Paul Koehler of Silverstein Picks His Five Favorite Albums of the Year
Leading up to the end of the year, Revolver has asked some of our favorite artists to pick their Top Albums of 2012 and tell us why each record rules. Here, Paul Koehler (pictured left), drummer of the post-hardcore band Silverstein, selects his faves.
5. Ringo Deathstarr, Mauve
“Right now, the most underrated and genuinely authentic shoegaze-worship band is Ringo Deathstarr. On their third full length, the riffs are louder, the tones are broader, and the melancholy vocals juxtapose the dark tones that carry from beginning to end. This isn’t their ‘best’ album because each contains a uniqueness and quality that cannot be compared.”
4. Mount Eerie, Clear Moon
“Clear Moon is Chapter 1 in this year’s two-part release from Mount Eerie–Clear Moon/Ocean Roar, respectively. While being the more accessible and song-driven of the two, it still captures the drone and atmospheric presence that is carried throughout it’s companion album. Genre shifting from folk to drone to krautrock, this album keeps changing gears but is reigned in carefully by Phil Elvrum’s consistent vocals.”
3. Beach House, Bloom
“Teen Dream was a foreshadow of Bloom that no one knew at the time. While some artists have repeated themselves and never been able to overcome their previous successes, Beach House have continued their abilities in such a graceful way. Bloom is Beach House, and proof that they are incredibly articulate in the form of hazy luscious pop.”
2. The XX, Coexist
“Everything that was to love about the XX on their debut is extrapolated on their second album. Space is extended, emotion is deepened, and tones are expanded–while staying true to their simplified approach. The most commendable part of this album is the cleverness of each beat that truly encases these songs.
1. Chromatics, Kill for Love
“Seventy-seven minutes, 16 tracks, Kill for Love is a complete and powerful album that flows like a perfect score to film that was never produced. Undeniably ambitious yet completely riveting, its peaks seem engrossingly high while it’s valleys feel hauntingly dark. Each layer is meaningful, represented in the fuller synth pop tracks, and appreciated in the minimalist transitions.”