Denver Post pop music critic Ricardo Baca and Reverb managing editor Matt Miller have a civil discussion about the worst music of 2012, even though they don’t really agree on much. The two discuss the polarizing , that over-played song, “,” and They both agree that is pretty bad, though. Join the conversation in the comments.
Ricardo Baca, Denver Post pop music critic: So we’ve talked about the and the and the There was so much goodness out there. But there was also some awesomely overrated crap.
Matt Miller, Reverb managing editor: Oh, no doubt. And how about all those songs that have been drilled into our collective consciousness this year?
Baca: Like your favorite Aussie? ? Eh, Matt? Eh?
Miller: The number of times I’ve sung along with that song makes me sick. This video is a perfect depiction of how I feel about it.
Baca: So true!
Miller: Mostly, though, I feel bad for anyone who bought that album and had to listen to the rest of the songs.
Baca: Itap a great song. I also love his voice. It got played deep, deep into the ground. Like so many others. But speaking of great songs being buried with airplay and exposure, how about ?
Miller: Ugh, fun. I know you’re somewhat of a fan, so I won’t be too harsh. But the best thing about “Some Nights” is the band kindly made it easy to stop listening after the first couple of songs. There’s no way you liked the whole album, did you?
Baca: True. Very true. But in 2012, four great songs on an album is a pretty big deal – especially when they’re as grandiose and gorgeous as “Some Nights” and “We Are Young.” That said, what albums and artists can we agree had bad years in 2012. ? ?
Miller: I could never call any album bad.
Baca: C’mon. Try it. Itap quite freeing!
Miller: Do I prefer vintage Dylan? Yes. Do I hate old man Dylan? I just can’t. The thing about “Tempest” is, while I can’t connect to the twangy country, the storytelling and the lyrics are as strong as ever. Did you hate the entirety of it?
Baca: I agree, it is hard to hate the man. I do hate him getting a pass, though. Did he release one of the best albums of the year? Of his career? Of his late-career, even? Nope. So to all the folks who praised his “newfound youth” or his “refreshing approach,” I call bullshit.
Miller: Also, that “Duquesne Whistle” music video…
Baca: Whatap the matter? You don’t like Gap commercials?
Miller: I think I’d prefer a Gap commercial to that. What didn’t you like about FJM? Itap hard to differentiate the album from any Fleet Foxes music, which doesn’t bother me at all.
Baca: Itap not that I expected more from FJM. Itap that I was so severely (almost offensively) bored by the record. And I’m a fan of that quiet breed of folk-inspired gooeyness. It never connected with me, and I gave it multiple tries after so many of you kept telling me how great it was.
Miller: Yeah itap not a great album by any means, but his voice, his melodies and the gentle atmosphere of the record just makes for an enjoyable listen. I probably won’t remember it a year from now, though. And you love any good vocalist, too. I’m surprised you can’t connect to that with FJM.
Baca: I might have to try. Again. One more time. For you, Matt. Only for you. Ha. But hey, letap talk about . What happened there — from the sheer indie pop brilliance of “Manners” to … “Gossamer”? Were you ever a fan? Did you dig the new record?
Miller: I dug “Manners” for a brief spell in 2010, but with “Gossamer” it seemed like Passion Pit was trying too hard, you know, really looking to become that mass-appeal sort of band that sells out stadiums.
Baca: Agreed. And thatap a pitfall that often snags potentially great bands. Not sure if you’re a fan, but I’ve long lauded the as one of my favorites. () And their 2012 offering, “The Carpenter,” left much to be desired on my part. Again you’ve got the quiet folk of FJM. And you’ve got the Avetts’ familiarity around a hook. But this second Rick Rubin wash didn’t work for me. That single “Live and Die” was grating, I thought, and it felt like they were reaching so far for the arena stage that they ended up faltering with a sound that wasn’t as genuine as their past work.
Miller: I saw Avett Brothers at Monolith in 2008 (I think) and it was a genuine performance like you’re saying. While I haven’t listened to their catalogue as much as you, the loss of that honesty is pretty noticeable. Thatap how I’ve always felt about Mumford & Sons, though. Absolutely nothing fresh or unique, just an attempt to sell, sell, sell.
Baca: I can see that. But I felt that Mumford debut was so fun and hooky and irresistible that I was willing to look past their unabashed pop desires. With 2012’s “Babel,” I was hoping to see progression, something new. Instead what we got sounded like “Sigh No More” B-sides. At least the Avetts were raised in North Carolina, ha.
Miller: Exactly, I kind of feel like “Babel” is to folk music as “Twilight” is to Dracula.
Baca: Ha. Yes. Marcus Mumford as Robert Pattinson.
Miller: Gross. Seriously. What about Lana Del Rey, though? Probably 2012’s most polarizing figure. She never recovered from that “SNL” snafu, personally.
Baca: You don’t think she did? The way I see it, she sucked an egg on “SNL.” But how many awards shows has Taylor Swift ruined as she’s learned her public voice? So many. And while I have no idea if LDR ever finally achieved a decent public voice (haven’t seen her yet), I still believe it didn’t matter. “Born to Die” is so unstoppably strange and beautiful.
Miller: That faux melancholy that she’s all about gets old really fast. Also, her vocal inflections (speech impediment?) starts to grind after listening to a whole song.
Baca: I dig that. Somehow I’m on the complete other side. I can’t get enough. She’s that artist for me this year where I’m devouring everything — dance remixes, crappy YouTubes, old yearbook pictures.
Miller: Ha ha I’d like to see more from her. I’m not ready to completely write her off, but I don’t think she’s earned the obsession status yet.
Baca: So here was something strange that happened in 2012. I started watching both and I have to ask it — What the hell happened to me? — when I find my self Spotifying “G” arrangements of R.E.M. and Bowie as I’m prepping to watch Adam Levine and Blake Shelton kiss some mediocre artistap ass on national television. You ever watch either of those shows?
Miller: Well, I haven’t had a TV for a while, which is good because I can stay clear of the heroin that is “G” and “The Voice.” I can see how it could be easy to be drawn into that stuff, but I’m looking for something fresh from music, and not wanting to be part of the commercial repackaging of what I love. That being said, I couldn’t stop listening to that What is it that you connect with on shows like that?
Baca: “G” is fun and progressive and zany and well-meaning and solid entertainment for kids. “The Voice” is (dare I say) smart entertainment — a game show dressed up as a legitimate singing competition. Neither of them are great, but sometimes itap enough to be really, really entertaining.
Miller: That sounds like why I love “How I Met Your Mother,” so I totally understand. So whatap your list of worst music of 2012? Could we possibly agree on a list?
Baca: I don’t see that happening anytime soon, ha. And thatap why we publish individual best-of lists — and I think thatap a better service to our readers. Shall we leave it with me hating on Dylan, FJM and Passion Pit while you’re feeling down on LDR, Gotye and fun.?
Miller: Haha I’m kind of a hater.
Baca: Itap all part of the job!
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Ricardo Baca is the founder and executive editor of , the co-founder of and an award-winning critic and editor at The Denver Post.
Reverb Managing Editor Matt Miller that he uses fairly often, but not often enough to be annoying.
