reading it, and this, supposedly one of the great American novels of all-time, utterly terrified me while making me laugh out loud for the first time since when I read Portnoy's Complaint the year prior. This probably should have been the best book I read all year. I regret that I didn't feel that way, and hope to make amends with Joseph Heller when I read it again in a couple years.

Wonder Boys
(4) Wonder Boys - Michael Chabon (1995)
Wonder Boys, Michael Chabon's second novel, which came seven years after his 1988 debut, The Mysteries of Pittsburgh, was a real shocker to me. The Mysteries of Pittsburgh was a nice coming-of-age story with some great darker twists. Wonder Boys is a desperately paced novel about desperate adults making THE WORST decisions. It felt like a lesser Franzen novel in that all the characters were unlikeable, but, also less believable.

The Marriage Plot
(3) The Marriage Plot - Jeffrey Eugenides (2011)
I appreciate when a writer takes his or her time between novels (authors who publish multiple novels in a year, AHEM Stephen King, HAVE to write bad stories all the time, right?). However, Franzen and Eugenides take this concept to a ridiculous degree. The Marriage Plot is Eugenides' third novel. It was published in 2011. His first, The Virgin Suicides, came out in 1993, and Middlesex in 2002. He's averaging one novel per decade. It's stupid to have to wait that long for a novel, especially when the author is this good. Anyway, I feel the public's response to The Marriage Plot was pretty middling. It seemed to be critically acclaimed, but, I've always heard plenty of complaints about it being boring and pretentious. This is crazy. The characters in The Marriage Plot are believable in a very real, attractive way. In some instances within the story, this is incredibly frustrating. In others, it is entertaining and laughable. I lived a very different college life than most people, and the drama and poor choices detailed in The Marriage Plot make for a hell of a read. With all the literature critique thrown in too, I can't say I've read many novels as unique as this one.

Glamorama
(2) Glamorama - Bret Easton Ellis (1998)
Thanks to their disturbingly graphic nature, simply put, it is very difficult to read a Bret Easton Ellis novel. Glamorama is no different, and, in fact, out of all the Ellis novels I've read, might be the greatest offender (and, yes, I've read American Psycho). What Glamorama also has, though, is brilliant character development (no real room for that in his other novels), even funnier dialogue than I'm used to from him, and an amazingly original, complex, mind-blowing plot that never grows tired. I loved this so much, though, it is hard to recommend because of the gore and how messed up and long a lot of the sex scenes are. This would have been the best book I read all year if it weren't for a certain fantasy series I got way into...

A Game of Thrones A Clash of Kings
A Storm of Swords A Feast for Crows
(1) A Game of Thrones (1996), A Clash of Kings (1998), A Storm of Swords (2000), A Feast for Crows (2005) - George R.R. Martin
Holy cow, do I not regret spending roughly six months slowly trudging through the first four books of the A Song of Ice and Fire series by George R.R. Martin. Obviously these books are dense (probably too much so), but every word is worth it. Intelligent storytelling combined with prose that is the right combination of poetic and direct. The twists are many, and always shocking in a fresh way. I can't rave about these four books enough (though I will say A Feast for Crows, due to its lack of focus on my personal favorite characters, is my least favorite so far). I cannot wait to finally read the fifth book in the next couple of months.