Category Archives: 2011 FOWRies
Through multiple shifts in schedule, multiple diseases, a distressing amount of sobriety, and all sorts of wild shenanigans, it’s here. Listen as the FOWR staff bring themselves to intense physical discomfort to come up with a winner for the best album of 2011.
I don’t know if you guys noticed, but rap was fucking crazy this year. I mean, look at some of the things that weren’t in contention: YC the Cynic’s humble schooling of the modern rap game, the sweeping G-Side symphony (especially iSLAND), Action Bronson & Mr. Muthafuckin’ eXquire’s New York throwbacks, ASAP Rocky’s genre-bending answer to the $3million dollar question, 13 & God’s intercontinental existential trip, the proliferation of Curren$y, and the mutated west coast rap of Main Attrakionz. There was serious talk about just extending the category to 12, but then we realized that even that wouldn’t be enough. So now we’re here, and here’s what we have:
-Death Grips and their broadcast from a world blackened heart
-Danny Brown’s shooting star lighting the sky
-The Roots dropping political posturing for a devastating allegory
-Shabazz Palaces at the brink of enlightenment
-Big KRIT’s pure country heart laid bare
-Tyler The Creator’s young man mind, committed to tape Continue reading
Since this site’s values are based off of a specific album belonging absolutely to the rock genre, I find this award to be one of our most important and thought-out. That album I am talking about is Fun House by The Stooges, perhaps one of the greatest rock and roll albums ever made. Because of the progressiveness and bold attitude that Iggy Pop and The Stooges brought to the table in the year-fucking-1970, we believe he inspired the onslaught of punk music in that decade, and thus became part of the formation of punk music and rock and roll of today. In a sense, this is The Stooges Award. But not in any official sense, because, who are we? Continue reading
While I am probably the fondest of the genre on FOWR, 2011 had stumped me stumped me to the point of questioning actual pop conventions that I thought were pop conventions that weren’t actually pop conventions. I wrote in my review of Unknown Mortal Orchestra’s self-titled album, about pop of our generation being primarily about reflection; the idea of breaking old ground in attempt to create new. Strangely, none of our nominees exemplified a gaping non-modern feel. It’s all very progressive and that’s what makes each album in contention nothing to trifle with. Continue reading
“Exmilitary” by Death Grips is also in discussion for Best Album of 2011.
Fermata Over Whole Rest is not the most impressive source for everything electronic music, but I have listened to enough albums this year to be able to sort out the stuff that was lame and the material that I found awesome and inspiring. James Blake put out his fantastic self-titled at the beginning of the year, a work that was the culmination of his solid production skill and the vocalist that he wanted to be. Thundercat rose out with his jazz-fusion powered debut, fresh off of working with Flying Lotus, the winner of last year’s “Best Electronic” Fowry. Tim Hecker put out what I believe to be one of the finest ambient albums I’ve had the pleasure of listening to in a long, long time. This however, goes to only one, and this is who we think that “one” is.