Top 10 Songs of 2011 (So Far...)

Well, we've come to the halfway point of 2011...and in between Charlie Sheen's tiger-blood and the Royal Wedding there was actually some music released. In all fairness I still need to finish two reviews for White Denim and Big Sean before 52 Records will officially be 'halfway' complete. But nevertheless, here are the Top 10 Songs of 2011 in my opinion (so far)...

**I also have all 10 songs mixed down into one 40 minute track -- get in touch if you want it.

1.) Cults - Go Outside

2.) James Blake - Wilhelms Scream

3.) Foster the People - Helena Beat

4.) Bibio - Light Sleep

5.) Toro y Moi - Still Sound

6.) Yuck - Get Away

7.) Cut Copy - Where I'm Going

8.) Givers - Up Up Up

9.) Adventure - Feels Like Heaven

10.) Panda Bear - Slow Motion

WK24 - Cults - Cults (10)

Released - 6/7/11

Label - Sony Music Entertainment

BLURB - Where to begin with this brilliant release from Cults? My prior knowledge of Cults was basically that they were some hipster pop band that people in Williamsburg listened to because it was the cool thing to do. And that their twitter handle is @CultsCultsCults. However, their latest self-titled release has completely blown me away. The album is filled with precise pop concoctions and creates a warm nostalgic glow that is immediately likable. The vocals are pristine, if not angelic, and establish a sincere and emotional tone that is far too inviting. I can't put this album down. This is what pop music in 2011 should sound like.

Rating - 10 out of 10

FULL STORY - As my roommates can attest to, I've been on something of a 60's pop binge lately. I spent last night grilling for four hours and blasting music from The Hollies, The Supremes, Sam Cooke, The McCoys and countless others. There's such a timeless quality to some of these groups and artists. The production, feel, instrumentation -- everything about it has just a fun-loving and relaxed atmosphere. Nobody's ever been around a group of friends and heard 'This Magic Moment' and said -- hey can you skip past this song...I don't like it. And so you can see why this 'style' of music was perfect for a night of summer grilling with some friends. Although it did end abruptly as I finished my tenth beer.

And with this being said, after listening to the new Cults album a few times, I was beginning to pick up some of these great 60's pop aspects that were prevalent on the new record. Much of the music on the album is creatively basic (if that makes any sense). Most songs follow a traditional pop song structure while incorporating stylings of pop music in the 60's such as hook repetition and modulation. There's nothing like a good key change for the final chorus -- it really brings it home. Now, that's not to say this album sounds like The Isley Brothers or The Beach Boys, because it doesn't. But Cults does a terrific job of modernizing some of the subtle pop tendencies from the 60's, and putting their own little indie twist on it.

'Abducted' leads off the album with a collection of xylophone chimes and a muffled acoustic guitar. After this unassuming introduction the drums (and the rest of the music) kicks in with force and conviction. Madeline Follin's vocals are somewhere between singing and yelling, but are filled with passion -- they almost remind of The Crystals' 'Then He Kissed Me.'

'Go Outside' could very well be the track of the year. The main vocal hook of the track is so intoxicating, you'll almost certainly find yourself subconsciously humming it everywhere you go. The hook is also repeated and used throughout the duration of the song creating a great sense of continuity and solidarity. Hooks aside, the tone of the song is bright and warm as faded snare drums, xylophones and guitar riffs provide the backdrop. Melanie Follin's vocals also sparkle as she croons throughout the song:

"I really want to go out. I really want to go outside and stop to see your day. You really want to hole up? You really want to stay inside and sleep the light away?"

The 60's pop feel is extremely evident on the track 'You Know What I Mean.' There is a Dusty Springfield glow to Follin's voice that will make anyone fall in love with it. The song teeters between that of a slow dance song with sudden pulses of intensity and emotion. While the song is somewhat slow and patient, the bursts of energy provide great diversity and keep the track interesting to listen to. I also really don't think Follin's performance can be understated here. It's great to hear someone actually singing a pop song with conviction. None of this Taylor Swift garbage.

'Never Heal Myself' has a distinct, yet subtle charm to it. The song has a gentle tempo and flow that is personified by the soft acoustic guitars which flows towards one of the better and more dynamic choruses on the album. The descending vocal lines against the chord progressions match perfectly, helping to establish not just a solid chorus...but a memorable one.

The incredibly basic 'Bad Things' features slow, distorted piano riffs as Follin offers up a collection of vocal harmonies. I can see how some people would get bored with this track, but I actually like the song for how patient and mellow it is. It's almost as if Cults accomplished more by doing less. I can't imagine this song being any different -- it suits itself.

This album is likely the best straight up indie-pop album I've heard this year (at least so far), and I didn't even mention some of the other gems on the album like 'Walk at Night' and 'Bumper.' The record as a whole is just such a strong display of what a bunch of good hooks, music and vocals can become. I love the simplicity of the album as well -- you don't have to think about it. There is an immediate acknowledgement your brain makes when it hears this record. It's comfortable and inviting -- everything music should be.

Take a listen to 'You Know What I Mean.'

Tracks

1.) Abducted

2.) Go Outside

3.) You Know What I Mean

4.) Most Wanted

5.) Walk at Night

6.) Never Heal Myself

7.) Oh My God

8.) Never Saw the Point

9.) Bad Things

10.) Bumper

11.) Rave On

WK23 - Battles - Glass Drop (6.5)

Released - 6/6/11

Label - Warp Records

BLURB - Over the last few years, Warp has really been at the forefront of putting out new and innovative music. Just a quick look at their roster and you're blown away...Flying Lotus, Grizzly Bear, Bibio, etc. Battles certainly fits this mold of new, progressive and independent music. Honestly though, this record is tough to sink your teeth in to -- at times there is just too much going on. For the most part, the album is digital heavy -- with tons of new effects and noises that catapults Battles into the enigmatic 'experimental' category for me. While some tracks do have genuine appeal and creativity, as a whole the album tends to be a bit much. There's just too many ideas and stuff going on.

Rating - 6.5 out of 10

FULL STORY - 'Africastle' begins the album with dark and ominous tone. Distorted violins are plucked as rolling waves of fuzzed out guitars circle about. The track spends it's first two minutes continuously building and really starts going at about the 2:30 mark. What's missing from this track is a sense of melody and rhythm. There is really no motif as it's just a collection of distorted instruments and effects that never wind up going anywhere. However, this is offset by some of the creative arrangements that are given to the piece -- the song has three distinct sections which does provide for an interesting listen.

'Ice Cream' comes out like gangbusters and has become one of my favorite songs of the year so far. The song opens with a ferocious keyboard and organ battle that turns into a full-fledged war before settling in to a great hook that will serve as the foundation for the track. 'Ice Cream' has a clear direction and energetic mood to it that becomes infectious very quickly. The track also retains something of a rough exterior in part to it's distortion and thunderous percussion. After hearing this, I'm certainly beginning to become more optimistic about the rest of the album.

The third track, 'Futura' patiently builds as a collection of muted guitar chords and strings are bounced off one another. Waves of synths and organs are slowly pumped in, creating a futuristic ambience. Once the atmosphere is set, numerous leads are filtered in, mainly coming in the forms of keyboard and synth riffs. The track, while somewhat dark, retains an upbeat and adventurous tempo. 'Futura' is a great song to play if you're ever on Mars looking for aliens.

'Wall Street' is where some of the album begins to fall off. There is a cool arrangement of noises and effects, but there is just too much going on and at too fast a pace. It's hard to keep up. What initialy sounds like a creative electronica jaunt, quickly turns into chaos. 'Wall Street' sounds like something Flying Lotus would have created if he just drank about ten or twelve red bulls. With that being said, there is still a great energy and ambience to the track, but it ultimately ends up getting lost in its own confusion.

With 'My Machines,' Battles seems to falter again, trying to do too much without ever really accomplishing anything. The focal point of this particular track is the rapid and feverish drumming. It's so much the focal point of the mix, that it ends up taking away from the rest of the track. In reference to the rest of the instrumentation -- the percussion steals the thunder and every other musical element to the song has to play the second banana. Also, with a drum-heavy track like this, it's extremely difficult to establish any kind of harmony, melody or catchiness -- leaving the song treading in it's own waves.

'Dominican Fade' briefly wins me back with a bright display of colors and tones that will transport you to some futuristic beach. The pace is upbeat, the tone is inviting and there is almost a party feel to it...but there's a catch. For whatever reason this track clocks in at 1:49 and is ending just as I'm really starting to love it. Bummer. Luckily, the track segues into the spaced-out and trippy 'Sweetie and Shag.' This track continues on with some of the pop assimilations that were created in 'Domincan Fade,' adding a cool sense of psychedelic haze. The track is somewhat dizzying but remains both listenable and likable.

As a whole, Battles "Glass Drop," if nothing else, is an interesting collection of experiments and sounds that makes you do a little thinking. By no means, is this an album filled with songs and singles -- rather it's filled with ideas, fragments and movements. At times this approach can become a bit overwhelming and chaotic, but there is still some cool stuff buried in there. I'm not sure how often I'll be listening to this album in the future...but it's definitely unique enough to merit a few more times around my iTunes.

Take a listen to 'Ice Cream.'

Tracks

1.) Africastle

2.) Ice Cream (Feat. Matias Aguayo)

3.) Futura

4.) Inchworm

5.) Wall Street

6.) My Machines (Feat. Gary Numan)

7.) Dominican Fade

8.) Sweetie & Shag (Feat. Kazu Makino)

9.) Toddler

10.) Rolls Bayce

11.) White Electric

12.) Sundome (Feat. Yamantaka Eye)

WK22 - Dale Earnhardt Jr Jr - It's A Corporate World (9)

Released - 6/3/11

Label - Warner Bros. Records

BLURB - Well, I've been waiting for this one for a while now. Probably about a year or so. Dale Earnhardt Jr. Jr. came out of nowhere (literally) over the past year, turning into 'must-see' acts at both SXSW and CMJ. Lucky for me, I was able to catch them twice and loved each show. Fast forward to about a year later, the band is signed to Warner Brothers and their first full-length album is finally released. There's actually been quite a few poor reviews for Dale Earnhardt Jr. Jr. -- this is not one of them.

Rating - 9 out of 10

FULL STORY - Perhaps the best part of Dale Earnhardt Jr. Jr. is their light-hearted nature and general quirkiness. I guess you kind of pigeon-hole yourself in to that territory by naming your band Dale Earnhardt Jr. Jr. in the first place. This is a band that dresses up in full NASCAR outfits when they perform live. This is a band that plays each of their shows with a giant american flag and flashing JR lights. This is a band that that is two people playing guitars over a synthesizer and drum loops.

So many have written them off by saying things like the duo hasn't musically matured to meet their hype. "It's a Corporate World" is terribly underproduced and unorganized is another common critique. My argument to that is, you knew what you were getting with Dale Earnhardt Jr. Jr. Forunately, for those that have been to their shows and fell in love with their inane fusion of 60's pop, folk and electronica - this is exactly what we thought it would be. I love the fact that the record isn't as tight as it should be. I love that sometimes there's a thousand things going on.

Lead single, 'Nothing But Our Love' is second on the album and sounds exactly as it does live. A slow and patient ballad that blends arpeggiated synths over finger picked guitars and a clap drum. Sweet. The slowness of the track can be something of a detriment, but the song recovers with heavy bridge of deep synth bass lines and a powerful outro that builds in intensity.

'An Ugly Person On the Movie Screen' once again has low production values and features muffled vocals, which oddly give the track an old-timey feel. Standing out on this track, however, is great bed of vocal harmonies that screams 60's pop. Playing against these melodies are collections of weird noises and sound effects -- which I kind of like, and I'm not sure why. You'll be listening to this track with your feet up on the desk and all of a sudden hear what sounds like a spaceship go flying by. I'm sure this irritates everyone else, but again, it's something that Dale Earnhardt Jr. Jr. would do.

'Simple Girl' is perhaps the folksiest track on the record. Consisting of mainly acoustic guitars and xylophones, there is a bright and airy feel to the track. It's the song you would imagine birds chirping along with. The duo combines standard pop progressions with collections of vocal harmonies and whistles that would suggest this song was recorded in any year but 2011. The lyrics are also very earnest, simple and somewhat endearing:

"She's a simple girl, she's governed by simple pleasures. She won't ever let you meet her family but she'll show you pictures. She's a simple girl and she's got simple emotions. She won't ever let you in, but she wants to keep you in her corner."

'Vocal Chords' sounds like something off of an old Beach Boys album, but with a modern twist of electronica -- if that makes any sense. Once again, the group shows off their inclination to write pop inspired tracks that are filled with vocal harmonies and color. This isn't really much of a surprise though, I mean after all one of the reasons Dale Earnhardt Jr. Jr. broke into the mainstream was because of their interpretive cover of the Beach Boys' 'God Only Knows.'

The most powerful track comes courtesy of 'We Almost Lost Detroit,' a cover of Gil Scott Heron's famous recording. Here the pace and energy are dramatically increased, as opposed to the majority of the album. Distorted guitars and dark riffs illuminate this cover as keyboards and synths are also pumped in. There is a great anthemic feel to the track that just seems to pump you up every time you listen to it.

So, sure, some of "It's a Corporate World" is a little bit out there and weird. It's perhaps something you wouldn't necessarily anticipate hearing from a Warner recording artist -- but it's true to Dale Earnhardt Jr. Jr.'s feel. And at it's core, "It's a Corporate World" is an entirely unique blend of old and new. At any point you could be listening to a song and say -- hey this sounds like a Beach Boys song, only to say -- hey this sounds like a Neon Indian song in the next verse. It's creative, it's fun -- it's simply a clever take on pop music in 2011. If nothing else, it's certainly worth a listen -- I don't think you'll regret it.

Take a listen to 'Simple Girl.'

Tracks

1.) Morning Thought

2.) Nothing But Our Love

3.) Skeletons

4.) An Ugly Person On a Movie Screen

5.) When I Open My Eyes

6.) Husbands (Interlude)

7.) It's a Corporate World

8.) Simple Girl

9.) If It Wasn't You...

10.) Vocal Chords

11.) We Almost Lost Detroit

12.) The Fisherman

WK21 - Givers - In Light (8)

Released - 6/7/11

Label - Glassnote Entertainment

BLURB - Not going to lie here...I've never heard of Givers before this album. At all. I happened to to randomly stumble upon this when I was listening to some new releases a couple weeks ago. I listened to just about 30 seconds of the opening track and was instantly hooked. Givers mixes together equal parts of pop and indie-rock into this very accessible and likable record. Granted, nothing really stands out, but it's an album that I can just put on and know that nothing is going to suck. Which, actually, is kind of rare.

Rating - 8 out of 10

FULL STORY - "In Light" starts pretty much at full speed with opening track, 'Up Up Up.' The track bounces back and forth from electro-rock to afro pop. It reminds me of some kind of a fusion of Miami Horror and Vampire Weekend. The song is wonderfully varied, keeping you on your toes as you're listening. A great example of this is the patient and calm bridge that segues into the full on, in-your-face electric outro.

'Meantime' continues on with Givers' diversity. The track once again, while at a slower pace, moves about like teenager girl learning to drive -- speeding up, suddenly slowing down, going in a different direction. 'Meantime' will remind many people of bands like MGMT, Foster the People and the aforementioned Miami Horror as there is a constant barrage of both rock, pop and dance influences.

'Ripe' brings back the afro pop with some unique percussion providing the foundation for some brightly colored guitar riffs and voicing. The track has a dizzying quality to it, as it just floats about between gentle themes and will then break down into chaotic periods of distortion. At some points, certain portions of the song don't seem to quite fit, but in reality this just makes for a more interesting listen.

There's a bit of a fun reggae feel on 'Ceiling of Plankton.' The group vocals on this track also provide for an almost anthemic and tribal tone, making it hard not to sing along. The instrumentation on this track are also fairly captivating. At different parts of the song there are creative percussion fills, synthesizer riffs and flute solos -- all providing unique compliments to the song as a whole.

Another interesting aspect to Givers is their use of both male and female vocals, and how they go about finding clever ways to incorporate different sets and styles of vocals into each song. The female and slow-building 'Atlantic' provides an elegant display colors as the track is continuously gathering momentum and energy. Once the track crests over the three minute mark, a worldly collection of textures and instruments emerge and all of a sudden you feel like you're at some kind of jungle party. Due to the patient and bright nature of the song, the usage of female vocals provides a level of sincerity that likely wouldn't have been attainable had they been male.

Givers does get into trouble with a couple of their slower songs like 'Go Out All Night,' but for the most part "In Light" far surpasses any kind of expectations I had. There's diversity, energy and creativity throughout this record and it's very easy to recognize. Givers also inadvertently kind of create their own little sub-genre and sound with earthly fusion afro pop, rock and dance, that if nothing else, creates an entertaining collection of songs that actually have something to offer. Fans of bands like Foster the People, MGMT, Vampire Weekend, Fools Gold and Passion Pit should eat this album up.

Take a listen to 'Up Up Up.'

Tracks

1.) Up Up Up

2.) Meantime

3.) Saw You First

4.) Ripe

5.) Noche Nada

6.) Ceiling of Plankton

7.) In My Eyes

8.) Atlantic

9.) Go Out At Night

10.) Words

WK20 - Darwin Deez (8.5)

Released - 5/23/11

Label - Lucky Number Music Ltd.

BLURB - Talk about coming out of nowhere. I had never heard of Darwin Deez before I saw one of my friends post a video of his on their Facebook wall about a month or so ago. To look at Darwin Deez is to look at a hipster doofus. He looks like someone that would be taking a long drag off of his cigarette while standing outside of American Apparel and listening to Animal Collective on his iPhone. But who are we to judge? Darwin Deez, actually, is quite the purveyor of simple and basic indie-pop rock songs, which immediately get jammed in your head. His album is incredibly fun and never tries to be something it's not. It's just good, clean fun.

Rating - 8.5 out of 10

FULL STORY - The album starts off with a bang in 'Constellations.' The track is an uptempo pop song that is upbeat enough to be considered a dance song. The song's instrumentation is fairly DIY as Deez employs both drum and clap tracks for the percussion. And Darwin Deez's guitar of choice...you guessed it - a cream Squier Stratocaster. Whether he's trying to be ironic or he actually likes that guitar I'll never know, but it's certainly a weird (and cool) choice. That was actually the first guitar I ever bought, so it does offer up some great nostalgia points for me.

'The City' is another great track that has a cool rhythm section and remains something of a bedroom production. I guess that's what really kind of gives Darwin Deez this instant unforeseen credibility. He's making these cool, unique pop songs by himself and with probably a $400 budget - but the tracks come out sparkling. With 'The City' there are key and tempo changes and there is a very conversational, yet emotional tone in the way the lyrics are delivered. It almost reminds me of a sped up and happier version of Death Cab for Cutie.

'Up in the Clouds' is probably my favorite track on the album. The hooks and melodies are far too addicting. Once again digital drums are present, along with just Deez's guitar and vocals. As the track builds, more riffs and background effects are filtered in as they build to a chorus that is sure to reel you in. The lyrics are simple enough that anyone can join in, and aren't too deep, which is actually a good thing - because then they wouldn't match the music and production if they were:

"We used to walk up in the sky, up where the air is rarified. We went hand in hand from cloud to cloud, but when I slipped we fell out. I'm sorry I let you down, down to the ground. But who cares now, we could be up in the clouds..."

'Radar Detector' is probably the most uptempo track on the record. It begs the question, how soon before we start hearing some incredible remixes for some of these songs? Almost all of Darwin Deez's album is moderate to uptempo songs with digital drums and simple hooks that could be turned into masterpieces to be played at your favorite late night bar in Brooklyn. 'Radar Detector' also features a unique dialogue of weird lyrics that never seem to get old and I find myself humming to myself all day at work:

"You and I buy star maps and drive my car around Los Angeles. You and I buy star maps and ding dong ditch televangelists. It's only been a week but I know you're mine to keep."

This sense of fun and spontaneity is what really drives this album. The music is extremely under produced and minimal. The lyrics aren't anything out of a Conor Oberst journal. The vocals won't remind you of Adele. But for whatever reason, this album is way too hard to put down. It's just fun, cool, uptempo and filled with energy. It's good music. Darwin Deez definitely kept it simple and didn't try to out think the room - which I can appreciate. Some songs can bleed into others at times, but for the most part this is a solid record that's here just in time for summer. You just gotta hit play and hang out - it will put you in a better mood.

Have a listen to 'Constellations.'

Tracks

1.) Constellations

2.) Deep Sea Divers

3.) The City

4.) Dna

5.) The Suicide Song

6.) Up in the Clouds

7.) Bed Space

8.) The Bomb Song

9.) Radar Detector

10.) Bad Day

WK19 - The Go! Team - Rolling Blackouts (3.5)

Released - 2/1/11

Label - Memphis Industries

BLURB - I've got to say, I was really looking forward to "Rolling Blackouts" from The Go! Team. Granted, I had only really heard one other song of theirs ('Milk Crisis'), but it was amazing enough that I figured their new full length would be just as spectacular. Uhh....guess again. The album is a whirlwind of chaos and noise, for the most part. It kind of reminds me of what Sleigh Bells would sound like if, instead of a two piece, they were a forty piece marching band. The album seems to be moving in every direction, but never really goes anywhere...if that makes any sense.

Rating - 3.5 out of 10

FULL STORY - 'T.O.R.N.A.D.O.' is the most annoying song you will ever hear - this I'm sure of. Placing this song first on the album is perhaps the worst mistake The Go! Team could make. It's all over the place - a sensory overload. I made it threw about 45 seconds before I had to skip forward, hoping none of the songs that followed sounded anything like it. Immediately I was given a terrible impression of the record and couldn't help but feel some bias and pre-judgements filter in as I continued listening.

The second song, 'Secretary Song' was much more bearable, and something I would actually consider a decent song. It's bright and catchy, yet restrained and stays in it's lane. The Go! Team (and especially this track) remind me a little bit of CSS, a band that's grown on me over the years. Like CSS, I could see this track by The Go! Team making it's way into an iPod commercial. It's just cool and fun, and has a great feel to it.

Next up is 'Apollo Throwdown,' which reverts back to some unorganized chaos. Yes there is some melody and hooks here, but the use of so many instruments, synths, bass and group vocals inundates the track making it too heavy to listen to.

I'll admit, the first time I heard 'Bust-Out Brigade' I liked it. It plays like a danceable college fight song, complete with xylophone solos. If nothing else, it's very cool and unique the first couple times you listen to it. But after about the fifth listen, the nostalgia just wears off and it just settles in as this trombone-laden instrumental that goes nowhere and bores you to death.

'Voice Yr Choice' has this awesome (albeit brief) lead that sounds eerily Grateful Dead-esque. Surprisingly, this is one of my favorites of the album. For the most part, their overused horn section is subdued, allowing for other keyboard and vocal melodies to take the foreground. The song has a weird pop quality to it, while also coming off as energetic and diverse.

Random tangent - in my spare time I'm always making these hour long mixes for the gym. I press play, work out, and then once music is done...I'm done. But for the most part I always put obscure dance music on there that has a good beat and is different. I only say this because I think I'm going to put 'The Running Range' on my next one. That's not to say that I like the song, but if you listen to it, it just has this really cool beat that blends together a bunch of genres and has a great deal of momentum and movement. The track only has a few lines of lyrics, but the song is catchy enough to keep you interested for the three minutes and change that it runs.

"Rolling Blackouts" is probably one of the bigger disappoints this year, though. I was hoping for something like Sleigh Bells meets CSS, but got my high school band on Red Bull and Pop Rocks. The album is difficult on the ear drums and, and for the most part, lacks the hooks and melodies that would keep me interested. There's maybe a song or two on here that are worth checking out, but overall I wouldn't recommend going out and buying the album.

Have a listen to 'Secretary Song.'

Tracks

1.) T.O.R.N.A.D.O

2.) Secretary Song

3.) Apollo Throwdown

4.) Ready to Go Steady

5.) Bust-Out Brigade

6.) Buy Nothing Day

7.) Super Triangle

8.) Voice Yr Choice

9.) Yosemite Theme

10.) The Running Range

11.) Lazy Poltergeist

12.) Rolling Blackouts

13.) Back Like 8 Track

14.) Headache in My Heart