Colt's Hipster Bull**** Awards, 2011 - everything done; 40-2 on p. 1, #1 on p. 3

Aye Aye Aye in the trap! aye! 

So some of you may recall my 2010 list. When I find it, I'll link it here.

First some background. I'll be posting my top 40 albums & top 20 songs of 2011. A few surprises as well...probably a dissapointments & surprises list as early as tomorrow. stay tuned sluts. 

Major Disappointments

Drake's Take Care
I don't expect much from Drake on the regular, but records like this continue to tease me. When Drake wants to, he's damn good. When he doesn't care, he sucks. Of course, Drake shows just enough potential to make me want his next album...and probably makes it suck just enough for me to fill just as unfulfilled as I did with this record.

 
Beirut's The Rip Tide
Beirut just has to do better. This album is bad, man.


Radiohead's King of Limbs
I don't wait four years for 8 songs. Especially when most of the songs suck. Thom Yorke needs to keep his solo career out of Radiohead endevaors from now on


Pharoahe Monch's WAR
Flows were weak, production was weaker, Pharoahe has officially fell of...if his last album was any indication this album certainly is. It's funny how he can be devil's child on "Internal Affairs,"but preach about baggy jeans a few LPs later. Old man soundin' type ninja


Bon Iver's self-titled record
I'm not sure if I should call this Bon Iver or Sting.

Biggest Surprises

J. Cole's "Sideline Story"
After refusing to pay attention to any J. Cole since The Warm Up, I was pleasantly surprised with this album. You won't see it in my top 40 but it barely missed the cut...and shows that Cole still has quite a bit of rapping left in him.

The Weeknd's 3 mixtapes
Who is this guy & why is he so damn good?


Wavves, "Life Sux EP"
Hearing that they were getting MTV play & a huge push from MTV was disturbing. Hearing Nathan Williams had signed on to create a soundtrack for one of their shows was even scarier. Luckily, they're still capable of releasing good music.


Frank Ocean's "Nostalgia, Ultra" 
Is this guy really a part of OFWGKTA? I don't believe it

Big KRIT's "Return Of 4 Eva"
I wasn't convinced he was great on Krit Wuz Here. I am now.

SONGS, HONORABLE MENTIONS

Some songs that just didn't quite make it... 

ADELE - SOMEONE LIKE YOU
THE UNTHANKS - "QUEEN OF HEARTS"
FLEET FOXES - "HELPLESSNESS BLUES"
GRITTO FRITTO - "INVISIBLE COLLEGE"
ATLAS SOUND - "MONA LISA" 

TOP 20 SONGS 

20. True Widow - "Skull Eyes"

Sounds like: Low covers by a much heavier band 

True Widow's "Skull Eyes," was the record that made me download this album. "Skull Eyes," is so damn good because Nikki Estill is a much better singer than Dan Phillips (the normal lead singer.) I just wish the band would make give her more freedom to take control as a lead vocalist.

19. tUnE-yArDs - "Bizness"

Sounds like: Afro-centric world beat pop.When my sister heard me listening to this song she thought I was listening to some "African ****." I kid you not.

Just typing that name pisses me off. Stupid upper lock & capital letters. Stupid pitchfork hipster hype. Hate aside, "Bizness," is a fantastic song that would make anyone give tUnE-yArDs afro-centric "whokill," a listen. It's just a shame the rest of the album wasn't nearly this good.

Sidenote: watch this video! the first minute or so with the little girl is absolutely hilarious.

18. Juicy J - "Who Da Neighbors?!?!"

Sounds like: The theme song to get ****ing hype to with your boys

"My mansion sittin' on forty acres...who the neighbors?!?!
Kobe Bryant from the Lakers! now that's paper!" 

I first heard this song in August in a house some friends and I rented out in New Jersey. Two of my friends and I enjoyed jumping up and down drunk out of her minds while listening to this. Months later, I still find this to be one of the easiest songs to hype me up...even if Kobe Bryant isn't my neighbor.

17. PicturePlane - "Techno Fetish"

Sounds like: Heavy lo-fi electropop. Think the Pains Of Being Pure At Heart if they met Pavement during their peak...at a massive rave where everyone is tripping balls.

Pictureplane may not have all of the answers on their inconsistent "Thee Physical," but they sure have a few of them. "Techno Fetish," though, is the type of electronic record that's poppy enough to appeal to fans of bands like Friendly Fires & Foster The People, but heavy enough to maintain my interest.

16. The Coathangers - "Johnny"

Sounds like: These girls purposely trying to suck, yet sounding brilliant in the process.

I love when The Coathangers get heavy. These punk darlings are at their best when drummer Stephanie Luke (and occasional lead singer) is screaming her head off while lead guitarist Julia Kugel is screeching in her annoying cheerleader voice. Surely they won't appeal to everyone but if you take them for what they're worth they're a damn good band.

15. Wavves - "Nodding Off" feat. Best Coast

Sounds like: Exactly what you'd expect a Wavves song to sound like with Best Coast backing vocals for good measure.

Wavves & Best Coast were the surf pop/punk bands of 2010. Both released similar, simple LPs that received surprising amounts of critical acclaim. Considering both bands reminded fans of each other it was no surprise when the two teamed up on Wavves recent EP. This song about unrequited love is about as good as I can imagine a collab between these two bands being....but maybe the two have something better up their sleeves? Lets hope. 

14. Real Estate - "It's Real"

Sounds like: The perfect pop record

I think this may be one of the most infectious records of the year. I play this when I'm happy...when I'm sad. I don't need a reason for it, I just like hearing it. Real Estate may be the northeastern Fleet Foxes of pop with their harmonies and layers upon layers of instrumentation.

13. PJ Harvey - "The Words That Maketh Murder!" 

Sounds like:  Everything you need to know about the latest PJ Harvey record

"I've seen soldiers fall like lumps of meat"

PJ Harvey holds no filter on "The Words That Maketh Murder," a song about war crimes & upholding justice. What's so engaging about this record is that she has no problem saying exactly what she sees. It's one thing to explain something and say it's wrong. It's always more efficient to show it and allow the audience to interpret if it's wrong. I think Harvey displays the latter beautifully on this record. 

12. A$AP ROCKY - "Trilla" feat. A$AP Twelvy & A$AP Nast

Sounds like: Houston production with South heavy flows from the A$AP crew

I think the most ironic part of this song is that despite being the best song on this mixtape it's not produced by Clams Casino. For me, that says two things: Beautiful Lou did a wonderful job on the beat & A$AP and co. did an even better job making this sound better than any track produced by Clams Casino. 

11. Drake - "Cameras" 

Sounds like: Drake teasing us with his potential on an album that could have been much, much better

I don't expect much from Drake on a regular basis, but this is the type of record that makes me pick up his new releases. Drake's latest album is about 10 songs too long, but the 10 songs that are album worthy are records that belong on a ****c record (case & point: this.)

What makes Drake so good on certain songs is varied flows, tight lyrics & extended use of that R&B sound he's so good at complimenting. It's not that he doesn't attmpt this on "Take Care," he just doesn't do it as well as he can. 

10. Anna Calvi - "Love Won't Be Leaving"

Sounds like: The best song on the best "dark female vocal" record of 2011. Combines soul, pop and goth in one.

Calvi is a real wonder in my eyes. A 30-year old fox that makes some of the darkest and hauntingly beautiful music these ears have heard in some time. On "Love Won't Be Leaving," Calvi is never complex or pushing the limits. She hardly ever does that, really. She's just being herself, which is probably the most interesting part about her. She cloaks herself in this mist of secrecy and it breathes in her music. It's what keeps her so damn interesting.

9. Jay-Z & Kanye West - "Ninjas In Paris"

Sounds like: The other song that makes my friend and I bug out while pregaming

Case & Point: This is the best song to get hype to. I don't really need another reason to post about this song. If you don't think so, then tell me why Jay & Kanye perform the song 6 times at concerts and the crowd still goes insane. Yeah...

8. Little Scream - "The Heron & The Fox"

Sounds like: Sad folky pop record reminiscent of winter

"I told the stripper at the bar that the shots we got were magic, 
'make a wish and they'll come true'... 
as she smiled her golden tooth glinted in the light, 
and I wonder what she wished for. I just wished for you."

I think this may be my epically sad song of the year. Nostalgic in words, but sad in nature this song is from a person who's invested years in a relationship only to watch it crumble to pieces. One who's almost defined their life by their relationship only to feel lost afterwards, because that's what their life was...the relationship. This song is a cold, yet very real representation of a heartbreak...one that I've seen firsthand.

7. St. Vincent - "Dilettante"

Sounds like: Pop goddess in simplistic setting with loud juxtaposed guitar

I know that most people are jumping up and down over songs like "Cruel," and "Surgeon," off the latest St. Vincent record. For good reason too...those records are damn good (both of which almost made my honorable mentions list.) For whatever reason, I've always found this record to be the real highlight of this album. Soft song and beautiful vocals with probably the most haunting guitar on all of "Strange Mercy." Maybe I'm just a sucker for cheap thrills of juxtaposition, though...

Side note: I really love this song for calling out hipsters & pretentious humans in general

6. James Blake - "Wilhelm's Scream"

Sounds like: Dubstep fused with soul

It was always weird to me how someone can mix soul and dubstep on a consistent basis and still create good music. In theory the two don't seem to mix at all. Blake however, has found a way to make the fusion as effortless as possible. "Wilhelm's Scream," is the perfect example of this.

5. Egyptrixx - "Naples"

Sounds like: Tropical paradise in dubstep form

The way Egyptrixx producer manipulates his synthesizers is really something wicked. They echo and scream, allowing this sonic interpretation of basic sounds. While most of "Bible Eyes," includes the grittier synthesizers, songs like "Naples," allows a softer more tropical feel. From 2:05 to 2:21 is probably the best 16 seconds of music I've heard this year.

4. Yuck - "Get Away"

Sounds like: 90s revival band done right

"Break it down...then break it up again!"

I've been pretty critical of Yuck for how much they blatantly rip off Dinosaur Jr...but I can't deny how ****ing good this song is. I like how they mention that they're a rip off band on this record too. At least they're self aware, even if it's in an ironic way.

3. Big KRIT - "R4 Theme Song"

Sounds like: Pimp C in his prime

Listen to that beat and tell me KRIT isn't talented as ****. Now listen to this dude spit and try to say the same thing. The south doesn't need KRIT to be relevant, evidenced by other coasts biting from the south's **** but it doesn't hurt to have KRIT on their team...that's for sure.

2. Smith Westerns - "Weekend"

Sounds like: Glam rock by young, talented relatively immature band

You ever just like a song but can't come up with anything besides mundane and stupid reasons behind it? I like this song because I like it. I like this song because it's always relevant. I like this song because it reminds me of my teenage years.

Of all the mundane and stupid reasons, I think that last one is the most true. The music video pays homage to walking around and doing stupid things with your friends (often before anyone had a license, of course.) What I find great is that these guys, who aren't far removed from high school themselves, really capture that pre-license era in both song & video. Effortlessly that opening rift reminds me of high school and though those aren't the best years of my life the nostalgia is well worth the listen.

1. The Weeknd - "XO"

Sounds like: The darkest most nocturnal contemporary R&B track of the Weeknd's incredible discography

"I love it when your eyes are red
Ah yea, are you on my cloud yet?
Cause I got a brand new cam, can we video feed, can we POV?
Oh, I...wanna catch you at your best,
When your hair's a mess, you look so depressed
and you're filled with regret and you feel like you gotta go home
Ohhhh

Cause these nights pass, so much quicker then the days did
Same clothes you ain't ready for your day shift,
But you up you need money for ya' face lift,
Lust over love...is ya mindset?
Waken up with most of ya' side wet
Another room, you hear your mom cryin'
Cause she found your bag stuffed in the laundry
And the Bacardi from the last party

If they won't let you in, you know where to find me
And if you wanna go again...you can always call me
Cus all we ever do is love, open up ya' mind you can find the love
Girl you ain't alone...we all been alone
Baby just be honest"

The Weeknd has probably put out enough material this year for a successful career. Let alone one year of work. With "XO // The Host," he talks about making some girl dependent on his drugs only to mock her in the process because she needs him so much more than he needs her. It's the perfect story of taking advantage of someone, something so many people do to each other by use of drugs or what have you. 

HONORABLE MENTIONS, TOP ALBUMS

Surf City - "Kudos": A good record that just barely missed my top 40.

is this cover appropriate? orlando?

PJ Harvey - "Let England Shake": Critically acclaimed for its craftsmanship and subject matter, I just never jumped on the bandwagon for this record like everyone else did.

Big Sean - "Finally Famous": Underrated debut from a rapper with a decent amount of potential.

M83 - "Hurry Up, We're Dreaming": Probably better suited as a single album than a double album 

 TOP 40 ALBUMS

40. Girls – "Father, Son, Holy Ghost"

 

Sad pop music with multi-layered harmonies often appeals to me. These guys never have. Until now. I really liked this record. I love its variability in both topics and sound. "Honey Bunny," is a fantastic first single. "Saying I Love You," showcases an uncanny amount of craftsmanship. "Vomit," is about as real as it gets after a breakup. There are some real winners here–and then some big, overly drawn out losers. Owens wrote three songs about his mother. While some people are endeared by this, I really find the subject matter boring. Maybe I just don't care about his personal life or back story in the Children of God cult. I really don't care for over 1/3rd of the album being dedicated to forgiving his mother.  I clearly don't empathize with the story. But that shouldn't deter others from giving this record a listen. Other clearly sympathize with Owens more than I do.
Honey Bunny
Magic
Vomit

39. Lykke Li – Wounded Rhymes

Lykke Li's debut record never caught my interest. I always felt she had potential, but I was often bored with her. Then this record hit me like Denzel Washington at the end of Training Day. Gone was the cutesy, innocence of her first record. Arriving was a woman going through hell. Her voice is full, her production never tighter, her emotions on full display.  On the one hand, she's telling you about her sexual desires ("Get Some"), the other is embracing her own emotions ("Sadness is a Blessing.") Don't take her emotions for sadness though. She's not quite sad. She's gray and looking for the right shade to fit into. That's a feeling everyone can understand.

Get Some 
I Follow Rivers
Sadness Is A Blessing

38. Wild Beasts – "Smother"


This was my introduction to the Wild Beasts. I wasn't disappointed. These guys do a lot of things that I love–multi-layered harmonies, catchy melodies and beautiful lyrics. In a perfect world, this would compete for my top record of the year. But it won't. These guys are good–they have some fantastic ideas. They just don't execute them as well as I'd like. When you hear records like "Reach A Bit Further," or "Loop The Loop," and compare them to the rest of the album there's a stark difference in quality. Until these guys give some form of consistency, I can't endorse this record as much as I'd like to.

Reach A Bit Further (live)
Loop The Loop (live)
Bed Of Nails

37. The Weeknd – "Echoes of Silence"

When "House Of Balloons," came out I was impressed. Not head over heels obsessed like everyone else in R&B land were, but about as impressed as I've been with any R&B artist since The-Dream's first album. We now have The Weeknd. Three mixtapes later, he is the savior of R&B. This, the final one of the trio is definitely the most evolved of the bunch. The production is nearly as tight as "Thursday," and it's coupled with the dark affair-driven lyrics of "House of Balloons." I won't call this The Weeknd's best effort. But it contains some of his best songs to date. Considering his discography that spans less than 12 months, that is quite the accomplishment.

XO / The Host
Outside
Intiation 

36. White Fence – "Is Growing Faith"

White Fence is a kick back psychedelic folk band. They sound very 60′s and in this case that's not necessarily a bad thing. Truth be told, I hate bands that sound like carbon copies of bands from years ago. Yuck pisses me off. Sleepy Sun, for the most part, pisses me off. I like White Fence because they're able to take an old ****and bring it to a new generation while still sounding like their own band. These guys are smart and really growing into their own. It's what makes them stand out. It's also what makes the name of this album so ironic.

Sticky Fruitman Has Faith
Get That Heart
When There Is No Crowd 

35. Battles – "Gloss Drop"

Am I the only one that still enjoys these guys? Sure, they lost their vocalist, but their music was never entrenched in vocals. Not to mention math rock (well, if you're considering them that) usually doesn't have vocalists. I came into this album on a whim. What I received was something much better than anyone is giving it credit for. Considering what made these guys great on Mirrored (fantastic drumming, incredible instrumentation) there isn't much missing from this record in comparison. The record isn't as dark as the previous one, but I welcome happy records. The guest vocalists never dissappoint and the songs without vocalists often hold their own. Do songs ever get as awesome or epic as "Atlas." Well, no. But asking for 11 or 12 "Atlas" type songs would be asking for a lot of any band.

Ice Cream feat. Matias Aguayo
Dominican Fade
My Machines feat. Gary Numan 

34. Nat Baldwin – "People Changes"

When I first saw this album I thought "attractive cover art." Now all I think about is how different this record is than probably everything in this list. You usually don't find one-man band's fronted by a bass player. You usually don't find such ****ty cover arts either. For a bass player, Baldwin sure does employ quite the imagination. Some real unique sounds as well. "Weights," is something you'd hear right before the tiger pounces on the gazelle in the wilderness–chaotic in nature but tense, as if the big moment hasn't quite happened yet. Or maybe it already has and this is just the after effect. What's funny is that most of the songs follow this tense & chaotic formula. It's not that there's some telling story behind the entire album. Something every song can blanket under. This isn't "Kid A." It feels more like every song is a short story of educated chaos. Like watching settlers take out Native American tribes one by one over seven songs. Like where Ryan Murphy plans to take American Horror Story's ever-revolving cast and story. And every time the story ends, the resolution is clear: something terrible just happened and our narrator hurts.

Weights (live)
The Same Thing 

33. Julian Lynch – "Terra"

"Terra" is the grounded follow-up to last year's remarkable "Mare." The album title is true to the sound. It feels like earth. Like constant nomadic trucking. If there was music to walk to, or music to trek to an unknown town this would be that music. That's not to say this music tends to have a goal–walking doesn't have to have a destination, it just means you're walking. It's the uncertainty of where you're going that's so damn charming.

Lynch is quiet and soft without some kind of statement. No sadness, no intensity, just atmospheric backyard music to listen to on a Sunday afternoon. While laying in your backyard on a Sunday afternoon may sound completely contradictory towards my 'nomadic trucking' statement earlier it really isn't. They both take heed to this level of uncertainty–this lack of a true goal, a message that Lynch creates so well on so many of his records. As if there is no music–just exactly what you'd expect to play at this point in the journey.

On Eastern Time
Canopy
Clay Horses 

32. Clams Casino – Instrumental Mixtape

Clams Casino is cloud rap producer extraordinaire for Lil' B and co. and I say that with the utmost respect for both Casino and Lil' B. Casino has really made a nice wedge in the music scene for him. His cloud rap ****has every hip hop head looking for his production and he's really made a name for himself by recently branching away from solely producing for Lil' B. His undying alliance for Lil' B is admirable (I personally love Lil' B) but it goes without saying that the biggest and most well respected producers often branch out. I just wonder if he becomes hip hop production superstar or underground producer that works with only a handful of artists. I suppose time will tell.

Numb
Motivation
Illest Alive

31. James Blake – James Blake

I continue going back and forth with this album. Every time I look at it in my iTunes I think to myself 'I have no idea why it's so high in my rankings.' Then I listen to it. Position justified. 12 plays or more on each song, I still feel like this record deserves more of my time. Inevitably, here it is on my end of the year list. I never thought I could like a dubstep-soul fusion record. While I enjoyed the dubstep portions I recall this record severely lacking on the soul portion. As if it would have sounded much better if Blake wasn't a soul singer. Then I re-listen to gems like "Wilhelm's Scream," and wonder just how dubstep-soul fusions aren't commonplace.

Wilhelm's Scream
I Mind
I Never Learnt To Share

30. Weekend – "Red EP"

Weekend is a nice little band a member of Footballsfuture put me on to last year. Their debut LP, "Sports," received a considerable amount of play in the earlier part of 2011 making their "Red EP," a must for my collection. The EP doesn't disappoint. It works on, mostly, the same formula the original LP did. That is, a lot of reverb, noise,  psychedelia in the form of shoegaze and a bit of 90′s revival for good measure. Songs are probably a bit catchier on the EP, but considering the best records from their LP were catchier (see: "Veil" or "End Times") this isn't a bad thing. Weekend is clearly more inclined to do what they're good at and I'm not opposed to sticking to the same formula. She & Him made a marvelous near-****c record in my eyes by making a similar, but much better sophomore record than their debut. Who's to say Weekend can't do the same thing?

The One You Want

29. Beach Fossils – What A Pleasure EP

The latest Beach Fossils record is exactly the improvement I hoped to hear from these guys. Let's be honest–that debut record was overrated horse poop. For all the good ideas it had, there was some pretty poor execution. Summer pop music had never sounded so off the mark. Here, that 'by the beach' sound they were going for hits. It hits hard too. Not in a 'let's go down to the beach and party!' feel but more of a late night beach rendezvous. You and a few buddies at the end of the night with a beer. You and your girl sipping vodka. You by yourself thinking about your girl.  It's a record you can fool around with you girl to, but also a record you can lust over her about. All with the sand between your toes.

Fall Right In
Face It

28. Frank Ocean – Nostalgia, Ultra.

For a band so intent on being as obscene and ridiculous as possible, it's nice to know there's still grounded musicians in OFWGKTA. Ocean's debut record has received critical acclaim, and national attention. Superstars have taken notice, featuring him on multi-platnium records this year. It's safe to say Frank Ocean is one of the next big things, not just for his work in Odd Future, but for his work as a solo artist as well. Hats off to him. Seriously. Oh, and did I mention, he's pretty damn talented too? He's not The Weeknd when it comes to R&B. His production isn't astronomically out of this world. His lyrics aren't mind-blowing. Looking back I really don't know what drives me to this record. Ocean just knows how to put a good tune together…and then some.

We All Try
Strawberry Swing
Dust 

27. Washed Out – "Within & Without"

What I hate most about this album is its inconsistency. What I love, is when this album gets sexy. I love songs like "Echoes," because it reminds me of hitting the venues with my friends and dancing. I really feel songs like "Far Away." It feels intimate, seductive and lustful. The beautiful woman across the bar with the black dress. The girlfriend whom you're making love to. Or not making love to. This is lust, but this is mature and for me this is interesting. The highs on this album are really high, amongst my favorite of the year. The filler isn't bad…it's just not good, either.

Far Away
Echoes
You & I

26. Fabolous – "The SOUL Tape"

I have consistently underrated Fabolous. Since his debut record, he's been hit or miss with singles and sometimes I live and die by what you're showcasing as the theme of your album. This thought process works for some singles (She & Him's "Thieves") and doesn't for others (Red Hot Chili Peppers' "By The Way.") In recent years, Fabolous has really caught my attention. "Loso's Way," was one of my favorite records of 2009 and his mixtapes have been nonstop heat ever since. Production always on point. Lyrics and delivery as sharp as ever. Flow as effortless as it's ever been. This was always his selling point, but he's really perfected that nonchalant attitude on his most recent releases. "The SOUL Tape," is more of the same with an emphasis on *surprise, surprise* soul heavy samples in the production. It's a great listen too, by the way.

Really Tho
In The Morning
Y'all Don't Hear Me Tho feat. Red Cafe 

25. Cut Copy – "Zonoscope"

Let's get one thing straight. "Zonoscope" is NOT "In Ghost Colours." That's the first mistake I made with this record. That's the mistake most people make with this record.

Going back to Cut Copy's first record, they've always tried to do something new and different and have often succeeded. "In Ghost Colours," was a masterpiece–amongst the best albums of the last decade. The perfect happy-go-lucky dance record. "Zonoscope," is a bit of a darker record. There's definitely a bit of funk here. A little mystery even. Songs are driven by some really heavy drum/bass combinations that really adds to this dark, funky sound. I find myself often reminded of those old Donkey Kong Country games when listening to this, but that's not a bad thing (I actually really love those old soundtracks.)

Those signature Cut Copy synthesizers are still intact which makes it all the more easier to find some connection between their previous LP. This isn't that instantly satisfying record, but those that stick with it should be more than pleased.

Blink & You'll Miss A Revolution
Corner Of The Sky
Take Me Over 

24. Austra – "Feel It Break"

How was I supposed to know this was the year of the dark, enchanting female vocal? Austra is a dark wave/electronic/gothic band with a really killer female vocal and some really moody themes. The band is pretty formulaic in hindsight–let lead singer take over with that enchanting vibrato and throw some synths and keyboards in each song. It's a damn good formula though, mainly because lead singer Katie Stelmans is just so damn good.  Stelmans gets really, really loud and sounds frightening sometimes which is a nice contrast from a lot of the other dark, mysterious female vocal bands. She's never overpowering, but just enough to let that angelic voice fly. Definitely a band I look forward to hearing more from.

Lose It
Shoot The Water
Spellwork (live)

23. Mouse On Tha Track – "Swagga Fresh Freddie"

Trill ENT is shaped a lot like the old Cash Money. A small clique that often raps together, produces a few albums a year and has one major in-house producer. Two differences: Trill ENT has never been as big as Cash Money & in-house producer Mouse is FAR AND AWAY a better rapper than Mannie Fresh.

Mouse's debut mixtape is about as good as it gets. This record is incredibly consistent and stays true to the Trill ENT name. There's some of that incredible bounce beat production you've come to expect and an all-star list of Trill ENT guest verses. Mouse doesn't disappoint either. He's engaging and witty. He's really funny at times. He's oozing with charisma. My only real gripe is having the original "Turn Da Beat Up" on here instead of the remixed version with Trill ENT All-Stars.

Unwind feat. Shell & Foxx
Bizness Is Bizness
Friends feat. T Mck

22. True Widow – "As High As The Highest Heavens & From The Center To The Circumference Of The Earth"

True Widow has this really heavy, slowcore sound to them that reminds me a lot of Low (that first sentence may completely engage you to read more, or make you skip over the entirety of this blurb.) They're built a lot like Low and they do a lot of things I like–play slow, utilize female vocals, an ability to get excruciatingly loud. The songs are long and drawn out and the vocals are oft drowned in a heavy amount of distortion and noise. Occasional inconsistencies (and a lack of utilizing the female bass player as a vocalist more!) pisses me off but for noise rock (or shoegaze, or whatever they're calling this record–I'm calling it loud) you can't go wrong here.

Skull Eyes
Night Witches
Wither

21. TV On The Radio – "Nine Types Of Light"

I'm a huge TV On The Radio stan, I must admit. I love just about everything that these guys do, and their criticisms from more objective listeners often are seen as minuscule blabbering in my eyes.

That being said, I love this new TV On The Radio record. A lot of people complain about a lack of cohesiveness, but I've always found this criticism ridiculous. A cohesive record can be just as lame as a non-cohesive one. Think about it. How many 'cohesive' records end up sounding the same on every song. How many 'cohesive' records follow one or two formulas and stick with them? A non-cohesive record could still have a great collection of songs even if they don't 'fit' together. So yes, this record isn't cohesive. There's a good portion of slow songs and a good portion of quicker, funkier songs. I think Anthony Fontano of the Needle Drop compared it to heavy metal being played at fancy restaurant with your girlfriend (or something to that extent.) He's right. There's a lot of different stuff going on in this record. I like all of it…still. It shows what TV On The Radio are…what they have been…and naturally what they've become.

Repetition
Will Do
New Cannonball Run 

20. The Unthanks – "Last"

The best way to describe this is theme music for a Shakespeare tragedy. The Unthanks are a neo-****cal folk band with a stark romantic feel to their tunes. Most of the songs have a dark undertone, often present via lush strings & trumpets. These stories are of heartbreak and tragedy and they're real timeless works of art. Something that 200 years from now will still be appreciated for what it is, not what's popular. The original music highlights the album, but there's some really great covers on here as well. The King Crimson cover of "Starless," still gives me chills.

Queen Of Hearts (live)
Starless
Last 

19. The Coathangers – "Larceny & Old Lace"

I hate most all-female bands. They all sound the same, and make the same noisy pop music to deter from their inability to just make good music (or play their instruments well.) What's ironic about most of these bands is that they take themselves so seriously and still suck. Enter The Coathangers–a joke band that takes itself as seriously as Lil' B. Ironic? Sure. But these girls kick some serious ass when given the chance. Take first single "Hurricanne," a satire about doing what you want and not giving a ****. Or "Johnny," a song about a man the women are pissed at. They get loud & brash, they're off beat on purpose, their lyrics are bare & straightforward, and it's all completely brilliant. Hearing these girls live actually made me love them a LOT more.

Johnny
Hurricane  (still my favorite music video of 2011 – MASSIVE crush on lead guitar & keyboards)
Sicker! 

18. The Weeknd – "House of Balloons"

The Weeknd's second stint on my list and his most applauded record to date, "House of Balloons," marks a stark recap in exactly what music in 2011 was about. I honestly categorize this year as a year of moods and mystery and nobody built this atmosphere quite like The Weeknd did. From his introduction to the world (weren't details of his life unknown until only recently? Like, after that Drake co-sign during the summer?) to his music, he's been riding on cloud atmosphere. It works for him, too. Though "House of Balloons," is his least advanced production, it's also the darkest and moodiest of all his records (less is more, I suppose.) You leave the record feeling dirty, but grounded…something the other records didn't really aim for.

I always come away with a locality feeling when I listen to this record. I feel like the things that Tesfaye talks about on this record have not only happened in my town, but I'm hearing it straight from one of my friends. I'm watching it as he taped the whole thing, recorded it on video or kept us updated via Twitter. Future projects, while still amidst in the party & drug life never hit this locality feeling (though future records did remind me of similar situations–it's just instead of hearing about the girl down the street taking drugs & cheating on her husband, I'm getting firsthand knowledge of someone I don't know doing the same thing in a distant state or country) For The Weeknd, sometimes the party life is over-the-top; see "Thursday" or "Echoes of Silence." Other times, it's right downtown; see "House of Balloons."

Loft Music
Wicked Games
The Party & The After Party 

17. Wavves – "Life Sux EP"

Wavves is on a path that few indie bands enjoy. Not only are they critically acclaimed, but they're getting a huge push into the mainstream from MTV (creating a soundtrack for a new MTV show will do that for you, I guess.) I haven't seen MTV push a band in so long, but I won't say it's surprising to see Wavves get this sort of push. I've always believed they were mainstream enough to get some major push on radio if given the correct medium…yet still indie enough to be critical darlings.

The "Life Sux EP" is probably their most consistent record yet which is a good sign for their coming mainstream appeal. Also included is the most expected collaboration of the year as Wavves teams up with Best Coast on "Nodding Off."

Nodding Off feat. Best Coast
Poor Lenore  

16. Real Estate – "Days"

Sometimes I like to sit around and act like an album isn't as good as it is. Occasionally I like to go against critical acclaim to seem different from the pack. I tried my best to deny this record. I tried my best to deny quite a few records, actually.  This album was just too damn good though. So simple and delicate, so beautiful and perfect. I remember liking their debut A LOT, but never wanting to go back to it. I figured this record would be the same way. Maybe it is & I just don't know it yet. For what it's worth, as this lasts in my iTunes rotation I'll take it for what it's worth. This is exactly what I need on certain days. I need to hear "It's Real," when on the mist of something great with someone brilliant. I need to hear "Three Blocks," when Elliott Smith isn't quite saying the words I need said. This reverb-centered dreamy surf rock isn't for everyone, I admit. Easy listening never was.

It's Real
Three Blocks
Municipality (live)

15. Egyptrixx – "Bible Eyes"

Egyptrixx "Bible Eyes," feels like a playlist for one of the grimiest UK clubs. Don't take that as a bad thing. This is a real club record.  Producer David Psutka has found an interesting sound on this record–doing his due diligence to mix the typical house and techno but to also sprinkle bits of jazz, hip hop and pop.

Egyptrixx has real control over his synthesizers & creates some truly unique sounds with it. One review described Pstuka's use of synthesizers as being manipulated to the point where he has complete control of the space and time continuum. I think that's really the best way to put it. Songs like "Liberation Front," and "Bible Eyes," thump with signature Need For Space synthesizers and drama laden background effects. Meanwhile, lighter tracks like "Naples," and "Chrystalis Records," are lighter in pulsation, but still just as cohesive with their heavier counterparts.

Chrysalis Records feat. Trust
Naples
Liberation Front
Bible Eyes

 14. Coma Cinema – "Blue Suicide"

Coma Cinema is a singer/songwriter that released a free album earlier this year. It's a lo-fi pop record that really resembles Elliott Smith in subject matter for its morbid and lustful take on the world. Smith was never a whiner (or maybe he was, just not an annoying one), but admittedly he spoke often about how people did him wrong. Coma Cinema takes a more apathetic approach to their music. They seem detached from the negativity going on in their world, which is weird considering this is a pretty negative and morbid album. While Smith was blaming others (whether that be his stepfather, drug abuse or whatever) Cinema accepts how ****ty and negative life is, in almost a "**** it" sort of demeanor.

Eva Angelina
Wrecked
Gentlewoman 

13. Gatto Fritto – Gatto Fritto

Disco never sounded so good.

It never went on acid trips either. Gatto Fritto's disco influenced 54-minute acid trip is easily one of the most engaging records this year. It's an electronic disco-fused jam fest that is never short on surprises and incorporates dozens of instrumental landscapes. 11-minute epic "Invisible College," opens with acoustic guitar and glides through synthesizers, organs, and a host of hand-claps setting for its climax (which is just all the more satisfying.) There's some vocal laden tracks as well, but where the record really shines is on the tracks fit for your workout playlist.

Invisible College
Beachy Head

12.  St. Vincent – "Strange Mercy"

It's always refreshing to hear a pretty face make a good tune or two. It's even more refreshing that she's probably one of the most talented female musicians in indie music right now. Annie Clark is a respectable woman, a pretty strong songwriter (I think you can make the argument that this is the most well written record of the year) and often makes a point to take on issues for females while never completely neglecting her male fans (which there are plenty of.) Musically she hardly ever disappoints and I see constant, uninhibited growth in her music as she continues. I consider this Clark's coming out record, really–the record that five years from now when she's known among the indie elite, we can point to this album for displaying the blueprint to a St. Vincent record.

Cruel
Surgeon (live)
Dilettante 

11. Cults – "Cults"

Cults' debut album is probably my most played record of the year. I admit, I love pop music. It's probably my favorite genre. I love catchy melodies and hooks, appreciate strong and simple songwriting and adore a pretty female on vocals. Cults are, however one of those bands that have become critical indie pop darlings, ending up on just about everyone's end-of-the-year list, not just my own. They make 60′s ****bedroom pop, equipped with hand claps, multi-layered vocals and the like. Lead singer Madeline Follin's choruses are infectious & her heartbreaking tales are about as sincere as it gets. She fits band mate Brian Oblivion's production like a glove, as he relays the perfect canvas for her teenage confessional.

Never Heal Myself
Abducted
Go Outside 

10. Smith Westerns – "Dye It Blonde"

The Smith Westerns are a glam rock indie band that's received quite a bit of attention since the release of this record. First single "Weekend," has been one of my favorite songs this year–not only because it's a damn good song, but it's a refreshing record in an indie culture that is smothered in noise & distortion music, call & respond techniques, chillwave and its counterparts and 80s & 90s revival bands. It's nice to see a straight rock band on occasion, doing exactly what they feel like doing.

They succeed at song structures & epic climaxes (see: "Imagine part 3.") They've received a lot of comparisons to T. Rex, but I don't really see it. Just because they're both interested in glam rock doesn't mean they're the same band–it's like comparing Outkast and Big KRIT because they both rap.

Weekend
Still New
Dye The World

9. Grooms – "Prom"

Grooms is a little-known 90s revival band that has that Sonic Youth/Pavement sound to them. Don't take that as Grooms being a rip off band though. Their influences shine through, but their music speaks for itself.

There are a lot of bands out there that drown themselves in noise and sound like crap. Nouns is one of them. The Pains Of Being Pure At Heart, another.  There's using techniques to make good music and there's using them just because you can. Grooms tends to embrace the former. That being said, you'll notice a lot of fuzzy guitars on this record along with some slower, surprisingly more intimate tracks. Lead singer Travis Johnson dominates for a majority of this record which I'm not exactly opposed to (see: "Imagining The Bodies.") On occasion it seems like the band and Johnson are really in unison (see: "Skating With Girl" or "Into The Arms.") On other tracks, Johnson is clearly the most energetic, which is fine. It just exposes some of the technical inability of the rest of the band.

Into The Arms (live)
Expression Of (live)

Tiger Trees 

8.  Chelsea Wolfe – "Ἀποκάλυψις" (Apokalypsis)

While everyone's been going head over heels for Zola Jesus and Austra I have yet to see anyone jump up & down over Chelsea Wolfe. In fact, I've yet to see one end of the year list from ANY publication mention her latest record, "Apokalypsis." That's a shame, really. Wolfe really embodies the mysteriously dark female vocal. In fact, this is the only record with a song that's actually kind of scary (see: Primal/Carnal.)

Just to warn you, I plan on using the word "dark," a lot. In fact, I don't think there will be a lack of the use of the word "dark," as I write this. Why? Because this record is ****ing dark man! This music actually embodies the name of the album. Wolfe uses dark, occasionally screeching guitars, creepy drum patterns and dreary themes to create an atmosphere of the afterlife after total destruction. I'm talking 28 Days Later with zombies running a mock, feasting on whatever human prey is left.

There's some smooth multi-layered vocals to creep the hell out of you on tracks like "MER," and some animal sounds scattered about to keep you on your toes. Wolfe's voice is fantastic in keeping with the atmosphere. Sometimes her voice is low and quiet–as if she's  both fighting the darkness and asking for all visitors to enter. Sometimes it's loud and screeching, but never screaming unless through her guitar. One thing: her voice is never clear, which is actually a bit clever of Wolfe. Makes me wonder if she's content in the darkness or screaming to get out…probably the former. Dark seems to be exactly what makes Wolfe click, and exactly where she belongs.

MER (definitely the creepiest music video out there)
Demons

PALE ON PALE   

7. Fleet Foxes – "Helplessness Blues"

The Foxes stand as the least disappointing band of this year, really. I had high hopes for records from Pharoahe Monch, Cut Copy, Julian Lynch and Adele earlier this year and they all either didn't live up to expectations or completely sucked. The Fleet Foxes on the other, have actually evolved making more timeless music that will still be relevant years from now when I have grandchildren.

I think what I love most about the new record is just that–how timeless it is and yet how true it is to what makes the Foxes good. Sure, they move for some more traditional, 60s folk song structures & sounds, but I don't think it's deterred them from being as ambitious as they've always been. Just take a look at "Lorelai," to see what I mean. Beautiful harmonies, fantastic instrumentation, introspective & biographical lyrics.

Battery Kinzie
Helplessness Blues

Lorelai  

6. Anna Calvi – "Anna Calvi"

If Chelsea Wolfe is the prototypical dark female vocal, Anna Calvi is the most mysterious and intriguing vocal of this year. Her backstory is vague–Italian woman living in the UK. Listened to her father's old tapes and mimicked them. Taught herself how to sing in the low, soulful voice that she does. A damn good guitarist (see: Love Won't Be Leaving.)

I know I've said this before, but in the year of the dark female vocal it goes without saying that the atmosphere of this record is dark and…well, mysterious. Songs like "First We Kiss," have that back alley of a bar sound to them. Calvi, actually, often reminds me of this "back alley" sound so to speak. Her clothes, hair & makeup ****all scream early 1900s. Independence before independence was accepted. Retro and feminine with the greatest dose of masculinity & maturity. Her ****& music go hand-in-hand, so it's no surprise that she's already on the brink of 30. It's also no surprise that her music feels so much more mature than so many other records out there.

Love Won't Be Leaving (live)
Desire

Suzanne and I 

5. A$AP ROCKY – "LIVELOVEA$AP"

I wasn't overly impressed with A$AP ROCKY when I first saw the video for "Purple Swag." I threw him off as an internet fad more than anything (pretty blonde girl in the video will do that to you.) Then I kept hearing reviews. I saw him topping early end of the year lists. I heard Lil' B shout him out. I had to have this album. I wasn't disappointed, either.

I listened to this record and was actually listening to it non-stop for a few hours. This album is infectious. Like a drug, really. As soon as you think you've had enough you need another helping of songs like "Get Lit." I appreciate a lot about this album, particularly the fusion of sounds created. ROCKY is from Harlem but incorporates a lot of Houston **** southern rap with gritty east coast rap. He's fantastic at riding a beat making his rhyming one of the major highlights of this record. "Brand New Guy," for example has ROCKY sounding near flawless over one of the hardest beats this year, while "Trilla," makes a case for song of the year with some of the sharpest rhymes from the A$AP crew. Naturally, some disregard ROCKY as a lyricist which annoys me because I think he's a big reason why this mixtape works. Southern ****doesn't necessarily mean handicapped lyricist.

There's a lot of cloud rap production which gives that "marijuana'd" out, experimental feel to a lot of the songs. The production on this is PHENOMENAL, by the way. Clams Casino sounds like the cries of baby jesus on this record. He fits A$AP like a freakin' glove. I actually haven't heard such chemistry between rapper and producer since Swizz Beats and DMX in the late 90s (or maybe I have and simply can't remember.)

Trilla feat. ASAP Twelvy & ASAP Nast
Peso

Demons 

4. Veronica Falls – "Veronica Falls"

I think I even surprised myself with how high this record is on my list. Like I said before, I love pop music and I don't think there's a better pop record than Veronica Falls self-titled debut record. What I love most about this album is how true it stays to that basic indie pop sound. Your multi-layered harmonies are in check, female vocal with male backing vocals, tight lyrics, catchy melodies. It's actually difficult to find something I don't like about this record.

So what makes it stand out, exactly? An impeccable amount of craftsmanship, really. These guys are just really good at what they're doing and they show the same level of freshness their forefathers from the 80′s did when indie pop was defined. There isn't a bad record on here. In fact, they're all near flawless.

Found Love In A Graveyard
The Box
Wedding Day

Beachy Head  

3. The Weeknd – "Thursday"

I know no one will agree with me, but this is easily my favorite record from The Weeknd. "Thursday," doesn't have the confidence of "Echoes of Silence," and it isn't the critical darling that "House of Balloons," was, but it's a damn good record on its own. The ugly stepsister of the trio. Middle child, surely. "Sophomore slump,"…hardly.

What stands out so much with this record for me is the production. There's a considerable amount of rock, reggae, downtempo, hip hop and dubstep influences just in the production alone. It's actually insane to believe that these **** can mesh well on one recording, but they do without ever sounding clunky or out of place. The atmosphere of "House Of Balloons," is still apparent, it's just enhanced and a bit less murky and nocturnal.

Vocally/lyrically Tesfaye sounds just as good as he always does, but I think the real selling point of this record is just how high the highlights get. "Life Of The Party," is probably the most well-produced record of the year. "Gone," is a dubstep influenced 8-minute epic and "The Zone," featuring Drake compares two men in love & their most conflicting ways of going about it (Tesfaye the creep and Drake the inevitable good guy.)

Life Of The Party
The Zone feat. Drake

Gone  

2. Big KRIT – "Returnof4eva"

Sometimes the best music is free, and that certainly holds true this year. Three of my top five records (this, A$AP ROCKY & The Weeknd) were released as free downloads by the artist themselves.

Big KRIT's "Returnof4eva" has been among my favorite records for most of the year. It's surprising that it's actually mainted such a high spot for so many months. On this record, KRIT really starts to show his full potential as a heir apparent to Pimp C. No disrespect intended to the late Pimp C, but KRIT has the potential to be just as good…if he isn't already. He's a real triple package when it comes to rap–ability on the mic, great singer and top-notch producer.

On the mic he touches on a lot of different topics. Some tracks are introspective, while others are just KRIT having fun riding a beat. I think KRIT is really brilliant at just about any topic when it comes down to it. He can talk about his tires and make a worthwhile song and then come back and talk about the music business without whining or sounding pretentious towards "hip hop heads." Right now his versatility seems unmatched and I'd honestly argue that the sky is the limit for KRIT.

R4 Theme Song
Sookie Now feat. David Banner

Rotation 

If I don't see There Is No Competition 3 anywhere on here,then I'm disowning you. Word is bond.Black-Demon

i swear fabolous is the most consistent rapper i know  

[QUOTE="Black-Demon"]If I don't see There Is No Competition 3 anywhere on here,then I'm disowning you. Word is bond.Omzzz

i swear fabolous is the most consistent rapper i know

WORD. I don't see see why everyone here is sleeping on him......

The Soul Tape is my ish and he went STUPID on TINC 3. He stepped his game up lyrically if you ask me,definitely one of my favorites doing it right now.

[QUOTE="Omzzz"]

[QUOTE="Black-Demon"]If I don't see There Is No Competition 3 anywhere on here,then I'm disowning you. Word is bond.Black-Demon

i swear fabolous is the most consistent rapper i know

WORD. I don't see see why everyone here is sleeping on him......

The Soul Tape is my ish and he went STUPID on TINC 3. He stepped his game up lyrically if you ask me,definitely one of my favorites doing it right now.

What didn't you like about Take Care. I remember you always saying you wanted him to switch up his flow...He most definitely did that.

I'd say apart for some really, really, whack and soft lines here and there the album was overall a fair bit better than his debut...Definitely a more put together record that flowed a lot better. Toriko42

One of the reasons I don't like this album is a bit irrelevant..but before I got the album my friends played some songs to death. I'd heard a good 5 or 6 songs before I even dragged it into my iTunes. That never bodes well.

The rest of the album fell short because I actually got bored of the cohesion. Do I agree that Drake sounds better on this record? Absolutely.But some of these beats are so soft man....and Drake's flow just doesn't vibe with them SO WELL that he needs to have that same sound on every track.

The songs I was really feelin' were the ones that didn't have that sound on it. "Cameras," for example is an incredible song that shows just how good Drake CAN be when he wants to. "Underground Kings" is dope as hell..."The Motto" is killer. These are the type of songs I want to hear on a Drake LP. I'm not upset by songs like "Marvin's Room," either...my friends just killed it before I got my hands on the album. 

[QUOTE="Toriko42"]What didn't you like about Take Care. I remember you always saying you wanted him to switch up his flow...He most definitely did that.

I'd say apart for some really, really, whack and soft lines here and there the album was overall a fair bit better than his debut...Definitely a more put together record that flowed a lot better. Colt45fool

One of the reasons I don't like this album is a bit irrelevant..but before I got the album my friends played some songs to death. I'd heard a good 5 or 6 songs before I even dragged it into my iTunes. That never bodes well.

The rest of the album fell short because I actually got bored of the cohesion. Do I agree that Drake sounds better on this record? Absolutely.But some of these beats are so soft man....and Drake's flow just doesn't vibe with them SO WELL that he needs to have that same sound on every track.

The songs I was really feelin' were the ones that didn't have that sound on it. "Cameras," for example is an incredible song that shows just how good Drake CAN be when he wants to. "Underground Kings" is dope as hell..."The Motto" is killer. These are the type of songs I want to hear on a Drake LP. I'm not upset by songs like "Marvin's Room," either...my friends just killed it before I got my hands on the album. 

I agree that there is a bit too much on this album. Some songs just didn't belong or were garbage. 'Practice' is awful as well as that song with Stevie Wonder...But for the most part I loved the sound of this album. I think Drake was good sticking with cohesion but I also think cohesive albums should not go on for 20 tracks.

I can also see what you were saying with the hearing the album before it came out. I don't think it should have much say on the overall quality of the album though. A lot of the tracks on the last Kanye album were heard by everyone, to death by some, but it was still an amazing album on its release since it all came together.

Overall I agree with you though. I'd still put it in my top 10 hip hop albums this year though. Cutting through the whack / soft lyrics, there is stuff on here that I found relateble and I think that made the album better to me. 

meh.DiIIasDonuts

[QUOTE="Colt45fool"]

[QUOTE="Toriko42"]What didn't you like about Take Care. I remember you always saying you wanted him to switch up his flow...He most definitely did that.

I'd say apart for some really, really, whack and soft lines here and there the album was overall a fair bit better than his debut...Definitely a more put together record that flowed a lot better. Toriko42

One of the reasons I don't like this album is a bit irrelevant..but before I got the album my friends played some songs to death. I'd heard a good 5 or 6 songs before I even dragged it into my iTunes. That never bodes well.

The rest of the album fell short because I actually got bored of the cohesion. Do I agree that Drake sounds better on this record? Absolutely.But some of these beats are so soft man....and Drake's flow just doesn't vibe with them SO WELL that he needs to have that same sound on every track.

The songs I was really feelin' were the ones that didn't have that sound on it. "Cameras," for example is an incredible song that shows just how good Drake CAN be when he wants to. "Underground Kings" is dope as hell..."The Motto" is killer. These are the type of songs I want to hear on a Drake LP. I'm not upset by songs like "Marvin's Room," either...my friends just killed it before I got my hands on the album. 

I agree that there is a bit too much on this album. Some songs just didn't belong or were garbage. 'Practice' is awful as well as that song with Stevie Wonder...But for the most part I loved the sound of this album. I think Drake was good sticking with cohesion but I also think cohesive albums should not go on for 20 tracks.

I can also see what you were saying with the hearing the album before it came out. I don't think it should have much say on the overall quality of the album though. A lot of the tracks on the last Kanye album were heard by everyone, to death by some, but it was still an amazing album on its release since it all came together.

Overall I agree with you though. I'd still put it in my top 10 hip hop albums this year though. Cutting through the whack / soft lyrics, there is stuff on here that I found relateble and I think that made the album better to me. 

I still stand by what I said though. The cohesion is nice but some of these songs sound too similar....and too simple. It all blends in which is probably the sound Drake went for, but I think it'd have been more effective had he kept the cohesion and varied the production a bit more. Am I the only one that thinks the production was really, really simple? 

I kind of appreciated the simpleness of the album. This album did have the beat of the year though (Lord Knows). I definitely loved every T-Minus beat on the album. Relatively simply but all effective...Those tracks were all highlights on the album (We'll All Be Fine, The Motto, HYFR, Make Me Proud, Underground Kings).

And even other tracks like Crew Love, Headlines, Shot For Me, and and the Real Her had all they really needed. 

I'll give it to you though. When I first listened to this album I was like, "Damn, this is the simplest **** I ever heard" but in the end I grew to really appreciate it. I thought the production was one of the best parts of this album. 

I especially loved the little beat switch ups here and there. When the beat changes for Andre 3K on 'The Real Her' that was definitely sick. Perfect way to highlight such an amazing verse. The beat switch on Lord Knows was also really good too to best accomodate Ross's flow. The way 'Marvin's Room' became 'Buried Alive' too was great. Kendrick Lamar rode that beat with a Cudi-like flow too which was actually dope lol.

Fabolous is consistently sick with his mixtapes. His albums are underwhelming though. Loso's Way was sick though so I look forward to the sequel. Toriko42

True,only album I fully enjoyed by Fab was Street Dreams. Loso's way was nice until the second half came around for me,too many love songs lol.

[QUOTE="Black-Demon"]If I don't see There Is No Competition 3 anywhere on here,then I'm disowning you. Word is bond.Omzzz

i swear fabolous is the most consistent rapper i know  

I'd put Curren$y up there too.

I dont care what anyone says about Monch, I saw him live 2 days ago and his stage presence, between mic skills and live set pacing ****s all over the likes of Odd Future (who wernt even that good live, they were actually terrible).
Well, save for Onyx of course.

-

I really like the Weeknd, I dont necessarily see how his first mixtape was the best of the 3 that critics claim; I found that they got bolder and more interesting after each release.

[QUOTE="DiIIasDonuts"]meh.Colt45fool

[QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"]meh.DiIIasDonuts

fail for not liking Bon Iver and comparing that album to anything Sting has done. listen harderDaDukies

I dont care what anyone says about Monch, I saw him live 2 days ago and his stage presence, between mic skills and live set pacing ****s all over the likes of Odd Future (who wernt even that good live, they were actually terrible).
Well, save for Onyx of course.-I really like the Weeknd, I dont necessarily see how his first mixtape was the best of the 3 that critics claim; I found that they got bolder and more interesting after each release.illmatic87

Monch is the wackness. ninja sitting here tlaking about ninjas pulling up their pants, but 10 years ago he was talking about rape & ****....old ninja soundin' like a grandpa these days. step off the grandpa rap monch! get real. 

[QUOTE="DiIIasDonuts"][QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"]meh.Colt45fool

Lol,first thing I thought of while I was jamming Take Care was "Yep,this is MUCH better than Thank Me Later". It is a simple as Colt says,but as Toriko says,I didn't really have a problem with it because I don't expect compllexity from Drake. He's been rapping about the same issues overall (damn near anything related to sadness from the opposite sex) since So Far Gone,so I expected the same on Take Care lmao. Black-Demon

[QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"][QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"]meh.DiIIasDonuts

[QUOTE="Black-Demon"]Lol,first thing I thought of while I was jamming Take Care was "Yep,this is MUCH better than Thank Me Later". It is a simple as Colt says,but as Toriko says,I didn't really have a problem with it because I don't expect compllexity from Drake. He's been rapping about the same issues overall (damn near anything related to sadness from the opposite sex) since So Far Gone,so I expected the same on Take Care lmao. Colt45fool

He needs more songs like "Underground Kings" and "Show Me A Good Time" for sure. "The Motto" is catchy as hell :? Was bumping that all night two days ago. I think he'll take your advice sooner or later though,dude is a hip hop head so I'm sure he'll release more of what he likes rather than what the fans want for the most part.

[QUOTE="Omzzz"]

[QUOTE="Black-Demon"]If I don't see There Is No Competition 3 anywhere on here,then I'm disowning you. Word is bond.JML897

i swear fabolous is the most consistent rapper i know  

I'd put Curren$y up there too.

Curren$y is cool. I dug the Pilot Talk albums. Haven't really followed him on the mixtape scene besides a few songs like #JETSGO and stuff. I'll check it out soon 

[QUOTE="DiIIasDonuts"][QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"][QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"]meh.Colt45fool

[QUOTE="DaDukies"]fail for not liking Bon Iver and comparing that album to anything Sting has done. listen harderColt45fool

Not worst album of the year but it's a complete snoozefest. 

Props on *****s in Paris; definitely the hype song of the year.

My greatest moment in Hip Hop this year was hearing that song eight times in Montreal and seeing the crowd go even more HAM each time they played it. Everyone was on their damn seats and security didn't even know what to do cause Jay told them to just let everyone have fun haha. 

I dont care what anyone says about Monch, I saw him live 2 days ago and his stage presence, between mic skills and live set pacing ****s all over the likes of Odd Future (who wernt even that good live, they were actually terrible).
Well, save for Onyx of course.

-

I really like the Weeknd, I dont necessarily see how his first mixtape was the best of the 3 that critics claim; I found that they got bolder and more interesting after each release.

illmatic87

But he didn't perform W.A.R. in my lounge room. :(

everything posted except #1!!! oh wait...

1. Tammar – "Visits"

This is the one record that I've truly fallen in love with this year. Tammar's "Visits," is by far the best album to come out this year. It's got a bit of everything, really. There's some post-punk here, some gothic themes, certainly 90s revival, a psychedelic influence, dem fuzzy gee-tars for good measure and yet the final package still sounds original.

Looking at the track list it's going to be hard for me to justify what I love about this album. Any album with 7 songs will immediately be criticized for the quantity of music. One of my earlier selections (#29, Beach Fossils EP) is an EP that stands at 8 songs. Thing is, this is a 7 song, 44-minute LP with a lot of ambiance. Guitars rely on some heavy, long-winded strums and improvisation seems to be key. Hooks are barely visible, if they're even there.

The mood keeps the songs grounded without real use of a chorus. As a result, each song stays on one basic theme while still feeling like progression is being made. This leads me to believe these guys have a remarkable amount of chemistry with one another. Each instrument, each time something moves to the forefront for their solo feels so perfectly placed and still like only one person is controlling this band. The lead singer knows when to hide behind the music and when it's time to howl over the instrumentation. So do the guitars, bass and drums. It's so perfectly placed that I'm consistently impressed by just how fantastic these guys are at basic song structures. How in unison they are. It's like one person with 10 hands, all equipped with instruments.

The Last Line
Summer Fun
Frost Meter 

for the record, you can rea the whole thing on my blog in a much prettier presentation

http://realmikeclark.wordpress.com/music-of-2011/

songs were embedded on the page which makes for a much simpler reader. albums come about the same as it did on the forums but a lot less clunky. 

That Drake/Kendrick Lamar/ASAP Rocky tour is coming to my alma mater. Don't know if I'll go but I'd like to see Kendrick and Rocky. I imagine Rocky would have to tone down his live show at college venues... no pouring Hennessy all over the front row and what not. Not sure how receptive a college crowd would be to his show either since he's not too popular outside the net yet.

Anyways the main thing this thread makes think is that Colt should check out some more rap releases. Starting with Danny Brown - XXX...

lmfao wtf is this crap colt?HaSheeSh_basic