Over the past year, these are the 2014 albums I’ve enjoyed the most. (And here’s
1. Wussy: Attica!
Among the many terrific things about this terrific album are the words, memorable little nuggets of real life, lyrics that pull off that trick of feeling poetic without seeming to try too hard at achieving the effect. The first song, “Teenage Wasteland,” seems to be an ode to the joy of listening to rock music — in particular, that classic-rock radio standard by the Who, “Baba O’Riley.” And it deserves a spot on the list of best opening lyrics for an album:
Do you remember the moment you finally did something about it?
When the kick of the drum lined up with the beat of your heart
Stuck in the corn with only a transistor radio
Making paths with the sound waves and echoes in old Baba O oh oh…
Of course, Wussy is considerably less famous than the Who, but this little band-that-could from Cincinnati has made yet another record filled with rock songs that stand up alongside the classic stuff. Wussy is one of those groups with two lead singers, and the way Chuck Cleaver and Lisa Walker switch off on lead vocals is a big part of Wussy’s chemistry.
Thanks in part to the championing of legendary critic Robert Christgau, who has called Wussy “the best band in America,” the group has been getting a bit more of the attention it deserves, including a recent appearance on the CBS This Morning. I chuckled at the way CBS described Wussy: “Despite a record deal, a dedicated following and critical praise, members of the band Wussy haven’t been able to leave their day jobs.” As if that’s anything unusual! (See many of the other musicians on this list.)
2. Laura Cantrell: No Way There From Here
It has been a strong year for female singers — five of them occupy spots on my top 10 list, or 5 1/2 if you count Wussy — but Laura Cantrell’s wonderful collection of old-fashioned country and folk-rock songs went largely unnoticed. Cantrell is a low-key performer, singing her lovely melodies without any grand flourishes. That’s part of what makes her songs such perfect gems.
The key reference points on this album are the Feelies and, of course, the seminal band that influenced the Feelies and countless other bands, the Velvet Underground. That formula is well-worn but far from worn out, as this delightful record demonstrates. Released by the dependable Chicago label Trouble in Mind, it’s the debut of a London group comprising James Hoare of the band Veronica Falls and Jack Cooper of Mazes (the British group, not to be confused with the Chicago group of the same name). The bones of Ultimate Painting’s songs are bare in these recordings, which almost sound like unadorned demos — the best sort of demos, the kind that reveal all the strengths and structure of a song. These tunes don’t need anything more.
Jones has made several great albums of authentically retro soul music since the Daptone label rescued her from a career of obscurity, and this is one of her best. The presence of backup vocals by the Dapettes and the varied, colorful arrangements give the music an added urgency. Jones finished making this record just before she was diagnosed with breast cancer; she successfully battled the disease and hit the road this year for a tour (including a triumphant show April 11 at the Vic), sounding as strong and vibrant as she ever has.
First off, let’s stipulate that this recording can’t capture the full effect of hearing and seeing Become Ocean performed live — something I haven’t been lucky enough to experience. Adams, a composer who lives near Fairbanks, Alaska, writes music that evokes the natural world. And he designed Become Ocean to be performed by an orchestra spatially divided into three ensembles. Each of these groups plays slowly changing chords at its own pace. But even experienced through the two channels of a stereo recording (I haven’t heard the DVD 5.1 surround mix), it’s a beautiful and remarkable piece of music. Adams took the title from a poem that John Cage wrote about the music of Lou Harrison: “Listening to it, we become ocean.” That’s an apt description of Adams’ amorphous and oddly compelling music.
This young singer-songwriter from Columbus, Ohio, belts out her smart, catchy alt-country songs with impressive strength, packing them with yearning and spunk. And her band kicks ass. Among the many excellent tracks on this album, “Verlaine Shot Rimbaud” — a twangy Americana tune about 19th-century French poets — was my favorite song of 2014.
Joe Casey, the frontman of this Detroit group, typically performs in a professorial jacket, intoning his lyrics like a half-inebriated poet. The brooding strength of that voice comes through on record, too. Using the basic tools of a standard rock band — guitar, bass and drums — Protomartyr makes intense post-punk with unusual, distinctive sonic touches, especially those otherworldly guitar lines.
This youthful band from Chicago writes garage-rock tunes with a touch of 1970s glam, cheerfully bashing out catchy riffs and singing with what sounds like a bit of a punk sneer. This debut album isn’t quite as lo-fi as Twin Peaks’ earlier EP, but it still has the highly compressed tones of music actually recorded in someone’s garage. Thank goodness.
Annie Clark, who performs under the name St. Vincent, is an amazing talent: a highly inventive songwriter; a musician who makes daring and unusual production choices; a live performer with the flair of an actress and a dancer; and a guitarist capable of blazing solos. Other than the visual spectacle of her live shows, all of that comes through in brilliant color on her self-titled album.
On her latest record, the former Chicagoan gets more comfortable playing with her band, making music that defies genre labels. But her stunning voice is still at the center of the music — a preternatural force that conveys deep emotion even in the moments when it seems calm and placid on the surface.
With more listens, many of these records might have ended up in my top 10. And I heard another 100 or so albums that I liked — if only I’d had enough to give them more than a spin or two. These are in roughly descending order:
Chad VanGaalen: Shrink Dust
Andrew Bird: Things Are Really Great Here, Sort Of…
Gord Downie & the Sadies: The Conquering Sun
Bob Mould: Beauty & Ruin
Reigning Sound: Shattered
Cousins: The Halls of Wickwire
Bry Webb: Free Will
Swans: To Be Kind
Ty Segall: Manipulator
Nude Beach: 77
Woods: With Light and With Love
Neneh Cherry: Blank Project
Sturgill Simpson: Metamodern Sounds in Country Music
Thee Oh Sees: Drop
Ausmuteants: Order of Operation
Sharon Van Etten: Are We There
Thee Silver Mt. Zion Memorial Orchestra: Fuck Off Get Free We Pour Light On Everything
Jennifer Castle: Pink City
The Skygreen Leopards: Family Crimes
Richard Thompson: Acoustic Classics
Marianne Faithfull: Give My Love to London
Matt Kivel: Days of Being Wild
Mozes & the Firstborn: Mozes & the Firstborn
Outrageous Cherry: Digital Age
Ex Hex: Rips
Spoon: They Want My Soul
Beck: Morning Phase
Lykke Li: I Never Learn
Kasai Allstars: Beware the Fetish
Pink Mountaintops: Get Back
The Soft Walls: No Time
The People’s Temple: Musical Garden
Carsick Cars: 3
White Fence: For The Recently Found Innocent
Lucinda Williams: Down Where the Spirit Meets the Bone
My Brightest Diamond: This Is My Hand
Steve Dawson’s Funeral Bonsai Wedding
Jack White: Lazaretto
New Pornographers: Brill Bruisers
Damon Albarn: Everyday Robots
Jon Langford: Here Be Monsters
Greg Ashley: Another Generation of Slaves
John Wesley Coleman: Love That You Own
The Haden Triplets: The Haden Triplets
Paperhead: Africa Avenue
Tony Allen: Film of Life
Musee Mecanique: From Shores of Sleep
Hookworms: The Hum
Krakatau: Water Near a Bridge
Records I discovered in 2014
Honorable mention goes to a few records from previous years that I discovered in 2014. If these qualified as 2014 releases, they’d have a strong shot at my top 10: