Oscar Nominations Predictions

This originally opened with "I'm gonna try to keep this one short." Yeah, that didn't quite work out. Anyway, Oscar nominations are just a few hours away, so I figured I'd put in my two copper Lincolns. So here goes (roughly in order of likelihood):

* = early winner prediction
^ = haven't seen (aka never saw it)

BEST PICTURE
The Artist*
The Descendants
Hugo
The Help
Midnight in Paris
The Girl with the Dragon Tattoo^
Moneyball
---
Just missing the cut:
War Horse^
Tree of Life
Drive

Comments: I'd love it if Hugo could somehow sneak its way in and snag the statue (it's currently my #4 movie of 2011 -- list forthcoming), but I don't see it happening. I think the top 5 are locks, while it wouldn't surprise me if any of the "just missed" movies slide in ahead of Girl or Moneyball. Those two would seem to have support from more branches though. If there were 10 nominees guaranteed this year, I really think Drive would be there. As it is, that's the movie I'm pulling for most. As far as The Artist perhaps winning, ugh, but whatever. Still better than The King's Speech over The Social Network.

BEST DIRECTOR
Michel Hazanavicius - The Artist*
Martin Scorsese - Hugo
Woody Allen - Midnight in Paris
Alexander Payne - The Descendants
Terrence Malick - The Tree of Life
---
Just missing the cut:
David Fincher - The Girl with the Dragon Tattoo^
Steven Spielberg - War Horse^

Comments:  This is a really tough one to handicap. Each of these 7 has a great shot. I could go into all the precursor awards and whatnot, but ZZZZZZZZZZs. I think Payne is actually more vulnerable than Malick, but The Descendants figures to have a ton of nominations across the board and I can't see Payne being ignored. Malick has cultivated quite a legendary presence, maybe even more so than Scorsese or Spielberg, and should get in as a lone director (meaning his film isn't nominated for Picture -- nor should it be, as it was a narrative disaster, albeit a beautiful one). Both Fincher and Spielberg obviously have a great shot, but their films seem to minor in the grand scheme of their careers. That said, I'm perfectly prepared to see one or both of their names when the noms come out. AMPAS rarely splits Picture/Director anymore, hence Hazanavicius's asterisk.

BEST ACTOR
George Clooney - The Descendants*
Brad Pitt - Moneyball
Jean Dujardin - The Artist
Michael Fassbender - Shame
Gary Oldman - Tinker Tailor Soldier Spy
---
Just missing the cut:
Michael Shannon - Take Shelter
Demian Bichir - A Better Life^
Leonardo DiCaprio - J. Edgar^

Comments:  This will sound familiar -- the top 3 are locks, after that, who knows. Fassbender should get in for the most daring performance of the year -- you know, a real ballsy bit of acting. I may just be putting Oldman in there as a sentimental favorite, but I think there's more than a decent chance I'm right -- the whole "never been nominated for an Oscar" thing is a real shame and I think a lot of voters will take this chance to rectify that error at the expense of two former nominees (who should be back). I've barely heard of Bichir and his movie, but, you know, all that precursor stuff (and remember Bardem's nomination here last year?). Leo's Globes nomination screamed of the HFPA's "Look! A famous person! Let's nominate them!" antics. Clooney's the frontrunner for now, but if Payne isn't nominated for director, I'll take that as a Descendants backlash and give Pitt the coveted asterisk.

BEST ACTRESS
Viola Davis - The Help*
Meryl Streep - The Iron Lady^
Michelle Williams - My Week with Marilyn
Glenn Close - Albert Nobbs^
Rooney Mara - The Girl with the Dragon Tattoo^
---
Just missed the cut:
Tilda Swinton - We Need to Talk About Kevin^

Comments:  Toughest one yet. I'm about 72% sure I'm wrong about Swinton not making the cut. Precursors, yadda yadda yadda. But she's got a couple things going against her: 1) She's already got a statue (for Michael Clayton), and 2) I haven't seen it, but the movie just looks weird. I'm not sure how many voters will actually have watched it (especially non-actors). I think Mara sneaks in by virtue of the transformative nature of the role -- a lot of voters will have heard/read about the piercings and the tattoos and, of course, the nudity. All that said, I think these are the only 6 contenders (although a WTf? Kristen Wiig nomination would be awesome), and I think Davis is the only real lock -- I could see any of the others missing out for various reasons. Hence her asterisk.

SUPPORTING ACTOR
Christopher Plummer - Beginners*
Albert Brooks - Drive
Kenneth Branagh - My Week with Marilyn
Nick Nolte - Warrior^
Jonah Hill - Moneyball 
---
Just missed the cut: 
none -- this 5 seems pretty set
---
Gun to my head WTF? nom:
Patton Oswalt - Young Adult

Comments:  Barring any surprises (Oswalt? Big Vig? Corey Stoll??), this is your Supporting Actor field. I think Plummer is also the surest bet in any major category at this point -- the perfect role for a respected vet. I would like to see Drive get some love, but I also think Plummer was better than Brooks. Branagh was solid in a very weak movie, I haven't seen Warrior yet (although I'm not sure how I missed it with Tom Hardy and Joel Edgerton... oh wait, now I remember, the trailer sucked -- misleading?), and I really don't get the Jonah Hill thing. He was just kind of... there. Maybe I missed something. I'll have to rewatch it.

SUPPORTING ACTRESS
Octavia Spencer - The Help*
Berenice Bejo - The Artist
Jessica Chastain - something (most likely, The Help)
Melissa McCarthy - Bridesmaids
Shailene Woodley - The Descendants
---
Just missed the cut:
Jessica Chastain - various things (The Tree of Life, Take Shelter), Janet McTeer - Albert Nobbs^, Carey Mulligan - Shame or Drive

Comments:  Another fustercluck of a category. Again, repeat with me now: top 3 locks, after that, who knows. I think McCarthy will get in as the Academy's occasional bone to mainstream comedies (i.e. RDJ for Tropic Thunder). Woodley should be in unless the aforementioned Descendants backlash is a thing. Chastain will be nominated, and deservingly so, but if I had a vote (one day), I'd give it to her work in The Tree of Life -- she was the second best thing in that movie after Lubezki's photography. I haven't seen Albert Nobbs yet, but McTeer has been getting rave reviews -- but can that movie really pull off two major noms? Carey Mulligan is the real dark horse to me -- I'd love to see her name called for either role. Spencer is the presumptive favorite after the Globes win -- but, again, can her movie pull off two major awards?

ORIGINAL SCREENPLAY
Woody Allen - Midnight in Paris*
Michel Hazanavicius - The Artist
Kristin Wiig, Annie Mumalo - Bridesmaids
Will Reiser - 50/50
Asghar Farhadi - A Separation^
---
Just missed the cut:
Mike Mills - Beginners
Jeff Nichols - Take Shelter
Tom McCarthy, Joe Tiboni - Win Win^
Diablo Cody - Young Adult
Sean Durkin - Martha Marcy May Marlene
Many others

Comments:  Ah, Original Screenplay is easily my favorite category. I am an occasional practitioner of the screenwriting arts (thus far only on the amateur level, but still), and this is the category where the Academy takes the most chances, often nominating some brilliant, under-appreciated work (think In Bruges). All that said, repeat the chant: top 3 locks, after that, who knows. Reiser's true-to-life 50/50 is the exact kind of story voters usually like, while Farhadi's script is my WTF? special (there's always one in this category -- last year, it was Another Year). Obviously, any of the others listed and plenty more (Tree of Life? Shame?) could very well hear their name called. I think Allen edges out The Artist when voters realize, "Wait, did I just vote for a silent movie for a screenplay award? Let me change that..." Also: It has no shot, but I'd like to give a shout out to Bellflower. See it if you haven't.

ADAPTED SCREENPLAY
Aaron Sorkin, Steven Zaillian, Steve Cherwin - Moneyball*
Alexander Payne, Nat Faxon, Jim Rash - The Descendants
John Logan - Hugo
Tate Taylor - The Help
Bridget O'Conner, Peter Straughan - Tinker Tailor Soldier Spy
---
Just missed the cut:
Steven Zaillian - The Girl with the Dragon Tattoo^
Hossein Amini - Drive
Lee Hall, Richard Curtis - War Horse^

Comments:  A curveball (get it??) on the formula -- this time, the top 4 are locks (especially given their likely Best Picture noms -- although Moneyball could get left off). For the fifth spot, I'm doubling down on my Gary Oldman prediction -- plus, the screenwriting duo were husband and wife, and the wife died before the film came out. Sad, and probably the kind of thing that voters will think of when struggling for a final nominee. There could obviously be a left field pick (9/11: The Movie, A Dangerous Method) by a former winner, but this field is a lot more settled than Original. I gave Moneyball the asterisk not only because of the prestigious names, but the whole "baseball movie that isn't really about baseball" is more of an achievement in screenwriting than dead mothers and cloying voiceovers. (Although, again, it must be said that, "Dean Pelton, Oscar winner" has a certain ring to it.)

Short this was not, but I get excited about my awards season. Maybe I'll even get up to watch the announcements (Disclaimer: I say that every year but never do.) I'll sign off with this: Go Drive! It should get a Best Costume Design nomination alone for the scorpion jacket. Thanks for reading.

Golden Globes Crapshoot

The most important thing when it comes to prognosticating the Golden Globes is this: No one knows what they're doing. Not me, not any other blogger, not movie critics, and certainly not the Hollywood Foreign Press Association themselves. They always do the unexpected -- like giving The Hangover the trophy for Best Comedy two years ago. Or last year, when they eschewed the seemingly tailor-made for the HFPA The King's Speech in favor of the decidedly American (and decidedly superior) The Social Network. So what'll it be the surprise this year? Bridesmaids getting a trophy? George Clooney getting Director? I have no idea. Not even the slightest clue. But here's my best guesses for the main categories anyway. The ball's in your court, HFPA.

*indicates a film/performance I have not yet seen
bold indicates my pick

Best Performance by a Supporting Actress in a Motion Picture
Bérénice Bejo - The Artist
Jessica Chastain - The Help
Janet McTeer - Albert Nobbs*
Octavia Spencer - The Help
Shailene Woodley - The Descendants

Logic: Going wild card right off the bat. The Descendants has a lot of support (5 nominations), and Wooldley is the breakout star of the film. The ladies from The Help could split (Spencer was great, but I don't see the film winning more than one award), McTeer doesn't have a realistic chance, and Bejo, a presumptive frontrunner (in the most-nominated film), lacks the pizzazz that the HFPA typically goes for. A sweep for The Artist wouldn't shock me though.

My Hypothetical Vote: Spencer. I thought she gave the best performance (with Woodley second).

Snubs: Chastain in Take Shelter or The Tree of Life, Melissa McCarthy - Bridesmaids, Kirsten Dunst - Melancholia, Kiera Knightley - A Dangerous Method

Best Performance by a Supporting Actor in a Motion Picture
Kenneth Branagh - My Week with Marilyn
Albert Brooks - Drive
Jonah Hill - Moneyball
Viggo Mortensen - A Dangerous Method
Christopher Plummer - Beginners

Logic: Plummer is the clear frontrunner and likely Oscar winner, but a case could be made for any nominee besides Mortensen (great, but not up to his usual transformative standards). Brooks is a close second and a legitimate Oscar threat, but Drive clearly didn't resonate with the HFPA. Branagh is just the type of actor and performance that usually does well here. Hill is, I think, a real dark horse (especially if Moneyball picks up any other awards). Plummer seems overdue for some awards recognition though, and this should be his year.

My Hypothetical Vote: Brooks. Just so Drive could win something (and I think the performances are about equal).

Snubs: Corey Stoll - Midnight in Paris, Patton Oswalt - Young Adult

Best Performance by an Actress in a Motion Picture - Musical or Comedy
Jodie Foster - Carnage
Charlize Theron - Young Adult
Kristen Wiig - Bridesmaids
Michelle Williams - My Week with Marilyn
Kate Winslet - Carnage

Logic: God bless the HFPA for actually recognizing comedic performances. And, yes, Williams was great as Monroe, but the movie wasn't a comedy (or a musical) -- more of a lightweight diversion. Not the stuff awards are made of. And since The Artist seems poised to win Best Comedy, this will be the voters' chance to reward the surprise hit of the summer, Bridesmaids. As for the others, Theron was very good (the movie, not so much), and Carnage was excellent but ultimately too small of a film to be a threat.

My Hypothetical Vote: Wiig. The Carnage ladies were second, but they split my hypothetical vote of one.

Snubs: none

Best Performance by An Actor in a Motion Picture - Musical or Comedy
Jean Dujardin - The Artist
Brendan Gleeson - The Guard
Joseph Gordon-Levitt - 50/50
Ryan Gosling - Crazy, Stupid, Love*
Owen Wilson - Midnight in Paris

Logic: HFPA + French dude. 'Nuff said. But I'll expound (as I'm wont to do). The Artist was the most nominated film and could very well walk away with the most awards. I don't think it was actually as good as that, but it does seem to be right up the HFPA's alley. And Dujardin is certainly deserving -- it's the showiest performance of the year (in a good way). Gleeson and JGL were both excellent, but they picked the wrong year. Gosling and Wilson are just here because they're famous.

My Hypothetical Vote: Gleeson. The most unique performance/character of all the nominees. Dude crushed it as well.

Snubs: Both John C. Reilly and, especially, Chrisoph Waltz for Carnage, Charlie Day - Horrible Bosses

Best Performance by an Actress in a Motion Picture - Drama
Glenn Close - Albert Nobbs*
Viola Davis - The Help
Rooney Mara - The Girl with the Dragon Tattoo*
Meryl Streep - The Iron Lady*
Tilda Swinton - We Need to Talk About Kevin*

Logic: So yeah. I've only seen one of these performances. So this is purely based on what I've read. Mara and Swinton don't figure to be serious threats (I'm looking forward to both films though). Close and Streep are respected veterans and can't be dismissed (and I'm not necessarily looking forward to either film). I think Close especially has a good shot at an Oscar. But I'm going with Davis because a) the movie/subject matter is total awards bait, b) the movie had a lot of other nominations but might not win anywhere else, and c) she's actually quite good (although not as good as Spencer). So there.

My Hypothetical Vote: Davis. Only one I've seen.

Snubs: Saoirse Ronan - Hanna, Elizabeth Olsen - Martha Macy May Marlene

Best Performance by an Actor in a Motion Picture - Drama
George Clooney - The Descendants
Leonardo DiCaprio - J. Edgar*
Michael Fassbender - Shame
Ryan Gosling - The Ides of March
Brad Pitt - Moneyball 

Logic: He's George fucking Clooney, that's why. Pitt is a real challenger, but it's a baseball movie and it's the HFPA. His performance also didn't require as much range as Clooney's. Fassbender was actually probably better than both of them, and I thought his schlong could have snagged a Supporting nom. Gosling was nominated for the wrong movie (Drive, duh) and Leo is this year's "Makeup Is Not The Same As Acting" nomination (presumably, as I haven't seen it, nor was I particularly interested).

My Hypothetical Vote: Fassbender. It's a flawed movie, certainly, but nobody portrayed a flawed character better than Fassbender this year.

Snubs: Ryan Gosling - Drive, Michael Shannon - Take Shelter, Gary Oldman - Tinker Tailor Soldier Spy

Best Screenplay - Motion Picture
Michel Hazanavicius - The Artist
Alexander Payne, Nat Faxon, Jim Rash - The Descendants
George Clooney, Grant Heslov, Beau Willimon - The Ides of March
Woody Allen - Midnight in Paris
Steven Zaillian, Aaron Sorkin, Stan Cherwin - Moneyball

Logic: Talk about a loaded category. The only one that would surprise me with a win is The Ides of March, which wouldn't be here without Clooney's name attached (and probably shouldn't be anyway). I think Moneyball goes away without a trophy, although Zaillian and Sorkin's names certainly gives one pause. Believe me, I know a lot more goes into a screenplay than dialogue, but I can't see The Artist winning (especially as the story was largely derivative). I really think The Descendants has a great shot, but this has the makings of a "spread the wealth" night, so Woody Allen takes this in a mild upset (great script though).

My Hypothetical Vote: Allen. Although it would be great to see Dean Pelton from Community give an acceptance speech.

Snubs: Hossein Amini - Drive, Mike Mills - Beginners, Roman Polanski and Yasmina Reza - Carnage, Annie Mumulo and Kristen Wiig - Bridesmaids, Will Reiser - 50/50

Best Director - Motion Picture
Woody Allen - Midnight in Paris
George Clooney - The Ides of March
Michel Hazanavicius - The Artist
Alexander Payne - The Descendants
Martin Scorsese - Hugo

Logic: Man, this is one tough three-horse race to handicap. Allen and Clooney don't figure to be in it, but I could see the trophy going to any of the other three. Despite a lack of support in any other category, I think Hugo has a real shot at the two major awards. I'm not sure if I've ever seen such a charming love letter to cinema -- and I'm not sure if I've ever described a Scorsese movie as "charming" before either. I would probably put Payne in 3rd place at this point, but he's definitely not out of the running. In the end though, I think the voters go with Hazanavicius for the boldness of making a more-or-less silent film in this century.

My Hypothetical Vote: Hazanavicius. The movie was clearly very meticulously made, and both Payne and Scorsese have better directing jobs on their résumés.

Snubs: Nicolas Winding Refn - Drive, Steven Soderbergh - Contagion, Pedro Almodóvar - The Skin I Live In

Best Motion Picture - Musical or Comedy
The Artist
Bridesmaids
50/50
Midnight in Paris
My Week with Marilyn

Logic: I previsioned it. But seriously, I don't see it going down any other way. Bridesmaids is the only serious challenger (maaaybe Midnight in Paris), but the HFPA usually goes with movies that will also likely be nominated for Oscars in this category (and The Artist is probably the current Best Picture favorite). Both 50/50 and Midnight in Paris are deserving nominees but aren't heavyweights here, and I can't for the life of my figure out why My Week with Marilyn is nominated here. It's gotta be The Artist here.

My Hypothetical Vote: Midnight in Paris. Probably top-5 of the year for me. A whimsical meditation on nostalgia that overcomes its excess of Wilson.

Snubs: Beginners, Carnage

Best Motion Picture - Drama
The Descendants
The Help
Hugo
The Ides of March
Moneyball
War Horse*

Logic: While I would love to see Hugo pull off the upset (and I think it can), The Descendants has too many nominations in other categories to not win. Although it is the HFPA and they don't play by the normal rules, I can't see a movie with no acting (Hugo, War Horse), writing (same two, plus The Help), or directing (The Help and Moneyball again, plus War Horse -- how did that one sneak in, by the way?) nominations winning. Interesting that The Ides of March is the only other film with nominations in all three categories. But I think it's too indelibly American to win. On the other hand, The Descendants' story is pretty universal. That, combined with Clooney's star power and the previously mentioned other nominations, puts it over the top.

My Hypothetical Vote: Hugo. I was surprised by how taken I was with the movie. It hit all the right notes -- pitch-perfect.

Snubs: Drive (obviously), Tinker Tailor Soldier Spy, Melancholia

TV Awards: I don't pay nearly as much attention to the TV awards, so I'll abstain from guessing. I'll just say that I hope Game of Thrones wins everything and that Glee loses everything. Get on that, HFPA.

That's my fiftieth of a dollar, and I'm sticking to it. Caveat: All picks subject to change. Eagerly awaiting the show -- can't wait to see Gervais in action again. Oscar nominations are just around the corner, and I'll post my best movies list after I see the last few awards contenders. Until then...

Top Songs: 2011

I'm a bit old fashioned -- whenever I make a playlist, I try to make sure it would fit onto a CDR (about 80 minutes, or around 20 songs). How weird is it that that could be considered "old fashioned"? Anyway, like I said last time, I listened to a *LOT* of music last year. So much so, in fact, that I couldn't fit all my favorite songs onto a single playlist -- not even two playlists, actually. No, I had to break it up into three different playlists -- the Greatest Hits, B-Sides, and Demos of 2011. I'll hyperlink to music videos* when I can (song sans video otherwise). All songs are listed alphabetically. Enjoy!

2011 GREATEST HITS (best, obviously)
"Anthem for the Unwanted" - New Found Glory
"Bandits" - Meg & Dia
"Barton Hollow" - The Civil Wars*
"Every Thug Needs a Lady" - Alkaline Trio
"Factory of Faith" - Red Hot Chili Peppers
"Fire Fly" - Childish Gambino
"Gold on the Ceiling" - The Black Keys
"Heart's All Gone" - Blink-182*
"If I Wanted Someone" - Dawes
"Jack Sparrow" - The Lonely Island (feat. Michael Bolton)*
"Midnight City" - M83*
"No Church in the Wild" - The Throne (feat. Frank Ocean)
"Party Rock Anthem" - LMFAO*

Not kidding, my favorite video of the year. I mean, it's a 28 Days Later parody! Love it.

"A Real Hero" - College feat. Electric Youth (from the Drive soundtrack)

"Romance" - Wild Flag*
"Second Song" - TV on the Radio*
"This Is Why We Fight" - The Decemberists*
"Two" - Lenka*
"Walk" - Foo Fighters*
"Where I'm Supposed to Be" - Daybreaker

2011 B-SIDES (2nd best)
"All My Rage" - Laura Marling*
"Be Your Bro" - Those Darlins*
"Believe" - Cobra Skulls
"Boom Boom Boom" - MEN*
"As Long As We're Cool" - Big D & The Kids Table
"Brick by Brick" - Arctic Monkeys*
"Cataracts" - Thrice
"Celebrity" - The Subways
"Changing" - The Airborne Toxic Event*
"Dance With the Devil" - The Sounds*
"Defiance" - Incubus
"Eskimo Kiss" - The Kooks
"Get Some" - Lykke Li*
"Harvey Wallbanger" - Less Than Jake
"Holdin on to Black Metal" - My Morning Jacket*
"Invisible Riverside" - Ryan Adams*
"Machine Gun Blues" - Social Distortion*
"Melanin" - Dave Hause
"Natural Disaster" - City And Colour
"Party in the CIA" - "Weird Al" Yankovic
"Underneath the Sycamore" - Death Cab for Cutie
"Warrant" - Foster the People

2011 DEMOS (3rd best)
"Amor Fati" - Washed Out*
"Battery Kinzie" - Fleet Foxes
"Behold the Hurricane" - The Horrible Crowes

"Beth/Rest" - Bon Iver*
"California" - EMA*
"Carousel" - Vanessa Carlton*
"Clever Clever Jazz" - Art Brut*
"(Don't Let Them) Cool Off" - Peter Bjorn & John*
"Dressed Sharply" - An Horse*
"Fake ID" - Dwarves
"Getting Ready for Christmas Day" - Paul Simon*
"How Deep Is Your Love?" - The Rapture
"Novacane" - Frank Ocean*
"On Monday" - Dan Andriano In The Emergency Room
"Running on Nothing" - Fucked Up
"Tallulah" - Company Of Thieves
"Techno Fan" - The Wombats*
"You're So Right" - The Strokes
"Your Fake Name Is Good Enough For Me" - Iron & Wine


That's a lot of songs -- I hope you find something you like! Feel free to let me know what your favorites were as well. Keep listening to good music.

Top Albums: 2011

I listened to a *lot* of music in 2011. I just checked my iTunes, and I have more music from this year than any of last 10 years. That said, what follows are my favorite records of the year. It was tough to whittle the list down -- for every album on here, there were 2 or 3 that didn't make the cut for one reason or another. There were a lot of "artsy" critical darlings that I appreciated but just didn't listen to as much (i.e. Bon Iver, Fleet Foxes, etc.), and just as many straightforwardly poppy albums (Peter Bjorn & John, The Kooks) that didn't have as much staying power, and some solid "mainstream" efforts (Death Cab for Cutie, Airborne Toxic Event) that I enjoyed for a time as well. I think my final list has a good mix of all three, as well as an eclectic smattering of other stuff. Keep in mind that there are just my favorite (read: very subjective) records of the last 12 months, not necessarily what I thought were the "best" records, or even what I listened to the most. Enjoy, and check out anything that sounds interesting.

I'll start with a few records that I enjoyed but just didn't spend enough time with to feel comfortable about listing. Then, some 2010 records that I caught up on this year. In alphabetical order:

Dan Andriano in the Emergency Room - Hurricane Season
Frank Ocean - Nostalgia, Ultra
Iron & Wine - Kiss Each Other Clean
M83 - Hurry Up, We're Dreaming
Ryan Adams - Ashes & Fire
 ---
Diane Birch - The Velveteen Age (2010)
Grace Potter & The Nocturnals - Grace Potter and the Nocturnals (2010)
The Naked and Famous - Passive Me, Aggressive You (2010)

Onto the Honorable Mentions (also in alphabetical order):

Big D & The Kids Table - For the Damned, the Dumb, and the Delirious

City and Colour - Little Hell

The Civil Wars - Barton Hollow

Dave Hause - Resolutions
Dawes - Nothing Is Wrong

Drive - Original Motion Picture Soundtrack

Foster the People - Torches

Incubus - If Not Now, When?

Lenka - Two

Meg & Dia - Cocoon

Red Hot Chili Peppers - I'm With You

Social Distortion - Hard Times and Nursery Rhymes

The Subways - Money and Celebrity

"Weird Al" Yankovic - Alpocalypse

Wild Flag - Wild Flag

That's 15 albums. There's 10 (well, 11) below, making for a top 25 of sorts. Sounds like a good number to me. Let's make like Jacque Cousteau and dive in:

10) Blink-182 - Neighborhoods/New Found Glory - Radiosurgery (tie)

Genre: Pop-punk

Standout tracks: "Heart's All Gone," "Wishing Well," "Even If She Falls"/"Anthem for the Unwanted," "Ready, Aim, Fire!"

This year was a pretty good year for the oft-maligned genre of pop-punk. Granted, I'm not 19 anymore and these songs don't have the same resonance as they used to, but you like what you like, right? I'm not going to pretend like I didn't give these albums plenty of spins this year (or whatever the digital equivalent of "spins" is). Words like  "catchy" and "infectious" and "anthemic" get bandied about a lot with bands like these, and that about sums it up. One does a LOT of driving in Arizona, and three chords and some "whoa-oh-oh"s are a much better freeway soundtrack than breathy whispers from bearded dudes over fucking banjo or whatever. There's a time and place for music like that -- a snowbound log cabin with a bottle of whiskey sounds about right. Not many cabins where I live is all I'm saying. Anyway, I'm not sure either of these albums would have made this list on their own merit, but I wanted to give a shout out to these records and a few more, so #10 it is. Some other pop-punk (and ska) gems were released by the following bands as well: Cobra Skulls, The Copyrights, Dead to Me, Dwarves, The Mighty Mighty Bosstones, and Screeching Weasel.

9) Childish Gambino - Camp

Genre: Rap/hip-hop

Standout tracks: "Fire Fly," "Heartbeat," "Sunrise"

Community cast member Donald Glover takes great pains to separate his already well-established comedy persona ("Donald Glover"... duh) from his not-as-well-known rap persona, "Childish Gambino" (derived from a Wu-Tang Clan name generator... mine is Erratic Assassin... awesome) on Camp. The result, predictably, is a bit of a dichotomy. Are we supposed to take something called Childish Gambino seriously as he raps about black culture, the state of the rap game, and relationship struggles? Or are we supposed to laugh like we're in on the joke at lines like "You can kiss my ass / Human Centipede" and his constant references to Asian girls? Is this a Serious Album, or is it "camp"? The answer, I think, is somewhere between -- Donald Glover is a comedian (and a very successful one -- Community is by far the most original comedy on the air... for now) who raps, and there's no getting around that duality. His comedic sensibilities are going to seep into his songs, for better or worse. That Glover is, at this point, an amateur rapper is quite obvious -- Camp is littered with ill-advised one liners, clumsy rhymes, and a general sense of confusion about what this record (even the entire persona) is supposed to accomplish. But also prevalent are tight production, acute pop sensibilities, incisive observations, killer hooks (sang, sans Auto-Tune, by Glover himself), and a sense of earnestness (even in the album's missteps) that is missing from most rap/hip-hop today. Camp is flawed, yes, but it's an exceptionally listenable record and, presumably, another step toward world domination for the would-be Spider-Man, Donald Glover.

8) Watch the Throne - Watch the Throne

Produced by: So many people

Standout tracks: "No Church in the Wild," "Otis," "Welcome to the Jungle"

While Camp is the first foray into the mainstream for an ascendant MC, Watch the Throne is an authoritative statement by two mainstream icons, Jay-Z and Kanye West. What that statement is, I'm not exactly sure, but it's delivered in style: commanding beats, clever samples, conceptual flourishes, and guest appearances by artists both alive (Beyoncé, Frank Ocean) and dead (Otis Redding, James Brown). Both Jay-Z and West spit with their traditional verve and brio, touching on themes such as race, status, religion, progeny, etc. over progressively more complex arrangements/structures. It's a bold step for both artists -- albeit a directionless one, as the album can't seem to settle on one particular theme or concern. It's a concept album without a concept. The album also seems a bit out of touch -- "Niggas in Paris" on the heels of a devastating recession? Hubris much? But that should be expected from those involved. Watch the Throne is obviously not a perfect hip-hop album, despite the expectations, but it was never going to be, nor does it have to be. Instead, it's a fascinating exercise in excess, a monument to opulence. It's hard to turn away -- nor do you want to.

7) The Black Keys - El Camino
Genre: Rock/blues
Standout tracks: "Lonely Boy," "Gold on the Ceiling," "Little Black Submarines," "Run Right Back"

The Black Keys are the rare band that has managed to evolve without losing fans along the way -- in fact, they're gaining them. Radiohead is about the only other band I can think of that has pulled this off (although, while on the subject, I didn't much care for King of Limbs). After starting out as a two-piece, bare bones, guitar-and-drums blues rock outfit, the band -- nominally still a duo, although producer Danger Mouse has had an increased role -- has steadily added different elements on each record -- keys here, backing vocals there... did I just hear chimes? And, egads, is that a bass line? Yet, they're indelibly still the same band, and I don't hear anyone yelling "Sellouts!" Not that anyone would hear over some of Dan Auerbach's most ballsy guitar work yet -- seriously, listen to the second half of "Submarines" and you'll see what I mean. Well, not see, obviously. Anyway. According to the band, these songs were written to be played live, so I'll go ahead and put "See The Black Keys" live on my 2012 bucket list. You know, in case the world ends.

6) TV on the Radio - Nine Types of Light
Genre: Indie/experimental
Standout tracks: "Second Song," "No Future Shock," "New Cannonball Blues," "Repetition"

As their name would suggest, TV on the Radio delights in subverting expectations, labels, genres. Are they a rock band? Electronic? Hip-hop? Funk? No, they're all of the above, and then some. On Nine Types of Light, the band effortlessly shifts between these differing elements of their identity between tracks, verses -- shit, sometimes even between lines. The central narrative here, such as it is, seems to be vaguely post-apocalyptic ("All this death above extinguishing / All that you've ever known"), but that doesn't mean you can't still have a good time ("Shake it like it is the end of time"). Finding light in the dark -- seems an appropriate theme for a band whose bassist was suffering from lung cancer during recording (and who died shortly thereafter... R.I.P.). Solemn musings aside, this is a sharp album, deliberate in its chaos and unwavering in its sense of rhythm and flow, in spite of the myriad tones and structures, and one that keeps revealing new facets with each listen (much like their last record, 2008's Dear Science). I look forward to seeing what else this record, and band, have to offer in the future, apocalypse or no.

5) Daybreaker - The Northbound Trains EP
Genre: Rock/punk/acoustic
Standout tracks: "Lean On Me," "Lanterns," "Where I'm Supposed To Be," "City Lights"

There's not much more to say about this album than I said back in May, so I won't dally (not that I'd know how to anyway). Just know that this is the type of rock 'n' roll that more bands should play -- unselfconscious and soulful, well-crafted and tuneful. Daybreaker, the latest in a bumper crop of Springsteen/Petty influenced bands, plays songs about girls and driving and how a guitar can get you through a day or a year or a life. Only 7 songs long, this one got played a lot and each song burrowed its way into my brain -- and they haven't come out since. This one's about as under-the-radar as they come, but I hope I get to be the guy that said "I told you so" sometime soon.

4) The Lonely Island - Turtleneck & Chain
Genre: Rap/comedy
Standout tracks: "We're Back!", "Jack Sparrow," "After Party," "No Homo"

Note the order of the genres: rap then comedy. Yes, these guys are funny (okay -- fucking hilarious), but they also are unabashed hip-hop fans and, indeed, talents in their own right. The list of guest artists on Turtleneck & Chain reads like a Billboard Hot 100 roll call: Akon, Snoop, Rihanna, JT, Nicki Minaj, and, uh, Michael Bolton... and Andy, Jorma, and 'Kiv manage to hold their own. Indeed, other than the brilliant "Sparrow" (see hyperlink), most of my favorite jams off this record don't feature any guest artists. Say what you will about their feature film acting, writing, or directing (although all three are better than they have any right to be), these guys have a true flair for songwriting and composing, even if they are "just" fake raps. Each song manages to both mock and pay tribute to hip-hop conventions -- "We're Back!" celebrates the group's, er, members (but not like you think), while "No Homo" completely skewers rap's inherent homophobia, for example. There is an undeniable low genius at work here, but to call them hip-hop's idiot savants would be a misnomer. Even given all the guest talent, these three guys are still probably the smartest guys in the studio.

3) Alkaline Trio - Damnesia
Genre: Punk/acoustic
Standout tracks: "Calling All Skeletons," "Every Thug Needs a Lady," "The American Scream," "I Held Her in My Arms"

Alkaline Trio has long been one of my favorite punk bands, but I felt that they lost a bit of their edge on their last few studio albums (from Crimson on). Their rough, back alley charm had been rounded smooth under too much studio polish. Thankfully, Damnnesia, an acoustic greatest hits of sorts, strips all the studio sheen away and allows the band's unique songwriting, vocal harmonies, and macabre lyrics to again take center stage. There are some beautiful renditions of old favorites ("Clavicle," "Radio," "Private Eye," "Thug"), but some of their newer songs really stood out for me in this stripped-down atmosphere ("Mercy Me," "Skeletons," "Scream"). There are also two new songs: "Olde English 800," which is about exactly what it says, and an upbeat (in a way) Violent Femmes cover, "I Held Her in My Arms." This collection would be an excellent gateway into the band, but is also a way for old fans to appreciate the band in a new light -- the slowed down version of "Thug" in particular is a revelation, a perfect showcase for Dan Andriano's love-weary voice (also, his solo album from this year is very much worth checking out). All in all, this record is -- odd as it sounds for Alkaline Trio -- beautiful.

2) Foo Fighters - Wasting Light
Genre: Rock
Standout tracks: "Bridge Burning," "Dear Rosemary," "These Days," "Walk"

When you tune into a classic rock station 20 years from now (assuming there is still such a thing as radio), one of the first bands you'll hear will be the Foo Fighters. I'm convinced of this. That's not to say that Dave Grohl and Co. produce works of towering artistic achievement (I mean, this record is nominated for multiple Grammys, which is about as unartistic as you can get). No, what I'm trying to sat is that the Foos are nigh-unparalleled masters of populist anthems -- from "My Hero" to "Learn to Fly" to "Times Like These" to, yes now, "Walk." These are the songs that my generation will listen to and say, "Man, those were the days," the songs that they'll play on long road trips with their kids, like my dad did with The Beatles and Tom Petty. It's not necessarily the most artistic songs that stand the test of time, but the biggest -- and nobody does bigger better these days than the Foo Fighters. I saw them live a few months ago and the environment was the exact same as when I saw legends like Paul McCartney, Tom Petty, and Bruce Springsteen -- reverent. Dave Grohl had it right 16 years ago when he said, "I'll Stick Around."

1) The Decemberists - The King Is Dead
Genre: Indie/folk/rock
Standout tracks: "Don't Carry It All," "Down By the Water," "All Arise!", "This Is Why We Fight"

Undisputed. I've had this record for over a year now (it leaked in late 2010), and I've all but known it would occupy this slot since I first heard it. I knew this was a different Decemberists record from the spry wail of the harmonica to open the record on "Don't Carry It All" -- the band was writing songs instead of opuses, lyrics instead of poetry, an album instead of An Album. Not that there was anything wrong with the band's previous approach (for example, "The Island," the 12-minute, multi-suite, quasi-prog jam and Hazards of Love precursor from The Crane Wife is an amazing song), but it's interesting to see a band take a more uncomplicated approach to record-making and produce some of their best work. Isn't it usually the other way around? Not this time -- The King Is Dead's idyllic, country-tinged ditties (and "ditty" is really the right word for a lot of the songs) are the best of the year, a true testament to Colin Meloy and his bandmates's songwriting capabilities. Maybe song "crafting" is the better word, to better indicate the care that obviously went into these songs. This is readily apparent live, even without key contributor Jenny Conlee (suffering from breast cancer), no more so then on "This Is Why We Fight," easily my favorite (and the best) song of the year. Watching the band play it, it could just as easily be called "This Is Why We Play," or, perhaps better, "This Is Why We Listen."

Like I said, I listened to a lot of music this year -- but I must have missed some great albums. Don't be afraid to let me know what they are. I'll follow this up shortly with my favorite songs of the year -- make sure to check that out as well! As always, thanks for reading my ramble.

Totally Not Gay: Top 5 Homoerotic Movies

Get an image in your mind of the following: Shirtless men. Deep, smoldering glares. Ripped bodies glistening with sweat. Fierce embraces. Bulging... muscles. What came into your mind? (Wow, poor phrasing there.) Chances are, it's either gay porn or action movies. After watching Fast Five earlier this year (among many, many other movies), I'm not even sure there's a difference anymore. I've long since stopped being able to tell if the titans of testosterone in action movies want to fight or just screw. I don't think I'd even be fazed if Sylvester Stallone made another Expendables that erupted into a gay orgy halfway through. Except any male fan of these movies will always say, "Dude, it's totally not gay!"

Anyway, all that got me to thinking about the time-honored tradition of homoeroticism in action movies. Surely, some lonely Film Studies student has written a 150-page dissertation on the subject, probably titled something like Tango in Cash: A Survey of the Homoerotic in American Action Movies. If not, someone should write it, STAT. I don't have that kind of time though, so you'll just have to settle for a Top 5 list for now. Enjoy, if you're into that sort of thing.

Honorable Mentions: Any buddy cop movie ever, any boxing movie ever, just about any Schwarzenegger or Stallone movie, and, of course, Road House (1989). Not to imply that there is anything gay about Dalton (R.I.P.), but, I mean, c'mon:

5) Fast Five (2011), starring Vin Diesel, Paul Walker, and Dwayne "The Rock" Johnson
This is just the latest installment in modern cinema's most prolific study of homoeroticism amongst the gearhead set. I mean, take a look at this. And this. And let's not forget to mention this criminally underseen spinoff. The latest installment ratchets (get it? a ratchet is a tool you would use on a car) it up a notch with the addition of The Rock, however. What used to be Vin Diesel and Paul Walker staring each other down, sweat-drenched and ready to throw down (note that I could have said "come to blows") now adds The Rock and his Steiner-esque biceps to the mix. Diesel and Johnson (how are these not gay porn sobriquets? (why "sobriquets"? because it sounded gayer than "nicknames")) have a fight scene toward the end that is the stuff of homorerotic legend. It even starts with the line, "You're going down, Toretto!" Check it out (pic hyperlinked):

4) The Lord of the Rings (all of them), starring Elijah Wood, Sean Astin, Dominic Monaghan, Billy Boyd
If you played a drinking game where you had to drink every time a Hobbit did or said something homoerotic, you'd be smashed about an hour and a half into Fellowship. I'm not sure what it is about hobbits. Maybe it's their capris. Or the fact that two of them tickle-raped Boromir (never mind that he looks like he liked it). Then there's the whole Frodo/Sam thing. Douche chill! Finally, there's the giant hobbit orgy that, as far as I remember it, took up about the last forty-five minutes of Return of the King. Here it is. Judge for yourself:

3) The Transporter (2002), starring Jason Statham
Every man has his "If I were a girl..." list. Statham's on mine (along with, obviously, Steve Nash). I blame this movie (and subsequent sequels). America was already familiar with Jason Statham: British Gangster (Snatch) and Jason Statham: White Guy Who Does Martial Arts (The One). This was America's first introduction to Jason Statham: Gay Action Hero. (If you don't believe me, ask the director of the second movie). In The Transporter, Statham is shirtless at nearly every opportunity, usually stripping without even the slightest provocation (he's a real pro though -- he pushes the tension to the last possible moment before stripping). And, of course, there's the infamous oil scene. Enjoy -- I know I did:

2) 300, starring Gerard Butler, David Wenham, Michael Fassbender, Dennis Rodman (at least, I'm pretty sure it was him)
I'm pretty sure I don't even need to say anything about this one. (But you know me: I will anyway.) Anyway, this is probably the first movie that came into your mind (there's gotta be a better way to say that...) at the beginning of this post. I don't even know where to start with this one. I guess the Xerxes picture above is as good a place as any. I could also link to about a thousand pics of abs, spears held phallically, the aforementioned smoldering gazes, or I could just link to proof that the actual Spartans were into tummysticks. So yeah. This movie was just about a Madonna song away from being all the way gay. Wait, what? Someone already had that idea? Say no more. Suspicions confirmed:

1) Top Gun, starring Tom Cruise, Anthony Edwards, Val Kilmer, Tom Skerritt
Has to be. The best bad movie of all time and the most homoerotic movie of all time are one and the same. I'll let the pics and video do the talking (warning: may include captions):

I like what I see. Maybe don't wear your Hanes next time.

This ain't gay shit. This is man shit.

Don't act like you're not impressed.

"You know where I'm gonna put this?" "Yeah."

And, of course, the volleyball scene. Need I say more? (Don't worry, I won't... much.)

These are just the ones that stand out (up?) for me. I'm sure there are countless others. Let me know what I missed... besides your musk. Which is totally not gay. Thanks for reading!

2011 in Film: One-Sentence Reviews

As if you couldn't tell from past entries, I'm a compulsive list-maker. I am constantly keeping tabs on things in my head -- Top 10 this, Top 25 that, etc. I even made a list of my favorite sandwiches once. One thing I usually do throughout the year is keep a running tab of all the movies I've seen in that particular year. I try to rank them as I go in relation to each other. As I was busy updating my 2011 list, I figured I might as well review them. But then I thought, "That's a lot of work." I haven't really seen that many movies this year, but writing even a few hundred words on each them seemed daunting. Then I though, "Hey, I'm lazy, it's the Twitter Age, why not just fire out a quick sentence on each?" So that's what I did. Enjoy -- it's simple and easily digestible, just like a sandwich! BEWARE: Persistent and egregious violence committed against punctuation below.

Movies ranked on a very subjective Excellent-to-Total Crap scale:

Excellent (*****)
None so far

Great (****1/2)
None so far

Very Good (****)
Paul - Made for fanboys, by fanboys; funniest of the year so far.
Fast Five - Perhaps most homoerotic movie since Top Gun -- in a good way.
Everything Must Go - Will Ferrell tries his hand at drama, is still funny, which makes the movie work.
Bridesmaids - NEWSFLASH: Women can be funny and crass too (something Kristen Wiig fans already knew).
Take Me Home Tonight - Funny, touching, nostalgic -- would-be That '80s Show adaptation decent.

Solid (***1/2)
Unknown - I'd watch Liam Neeson kick ass and take names in anything -- and I mean N-E-thing.
X-Men: First Class - Even with its flaws (useless side characters, MacAvoy's preening, etc.), still way better than anything Singer or Ratner put out.
The Hangover Part II - Yes, it was a complete rip-off of the first and, no, it didn't need to be made, but you're delusional if you didn't laugh your ass off.
The Adjustment Bureau - This had the chance to be Blade Runner-good... maybe in the hands of a more experienced director.
Source Code - Thoroughly solid genre fare, but that's it.
Kung-Fu Panda 2 - How did this not have some sort of ridiculous subtitle like Attack of the Cranes or Electric Bamboogaloo?

Mediocre (***)
The Mechanic - See entry for Unknown, replace Neeson, Liam with Statham, Jason -- watch for plot holes though.
Pirates of the Caribbean: On Stranger Tides - Completely unnecessary yet entertaining enough.
Thor - Scenes in Asgard = good, scenes on Earth = zzzzz's -- do the math and the result is "meh."
Your Highness - This had soooo much potential as a brilliant fantasy genre parody, but it just wound up being a mediocre stoner comedy.

Kinda Sucked (**1/2)
Scream 4 - Actually started off fairly decent, but the wheels came off in the third act.
Sucker Punch - Zack Snyder should never, ever, ever, ever be allowed to work with actors again -- dug the style and atmosphere though.

Sucked (**), Awful (*1/2), Terrible (*), Crap (1/2), Total Crap (0)
None so far

WTF (???)
The Tree of Life - Cop-out: This is what happens when hubris goes unchecked (as it so often does).

---

That's it so far. I'll keep it updated throughout the year. Feel free to agree or disagree or agree to disagree.

2011 Summer Jams

Hello, blinking cursor. It's been a while. But grades are in, the sun is out, and my free time (and urge to write) has been freed from the grubby clutches of another crop of community college students. It's time to write again. I figure a good way to start would be to share some music recommendations with the fine citizenry of the internets. So, fine citizenry, put the gossip site/fantasy team/porn video/whatever on hold for a few minutes and check out some sweet summer jams, courtesy of me. Good for beach bummin', pool partyin', and/or road trippin'. Let's dig in. Alphabetically, as always.

Honorable Mentions: Childish Gambino - EP (aka Donald Glover aka Troy from Community aka the best show on TV right now), Dave Hause - Resolutions (aka the lead singer of The Loved Ones), The Lonely Island - Turtleneck & Chain (just got it, but loving it so far -- also, this) Peter Bjorn & John - Gimme Some (you might know them as 'the band that did that song with the whistling'), The Sounds - Something to Die For (female vox, very danceable).

Daybreaker - The Northbound Trains EP
Genre: Punk/Folk/Acoustic
Standout tracks: "The Way Up North," "Where I'm Supposed to Be," "City Lights"

Although I don't really much know about this band (downloaded the EP on a whim from a music leak site), this has fast become one of my favorite releases of the year. In the same vein (philosophically if not acoustically) as personal favorites Lucero and The Gaslight Anthem, Boston-based Daybreaker plays earnest, unpretentious rock 'n' roll that claims blues, folk, and punk influences. This is the kind of stuff that makes you tap your foot and sing along with the window down (just watch the brake pedal) from the kind of band you'd love to see in a shitty dive bar on a Friday night (I'm thinking the Yucca Tap). I can't wait to hear more from these guys and am eagerly anticipating a full-length and some West Coast tour dates.

Someone kindly uploaded "Where I'm Supposed to Be" onto YouTube:

The Decemberists - The King Is Dead
Genre: Indie/Folk
Standout tracks: "Don't Carry It All," "Rox in the Box," "Down by the Water," "This Is Why We Fight"

This is one of two records from this year that have already made their way into my regular rotation (the other is next). You know, that upper 5% of albums that you can listen to anytime, anywhere, the album's you'll want to pass on to your friends (or down to your kids). I knew it would from the opening harmonica wail of "Don't Carry It All" and had it confirmed again during the opening of "This Is Why We Fight" and countless times in between. This isn't The Decemberists at their creative peak (Picaresque) or even at their best (The Crane Wife), but at their most focused. No lyrical embellishments, baroque arrangements; no nine-minute songs about fisherman, no prog-folk fairy tale concept album -- just a short, sweet, unadorned folk-rock masterpiece. Makes me want to go out to the farm and, I don't know, plant shit or milk a cow or wear overalls. See the stars shine overhead. That kind of thing. Just listen and you'll get it.

Start with "This Is Why We Fight":

The Foo Fighters - Wasting Light
Genre: Rock
Standout tracks: "Bridge Burning," "Rope," "Dear Rosemary," "Walk"

Blah, blah, blah, Kurt Cobain, blah, blah, blah. It really pisses me off that you can't read a review for this album (or any Foo album) without having Nirvana references shoved down your throat (and I realize I'm only adding to it here). You know what? I don't really like Nirvana. Never have. I'll give 'em credit for helping usher out hair metal... but was grunge really that much better? At least hair metal gave us "The Final Countdown" (and I mean that with all sincerity). Grunge gave us flannel shirts and Courtney Love. Thanks for nothing, assholes. Oh well, I'll settle for the Foos as a consolation prize. In all honesty, this album's pretty much more of the same from Grohl and Co. (now with Pat Smear back in the fold) -- big hooks, anthemic choruses, pummeling rhythms -- but I'll take another Foo record every few years for the rest of my life. Grohl is like Tom Petty that way (a comparison I'm seeing made more and more lately). Even though they sound nothing alike, they're both equally capable of cranking out songs/albums that are solid at the worst and iconic at their best (and this one's closer to iconic than solid -- just listen to the opening track... and that album art!) until they die. I'll bet the Foos are still selling out arenas in 20 years like Petty is now. I'm definitely looking forward to it.

Check out "Rope":

Lenka - Two
Genre: Singer-Songwriter/Pop
Standout tracks: "Two," "Heart Skips a Beat," "Blinded by Love," "Shock Me into Love"

...and now for a change of pace. In addition to hipsterish indie and testosterone-fueled guyrock, I've also cultivated a taste for twee girlypop. Scattered throughout my iTunes, you'll find such gems as Kelly Clarkson, Vanessa Carlton, Sara Bareilles, Lily Allen, Katy Perry, etc. Again, I'm being sincere here. However, my taste in such girlypop is discerning, but in no particular way -- I love all of the above, but you won't find anything by Avril Lavigne or Lady Gaga anywhere near my music collection. As a matter of fact, I can't stand 'em. Nothing will get me out of a room faster. Lenka, on the other hand, is definitely someone I can get behind, if you know what I'm saying (doggy-style sexual intercourse if you don't). I also enjoy her music very much. You might already be familiar with "The Show" from her first album (and you should familiarize yourself with it if you are not). Her appropriately-titled second album continues in the same tradition -- syrupy-sweet vocals ("And THAT'S how you get ants!"), eclectic arrangements, and eminent catchiness (seriously, some of these songs are harder to get rid of than some of the more virulent STDs... like ants). Check it out if you think you can handle it.

"Heart Skips a Beat" is a good a place to start as any:

Meg & Dia - Cocoon
Genre: Indie/Pop/Rock
Standout tracks: "Bandits," "Unsinkable Ships," "Breakdown," "Summer Clothes"

Meg & Dia have me at a loss. I'm really not sure who's supposed to like them, what their demographic is. Just by looking at them, you'd think they were manufactured pop stars. But they write their own songs and play instruments. They play at the Warped Tour to young and angry crowd, but their (sometimes clumsy) lyrics allude to sex and literature, things probably over the head of the typical pissed-off 14-year-old (and probably the obnoxiously drunk 30-year-olds too). They're kind of a confusing band. Evidently, the record labels agree with me, because they were dropped from their major label not too long ago. They're still cranking out hard-to-label records though, as evidenced by this year's excellent Cocoon. Running the gamut from, indeed, twee girlypop and radio-friendly rock to ambling country and spare folksy numbers, the album has something to offer everyone. My personal favorite is "Bandits," a song that leans more towards the "spare folksy" end of the spectrum about lovers run afoul of the law. I seriously listened to it about 8 times in a row the first time I heard it. I invite you to below. Enjoy, if you're into that sort of thing.

As promised, "Bandits" (I don't know why they're on bikes):

Social Distortion - Hard Times and Nursery Rhymes
Genre: Punk/Rock/Blues
Standout tracks: "California (Hustle and Flow)," "Machine Gun Blues," "Bakersfield," "Can't Take It with You"

I was never actually really big into "Social D" (in the parlance of our times). They were always one of those bands I enjoyed in passing, but their albums always had that dreaded "samey" feel to them (although friends have leveled that charge against Bad Religion, and they're not entirely off target, so who knows). That was before I heard this album though. Their sound (which always sounded kind of lackadaisical for punk to me) has been infused with some kind of shitkicking, downhome, almost Southern rock energy. Here, Social D sounds like what I'd imagine Ruckus (from the criminally underappreciated, and criminally overdramatic Elizabethtown) would sound like on record (and yes, I realize Paul Schneider's backing band is My Morning Jacket). Driving, almost bluesy rhythms, guitars that wail and sing instead of simply grind, and a chorus of female backing vocalists -- add Mike Ness's indistinguishable vocals to it all and the result is a fresh perspective on a band and a scene (California punk) that has flagged in recent years (Bad Religion's outstanding record last year not withstanding). This record is definitely on my playlist for summer road trips.

Put "Machine Gun Blues" in your pipe and smoke it (or in your iTunes and listen to it):

TV on the Radio - Nine Types of Light
Genre: Indie/Experimental
Standout tracks: "Second Song," "No Future Shock," "New Cannonball Run," "Repetition"

Some of my favorite things about this record: The title, the cover, the fact that the first song is called "Second Song," the horns on "Second Song" and how they kind of meld with the vocals after a while, the dueling senses of ominousness and playfulness, the crisp instrumentals and funky electronic flourishes, the title "Caffeinated Consciousness," and, finally, my favorite line of the year so far: "What's the matter with your next door neighbor? I heard he has sex, drugs, and danger." This tells me two things: 1) I need to get new neighbors, and 2) lead singer Tunde Adebimpe (who you might remember from Rachel Getting Married -- underrated flick) is a lyrical badass. In addition to lyrical badassery, he spends the record exploring all types of vocal stylings -- singing, rapping, screaming, crooning, he does it all. Just as his bandmates explore all genres and tempos. This record is as multifaceted as its cover would suggest.

Check out "Second Song" for one of the above-mentioned facets:

2011's been a solid year for music so far, and there's more good stuff on the horizon. Here's some that I'm looking forward to (physical release date in parentheses):
Death Cab for Cutie - Codes and Keys (May 31)
Arctic Monkeys - Suck It and See (June 7)
Vanessa Carlton - Rabbits on the Run (June 21)
Incubus - If Not Now, When? (July 12 -- already heard it, and digging it so far)
And supposedly the Red Hot Chili Peppers and New Found Glory will have new stuff in the late summer. We'll see how RCHP (not the correct abbreviation, I know) do without Frusciante...

...aaaand I'm done. Assume these last few lines would have been something clever if it weren't so late. I hope you enjoyed reading. Let me know what you think of these records and if there are any you like that I didn't list. I love getting music recs even more than giving them! Until next time.