It's hard. It's hard man. With only a week left before Christmas and another before the new year, the final edge of 2012 is encroaching. And if you're familiar with the internet and all its goodies, this is the most important time of the year for music blogs and legitimate (pfft) publications. Lists matter. Too much, some might say.
So, as it is with every year since B&B has officially begun, it's time for some all too important end of the year album and songs lists. But before we go into the usual Top 25 Albums of 2012, I'd like to take a special note of what albums missed the cut:
Australian psychedelics chime in for the band's far-improved sophomore release. Full of glorious, spacey hooks and blending pathways through Revolver-era Beatles (it helps that lead singer Kevin Parker has a striking vocal similarity to Lennon), the album soars as the best psyche LP of the year.
Among 2012's lengthy list of stellar rap and hip hop releases, Killer Mike's standout R.A.P. Music blasts through with modernist style beats and forceful 80s virtuosity. So in touch with the roots of the game, Mike even throws a stab at the ghost of Ronald Reagan. Never gets old.
Enchanting, full of bravado and avant-garde moxy combining healthy elements of neo-soul, funk, and modern R&B aesthetics, awE naturalE lurks as one of the year's most original LPs.
Steadily recognized as one of indie pop's more celebrated and consistent acts, Beach House affirmed their position this year with Bloom. Rough with romantic atmospheres, singer Victoria Legrand has moved from casual mainstay to one of musics more recognizable voices.
Too often, we forget that rap music can convey a message stronger than most other means. On Control System, Ab-Soul professes his distaste for SOPA, White House hypocrisy, and the death of Trayvon Martin. He may be second fiddle among The Black Hippy crew, but Control System established his persona as the loudest among them.
A glittery chasm of international inspired pop electronica, Lone's Galaxy Gone sat among some of 2012's more under-appreciated albums. There's a tangible element of neo-rave here, but the delicate structures from producer Matt Cutler doesn't impose nauseating forced beats through the fun-filled collection.
Exploding from nowhere as an, "Oh yeah, we made a new record" from indie legends Godspeed! You Black Emperor, Allelujah! Don't Bend! Ascend! creeps along like a nerve-wracking film score. The distortions and waves of amped echoes bleed like the last moments of sanity before you remember this is just a band.
No question the most recognizable name on this list, I was shocked at how much I enjoyed Battle Born, given my previous mum concern about the popular Las Vegas band. It's calculated, safe, but simply likable when broken down, and easily the band's best release.
Winning by a landslide for the most fun album title of 2012, Deerhunter guitarist Lockett Pundt (not as good of a name) separates himself from the never-ending gamut of Bradford Cox releases with beautiful melodies and craft, not stilted by gauged experimental approaches.
The band more remembered for the poppy iPod commercial-featured track "Bruises," Chairlift returned with a shockingly well-crafted sophomore album, brimming with lovable tracks, including the indie-wave jolt of "I Belong In Your Arms," one of the best of 2012.
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