UNDERDOG of PERFECTION

And now the moment you’ve all possibly been waiting for… my top 5 albums of 2011! (*crickets*)

It’s been tough for me to narrow down my 8 nominees to a final list of 5, much less to rank them, especially when I’ve found myself listening more lately to albums that didn’t make the original 8, such as Death Cab for Cutie’s Codes and Keys, not to mention the late entry by last year’s winners, Trent Reznor and Atticus Ross, in the form of another amazing soundtrack album, this time for The Girl with the Dragon Tattoo.

So, what are the top 5, then? Here you go.

5. Foo Fighters: Wasting Light
I’ve gotten flak for saying this before, but I’ll stand by it, at least as an opinion (not an objective fact): I think Foo Fighters are way better than Nirvana. Sheer instrumental skill aside, I prefer Dave Grohl’s worldview over that of his late Nirvana bandmate, Kurt Kobain.

Foo Fighters have become the torchbearers for straightforward hard rock. They’re pretty much the only popular band left playing this style who still seem to have something new to say. Great riffs, clever lyrics, an overarching theme and amazing (purely analog) production make this album a strong contender for best album of the year. And without a doubt, “Rope” is my favorite new song of the year.

4. Adele: 21
I’d like to rank this album higher than I have, because when it’s good it’s great. The problem is its inconsistency. For every infectious, instrumentally inventive track like the hits “Rolling in the Deep” or “Rumour Has It,” there’s a corresponding dull, plodding, derivative track like “Don’t You Remember” or “Take It All,” a tired and predictable ballad made almost unlistenable by strident vocals. Overall, the energy flags in the middle of the album, despite a few high points like “I’ll Be Waiting” and my personal favorite track, “He Won’t Go.”

The album is almost destroyed for me by the annoying (and annoyingly ubiquitous) ballad “Someone Like You,” co-written by Minneapolis native Dan Wilson, who has already befouled the world’s eardrums with the worst song written in the past 20 years, “Closing Time.” Ultimately, we’re left with a half-great, half-mediocre album, but it’s still strong enough overall to make my top 5.

3. M83: Hurry Up, We’re Dreaming.
I don’t think I liked the music of the ’80s while I was living through the decade nearly as much as I like the way it’s reimagined by Anthony Gonzalez, a.k.a. M83. I became a fan with M83’s previous album, Saturdays = Youth, but this year’s sprawling double album is even better. It’s a perfect blend of synths, big drums and atmosphere to create a sweet nostalgia for my childhood that’s even better than the real thing.

2. Joshua Wentz: Look/Look
Speaking of synths and atmosphere (though not big drums, so much), one of the best albums of the year is one you probably haven’t heard, by the Chicago-based independent musician Joshua Wentz. I befriended Josh a few years back after participating in the RPM Challenge, and his work just keeps getting better and better.

Even though I’m an “independent musician” myself, I often find it easy to look at unsigned artists as somehow inferior to major label acts. These days, however, with computers and gear that allow home studios and small budgets to produce work that sounds just as good as something that cost hundreds of thousands of dollars in equipment and pro studio time, and the Internet eliminating the need for traditional distribution and marketing, there’s no reason not to take someone like Josh just as seriously as the other artists on this list, because his music is every bit as good.

Look/Look presents a sprawling soundscape, mixing digital synths and acoustic instruments with delicate vocals and introspective lyrics. Much of the music is instrumental, and would probably be labeled “electronica,” but Joshua Wentz rejects genres and labels, and the diversity of sounds and moods on the album reflects that attitude.

And the winner is…

1. Steven Wilson: Grace for Drowning
I’ve been a huge fan of Porcupine Tree since 1999’s Stupid Dream. This is Steven Wilson’s second “official” solo album (most of the early PT recordings were, in fact, Steven Wilson alone), and it builds on both the Porcupine Tree sound and the jazzy tangents of King Crimson’s 1970 album Lizard, inspired by Wilson’s recent work remixing Lizard for 5.1 surround sound. A number of prog rock legends and ace jazz musicians contribute instrumental parts to this album which can probably best be described as “overwhelming.”

It’s a huge double album, featuring a 23-minute epic, along with four other tracks that clock in over 7 minutes and a handful of shorter songs. As with Porcupine Tree, the album could be labeled “progressive rock,” but the sound is much more diverse than what could be found on the last several PT albums. There’s plenty of heavy guitar riffing, but also extended sections with a mellower, freer, jazzy feel. As is typical for most Steven Wilson projects, the album’s lyrical content primarily explores the dark corners of the human psyche. Steven Wilson’s music is rarely light listening. And yet throughout there is enough of a glimmer of hope to keep the listener from drowning… or, at least, to make that drowning graceful.

If you like reading my words for 5 minutes once a week, you’ll love hearing me ramble on for 90 minutes in a podcast! I’ve teamed up with SLP to record episode one of what we anticipate will be a roughly weekly podcast, called The Undisciplined Room, that will cover topics ranging from web development to feminist pedagogy and everything in between. (Yes, there is stuff in between.) Episode one is live now, and you can even subscribe via iTunes, if you’re into that sort of thing.

As an added bonus (I suppose), the podcast features original music recorded by Room 34 (a.k.a. me). Here’s the opening theme:

I don’t have any inside sources of information on the inner workings at Apple. I get most of my information from a handful of well-regarded tech blogs. (See the link list at the bottom of this post.) In fact, I would probably be doing the world a service by deleting my blog entirely and setting up my URL as a redirect to daringfireball.net.

But my lack of well-sourced information doesn’t preclude the formation of opinions, based on what I’ve heard. On rare occasions, those opinions might even merit sharing with others, and today I think may be one of those times.

The topic is an Apple-branded television, and whether or not such is coming in 2012, or ever. I was inspired to reflect on this after today’s post on the topic on Revert to Saved.

Past performance as an indicator of… something

I have a poor record regarding Apple rumors. I insisted in early 2007 that Apple couldn’t possibly be developing a smartphone. (You won’t find any traces of that insistence here, however, as I did have the good sense not to publish anything about it.)

Most smartphones then on the market sucked. I couldn’t envision what an Apple phone might look like, especially one with a touch screen and only one button. Much like The Homer, my mental abomination would likely resemble a cross between a Nintendo DS and the Cinco-Fone. Besides, it would have to be called the iPhone, and Cisco already owned that name. We know how that turned out.

In late 2009 and early 2010, I couldn’t imagine Apple releasing a tablet. (And that time around I had plenty of stupid stuff to say on the matter.) Every tablet I’d seen before that sucked, and I was certain there would be issues with screen resolution.

We know how that turned out.

Now, an Apple-branded TV, or, as the rumors would have it, iTV. Most TVs today suck, and there are few pieces of technology known to humanity more craptastic than a cable TV set-top box. There are open questions pertaining to the potential device’s screen dimensions. (Today’s flood of rumors says they’ll come in three sizes.) And, of course, ITV is already the name of a British network.

Given the eerie similarity of this scenario to the seemingly insurmountable challenges Apple previously faced with the iPhone and iPad, therefore, I am forced to deduce that Apple must have a TV in development, and… we know what it will be called.

Don’t listen to me

Where Apple excels is not in creating whole new technologies, but rather in combining existing and emerging technologies in novel ways, and optimizing the hell out of their performance. And they integrate their hardware seamlessly with software platforms that deliver content and experiences to create a cohesive and engaging ecosystem that no one else can match.

So, my inability to predict or even imagine what Apple has in the pipeline is partly a failure of imagination, and partly a lack of knowledge of the kinds of hardware and software engineering that Apple is keeping under wraps, guarded with jealous secrecy unmatched by any business or government agency on Earth.

So what?

So what, indeed? What is Apple doing, and more importantly, will it be awesome? Scratch that: How awesome will it be?

But the biggest question I actually have right now is: How much of this (hypothetical) iTV was invented before Steve Jobs died, and how much of Apple’s mojo did he take with him? In the coming months we should have an answer. This will be Apple’s first major product introduction of the post-Jobs era, and it will tell us how well that obsessive attention to detail has truly been woven into the “Apple DNA.”

Further reading

As promised, here’s a list of some of my favorite tech blogs/podcasts at the moment. I subscribe to their RSS feeds and check them daily.

• 5by5 (Dan Benjamin et al)
• Ars Technica
• Daring Fireball (John Gruber)
• GigaOM (Om Malik et al)
• Macworld
• Marco Arment
• Matt Gemmell
• parislemon. (M.G. Siegler)
• rc3.org (Rafe Colburn)
• Revert to Saved (Craig Grannell)
• Shawn Blanc
• SplatF (Dan Frommer)
• The Verge

Post script

I cranked out the bulk of this post in the Notes app on my iPhone while standing in a hallway, waiting for SLP. I had the idea in my head and I wanted to get it written before I lost it. I’m not sure what that really says about anything, but I thought it was worth noting.

There’s been a lot of talk over the past few days about Michael Arrington’s blog post concerning the long hours and dedication it takes to work for a startup.

I’ll keep my general criticism of Arrington to a minimum here, but to sum it up as I understand it: he founded a popular tech blog, stirred up controversy by investing in some of the companies he covered, sold said tech blog to Huffington Post, fought with Arianna Huffington something something CrunchPad/JooJoo something something Aol. Now he’s a VC, to more perfectly promote himself, which is what this all seems to be about anyway. (In short, I’m not a fan, and had solidified my opinion long before this week’s events.)

His blog post, berating overworked startup employees for being whiny crybabies (because they need things like sleep and a life apart from their jobs), while also somehow implying that Zynga is creating something of lasting value to the world, quoted extensively from a 1994 online diary (blogs didn’t exist back then) of former Netscape programmer Jamie Zawinski. Zawinski was, to put it mildly, not happy that Arrington used his words in the service of Arrington’s VC agenda. In the wake of Zawinski’s retort, there’s been a swelling of further outrage on Twitter and by bloggers like Amy Hoy and Rachel Andrew, among just a few links I’ve clicked in the past 48 hours.

All of this is increasingly resonating with my own experience. I’ve never worked for a Silicon Valley startup, but I’ve had a couple of startup-like experiences in my 15-year career as a web professional. I’ve never actually been driven to the point of sleeping under my desk and not leaving the office for days at a time, but the opportunity was there for me, if I had wanted to take it. Instead, I walked away, every time.

First, in 2000, just before the first tech bubble burst, I was brought in to be the “HTML guru” on the first e-commerce venture of a certain big box retailer. It was no startup, but it was being run like one. The .com team took over a (very) large conference room, turned off all of the overhead lights, and built a cubicle maze lit by floor lamps and dotted with potted trees. Aeron chairs and (promises of) vast fortunes in stock options for all! After a few months I started to see through the façade. The likelihood of a separate .com stock spinoff (the thing that was really going to make us all rich) evaporated, and our inspirational, visionary VP resigned the Friday before the site launched. It wasn’t long before I was gone, too.

Then, in 2008, I went to work for a (more-or-less) real startup. It was a “fun” work environment where we were entitled to all of the free breakfast cereals, ramen noodles, and caffeinated sodas we could consume. There was an XBOX 360 with Rock Band (which was still cool at the time) in the breakroom. We could hang out, bring dogs to work every day, ride around the office on scooters, all of that. We were encouraged to think of ourselves as “co-presidents” (actual shares in company ownership notwithstanding). We were also expected to log 36 billable hours a week. Maybe that’s no big deal when you’re fresh out of college, have no external commitments, and can be adequately enticed to stay at work until 11 PM with the promise of free ordered-in burritos. But I was 34, with two preschool-aged kids at home. And having to log 36 billable hours when you’re only in the office for 40 (and have to reserve enough energy to chase two kids around when you get home) can prove just as stressful as working 60 hours a week when you’re sleeping under your desk. (Or so it seemed at the time. I don’t care to try to prove it.) I only lasted at that job for 3 months.

As it happened, just as I was beginning that job I was also subconsciously assembling the pieces of what I really wanted to do, which was to go out on my own as a freelance web developer and consultant. I had acquired the necessary technical skills over a (then) 12-year career working for the two aforementioned companies as well as four others. I had built up a large enough network of contacts that I could tap into to drum up business (if you’ll permit such a ghastly mixed metaphor). All I needed was the confidence to take the leap and do it.

My goal was not to get rich (at least, not directly). It was not to revolutionize the industry. It was just to do what I do well, on my own terms. To please and delight my clients with top-quality work. To do what I love, and love what I do. And let it grow from there.

Three years later, I’m still here. I’m not rich. I haven’t started a revolution. But I’m making a stable living, and I’m meeting my target of 25 to 30 billable hours a week. I have a growing list of satisfied clients, and I’ve built something pretty cool along the way. This business is working, and I’m working on my own terms.

I don’t say all of this to gloat. I am proud of what I’ve achieved (and that I’ve done it without an “angel investor”). But there are a lot of people who’ve achieved a lot more in the Internet than I have, and probably more than I ever will. Still, there’s room for me, and there’s room for more, too. You just need to have the confidence to take the risk. But when you do it, do it for yourself.

Here’s a follow-up to my recent post introducing (in cover art form) the albums under consideration for my upcoming “Top 5 Albums of 2011” post.

I realized after I wrote that post that although I’ve purchased about 25 new albums this year, I haven’t really listened to most of them very much. This is mostly because I’ve spent a large part of the year working on and listening to my own music, and much of the rest of it listening to 5by5‘s tech podcasts.

In the wake of the “contenders” post, I created an iTunes playlist that consists just of those 25 albums and have committed myself to listening only to the music on these albums. I’m listening to it mostly on shuffle, which of course shines more light on the merits of individual songs than on albums as a cohesive statement, but I figured this was the fairest way to ensure that I actually hear all of the artists.

After a few days of listening, I’ve come to the conclusion that I’ve definitely been neglecting these albums. There’s some great music out this year, and I’ve liked almost every song that’s come up in the rotation.

But, of course, I favor some albums over others, and so here are the albums I am most strongly considering for the top 5:

Adele — 21
I am really sick of hearing “Someone Like You” everywhere. Much like “Losing My Religion” 20 years ago, it’s a song I never really cared for anyway, but its annoying ubiquitousness pushes me almost to the point of disregarding the artist entirely. Other than that, and a couple of weak songs in the middle, though, I think 21 is a truly outstanding piece of work, with great singing and inventive re-imagining of soul sounds from the ’60s and ’70s.

Foo Fighters — Wasting Light
As with most Foo Fighters albums, this is an easy one to like, if you like hard rock. In many ways I think Foo Fighters are the last remaining standard bearers for classic rock. And “Rope” is probably my favorite song of the year.

Foster the People — Torches
I really don’t want to like this album as much as I do. There’s something about Foster the People that reminds me in a weird way of Owl City, in that it feels like something I should (and, in the past, would have) just dismiss outright. And yet every time one of these infectious songs comes on, it just sucks me in.

Halloween, Alaska — All Night the Calls Came In
I pretty much love anything Minneapolis-based jazz drummer Dave King is involved with, but Halloween, Alaska sounds nothing like his other work, and that’s turned out to be a good thing! Relatively straightforward art pop, with a slight Canterbury prog rock twist.

Joshua Wentz — Look/Look
This is the only truly “indie” (as in, unsigned) album I’m considering this year, and probably is the only one I’ve ever considered. As much as I respect DIY music (and engage in it extensively myself), and as much as I hate the RIAA and the dinosaur major labels behind it, it’s hard to let go of the old hangup of not taking it as seriously as music released by a “real” record company. But I make an exception to that hear. I know Josh and have been following his musical endeavors for a few years now, and this album is as good as anything any major label has released this year, and far better than most.

M83 — Hurry Up, We’re Dreaming.
I became enthralled with M83 with Saturdays = Youth a couple of years ago. This follow-up is a sprawling, atmospheric double album. I can’t avoid the analogy of Fleetwood Mac’s pair of late ’70s albums, Rumours and Tusk. As in that case, I don’t really think this is better than the album that preceded it, but it’s a fascinating journey nonetheless.

Mayer Hawthorne — How Do You Do
Mayer Hawthorne could be counted among a large number of white artists in recent years who have resurrected ’60s soul music. One could cite the long history of white musicians appropriating black artists’ styles and reaping commercial benefits that the original artists never attained, and I guess I just did. But that doesn’t change the fact that this is great music, and I’m glad the style is making a comeback, regardless of who’s performing it. Plus… I had no idea Snoop Dogg could sing!

Steven Wilson — Grace for Drowning
I’ve been a huge fan of Steven Wilson’s prog rock band Porcupine Tree for over a decade. The past few Porcupine Tree albums have been great but are starting to feel a bit too familiar. Taking a break from the band was apparently just what Wilson needed to reinvigorate his seemingly limitless creativity. Enlisting the help of a number of prog rock legends and comparatively unknown but highly talented jazz musicians, he’s created his most ambitious and varied work to date.