Night Panther :: "Fire"

Night Panther initially sounds a lot like Princeton on latest single, "Fire", a restrained baroque piano progression that unleashes into a full synthesizer jam in its second movement. Previously, the band aimed itself at glossy and sensual synth arrangements, and "Fire" represents an evolution, the first movement tied to a pretty piano and string arrangement and a swooning lyric, "there's a fire under my nose." However, "Fire" proves relentlessly expansive, finishing with a kitchen-sink flourish where Night Panther channels the most satisfying moments of the Scissor Sisters catalog: big piano chord resolutions, synth horns, falsetto vocals. In short, it's a circus tent break up song, the last lyrics, "it's time for me to move on."

Top 50 Songs of 2012 :: [40-31]

Welcome to our annual countdown of the 50 best songs of the calendar year. Songs must be from an EP, LP or demo released during 2012 and no band may appear twice. Today, we count down 40 to 31.

40. Howth - "Secret Goldmine"

Howth, all rich with horns and moral victories offered the outlines of a clandestine financial reserve on glittering single, "Secret Goldmine". A down-stroke guitar and drums cribbed from the National's catalog, "Secret Goldmine" was an unrequited love song, pitched at the last minute in hopes that the feeling would be mutual. "I'm thrilled to be your secret goldmine," was code for something else: unconditional and long form duets.


39. Maps and Atlases - "Fever"



In a year lacking big, bold rock songs, "Fever" did its best to roll the collective windows down and jam the collective accelerator pedal to the collective floor. It was supposed to be a transfiguration, a dreamed moment when the "Fever" passed and we were a more reasonable, less knee-jerk, rational species. Of course, the wailing guitars and slamming drums did little in this stead. "Fever" passed, tipping five minutes, but not without the break that comes in the middle of the night and at high temperature.


38. Donora - "And Then The Girls"

Donora, a Pittsburgh band with brash enough chops to make a name for themselves on the national scene, broke through in 2012 with a rigorous touring schedule and a singular moment on, "And Then The Girls". There was an argument that it was the year's best chorus, a refrain that drove over and over and over at the same idea: the title lyric in falsetto, four notes in play and all of them pleasing to the ear. It was maybe vapid, but so was Le Tigre, and "And Then The Girls" recalled a glossy riot grrl chic, girls in revolt but tastefully done.


37. Mirror Talk - "Choose Life"

For anyone waiting on the Future Islands record that never came in 2012, Mirror Talk was the baritone synth pop of which your dreams were made. Rooted in an oblique question - "Is it true love?" (and the comma placement or lack there of made all the difference) - "Choose Life" was the grinding, industrial jam to architect the last stages of a disaster. It was New Order for kids that knew New Order; it was Future Islands for people that already loved Future Islands.


36. Eliza and the Bear - "Brother's Boat"



The insistent opening guitar chords of "Brother's Boat" announced the arrival of Eliza and the Bear. It was post-Mumford pop, folk music with a touch of bombast, Edward Sharpe without all the commercial overtones. The final explosion, "Just let it go," was built for Beasts of the Southern Wild, an anthem for where the wild things actually were. 


35. Princeton - "Remembrance Of Things To Come"



Princeton does baroque pop better than anyone in indie rock and "Remembrance Of Things To Come" was no exception. It was all build and no payoff, strings frantically chasing a syncopated piano progression around a falsetto vocal. It was indie rock for a string quartet, things lost and forgotten or, as the band suggested, those memories yet to be made.


34. Oberhofer - "HEART"



No one went more for broke in indie rock this year than Oberhofer on "HEART". The all caps title was an overture, an introduction, to what was a twitchy and bombastic arrangement. The final movement, one of the best 90-seconds of music this year, was a crashing, tumbling conclusion to an already bold arrangement. It was about losing love, a shuddering coda to a brilliant bit of somber pop, Bradley Oberhofer cooing down the back of the disaster. 


33. Chairlift - "I Belong In Your Arms"



There is a world where Chairlift's "I Belong In Your Arms" was the single best song of 2012, a glittering bit of synth pop built for an 80s movie that was never made. Like The Chocolate War, the gags are slapstick and the allegories are hard to miss, Polachek and her crew making a crystalline arrangement that drives restlessly forward like a lost and improved Kate Bush single.


32. Lord Huron - "Time To Run"



Things fell apart internally in 2012, or at the very least, continued their pattern of utter instability. So pardon Lord Huron for looking outward on lead single, "Time To Run," a banging and clattering slice of world pop that served a bit of footnoted notice to bands like Local Natives and Vampire Weekend. The truth was out there, to be sure, a mixture of love and loss in the service of foreign interests and neocolonial ideas. 


31. Here We Go Magic - "How Do I Know"

In the era of the overly certain opinion, "How Do I Know" presented a pleasant countretemps. All about not knowing if she or he was the one, Here We Go Magic offered a bit of indecision - and this is completely absurd because "How Do I Know" is also so clearly a love song - in a time and place where everyone, everywhere, all the time, has a take.

Funkywalkman :: "Los Angeles"

From the brains and baroque sensibilities of Princeton masterminds/brothers Matt and Jesse Kivel comes the one-off single, "Los Angeles" under the new moniker, Funkywalkman. Andrew Maury, of RAC fame, handles the mixing duties on a single that resounds with lilting and uplifting sensibilities. The packaged drums snap with an unironic Reagan-era purpose as synthesizers bubble and zap from somewhere far away. The lyrics arrive as the confessional sort, first-person diary entries like, "grey and rain in Los Angeles, I was born today" and "I don't think anybody knows the right way of thinking about it" and the especially untrue, "I don't care." It is, ostensibly, a break-up song couched in a catchy chorus and, what these brothers do better than almost anyone else, a series of very satisfying chord resolutions. The each line of the verses arc upwards before settling toward a logical and pleasing conclusion. Compartmentalized successfully, the verses burn luminescent tracer fire in parabola over the night sky of "Los Angeles" before the chorus resolves the problem of rising and falling with a frictionless hook, an effortless take-off into nothing.

Warm Weather :: "The Dance"

Warm Weather are a Los Angeles group of recent college grads with an excellent debut EP, Dances. In the spirit of other esoteric, somewhat baroque pop acts like Vampire Weekend and fellow Angelinos, Princeton, Warm Weather drape swelling arrangements in layers of vocal harmonies and enough poly-rhythmic influences to make everyone have to use the proper noun, "Paul Simon". Lead track, "The Dance" very nearly explodes half a minute in with a cascade of backing harmonies, in essence a movement in three parts, this demarks the end of the of first and the beginning of the second. By the third, a roaring breakdown of so many individual vocal parts, the band is at the height of its power before an entirely satisfying resolution of a final chord. Fairly simple, these are the last collection of notes on the first song of one of the best debut EPs of the year.

Top 50 of 2009 :: 40-31 [We lived like Communists, darling]

40. The XX - "Crystalized"

People went nuts for The XX this year. We didn't exactly, calling them, "the most tense bunch of 2009." That was back in March before NPR got wind of the record and turned them into every bourgeoisie fantasy of what indie rock could sound like in 2009. They became Interpol for the cocktail party where no one is really listening to the music. Of course, all of this is negative and "Crystalized" is, empirically, very good. A spare arrangement and a series of increasingly sexual exchanges between two, intensely androgynous voices, make the cut the kind of thing that builds without releasing anything. But that tension moves just enough potential energy to the kinetic side of the equation. It will move you, even if you're standing, stock still.

39. Pomegranates - "Corriander"

Pomegranates were probably loved hardest by our buddy Chuck this year. His taste is usually better or, at the very least, different and richer than our own. We cop to this easily. However, Chuck and I totally overlapped on Pomegranates with their holistic take on shoegaze. "Corriander" proved to be the richest, shimmering track of a number of quality cuts off their latest record, Everybody, Come Outside. The tumbling climax, with crashing guitars and a peel-off pretty enough to make your eyes water, is worth the wait; proof positive that shoegaze can be spacey and directed in the same moment.

38. Throw Me The Statue - "Ancestors"

Creaturesque, the second full-length from Throw Me The Statue, will go down as one of the best records of the year. It never got a ton of attention, perhaps, because it isn't the type of record to ask for it. Quiet, at times propulsive, indie-pop isn't the genre to blow the doors off the hipster Illuminati. But what they missed in the quiet moments was a louder, fuller version of the band. From the opening chords of "Ancestors," we can be sure we are dealing with a maturing, advanced permutation of the kid who showed so much promise bursting on the scene in early '07. "Ancestors" also provided one of our favorite lyrics of the year: "You packed some punch/we were having such flagrant fun." So were we.

37. These United States - "I Want You To Keep Everything"

We saw These United States at the Echoplex in Los Angeles over the summer and were floored by the animation and workman-like approach of lead-singer Jesse Elliot. This comes through no more clearly than on "I Want You To Keep Everything," a song, ostensibly about a divorce or some seismic ending of a relationship where, bluntly, you give it all away. Elliot intones, "Over, baby, we're over/Don't you send me my red shirt." He means it: Keep everything. He's moving on. Ryan Adams, your torch has officially been passed to someone else still willing to traffic in heartbreak.

36. Golden Silvers - "True Romance (True No. 9 Blues)"

Golden Silvers are one of the most hotly tipped bands out of the UK in 2009 and set for a big break in 2010. "True Romance" features stabbing keyboards, a walking bass-line and more funk than you're going to encounter at most intersections on the rock highway. Golden Silvers proved to be as fun as advertised when we caught them at CMJ. Working with triangle, wood-block and, yes, cowbell, the band is ready for a take-over and, "True Romance" is exactly the kind of growth-potential we've got in mind. So, let all this rhythm wash over you. "Rule Britannia ain't coming back?" Sure, it is.

35. Vivian Darkbloom - "Cold War"

Few bands have pictured a break-up in the kind of sharp, geo-political relief of Vivian Darkbloom's "Cold War." The band, discussing what looks like an interpersonal stand-off, reveals, "I loved our Cold War/We never had to speak/We lived like Communists, darling." Not only does this 1989-rhetoric speak clearly, but "Cold War" also features one of the most singable choruses of the year. Like something out of a more stern Bishop Allen, Vivian Darkbloom gave us something Soviet and American at the same time: An ironic hearkening back to a simpler duality. We might not have liked a sustained face-off with another power, but it sure looks better than not knowing who to hate.

34. Logan Lynn - "Feed Me To The Wolves"

We heard a lot of glossy, synth pop/rock this year. Logan Lynn, a label-mate of The Dandy Warhols, managed to separate himself from the pack. "Feed Me To The Wolves" isn't just a shimmering, urgent bit of post-Postal Service electro-pop. It builds into an architectural elevation with bright keyboards clashing with double-tap drums. The stakes are high as Lynn freely admits, "You can feed me to the wolves if I make one mistake." He doesn't specify who these predators are, but we can assume that anyone who spent time in the music industry knows, the wolves are always at the door.

33. Evan Voytas - "Getting Higher"

Building a music career all by yourself isn't easy. Ask Evan Voytas, a kid from the west coast who embraced every ounce of the new digital landscape. His music is glossy, throwback pop and "Getting Higher," with its sweeping synth-strings and upstroke guitars proved to be every bit of what its title describes. As Voytas' falsetto soars above everything in the chorus, chimes explode around him like a series of sonic fireworks. We described him as waking up "confused and disoriented" in a completely digital universe and we meant it as a compliment. "Getting Higher" is directed and if this kid lives in a world of keys and loops, it looks awfully compelling.

32. Harlem Shakes - "Strictly Game"

The Harlem Shakes named their most recent LP, Technicolor Health after a Michael Chabon description in the novel, Mysteries of Pittsburgh. Chabon means to describe what he feels is the seemingly real fitness of a series of increasingly drunken encounters. In the novel, the main character struggles with his father and the impending disaster of his adulthood. He drinks himself into "technicolor health" as an avoidance and a false bullet-proofing. The Shakes might not be overly concerned with their impending adulthood but rather, they view the process as a grind, "Make a little money, take a lot of shit/feel real bad and get over it." In the early pages of the novel, Chabon describes his summer as a period of "dilated time." Add this to The Shakes assessment. We might be in trouble but, at the very least, the world is opening, not closing before our eyes. As with the last bunch, this will also be a better year.

31. Princeton - "Sadie and Andy"

When it comes to sweeping, baroque-pop, no one did it better than Princeton on "Sadie and Andy." The arrangement marches along with horns, harpsichord and some of the most charming female vocals we heard in 2009. If Wes Anderson was paying attention, this would be the centerpiece of his next partnership with Mark Mothersbaugh. The song grabs you on the first listen, only to unfold on repeated listens in expected and pleasant ways. Like the romantic summer months that it seems destined to be tied to, "Sadie and Andy" will always smell like July in Santa Monica with watermelon drink in the cup-holder and "la-di-das" on the the stereo.

Princeton :: "Sadie and Andy"

Baroque chamber-pop slips into your music collection like an over-dressed dinner date. Maybe you agreed to meet for a bite to eat, but you had no idea that we were dressing up. Should I be wearing a tie? And it's not that baroque chamber doesn't look good in a cocktail dress, it's just that you're not quite on her level and you didn't have time to adjust. You're partially impressed (she looks great) and partially overwhelmed (apologetically shabby). There are no regrets about being here. Princeton's latest mp3 drop, "Sadie and Andy" breaks out with flowing strings, harpsichord and sweeter-than-sweet vocals. It is sophisticated and a little dressed-up. Not surprisingly, you can barely keep up.

Listen :: Princeton - "Sadie and Andy"

Princeton :: "Calypso Gold"

It is appropriate we close the whole 32ft West experiment with an LA band. Princeton, named for the street in Santa Monica where certain members of the band grew up, is a little slice of sweeping indie-pop. There are rich strings out of the George Harrison catalogue and flourishing guitars that sit high in the mix and don't leave. The arrangment pulses and waits and pulses and waits and, in this way, it has a sense of drama. On the whole (and I've driven on their street for one thing or another), it's a great little summer song. And it will always make me think of beaches, 73 and sunny, paddle tennis and this city. It's been fun, folks. I thank you.

Listen :: Princeton - "Calypso Gold"