Here are my 6th-10th favourite releases of 2012, in no particular order:
How do you follow an album like Veckatimest? The answer. Don’t record anything for a while and then try to scale things back a little when you do. The strategy worked. Shields wasn’t quite the tour de force of its predecessor, but it still contained some great songs with ‘Sleeping Ute’ probably the best of the lot. Better than that, it contained some sublime moments that only Grizzly Bear can conjure up. When the chorus kicks in on ‘Yet Again’, there’s only one band you can be listening to. There’s no bigger compliment.
Anais Mitchell also faced the ‘how do you follow that’ syndrome. Her previous release, Hadestown, was truly unique. With some help from Bon Iver and others, she retold a version of the Orpheus and Eurydice myth, setting it in Depression-era US. On this album, she reverted to the individual-song format, but more than one told its own story. The title track itself was a version of the Great American Novel. And when the protagonist of ‘Shepherd’ loses his pregnant wife, there’s not a dry eye in the house.
Band of Horses are bad boys, aren’t they? They have the tattoos, the bad teeth, and they always look like they’ve just got out of bed. So they’re best when they rock out, right? Wrong. It’s when they slow down that they’re at their best. ‘Slow Cruel Hands of Time’ is an old theme, but it’s told beautifully. ‘Long Vows’ and ‘Heartbreak on the 101’ likewise. And why did they ever leave ‘Reilly’s Dream’ off the main album? It’s as good as ‘Detlef Schrempf’ and, to Horseheads, that’s saying something.
Swedish AM-friendly country rock. On paper, that’s not a great combination. But, two things make this record stand out. One, the songs are really strong. Two, boy, can these guys sing? The Söderberg sisters make Crosby, Stills and Nash sound like a bunch of old hippies. Oh, hang on. Anyhow, a good rule of thumb is that if a song sound timeless, then it probably is. And the ones on this album sound like they’ve already been around for a very long while.
Paul Buchanan’s most recent collection of musical pointillism was beautifully executed. Neo-impressionistic pictures of life at its most ordinary, combining to form an experience that was at once melancholy and uplifting. Only the slightest orchestration. Mainly just the singer, a piano, and some affecting melodies. It was as much the delivery of the songs as the songs themselves that made this such a rewarding listen.