Colt's Top Songs & Albums (complete)

No need for an intro, but I will say I listened to 183 records in 2012. Was going to wait until keyser's list was up, but I couldn't resist (and he's taking 5 days to drop his top 5 :P ). Also, this list is (mostly) up on my blog already, which I'll likely link to at the end of this for a better formatted version

HONORABLE MENTIONS (SONGS)

Fat Trel - "On Top Of Your Girl"

While Fat Trel is more than just a joke rapper, he seems to have a future in going the Lil' B route if he ever chooses to do so. "On Top Of Your Girl," is nothing in comparison to the more lyrical tracks on "Nightmare on Elm Street," but it may be the most genius Trel ever comes up with.

The Antlers, "Crest"

The Antlers only released four songs this year, so there was (naturally) little room for error. Luckily for us, most of their songs this year are as controlled and atmospheric as "Crest."

Ab-Soul feat. Danny Brown, "Terrorist Threats"

Danny Brown has been killing it on guest verses all year, but somewhere in-between his new found fame, recording a new album, and features on the A$AP Mob, Bruiser Brigade and Darq E. Freaker tapes, Brown blessed the talented Ab-Soul with his best verse of the year.

Goat, "Goathead"

It was the combination of world beat tribal drums and psychedelic guitar on "Goathead," that really sold me on Goat's "World Music," LP. And while "World Music," has plenty to offer, no track fuses the genres as effortlessly.

Geographer, "The Myth Of Youth"

Geographer's "Myth," LP may have deflated the Geographer hype of the past few years, but I think it's safe to say that placing old songs like "Kites," on the record didn't deter from the new records these guys have been working on. "The Myth Of Youth," being the best of the bunch.

TOP 20 SONGS

20. Tennis, "Origins"

It's anyone's guess as to how a band that's made a living off melodic, simple surf-pop tunes' best song is loaded with Biblical references and centers on the origins of humanity. Nevertheless, it's Alaina Moore's shouts on calloused lives where the band sounds at it's peak and I suppose we can thank Patrick Carney (of the Black Keys) for the heavier & much more mature production.

19. Darq E. Freaker feat. Danny Brown, "Blueberry (Pills & Cocaine)"

Like I said before, Danny Brown has been KILLING IT on the guest verses this year. Here, he lends a few verses over Darq E. Freaker's production on a song about drugs, partying and hipster *****es. One of the best shot videos of the year, also.

18. Wild Nothing, "Disappear Always"

And this house is now a grave,
I've been sleeping here for days,
I'm too hidden to awake
so I disappear always

I can happily say that Jack Tatum has blown me away more often any other musician in the last 3 years. For all these bands trying to stroke at nostalgia and love and emotions, no one paints it nearly as well as Tatum on a consistent basis. "Disappear Always," is just another example of Tatum making it look easy.

17. Filastine, "Colony Collapse" feat. Nova

World music dubstep producer Filastine strikes nothing short of gold by featuring Indonesia-born singer Nova on the lead single to his debut LP. Though I'm still holding out for my Filastine-Nova collaboration LP, I'll gladly take the two tracks on Filastine's "L00T." Nova's eerie vocals are the perfect combination for the urgent worldwide production of Filastine. Also, the music video = one of the best this year.

16. Sharon Van Etten, "In Line"

Live Version

When I first heard this song, I'm pretty sure I played it until every word was ingrained in my head. According to my last.fm, it's amongst my highest played songs of the year and it may just be my annual "sad song," of the year. I really like sad songs, if you couldn't tell so I may actually give this award out later in this list. More on that later...

15. Mac DeMarco, "Freaking Out The Neighborhood"

It's not what Mac does, but rather what he doesn't do. For years, "cool," has been defined with a less is more attitude, and for most of "2," Mac is the definition of cool, crooning through gee-tar tracks with the same swagger as a young Donald Byrd. In an indie culture where being cool is frowned upon, Mac has been (cue bad pun/cue awkward hand clap/cue bad-um-tish) "freaking out the neighborhood," for some time.

14. Melody's Echo Chamber, "You Won't Be Missing That Part Of Me"

Melody's brand of psychedelic dream pop is done no better than on the toy soldier drumming of "You Won't Be Missing That Part Of Me." Here, the usual altered synths and walls of sound take heed as Melody almost happily (and at times, a bit sarcastically) explains her nature as a heart breaker.

13. Icky Blossoms, "Deep In The Throes"

And I don't know where else to go,
Just don't go back to what you know...
Let your instincts flow

Sarah Bohling has a way with conveying words and mixing so many themes into a common one. While "Deep In The Throes," is primarily a track about being everything for your mate, Bohling finds a way to talk about being baptized, salt water in her eyes, washing herself in a river, stars, and a bunch of other **** that seems irrelevant. All over a bass line that's tailor made for 5 a.m. pub grinding. Fantastic combination.

12. Purity Ring, "Fineshrine"

Purity Ring's done everything from remixes with Danny Brown to appearances at SXSW, but in the midst of their breakout year, they released the retro-dubstep-futuristic-pop-see-I-can-just-put-sub-genres-together track, "Fineshrine"....easily one of the most infectious singles of the year.

11. Grizzly Bear, "Yet Again"

Yet again, we're the only ones....
No surprise, this is often how it's done

Though I've never been a big Grizzly Bear fan, I constantly pick up their latest albums for the select few standout tracks, often among the best of the year. Lead single "Yet Again," regains the same level of awesome that songs like "While You Wait For the Others," and "Lullabye," did on their previous LPs.

10. Jack White, "Sixteen Saltines,"

Jack White's relationships have beta male written all over them, so it's no wonder that his come back single is the hard hitting "Sixteen Saltines," a track that depicts his helplessness and dissatisfaction in both of his failed marriages. It's just a real shame that the rest of the album couldn't maintain this same energy.

9. Fiona Apple, "Daredevil,"

Fiona has no problem defining her worst enemy on "The Idler Wheel..." (namely, herself.) On "Daredevil," (one of many songs that could have ended up on this list) we get an insight on Apple's masochistic tendencies ("I guess, I just must be a daredevil/I don't feel anything until I smash it up.")

8. Woods, "Bend Beyond"

Live Version

If Woods planned on bending beyond anything, the title track is certainly a nice start. It's taken seven albums, but it finally seems like Woods is done making mediocre freak folk albums.

7. The Men, "Open Your Heart,"

Live Version

The song title shouldn't fool anyone -- The Men are still as drum slapping & vocal screeching as ever on the punk anthem "Open Your Heart." A stark contrast from the 80s pop, lust filled, dream-y lo-fi beta male songs that have overtaken most indie music of today.

6. Porcelain Raft, "Shapeless & Gone"

I've never seen the desert before,
so close to nothing

If you asked me before writing this list I'd have told you there isn't 20 different ways to talk about love, but thus far it's arguable that near every song I've mentioned has been on that very topic. Still, musicians have been talking about love since vocals were accepted as necessary expressions of music, and Porcelain Raft's "Shapeless & Gone," does a lovely job in putting that "I just woke up with butterflies...and I thought I was too old for this," feeling to music.

5. Lace Curtains, "Bedroom Honesty,"

When you take off your clothes...and realize you have no more secrets,
I hope it's a surprise...that this is as intimate as it gets

I'd like to say in my own defense that while I love that bands like The Men and Cloud Nothings are a big **** YOU to beta-male, *****foot, **** boy indie music, that I still get giddy like a ********** for a Lady Gaga concert when songs like "Bedroom Honesty," are written. Those Elliott Smith-esque cords, squealing vocals and heartbroken story telling *cue indie hard on*

4. Port St. Willow, "Amawalk"

Some people enjoy wallowing in their own sorrow and have no problem making sadness sound more beautiful than anything imaginable. These are the people who talk about how refreshing the rain is at night, or those that couldn't imagine seasonal depression as anything more than a made up phenomena by surrealist yuppies.

Enter Port St. Willow's "Amawalk," the type of song that will bring you back to your "Hospice," era Antlers and then some....and this is before you start to decipher the lyrics. I should also mention that this song has been co-signed by the legendary Brian Eno.

3. Holograms, "Orpheo,"

Live Version

I'm a huge believer in bands that don't try to re-invent the wheel, but rather perfect styles that have already been done. For every band creating a new sound well, there's a million Death Grips out there making the worst music humanly possible.

In that respect, Holograms' "Orpheo," will bring you back to the post-punk revival of the early 00s. The internet helped break a lot of indie bands (and created many indie fans) around this time so I imagine this will appeal to a lot of people.

2. Rick Ross, "Ten Jesus Pieces,"

Rick Ross is bigger than his body gives him credit for and that's quite the compliment considering he's a big man. On his songs, I like to think of him in mink coats with pet tigers, Cuban cigars, jewels that only a God would wear, and his black aviators -- an unworldly figure whose been placed on earth as the king of every square inch my mangled feet manage to step on.

While his album was underwhelming in giving this feeling, "Ten Jesus Pieces," manages to paint Ross as nothing short of a deity among thieves.

1.Grimes, "Oblivion"

Live Version

And now the empathy, empowers me

First, let me address the P4k readers who will be quick to parallel this decision with P4k naming "Oblivion," their song of the year. I have for the entire year maintained that "Oblivion," is 2012's best pop song. I've raved about the song more obnoxiously than your friend that spams your Facebook newsfeed with pictures of their newborn. I've listened to the song more than I've listened to the culmination of listens for songs wrapped into a full length album.

There's a lot to like about this song, but to start "Oblivion," is a pop song. In fact, it's (along with most of Grimes' latest LP) the rare dream pop song that maintains the genres most pleasing aesthetic -- being a pop song. This is important because many pioneers of dream pop were so focused on being ethereal that they dropped the ball on the toughest part of their genres make up. Being accessible.

Still, a lot of people have their doubts about "Oblivion." Most still point to "Genesis," as the superior single, but I will quickly disagree. While it's a phenomenal single, there's a sincerity about "Oblivion," that leaves the song in another stratosphere -- for longtime fans of Grimes, for those that see her roots in dream pop and Cocteau Twins esque fame and for those that know how ecstatic she must be to be releasing her magnum opus on the legendary 4AD record label.

These people understand that the popularity of dream pop is indebted in this song. What Grimes' means to this sub genres future is indebted to this song. To the "Visions," LP. She's the D'Angelo of Neo-Soul. The My Bloody Valentine of Shoegaze. The Dave Chappelle of African-American comedy. The talent is clear and for this small sub genre, she holds the torch for what will surely be an array of copycats mimicking her style to achieve mainstay success. The only question that remains is how do you follow up?

HONORABLE MENTIONS (ALBUMS)
Note: Click the album covers for a song from each album

Crystal Castles, "III,": An experimental electronic LP from one of my favorite artists. Not on the level of their previous work, but damn good still.

Spacin', "Deep Thuds,": Fantastic garage rock record that just missed the cut. Literally, #41 on my list.



Ryan Hemsworth, "Last Words EP,": Electronic album indebted in hip hop. One of the best hip hop influenced records you're going to hear this year.



Gucci Mane, "Trap Back,": Gucci Mane is back and releases his most consistent record since "The State vs. Radric Davis."



Dinosaur Feathers, "Whistle Tips,": Shimmering indie pop record that made a lasting impression on me. A bit inconsistent.



First Aid Kit, "The Lions Roar,": One of the best folk records of the year, from an underrated pair of sisters



AlaunaGeorge, "You Know You Like It,": I realize it's only three songs, but I had a hard time finding drawbacks on this record besides its length. Very much looking forward to where these guys take their electro-pop/r&b next




Fat Trel, "Nightmare On E. Street,": Trel is a D.C. rapper with a lot of talent. Must grab for hip hop fans.



Violens, "True,": A near perfect record for summer. Great pop music. Very Beach Fossils-esque



Cult Of Youth, "Love Will Prevail,": A nice gothic progressive folk record that probably deserves to be rated much higher than I'm giving it credit for.



Portico Quartet, "Portico Quartet,": Couldn't choose between this or the Cult Of Youth record for the last spot so I chose both. This is a nice little jazz record with some electronic influences as well. 

ALBUMS (40-25)

40. Filastine, "L00T"


When "Colony Collapse," the first single from Filastine's "L00T," released, I was in awe. Though I find those big Skrillex drops in dub step music to be obnoxious, calculated and generally overdone attempts at juxtaposition, "Colony Collapse," was a record high in authenticity and low in gimmicks. It didn't sound like an American was putting these things together, but rather a Middle Eastern native with more at his disposal than you'd typically assume.

"Colony Collapse," showcased world beat and dub step with synths and melodies that are uncharacteristic of American bass music. Luckily, "L00T" is a record that goes beyond its first single, which serves as only a taste of the Middle Eastern and Latin American bass that's fleshed out over its duration. The results prove that authenticity and good music still represent a strong correlation to one another.

Colony Collapse feat. Nova
Circulate False Notes
Informal Sector Parade

39. Royal Headache, "Royal Headache"

Royal Headache's self-titled LP is a throwback record to the timeless music of the 50's & 60's. While a lot of these bands come & go every year, it's vocalist Shogun that really steals the show with soulful vocals and enough range to make any half *** of a song more than listenable.

A lot has been made about Shogun's vocals and to be frank, they're the selling point of this record. A lot of the songs are drowned in distorted production displaying rookie mistakes at a constant rate. Nonetheless, I love the potential of these guys, especially with Shogun running the (awkward pun moment) show. It would be wrong to suggest listening to them based on a vocalist alone, but indie publications have been - riding Alabama Shakes all year. If nothing else, this is a band to look out for.

Distant & Vague
Really In Love
Down The Lane

38. La Sera, "Sees The Light,"


"Kickball" Katy Goodman is the indie pop princess of Vivian Girls, Dum Dum Girls and all the other relevant "we-all-sound-the-same," girl bands that have released music in the last 5 years.

The problem with Goodman and a lot of these girl bands that she's been a part of is that they're either hit or miss. When they're on, they're catchy. Emotive. Simplistic. And when they're off? They immature. Boring. Flimsy.

For Goodman's second LP it's clear that she's spending extra attention to detail (especially in comparison to her first solo LP which was as uneven as anything released in 2011.)  The singing here is more consistent and the music is as good a template as Goodman has had in some time. Songs like "I Can't Keep You In My Mind," or "It's Over Now," are fully realized pop gems. As good as the best pop records this year.

Still, it's painfully obvious when Goodman rushes a song. Songs like "I'm Alone," or "Real Boy," are fried chicken without the seasoning -- ***** that's bland (c) Danny Brown. They bring nothing to an album that is otherwise surrounded by gems, which is worth noting since Goodman (and her bandmates) have made a living off adding filler.

I Can't Keep You In My Mind
It's Over Now
Drive On

37. Divine Fits, "A Thing Called Divine Fits"


Super groups are filled with lukewarm reception because we as fans have astronomical views as to what kind of music they should make. Divine Fits, however, a super group including members of Spoon, the New Bomb Turks and Wolf Parade, seems to evade such criticisms by meshing their sounds together.

Keeping things within the realm of their parts, Divine Fits moves from minimalism to funk and molds the styles together. Still, for all the homage to their old projects, this is Divine Fits, not a B-level Wolf Parade or Spoon album. None of these songs would fit on any of the aforementioned bands projects and that's a good thing. Not because they're not good bands, but because no one paid for a Divine Fits LP only to be treated to six B-level Wolf Parade tracks and six B-level Spoon tracks.

What we get instead is a new band that struggles with consistency, but has a matured sound which is indebted to how long these guys have been playing music for. The band has assumed the right sound, but has to focus on consistency to become a long-term project.

Would That Not Be Nice?
Like Ice Cream
For Your Heart

36. John Talabot, "in"

Talabot's "in," is a record that seems easygoing at first, but with more listens, strips itself like the neighborhood hooker. It reveals more parts, more layers and when it's all said and done there's no shortage of flesh and crevices for the naked ear. Nudity promotes beauty, and "in," is at its prettiest post-clothes and in position.

As with many records these days, Talabot pays a lot of  homage to his peers and idols. There's definitely an acid house Primal Scream influence here, but there's also a lot of funk here as well. Some of these songs even have roots in Spanish Dance music, and come off a lot like that Delorean's "Subiza," record. The record jumps in categories, but remains cohesive in nature due to Talabot's pristine ability to make every record, no matter the categorizations or homage, a John Talabot record. When you can make a niche' for yourself -- a sound that lets everyone know this is my song...well, you're doing something right.

Destiny feat. Pional
Depak Ine
So Will Be Now feat. Pional

35. Weird Dreams, "Choreography"


If you're looking for catchy, there's no record catchier than Weird Dreams, "Choreography." I couldn't begin to fathom how overplayed "Hurt So Bad," or "Holding Nails," are on my iTunes. Those choruses. Those multi-layered vocals. Those melodies. Those harmonies. Everything on this thing sticks like a bottle of glue and there's no shortage of fun when you're peeling the dried stuff off your mangled hands.

That's about what you're going to get on this record. Fun power pop tunes. Easily accessible. Some sketchy writing. A few clunkers here and there. But the good outweighs the bad and this is a beautiful record. One of the very best of the year.

Hurt So Bad
Holding Nails
Little Girl

 34. Melody's Echo Chamber, "Melody's Echo Chamber"

Dream Pop is my 2nd favorite genre of music so you can imagine my excitement when any dream pop music is released. It's more common these days for dreamy psychedelic pop to sound formulaic, but for Melody's Echo Chamber it's anything but.

Let's get a few things straight though: the s/t record from these guys isn't my top Dream Pop record or my top debut Dream Pop record. It is, however, the record by the band I'm most excited to move the genre forward. In fact, I haven't been this excited about a band in a long time. Walls of sound never sounded so beautiful.  Psychedelic pop was never this angelic.  And Melody Prochet is the perfect front woman.

My issue with this record is the consistency. They have a near perfect sound, getting ample elbow grease from Kevin Parker (of Tame Impala) on production. It's just keeping the energy as dope over the course of an album. If tracks like "Some Time Alone, Alone," or "You Won't Be Missing That Part Of Me," are any indication though, these guys will be topping my favorite lists for a long time.

You Won't Be Missing That Part Of MeSome Time Alone, Alone
I Follow You

33. Chelsea Wolfe, "Unknown Rooms: A Collection of Acoustic Songs"

Chelsea Wolfe is the gothic princess that released everyone favorite apocalyptic LP last year, "Apokalypsis." On her latest LP, Wolfe diverts from the screeching guitars, overt synths and loud production to give us a stripped down take of her doom folk sound.

Though acoustic records seem to be saved for overrated pop stars, this diversion is a welcome surprise for Chelsea Wolfe fans. It adds a layer of diversity not seen on her previous record, which makes me wonder if this is something we'll consistently see on her future albums. One thing is for certain though -- there's no shortage in quality in Wolfe's acoustic tracks.

Flatlands
Our Work Was Good
Boyfriend

32. Cat Power, "Sun"

It's been six years since Chan Marshall's last release and she's taken more L's in that time span than Charles Hamilton did from 2008-2009. She's filed for bankruptcy, went through a high profile break up and entered rehab in the last five years.

Struggles aside, Marshall has spent some time in the studio re-inventing her sound. I don't know who "they," are, but they say horrible things make pretty songs and there's no shortage of them on Cat Power's "Sun." A lot of these songs are heavy in subject matter, but a lot of them double as empowering songs made to uplift and pay respect to triumph (see: chorus of "Ruin" where "*****ing/Complaining...when some people ain't got **** to eat," categorizes the chorus.) The subject matter is all too real for Marshall, who realizes struggle is nothing to complain about and self-worth and appreciation are more worthwhile topics.

Manhattan
Cherokee
Ruin

31. Mac Demarco, "2"

If I ever had to imagine what a Midwest kick back, smoke a cigarette and wear plaid Sunday ever sounded like, I'd imagine Mac Demarco's "2," is it. But this is coming from a city boy from Brooklyn. What the hell do I know about Midwest kick back?

Nonetheless "2," is the witty debut LP from Mac Demarco who sounds about as cool as candidate Obama (notice: candidate Obama.) The one thing that stands out here, besides Demarco's smooth vocals is the guitar work.  Of the 183 records I've heard this year, this may own the most consistent guitar riffs. And some pretty dope solos as well.

Freaking Out The Neighborhood
Robson Girl
Ode To Viceroy

30. Purity Ring, "Shrines"

Purity Ring is an (insert a million sub genres that are close to, but not limited to electronic, synth pop, dubstep, trip hop) band that pits airy production over ghostly vocals.

Their debut LP, "Shrines," is a singular vision fleshed out over 11 tracks. To many this may sound boring, and maybe it is, but Purity Ring is adept at varying their sound. Credit is due to Corin Roddick whom carefully manages the production on this thing. Every drop, transition or synth is meticulously placed to transcend any record sounding too formulaic. As soon as you get sick of one sound, the next one is there. As soon as one drum pattern is annoying, here comes another. Megan James vocals stand alone, and then Roddick drops some glitches or multi-layered studio vocals for effect. It's especially evident on a track like "Obedear," which has about a dozen transitions and half a dozen different sounds over Megan James haunting vocals. The production suddenly becomes the formula, and though these tracks are similar you're still on your heels for most of this album.

Fineshrine
Belispeak
Obedear

29. Schoolboy Q, "Habits & Contradictions"

Schoolboy Q is a rapper that's been getting a lot more recognition as of late due to his association with popular hip hop artists A$AP Rocky, Kendrick Lamar and Danny Brown. As a member of the Black Hippies, Schoolboy Q's last LP was infamous for talking about otherworldly phenomena, pyramids and a lot of stupid **** that no one cares about. While "Habits & Contradictions," is a lot more grounded and a lot less acid trip, it also maintains the same mechanical flow Q was famous for on his previous LP. It also expands its sound with a slew of producers that give the album the accessibility to move from your headphones and into your pregame. Considering Q's versatility, it's only natural that his production keeps up.

Druggys With Hoes feat. Ab-SoulHands On The Wheel feat. A$AP RockyBlessed feat. Kendrick Lamar

28. Menomena, "Moms"

Menomena has no issue tackling difficult topics on "Moms," their fourth LP and first in two years. On an album centered around surviving your own family, the name of Menomena's first single, "Heavy Is As Heavy Does," sums up "Moms," in five words.

For all the talk of family, there's no shortage in music here. In fact, a lot of the chord progression here is top notch. Songs like the aforementioned "Heavy Is As Heavy Does," "Tantalus" or "Don't Mess With Latexas," start as slow records only to build into grandiose productions of music. Likewise, second single "Plumage," still deals with family, but takes a more immediate approach, placing Menomena's versatility on display.

Heavy Is As Heavy Does
Plumage
Don't Mess With Latexas

27. Evans The Death, "Evans The Death,"

Evans The Death is a 90s sounding pop band from the UK that has a (wait for it) female vocalist (love.) As many know, I'm infatuated with females in music, particularly ones that front bands, for their emotive voices and alternative song ideas in a culture where being a woman is still a question to ask about for lazy journalists.

Evans The Death, fronted by British newcomer Katherine Whitaker, is a welcome surprise to my iTunes library. These songs are instant and melodic with no idea surpassing more than 4 minutes. These quick bursts of music are welcome additions to a music culture that prides itself on standard and extended song lengths, which, for all extents and purposes drag out songs that would be more effective otherwise.

Telling Lies
Bo Diddley
What's In Your Pocket?!?!?!

26. Jaill, "Traps"

There isn't a lot of depth behind what Jaill is doing, but there's a lot to like on "Traps," their third full length on Sub Pop records. For one, the melodies on this thing are like the plague. They never go away, categorized by well-thought out guitar riffs and a punctilious attention to detail. To say that this record is pretty would be off base, but to say it's easy on the ears would surely be an understatement.

Lyrically, Jaill lead singer Vincent Kircher is full of personality, never missing a moment to **** on himself. Break up songs are usually **** ups on the protagonists part and criticisms of others come off as moments where the lead could have probably done worse. Kircher's not down on himself though -- he let's it be known how much of a ***** everyone else is on songs like the aptly titled "Everyone's A ****."

Everyone's A *****
I'm Home
Ten Teardrops

25. Wild Nothing, "Nocturne"

Wild Nothing kicks ***. Seriously. There's no band higher on my "to see Live" list. There's no band that excretes such raw emotion. There's no band that's as catchy or immediate. There's no band like Wild Nothing. There are a lot of impostors. A lot of bands aiming to make dreamy 80s pop like The Smiths or even The Cure. But no one comes close to Wild Nothing.

The next logical step is consistency. Jack Tatum has a fantastic sound and he's one of the best songwriters in indie music. It's just a matter of putting one record with minimal filler together. Still, when I think 2012. When I think what does 2012 indie sound like? I think Wild Nothing. Almost instantly. That's something that any band should be proud of.

Shadow
Disappear Always
Through The Grass

24. Lower Dens, "Nootropics"

I hate the dreaded term "smart pop." It insinuates that pop music resonates some level of stupidity, but there is nothing stupid about early Beatles or Teenage Fanclub. However, "credible" indie sources like using the term and if ever there were a chance for me to use it, it'd be on Lower Dens well crafted second record.

"Nootropics," is a progressive pop record.  At it's best it's listened to from front to back because, really, this album is an experience that has to be felt in its entirety.  As a result, "Nootropics," won't hit you immediately. That's not its aim. Rather, it will challenge you. Reward you. Maybe not to the extent of the best albums this year, but enough to keep it in constant rotation.

Brains
Lion In Winter Part 1/2 (both live)
Propagation 

23. Lil' B, "God's Father"

A lot of people still don't "get" Lil' B. Those stuck on the idea that only the 90s East Coast rap sound can create classic music, will never "get" Lil' B and this isn't a review where I'll sit at length to increase the knowledge of the ignorant.

This is a review that will praise the Based God's greatest achievement. Set over 34 songs is the greatest collection of tracks that Lil' B has ever released. Everything you love about Lil' B is here. He has cooking tracks, serious tracks, hilarious interludes, dope production, introspective spoken word and enough charisma to hold it all together as only the Based God can. It's the type of record that any real hip hop head is putting in their top 10 this year.

I Own Swag

February Confessions
See Ya
SF Mission Music (produced by my friend AJ Rice)

22. Holograms, "Self-Titled"

Holograms is a group of post-punk/hardcore/new wave Swedes whom categorize the starving musician. There's been a lot made about how poor these guys are, from their side jobs in warehouses to being stranded while on tour with no money for weeks. In fact, they're so proud of being poor that their artist page on Captured Tracks website stresses their monetary hardship. Not that any of this will stop people from illegally downloading their music. But maybe we can feel pity for how well off they aren't.

Holograms is signed to Captured Tracks and there's a stigma about these bands as their sound is generally that Wild Nothing/Beach Fossils sound. Bare in mind that Holograms is almost nothing like their label mates. In fact, Holograms sounds about as mad as a starving musician could be.

ABC City
Orpheo
Memories Of Sweat

21. Cashmere Cat, "Mirror Maru EP"

EPs can do one of a two things: they can break previously unknown musicians or tease you with the direction one of your favorites is moving towards. In this sense, EPs serve as a snapshot in the dark -- the place the musician was at the time, creatively. 

For every EP, there's a million disgruntled fans and in the case of Cashmere Cat you're privy to one front and center. The four tracks on this thing are synth driven, R&B influenced piano tales with chipmunk vocals. Everything about these songs hits like a Kimbo Slice punch to the jaw. If there was such a thing as Air DJing (like air gee-taring or air drumming) I've Air DJed to this thing about a million times.

And here's my issue -- it's four songs. I want more. In this mindset. I'm sure more will come of this, I'm just unsure if Cashmere Cat can hold this sound and evolve to a collection of songs larger than four. These, I suppose, are the pains of basing hype on four songs.

Kiss Kiss
Paws

20. Amanda Palmer & The Grand Theft Orchestra, "Theatre Is Evil"

Amanda Palmer is quite the character. She doesn't shave. She looks like the lead singer of a 90s grunge band. She's diverse, her bisexuality not withstanding. She has tons of ideas. Tons.

Her influences are pretty clear if not by reading her bio than by listening to her music, where you can hear anything from Glam Rock to Brit Pop to New Wave to a million other genres that have been name dropped in you favorite hipster blog. Surprisingly, she's very proficient at all of them and has so many good ideas displayed on just this record that it's ****ing criminal.

Her third release has album of the year contender written all over it save for some poor execution on a few songs (and, well questionable ideas -- Palmer seems to get the best of herself on occasion, but any 70 minute record has filler.)

Do It With A Rockstar
Trout Heart Replica
Olly Olly Oxen Free

19. Kendrick Lamar, "Good Kid, m.A.A.d city"

I don't know if anyone's list is complete without an appearance from Kendrick Lamar's latest LP. Actually, I don't know if I've seen a list this year that doesn't mention K dot's major label debut.

First of all, the production on this record is flat out incredible. People are so hung up on the tired story (a rapper is a good kid in a bad neighborhood? where have I heard this story before?) that they're forgetting the crown jewel on this record may be the production and how good Lamar is at flowing over just about anything.

That's not to take anything away from Lamar's lyrics, which are, as on point as they've ever been. It's more to say, there's no way Kendrick could tell me the bad neighborhood story in a different way than his predecessors of the past 30+ years. I don't care if this is autobiographical. I just care if it's good music. And it passes the test.

Poetic Justice feat. Drake
Sing About Me, Dying Of Thirst
Swimming Pools (Drank)

18. Jessie Ware, "Devotion"

There's nothing more that I hate than where R&B has turned in the past few years. Overrun with electro pop beats and tired musicians who can't sing, can't write, can't suck a - for a good producer, or can't do any of the above I find it hard to enjoy any music in my favorite genre of music.

Naturally, you can imagine my intrigue when I saw the British R&B beauty, Jessie Ware, receiving crazy good reviews from very credible indie publications. The production, while very synth based still manages to keep a very organic experience, something a lot of current day R&B lacks. Coupled with Ware's vocals, the music comes off very Sade. Very Goapele. Very much a sound I didn't think was possible for a record so blatantly entrenched in synths.

Wildest Moments
110%
No To Love

17. Animal Collective, "Centipede Hz."

A lot of the criticism behind the new Animal Collective album seems centered around the lack of build up on a lot of these tracks. It's something the latest Beach House LP does so well and a niche' of the Collectives' best tracks (see: Winter's Love, Brothersport, The Purple Bottle.)

Now, yeah, this aspect of their music coincides with some of their best songs. Build-ups are great. Animal Collective ones are fantastic. But if I listened to Animal Collective strictly for the next build up track to jerk my ears off to, I'd be lying. I'm looking for those classic Animal Collective drums. That feeling that as I scroll through my iPod any track can take me on a psychedelic ride uncanny to this universe and naturally achieved via ingestion of hallucinogens. And still, with "Centipede Hz.," Animal Collective hasn't lost it. If anything, they've proven they've got a longer term as the conductors on this train than FDR. It's a record they should be proud of, because it's everything I could want from one of their LPs.

Rosie Oh
Applesauce
Today's Supernatural

16. David Byrne & St. Vincent, "Love This Giant"

I don't have much to say about this record except THEM HORNS. THEMMMMMMM HORNS!!!!!!!!!!!!!!!!! Okay, but seriously I'm infatuated with all the horns on this thing. Goddamn.

"Love This Giant," sees Annie Clark & David Bryne, a marriage made in what could only be called musical heaven, throw their styles completely out the window for a brass band of trumpets, saxophones, trombones, etc.

With major collaborations, come major expectations and while some have found this record disappointing. the criticisms have also sounded incessantly petty. Pitting two musicians, or any set of musicians for a star level collaboration leads expectations to the brim, but when the huge complaint is that there aren't enough tracks with both vocalists singing back & forth to one another, I have to question the critics. Complain about the instrumentation. Complain about how this feels like multiple solo albums piled in one. Complain about how one musicians style overbears the other. Don't tell me both vocalists aren't featured enough. Please. That's grasping for straws at its finest.

Who
I Should Watch TV
Weekend In The Dust

15. Liars, "WIXIW"

Recently when the Liars release new albums it's not out of the question to think album of the year, or is this their best one yet? They're a band that grows their sound as well as anyone, and "WIXIW," is the next proper progression.

The band is ever-shifting in their styles, but what remains constant is how tense every record feels. Explorative and atmospheric define a lot of the sounds found on "WIXIW," as the Liars tackle an early 00s Radiohead sound, their first electronic based effort.

No. 1 Against The Rush
Brats
WIXIW

14. Woods, "Bend Beyond"

I've been critical of Woods since first getting into them a few years ago. They've always had a questionable ear for melody, which is something a lot of music I enjoy tends to possess. Not to mention I absolutely despise the voice of their lead singer. That high pitched falsetto of a vocal is about as bad as listening to Emmitt Smith give football analysis on ESPN. And it doesn't get better over time....or grow on you. It just sucks. Always.

On "Bend Beyond," Woods has at least fixed one problem, which has in turn made the other more bearable. The melodies here, from the folk tracks to the more psychedelic ones, to the power pop and freak folk ones are all marvelous. Some of the catchiest and more varied production of the year. By default, the vocals, while still noticeably bad on some songs, are at least tolerable.

Bend Beyond
Is It Honest?
Size Meets The Sound

13. Goat, "World Music"

If you dig deep enough, you'll see it was me that suggested Goat's "World Music," to theneedledrop.com's Anthony Fantano on Twitter a few months ago (sort of.) He was one of the only reviewers to give it a sub par review, but even he was impressed with the way Goat was able to seam together worldbeat and psychedelia into one sound.

The band has created this illusion that 70s band that looked like Cream, smelled like hell and played African hand drums were commonplace before David Bryne made African hand drums cool. But fusing genres together was never supposed to be this easy. What makes Goat's "World Music," so interesting is that the pairing sounds natural, bringing one to wonder why world beat and psychedelia haven't been fused before.

Goathead
Let It Bleed
Goatman

12. Tame Impala, "Lonerism,"

There's a thin line between love and hate and overwhelming potential usually categorizes that line. Take Tame Impala's critically acclaimed, but wildly inconsistent "Innerspeaker." The type of neo-psychedelic record that has misfires that are 30 foot suicide drop worthy, but still contain one or two bangers that you've been playing for the last year.

Needless to say, "Lonerism," reaches that potential...and while many will be turned off by me calling them a low level Beatles rip, I wonder how anyone can get over the lead singer's Lennon-esque vocals and not call these guys a 2nd rate Beatles band? As evidenced by my ranking, there's nothing wrong with being a 2nd rate GOAT band if you do it well.

Feels Like We Only Go Backwards
Apocalypse Dreams
Nothing That Has Happened So Far Has Been Anything We Could Control

11. Fawn, "Coastlines,"

Making pop music is tough these days. Probably tougher than it ever has been. It's not enough to be catchy. Strong lyrics. Fantastic chord progression. No, these days you have to be inventive to receive any kind of recognition, but how can anyone be inventive in a genre that has frequented our airwaves for the better half of the last century?

Fawn is a band that's been lauded all year by critics for releasing what appears to be the most average pop album of the year. They have all the checkoffs for 2012 pop music. That 90s sound? Check. Multiple vocalists? Check. Some oohs and ahhs? Check. Some songs about love? Check, check, check.

And yet they're here, representing one of my favorite albums. Why? Well, I've yet to put that into words myself....besides that I keep playing this album over and over and over and I'm never sick of it. Something like that Veronica Falls LP last year...except this isn't as good.

No Wave
All The Lights
The Forest

10. Lil Ugly Mane, "Mista Thug Isolation"

When an unknown to the public artist named Lil' Ugly Mane, was releasing a mixtape fully produced by in-demand producer Shawn Kemp, the gossip behind Lil' Ugly Mane's identity became more important than the music itself. Luckily, once Lil' Ugly Mane was revealed to be Shawn Kemp people started recognizing Kemp's ability as an emcee.

We know the Lil' Ugly Mane is Shawn Kemp. We also know that Lil' Ugly Mane is a semi sociopathic mother****er. He doesn't give a **** about anything. He calls everyone a *****. He's lugubrious. A self-proclaimed maniac drug dealer. He likes Slick Rick. You can't make this stuff up.

And yet the persona Kemp has created is the perfect protagonist for the chaotic production. Bad things are going on. **** are on the loose. And Lil' Ugly Mane is doing nothing to help the community. It's hilarious, actually.

Maniac Drug Dealer III
Lookin 4 Tha Suckin'
Slick Rick

9. Waka Flocka Flame, "Salute Me Or Shoot Me 4: BANNED FROM AMERICA"

I'm not sure if there's much to say about Waka that hasn't been written. He's the "first punk-rap," artist. He admittedly doesn't make lyrical music. In fact, he tells you if that's what you're looking for, "don't **** with me" on numerous interviews. And still, we get this -- another slab of genius from a man whose career is synonymous more with genius than intelligence.

Looking at those terms, let's get one thing straight. Genius is not synonymous with traditional intelligence. James Brown was a seventh grade drop out. Benjamin Franklin dropped out at age 10. Waka Flocka made it to college. Enough said.

Of course, if you don't rock with this kind of music, I respect it. To not respect what Waka's doing on this mix tape (which is leaps and bounds better than the LP he dropped this year) though...well, I can't understand.

24 Hours feat. Sony
Turnt feat. Wale & Roscoe Dash
Murda feat. Chief Keef

8. Porcelain Raft, "Strange Weekend"

Indie fans love making back stories about what lyrics, songs, or even full length albums mean. This is what the artist was going through. This is what the artist meant. This is why they feel this way. We know good and well that we have no idea where motivation is without word from the artist themselves, but it's nice to feel like we do. It's nice to "know," more about something that we love. To think that Bon Iver was in emotional despair, in a cabin, lost in the woods, recording "For Emma, Forever Ago," just adds so much more depth to that album. There's about as much made about the back story as there is about the music itself.

Porcelain Raft's "Strange Weekend," has the most inter galactic back story of all time made up by the writers that constantly make **** up in my head. Lone musician Mauro Remiddi was shot up to a frigid cavern on the Moon by Aliens. With no signs of life and food/air that will last for 30 days, Remiddi spends his last days recording music. Armed with acoustic guitar, keyboard and laptop he records what likely will float around the Milky Way for ages. Only to be discovered in 1500 years later as an ancient human artifact.

So, yeah, none of this ever happened...but Mauro Remiddi is good at conveying that sound over 35 minutes.
Drifting In & Out
Shapeless & Gone
The End Is Silence

7. Chairlift, "Something"

The 80s dance/90s R&B/synth-pop/new wave fusion that is Charlift's second album absolutely blew me away back in January and it's no mistake that it's in my top ten records for the year.

This album is just bubbling at its tip in potential 80s club hits and melodramatic storytelling. This is the type of **** that made Janet Jackson and Madonna famous, and luckily, Chairlift's vocalist may be just as talented, going from full falsettos to whispers with ease.

Take It Out On Me
Amanaemonesia
Sidewalk Safari

6. The Antlers, "Undersea EP"

"Hospice," may turn out to be The Antlers magnum opus, but it's "Undersea," that is their most important release.  While "Hospice," maintained an unparalleled ability to squeeze emotions out (aka it was a sad *** concept album) it was a flash in the pan type of record. One with a recipe a band could replicate for albums, but never duplicate in quality.

It explains the lukewarm response to "Burst Apart," which exposed The Antlers flat production and coupled it with a record not nearly as emotive or moving as "Hospice."

"Burst Apart," showed that re-creating the same album doesn't lead to success. Luckily, The Antlers have decided to change gears with "Undersea," being the next logical step. Just from a musical standpoint, this is the most mature record they've ever created. The most engaging. The instrumentals here, which can't be said for any of their other releases, stand alone without vocals.

This isn't to say the record is sucked dry of the emotive lyrics we've come to expect. The Antlers will give us lyrics. It's the lyrics with some impressive production that leaves me excited for the next Antlers LP.
Crest

5. Beach House, "Bloom"

I've long been unimpressed with Beach House. Critics flip over these breezy production and strong lyrics and yes, they make beautiful records. However, they have  never been able to translate aesthetics into good music. Truth be told, their albums are never worth a second or third listen. Truth be told, they're your neighborhood bimbo -- beautiful and boring.

The name of their latest album, "Bloom," is telling as a lot of the songs start off small in stature only to become these Broadway-esque Dream Pop productions with full conductor, string arrangements, horns, percussion, etc. etc. Beach House fool around with the most melodic sounds of their career and these grandiose productions from start to finish make this easily their best album.

Lazuli
Wishes
Other People
Troublemaker

4. Icky Blossoms, "Icky Blossoms"

Icky Blossoms is a dance pop/electronic/shoegaze band based in Omaha. Blossoms' debut record has the distinction of being produced by David Sitek, TV On The Radio guitarist and producer

The Sitek connection is key here, because I'm infatuated with the production. Sitek  does a bang up job of leveling out dance-y synth pop music with distortion, allowing the music to be a not-so-clean cut club record.

What does your imperfect club record sound like? It wreaks of alcohol stained shirts, cigarette breath, amphetamines and sex, which is probably a short summary of your club experiences (or your twenties) rolled into one.

Sex To The Devil
Cycle
Babes
Perfect Vision

3. Cloud Nothings, "Attack On Memory"

I don't think anyone expected the jump in progression that Cloud Nothings has displayed on their third proper full-length. Dylan Baldi has blown it up. Literally. Cloud Nothings is a different band registering elements of lo-fi, energetic post-hardcore, grunge and noise rock. They're more energetic. They're incredibly apathetic. They're ****ing angry. And they're a lot better.

From head to toe -- the drumming is phenomenal, the solos are better, the vocals are better -- every amp has been turned up like Club Liv is hosting a 2 Chainz concert. Cloud Nothings have just decided to give us more with each release and when more includes an album like this not even Dana Brody could complain. The tone/melody is so much heavier and though these are very obscene adjectives to describe the music, there's really no other way to say how much this band has evolved in less than a year.

Wasted Days
Cut You
Our Plans

2. Grimes, "Visions"

I've done my fair share of raving about Grimes, "Visions" LP and in just about any other year this is the clear cut album of the year. Grimes is a dream pop artist in the vein of Cocteau Twins, that has utilized gothic undertones and an overdose in synth pop to make her music both incredibly accessible and ****ing bad ***.

For major Dream Pop fans, Grimes will come off as pleasantly familiar yet refreshingly novel. Her music utilizes a lot of simple and altered synths, and vocally she switches in and out of falsetto and cold, breathy vocals. The vocals maintain the atmosphere and range from chipmunk high to blatant gibberish. Grimes is great with psychedelic atmosphere making music that stacks up with early Verve, The Cure and the aforementioned Cocteau Twins.

She is an incredible craftswoman and is great at balancing what is ethereal and what is pop. She's done this so well in fact that she's received nationwide acclaim by crafting a record that is topping many Best Of... lists. She's doing television performances. She's making waves with major internet sensations like Kreayshawn and Narduwar.

While this is common fanfare for many bands, this isn't common for a Dream Pop artist. It's not out of the question to say this is the most popular Dream Pop record to drop since the days of Mazzy Star. It also is fair to say that Grimes is the most important Dream Pop artist since her idols, the Cocteau Twins.

Oblivion
Circumambient
Genesis
Symphonia IX (My Wait Is U)

1. Fiona Apple, "The Idler Wheel Is Wiser Than The Driver Of The Screw & Whipping Cords Will Serve You More Than Ropes Will Ever Do"


Just tolerate my little fist tugging on your forest chest/I don't want to talk about, I don't want to talk about anything

There isn't enough that I can say about Fiona Apple's The Idler Wheel... I mean, I feel as though I'm doing a disservice by giving some mumbo jumbo summary that doesn't detail the different cadences and endeavors that Apple suggests on the canvases laced on this record. There's so much to say, and so few words to say it in, leaving me questioning why I've spent this past paragraph saying near nothing of substance.

So many of these songs are worth more than a simple summary and though occasionally that's a testament to the type of music this is (singer-songwriter love records), for this record, it's a testament to the quality of tracks. The internal wounds mounted on Valentine, for example ("I've made my peace, I'm dead, I'm done/I watched you live to have my fun") are about as straightforward of a hell unrequited love can be. That despite age telling us that stressing over unrequited love was stupid as a teenager, we still feel these emotions into our 20s, 30s and beyond.

"Every single night's a fight, with my brain"

What's great is that for every track there tends to be an internal battle within the album leading to Apple contradicting herself, much like love & people often do. While Valentine is about unrequited love, Left Alone is for the person that feels unworthy of love all together. It suggests that while Apple wants love, she pushes it away when it's ready for her. It's a stark contrast between two songs, but Apple has the enviable talent to do so many angles so well.

Though Fiona has no qualms of making her music almost exclusively love songs, the listener never feels overwhelmed or bored. Every line, tone, and ounce of melody has been crafted so meticulously that even the slightest overdose would ruin the formula, leaving it whiny or bland. And through the 42 minutes of the LP, Apple never stumbles. Not even once. She's in total control and rarely have I heard an album that projected ideas so well in execution.

The production is absolutely top notch focusing on piano melodies and simple percussion. Many will talk about the stripped down style, but the music has never sounded fuller to me which is a validation of how great Apple's contralto is and how well the palettes painted suit her strokes of internal despair.

I could go on and on about this LP, but I'll leave it at this: I've probably listened to nearly 700 albums from 2007-2012, if not more, and Apple has crafted what could easily be the best album in that time span. If you don't listen to anything in 2012, and by god you're missing out on a lot of good music, take the time and listen to this.

Daredevil
Every Single Night
Periphery
Jonathan
Regret

Needs more trap my dudeiHeartCali

OH AND DIS HAZ BEN UPDATED DOEEEEEEEEEEE

also, the blog version of this >>>>>>>. 

The only new album I listened to all year was good kid maad city, regardless of any genre.DiIIasDonuts

[QUOTE="DiIIasDonuts"]The only new album I listened to all year was good kid maad city, regardless of any genre.Colt45fool

[QUOTE="Colt45fool"][QUOTE="DiIIasDonuts"]The only new album I listened to all year was good kid maad city, regardless of any genre.DiIIasDonuts

It wouldn't be difficult to watch 50 movies from 2012, 75 albums and read 15 books. You'd probably miss on some stuff, but you'd be knowledgeable in everything. 

I guess the issue is back tracking also....you'd only have enough time to backtrack on occasion.Colt45fool

PS. I'm a Tv show addict as well. I'm actually excited about shows finally finishing this year, so I don't have to watch them. It bugs me to leave a show I've watched for so long, unless it gets really bad. ie. Dexter, The Office, How I Met Your Mother. I can't even stand these shows anymore, but I have to know how they end. :?

[QUOTE="Colt45fool"]I guess the issue is back tracking also....you'd only have enough time to backtrack on occasion.DiIIasDonuts

PS. I'm a Tv show addict as well. I'm actually excited about shows finally finishing this year, so I don't have to watch them. It bugs me to leave a show I've watched for so long, unless it gets really bad. ie. Dexter, The Office, How I Met Your Mother. I can't even stand these shows anymore, but I have to know how they end. :?

There's great music to go around, but it's more in terms of songs than albums. For example, I've listened to 183 albums this year, but are all 183 worth listening to? Probably not. In fact, only about 100 are worth the full listen. That's not to say that I've listened to everything under the sun, but I'd like to think I listened to a good portion of the major releases this year and a good portion of the minor don't won't get much fan fare.

In the same token, while there were probably 100/183 worthwhile albums to listen to, there are probably 3-6 songs on each of those 83 records that are worth listening to. Enough to make you check for their next release and that's frustrating. Especially when a band can consistently put out garbage, but still has 3 songs on each album that make you go WOW. And the weird thing about music is that sometimes a band gets it and other times they don't.

What I mean is, is that a band could put out 3 songs per album that are dope forever. Or they could put out 3 songs per album that are dope and then by album 3 or album 4 drop something incredible that you either missed (because you were frustrated with inconsistency) or stuck around for. This year, two of my top 15 records are from bands that I've generally been bored with -- but by album seven for one band and album four for the other, they got it and released some ill **** that I'm glad I got to listen to. It's frustrating.

The same thing happens with TV though and I kind of alluded to it with Dexter. While you may have been disappointed with season 7, I liked it. Enough to say I'm glad I stuck around after the awful season 5/6. Now, some shows never rebound entirely and this is true of Heroes where, in hindsight, I probably should have stopped watching by season 3. A current show where I'm dealing with this issue is American Horror Story which had an incredible first season, but a catostrophic second season. Considering the show reboots every season, I have reason to stay on for season 3.

Colt you should get a Spotify

then make a playlist on there with all your favorite songs from 2012 to share and you can let us stream it 

[QUOTE="DiIIasDonuts"]

[QUOTE="Colt45fool"]I guess the issue is back tracking also....you'd only have enough time to backtrack on occasion.Colt45fool

PS. I'm a Tv show addict as well. I'm actually excited about shows finally finishing this year, so I don't have to watch them. It bugs me to leave a show I've watched for so long, unless it gets really bad. ie. Dexter, The Office, How I Met Your Mother. I can't even stand these shows anymore, but I have to know how they end. :?

There's great music to go around, but it's more in terms of songs than albums. For example, I've listened to 183 albums this year, but are all 183 worth listening to? Probably not. In fact, only about 100 are worth the full listen. That's not to say that I've listened to everything under the sun, but I'd like to think I listened to a good portion of the major releases this year and a good portion of the minor don't won't get much fan fare.

In the same token, while there were probably 100/183 worthwhile albums to listen to, there are probably 3-6 songs on each of those 83 records that are worth listening to. Enough to make you check for their next release and that's frustrating. Especially when a band can consistently put out garbage, but still has 3 songs on each album that make you go WOW. And the weird thing about music is that sometimes a band gets it and other times they don't.

What I mean is, is that a band could put out 3 songs per album that are dope forever. Or they could put out 3 songs per album that are dope and then by album 3 or album 4 drop something incredible that you either missed (because you were frustrated with inconsistency) or stuck around for. This year, two of my top 15 records are from bands that I've generally been bored with -- but by album seven for one band and album four for the other, they got it and released some ill **** that I'm glad I got to listen to. It's frustrating.

The same thing happens with TV though and I kind of alluded to it with Dexter. While you may have been disappointed with season 7, I liked it. Enough to say I'm glad I stuck around after the awful season 5/6. Now, some shows never rebound entirely and this is true of Heroes where, in hindsight, I probably should have stopped watching by season 3. A current show where I'm dealing with this issue is American Horror Story which had an incredible first season, but a catostrophic second season. Considering the show reboots every season, I have reason to stay on for season 3.

I knew you were gonna post this garbage in here.Apocalypse33

update in 1st post 

[QUOTE="Colt45fool"]

[QUOTE="DiIIasDonuts"]

[QUOTE="Colt45fool"]I guess the issue is back tracking also....you'd only have enough time to backtrack on occasion.DiIIasDonuts

PS. I'm a Tv show addict as well. I'm actually excited about shows finally finishing this year, so I don't have to watch them. It bugs me to leave a show I've watched for so long, unless it gets really bad. ie. Dexter, The Office, How I Met Your Mother. I can't even stand these shows anymore, but I have to know how they end. :?

There's great music to go around, but it's more in terms of songs than albums. For example, I've listened to 183 albums this year, but are all 183 worth listening to? Probably not. In fact, only about 100 are worth the full listen. That's not to say that I've listened to everything under the sun, but I'd like to think I listened to a good portion of the major releases this year and a good portion of the minor don't won't get much fan fare.

In the same token, while there were probably 100/183 worthwhile albums to listen to, there are probably 3-6 songs on each of those 83 records that are worth listening to. Enough to make you check for their next release and that's frustrating. Especially when a band can consistently put out garbage, but still has 3 songs on each album that make you go WOW. And the weird thing about music is that sometimes a band gets it and other times they don't.

What I mean is, is that a band could put out 3 songs per album that are dope forever. Or they could put out 3 songs per album that are dope and then by album 3 or album 4 drop something incredible that you either missed (because you were frustrated with inconsistency) or stuck around for. This year, two of my top 15 records are from bands that I've generally been bored with -- but by album seven for one band and album four for the other, they got it and released some ill **** that I'm glad I got to listen to. It's frustrating.

The same thing happens with TV though and I kind of alluded to it with Dexter. While you may have been disappointed with season 7, I liked it. Enough to say I'm glad I stuck around after the awful season 5/6. Now, some shows never rebound entirely and this is true of Heroes where, in hindsight, I probably should have stopped watching by season 3. A current show where I'm dealing with this issue is American Horror Story which had an incredible first season, but a catostrophic second season. Considering the show reboots every season, I have reason to stay on for season 3.

There's plenty of reason for Deb to be OK with what Dex does. Or at least to tolerate it. I don't think she's okay with it, but keep in mind that she always listens to him (how she got the promotion anyways) and she's in "love" with him :|

How do you not like Game of Thrones?

Homeland fell off in s2. Still good, but they better pull some ill **** in s3

New Girl is dope.

Happy endings is dope

The League is dope

Workaholics is overrated

I watch a lot of those shows, didn't comment on ones I had no comment for. 

this is complete

peep my blog for a better formatted, uncensored version which includes all 183 albums I listened to and their ratings [for people who just completely missed 2012]

Showtime: Where shows start out really well but then go downhill in later seasons Also that Jessie Ware album is soooo goodJML897