Nicolas Jaar: Space Is Only Noise (2011) (Electronic)

Space is only noise, but is noise only space? I would say yes, at least in this album. Through the manipulation of textures and soundscapes, Nicolas manages to play with this notion, conjuring vibrational, mysterious ambient and electronic passages, occasionally adding samples or his own voice to establish a firmer base while still remaining shrouded and distant. 


Best Tracks: Colomb, Sunflower, Too Many Kids Finding Rain In the Dust, Keep Me There*, Space Is Only Noise If You Can See*, Almost Fell, Balance Her In Between Your Eyes, Specters of the Future, Variations






Ambient Pop/ Downtempo/ Electronic

Clams Casino: Instrumentals (2011) (Electronic,Hip-hop,Instrumental)

Icy beats, that helped solidify cloud rap as a genre. Surreal warped vocals and spacy samples allow for not only a fruitful, ethereal background listen but a cerebral sound that grows on listeners. It is repetitive enough that the loops get stuck in your head but intricate enough to be worthwhile. A benchmark in the genre.

Best Tracks: Motivation, Real Shit, Realist Alive*, Numb, What You Doin', The World Needs Change, Illest Alive




Cloud Rap/Electronic/ Instrumental Hip-hop/ Witch-house

Fleet Foxes: Helplessness Blues (2011) (Folk)

The subtle melancholy of their previous album is now a driving force but now packaged with 60s folk adoration, as shown with the apparent inspirations from Bob Dylan, Neil Young, Cosby, Stills and Nash. The song Lorelai being so akin to Dylans 4th Time Around it almost sounds like a cover, but an excellent one at that, with grander more energetic instrumentation and dynamic vocal passages. But, this is much of the appeal of Helplessness Blues, the ability to borrow the best moments of folk music and translate them into grander, chamber pop songs with enough experimentation and lyrical substance to engage modern listeners. As a band they really show their resiliency, being able to switch effortlessly between grander and more intimate songs while maintaining cohesion in a story of life, loss and love. The vocal harmonizations and instrumental landscapes remain warmer and even more rustic, and the lyrical content is more focused with contrasts of warmth and optimism with an overbearing sadness. The ethos of the album leaves an impression and the album is without a doubt one of the best in its class in recent decades.

Best Tracks: Montezuma*, Bedouin Dress, Sim Sala Bim, Battery Kinzie*, The Plains/ Bitter Dancer, Helplessness Blues*, The Cascades, Lorelai*, Someone You'd Admire*, The Shrine/ An Argument, Blue Spotted Tail*, Grown Ocean


S

Earthy Vibes/Chamber Folk/ Folk Pop

John Maus: We Must Become the Pitiless Censors of Ourselves(2011) (Pop)

Misty, hazy, perfect music for a late walk to ponder your finite existence without having to think too much. Mr.Maus creates hip yet groovy tunes, vocals covered in reverb making him sound like a detached deity bellowing strange simple yet esoteric phrases(AND THE RAIN CAME DOWN DOWN DOWN DOWN) that can be interpreted as duly profound or completely trite. It's worth listening to for those who can handle the aesthetic and the vagueness.

Best Tracks: Quantum Leap*, ...And the Rain, Hey Moon*, Keep Pushing On, The Crucifix, Cop Killer

B+


Night Walk Vibes/Dreamwave/Synth-Pop