My Favorite Albums Of 2011: Part 2

It's time for part two of my "Favorite Albums Of 2011" list.  The last post featured ten (plus one bonus) albums that didn't quite make it into my top twenty.  My top twenty is mostly unranked, aside from the final three records.  The way I see it, is there really that big of a difference between my twelfth and eleventh favorite albums of the year?  For that reason, I've kept specific numbers out of the game until three, two, and one.  Let's get into it... 

Penguin Prison - Self Titled

After collecting a variety of Chris Glover's singles and remixes over the past two years, I anticipated this album for months.  Penguin Prison's self-titled debut is one of the most upbeat and fun records I heard all year.  It's pop, but not your usual club bangers.  There's just this sound that he has, and you can hear it on his remixes too.  The "Penguin Prison" sound.  I love it.

Cults - Self Titled

I was initially attracted to this album purely for aesthetic reasons.  While browsing new through some new releases, I stumbled upon Cults' debut.  It just looked like something I would be into.  As randomly predicted, I found it to be an amazing album.  "You Know What I Mean" is the album's centerpiece.  That song perfectly demonstrates Cults' ability to mix the old with the new.

Glasvegas - EUPHORIC /// HEARTBREAK \\\

I feel like the order of songs on EUPHORIC /// HEARTBREAK \\\ could be reversed and you would have a completely different album.  Instead of a decline, the album would progress from the lows of "Change" and "I Feel Wrong (Homosexuality Pt. 1)", finally ending with their anthem of a single, "The World Is Yours".  This record couldn't have a more appropriate name.  It pulls at you with oddly comforting themes of longing and loneliness, but the production is so massive and truly euphoric.

Björk - Biophilia

My feelings on Biophilia are constantly changing.  It seems to have a polarizing effect.  The majority of the album consists of harps, bells, and any other twinkling instrument.  Sure, there are some beat driven moments, such as "Mutual Core".  But for the most part, Björk is howling about her extraterrestrial days of collecting minerals on Venus.  It's a strange concept that had me wondering what goes on in this Icelandic singer's mind.

Girls - Father, Son, Holy Ghost

I'm actually late to the Girls party.  Around the release of Father, Son, Holy Ghost, I also started listening to their debut.  "Lust For Life" is on my regular playlist and I blast it more than one would like to admit.  With that said, they quickly became one of my most listened to acts of 2011.  If I were to make a list that combined the concept of NME's "Cool" list and Barbara Walters' "Most Fascinating People" list, Christopher Owens would most definitely be a headliner.

Kimbra - Vows

After the "Kimbra weekend" feature earlier this year, this singer from New Zealand is a common sight on The Soundtrack Of My Life.  Her debut album hasn't been released in the US yet, but I predict good things for Kimbra when that day arrives.  Vows manages to create a pop sound without giving into any of today's gimmicks or trends.  Add in her jazzy stylings and a vocal range to kill for, and you have an outstanding record.

CSS - La Liberación

After two albums, it finally seems like CSS found an appropriate balance between the danceable sound of their debut and the more rock oriented sound of Donkey.  You may still have trouble taking them seriously, but that's the best part.  Plus, any album with a Mike Garson piano solo automatically gets bonus points in my book.

Feist - Metals

I love "1234" just as much as the next person, but I feel like Feist thrives the most when she slows down the tempo a bit.  She did just that on Metals.  It's still a powerful album, just not in the big band sing-along way.  The closing track, "Get It Wrong, Get It Right", is possibly one of the best songs in her catalog.

Florence + The Machine - Ceremonials

From the first song to the final note, Ceremonials is a bellowing album with enough hooks to satisfy the most restless of listeners.  Florence Welch kept her winning formula of Lungs and expanded it to twice the size.  She sounds like a choir and remains one of the biggest voices in pop music. 

The Black Keys - El Camino

Can we just take a moment to appreciate the genius that is the "Lonely Boy" music video?  If that doesn't convince you to give the album a listen, then I'm not sure what will do the trick.  There are tributes to Led Zeppelin on "Little Black Submarines" and I hear Bowie on "Sister".  I bet you'll never be able to listen to "Lonely Boy" without having a mental image of that dancing man.

Check back soon for the third and final installment including my top three albums of 2011.

Cults - Cults

Just last year, Madeline Follin and Brian Oblivion were two students in New York trying to find a home in the film industry.  As a hobby of some sort, they casually started writing music together and posted the outcome of a three track EP online.  This EP would not only capture the internet's attention, but also make Cults one of 2011's most anticipated acts.  Soon after the band's initial impact, they were signed to Columbia Records.  Their debut self-titled album just hit shelves this month and it's a massive burst of retro-pop.

Borrowing from the sounds of 1960, Cults mixes echoing reverb with sing along girl-group melodies.  It's something that captures the undeniable charm of oldies radio while still keeping with the modern times.  Follin's vocals are sweetly innocent as she dances with the extensive amount of ringing chimes. She sings of frustration and heartbreak.  "You Know What I Mean" borrows The Supremes' "Where Did Our Love Go" to create the most addictive song to sulk to.  The throwback sound makes a good portion of the album sound like reinvented classics.

A few of the tracks are proper duets, containing vocals from Oblivion.  They share back and forth banter on "Bumper", leaving the listener waiting for Oblivion to take on the role of lead vocalist for a song or two.  Unfortunately, that never happens.  However, Follin's vocals do the job perfectly.

While it may seem odd, Cults will appeal to many generations of listeners. Those who where around to hear the band's influences at their peak would find an appeal in the music.  At the same time, a younger crowd of hipsters and eclectic music junkies will devour this record.

Cults' recent rise and specialty sound reminds me of Sleigh Bells.  Both bands had similar unexpected success stories and, in a bizarre way, have sonic similarities.  Cults could be considered a softer version of the noise-pop duo.  She & Him is another name that comes to mind, particularly with "Never Heal Myself".

The album is in no way lacking in infectious melodies.  At barely over thirty minutes, the record ends before you know it.  That causes multiple listens during one sitting.  However, this album is the perfect length.  Any longer might ruin the energy of the Cults experience.

Download: Cults - "Cults"