Hawaii was, there were some unsettling issues. My understanding is that of all of the islands, Kaua'i is the most idyllic and undeveloped. From what little I saw, this was certainly the case. The cost of living, however, is incredibly high. We flew into Lihue, which was, for all intents and purposes, a small but contemporary urban city, and prices on regular goods here were noticeably higher. The further away from the city you went, the higher the prices got. We stayed on the north side of the island in Princeville, and grocery prices were nearly three times what they might be on the mainland.
Most of the people living in the area did not seem to care too much, however, because they were largely the upper class elite and exuded the attendant entitlement that one might expect. The general impression I got was that Hawaiians are aloof and exclusive. By "Hawaiian," I don't necessarily mean the stereotypical indigenous people of the island. This cultural group was clearly not in the majority, nor did they generally hold much power beyond their roles as torchbearers for traditions that the upper class elite have marginalized through high-dollar land ownership.
Don't get me wrong - Hawaii is incredibly diverse from a cultural
standpoint, and there were many people that I met who I genuinely
liked. This schism between idealized "Hawaiinness" and the street-level reality, however, often set me ill at ease - probably more than it should have.
As with every year, I have a few albums that just did not quite make it into the top 20. In this case, a couple of these albums I was saving at the end of November for the top ten, but they got edged out by some last-minute rising stars. It would not be unfair to put this catchall list in a limbo between #11 and #10.
Wobbler – Rites at Dawn: An online discussion with a few Yes fans about Wobbler caused me to reevaluate Rites at Dawn. I rescind the majority of the criticism I leveled against it a few years ago – It s a fantastically complex and tuneful iteration of retro-prog that just couldn’t quite find a place in this year’s top 20.
Ghost of a Sabertooth Tiger - Midnight Sun: Sean Lennon’s newest project wades into the same retro-nostalgia that Tame Impala did last year. Musically, there is a lot to like about it, but there are a few lyric ideas that did not totally win me over.
Peter Gabriel – [car]: For a long time, I viewed Peter Gabriel’s debut album as a disjointed first step into what would become a masterful solo career. I reframed the album this year as a creative burst by the artist who led Genesis to its logical end, however, and from this perspective I find it to be incredibly compelling.
Haim – Days are Gone: Haim combines the tunefulness of 80s girl bands like the Bangles with the empowered voice of TLC and other female 90s hip hop. While they sometimes rely too much on obvious hooks, their tunes are catchy and their delivery charismatic.
The War on Drugs – Lost in The Dream: Although I fail to see how this is a criticism, The War on Drugs were quite publicly chastised this year for sounding like Bruce Springsteen or the Dire Straits, circa late 80s. Lost in a Dream is a great album that sort of slipped between the cracks, but has proven to have great replay value in the long term (meaning that I really grew to love it in December, after the top 10 had mostly been set).