Throughout December, CHIRP Radio presents its members’ top albums of 2013. Our next list is from DJ and CHIRP Radio Founder and General Manager Shawn Campbell.
Both of these albums came out early in 2013, and I suspected early on that one or the other of them would be my favorite of the year. There are a lot of similarities: pop hooks drenched in fuzz, songs that are short and catchy enough to leave you wanting more. As the year went on, there were records I liked, but these were the two I went back to the most.
In a year when we lost Lou Reed, it was good to have an album that channeled the Velvet Underground so effectively. Unlike her last one, this record wasn’t produced by John Cale, but the spirit of the first Velvets album thoroughly pervades this third offering from LeBon.
I recently saw a listicle that claimed that this album would be the stereotypical favorite of the year for people with wine club memberships. Well, so what? In a world where nearly everything is designed with an eye toward maximum consumption by teenage boys, it’s nice to have such a sophisticated, interesting, and yes, definitely adult record to accompany a nice glass of Cabernet.
Wistful, charming C86 style pop from a local boy-girl combo. Gentle, engaging melodies guaranteed to warm your heart through cold winter days. You know I love this stuff. I can’t wait for a full-length (or at least more singles as good as this).
After taking almost ten years off, the second decade of the 21st century has seen Superchunk reinvigorated. I Hate Music follows in the footsteps of its predecessor, Majesty Shredding, both offering up refreshing blasts of energy that echo some of the finest points of the band’s early career. The lyrics may focus on adult responsibilities and mortality, but the sound is pure youthful exuberance.
Timeless British soul/orch-pop by a distinctive, powerful young vocalist. In addition to being a sucker for fuzzy pop and girl group-inspired sounds, I’m also a big fan of artists who create music that exists a bit outside of time, where you’re not sure if the album was recorded last year or several decades ago. Interesting and ambitious, with elements of jazz, pop, soul, gospel, and more.
No frills, no reverb, no neverending eighties revival. Just Callahan’s plainsung vocals, guitar, and all things analog. Songs are solemn, but include moments of bone-dry humor. All in all, another great, understated effort of the sort we’ve become accustomed to from this underrated artist.
With walls of guitar harkening back to the shoegaze glory days of the early 1990s, Weekend calls to mind bands like Slowdive and the Catherine Wheel, while adding some surprising new wave nods. A good mix of darkness and light soaring and roaring across your eardrums.
A big, shiny, powerful pop record that wears it 1980s influences on its sleeve (OK, I'm not entirely opposed to the eighties revival), while at the same time feeling 100% modern. The angst, the power, the majesty.