Top Films of 2012: The Biggest Surprises

For films, while I plan on doing a “Top-List,” I’ve decided to break them down a few different ways this year, since I think there were some noteworthy films for one reason or another, but they may not have been the “best” overall. You know? So, for today, I want to cover the films that I was most surprised by that came out this year—in no particular order. (Mostly, I’m trying to buy some time to ensure that I can see a few other of these “end of year” releases before I make my final picks. Tomorrow will cover what I’ve dubbed, “The Visual Feasts.”)

• Men in Black III: It’s taken years for the first film to grow on me. I never really liked it upon its initial release, and it’s only after multiple viewings that I’ve decided that I do, indeed, enjoy that film. That being said, I skipped the second film entirely and have yet to actually watch it. However, with this one, not only did I think the trailers looked rather amusing, but I also wanted to see Jemaine Clement as the villain. (That guy is so awesomely weird.) So, possibly against my better judgment, I went to see this film—and thoroughly enjoyed it. It has some good humor and quotable one-liners, it does a good enough job with time-travel, and it has much more heart and soul than I ever would have thought possible for a Men in Black film. Plus, James Brolin as Tommy Lee Jones as Agent K is almost as impressive as Looper's Joseph Gordon-Levitt as Bruce Willis as Joe.

• Frankenweenie: I’m in the generation that’s pretty much grown up with Tim Burton’s career, and I’ve seen all of his films—most many times over—to date. This includes his original short of Frankenweenie. So when I first heard about this one, I thought it was rather lame that he has not only been remaking others’ films, but now, he is also remaking his own films. After the trailer’s release, I had even less desire to see it. However, being the animation junkie that I am, I saw it in spite of my misgivings. And I’m glad I did. The tributes to all the horror classics are too good to pass up. The teacher—holy shit, the teacher—Mr. Rzykruski has some of the best lines and commentary on today’s schools and learning environments that I’ve seen/heard in years. Lastly, even with its kid-film status, it managed to creep me out still. (Seriously, the bat/cat transformation… pretty sure I wouldn’t have slept for weeks as a child.)

• Cabin in the Woods: I like Joss Whedon. But I honestly didn’t have high hopes for this one. It looked fun enough, for sure, but nothing too wonderful or noteworthy. However, there were few films that I saw this year that had me laughing as much as this one. So much dark humor… And where Frankenweenie paid tribute to the horror films of old, Cabin in the Woods took all those often-used tropes and flipped each and every one of them on their heads. It’s definitely a film more for those familiar with horror flicks, but if you don’t mind some blood and guts with your laughs, this is a good place to go.

• 21 Jump Street: I never watched the show growing up, and even though I knew Jonah Hill had turned this into his “baby” of a project, I didn’t really care about it. I didn’t even bother to check it out in the theatre. But when I had my Blockbuster Pass for a few months this year, I picked it up off the shelf—and laughed until my ribs were sore. True, it may go “too far” for some in a few instances, but for those that are more than okay with laughing at the perverse, this is a hilarious film. And like Fight Club made me look at Brad Pitt in a different light, this one did the same for Channing Tatum. Anyone that can play into his stereotypes and, basically, make fun of themselves in a film, well, they’re okay in my book. And Tatum is downright ridiculous. Watch the “Fuck Yeah” portion of the film and just TRY not to laugh at him crashing the band room.

Top-Five Albums of 2012: #1 - Purity Ring's "Shrines"

For the number one, I’m sure there will be more than a few folks shaking their heads and wondering what in the world is wrong with me, but out of all the albums I picked up and listened to this year—which was upwards of 50 to 60—I had so many of these tracks stuck in my head and found myself listening to this album more often than was probably healthy.

Really, I think it’s the simplicity of this band that really drew me in. Most of the tracks only have a few different elements working together. The music never becomes overwhelming or too “full” by way of too many sounds and instruments going on all at once. This, of course, works that much better to showcase Megan James’ lovely voice—even when it’s manipulated.

I’ve always been a sucker for these types of bands as it is—seeing as Portishead, Hooverphonic, and any track by Massive Attack with a female vocalist are some of my all time favorites—I probably didn’t have much of choice in choosing this one as the top album for me this year.

Normally, the bizarre—if not outright nonsensical—lyrics would irk me, as I tend to like my music to make some form of sense. But Purity Ring does just enough to keep everything together and coherent—even if they’re more than a little “off.” Tracks like “Fineshrine” and “Grandloves” and “Crawlersout” give enough hints to a story/emotion/revelation that they help pull together some of the more nonsensical lyrics that permeate this album. “Fineshrines,” in particular, has one of my favorite choruses: “Get a little closer, let fold/ Cut open my sternum, and pull/ My little ribs around you.”

Overall, though, it’s the chillaxed nature of the whole album that sells me. It’s something that can be listened to at any moment of any day and be fitting in its calming rhythms and echoing beats. Think of it as The XX with a bit of a dubstep injection and you’ll have a good idea of what this band sounds like.

Along with the three aforementioned tracks, some good ones to check out are “Cartographist” and “Obedear.”

For me, at the end of the day—or year in this case—I have to think about what albums that I have not only listened to a crapton as is, but I also can see myself listening to for years to come. And I have a feeling that anytime a track from Purity Ring’s first LP pops up on my iPod—or whatever my next-gen player ends up being—it’ll put a smile on my face.

BONUS BAND: Along with Purity Ring’s album, the next most listened to album of the year for me was Grouplove’s 2011 release, “Never Trust a Happy Song.” From the first time I heard “Colours” on an acquaintance’s playlist, I was hooked. They only got better from there, as I do believe that “Itchin’ on a Photograph” is one of the best opening tracks to any album. Ever. Such a wonderful track that sets up the playful and slightly melancholic nature of the rest of the album. Truly, this is a band that you can just tell that they’re having fun with their music. Even if I hadn’t caught them in concert this year—and they put on one hell of a show, by the by—I think their infectious energy is apparent on every track, with each one distinct and unique. If you haven’t been listening to Grouplove, do it. Now. Go.

Top-Five Albums of 2012: #2 The Lumineers' "The Lumineers"

This year ushered in a whole new wave of music that I opened myself up to. True, this indie-folk scene is on the rise--thanks mostly in part to Mumford & Sons--but I wasn't aware of it, really, until my writing counterpart introduced me to this band, starting with "Stubborn Love."

The lyrics alone drew me in, as I love the simple honesty and truth that permeate the majority of their songs. And if they aren't sharing insight into life and love, they know how to create a fun song that makes you want to be in some dark and dingy dive bar, sipping a whiskey, ready to sing and dance along to each and every song. Tracks like "Classy Girls," "Dead Sea," and "Ho Hey" are more than lively enough to push you from your seat, want to grab the nearest person, and start dancing, regardless of where you are.

On the flipside, their quieter songs like "Slow It Down" and "Charlie Boy" and especially "Morning Song" might not make you want to move, but they make you feel, which is equally important.

I think that it's the fact that this band knows how to navigate the upbeat with the down, and the lead singer Wesely Schultz's voice is the perfect amount of scratchy and tremulous that works in both styles. And really, the whole album is an excellent balance between the faster and slower tracks. This is a band that knows the importance of moving through emotions, giving some downtime to relax from all the up, up, up.

It'd be easy for folks to compare this band to Mumford & Sons, or say that they're ripoffs or whatever, but you'd be doing yourself and the band a huge disservice. The Lumineers are very much their own, with their own sound, and as I said before, the lyrics alone make this band worth your time. Seriously, if you're into the growing indie folk scene and haven't heard of these guys, go, buy their album. It's a good idea; I swear.

BONUS BAND: Though in this case, it will be bands. To carry along with the "lesser known" indie folk bands, you should also do yourself a favor and track down The Head and the Heart's self-titled album, and Shovels and Rope's "O Be Joyful." Both are most excellent and well worth your time. In particular, check out Head and Heart's "Rivers and Roads" and Shovels and Rope's "Circus." If those don't suck you in, well, then I guess the indie folk scene just isn't for you.

Top-Five Albums of 2012: #3 The Shin's "Port of Morrow"

Yes, I'm one of the many that had no idea who The Shins were until I saw Zach Braff's Garden State. But regardless of how you feel about the film as a whole, he got Natalie Portman's line right when she says, "This band will change your life." Ever since, I've nabbed up each of their new albums, and each one has lived up to their past offerings--if not bettered them. So, despite having James Mercer's side project of Broken Bells to tide me over, I've been eagerly awaiting a new album from this band. Usually, the more excited I get for something to be released, the more I build up my expectations, which ultimately leads to my disappointment with the final product. However, "Port of Morrow" didn't disappoint.

Right from the opening track of "The Rifle's Spiral," I knew I was in safe hands. The simple way it builds the drum beat and layers on the rest of the song, it is one of the best opening tracks for any album this year. Plus, it sets you up for what's to follow. While this is still The Shins you know and love, it's easy to hear that there's a bit more polish--and a bit more pop--leaking through. This, to me, shows even more with the second track of "Simple Song." And as it often tends to be for me, even though it's the main single off the album, it's one of my least favorites. I still like the song, don't get me wrong, but there are so many better tracks. (It's songs like this that make me wonder how much control an artist or band has when choosing their singles.)

Much as "Port of Morrow's" upbeat tracks are good, it's the more downtempo tracks that are the most enjoyable. From "40 Mark Strasse" to "It's Only Life" to the title track, these are the songs that tend to carry the more "haunting" tones that The Shins use as a signature. (The title of their song, "Caring is Creepy" is one of the more fitting ones, as I think there is an unease to much of their music, but that's what tends to make it so interesting.)

Honestly, the worst part about the album is its length. At ten tracks, it doesn't last nearly as long as one might want, but they've always been a band that seems to live by the "quality over quantity" rule. It never feels like any of their songs are fillers, those nonsense or forgettable tracks that almost every band has one or two of on a disc.

And even though the entire album is worth your time and money, these tracks in particular help make the album shine:

• "The Rifle's Spiral"
• "It's Only Life"
• "Bait and Switch"
• "For a Fool"
• "40 Mark Strasse"

There you have it, more than half the album is nothing short of fantastic--a way better ratio than most. So, if you're a fan of The Shins, I don't know why you don't already own this, but you should. And if you're new to them, this is a good enough place to start, as long as you keep in mind that their older work becomes more "raw" the earlier it gets. But it's equally good. The Shins, man, they really will change your life.

BONUS BAND: 

The Glitch Mob is, yes, categorized as dubstep. (Personally, I still don't see how dubstep is a separate entity from techno as a whole. It's simply another branch like Jungle or Trance or Drum and Bass... But I'll leave that argument for the purists.) Still, the beats and rhythms this band creates are all sorts of amazing. And they're probably a bit more accessible than some of the other dubstep-ers, since they tend to be a little less distorted and glitchy--in spite of their name. The best place to start is "Between Two Points," since it actually has a singer and lyrics. If you like the beats in that song, you'll probably like the rest of their tunes, too. It's a perfect blend of chillaxing and just enough of a danceable beat that it makes you want to move.

Top-Five Albums of 2012: #4 Porcelain Raft's "Strange Weekend"

Apparently this is the year for film inspirations...

I first heard Porcelain Raft in the trailer for Celeste and Jesse Forever, with their album opener, "Drifting in and Out." The dreamlike rhythm that did, indeed, drift in and out, carried me along, and I'm pretty sure I watched the trailer for that film more than once just for the song. Then, of course, I remembered that these were the internets, and not only could I find out WHAT song it was, but I could also buy the damn thing--which I promptly did.

The band reminded me quite a bit of Beach House, who also put out a pretty solid album this year, but something about "Strange Weekend" simply lulled me back time and time again, as this album ended up with some pretty heavy rotation. And I'm fairly sure that the few folks I made a mix for this year have, at least, one track from this album.

The one thing that I will give the naysayers is that the lyrics are, often, less than stellar. Most of the time, the songs tend to repeat their short chorus/verses, but it's one of those instances where the singer and his melodies grow into the songs themselves, the rhythm and beats and vocals all blending into one mesh of earhole goodness. Basically, I'm saying the lyrics don't really matter with music like this. Yes, it would be a plus if there was something profound in each song--though I do quite like the lyrics for "Backwords" and "Unless You Speak From Your Heart"--but the whole is much greater here than when you break it into the individual pieces.

What really made this album work for me is the fact that almost every track has become one that I've played, then replayed, then replayed again before moving on. Tracks like "Put Me to Sleep," "Is It Too Deep For You?" and "Shapeless & Gone" leave you hanging, wanting more, and the only way to get that is to press that double-arrowed button on your iPod to hear that song again.

And even though the album works as a cohesive dreamspace, each unit has its own feel and distinct emotion. The aforementioned "Unless You Speak From Your Heart" has an alternating circus/celestial feel. Bizarre as that sounds, it creates a melancholy that fits the lyrics perfectly. Same for "Backwords," as right from the humming intro to the slow building beat, it sucks you into this calm space that grows and grows until it makes you feel as if you'll explode with emotion and the only way to quell it, is to re-listen to the track.

While the whole album is worthwhile, any of the specifically mentioned tracks are more than worth your time--especially if your a fan of Beach House, possibly Radiohead, Washed Out, or any other dream-ballad from the 80s.

I think this is definitely an example of how much my music tastes have "chilled out," but if artists keep making music like this, I'm more than okay with finally growing into another sound.

BONUS BAND: Bombay Bicycle Club
I happened upon this band through an Amazon recommendation, and it was a mighty fine recommendation at that, too. After devouring their 2011 album, "A Different Kind of Fix," listening to the final track, "Still," more times than I'm willing to admit, I picked up their earlier albums and all three have been chosen frequently since I acquired them. Excellent stuff if you're into Radiohead, Sunny Day Real Estate, or Death Cab for Cutie.

Top-Five Albums of 2012: #5 - Hunger Games: Songs From District 12 and Beyond

Now that the honorable mentions are out of the way, on to the “real” picks.

Normally, I’ve always thought these types of albums are stupid. The ones that seem to be put together for a quick buck to capitalize on a particular name or license—seeing as the music isn’t even a part of the film proper. (Two songs in the credits don’t really count as being “in film.”)

But when I first heard the final track during those credits—the latter of the two, “Kingdom Come” by The Civil Wars—and recognized that it was Civil Wars, I thought I’d track the song down. Once done, I read through the rest of the bands that contributed to the album and was impressed. However, I didn’t buy this straight away.

It wasn’t until Amazon sold it for a sweet deal of $2.99 that I picked it up. Some of the best $3.00 I’ve ever spent.

Not only does this album have some extremely solid tracks by those artists I already knew and enjoyed—The Civil Wars, Arcade Fire, The Punch Brothers, and Glen Hansard—but it also introduced me to some new and outright fantastic bands: Secret Sisters, Birdy, and The Low Anthem. Really, this album has some excellent tracks if you’re into the indie-folk scene. (Yes, it’s a rather hipster album, but I’m becoming more and more comfortable with my emerging hipster.)

Even the bands or artists that I don’t much care about have some solid offerings here, namely that of Kid Cudi’s “The Ruler and the Killer.” (After reading more than one of my students essays analyzing his lyrics, I’d pretty much written him off as anyone I’d ever care about. But, damn, this is a wonderful track with an excellent beat and singing style.)

Ultimately, though, what finally impressed me about this album is how many of the songs were actually written for/inspired by the story. It’s not a huge thing, and perhaps the songs could’ve been better otherwise, but I can’t help but give a few props to those that can pay tribute to another creation while making their own unique offering.

True, the album has some duds—I can’t stand Maroon 5—but the highlights overshadow the downers. Even if you ignore the rest of the album, you need to check out the following tracks:

• “Abraham’s Daughter” by Arcade Fire
• “The Ruler and the Killer” by Kid Cudi
• “Kingdom Come” by The Civil Wars
• “Run, Daddy, Run” by Miranda Lambert and Pistol Annie
• “Just a Game” by Birdy

In particular, I’ve listened to that final track by Birdy countless times. That girl has a gorgeous voice, and this is a perfectly toned song for what the film turned out to be, and is an excellent close to an album that’s way better than it ever had the right to be.

Top-Five Albums of 2012: Honorable Mentions and Singles

For the music portion of this year, I’ve honed it down to five albums—even though there are many more I’d like to mention. Seems like it was a fairly good year for music—at least for me. Ultimately though, I decided which albums I listened to the most/became the most obsessed with after hearing them.

And as a bonus, I’m also going to include another band that was new to me this year, even though they didn’t come out with an album this year. Those will be in no particular order.

First up, though, are the honorable mentions, the albums that I quite liked but were just not listened to quite as much and/or they’ve received more than enough praise elsewhere already.

Honorable Mentions (in no particular order):

• Sigur Ros’ “Valtari” – I’ve been a fan of them since I first heard “The Nothing Song” on Vanilla Sky. Each and every album has been a good one in my eyes, and I’ve listened to all of them much more than is probably healthy. This one, in particular though, has even more of an ethereal quality to it. So many have said their music is “transcendent,” but I never thought it applied until this album. It’s simply “holy,” and there’s no other word for it.
• Santigold’s “Master of My Make-Believe” – What’s there to say? Really. This is simply a fun and great pop/hip-hop mashup. Personally, she reminds me of a bit more “radio friendly” version of M.I.A. But she definitely has enough of her own sound and design to stay wholly unique. Honestly, this album is worth it just for “Disparate Youth,” “GO!,” and “Freak Like Me.”
• Sea Wolf’s “Old World Romance” – This was a late find, but it’s already had some heavy rotation. He reminds me of a Beck/Aqualung/Band of Horses mash-up, and “Whirlpool” is an amazing track.
• Deftones’ “Koi No Yokan” – This is a great blend of the older and newer stylings of Deftones, and even though I’ve only had a few listens on it, it’s a solid album. Not many bands can shift, change, and grow for as many years as this band has and continue to be both new and retain their original sound like Deftones have. If you’re a past fan, there’s no reason you shouldn’t have bought this album.
• How to Destroy Angels’ “An Omen” – Much as I wanted a full-length release, this is still another excellent entry to Trent Reznor’s new band. While it’s more of “background” music than anything you’ll really sing or hum or rock out to throughout the day, it’s a handful of good tracks nonetheless.

Singles:

Either they weren’t on a full release album, or the album as a whole didn’t quite make it, these are a few tracks that I listened to way more than I should have.

• Dragonette’s “Lay Low” and “My Legs” – I know. It’s ridiculous. This is music for college sorority girls as they’re headed out to some big party, but Glob help me, these songs are way TOO catchy and—in my eyes—perfect examples of how fun bubble-gum pop music can be.
• M.I.A.’s “Bad Girls” – The beat for this… holy crap… just holy crap… When it hits the “0:40” mark, the groove just cuts straight to the core. Love it.
• Bad Veins' “Dancing on TV” – This track is too fun. Reminds of the best of Weezer and has some wonderful lyrics to go along with it.
• Owl City’s “Dreams and Disasters” – While the album as a whole is fairly decent, this track rises above and beyond the others in a BIG way. Love the beat. Love the lyrics. It’s another example of pop done right.
• The XX’s “Angels” – Dreamlike and beautiful, from the music to the lyrics. Nothing more needs to be said.
• Placebo’s “B3” – I’ll write more on this band at another point in time, but not only was I surprised that they were still putting out tunes, but that this was also a mighty fine little ditty from their EP of the same name.