February 14th can be annoying. So contrary to the spirit of Valentine’s Day, I spent the best part of my day listening to words about failed relationships, suicide and depression. But it’s not what it sounds like at all – such perceived negativity came from beautiful phrases that filled the air alongside poignant music. It was Sharon Van Etten‘s appearance at the Wexner Center for the Arts in Columbus, Ohio.

The evening began with an opening group called Shearwater, a band that I hadn’t really noticed before. It didn’t take very long to realize that I had been missing out. Their lively rock managed to blend the more pop-oriented versions of Sonic Youth’s noise with the pastoral reflections of Talk Talk. Moments of shimmering guitar beauty were balanced very nicely with swirling feedback and pure noise. Curiously, their work may have stolen some thunder from the main act – Shearwater’s music was louder, more aggressive, and more dancable. In fact, their new release Animal Joy may merit future listening, based only on the live sampling I got. After Shearwater played an encore and a brief break for stage setup, the crowd was ready for the headliner.

Sharon Van Etten’s set began with a slightly more difficult start, but gained steam as the night continued. Sharon was chatty and almost bubbly between songs, and she seemed genuinely pleased to be performing and sharing the stage with her band. Particularly early on in the performance, she noted that her touring band was fairly new and they were still working out the kinks. Luckily, the actual playing was never in question; simply the mechanics of getting a song started were a bit rusty.

For the uninitiated, Van Etten’s voice is the centerpiece on her records, and the same held true with this performance. Acoustic guitars and careful layering of electrics allow her beautiful human instrument to pierce through. And pierce is certainly the best way to describe its power. From the most quiet of coos to the power of her phrasing, Sharon Van Etten’s songs excel because her voice  is able to impart such electrifying emotion and urgency. You can feel the strain in her throat and it’s just as mesmerizing on stage as in headphones.

The highlight of the night was a jaw-dropping rendition of Van Etten’s “Don’t Do It,” a song that I had previously praised as the best of 2010. After a brief introduction to the song (some joking about the irony of playing the negatively titled song “I figured I would do it… you know, ‘Don’t Do It’ but do it”), it kicked off with haunting guitars and ghostly vocal manipulation by one of the other band members. The entire performance space was enveloped by the sound, the pained cries and the soothing reassurance of Van Etten’s words. Quite simply, it was one of the most cathartic live music experiences I’ve ever had.

Sharon Van Etten and Shearwater formed a great concert pair and were well worth the price of admission. Strong musical ability, entertaining compositions and very personable banter with an excellent crowd made this a great show at an impressive venue. Keep an eye out for both of these acts – even as they seem poised for commercial breakthrough, they’re already very impressive right now.

Here we go, with the five best albums of 2011. Did I forget a great one? Is your favorite album better than my favorite album? Let me know about it in the comments – I certainly haven’t heard everything from last year and I’d love to learn about more great music that I missed.

05. Cults by Cults // Even by internet standards, Cults faced an uphill battle against the blog hype machine. They appeared as if out of nowhere, had a mysterious boy-girl sound and released the absolute gem “Go Outside” in 2010 on their Bandcamp page. By the time their self-titled debut came out, they were expected to release a pop masterpiece and save music (or something). That didn’t happen, but the record is excellent anyway. The songs are loaded with hooks and constructed in easily-digestible 3 minute bursts. Melodies shine and vocals impress. Dark, echo-filled production gives a deeper sound than typical indie pop. And most importantly, on top of all the other merits, Cults is just fun. Certainly not perfect, but still exceptional.

04. Nine Types of Light by TV on the Radio // I am astounded by the (relatively) negative reaction to the new TVotR record. After three straight releases accompanied by critical drooling, Nine Types of Light has fallen on deaf ears. And it’s a shame, because this is the most complete, accessible and best release in the TVotR catalog. The accessible part is at once the most important and deceiving thing about Nine Types. The record is easy to get into because of song structure, warmth and content. Things are still artful, but never at the expense of song quality, the production is less industrial, and the lyrics gush about love. Yet this is still TV on the Radio. The band is still exploring, pushing music to the limit and using layers of sound. It’s just so much easier to relate to, so much more pleasant on the ears, and so much more appealing to friends. Fall in love with this beautiful record.

03. The Unfazed by Dolorean // This is a bit of a hidden one. If you’ve read the Best Songs list you’ll already know something about the band, but perhaps only just that much. The Unfazed is a sort of roots-rock, nearly country-rock blend of clean guitars, pianos, solid rhythms, and violins. It’s fairly straightforward, but not simplistic. Each song has a very full sound without being overwhelming; instruments are given enough space to be heard alone while still developing interplay. But what makes this stand out is the delicate line Dolorean toes with emotion. Each song is injected with enough heart-on-sleeve earnestness to draw ears and sympathy, but never nears the parody level of emo. That fantastic balance and the impressive musical talent let The Unfazed stand tall. Don’t let this band be an unknown for you anymore.

02. Let England Shake by PJ Harvey // Immediate and nervous, musically and lyrically ambitious, difficult but digestible. It’s quite obviously rock, but it doesn’t let mere guitar stuff get in the way of making an album-wide statement. Yes, PJ Harvey has hit an absolute home run with this album. The whole thing exudes a terrifying uncertainty, matching well with its nearly-paranoid theme against war. And every song has some kind of shocking moment that absolutely floors you. Maybe it’s the creepy shuffle of the opener “Let England Shake,” or the way “The Last Living Rose” threatens to fall apart right before the horns kick you in the face. Or perhaps you’re like me and the goosebumps never go away during “The Glorious Land” as reveille keeps popping up, or you can’t help but feel chills the United Nations reference in “The Words that Maketh Murder.”

Of course, I can’t forget to mention Polly Jean Harvey herself. Her voice is exceptional on every track. She is pained and wounded during “On Battleship Hill.” She is disgusted and lost on “England,” and channels a focused fury during “Bitter Branches.” Just listening to her pointed phrases and expressions is rewarding. When done in union with the powerful backing band, the whole record is stunning. This is a powerful, cohesive statement with no weak links and will capture your attention again and again. Let England Shake is phenomenal.

01. The King is Dead by The Decemberists // This was such an easy choice for me. I sampled The King is Dead when it first leaked in late 2010, and it instantly stole my attention, even as I was trying to deal with Best of 2010 things. I was even more pleased to buy it and get the full sound quality. And the whole thing was really wrapped up when I saw The Decemberists live in early August. Even with more than 4 months remaining, I fully understood that any challenger to the throne would have to be simply mind-blowing.

But then what makes this record the best of 2011? Some have dismissed it as just simple R.E.M. copying or a pathetic withdrawing after the ambitious The Hazards of Love project. Those criticisms miss the point. Surely this record tips its hat at Reckoning-era R.E.M., but it does so while never losing the character and appeal offered by The Decemberists. Similarly, Hazards was an over-the-top concept that failed to really appeal without a full listen of the entire record. That kind of investment was only made less worthwhile by the thick, dense style of music in Hazards.

The King is Dead is The Decemberists cut down to their most essential. Colin Meloy still croons in a lovely voice, and the lyrics certainly appeal to the book-nerds in the audience. But they do so in a simpler way, telling the stories appropriately and never going too far. The songs are very crisp, tightly constructed works and never get lost in instrumentation or soliloquy. The music itself is at times purely jubilant, and at others very heartfelt and quiet. Ringing guitars, smooth singing, fruitful drums and exceptional strings build fantastic worlds within each track. And it certainly doesn’t hurt that the outright best song of 2011 is thrown in the mix and fits the rest of the record. The King is Dead may feel less ambitious than previous Decemberists albums, but it comes away sounding more polished and unified.

This is the best of 2011, a composition released a mere 14 days into the year. That nothing came close is disappointing for the year, but not for The Decemberists. This is a record that would stand tall in any twelve month period, and is worthy of such high adoration. Enjoy the best of The Decemberists. Enjoy The King is Dead.

Here we go with Part 1 of the Best Albums of 2011. Despite the general lack of great albums, it was still tough to completely cut the list down. Good moments and good songs dominated my attention much more than full records, and plenty of singles were worthy of repeated listens. So a quick Honorable Mention to Bright Eyes, Tune Yards, Foster the People, Real Estate and Bibio for being insanely close to the top 15. Now on to the proper list:

15. Bon Iver by Bon Iver // That’s right, it isn’t the best album of 2011. Not even close. It’s a very hit-and-miss affair, and too obsessed with being arty instead of just being good. The lyrics are nonsense, and the last song is just awful. But you know what? When it clicks, it’s unparalleled. The first four songs are stunning in their stark beauty. If only the rest were that good.

14. El Camino by The Black Keys // The Black Keys are a real problem for me. They’re consistently releasing the most entertaining record of any given year, but they rarely sound any different from album to album. Luckily, that doesn’t really matter. Their brand of blues rock is fun and, when at its best, a great thrill ride. “Lonely Boy” is a wonderful selling point, and the rest of the songs are worth a spin. Rock and roll, people!

13. Nostalgia/Ultra by Frank Ocean // It’s a mixtape, yes, but this collection of songs is brimming with creativity and exceptional R&B. I haven’t totally bought into the Odd Future hype, but this is certainly the place to start. It’s catchy, funny, meaningful and free. For some the “free” thing might be a sign of lower quality, but that’s certainly not the case here. Sheer musical quality wins out and you’ll thank yourself for downloading this collection.

12. Codes and Keys by Death Cab for Cutie // This is the weakest Death Cab record in many years. Too often, the songs meander without direction or sound like somebody was left to goof around with electronics. But when the music connects, it’s like vintage DCFC. “Codes and Keys,” and “Portable Television” hit strong and stick well. But the real winner (and what really elevates the album) is closer “Stay Young, Go Dancing.” It’s a legitimate mood booster and wonderfully fun.

11. Strange Mercy by St. Vincent // Surely you’ve heard the hype, but have you actually heard the music? It’s arty rock with enough kick to appeal to your basic guitar love. It’s also pretty, flowing and weird in a way that keeps you guessing (and entertained) for the whole ride. And it also has a great voice and strong lyricist leading the way. Don’t view it as a novelty because Annie Clark is a woman. That’s stupid. Pick it up because it’s fantastic music.

10. Helplessness Blues by Fleet Foxes // Unlike their debut EP and album, the 2011 release by Fleet Foxes doesn’t feel as magical or refreshing to me. But that’s really selling Helplessness Blues short. The vocal harmonies are still pitch perfect, the guitar work is intricate, and the production is clear, helping to bring out the beauty of every human and manufactured instrument. The big changes to the sound come from the content of the lyrics. Thoughtful, meaningful words give each song added weight and reward repeated listening.

09. The King of Limbs (From the Basement Edition) by Radiohead // The actual record is not the best Radiohead has ever done. In fact, it’s really disappointing. But the From the Basement version is fantastic. The songs come alive with a kind of energy that they never had in the original studio. Dense songs become more accessible and rhythmically simpler. Individual instruments are heard more clearly, and emotions are more powerful. Replace the original with this version – it’s worth it.

08. Belong by The Pains of Being Pure at Heart // Belong isn’t far removed from the first Pains record, and that’s a good thing. I’m not always sold on shoegazer-type guitars, but this band is excellent at blending the noisy aesthetic with pop hooks and audible vocals. That blend is exceptional across the record, but is really great in record highlights “Heaven’s Gonna Happen Now” and “Belong.” Also noteworthy: synth shows up again, and isn’t cheesy for the second record in a row. Nice.

07. D by White Denim // A late addition to the list, but a fast riser. This record feels heavily of Bends-era Radiohead blended with psychedelic rock. On paper, that sounds like a forced combination, but the result is spectacular. Guitars and vocals alternate nicely between spacey-chime and psych-whirl. Song structures are easy to follow but not always typical and the drum patterns are pleasantly complex. White Denim sounds like a fearless band out exploring where their limits may lie. And if D is this good and they’re just starting to experiment, we’re in for very good things.

06. C’mon by Low // I’m a terrible indie fan. I had never listened to a record by Low before. While you’re busy judging me, let C’mon stand on its own. The record is simply majestic. Big guitars draw you into the sweeping melodies. Fantastic singing leads each song to wonderful, sometimes heart-breaking places. And while each song fits the same style, every track is exceptionally memorable. From the bells of “Try to Sleep,” to the dark chug of “Witches,” the stunning beauty of “Especially Me,” and the showstopping anthem that is “Nothing But Heart,” every track has something that will tug at your ear and brain. The best thing I can say about C’mon: it hits you and keeps growing. This is a keeper.

10. “Caffeinated Consciousness” by TV on the Radio // There was not much fanfare made for the latest release by this Brooklyn band, and that’s unfortunate. Nine Types of Light is the most accessible TVoTR record, but never loses the innovative musical edge the band has been known for. “Caffeinated” one-ups the rest of their record by sounding stunningly unique in a collection of very singular songs. Of course, it helps that the song has the best riffs, vocals, and production all in one track. A very impressive feat for such a great band.

09. “Cheerleader” by St. Vincent // Internet reaction to St. Vincent has been oddly divided, likely thanks to Pitchfork’s loud praise for Annie Clark. In typical Pitchfork fashion, she hasn’t deserved all of their drool… but they’re not very far off. Clark’s newest record is full of great rock and songwriting moments, but the most exceptional piece is “Cheerleader.” The fist-pumping chorus is a brilliant draw while the vocal and lyrical quality draw you back time after time.

08. “Midnight City” by M83 // I first listened to M83 when everybody was fawning over Dead Cities, their breakthrough My-Bloody-Valentine-with-synths record. It seemed interesting, but way too dense for its own good. Nearly a decade later, “Midnight City” shows up on a fall music preview and I couldn’t believe it was the same band. The song has so much clarity, emotion, driven purpose, and is full of hooks. How could this be the sludgy band from 2003? Best advice – don’t worry about it and let those fat intro synth notes hit your ears again. Glorious.

07. “Ice Cream” by Battles // Even on their famously blunt epic “Atlas,” Battles always sounded like a party waiting to happen. This song is that promise realized. The intro alone is worth a spot in the top 10 of this year – the exceptional buildup for the first 50 seconds is unparalleled and releases into a wonderful jam. Yes rhythm nerds, it’s still very rooted in math rock. But guess what? This math rock is more fun than anything the preppy kids play at their parties. Listen causally for the excitement, be rewarded by the percussion and melody.

06. “Bizness” by Tune-Yards // “Bizness” knocks you over right away and never stops the assault. It sounds like nothing I’d ever heard and was immensely refreshing. And it continues to be. It’s total chaos, but completely ordered. That voice can be rhythmic, charming, quiet, booming and dominating all within one line. It’s passionate, exciting and, above all else, gripping. When it ends, you can’t help but listen again, if only to learn more.

05. “It’s Real” by Real Estate // This isn’t some wild exploration or innovative composition. Instead, it’s pretty, perfect indie pop. Beautiful jangling guitars hearken to the heyday of R.E.M. The vocal performance is simple but strong. The melody is easy and therefore quick to root into your brain. The lyrics are a very direct poem, drawing images of suburban love. All this in a sub-three minute package make “It’s Real” the most satisfying song of 2011.

04. “Lonely Boy” by The Black Keys // Not every Black Keys song is noteworthy. All too often, their tracks blend together in a good-not-great blues rock wash. This song kicks all kinds of ass. Right from the beginning, the tone is different. Darker, faster, just better. Backup singers on the chorus, relentless pounding, organs, a tight hook riff… “Lonely Boy” is full of self-confident rock bravado and pulls it off perfectly. Rock and roll, damnit.

03. “Abducted” by Cults // I’m sure there’s backlash against Cults not living up to their pre-album hype. But it’s irrelevant when songs like “Abducted” exist. This dark pop gem works the one-boy-one-girl band idea to perfection with an abduction narration. The song then pushes it further with layers of sound, bells, soaring vocals, and exceptional production values. The anti-Cults crowd is crazy to find this song disappointing.

02. “Country Clutter” by Dolorean // For me, there’s a massive gap between the top two and everything else. Here at number 2 is a relative unknown. I first heard “Country Clutter” on NPR’s All Songs Considered and fell head-over-heels. I think the key is in that first listen, too. The song slowly peels back and opens up musically, adding more instruments including a devastating guitar/drum breakdown. But the lyrical and vocal details make this a real champion. The aching description of breakup and burning defiance are so sharp piercing. Particularly, the refrain caused me to do a spit-take: “I hope it clutters up your life, the way you cluttered up mine” is the best line I’ve heard in a long time. Go check out this song and let it clutter your thoughts in 2012.

01. “This is Why We Fight” by The Decemberists // This wasn’t even close. When “Down by the Water” was first played on TV, I was excited about the new Decemberists record. When The King is Dead first leaked I totally forgot about “Down by the Water.” Forget everything you think you know about the Decemberists. Forget the storytelling, verbose soliloquies, nautical shanties. “This is Why We Fight” is a true and absolute standout, among the top 2 songs ever composed by Colin Meloy and his always-impressive Portland-based band. It’s a showstopper on a fantastic record.

But what about “Why We Fight” makes it so great? The intense sense of dread in the droning guitars and harmonicas. The dark, deep bass and drums. The impassioned cries of Meloy as he calls out, “Come the war, come hell.” Those are the big things, the things that get you immediately. But then there are the details. The ringing guitars that carry under the entire song add a sense of both direction and unease. There’s the way the song has a slight key change going into the chorus that makes the refrain pop just that much more.

Of course, I encourage you to do the right thing and play this on the loudest stereo you’ve got. Maybe that means some fancy setup, maybe that means hopping in the car and cranking it while you drive down I-90. Just do it. The coda is mind-blowing that way. Feel the guitars rock that much more, the power of Meloy’s voice hit that much harder, the atmosphere become fuller than imagined. It’s worth the trouble. Yes, this is the best song of 2011.

Welcome to the Best Songs of 2011. Let’s kick this off with the first of two sets of songs. Each song will have a link to its Spotify version, and at the end of the second set we’ll have a link to a Spotify playlist so you can hear the songs yourself. Enjoy!

25. “Someone’s Gonna Break Your Heart” by Fountains of Wayne // The band best known for “Stacy’s Mom” should get more attention for their terrifying ability to construct hooks. This delightful pop gem will get your attention and warm your heart.

24. “Perth” by Bon Iver // Bon Iver isn’t nearly as good as people would have you believe, but the record is capable of powerful emotional and musical moments. Particularly, the swelling opener is captivating, hitting all the right notes and kicking things off right.

23. “Pumped Up Kicks” by Foster the People // I know. It was overplayed to the point of exhaustion, pushed at you from every ad, radio station and YouTube link. But you know what? It’s a damn catchy tune, and risky too. It’s sparse almost to the point of breaking yet still establishes melody, deceptive lyrics and a memorable vocals. That’s impressive.

22. “A Candle’s Fire” by Beirut // On paper I like what Beirut is about, but I’ve never given them a chance before. With this year’s The Rip Tide I finally tried them out and found a satisfying departure from typical indie music. Emotive singing and exceptional instrumentals make the first song worth your time.

21. “Money” by The Drums // There’s something satisfying in listening to a song this air-tight. Not a note is out of place, and the structure is well-balanced and doesn’t get repetitive. Add to that the swift pace and simple lyrics, and you’ve got a high-energy winner.

20. “Codex” by Radiohead // The King of Limbs was disappointing for many reasons, but this was not one of them. In fact, “Codex” is the sound of Radiohead making the only song close to their prior excellence. Equal parts soothing and depressing, this is how reflective piano pieces should work.

19. “Grown Ocean” by Fleet Foxes // Helplessness Blues just didn’t have the same immediacy or impact on me as the debut Fleet Foxes. But here was one song that honestly sounded like the band making forward progress, and it was great. “Grown Ocean” felt much harder-hitting, much deeper, while still retaining that distinctive Fleet Foxes feel.

18. “22-22″ by Black Ice Birds // I will be honest here – I don’t know a damn thing about this band. Their Facebook page claims origins in the UK, but it doesn’t matter. This song simply rocks and after hearing it on a music blog I couldn’t put it aside. Black Ice Birds exude confidence and back up that kind of attitude with powerful singing, guitar and fun drums.

17. “The Words that Maketh Murder” by PJ Harvey // PJ Harvey’s newest record is insanely difficult to pull from itself. Each song adds to a terrific atmosphere and nothing feels out of place. “Maketh Murder” is perhaps the best entry point for those curious but uncertain – it’ll hook you and when the United Nations coda kicks in you will get blown away.

16. “Romance” by Wild Flag // This indie quasi-supergroup sets off in the best way possible. The attacking open sounds like the best ringtone of all time (no really, that’s a good thing) and the relentless stream of pure rock carries it the rest of the way. The concept of this song is fun and the band has the chops to pull it off.

15. “Get Away” by Yuck // Everybody is obsessed about this being 90s throwback. Don’t worry about it – it’s simply fantastic noise rock. It’s fast enough to avoid being sludgy and intricate enough to be artsy, all while building some great hooks and featuring soaring guitars. If you pretend to like rock music, you’ll find something in here.

14. “The Otherside” by The Roots // I will admit to ignorance when analyzing The Roots – I’ve really only followed them since they joined Late Night. But this changes how I view their talent. The rapping and stunning wordplay is unparalleled (“Spending time like it’s counterfeit”). The rhythm section is flawless. And it all pulls together in the showstopping chorus. Jimmy Fallon is damn lucky to have this band.

13. “Think You Can Wait” by The National // Last year’s Best Album winners come back with two singles cut from the same cloth as High Violet. “Exile Vilify” captures the nerd vote in its Portal 2 cameo, but “Think You Can Wait” is the superior track. Dripping with emotion, powerful vocals, shimmering strings, Sharon Van Etten(!) and dark bass make this a typical National song. And therefore stellar.

12. “Don’t Stop (Color on the Walls)” by Foster the People // I know. It’s another Foster the People song. I’m obviously losing touch. But seriously – have you heard this song? I mean, you have. It’s perhaps more “everywhere” than “Pumped Up Kicks,” but for good reason. The CDC is probably going to classify the melody as an infectious disease. It’s in a similar vein to Two Door Cinema Club – nothing groundbreaking, but so damn good at what it does. This is a winner.

11. “Songs for Women” by Frank Ocean // “Novacane” may be more technically impressive, but this track is the looser, more appealing song from Frank Ocean’s excellent debut mixtape. It’s full of comedy, musical excellence and pure joy. If more R&B could get close to this, I wouldn’t have such a bad impression of the genre.

This year is different. I’ve listened to just as much music (if not more) than I have in any previous year, but the music just doesn’t cut it. In particular, this year appears more bleak thanks to 2010. Yes, last year presented more than 20 records that I could have easily included in a top-10 list. And I am quite honestly still listening to the majority of those releases. The National, Arcade Fire, Spoon, LCD Soundsystem… it’s like a superstar lineup of established acts, and each one delivered another exceptional record. Even the artists I encountered for the first time (Sharon Van Etten, Two Door, Janelle Monae, Best Coast) had exceptionally rewarding music.

This year has neither the abundance of guaranteed talent, nor the exciting new discoveries. Of the list of albums I’ve assembled, only the top pick represents a superb achievement from a typically strong band. And while three new-to-me artists currently appear in the top 10, none of these groups would be very likely to appear in my 2010 top 20 list.

Perhaps the most accurate description of 2011 is how it was dealt an unfair hand. Unlike the perfect storm of album releases seen in 2010, we were left generally waiting in 2011. Modest Mouse and the Shins are in a holding pattern. Radiohead released a very underwhelming set of songs. Bon Iver was not nearly as good as you all think it was.

Even the list of songs I’m working on isn’t as essential or exciting as those seen in 2009 or 2010. Nothing has been able to compare with “Don’t Do It” or “While You Wait for the Others” (although one track certainly put up a good fight). It’s really a shame that the short-form music wasn’t much better, especially with so many albums failing to captivate.

But in my self-imposed music blogger duty, we’re still going to run down the Best of 2011. Don’t interpret the overall lower quality as a claim that everything was bad. In fact, there are things worth listening to and you’ll see them here. Just know that much of the content on these lists isn’t as worthy as what you saw on my old blog in 2009 and 2010.

The Schedule: Best Songs of 2011 #25-11 Monday 1/9, #10-1 Tuesday 1/10. Best Albums of 2011 #15-6 Thursday 1/12, #5-1 Friday 1/13.

How TV Saved the Record

From late 1994 through 2009, Radiohead went on an insane run as the greatest band on the planet.  Almost everything they touched caused critics to drool uncontrollably and fans to purchase records and concert tickets without reservation.  After a merely good debut, Radiohead proceeded to dominate Brit-rock, create one of the greatest records of all time, blend rock and electronica, and then come back around to make a statement about the record industry.  Even their few missteps were glanced over (The Eraser), and their more divisive efforts were eventually regarded as near-perfect (Kid A and Amnesiac).  Radiohead just didn’t seem like a band that could do anything wrong.

Then along came The King of Limbs.  It was quite shocking in a number of ways. Firstly, it came out of nowhere.  The band took to their website on Monday February 14 to announce the record.  That Friday, Limbs was released.  Pretty quick turnaround by any standard.  The next shocking element was the length of record. The entire thing was only 37 minutes long and featured 8 total songs, making it the shortest proper release in Radiohead’s history.

But the real shock was the music itself.  On first listen, it was without structure, without rock sensibility and pushed into semi-dubstep.  But the problem was that it just didn’t feel right.  Songs were too rhythmic and didn’t feature enough melody. There were plenty of layers to pull back, but it was very difficult to do so and the rewards weren’t quickly accessed.  Limbs was just hard to deal with, not great for a cursory listen, and didn’t seem as valuable even with careful ears.

So it came as a shock to me that the record could be truly saved.  And then it was. By television.

The first crucial detail about Limbs is its density.  Without decent speakers or reasonable headphones, entire basslines and drum patterns are lost beneath more prominent sounds (vocals, the guitars, and primary percussion figures).  This makes each song very difficult to fully embrace.  But even with good audio equipment, the structure of each track is unwelcoming to the new listener.  With so much happening (even in the forefront), it’s difficult to latch onto a primary melody and even harder to anticipate direction.

Typically, these traits of difficulty have been celebrated by Radiohead fans.  They would hold the band up as a sort of hipster IQ test; if you couldn’t handle Kid A and Amnesiac you weren’t worthy of their rewards.  Limbs isn’t even as welcoming as those twin records.  By no means was Limbs a bad record at release.  It just wasn’t great and couldn’t hold my attention, even after forcing repeated listens.  By Radiohead standards, that comes pretty close to failure.

So why has Limbs suddenly gained regular play from my catalog?  The answer lies in the power of a live performance.  Even in a recording-studio setup, Radiohead has proven that their live show is powerfully engaging and forces the band to retool their album products for realistic performance potential.  They proved this on both their tour for In Rainbows and the In the Basement session for that album.

Quite thankfully for us, Limbs got a similar treatment for its Basement episode, and the result was stunning.  The first positive change is a visual connection to the music, instantly evident in the opener “Bloom.”  In album form, the song is a leap into deep water without any guidance, direction, or expectation.  The rhythm totally overwhelms the song, and it’s difficult to hear everything that’s happening.  It’s quite shocking, especially coming after the melodic, accessible In Rainbows.   The Basement version of bloom remedies things by letting the audience see two drummers (the second being Clive Deamer, from Get the Blessing).  Suddenly, all that beating begins to make more sense as you see sticks hit surfaces – it is much easier for my brain to process a stimulus when it’s happening with two senses (sight and sound).

The next powerful change in the Basement Limbs is the mixing.  Even without particularly good sound equipment, the songs feel more balanced.  The bass is sharper, helping to define and direct each song.  The drums are cleaner, allowing the exact beat and propulsion of any track to shine through.  The vocals are pronounced but not so much as to overwhelm other details.  Guitar noises are louder, letting melodic elements of the music take greater control.  Everything is much more cohesive, cleaner, and easier to follow.  The band also shows more energy (which is a very subjective metric, but seems to make the music brighter and stronger).

The presence of visuals and improved sonic standing make even the weakest songs from Limbs pop out.  I initially considered “Feral” to be a poor attempt at dubstep without any real merits.  Now the track feels alive, crawling, pushing the body to movement.  Instead of a sterile song, the Basement ”Feral” feels as savage and ferocious as its title.  A Basement transformation also strikes “Morning Mr Magpie” in all the best ways.  The album version felt like an extra-disjointed Talking Heads song, but it lacked any force, any strength.  It felt empty, even with all the drums and guitars pushing it along.  The Basement ”Magpie” has much louder, more distorted guitar parts, giving the track real teeth.  Even more impressive is the bass mix.  The musical breakdown about two minutes into the song is more pronounced and mystifying with the live energy and recording setup.  Suddenly the song seems like classic Radiohead – innovative, unlike anything they’ve done before and yet still enjoyable.

Radiohead’s Basement expedition worked to improve, and inject real life into, all the songs from The King of Limbs.  But also impressive is the addition of two new songs to the Limbs lineup.  The first of these is a slow-build-into-massive-payoff track called “The Daily Mail.”  It begins with Thom Yorke alone crooning while he plays a piano.  Then about two minutes in, he builds the keyboard volume and drums enter.  These are quickly followed by an impressive horn section and quite rocking guitars.  It’s a great payoff and feels like a proper rock song, even though it’s certainly within the overall Limbs aesthetic.  The second new piece is “Staircase,” a track that feels like a version of “Feral” with vocals.  Complex drums, a flowing bassline and synth noises dominate as Yorke sings around them and guitars occasionally interject.  The live energy and overall mix quality again give a real swagger and gravitas to the sound – the song feels alive and (at times) funky.

If, like me, you found The King of Limbs to be an over-saturated, uninviting and somewhat boring record, I encourage you to try out the From the Basement version of these songs.  Instead of dense and lifeless songs, Radiohead’s live-show energy and new mix setup works wonders, allowing each track to fill the mind and impress. It’s tough to change a first impression, but Radiohead may have done just that. Limbs has moved from Radiohead slip-up to yet another reason to celebrate the music of 2011.

Big East No More

In recent years, the college basketball world has been quick to shift its focus after the regular season ends.  Fans, players, coaches and the media watch games with exceptional talent, thrilling storylines and unpredictable results.  And that’s all before March Madness even kicks into gear.  That’s right, it’s the Big East Tournament, hosted in Madison Square Garden.  But in the near future it won’t be that way for those in Upstate NY or eastern Pennsylvania.  The NCAA football conference upheaval has reared its ugly head again – Syracuse and Pitt are headed to the ACC.

But you know that already.  If you pay any attention to sports in the US, you’re likely overwhelmed by all this conference talk.  So why further the discussion here? Because the basketball perspective is still quite dizzying, and I need to sort out my own view on the move.

I consider myself a college basketball fan before a college football fan.  In that respect, the move to the ACC seems insane.  Yes, the ACC has been a bastion of historic basketball success.  But the key word for the entire conference is “historic.” The past decade has seen continued dominance by Duke, UNC… and nobody else. After Maryland won the national title in 2002, only Maryland, Virginia, and occasionally Wake Forest have made even a slight push at the dominance of the top two teams.  It’s difficult to fully devalue the ACC because of the national success from Duke and UNC, but it’s also a challenge to argue that the conference is holistically strong.

Meanwhile, we have the Big East.  After the 2002 season (looking at the same period post-Maryland championship) there have been six different teams to win the Big East Tournament.  Those teams are Pittsburgh, Connecticut, Georgetown, Syracuse, Louisville, and West Virginia.  It’s also difficult to discount Villanova, Marquette, and Cincinnati, even though they don’t have the Big East Tournament championships.  And, yes, the Big East is also responsible for sending more teams to the NCAA Tournament in the past four years than any other conference (in fact, from 2003 to 2011, there were only two years when the Big East didn’t send the biggest delegation).  And an additional yes: those teams were certainly deserving.

So Syracuse and Pitt are electing to leave the top-to-bottom most powerful conference in NCAA Division I basketball.  But we know the reason for that already. Football reigns supreme.  Yes, football is the true money-maker and it is there that the Big East has readily proven its ineptitude over the past many years.  With the swirling conference realignment across the rest of the country, the Big East is likely to be left even further behind than it already is.  This is, of course, why Syracuse and Pitt, two teams with fairly strong football tradition, want to jump ship to a more significant, more competitive, more stable environment.  And I understand this move from that perspective – both ACC-bound universities want to ensure financial stability from one of their biggest sources of income.

But I can’t help but dwell on the irrational.  Without any other teams moving from the Big East (as of this writing), my beloved basketball world gets turned upside-down.  This means there is a future where Syracuse doesn’t have a showdown with UConn and a bitter rivalry with Georgetown.  Similarly, Pitt won’t have West Virginia and its powerful football and basketball showdowns.

And at present, the ACC doesn’t offer the depth of competition that the Big East presents in basketball.  Without Georgetown, Villanova, UConn, Notre Dame (sorta), Cincy, Marquette, and St. John’s, the level of competition just isn’t there.  I honestly wouldn’t be shocked to see any of these teams win the Big East Tournament or make a run in the NCAA tournament in the next few years – they’re all legitimately good programs.  It’s tough to watch two teams with similar strength move from this kind of competition – competition that raises the profile and level of play of all those involved.

This Map is Changing

So now I have to adjust to the new reality.  At some point in the next few years, we’re going to see the conference move come to fruition and Syracuse and Pitt will start their assault on ACC basketball.  I trust that the football element of the move will make the transition worthwhile for both schools.  I also trust that the move will be a strange one for the basketball fans involved.

Welcome to the first post of In Words and Phrases.  This is a blog dedicated to the ideas and events around the authors.  Of course, that’s a pretty broad scope.  And that’s done on purpose.  Previously, the head author (that being me) spent time dealing with a music blog.  It was a very rewarding, but ultimately limiting adventure.  This was especially true of the blog name – it’s hard to fit sports commentary or photography in “Essential Listening.”

So here I am, trying this again but without such a narrow scope.  As of this inaugural writing, there are a few items lined up for IWP.  These posts have topics of music review, cooking discussion, and sports commentary.  You should expect to see the first proper post tomorrow afternoon.

By allowing my writing to wander with my interests, I hope to keep the writing fresh and the posts more frequent.  My old blog had fairly positive feedback, and I thoroughly enjoyed exploring popular music but its weakness was quite clear – it suffered excruciatingly long periods without any new articles.  Ideally, IWP will improve that by appealing to me.  When I’m tired of writing about music, I won’t have to.  When an idea strikes about the NHL, I can follow that and discuss my thoughts and not worry about blog topic consistency.

I do hope you’ll bear with me through the first few months of this new experiment.  It may ramble a bit and may not have a totally singular focus, but I think that will be more fun for everybody involved.  Thanks again for stopping by as we break the champagne on this boat.  I hope you enjoy In Words and Phrases.