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amandaklwrites · 4 years

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TV Series Review: Miss Scarlet and the Duke (2019)

Genre: Historical Fiction/Murder Mystery/British Period Drama

Rating: 10/10

TV Show Review:

I. LOVE. THIS SHOW.

Pretty much this review will be me talking about everything I love this series, just a warning. I hope you love it too, so you can enjoy my blabbering and gushing!

I will do this review a bit differently, since it’s still relatively new, especially here in the US. I’ll talk about my general thoughts, and then I’ll do a “keep reading” when it goes down into spoilers for each episode.

So, here, for the spoiler-free part of my review:

Let me start out by saying that these characters make the whole damn show. Yes, the mysteries are great and all, but it’s the characters in this series, for me, that drives the whole thing. Eliza Scarlet is a masterful main character, and I love everything about her—from her determination, her willingness to fight the crowd to be what she wants, how she’s willing to admit some issues, that she still relies so heavily on her father after he passed away. Her humor is so incredible, and I think she’s just someone I wish I could be. Her feistiness is so wonderful. And then our Inspector Detective William “the Duke” Wellington is… one of my favorite leading men, fictional of course. I like that he’s overprotective of her (sometimes, to funny extents), that he does his job well and follows a lot of the right paths, that he doesn’t seem surprised by much of anything, and that he’s willing to fight even when he’s falling apart at the seams. And their relationship! They are so clearly in love with each other (probably have since that “chaste kiss” when they were teens…), they bicker like a married couple, and though they annoy the living hell out of each other, they would die for one another. I like that their relationship isn’t perfect and they take note of that in the show, but it feels real. It’s one of the most real relationships I have ever seen.

Moses and Rupert are such important characters and I LOVE their relationship with Eliza, their friendships that seem so different, but they just fit. I can’t go much into detail about either of them, or it will spoil entire plotlines of mysteries, but I will say that I love what the story does with their characters, how it gives them breaths of their own, that they become some of the most dynamic characters in the show with so much to them and that take a life of their own. That they feel real and important and interesting, and I love the representation. That’s all I’ll say about them in the spoiler-free review.

Now, the mysteries, were incredible. They kept me guessing through every episode, and I would have some feelings about things/people, but I wasn’t sure how it would get there. At times, I thought of the truth, but figured that they were going to trick me with it (my grandpa always told me that I have a brain for a detective, if I had some training, so that’s fun!). But still, they were so innovative and different from other mysteries that I had experienced. And I liked that each episode felt a bit different—we had a taste of ghost story feeling, even an intense thriller. They were really, really good mysteries, to me at least. And I do love me some mysteries.

Okay, so the costumes, sets and music. MY GOD. It was all SO BEAUTIFUL! Eliza’s clothes were magnificent and they had POCKETS!!! William was way too sexy in those clothes (can we bring those back??? We can leave out the discrimination that came with the time period, but let’s bring back the clothes at least!). Everyone had gorgeous clothes. And the sets were beautiful—those dirty, Victorian, coal covered streets… I loved it! (My mom says she’s not sure why I’m so in love with the dark atmosphere of the Victorian era, but I am!). The MUSIC. Can they just upload a damn soundtrack already? I need to listen to this music all the time! It sounds different and cool and I’m just so in love with it.

THE HUMOR! My god, I had never seen a murder mystery show set in another time that does humor so well. I love how they travel between scenes to make it funnier, the lines they say to one another. It makes me feel like these actors absolutely had a blast filming this show. They were so on point, and some of the funny scenes made me laugh harder than any comedy movie I’ve seen.

As you can see, I’m obsessed with this show altogether. I love it, and I want to watch it over and over. The vibe, the love stories, the characters, every. single. thing. is my jam. I know they’re planning a second season and I cannot wait for it. Ugh. My god. It’s wonderful.

So here ends my spoiler-free review. After this, I’m going to talk spoilers. So if you have seen the show and/or want to read the spoiler-y thoughts, please click on the “keep reading.” If not, see you around after your watch the show! It’s well worth it!

Let me start out by explaining more of my thoughts on the relationship between William and Eliza, because I worried that some of what I had said would give away possibly too much. So here’s that part:

The (hilarious) way that William mutters “oh jesus” whenever he finds Eliza waiting in his office, or the fact that Eliza calls herself his wife (or in one instance, something worse, but to save herself) to get what she wants also feels like a sly to personally agitate him. How that he would toss her into jail/into court when she went against things he said she shouldn’t do (though he released her/got her out at some point) never got old and even funnier to me each time. I told my mom, she was like a toddler—he couldn’t keep her in sight, so he had to lock her out. But I liked that she still argued with him despite it. Their back and forth was perfect.

I will say here, that I have seen people’s comments online how they wish that William was more on board with Eliza’s detective dreams and support her 100% much earlier on. And I get that, that he can seem like an ass at times. But honestly, I think he feels more realistic that he’s a little harder about it in the beginning. Trust me, I love this show and the way they play with characters and storylines, and that they are so forward (I mean, Eliza is so forward-thinking and modern, it’s amazing), but to me, if they made EVERYONE, i.e. William especially, it wouldn’t ground me into the time very well. I like that it was more gradual for him, to fully support her. And actually, I think for a man in the Victorian Era, with his position, he supported her as much as he could. Though he fought her on it at times, he eventually gave up trying to stop her. And I do think, in some respect, he was trying to protect her, because he does care for her. He was a man of his time, in his position, and he is changing. Can we at least give him that? Because, in all throughout history, it took a while for things to change. And it was men like William that started to understand, that started to recognize that, that helped make it happen. Plus, Eliza didn’t let him pull shit all the time, and she did fight him on it.

Now, I’m going to comment on each individual episode with my thoughts. I’ve never done this before so yay! Here it goes!

EPISODE ONE: Inheritance

I knew the weird uncle wasn’t the girl’s uncle. I didn’t expect that it was her husband (I should’ve!! We knew he was a cheat and a conartist!!), but I knew it wasn’t her rich uncle. I knew from the moment he came on screen—I remember thinking, this guy looks too young around his eyes. His beard and mustache look fake. So, I was right to an extent.

I can’t be the only one who was horrified to discover what the police did to women who worked as prostitutes or in dance halls—they could be arrested and searched for venereal disease? Seriously??? For men who were so obsessed with wanting their wives to “stay safe” and “be protected,” they sure were fine with flipping the case when it came to women that they would also gladly pay to sleep with? Why don’t they check the male clients who are PAYING for this industry. It was appalling and horrendous, and it made my skin literally crawl as they tried tying Eliza down to the chair.

On the note of that scene, Eliza calling herself William’s favorite whore to save herself is literally one of the funniest (though, darkly) things—especially in the next scene, when you see the two of them sitting in his office in silence and William is mortified, annoyed, and I think amused at the same time.

I loved how Eliza tricked that bastard husband—she set him up, AND she gave him laudanum to make him pass out? This woman knows what’s up!

Instantly from this first episode, I knew I loved this show and these characters. Eliza shows her charm and wit and humor and smarts. She’s skilled and I love her personality so much. Though I can see how she could be aggravating to others. William absolutely adores her. Rupert annoyed me a bit at the beginning, but by the end—when he asked Eliza to not marry him, I knew I would like him. And Moses! A Jamaican man brings in the race question of this dark, old world, but I love that he likes Eliza and finds her interesting. He’s terrifying, but I think he’s a good, decent man, he’s only trapped in this world because no one will let him be anything else. But he’s such a rich, interesting character.

EPISODE TWO: The Woman in Red

This episode brings in the reality of homosexuality in this world. That it has always been there (damn those bastards who think otherwise), but it has been hidden away. That men and women have to fear for their lives, and also marry people they do not want because they want to not be noticed. I loved finding out Rupert was gay—my mom called that one!—and the friendship he develops with Eliza. That he trusts her to tell a secret that could literally have him killed and ruined. And that Eliza doesn’t even blink, that she’s willing to keep his secret to the grave, and I cried when she basically told him that. It’s quite beautiful that Eliza even seemed to be grateful that he trusted her enough to give her that secret.

Which was used in interesting juxtaposition to the gay man, accused of murdering his lover, and his wife. I understand the woman’s hurt, that she loved this man and it turned out he didn’t love her in the same way. But that didn’t mean her willingness to let him die for a crime he didn’t commit was at all good or called for. With Eliza talking her down, to prove that the woman’s husband was innocent, I think proved that though she was hurt beyond reason, she did love that man who was her husband and didn’t want to see her die. It’s really a hard situation, especially during that time, when people were constantly shoved down their throats that homosexuality was bad. Not that I’m giving her a “it’s okay,” but I can understand the pain and confusion she went through. Especially because she pulled through.

Through this whole episode, we thought it was the wife that had murdered the lover (the other man). I was surprised to find out that he had killed himself, cut his own throat (which I had heard wasn’t possible to do—but my grandpa, who had worked as a detective, told me that is a myth people talk about, that it’s really easy to cut your own throat). That was a shock, and it made me so sad. That he was dying because he was unhappy, because he hated what he was, because of damn society telling him so. I actually started crying, because as someone who is bisexual, I would be condemned in this time during for openly being with men and women, though I couldn’t even compare to people who are gay or lesbian, because the situation is not the same. But I could connect, I could understand. And I hated knowing the pain all those people were in, that a man had killed himself because of what he was, and that another man had to live with that. It truly breaks your heart.

William’s response to finding out the dead man was gay was interesting. I thought his comment “in my line of work, nothing surprises you” funny, but also telling. He didn’t act disgusted, he didn’t mistreat the husband when they questioned him afterward. The show didn’t directly say his thoughts on homosexuality, but I got the vibe that he was “whatever” about it. Like he knew it was there, and he wasn’t condemning it publicly. That gives him credit, in my book.

Another great episode that got deep and beautiful.

EPISODE THREE: Deeds Not Words

Is this show just obsessed with getting right down to modern issues that were also faced in this time, but not as strongly discussed? Because I’m all for it! This episode was all about the suffrage movement. But I liked the take they did on it.

Yes, they spoke out about the treatment of women. That men, white men, controlled this whole world. But I also thought it was interesting that they made this main suffragette not the greatest person. It made everything complicated. Like, everything she said to Eliza made sense, and I found myself cheering with her. But she shot a man in cold blood, she was willing to bomb a whole building of men—even though it seems justified because of what their club represents.

I think this episode was discussing the balance. That there can be change, but when you attack the people who you are trying to change, it may not work in your favor. At least, that was the vibe I got. Not to stoop to their levels, to become just as horrible as them. Her ideas and words were great, but her actions were a bit… skeptical.

Eliza and William’s response were interesting as well. Eliza felt a passion for the cause, William thought it a bit extreme. But, to me, by the end of the episode, they had a common understanding, they had reached a comfortable middle. I think, this show was showing that was how change came. People seeing eye to eye, and then it spreading from there. Of course, William has faults, but I think he’s truly trying. Especially with each episode. And the more Eliza and he grow.

EPISODE FOUR: Memento Mori

We got our ghost episode! I wasn’t even expecting it, it was incredible! A ghostly image of a dead wife that had killed herself reappearing in photos? How wild and cool is that idea!

I didn’t know that the Victorians had a thing where they took photos of their dead loved ones, looking like they were alive (y’all, the Victorians were obsessed with death…), but it’s an interesting concept. Maybe even sweet. I get what they were trying to do, even if it did seem morbid. How I feel about it is, if it brings you peace, then go for it (as long as it’s nothing disturbing or harming anyone).

The twist was one I had a hint of but hadn’t expected the whole thing. I knew the daughter had something to do with it (how disturbed is this poor girl??), but I hadn’t expected that the mother had planned this before she killed herself because she knew the woman and her husband were already having an affair. It was interesting and a creepy twist, but I was all for it.

Still, I loved how we had moments of eeriness and the haunting feeling in the house when Eliza stayed over. I felt scared and freaked, and most people that know me know that I do not like horror. But this was the perfect eeriness, which I do love.

That scene from this episode where William screams at the poor telegram young man to give them the message or he’ll break everyone bone in his body and then being like “are you crying?” was the funniest thing I had ever seen. I laughed so hard that I couldn’t breathe. I mean, it’s terrible, but the way it was done was hilarious and amazing.

EPISODE FIVE: Cell 99

This episode was… dark. I liked that it was set in an abandoned prison, and my god, was it creepy as hell. I loved all the shots of William walking through gave me the chills.

This one felt like a thriller to me. How it was filmed, set up, how everything went down. Except for the hilarious scene when they are both so annoyed with each other (Eliza and William, that is) that they both scream in frustration is brilliant. But otherwise, it took a dark tone that made me feel like something was watching my back. Especially as that big, scary guy came walking down the stairs when William and Eliza were trapped, ready to kill them both. I was nearly screaming at the tv in utter horror.

My mom had called it—and I had a feeling—that Eliza’s father had been murdered, not just drinking himself to death and found in the gutter. And there’s a gang now? How interesting!

The masked man was strange, as well as the forger locked away. But he was shot and killed, and it confused me.

I have a strange confession to make: that whole time with William in his dress shirt (without the coat), with his arm covered in blood, was weirdly…. Hot? Please don’t ask me explain. I have weird things to me. But I think it was also hot that though he was hurt and bleeding, he was gearing up to fight that big, scary man to protect himself and Eliza. I like that kind of shit, so much.

This episode was twisted, and it left me with more questions than anything.

EPISODE SIX: The Case of Henry Scarlet

My mom knew William’s boss was in with the gang! I liked that they actually explored the reality of corruptness in the police force (my grandpa had personal experiences himself, and that was why he left), and they laid it all bare. Despite the things that we are learning in this present day, it’s always been there. Which is horrifying and disturbing. That these police who are supposed to protect us are willing to delve into the corrupt world to bring themselves more power and money. Because that’s what it boils down to, doesn’t it? Powerful men wanting more and more.

I liked that William was okay with the truth unfolding, and not fighting it, trying to prove innocence for his boss. To me, it made me feel like that he knew something was up with that man (just beyond not liking him). For his character, it made me think that he was one of those people that was actually good and good at his job, trying to do the right thing. Even if he got distracted and didn’t give Eliza credit where it was due, and fought some things, he was trying to do what he thought was right. He didn’t kill anyone, he didn’t go after anyone specifically. Though him and Moses had some standoffs because he wasn’t sure about the other man, he gave him some thanks and shook his hand. Which is huge for that time period.

I did suspect William’s buddy. I always felt like something was happening with him, and that he would be the perfect bad guy because he knew what was going on at all times. And it was proven right! Though it wasn’t any less terrible, William having to realize that his close friend at Scotland Yard as the bad, bad guy who killed their boss when things were turning ugly.

But Moses to the rescue! I loved that he swooped in, teaming up with Eliza, and taking the guy out! I love Moses so much, he’s one of my other favorites.

And their ending, with a promise of dinner, of love on the horizon was exactly what I needed.

Lasting thoughts:

Besides all the amazing storylines and characters they brought in, besides Eliza and William’s chemistry and relationship, to me, this felt like a story about a daughter and her father. We see flashbacks of Eliza as a child with her father, how he taught her his detective work, when that wasn’t something men did typically in that time, and how she would still talk to him after he had died. That though she had chosen this profession for herself, it was also some way to connect to her father. Something they had shared when she was motherless and only had him, and he gave her these skills and talents, helped her hone in on them. And once he had passed, she fought like hell to keep it, but make it her own. I liked that their relationship wasn’t perfect, but they loved the hell out of each other. She was a grown woman, who believed in herself, but she still turned to him—a ghost, a memory, or whatnot—when she felt at the bottom.

This series is incredible, perfect and just all around so masterful in so many different ways. I knew from the moment I heard about it that I would love it. And it turns out I was right, but even more than I had expected.

Now, I think it’s time for a rewatch.

#miss scarlet and the duke #eliza scarlet #william wellington #i love this damn show #tv series review

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lucarioisinthevoid · 4 years

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Oh god, oh fuck, what did you ask, why did you ask this, this is instantly growing out of hand- I legally have to put it behind a “read more”. Sorry, but this gets really long for no good reason. I’m so sorry, when it’s about music, I just lose it-

- Mike scoffed. “This ask was clearly asked by someone who doesn’t listen to music. Asking for a favorite songs as though there is ANYONE on this fucking world who would go “ah yes, I have ONE song for every event that I ALWAYS want to listen to, no matter my mood.” That is absolutely ridi-“ “FREDBEAR AND FRIENDS THEME SONG!” Jeremy instantly screamed, a big smile on his face. “It’s so cute! So happy! I love it so much!” I’ll be your friend, right to the end! Join the party! Don’t be afraid, we’ll find a way! Join the party! Follow the pack, we’ll have a blast! Join the party! I’m here for you, we’ll make it through! JOIN THE PARTY!

Irritated Mike glared at him. “Is that even a song? Technically speaking? It’s a fucking INTRO.” This disagreement was quickly dismissed by Jeremy. “No, it is a song that I love very much.” There was an annoyed sigh, but not much pushback. “… fine. I have a SHITTON of songs I like, but… I think my currently favorite song is… ULTRAnumb by Blue Stahli. I don’t know. It hits just right.” VIOLATED! SO DEGRADED! The show has just begun! (Three, two, one!) DOMINATED BY ALL YOU HATED! This will make you ULTRANUMB!

Phone Guy seemed a bit embarrassed. “U-uhm… I don’t, uh, listen to much music. I really like the stuff they put in the background of documentaries is actually pretty impressive stuff. I like that, but I can’t really… access that? I mean, I don’t know how to. But I like having something calming in the background.” So… soundtracks, huh? There are pretty good soundtracks, like “Winds over Neo Tokyo” from the movie Akira- “I think though as a SONG, I really like… a bit dumb probably, but “Feel Good Inc.” by Gorillaz? It’s probably pretty standard… but, uh. I like the light distortion. Makes it easy to sing along. And I kinda, uh- relate to the feeling of hopelessness in it…” Windmill, windmill for the land… Turn forever hand in hand! Take it all in on your stride, It is ticking, falling down Love forever, love has free, Let’s turn forever you and me! Windmill, windmill for the land Is everybody in…? “Uh- I know the song is probably about something completely else, but I just-“ Scratching the back of his neck, Phone Guy looked away. “I don’t know. I’m sorry.”

Materializing out of thin air, Nemo proceeded to T-pose. “YOU ARE TALKING ABOUT MUSIC. YES. MY TIME HAS COME. I have the best taste from everyone here. I have the EDGY music.” Getting out his MP3-player, he began searching through the music library. “Ah, there we go. This one. “Arrested Youth” – The Kid I Used To Know. That the one!” Life is a voyage some people try to avoid it- I seek to try and destroy it, I swear I feel like a toilet bowl, Shitting on everything I’ve ever said or I’ve done You told me this should be fun! Thanks for the talk, are we done?! This is my masterpiece, a tragedy, I wrote it myself, It’s full of irony and blasphemy, it’s practically hell, But the perfect part about it is it’s all that I’ve got! I’m over wasting time in life trying to be something I’m not!

‘Cause fuck that shit! Yeah, I don’t want be that kid. No, I’m not going to hang my head, And be another accident!

So long to the kid that I used to know! So long to the place that I used to go! I’m not an R.I.P. I’m not another sick, sad tragedy! “The song is great, I absolutely relate to it.” The teen laughed. “Especially the tone of the singer. Really fits me. I could imagine writing songs like that myself!” A bit too excited, he began oversharing. “I always wanted to write songs. And I did! A lot, kept them in a little book.” His expression broke a bit. “… then I lost it. At home. Somehow.” He turned a bit bitter. “Yeah. Asked mom. She didn’t see it. Asked dad. Of course, he had NO idea. Anyways.” He threw his bitterness away with a shrug. “Now you know the reason why I’m actually not rich and famous yet. I lost like… 3 years of absolute riches to that setback and I feel stolen from. The world OWES me and castle and I WILL get it. But until then, I guess I listen to other artists like me!”

Dave was jumping up and down excited. “Oh, oh, Anon Sport, you don’t even KNOW how many I have! Like everything Sportsy whistles! And Rasputin- that one- oh, oh, no, in one car I stole there was a CD- and they had a group- Royal Republic? Funky songs, pal, lemme tell ya. Listen to it while rushing down the highway, it made it some of my favorites! The best is “Good to be Bad” though, no contest!” Oh lord come help me die! I can’t believe my eye! I’m not the same that I was when I got here! I´ve made a dirty mess, My lord I do confess, I know I’ve been bad, So bad! I’m not the only one! I’m not the bastard-son! The other kids made me do things that I don’t usually do… Misunderstood, I’m the plague of the neighborhood! And it feels so good! So good! “Seein’ Sporty making a flip in the running car while this was playin’ was somethin’ MAGICAL!”

Marion scoffed. Was he even included in “the gang”? Well, if Jeremy was, so was he. “Seeing as I never had much choice in listening to the music I could like, I don’t really have a taste. Everything that isn’t nursery rhymes made into songs is GREAT. Especially if it has nothing to do with music boxes.” It still calmed him down to hear music like that, but he developed a bit of a grudge against it. Sure, he and Jeremy were working on that, but he really couldn’t call it his favorite kind of music. “… well, Dave oftentimes played the CD he just mentioned while transporting me. I guess I liked a few songs from there? Somewhat? “Everybody Wants to Be an Astronaut” was pretty good.” I can feel my body shiver, the lights are everywhere! They marvel at my heartbeats inside the atmosphere… And I’m looking at the world, in a way you never could! I knew I’d be a traveling man, but I misunderstood… So tell me, why is it we’re never happy?

‘Cause everybody wants to be an astronaut! And take the long tall trail into the stars! Everybody wants to show a brother what they got! Everybody wants to be an astronaut! Marion looked away. What he kept for himself was that he really disliked the last line. Everybody wants to be a superstar! No. None of the kids wanted to be a superstar. … ‘cause everybody’s happy when they’re playing the guitar! Everybody but them. Everybody. But them. So tell me, why is it we’re never happy?

Old Sport smiled, for a moment a bit sadly. “Oh, it used to be “Not too late” by Lemaitre.” Not Too Late my friend! Take it up and try again! I’ll stand right here… While you walk to face the end, As the skys clear up again I’ll disappear- And have a go again… Snapping out of his emotional side, he laughed. “But now I actually have TASTE, thus it’s TAYLOR SWIFT’S “Look what you made me do”, RIGHT MIKEY-“ “YOU HATE THAT SONG TOO, ADMIT TO IT. YOU FUCKING HATE IT. ESPECIALLY THE REFRAIN. IT’S ALL SUCH UTTER SHIT, YOU ONLY PUT IT ON TO FUCKING TORMENT ME. FUCK YOU! FUCK YOU!” “Like clockwork. It’s a thing of beauty.” He laughed until Mike quieted down from the back, then looked back at the Anon. “But seriously, why did you even include me. You know what it is! THE CLASSICS! “All Star” and “Never Gonna Give You Up”! Well, maybe with a dash on “We are number one” for good measure. You know, the songs people with TASTE listen to.”

Ethan was sitting in the back, looking at the golden guard badge he had received for signing up with the company. Quietly he sung. “Sven Korner was in the newspapers this Monday Big picture from a time he danced the waltz Yes, he took the life of Victoria Come home, explain to Christiania “Come here, officer, here are thousand bucks I’ve saved” And give me Korner, and give me him soon!” He closed his hands around the badge. “It’s a song by Kaizers Orcherstra. I just happened to stumble over it- originally it’s in the Norwegian language- I do not even know how I found the translation. But I like it a lot. It helps me work.” He hadn’t found her. He wasn’t even quite sure in what kind of afterlife he was. But it gave him great satisfaction to know the man who did this to his daughter was in a far, far worse place. “I know what’s in store for you… I know what it is you’re hoping for, I know what’s in store for you.

Oh, you have a tune you think everybody will follow! But I wouldn’t follow that tune, not on my life! We’re playing poker with a revolver, Having no respect for Fredrik Meltzer… Now you shall dance to our tune 'till you bleed! You shall dance Ompa 'till you Die!

Think about it, Sven, how good it will be in Heaven… I hope you fold your hands before you go to bed… Cause it can get hot down here. It can be hot down here. Sven, it can get hot as hell down here!” -

Henry leaned back bemused. “The best thing about this ask is certainly that everyone now knows what a horrible taste you have.” Says the guy who has his head so far up his ass that he basically only listens to classic. “Oh, no. I listen to everything. But at least I acknowledge that everything I hear has some form of merit, even if it is not my taste. You however, do not, thus you can be shamed for your taste.” Screw you.

#the Group #rip your dashboard

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quicksilverconnoisseur · 5 years

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To celebrate the return of QS on AO3 with a huge new fic by @weconqueratdawn

TheSeaVoices Drawing Playlist

A mixture of drawing moods, themes and favourites, not necessarily relevant lyric-wise but all very carefully selected for zero frustration - maximum flow, and perhaps an element of sexiness?

If you want a 43 track playlist for drawing or painting to - this works :)

1- Wallowa Lake Monster, Sufjan Stevens

Fucking love the fucking lyrics! Beautiful story and atmosphere and voice. I hadn’t listened to Sufjan much before watching Call Me By Your Name and just caning Visions of Gideon for weeks after.

2- Experiment In Terror, Henry Mancini

From the 60’s noir thriller of the same name - so stylish and cool - what a soundtrack sir! I love the slow threat and slinkiness.

3- My Body, Perfume Genius

Similar slink here, dirty kind of glide. Have seen PG a couple of times live and just ABSORBED it into my soul - he dances up there like a beautiful table-dancer and the crowd is moving with him - always good albums to paint to.

4- Danke Schoen, Wayne Newton

Turn this way up! 21 year old Wayne blasts this out like a genius - his voice is amazing and so feminine. I know it from Ferris Bueller's Day Off originally where it is put to very good use.

5- My Little Brown Book, Duke Ellington, John Coltrane

I can listen to Duke Ellington all day every day, those brushy cymbals in this are so lazy cool. That’s the third sixties song so far.

6- One More Kiss Dear, Vangelis

Bladerunner, one of my favourite films. WHAT A FUCKING SOUNDTRACK! This song was an accidental recording sung for the demo by Don Percival (not the intended singer) and the weird spooky vocal just worked for the mock vintage sound.

7- Verbarhemiopia, Ed Dowie

Released through Lost Map Records. I know these people and they always have great acts - I had a lot of exceptional experiences on the Inner Hebridean island of Eigg with them. This track is just a beautiful, pulsing moonbeam.

8- Just Like Honey, The Jesus and Mary Chain

Such a sleazy, druggy, sexy song - dirty guitar and sensual drums - the opening drum intro, borrowed from (another 60’s track), Be My Baby by The Ronettes coming up on this list at number 38.

9- Grid, Perfume Genius

I rec the video!

10- Here, Pavement

Oh Pavement - a big part of my identity! - Live, they are a fucking dream! This song is a regular ear worm.

11- Demon Host, Timber Timbre

Great lyrics, great album

12- Animal Friends, P-ano

The only song I’m into on this album, the atmosphere is great. A sad little song.

13- Sleepwalk, Santo and Johnny

1959 so lets call it 60’s again XD. A great instrumental - that slide, steel guitar sound is lush and the asmr trigger of my dreams

14- Hang Out The Stars In Indiana, Al Bowlly

MY FAVOURITE SONG OF ALL FUCKING TIME. I can and do listen to this on repeat all through a drawing even if it takes a day. Withnail & I introduced me - one of my favourite films. And, of course Bowlly is on The Shining too.

15- Wasted Teens, Monoganon

Lost Map records again, excellent and crazy live performance from these on Eigg.

16- The Alien, Ben Salisbury, Geoff Barrow

Such dark foreboding anticipation. From the Annihilation soundtrack - brilliant film and score. I love Portishead too.

17- Life Is Just A Bowl Of Cherries, Al Bowlly

Hey cheer up everyone - fuck it!

18- Wanna Sip, Fever Ray

I do! This is from their live recording at the Troxy - I WAS THERE —- oooooooooooof fuck WHAT A SHOW honestly!

19- Lipstick Stains, Jay Som

“I wanted to musically capture the immediate and intense but beautiful feeling of infatuation.” —— yep!

20- Heat Wave, Snail Mail

Yes! They are brilliant - saw them live at End Of The Road and the tent was CRAMMED!!!!!! The atmosphere was amazing - she is so young and so great.

21- I Love How You Love Me, The Paris Sisters

Hello 1960’s! The creamy Spector sound and that spoken word is amazing.

22- Shadow, Chromatics

Loved this on Twin Peaks The Return, it’s a gem and perfect for drawing/painting to.

23- Bankrobber, The Clash

I always sing ‘Daddy was a vampire’

24- Do Your Best, John Maus

Slo-mo beauty.

25- Canadian Girl, The Walkmen

Nice vintage-tinged weirdness and soul.

26- Wave of Mutilation (UK SURF) Pixies

I love Pixies, only seen them live once but it was very, very, very special. Beautiful, laid back b side version that I prefer to the album track.

27- Fell An Ox

There was a time where all I would listen to was King Creosote - it was an obsession! I have lost count of KC gigs I’ve been to.

28- Slow West, Django Django

Love the film, love the soundtrack, loved Django Django up till the last few releases. There is a live version of this on KEXP from four years ago which is the one I usually listen to. Fucking brilliant live - got to see them on Eigg one time too. I rec the Slow West film if you haven’t seen it.

29- Withnail’s Theme, Jack Hallam

Great film and soundtrack - a big favourite.

30- Portofino 1, Raymond Scott

60’s! Ha - I hadn’t realised this at all till writing all this.

31- Lady Gaylord, Raymond Scott

From Manhattan Research Inc a collection of his advertising jingles and snippets from the 60’s

32- The Pink Room, Angelo Badalamenti

Filthiest song ever? From Twin Peaks Fire Walk With Me

33- Goodnight Felicia, Chris Bear

From the score to excellent TV show, High Maintenance. I do love Grizzly Bear anyway and cried at their last gig I went to - I always cry at gigs though so….

34- Plainsong, The Cure

My teenage self was a massive Cure fan and I dedicated my record player, school books, wardrobe and bedroom to them! Saw them live only once (the LIGHTS!!!!) because I was too young, obsessed over Robert Smith a lot! This song and the whole album were a big favourite. Beautiful.

35- A Reluctant Hero/Betsy/End Credits Taxi Driver, Bernard Herrmann

I love Herrmann and I really love Taxi Driver. This is just…. ooof!

36- I Fall In Love Too Easily, Chet Baker

Jazzzzzzzzzzzzzzz 1954- what a pretty little voice.

37- Looking Back I Should Have Been Home More, Richard Swift

Just lovely, so sad about Swift.

38- Be My Baby, The Ronettes

The best opening song use ever- MEAN STREETS - turn this RIGHT up please.

39- Go, Sparklehorse, Flaming Lips - Daniel Johnston cover

Doubly sad because of Sparklehorse and Daniel Johnston. I have seen The Flaming Lips many times throughout their career - from small gigs to radio telescope gigs! What a fucking show!

40- Every Night, Perfume Genius

Just nice stuff. Like I said - live he is so sensual- his moves are amazing.

41- Fireflies Made Out of Dust, Happy Jawbone Family Band

Great track. Love the lyrics.

42- Sleeping Lessons, The Shins

Richard Swift again, on keyboards. I really enjoy the historical references and atmosphere on this.

43- Smoke Rings, Les Paul, Mary Ford

1952 - ssssso ssssssspooooky

#hannibal #hannibal playlist #Quicksilver Will #theseavoices #art playlist

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linernotesandseasons · 5 years

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My 19 Favorite Albums of 2019

2019 is coming to a close. The entire decade is coming to a close. This list has been an increasingly comforting exercise the last few years. I guess this will be the eighth annual version of the linernotesandseasons favorite albums of the year list! Crazy how time passes. So here are the collections of songs that I used to mark my personal time & space this year. The lyrics that I learned by heart & sang out in dark & dirty rock clubs. I also made a spotify playlist with two songs from each album if you’re interested in listening along as you read.

This year most of my writing focuses on when & why I fell in love with a specific album. Sometimes the history is important, building a base or connecting some threads, so when relevant, I have also included my history with when I fell in love with a specific artist. And finally, as has become more important to my music chasing brain in the last few years, why this artist or album is important to music right now. What they’re doing to leave a mark on the world, in whatever small space or way.

So without any further ado, here it is, in no particular order (unless you’re particularly knowledgable or fond of the english alphabet) my 19 (well actually 20 cuz freaking Big Thief put out two!) favorite albums of 2019. It’s been a pleasure.

BETTER OBLIVION COMMUNITY CENTER / Better Oblivion Community Center

Spring 2019 in Denver was cold & breezy, sunny & exciting. I had spun the Phoebe Bridgers/Conor Oberst match-made-in-indie-emo-sad-folk-heaven record once through, but in late March I made a game time (like I bought a day-of ticket off stubhub at 6pm!) decision to drive down from work and see their show at the Gothic on South Broadway. I’d been up since 7am the night (morning?) before, watching opening day baseball live from Japan (on March 20th?!). Ichiro’s final game and I was feeling maybe a little emotionally fragile already. But anyway… Better Oblivion Community Center’s live show (they call them meetings) has all the potential to come off as cheesy or contrived. A recorded voice welcomes you, self-help-cult style, and invites you to “celebrate sound & light” & “travel the well worn pathways,” because “we are one.” A mystical backdrop gives a hint of what you’re in for (I didn’t know what I was in for...) with letters at the top reading “It will end in tears.” The band is brilliant, loose, & fun. They play all the songs. They play “Lua,” “Bad Blood,” & “Easy/Lucky/Free” from the endlessly varied Bright Eyes catalog. They turn Phoebe’s “Funeral” into a punk blast. They cover The Replacements! They wear shades and sing a song from lawn chairs! The show feels effortlessly cool and I feel like I’m part of something special again. Music has a way of doing that.

The record is perfectly equal parts Phoebe & Conor. From the opening lines, where Phoebe takes control with “my telephone it doesn’t have a camera” sounding for all the world like a gloriously mopey “Smoke Signals Vol. 2″ to the way Oberst sings the first lines of ethereal closer “Dominoes” sounding 100% like Cassadaga-era Bright Eyes. If you know & love either, you should know the other now. Phoebe carries a torch from early 2000′s emo with a sad-at-heart, genius songwriting style that emphasizes pinpoint autobiographical lyrics, a cutting, (even humorous at times) wit, and a teenage, feminist, internet, millennial heart. Oberst for his part has kept up a steady output since Bright Eyes, and (at least lyrically) doesn’t seemed to have cheered up much. Better Oblivion Community Center’s self titled debut feels fresh & catchy. While there is definitely an aching sadness in the duo’s songwriting, light hearted moments abound, and the writing often points to getting older, all hard work & growth. There is the bouncing outro to “Sleepwalkin’” where their voices rise in unison singing “Acting insane, playing it safe, I wasn’t sold on that plan anyways. Feeling afraid of making a change.” Or in the bright, rolling verses of “My City” where they go looking for “little moments of purpose.” But the one song I kept going back to; the one I recorded to cassette tape and played on almost every drive home from work at 4am through April & May, is the bittersweet closer “Dominoes.” Ironically, this one is a Taylor Hollingsworth cover (I think that’s him adding the random, spooky voice overs) but Conor takes the lead on vocals, singing a mostly lonely, hopeless tale, until the last verse when Phoebe cuts in. She’s “carpooling to kingdom come, into the wild purgatory.” Encouraging us to “Experience a magic rainbow, all you gotta’ do is follow. & if you’re not feeling ready… There’s always tomorrow.”

“The world will not remember when we’re old & tired / We’ll be blowing on the embers of a little fire…”

BIG THIEF / U.F.O.F. & Two Hands

2019 was the year that I finally finally got really really into Big Thief. A band’s band known for their live show (I still have yet to see them live) their following seems equal parts cult-y and universal. How a band that sounds the way they do, made it almost to the top of the indie-rock world is an exciting & inviting mystery.

This year, for me, the catalyst was “Cattails.” Released at the beginning of April, this song struck me and stuck with me, making its way onto almost every mix I made last Spring, Summer, & Fall (including this one for my Mom!) A real song of the year contender (& my #1 most listened to song of 2019 on spotify!), “Cattails” is a melodic, driving, beautiful tune, that finds singer & front person Adrienne Lenker marking Time (”riding that train in late June”) & Space (”going back home to the great lakes”) with grace & depth. There is a sacredness & mysticism tied up in a lot of Lenker’s writing and she refers to her writing experience with “Cattails” saying…

“It was one of those electric, multicolored waves of connectivity just sweeping through my body. I stayed up late finishing the song and the next morning was stomping around playing it over & over again. We thought why not just record it … & when James and I were playing it felt like a little portal in the fabric had opened and we were just flying. Listening back to it makes me cry sometimes.”

In truth, U.F.O.F. (the last f stands for “friend,” a way of humanizing the foreign) is a gorgeous record. Soft & gentle, full of songs about the constant tussle between things known & unknown. A real headphones-on-an-airplane record. And then, out of nowhere, Big Thief announced that they had a second (!) record on the way in the Fall. A dirt & earth twin for U.F.O.F., a special surprise gift for their burgeoning fan base. They announced Two Hands with the vicious single “Not,” a song very unlike “Cattails.” A brooding, ravenous rock song that made me remember why I love unhinged, well-written, unafraid rock & roll music. Another song of the year contender. If you’ve followed this blog the last few months, my well thought out comments to “Not” were “ohhhhhhhhhhhhh shit” & “oh my holy shit.” to the live version! But it was actually the second track on Two Hands that solidified Big Thief’s greatness for me. “Forgotten Eyes” is sonically similar to “Cattails” and rides the same effortless rhythm, driven by Lenker’s repeating guitar riff and James Krivchenia’s consistently impressive drumming. The riff seems to fall in & out magically, and the writing bookends “Cattails” with lyrics that speak to both a great pain & a great universal truth. While she wanders through homelessness & death, Lenker reflects beautifully on the life cycle we (& our planet, & maybe everything?) are all going through.

“Forgotten dance is the one left at birth / Forgotten plants in the fossils of earth / & they’ve long passed but they are no less the dirt / Of the common soil keeping us dry & warm / The wound has no direction / Everybody needs a home & deserves protection…”

BLACK BELT EAGLE SCOUT / At the Party With My Brown Friends

After finding Black Belt Eagle Scout’s debut album late last year, I soundtracked many a dusk, dawn, or midnight drive with her swirling vocals & entrancing guitar, usually in the cold & dark, through the early part of 2019. It made my 2018 favorites list, and her Larimer Lounge show in May was a highlight. I guess it makes sense then, that I didn’t truly fall for her sophomore album At the Party With My Brown Friends (released in August) until it got cold in November and I was able to take it out for some dark, snowy drives. Moody & serious at times, Black Belt Eagle Scout sounds every bit like the gray Pacific Northwest where front person Katherine Paul (KP) hails from. The lyrics are simple, repeating phrases, full of deep, important ideas. Family & friends. People & land. There are bursts of guitar coming out of rewarding slow builds, shredd-y, rhythmic, & melodic. Also, all the instruments on ATPWMBF are played by KP, and the drumming is fucking fantastic.

I have some sort of longer form writing building somewhere in the back of my mind about listening to music in cars, and both Black Belt Eagle Scout albums are perfect examples for that. I have always loved the feeling of having roads (highways or simply long straight dirt back roads) & music to listen to. In high school, we would sometimes get in the car simply to drive & listen to music (small town life ya know?) and I still relish any chance I get to take new (or old & long loved) songs & albums on road trips or just commutes around town. The time to sit with the songs, to focus on nothing but the words & melodies, instruments & voices, & the pull of the road, mystical & magical. Black Belt Eagle Scout’s songs have been a calming companion on a lot of drives over the last year, and I recommend you taking them out on a spin of your own. Drive to that coffee shop that’s 30 minutes away that you’ve been wanting to go to, drive out of town just to drive, alone with your thoughts & the road. You just might learn something about yourself.

“& I wake up / I love you / Screaming loudly / Screaming softly too / Am I here? / My heart dreams…”

BON IVER / i,i

Bon Iver is a long time favorite and if you’ve followed this blog at all, you know how much I love his albums and how much Justin Vernon’s Eaux Claires festival has helped shaped my musical timeline. Seeing 22, A Million (the record that precedes i,i) live in Wisconsin by the river for the first time, was something special. That record made my 2016 favorites list, but until this year, until i,i, my story of the music felt very insular. Special & secret for me, confined to very specific times & places. Only to make me feel certain things. It’s why I was hesitant to buy a ticket to see the Red Rocks show last September. Or why I questioned streaming the album early while I was on vacation in Holden Beach, North Carolina. I thought the songs were only meant to carry me back to the river, back to Wisconsin, back to the Summer. Back to a very specific, special place in my heart. But thanks to the wonders of spotify, and the Bon Iver crew just up and releasing the album a week early under the simple & generous guise of “wanting folks to have the album & learn the songs before the tour!!” I obliged and… YESSSS that’s how you do an album release in 2019! I had the album in my headphones as I ran and sweated on the beach in North Carolina, letting brand new songs transport me thousands of miles away.

i,i is a gloriously weird, perfected mess of a hit indie record. It’s everything I wanted the next chapter of the Bon Iver story to be. It feels personal & widescreen. Little moments stretched out and shared with family & friends. Lyrics about growth & hard work & life (& a few WTFs, it’s Bon Iver after all!) The gang’s all here again (the massive crew that worked on the album are all pictured on the record’s gloriously, weird inside gatefold!) recorded from Vernon’s home (April) base in Wisconsin, to Sonic Ranch in west Texas (also pictured in the liner notes) walking distance from our southern border. The sounds are all here again too. There are hints of For Emma’s Winter falsetto folk in the gorgeous acoustic guitar of “Marion.” There are the industrial swells & stomps, bleeps & bloops of bi, bi’s Spring in the warbling, green grass, warmth of “Holyfields.” Then there is the distortion, the choppy samples of 22, in the jigsaw glory of “iMi,” the way it starts & stops, all choruses & voices, real & programmed. Threads of new songs tied up with threads from long, long ago. There is a fullness to i,i, a generosity, a true front to back album, with hits & new favorites sprinkled everywhere. The second half blooms with the charging folk of “Salem” & “Faith” and the contentedness of closer “RABi.” These are songs that I will love for years to come. These songs make me happy. They make me think. They make me want to share them with friends. They make me want to work on relationships. Songs about life. Songs about true, unconditional friendship. As Justin said way back in 2015, when my journey with the Bon Iver story began “The story is history, nothing more. Only the music can rise anew. & it is gone as soon as it is sung. & so we sing again…” I am soo soo happy to sing again, with songs anew.

“Living in a lonesome way / Had me looking other ways / Cuz I am lost here again / But on a bright Fall morning I’m with it / I stood a little within it…”

EARTHGANG / Mirrorland

EARTHGANG’s major label debut Mirrorland comes in hot & dancing, a hip hop duo with a true tribute to Southern culture, and a whole world encapsulated in 14 tracks. My personal introduction to the EARTHGANG universe, came courtesy of a dusk till dark dance fest at Denver’s Underground Music Showcase on South Broadway back in sweaty July. Their energy was infectious, their stories hilarious, & their songs stuck in my head. Specifically the Young Thug featuring “Proud Of U,” a song that carries enthusiasm & positivity through to the end. Other standouts include colorful, bouncing opener “LaLa Challenge,” & the squealing horns of Atlanta hot spot, name dropping “Wings.” A concept album of sorts Mirrorland references “The Wiz” as a jumping off point saying,

“We thought about how, if we’re going to make a project sonically to rival The Wiz, we got to create another world for people to imagine & go to. You know when Dorothy got swept away and she met the Munchkins? That was such a beautiful thing. You could see Quincy Jones on the piano, just playing away. It’s really colorful. It’s really dangerous. It’s really trippy. It’s literally Freaknik Atlanta in the summertime—folks riding around in cars with big rims with paint on their faces.”

EARTHGANG was formed in 2008 by high school buddies Johnny Venus & Doctur Doc in Atlanta, GA. It’s impossible to ignore Outkast comparisons and for their part, EARTHGANG does their best to keep up the Southern hip hop tradition. Mixing in bits of soul, blues, & jazz, Mirrorland plays like an homage, a soundtrack to the South. A real reminder that the album is not dead. These songs sound best played together. Also, that the hip hop group, or duo, is not dead. And finally, that touring and playing live shows is most definitely not dead. I probably still wouldn’t have heard about EARTHGANG if it wasn’t for their primo UMS slot (at the same Import Mechanics stage where Leikeli47 & Kiltro played!) and infectiously positive live show. Speaking of their live show, see y’all at Cervantes on February 3!

“One time, one time for your baby moms / Two time for the hand in the candy jar / Holy Ghost showed up in my favorite thong / Three times in the car for the way we are / Another white man scared, another black man dead / Another rich man war, another red man bled / I been writing this album down way too long / When I drop my shit, pray it hit the toilet like lala, lalalalala...”

FRUIT BATS / Gold Past Life

In the Autumn of 2013, my coworker Cassandra Disney at Mile High Organics played me “When You Love Somebody” by Fruit Bats (had that song already been out for 10 years in 2013?!) on one of her early morning work mixes, and I immediately put it on one of my favorite (if embarrassingly bro-folk heavy) mixes I have ever made myself. Discovering a weird/cool indie band in the vein of all my other loves (Band of Horses, The Shins, Modest Mouse, Yeah Yeah Yeahs, etc…) but more underground (!) was hipster heaven. I subsequently forgot about Fruit Bats for awhile, but was reminded with their graceful “comeback” album Absolute Loser in 2016. Although that one missed my favorites list, it gradually became a constant road trip companion; from the mountains of Colorado, through the great American Southwest, and even on some epic Mexican back roads. All alt-country, lost 70′s AM radio classics, and wistful, witty, & wise writing about highways and scenery. A true classic.

I was therefore super excited for Gold Past Life (Fruit Bats’s seventh album?!) to drop on Merge Records this Summer, and fell in love pretty quickly on a late afternoon drive across the high road between Taos and Santa Fe, New Mexico back in late June. Swirling guitar, bouncy piano. and Eric D. Johnson’s piercing, clear, impassioned vocals. Fruit Bats sound timeless & effervescent. Upbeat guitar rock with some weird twists, and Johnson’s consistently bittersweet, humorous, & big hearted lyrics. Growing up, growing older, & grinning a wry smile at a golden world. After catching back to back beautiful Fruit Bats shows in Fort Collins & here in Denver at the Bluebird this September, these folks are the real deal. Long live touring bands, long live seventh albums, long live music marking time & space! Here’s to many more Fruit Bats albums, Gold Past Life will be car stereo classic for awhile.

“Still waiting around for some mystical shift in the winds / So honey please, don’t go just yet / Cigarette fingers, a shake in the knees / A bit blue, kind of tired, but not broken… Anticipating a magical bend in the road / So hang on, take it slow / Your go bag is packed & your hangover gone / Another dawn at the edge of the known world…”

HISS GOLDEN MESSENGER / Terms of Surrender

Durham, North Carolina’s Hiss Golden Messenger (folklorist, family man, & singer-songwriter MC Taylor & revolving crew) have become something of a mainstay on this music blog & in my car’s cd player over the last five years. I picked up a used (!), advance (!) copy of Lateness of Dancers in the $1 bin at a record store in Seattle, Washington. after having been passed a burned copy of his 2010 solo album Bad Debt by an old coworker. Lateness ended up on my 2014 favorites list. Two years later, Heart Like A Levee made my 2016 list, and the next year, Hallelujah Anyhow was one of my favorites of 2017! I referred to the songs on Hallelujah as Hiss “building a repertoire, creating a legacy.” This may seem like quite a bit of superfluous backstory, but believe me, it is essential to the story, a journal of the journey. Geographic art for a topographic heart if you will. But anyway, Terms of Surrender…

The title is cryptic, referencing (as Taylor puts it “what we are prepared to sacrifice in order to live the lives that we think we want”) and the songs are deep (& growing deeper) & timeless. Not so much timeless in the way Yola’s songs sound timeless (skip down a few albums on this list to read about Yola!) but timeless in the way the songs seem to seep their way into my bones and stay for years. Terms burst on the scene with the release of the first single “I Need a Teacher” back in stormy June. With bright, rolling guitar stabs courtesy of The National’s Aaron Dessner (whose upstate New York recording studio was home for the Terms recording sessions), “Teacher” is about “the search for infallible guidance in an ever-changing universe.” but it is also about everyday work. Dedicated every night of the tour to all the teachers in the room, a political statement wrapped up in the seemingly obvious sentiment of “Defend Public Schools.” See what I mean? Timeless songs written for the here & now. “Bright Direction” & “My Wing” are reminiscent of Hallelujah’s “Jenny” & “Darkness.” a 1-2 punch of driving, drifting major key numbers, written from a hillside in Virginia, high on mushrooms. They contain multitudes. With a murky middle (Brad Cook gets funky on “Old Enough to Wonder Why” & “Cat’s Eye Blue”) & the already canonical Hiss’ live fav “Happy Birthday Baby,” the back half of Terms spreads out the Hiss’ sound in new ways. New live favorite, the nostalgic “Down at the Uptown,” had me googling maps of San Francisco to find the mythical Uptown bar where Taylor first heard Patti Smith’s Horses.

In late October, Hiss played an absolutely glorious three night run at little Globe Hall over in Globeville, just Southeast of where Interstate 70 meets Interstate 25. I went to all three shows. The shows were special & career spanning; from “Jesus Shot Me in the Head,” to Dead covers (& a Jesus & Mary Chain cover!) to all the Terms songs. I spent the Saturday afternoon before show #2, walking around the disappearing & rapidly gentrifying neighborhood in & around Globeville (& drifting across the highway into Sunnyside) listening to Terms of Surrender on my headphones. Thinking about the things I’m willing to sacrifice, thinking about the life I want, what are my Terms? After all, “It’s a real live world & I wanna live in it.”

“Something drove me crazy / Love had me lazy / Backwards won’t get me to my destination / Move me in some bright direction / Looking to be captured, looking for my freedom / Oh, dreams will come to get you / So careful what you’re wishing / Your family might correct you / Your heart might take a pounding / Make sure you take a picture…”

JUNE JONES / Diana

I can’t remember where I first heard of June Jones, but I’d like to think it was from one of my many Australian music friends (thanks Camp Cope, Julia Jacklin, Middle Kids, Courtney Barnett, Gang of Youths etc…!) The music community is a wonderful thing. June’s songs can be hard to explain, but Diana is an epic album that burns with a steady, stately drama. Most of the songs ride swelling synths and measured, 80’s sounding drums and center around June’s unique, emotive voice and head turning lyrics. Jones had fronted the Australian rock band Two Steps on the Water and written songs on the guitar for many years, but it’s pretty clear from listening to the writing and sound on Diana that these songs were meant for piano, synth, and a solo album. Her own writing. Her own words.

The album begins with the brooding “Rome From Afar” and the opening line “I got drunk again last night & I fell down outside the bathroom at my little sister’s party.” It then follows a dancing bass line into an apocalyptic nightmare of a world ending. “Meryl” is a gorgeous, autobiographical (?) song, an ode to “complicated” hard working women everywhere. There are parts of Diana that nod to it being a break up album, like in the gorgeously melancholic “Boulder Falling Slow” (”I am a boulder falling slow / You’re a magnificent spiderweb”) but I have been viewing it as just a complex, everyday life album. Jones lets her magnificent voice trail slowly over seemingly uncomfortable or awkward topics that she strives to make… not so. Sorry Alex Cameron, your “eating your ass like an oyster” line in “Miami Memory” is only the second best “eating ass” line this year after Jones’ “Look at You Go!” Her voice often belies the emotion in her lyrics, she works it up & down, and lets it stretch out over words, like in lonely closer “Sixteen Horses,” but she also sounds almost matter of fact at times. There is a moment in the piano led “Thorn” where she glibly throws “Have you seen the moon tonight? No, me neither, who cares about the moon when everything is dying?” over an understated horn trill. Everything is dying after all, but I want June Jones to sing it to me like an Australian Lana Del Rey or Matt Berninger. Trust me, you’ll be hearing more about June Jones in the coming years. Watch out.

“I haven’t thought too much about family / Ain’t got no husband or a couple of kids / I’ve spent 26 years in this office / I said goodbye to my relationships a long time ago / What does the mayor of a small town heart do after she retires?”

JUSTIN PETER KINKEL-SCHUSTER / Take Heart, Take Care

My long time music friend Adam over at songsfortheday had been trying to tell me about Justin Peter Kinkel-Schuster for quite a few mixes with songs I loved from his 2016 release Constant Stranger. But it somehow wasn’t until I needed Take Heart, Take Care, that Schuster’s work hit me right. It didn’t feel like a light at the end of the tunnel, but more like a light in the tunnel, something lasting, a collection of songs lifting up & out towards a light. As Schuster wrote upon it’s release…

“Here, I’ve fumbled my way, as always, and of necessity, into a collection of songs that hold a light to the joys & comforts of life not given up on, those that appear over time as we are looking elsewhere, to surprise & delight us when we need them most. Sure, it’s me, so there are glimpses of and nods to the dark, but the dark is not winning anymore. I simply mean to acknowledge its presence. To me, that’s the most fundamental job of songs, of stories, of all art — to be allies, friends, companions, when we need them most and it’s my hope that these songs can do that work in a world that seems to need it. If you are lucky enough to have something good to say, say it. Please. We’ll thank each other, now & later.”

So i guess it’s that second part that I have found solace in through my 20′s and into my 30′s. That songs (and stories & all art, but songs & albums seem to be my thing) can be allies, friends, & companions, and that sometimes (like Hanif Abdurraqib wrote in his brilliant collection of essays “They Can’t Kill Us Until They Kill Us”)…

“If you believe, as I do, that a blessing is a brief breath to take in that doesn’t taste of whatever is holding you under: say I Speak To God In Public and mean more than just in his house, or mean more than just next to people who might also speak to God in public, or say God and mean whatever has kept you alive when so many other things have failed to.“

Take Heart, Take Care is a straightforward, well written, indie rock album. The songs ring true with light & darkness, an uplifting take on growing older and finding “Plenty Wonder” still to be found in the world. Schuster played the Hi-Dive on South Broadway in November, the last show on the Take Heart tour. A show I had bought tickets for months in advance, and I found myself in a crowd of maybe 15 people, celebrating the songs of Take Heart, Take Care. Listening to a writer with something good to say. Trying all in our own way to hold our own. I have a feeling I’ll keep these songs with me for awhile.

“Time is the mender / Whose strange mechanics yet untold / Bid us rise entwined together / So take heart, take care / Be true but beware / & honey we need not be scared…”

KARA JACKSON / A Song for Every Chamber of the Heart

In only 10 minutes & 42 seconds, Kara Jackson creates an intimate, magical world with just her voice and a guitar on her debut EP A Song for Every Chamber of the Heart. Four intricate & intentional songs, none longer than three minutes, finger picked slowly & methodically, Jackson balances a poetic, whimsical wandering with a steely focus on the craft of songwriting. These are the bones of songs, played honest & upfront, with no adornment. There is room for Jackson’s lyrics to really shine, all aching & wistful, yet practical. Like the way she balances “I have a crush, I have an ache” with “I know that love’s just a pain in the ass” in the bittersweet “Crush.” Her songs buzz with a youthful energy & teen angst. Wise beyond their years, finding their way in the world. As a songwriter and a poet, Jackson writes about race, activism, social justice, self, bodies, & humanity.

At 20 (!) years old, Chicago’s Jackson is... oh also a poet. The 2019 National Youth Poet Laureate (!) in fact, and it was her absolutely breathtaking writing about being a teenager that first caught my attention. She quotes Gwendolyn Brooks (pulitzer prize winning American poet) in her Ted Talk saying “write what’s under your nose.” She says that Brooks took the mundane and put it on a pedestal. That she understood there are “poems in train cars, poems on front lawns, & poems in microwaves & tea kettles.” An almost obligation to celebrate the ordinary. Ordinary folks celebrating similar ordinary folks. It’s the way that John Darnielle howls on The Mountain Goats song “Werewolf Gimmick” (track nine on 2015′s Beat the Champ) about “nameless bodies in unremembered rooms.” In his prerelease essay for Merge Records, music writer Joseph Fink wrote that the entire career of The Mountain Goats has been about “giving names to nameless bodies and remembering unremembered rooms.” and what a worthy cause that is. That thought has stuck with me for years and I have always loved the specificity of it. Whether it is Darnielle resurrecting historical characters real or fictional, or the way Lady Lamb (keep reading a few more albums down!) celebrates the specifics of her friends & family, in all the messy details. Written in song, remembered forever. It is also essential that all cultures have artists who look like them and think like them, as the ones doing the remembering. It’s why it’s so important that Kara Jackson is the one doing the remembering for young black girls. The same way Eve Ewing did for her, and Gwendolyn Brooks did before that. I can appreciate the magic of the remembering, but I need to let them be the ones to tell the stories. Oh, speaking of appreciating, I bugged Jackson enough on social media and got a handmade PHYSICAL copy of the EP that I’m hanging onto forever cuz it’s probably gonna be like the next original pressing of Bon Iver’s For Emma! Thanks Kara!

“Don’t take my pillowcase, that's my place to be alone / Don’t take my lamp from me, it helps me read about places I don’t know / Don’t take a lot for me to be on my own...”

KILTRO / Creatures of Habit

My end of the year albums list usually has at least one local Denver band. The Lumineers way back in 2012, Gregory Alan Isakov & Covenhoven in 2013, Nathaniel Rateliff, Covenhoven (again!), & The Yawpers in 2015, Nina de Freitas in 2017 (hey Nina & the Hold Tight, new album in 2020 please?!), and Izcalli last year. Kiltro is a part Coloradan, part Chilean folk band that have been putting on one of my favorite live shows around town this year. The brainchild of Chris Bowers-Castillo, a native Coloradan who spent time growing up in Valparaiso, Chile, Kiltro is named after the Spanish word “Quiltro” meaning a mixed breed dog. A dog that Kiltro has taken for their logo. In their own way, Kiltro is a mix breed; both in the way they mix the sounds of South America with the folk music of North America, and also the way they mix organic, acoustic instrumentation, with electronic, looping sounds and effects pedals. Their live show is a masterclass in layers, with Bowers-Castillo adding loops of guitar rhythms (sometimes simply bare hands slapping beats on the top of the guitar) to steady bass & drums, until the songs swell & build into dramatic crescendos and almost EDM-influenced drops. The extended intros & outros are my favorite parts of their songs and the live versions (from their sweaty 2pm UMS dance party, to Lulu’s Downstairs in Manitou Springs) have stirred hearts & feet alike with dancing not usually found in the Colorado “indie-hipster” scene. Keep an eye on these guys and maybe come out to Larimer Lounge in January and witness the dance party for yourself!

“Somewhere down the bank where the dogs go / Por la calle que te lleva a Curicó / & down the beach, where no others can find / Ni por agua, piso, coche, ni avión...”

LADY LAMB / Even in the Tremor

As I have been writing this year’s favorites list, I’m realizing that so many of the albums I loved & learned, came hand in hand with experiencing the artist, and specifically that new album, live. Lady Lamb released Even in the Tremor, her masterful & moving third album, way back in April, and I had a Spring-y three weeks to learn all her intricate, visceral lyrics to sing back at her Larimer Lounge stop in Denver on the Deep Love tour. Maine by way of Brooklyn’s (by way of a bunch of other places) Aly Spaltro has always written songs for Lady Lamb like her hair’s on fire. Wailing & gasping about blood & guts & death over spiraling electric guitar, there is a realness to her writing that reminds me of the east coast emo I grew up on. But for all the blood red gore & messy heartbreak that colors much of the Lady Lamb discography, there is a light hearted tenderness as well. Tremor has songs written for & about friends, lovers, parents, & god. Quirky opener “Little Flaws” is a first-dance-worthy love song, while personal favorites “Strange Maneuvers” & “Emily” are odes to platonic friendships, mental health, & growing up. In the same way I wrote about Kara Jackson celebrating the ordinary, Lady Lamb has always celebrated specifics of people, time & space. Tremor’s characters are Spaltro’s real life people (Emily, Shervin, Kurt (Kurtie Bear), Isaac, & her Mom), and the places (the diner, the batting cage, Templehof Park, Midtown, Berlin, Montreal, Madrid, a fast food joint, the stage of a church, someplace upstate, Lavanderia & Graham Ave) are specific, varied, & globe spanning. Her stories are autobiographical and rewarding and the music is stirring, singer-songwriter rock & roll with some punch behind it. She is one of my favorite modern writers for her ability to not just tell a story, but to find wonder in the small things and to celebrate the ordinary. Like she tells Shervin, minutes before “Emily” closes the album on a gorgeous, uplifting high note, “No photographic artifact, but here is something better than that.”

“There’s a picture that I found, my first car in the falling snow / Seems like yesterday I drove down into low tide / & Isaac snapped a polaroid of me pretending I was sinking, pressed against the glass pleading / I misplaced it but I’m looking... / When we are young, if only we could see beyond our fears where we are free / When we are lonely if only we could know that in our stillness we are growing... / All the portraits we collected, while we were running around in the desert / We were trying to seem fulfilled to rewrite our New York City narratives / But Emily we were utterly dejected / We took turns crying on the passenger side of America / Too clouded to be empowered by towering Redwoods... / When did we lose the ancient truths? / Is it what we’re born bending our bodies toward?...”

LIZZO / Cuz I Love You

For much of 2019, Lizzo could be heard playing everywhere. The 31 year old Minnesotan’s third full length album Cuz I Love You, came out in April, after a busy three years of huge singles, consistent touring, & building a repertoire of songs capable of headlining arenas. When Lizzo finally exploded these last few years, it has been fun watching the whole world embrace her uptempo, bold, self-love anthems, and hearing them blaring from open Subaru windows in Cap HIll, from balconies & rooftops in uptown, and on the lips of countless joggers & bikers, loving themselves in the Denver Summer sun. I know for my part, I took Lizzo with me to the beaches of North Carolina & through the Southern mountains of Colorado, dancing, singing, & gleefully giggling along. Bottom line, the songs on Cuz I Love You are FUN! You try not to crack a smile as Lizzo romps through “Never been in love before, what the fuck are fucking feelings yo?” on the bouncing, brassy, vocal led, track one title track MOMENT. Or the way she makes up the word “accessorary” on the spot (“my ass is not an accessorary”) and then fires back with “Yeah, I said it, accessorary!” Lizzo has been an outspoken supporter of our generation’s version of the self-love, body positivity movement, and has put her money (and body) where her mouth is, inspiring legions of teens & twenty somethings to do the same. “Soulmate” is a loner anthem that finds Lizzo belting “True love ain’t something you can buy yourself / True love finally happens when you’re by yourself / So if you by yourself, then go and buy yourself another round from the bottle on the higher shelf.” The soulful slowdown “Jerome” is about being the bigger person and ending a relationship that isn’t working. Lizzo manages to actually address her own issues, focus on the work she needs to do (“I’m trying to be patient & patience takes practice.”) and still absolutely belt a singalong chorus that rhymes Jerome with “take your ass home.” Also, the deluxe version of Cuz I Love You tacks on three previous Lizzo singles that hadn’t found an album home. Those singles? “Boys,” “Truth Hurts,” & “Water Me.” Three songs totaling almost 555 MILLION plays on Spotify. With apologies to Ariana Grande & Billie Eilish (Billie see ya in a few months at the Pepsi Center!) Lizzo is the biggest superstar that I want on this list. And she 100% deserves every bit of it.

“If I’m shinin’ everybody gonna’ shine...”

ORVILLE PECK / pony

There is an appealing, theatrical quality to the dramatic country songs on Orville Peck’s debut record Pony. I spent my high school years growing up in small town Western Colorado so country music has been embedded in my brain since I was 11. I’ve gone through so many phases of loving it, hating it, loving it ironically, nostalgically, hating it for it’s sound, cheesiness, backwards politics, etc... But with Pony; these are true country songs written by a gay, masked cowboy anti-hero from.. Toronto? Maybe? Who is Orville Peck?!?! It’s like all the best parts of “country” music came together. And the mask? The fringe? All the packaging & theatrics? It makes it fun. Part Bowie, part Coheed & Cambria, part Grace Jones, part Ghost, part Brandon Flowers. Hollywood meets Vegas meets Carson City.

When I listen to Orville Peck’s songs it brings together so many feelings from my youth. From country radio & boxes of old country cds, to the dramatic side of theatre, play acting on a stage, dress-up, halloween, cowboys, loneliness, & the open road. From the tumbleweed roll & mournfully powerful coyote howl of opener “Dead of Night,” to the shoegaze rumble, autumn ride of “Winds Change.” Peck’s lyrics are honest & heartfelt, drawing on sweeping, western imagery, & idolizing the classic country ideal... the cowboy. Music marks time & place and Peck makes sure to reference the cities along his highway songs. Salt Lake City, Las Vegas, Carson City, Kansas, a veritable Rand McNally road map of the American West. In the same manner as both Black Belt Eagle Scout albums, Fruit Bats, & Caroline Rose from last year, it wasn’t until a highway drive that I truly fell in love with Pony. It was a brilliant November sunset & still warm, but windy & changing, and we knew we had to hustle to beat the snow back to Denver. Highway 159 from the Southern Colorado border through Costilla County, on the way towards Fort Garland & then Walsenburg. Purple & Orange out the window to my left, Winter on it’s way. Peck’s songs sang with a heartache... a loss. a rhinestone loneliness that country finds a way to revel in. When “Kansas (Remembers Me Now)” statics out like a long lost FM radio. When “Hope to Die” fake ends at 3:30 and instead key change pivots like a washed-up Broadway starlet, shooting her shot on a dusty jukebox. When “Nothing Fades Like the Light” draws its last, peaceful breath, closing Pony like the last light of that November sunset. Thanks Orville, this one’s a classic.

“Fell in love with a rider / Dirt king, black crown / Six months on a knucklehead hog / I like him best when he's not around / He gets me high, oh, big sky... Fell in love with a boxer / Stayed awake all year / Heartbreak is a warm sensation / When the only feeling that you know is fear / I don't know why, oh, big sky...”

RAPSODY / Eve

Rapsody’s third album Eve is a masterclass on rap music, and the Snow Hill, North Carolina rapper sounds relaxed & loose, while still staying focused & on topic with an album that reads as, as Rapsody herself puts it “a love letter to all black women including myself.” She is at the top of her game right now, and these songs cement Rapsody as one of the premier rappers in an exciting field of rap talent both young & old.

Each track on the album is dedicated to one of Rapsody’s personal heroes, and I am going to focus these words & my research for Eve (besides listening to it nonstop, which I’m currently doing now!) on those black women. Track one is for Nina Simone (”without Nina there’s no Lauryn Hill, & without Lauryn Hill there’s no Rapsody.”) and features critically important verses about black heritage & culture over Nina’s terrifying & sobering classic “Strange Fruit.” Rapsody is recognizing her legacy and the importance of heritage, but she is clearly claiming her spot in that bloodline. “Cleo” preaches standing up for yourself over a Phil Collins sample (between Cleo & Lucy Dacus, “In the Air Tonight” is getting some serious love this year!) and is named after Queen Latifah’s character in the 1996 movie “Set it Off.” From there Rapsody recognizes artists (Aaliyah), philanthropists (Oprah & Michelle Obama), actresses (Whoopi), athletes (Serena Williams & Ibtihaj Muhammed), writers (Maya Angelou & Reyna Biddy), models (Iman & Tyra Banks), and historical figures & activists (Hatshepsut, Myrlie Evers-Williams, Sojourner Truth, & Afeni Shakur). Bottom line, ALL of these women are essential google material (you’re reading this on your phone or laptop, google and give yourself a five minute refresher if there’s anyone you don’t already know!) While you’re at it, google the lyrics for Eve (and Jamila Woods’ equally incredible, equally name dropping LEGACY! LEGACY!) and listen along. This is an important time capsule document for Rapsody and it’s just a damn good rap album.

“I am Nina & Roberta, the one you love but ain't heard of / Got my middle finger up like Pac after attempted murder / Failed to kill me, it's still me, woke up singing Shirley Murdock / As we lay these edges down, brown women, we so perfect...”

SABA LOU / Novum Ovum

When I listen to Saba Lou’s intoxicating sophomore album Novum Ovum, I am transported to somewhere magical & different. Maybe older, maybe out of place & time. Everything about Novum feels… classic. From the dusty, record-store-bin-find look of the out of focus cover photo, to the laidback natural way Saba Lou seems to dance along on top of a rollicking house band lifted from the 70’s. There are elements of surf rock, shoegaze, late night soul, and classic rock & roll on Ovum, but it is all driven by the singular writing & vocals of Saba Lou. In the liner notes of the record, a note can be found, claiming that this album is meant to be from the future. 2286 to be exact! Is a concept album?! Is it actually from the future & delivered to us by a time traveling band of Germans?!! Does it have songs about Star Trek??!! Maybe, mayyyybeee... & YES!

Yet to turn 20 (!), Saba Lou is a German born singer songwriter who has been making & releasing music since she was literally six years old! Novum Ovum is Latin for “the new egg” and features a hot four piece full band, and wonderfully fleshed out songs that bounce and swing with palpable energy. The lyrics span an awesomely wide spectrum from endometriosis pain (the title track obv) to a Star Trek mindmeld tune sung from the perspective of Gracie the pregnant whale (closer “Humpback in Time”)!! All in all, Saba Lou is an absolutely electric songwriter and her youthfulness & fervor are contagious. It’s the reason I love making this list every year, and what makes discovering new music so exciting. Can’t wait for the next one!

“A brick wall around your placenta / Cut them all off from her mother blood / The hounds call for appassionata / A phoenetic paste for the fetal bud...”

SHARON VAN ETTEN / Remind Me Tomorrow

Over the last few years I started the practice of making a draft favorite albums list in January and adding albums throughout the year, as I fall in love with them. This way I don’t forget the ones I loved in January & February, the ones that got me through the backend of the Winter. I’m able to track my year in music as it develops, a sort of captain’s log. A living, personal journal using music to mark time & space as I sprint my way through another increasingly faster, increasingly chaotic year. Sometimes, scrolling through the list acts as a comfort. “That album only came out this year?! OK, this year isn’t moving too fast, that feels like forevvverrrr ago!” Sometimes it helps to show me how much I’ve grown, how much an album has meant, or has helped with my mental & emotional growth. This year, the very first album I added to that list, the very first album that I fell hard & holy hell in love with... was Sharon Van Etten’s Remind Me Tomorrow.

A blast of energy. A weird synthy, pulsing red & blue darkness. Simultaneously club-y & indie rock vibey. Van Etten’s fifth album is supposedly written from a place of contentment. A marriage, a child, a life & happiness discovered. Less desperation, more introspection. I hear in her voice & words, how taking care of yourself, how striving to be your best self, can bring out the most powerful, most emotional art. She also isn’t afraid to let her voice go and I think her vocal performances are what truly take Tomorrow to another level. “Memorial Day” rides a haunting vocal loop & tumbles in nearly wordless, glimmering vowels, all ethereal magnificence. The chorus of the brooding “Jupiter 4″ spirals upwards & then rollercoasters, a late night drunken banger. But at the heart of Remind Me Tomorrow sits one of my songs of the year, one of my songs of the decade, “Seventeen.” I had heard it first live, way back in October 2018 in the rain in the mountains at Red Rocks. I got tipsy & wrote about it the day it came out, January 8, 2019, after a long, cold stretch working the night shift. This album & especially this song will stay with me for a long time. Sharon has taught me to keep working on myself. To look back in fondness. To think about how, with hard work, how much joy & peace & comfort await in my coming years. But she also taught me to lean into emotions. To embrace the ache of memories and the bittersweetness of growing up. Thanks for making this album Sharon.

“Downtown hotspot, halfway up the street / I used to be free, I used to be 17 / Follow my shadow around your corner / I used to be 17, now you're just like me / Down beneath the ashes & stone / Sure of what I've lived and have known / I see you so uncomfortably alone / I wish I could show you how much you've grown...”

TIM BAKER / Forever Overhead

I have a special feeling tied to the collection of intimate, swirling songs Tim Baker released this year from Canada. Forever Overhead carries a certain small town holiness, recognizable to those who grew up in small towns , but specific to his own personal, north-north-eastern-eastern “small” town, St Johns, in Newfoundland & Labrador, Canada. Growing up on the farthest coast of the Atlantic on the tippy, tippy point of Canada (seriously google it!), Baker fronted emo band Hey Rosetta! for four albums until striking out this Spring on his own with Arts & Crafts Records. There is a very Springsteen-esque bent to the way he writes about growing up somewhere (as someone) small & wanting to be somewhere very big and exciting. He captures the bittersweetness of growing up so perfectly. From the teenage romantic feelings in swaying opener “Dance” & the rousing “Mirrors,” to the friends & bars & singing found in the melancholic “Spirit” and the absolute hit “All Hands.” The latter is the core of the album, a bright, rhythmic guitar number that builds & swells with voices & instrumentation to a few huge, singalong choruses. A real song of the year contender. Baker isn’t afraid to let the songs go on journeys on Forever Overhead and they rarely finish where they begin. Horns & handclaps burst in at points, celebratory & fearless. The sexual tension of “Strange River” is lightened with a false start and a “sorry. In ‘D’” followed by a belly laugh, before restarting. The light & dark are present throughout Overhead and listening to these songs remind me of growing up. I feel like I’m being given a secret glance into Baker’s youth and the parts that mirror mine make me want to lift my voice in unison with those that understand. Sometimes small collections of well written & well played songs can do that, and to me... it’s sacred. Hopefully I get a chance to visit St Johns someday, and if I do, these songs will be playing as my soundtrack.

“A boy in bed, all the windows wide / You can hear the hot rods running from the light / From the light, into the dark / That's all I wanted in my cousin's car / To listen to the wind & to the lead guitars / & feel the reckless running of your heart / Now is that gone or does that all remain? / Can I go back and have it all again? / Well now I know it, where I'm going / I'm going back behind the river / I'm going back behind the rain / Cuz no matter where you're heading / You end up where you’ve been...”

YOLA / Walk Through Fire

It’s clear from the first minute & 30 seconds of Yola’s debut full-length Walk Through Fire, that this album is destined to be an all-time classic. She comes in slow & wistful with “wish I knew what you were wishing for...” over a soft wash of cymbals and mournful country-soul guitar. Then one minute in, her voice swells to gigantic proportions, seeming to lift the song right off the page, carried into another stratosphere, timeless & magnetic. That “Faraway Look” in your eyes.

From there, Yola (36 year old Yolanda Quartey from Bristol, England) takes her commanding voice through bluesy, fiddle-led country (”It Ain’t Easier” & the title track), and laid back soul (”Shady Grove” & “Deep Blue Dream”). Personal fav “Ride Out In The Country” became a backroads, summer anthem for me this year on multiple trips through Southern & Western Colorado. Through it all, her voice booms, whispers, & rocks gently, propelling the songs forward with warmth & light. Her lyrics are full of both dreamy memories & work-a-day stories about the challenges of life. It was fun this year to have different friends & family members get into Yola at different times, getting texts like “have you heard of YOLA??!!” Sharing songs, & collections of songs (like the ones on Walk Through Fire) is what makes making this list every year so fun, and I’m always excited to see what new, life-long favorites I will discover. See you in a couple months at the Bluebird Theater on Colfax here in Denver Yola!! Can’t wait!

“A little shady grove / A memory long ago / A tale too old to know the ending / I gave it all away / It takes my breath away...”

#yola #tim baker #Sharon Van Etten #saba lou #Rapsody #orville peck #lizzo #lady lamb #kiltro #kara jackson #june jones #hiss golden messenger #fruit bats #earthgang #bon iver #black belt eagle scout #big thief #better oblivion community center #justin peter kinkel-schuster

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leoninapelliolovesconchitawurst · 5 years

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ENGLISH TRANSLATION (by me)

MINUTENMUSIK.DE 23/10/19

https://minutenmusik.de/rezension/conchita-wurst-truth-over-magnitude?fbclid=IwAR2r4hLLl5nxlHLvmRYbhIJ-NPrUyvFBJGoMpPP_y8p6AgLZfOf1XxwHTgo

CONCHITA WURST - TRUTH OVER MAGNITUDE

Who cares about his artist figure today? Once upon a time, Madonna and Michael Jackson were the pioneers, and Lady GaGa has resumed them, and currently only Billie Eilish comes to mind. But even in German-speaking regions, there are musicians who define themselves not only by their songs, but also by their appearance. Conchita Wurst has recognized this and almost pushed it to the extreme.

You have to imitate this first. In 2011, Tom Neuwirth decides to perform publicly as Conchita Wurst. A female figure with curves, evening dresses, iridescent wigs and - a beard! Sorry? What's that about? Indignation! Admittedly, you can hardly speak out that you have reacted a bit confused and thus exactly what was wanted was triggered. But at the latest with the win of the Eurovision Song Contest in 2014, it was clear that Conchita Wurst is not one of the untalented drag queens, the dirty jokes rips, a little back and forth while singing crooked tones. Instead, there was a bombastic performance with "Rise Like A Phoenix", which in addition to a very strong expressiveness and a terrific composed song also offered exceptionally good vocals.

And then she was on everyone's lips. Whether you wanted it or not, but you had an opinion. Conchita became the mouthpiece of the LGBTQ community with her "We Are Unstoppable" motto, receiving support from many political sites and holding countless bullying attacks. In fact, a close acquaintance of her even outed her as HIV-positive - even that slowed her only briefly. Instead, his debut album "Conchita" featured heavy-ranged broadband pop that combined some earwigs and power ballads with plenty of matching kitsch and pathos, and an even better cover art called "From Vienna With Love". The longplayer recorded with the Wienern Symphoniker shows that seriousness and sophisticated vocals plus simply perfect arrangements are by no means mutually exclusive in the Conchita-Universe.

But that's not enough. Tom Neuwirth has realized that as Conchita he has achieved everything he wanted to achieve and actually more. Thus, Tom decides to let the figure "Conchita" die. Little by little, for almost two years, more and more of typical feminine attributes are lost. From time to time they still flash, but the optical features, which are more connected with men in the mainstream, dominate - now there is a six-pack, patent leather and a short haircut. Just watching the metamorphosis on Instagram is like going to a museum. Where is there so much thought out effort?

Long preface, which makes sense in this review. Now the third longplayer is in the starting blocks with Truth Over Magnitude. For the first time in thick letters only Wurst is on the side. Once he was Conchita Wurst, then Conchita and now just Wurst. Which initially sounds flattened, but is on closer observation much more complex. Just as random are the initials of the album title T.O.M., so it can be assumed that we see and hear more Tom Neuwirth than ever before.

Of course, a Wurst album can not sound like a Conchita record - and in fact, especially in terms of sound, a radical cut happens. Both pop sounds with radion level and orchestra tones have to give way, because now there is electro. Yes, really electro. Although in all possible facets, but in the heart it remains electro. From time to time a catchy melody seeps through, but only well dosed.

Since March, the preliminary single "Trash All The Glam" is on all portals and presents a good four minutes without chorus, but with building Sound honeycomb. Especially in combination with the morbid video it sits huge. Conchita still sounds familiar in the voice, but gimmicks lurk around the voice. An opening like a bang and a logical consequence, in which song titles and content can hardly harmonize better. Away with the glamorous costume, forth with the essence.

It's not that radical anymore. Ultimately, "Trash All The Glam" remains the only contender that only reveals a structure after several attempts. Instead, from song 2 onwards, a few catchy lines appear here and there. In the entire production of the album was really really good work again. Conchita stays out of songwriting but still has enough fingers in the game to tell her regional team from Austria where to go.

Unfortunately, the album splits in half at the end: a really successful, strong and rousing first and one almost repetitive, little saying second. Like a break, track six is all about. That Electro combines perfectly with pop and R'n'B shows the direct-fitting "To The Beat", which is clearly the best track on the album and just bucks. Even the already established as a small indie stomper hit "Hit Me" may be heard and motivated to dance and sing along. In "Can not Come Back" is additionally textually addressed that you say goodbye to previous patterns. This can be found in several songs, along with topics such as exclusion, tolerance, self-confidence and inner strength. Wurst begins in "Can not Come Back" in the lowest registers of the voice and shows changeability that captivates. "See Me Now" as a semi-ballad with drum machine sounds like a commercial form of James Blake. That too works.

But then there is not much left. If the first tracks keep pushing the expectations higher and higher, "Resign" loses himself especially in his penetrating vocals and his excess length. Even the staccato-like, redundant "Under The Gun" wants more than it actually is. The whole second half puts too much emphasis on sound design instead of melodies - but in the end Conchita Wurst is still on the plate and not Björk. For the final Truth Over Magnitude gets but then briefly the curve. "SIX" conjures up an intimate atmosphere with sharp-rhythmic sounds, just a little bit of vocal acrobatics. With the theme song as a finish, there is a long overdue blast of energy in the middle section. Here the instrumental is by far the most exciting aspect.

Conchita Wurst really manages to reinvent herself and repeatedly show other aspects of her (or should we say "his"?) ability. That deserves a lot of respect and may be watched with excitement. Truth Over Magnitude supports this hustle and bustle with the right soundtrack. Exciting, if not always quite successful, but still above average. In the end, however, the permanent haters are puked in the face and shown that talent is in no way tied to a gender and you should break again and again with conventions and forced corsets.

#conchitawurst #wurst #tomneuwirth #singer #artist #esc2014 #escwinner #music #performer #celebrity #lgbt #newalbun #truthovermagnitude #electropop #translation

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argotmagazine-blog · 5 years

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Dancing On My Own

(Silvia...)

Yes, Mickey?

(How do you call your loverboy?)

Come 'ere loverboy!

(And if he doesn't answer?) Oh, loverboy!

(And if he STILL doesn't answer?) I simply say…

I was six years old the first time I draped my father’s after-shower wrap around my waist and lip-synched for my life. In the living room of my family’s single story, ranch style home in Walnut Creek, California, I performed to “Love is Strange.” The audience, comprised of my father, stepmother, and brother, laughed hysterically at my hijinks – oh how silly to see a boy wearing a skirt and singing the woman’s part of a song! At literally the same time RuPaul was gaining notoriety working the Atlanta Circuit Parties, I, at only six years old, was slaying the Bay Area suburb living room scene and living for it, Mama!

A year later, I performed live in an oversized sweatshirt dress and leg warmers on a leather ottoman stage. Another number from this genderfuck child prodigy that resonated with my home audience was my original drag parody based on a hit Crystal Gayle song “Donuts Make My Brown Eyes Blue.” Again, I was rewarded with laughter and applause. My family truly loved me, and I was beginning to know that I was born to be a performer.

Cut to a few years later: it was a dress-up day at school for Halloween and I had no idea what to be. My stepmother came in for the heroic rescue with a waist length straight brown wig, a bandanna, a peasant skirt, and a liberal application of lipstick and eyeshadow. I looked in the mirror and instantly fell in love with myself in what would now be considered a very problematic “fortune teller” Halloween look. I can’t even imagine the accent I spoke with. Suffice it to say, if repeated today that ensemble would most definitely result in a cancel culture call out.

Year by year, I learned that I was definitely different. As a “creative” child, I was prone to talking out of turn and disrupting the class. I did not know what “being gay” was, and I had certainly never seen an “out” gay person that I knew of. The closest thing to a drag queen I knew was my Grandmother, Beatrice. She was a Portuguese powerhouse that lived larger than life in an assortment of caftans, wigs, fur coats, costume jewels, fire red fingernails, and her ever-present cocktail of choice in her hand. I lovingly called her world’s cheapest screwdriver the “Popov and Donald” after its two main ingredients: Popov Vodka and Donald Duck orange juice. The constant, comforting refrain of clinking and tinkling ice surrounded her as she stirred it steadily with her nicotine stained index finger. With parents who blasted Elton John, Neil Diamond, Bette Midler, Barry Manilow, and let’s not forget the beginning of this story, the soundtrack to “Dirty Dancing” when I was but six years old, it would seem as if the Universe was surrounding me with the perfect, magical, organic tools I would need to live my best faggotty life. Yet, In the summer of fourth grade, it all coalesced into understanding that I was truly different. Not just a creative type but there was something else, something more that separated me from the rest of the kids around me. The person who taught me this was Mr. M.

Mr. M. was my summer school theater teacher. When I saw him, I could just tell that he had the same thing that I had. That thing – the one that made me different – it was in him too. I immediately recognized it, and it was beautiful, and it made me feel so good that I wasn’t alone. It was the first time that I truly could see that there were actually adults like me too. Mr. M. had created a 4th through 6th grade summer-stock follies masterpiece that combined the story of Rapunzel with the music from Hair. It was everything my queer little heart desired rolled into a masterpiece for the stage, dusted in fairytale glitter, and laid out like a prize before me. I was cast in the dream role I could have never imagined I needed. My character was “Jacques,” Rapunzel’s best friend, confidant, and (though unspoken) very, very flamboyantly gay hairdresser. I was obviously the comedic relief – and I knew that at the time – but I didn’t care. I loved the role and despite having no idea what camp meant at the time (and certainly wouldn’t have cared if I did). I knew that this part had been created just for me, to let me shine, and I was not going to let Mr. M. down.

My stepmom stepped up like a hero again and made me look like everything that a 10-year-old, fabulous hairdresser should look like. Remember that waist length wig from my fortune teller look? Well she lovingly cut off a little 6 inch snip and braided it into the back of my big ass, blown out hair. I didn’t know or care that this was being “gay,” but I knew that I had never in my life felt more right.

In what will be a surprise to no one, I can humbly confirm that I stole the show. The audience loved me, seeing this fabulous child, living his truth, loving himself and not being afraid to shine in all his homo-glory in only the fourth grade? I was years ahead of the world and it felt amazing. In fact, before the show, we had joked in my house about the mannerisms of being gay, the flouncy walk, the limp wrists, the sassy lisp. I genuinely loved them all so much that after the performance, I began to adopt these affectations officially into my daily life, from lisping from the breakfast table: “Plleathe path the theareal” to my bedtime prayers, “in Jethus name we pray, amen”.

And that’s the moment. The moment where things changed.

“Sit down here next to me,” my father asked as he patted the bed politely. He called in my stepmother. “We should probably talk.”

After everyone assembled, my father asked thoughtfully “Do you know what homosexuality is?”

“No,” I responded quietly. I could tell immediately from his tone that 1) I was whatever that thing was and 2) that it was absolutely not okay.

“Well, it’s when two men do the things together that only a man and a woman are supposed to do together,” he lectured me. “And it is very wrong. You know how you played that part in the play, and how you have been walking and talking that way since? That’s not okay anymore. That’s how these homosexuals really act. It’s okay to act like them and laugh at them as a joke, like in the play. But it’s completely unacceptable to do those things in real life. In fact, men who do those things, well, the Bible says that they are going to hell. Do you want to go to hell?”

I did not want to go to hell. I slowly shook my head turning red, the furnace of shame stoked hot inside me.

“Good,” he said finally. “Then it’s time to stop acting like that. Back to being normal from now on.” He said goodnight, kissed me on the forehead, clicked off my bedroom light and shut the door behind him.

10…9…8… I counted down in my head. When I got to one, I thought Okay, he can’t be by the door anymore. That’s when the tears started flowing.

I still didn’t truly understand what being a homosexual was, but now I knew that I could never be one. Not only would it upset my father, but Jesus too? Well, that was just too much pressure. I was going into the fifth grade and the one thing I knew beyond a shadow of a doubt was that I did not, under any circumstances, want to go to hell.

My life was never the same from that moment on. As a child, I certainly never saw a dress or wig again. I spent the next twenty-five years pretending that I was not who I knew I was inside, trying my best to hide the traits as I got older but still knowing I had a funny voice and walk. Within a few years, I knew deep, deep inside that I was definitively the very thing I had been mandated not to be. I hid it further by marrying a woman and pretending even harder for many years that I was just a regular ol’ straight guy, just bein’ straight and actin’ straight and livin’ my best straight life. You know, lying.

I dated only women in my adolescence and finally, at age 18, I started dating my best friend. I guess we “fell in love,” though it was honestly more a relationship born of co-dependence, self-preservation, and convenience - and married at 21. For fourteen years I “played house.” To be honest, it wasn’t terrible. I had married my best friend and technically she knew I was gay as she had actually been the first and only person I had come out to up to that point. We pretended like that conversation had never happened. I thought I did an amazing job playing this role of dedicated straight husband contrary to many of the reviews on my role when I finally came out.

Everyday was a mental battle of epic proportions. Imagine a voice in your mind that has one job to do all day every day, and that job is to remind you that you are living a complete lie. I struggled with mental health issues, doing everything I could to manifest destructive patterns and catastrophes so that I could distract myself from my terrifying inner demons. As each year passed, the voice got louder and more distracting. But now I was in too deep. What would even be the value in listening to the voice and taking action? Destroying my marriage, my life and for what? I didn’t even know if what was on the other side would be better.At least I was safe in my cocoon as long as I played the part.

Finally, I couldn’t take it anymore. I wasn’t prepared to come out, but I also knew I couldn’t keep ignoring the voice the way I had been. I just needed something to quiet the voice. At the same time, I was also looking for a new fitness regime to help get my weight under control. When I drove by Padme Yoga in Sacramento, CA on a drizzly October afternoon, it seemed like kismet. Yoga could help me with my fitness, but I had also heard lots of friends talk about how much it helped them quiet their minds. Perfect! I signed up for my first yoga class, and though I was scared shitless, I actually showed up. At the end of the class, the instructor came up to me and asked me if I enjoyed the class, which I told her I did. Then she said “Come back tomorrow, this practice will change your life.” So I did. And the day after that, and the day after that, and the day after that.

The weight came off of my waist and my thighs, but there was a different kind of weight coming off of my shoulders as well. I felt happier and more joyful. People seemed to want to be around me more and I felt more authentic. I just kept showing up and my teacher from that first class was right - my life was changing. Strangely enough, the voice about my hidden sexuality was a bit quieter but I had new voices as well - ones telling me that I was perfect the way I was in that moment and that in or out of the closet, I was exactly where I was supposed to be. I began to feel this love for myself I had not felt in a very long time; not because I was skinny or more energetic, but because I was doing exactly what I needed for myself.

One Friday evening in May 2014, as I laid in pigeon pose I began to sob. People say they “ugly cry,” well I beautifully cried as years of self hate, sadness, anger, frustration, lies, manipulation, and abuse just flowed from my eyes and onto my mat. 75 minutes later, I knew I was ready. I went home, and for the first time, I let my inner knowing speak for me. I came out, for good.

The journey since has not been easy, but it has been a necessary one and I have learned so much. The best part is, I have never once been alone since. Remember that little boy, the one who went to bed that night crying, scared, and afraid that he would never be the person he was meant to be? Well amazingly enough, he woke up the moment I stepped off my yoga mat that evening. He has been by my side ever since. In fact, he is sitting right here next to me as I write this, wearing his favorite gown, loving himself, feeling beautiful and accepted. He calmly, lovingly reminds me that neither of us needs ever feel alone again.

Xavier Bettencourt is a writer and comedian currently residing in Sacramento, CA. Known for his authentic and humorous storytelling voice and unique point of view, Xavier digs deep to speak his truth and tirelessly encourages others to do the same. Follow him on Instagram for more: @thecomedybear.

#humour #queer #childhood #theater

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dustedmagazine · 6 years

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Dust Volume 5, No. 1

Idris Ackamoor and the Pyramids

Our first Dust of the year ties up loose ends from 2018 with several of our writers using the holiday break to rip through big piles of neglected discs, find the good and the great and share their observations. It’s an impressive haul with a little something for everyone from fusion-y Afro-jazz to twin guitar reveries (played by actual twins) to improvised percussion to a fascinating bandleader who reminds us of everyone and no one. This edition’s contributors included Bill Meyer (who wins this round), Isaac Olson, Derek Taylor, Patrick Masterson, Jennifer Kelly and Jonathan Shaw. Happy new year.

Idris Ackamoor and the Pyramids — An Angel Fell (Strut)

An Angel Fell by Idris Ackamoor and the Pyramids

What makes An Angel Fell, the latest from Idris Ackamoor and his resurrected Pyramids, such a blast is how effortlessly they mix Afrobeat, Afro-Cuban, dub, free jazz, blues, soul, gospel, bossa nova, and Arkestral vocals without sounding like a pastiche. What makes it important is that this inclusive, post-everything musical approach is married to an equally inclusive and utopian political sensibility: inclusive in the sense that sci-fi parables are given a seat at the table next to real world concerns, and utopian in the sense that the mystical Afrofuturism of songs like “An Angel Fell” and goofy exotica of “Papyrus” never trivialize the album highlight, “Soliloquy for Michael Brown,” which, despite its name, includes the whole damn band. Most importantly, it’s inclusive in the sense that Ackamoor and company want you marching and dancing with them, and utopian in that they whipped up a joyous hour and seven minutes of scorching solos, arresting hooks, and straight fire to get you there.

Isaac Olson

Anna & Elizabeth — The Invisible Comes To US (Smithsonian Folkways Recordings)

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Ann Roberts-Gevalt and Elizabeth LaPrelle have used backlit, hand-cranked scrolls to illustrate the stories they rendered with Appalachian harmonies and strings. On their third album, The Invisible Comes to Us, they reframe their tradition-steeped sound with retro-futurist instrumentation supplied by producer and multi-instrumentalist Benjamin Lazar Davis of Cuddle Magic and accompanists such as drummer Jim White (Xylouris White, Dirty Three) and steel guitarist Susan Alcorn. Vocoders, feedback, brass and Mellotron keep the sound varied and far from by-the-numbers folk, but the duo don’t tamper much with their impassive presentation of Civil War-vintage infidelity. It’s hard to shake the suspicion that the duo could have made just as strong an album with just their voices and strings, but that doesn’t keep this from being an intriguing advancement of the evolving folk music paradigm.

Bill Meyer

Martin Blume / Wilbert de Joode / John Butcher — Low Yellow (Jazzwerkstatt)

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The title of this trio recording is a bit of a stumper. When the CD is playing words like “bright,” “acute” and “mercurial” come more quickly to mind than “low” or any single color. German drummer Martin Blume, Dutch bassist Wilbert de Joode and English saxophonist John Butcher have been playing together since 2004, and this live set from 2016 is a splendid example of the aesthetic and methodological rapport that can evolve over such a span. These men might not know exactly what they’re going to do when they get on stage, but it’s pretty clear what they are doing. They improvise with an exacting attention to process that allows a music to come into existence that would not be possible if you swapped any player for another, yet never involves one musician dominating the others. Each has a highly distinct musical vocabulary and sufficient differences in background for the music to surprise in deeply satisfying ways.

Bill Meyer

Bixiga 70 — Quebra Cabeça (Glitterbeat)

Quebra Cabeça by Bixiga 70

Quebra Cabeça means jigsaw puzzle in Portuguese, and this latest double LP from the Afro-Brazilian ten-piece certainly fits a lot of pieces together here — rattling barrio percussion, twitchy Lagos-funked guitars, 1970s American blaxploitation soundtracks, space-age synths and swaggering sax and brass frontlines. If it sounds like too many parts, that’s where you’re wrong. Cuts like “Pedra de Raio” integrate the mystic chill of trippy fusion with a molten throb of samba rhythm. An effortless propulsion of hand drums, bumping bass and warm West African guitars moves the cut forward; serpentine sax melodies and blurts of brass jut off from the foundation. “Levante” syncopates, but slowly, with undulating, Eastern-toned sax lines weaving snake dances over it all. “Torre” picks up the pace from there, leaning into its Afro-funk influences with an agitated tangle of trebly guitars, cow-bells and blasts of horns. None of these pieces are jammed in willy-nilly, and everything fits. If you like the Budos Band, but wish they’d do a Fela tribute, this is your jam.

Jennifer Kelly

East of the Valley Blues — Ressemblera (Astral Spirits)

Ressemblera by East of the Valley Blues

Cryptophasia, a.k.a twinspeak, is the phenomenon of twins developing a language of their own, largely or entirely unintelligible to outsiders. East of the Valley Blues, comprised of Andrew and Patrick Cahill, is a twin guitar group, which is to say, they each play guitar and are literally twins, and while their knotty, wholly improvised fourth release, Ressemblera, isn’t entirely cryptophasic, you’ll need to listen closely to start piecing it together. Grab a pair of headphones and you get a brother in each ear, which helps. So suddenly do the brothers Cahill pick up, break off and drop shards of rhythm and melody that Ressemblera never resembles other guitar music but their own for more than seconds at a time. You’ll hear snatches of Fahey, Connors, Bailey et al. but the fun of Ressemblera comes from hearing familiar sounds doubly refracted through the Cahill’s unique styles and responses to each other. Ressemblera plays out in one, dense half hour track and a short epilogue, making it the least accessible East of the Valley Blues release to date, but for those willing to dive in, it might be the most rewarding.

Isaac Olson

Flanger Magazine — Breslin (Sophomore Lounge)

FLANGER MAGAZINE "Breslin" by Flanger Magazine

Remember Caboladies? For a few years back at the height of the synth resurgence, they kept up a respectable stream of squelchy sound, only to disappear like memories of Myspace. It would appear that Christopher David Bush of Caboladies has taken a path somewhat akin to that navigated by laptop rockers who swapped their Macs for modular synths; go back, man, peel back the generations of gear. The digital sheen’s gone from his solo music as Flanger Magazine, replaced by an unenhanced analog vibe generated by acoustic guitar, monophonic synthesizer, and field recordings of birds that bath near the Ohio River. Instead of the audio expanse of yore, he crafts shy and pensive themes that would be just about right for that PBS afternoon drama you dreamed up after a few too many mid-day snacks about the adventures of some long-haired Scottish mid-teens in already-outgrown flare-legged pants their friends the runaway redundant robots. Damn, that was a good dream.

Bill Meyer

Fred Frith Trio – Closer to the Ground (Intakt)

Closer to the Ground by Fred Frith Trio

Rigorously resisting complacency and conformity across stacked decades can carry the consequences of burnout for even the most ardent and resilient of creative musicians. Closer to the Ground is evidence of guitarist Fred Frith coming to terms with this fact and realizing with renewed vigor the pleasures of playing in a band. Ensemble endeavors have been a regular outlet since his youth and while the measure of their enduring value is no epiphany, the company of bassist Jason Hoopes (fielding both acoustic and electric strings) and drummer Jordan Glenn has an obvious and immediate effect of dialing in the guitarist’s mercurial and explosive side. Both sidemen are mere fractions of the Frith’s age, but each is quick to illustrate that when levied against ardor and experience any differential is just a number. Grooves are plentiful, mixing prog rock atmospherics, dub and latticed drones with a flexing, propulsive sense of consensual purpose. Frith syncs his strings to all manner of filters and pigments, refusing to hew to any enduring signature and his partners respond with a similarly colorful palette of support. Titles for the nine pieces are all evocative, but in the end its the assembled aqueous sounds that adhere to the space between the ears above all else.

Derek Taylor

Fritz Hauser – Laboratorio (hat[now]ART)

The lede to the liners accompanying Fritz Hauser’s Laboratorio is “Drums and Space,” as an accurate and pithy a synopsis of the Swiss percussionist’s art as a curious neophyte listener could ask for. Hauser’s been active as a Contemporary Classical composer for much of his career, constructing complex music that draws on all manner of drum family devices. He’s also devoted time to associations with world-class improvisers including Joe McPhee and Jöelle Léandre. Here, the focus is on solo pieces devised around the nexus of music and architecture with inspiration provided by students of the latter. As with past Hauser projects the organized sounds are exacting. Identified only by a sequential Italian number, each piece explores facets of his assembled kit (snare, toms, cymbals, woodblocks, etc.) and how those components interact and refract within the crystalline acoustics of the recording space. Ranging from ghostly metallic whispers to strident tumbling rhythms the revolving parts create a recital rich with diaphanous dynamics and precision pivots in direction. Hauser’s an unassuming master of his craft and this hours’ worth of drum-driven dramaturgy delivers on nearly every count.

Derek Taylor

Sarah Hennies / Greg Stuart — Rundle (Notice Recordings)

Rundle by Sarah Hennies & Greg Stuart

A few years back Sarah Hennies released an album called Work. While that was a solo CD of composed music, and this is an improvised collaboration between Hennies and fellow percussionist Greg Stuart (who, along with Tim Feeney, comprise the trio Meridian), the title comes to mind when listening to this cassette. For while both musicians are well acquainted with realizing profound, provocative and beautiful works by Michael Pisaro, Clara de Asis and Hennies herself, the vibe here is “let’s get to work.” The two musicians approach the assembled resources of the Banff Centre for the Arts and Creativity like a couple of tradespeople sizing up a tool shop. “What do you have here?” “What can I do with this?” “What shall we build?” Moving decisively between hard objects, scraped surfaces and hovering mallet and piano figures, they construct an edifice of sound rich in tonal and temporal contrasts. Nice work.

Bill Meyer

MP Hopkins — G.R/S.S (Aussenraum)

MP Hopkins is a both sides of the coin kind of guy. Heads, you get abbreviation.

G.R stands for “The Gallery Rounds” and S.S for “Scratchy Sentence.” Tales, you get elongation. Each of those pieces lasts a side, and each side is an unhurried investigation of the sounds that happen when not much happens. The first is a collection of degraded field recordings of forced air ventilation, not-quite-heard conversations and other stuff you aren’t supposed to notice when you check out some art. “Scratchy Sentence” is the outcome of Hopkins’ struggle to get something out of some synthesizers he didn’t really know how to use, which he compares to the task of coaxing conversation from a grumpy old man. The old man might say, “well if you learned how I talk, I’d sing!” It’s true, but who is holding classes on the lingo of old EMS and Arp machines? You learn as you go, and the discoveries that you make during that early struggle just might yield some cool sounds. That is the case here.

Bill Meyer

Sarah Longfield — Disparity (Season of Mist)

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Sarah Longfield can shred — but is that enough? Maybe it is, in a field of music that’s as hyperbolically dude-centric as virtuoso-level rock guitar. Steve Vai, Yngwie Malmsteen, the fellows in Animals as Leaders: there’s little restraint in their compositions or performative styles, which feature as much groin-focused acrobatics as tapping harmonics. So, it’s sort of refreshing to watch Longfield do her thing. She plays. Occasionally she nods her head. Much of her music is as overstuffed as the spiraling, wanking, proggy nonsense that acts like Animals as Leaders churn out. But Longfield’s understated presence and her emotionally poignant vocals keep the songs grounded, if a bit mannerly.

Jonathan Shaw

Richard Papiercuts — Twisting the Night (Ever/Never)

Twisting The Night by Richard Papiercuts

Richard Papiercuts sings in a gothy baritone, tossing off mordant asides like a 1930s movie star. That is, he’s somewhere in the Venn Diagram where the dank glamor of Bauhaus intersects with the Monochrome Set’s fey wit (it’s a very small slice). To add to the complications, his band is large, multi-instrumented and exuberant, prone to happy squalls of guitar and irresistible blurts of brass and saxophone, but also clearly aligned with punk rock’s brevity and punch. (Think Olivia Tremor Control playing Minutemen covers.) And so, it is very hard to get a handle on Richard Papiercuts, much less to box him in with reference and antecedents, but it is much easier to say fuck it all and just dive in. You can start at the beginning with “A Place to Stay,” a walloping beat galloping between big slashes of guitars, and Papiercuts singing archly about (I think) having a baby. Or move right to the ebullient roar of distorted guitars in “Starless Summer Night,” where a rackety, endlessly repeated groove recalls rave-y shoegaze bands like Chapterhouse. “The Riddle” sounds exactly like the Pixies until it doesn’t, that is until its grinding bass and incandescent guitar gives way to a joyful overload of jangling strings, banged piano keys and loopy riffs of trombone and sax. “World and Not World (Twisting the Night)” begins in a pinging new wave synth, which is subsumed not much later by a rushing krautish momentum. And over it all Papiercuts presides, morose, poetic, disdainful and stylish. If rock stars still roamed the earth, he’d be one.

Jennifer Kelly

Dane Rousay — Neuter cassette (Dane Rousay)

Neuter by Dane Rousay

The cassette’s case is pink. The playing is decisive and attentive to contrast, but also reserved. The title cancels gender, and by implication conventionally binary readings of just what a solo drum performance is about. Dane Rousay’s latest recording highlights the communicative power of orchestrated gestures. Each strike, scrape or roll not only fills up space, but asks you to think about the point of that sound manifesting in that space for as long as it is around and as long as you think about it. That’s not just a solo percussion tape you’re hearing; that’s existential expression.

Bill Meyer

Kenny Segal — Happy Little Trees (Ruby Yacht)

happy little trees by Kenny Segal

For a guy who’s fallen asleep to full-length Bob Ross episodes for years now (ask me about the days when I had to navigate endless hazardous popups on this one Chinese streaming site before the Rawse estate finally brought the whole series to YouTube), I really let myself down not investigating Kenny Segal’s Happy Little Trees closer to its mid-October release. The L.A. beatsmith, who made his name at Concrete Jungle playing drum n’ bass, has done work for Busdriver, Open Mike Eagle and collaborated with Milo, but he’s on his own here painting rhythms into the wilderness of your mind’s imagination sure to satisfy both the ASMR devotee in your life and that person who has fallen down the rabbit hole of Spotify chill mixes and cannot be retrieved. Featuring instrumental assistance including guitars, bass, sax, flute and piano from a tight cohort of co-conspirators, you’ll likely know where you stand based on the title of the seventh track alone: “Adultswimtypebeat.” Come, let’s make some big decisions together.

Patrick Masterson

Howard Stelzer — Across The Blazer (Marginal Frequency)

MFCD C | Across the Blazer by Howard Stelzer

The two tracks on Across the Blazer are founded upon a device beloved by sound designers. The Shepard Tone comprises three looped sine tones that are selectively faded to create the impression of an endlessly rising pitch. Imagine pitching a tent inside one of George Martin’s tape creations from “A Day in the Life” and spending the night while it never ends, and you’ve got an idea of what listening to this CD will do to you. It simultaneously instigates the apprehension that something is going to happen and the experience of nothing happening. Stelzer creates this experience with carefully filtered cassette tape noise, but the tools don’t really matter. It’s the vividness of the experience, which is enhanced by the halo-like masslessness of this enveloping sound, that counts.

Bill Meyer

Szun Waves — New Hymn to Freedom (Leaf)

New Hymn To Freedom by Szun Waves

Much of New Hymn to Freedom, the latest by Szun Waves, a free improv drums, sax and electronics trio tangentially related to that booming jazz scene in London you’ve been hearing so much about, is the burbling and exhilarating aural equivalent of the (in)famous “Star Gate” sequence in 2001: A Space Odyssey, except there’s a younger, more hopeful version of yourself at the end of the tunnel. But the best tracks on New Hymn To Freedom, the gorgeous, nocturnal “Fall Into the Water” and the melancholy, swinging “Temple”, are grounded and restrained. It’s as easy to imagine them playing as you lay on the hood of your car as it is piloting yourself through the cosmos.

Isaac Olson

Terre Thaemlitz — Comp x Comp (Comatonse Recordings)

Comp x Comp by Terre Thaemlitz

Anyone too lazy (or naïve) to investigate the mammoth back catalog of producer, poet, queer theorist and all around champion of the disenfranchised Terre Thaemlitz beyond the canonized DJ Sprinkles release Midtown 120 Blues has been gifted something special as 2019 dawns: Thaemlitz’s Comatonse Recordings made its way to Bandcamp in early January with a hodgepodge of albums that, as she puts it, “I have sold out of, but there is not enough interest for a physical repress.” Among these releases – which include 1995’s organic Soil and 1999’s bait-and-switch-campaigned Love for Sale: Taking Stock in Our Pride – is something especially noteworthy, Comp x Comp. The 76-track album is, as its title would suggest, a compilation of minimalist glitch, noise, ambient and nigh orchestral pieces that largely eschew dancefloor adrenaline. A series of 10 disorienting audio shorts each around a half-minute, "Mille Glaces.000-009," will intrigue Mille Plateaux completists deprived of a chance to hear it when the label went bankrupt in ’03, but there are also proper tracks like the 11-minute “Get in and Drive” and “A Quiet of Intimacy Mirrors Distance.” Thaemlitz’s idea of filling out the remainder of a CD length with 47 mostly silent one-second tracks occupies much of the tracklisting, but don’t be fooled: You’re getting your 80 minutes’ worth… and not a second more or less.

Patrick Masterson

Mike Westbrook — Starcross Bridge (Hatology)

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As befits a man known best as a big band leader, Mike Westbrook has not made many solo records. This is only his third in 43 years, and it freely references things and people who have passed. Aged 81 when he recorded it in December 2017, Westbrook has seen a lot. He’s old enough to remember World War II and the drabness of postwar England; old enough to have been persuaded first hand of swing and modern jazz’s life-giving inspirations; to have seen his band-mates experiment there way into free improvisation while the world went nuts for the Beatles; and to have seen his generation inevitably pass the world on to the ill-gripping paws that have dubious hold of it now. You can hear bits of all of that across this album’s 14 tracks, as well as more personal memories. Cherished favorites by Duke Ellington and Thelonious Monk bump up against pop tunes that he played with his wife Kate, and a couple originals are dedicated to musicians who played in his band but are no longer with us. Each performance feels as well framed as a remembered story, the one that you tell over and over to keep that memory alive.

Bill Meyer

Woven Skull — S/T (Oaken Palace)

Woven Skull by Woven Skull

Ireland’s Woven Skull has a few neat tricks up their sleeve: they use drums, viola, mandola and whatever else is laying around, to whip up furious, black metal-esque squalls and eerie folk hauntings. They harness roiling free improv to mantric repetition and pentatonic, vaguely north African motifs. They mimic (and insert) the sounds of the bogs that surround their home base in Leitrim into their headier jams and, like their spiritual forbears Sun City Girls, they’ve got a penchant for homemade, bike bell gamelan. However, Woven Skull’s greatest trick is convincing you, for as long as they’re playing, that they’re the greatest band in the world. More serious than Sun City Girls and more playful than Bardo Pond, Woven Skull is a great introduction to your new favorite cult band.

Isaac Olson

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itsenougghtokeepmegoing · 6 years

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25 Rules For Moms With Daughters

1. Paint her nails. Then let her scratch it off and dirty them up. Teach her to care about her appearance, and then quickly remind her that living and having fun is most important.

2. Let her put on your makeup, even if it means bright-red-smudged lips and streaked-blue eyes. Let her experiment in her attempts to be like you…then let her be herself.

3. Let her be wild. She may want to stay home and read books on the couch, or she may want to hop on the back of a motorcycle-gasp. She may be a homebody or a traveler. She may fall in love with the wrong boy, or meet mr. right at age 5. Try to remember that you were her age once. Everyone makes mistakes, let her make her own.

4. Be present. Be there for her at her Kindergarten performances, her dance recitals, her soccer games…her everyday-little-moments. When she looks through the crowds of people, she will be looking for your smile and pride. Show it to her as often as possible.

5. Encourage her to try on your shoes and play dress-up. If she would rather wear her brother’s superman cape with high heals, allow it. If she wants to wear a tutu or dinosaur costume to the grocery store, why stop her? She needs to decide who she is and be confident in her decision.

6. Teach her to be independent. Show her by example that woman can be strong. Find and follow your own passions. Search for outlets of expression and enjoyment for yourself- not just your husband or children. Define yourself by your own attributes, not by what others expect you to be. Know who you are as a person, and help your daughter find out who she is.

7. Pick flowers with her. Put them in her hair. There is nothing more beautiful than a girl and a flower.

8. Let her get messy. Get messy with her, no matter how much it makes you cringe inside. Splash in the puddles, throw snowballs, make mud pies, finger paint the walls: just let it happen. The most wonderful of memories are often the messy ones.

9. Give her good role models- you being one of them. Introduce her to successful woman- friends, co-workers, doctors, astronauts, or authors. Read to her about influential woman- Eleanor Roosevelt, Rosa Parks, Marie Curie. Read her the words of inspirational woman- Jane Austen, Sylvia Plath, Emily Dickinson. She should know that anything is possible.

10. Show her affection. Daughters will mimic the compassion of their mother. “I love yous” and Eskimo kisses go a long way.

11. Hold her hand. Whether she is 3 years-old in the parking lot or sixteen years old in the mall, hold on to her always- this will teach her to be confident in herself and proud of her family.

12. Believe in her. It is the moments that she does not believe in herself that she will need you to believe enough for both of you. Whether it is a spelling test in the first grade, a big game or recital, a first date, or the first day of college…remind her of the independent and capable woman you have taught her to be.

13. Tell her how beautiful she is. Whether it is her first day of Kindergarten, immediately after a soccer game where she is grass-stained and sweaty, or her wedding day. She needs your reminders. She needs your pride. She needs your reassurance. She is only human.

14. Love her father. Teach her to love a good man, like him. One who lets her be herself…she is after all wonderful.

15. Make forts with boxes and blankets. Help her to find magic in the ordinary, to imagine, to create and to believe in fairy tales. Someday she will make her 5 by 5 dorm-room her home with magic touches and inspiration. And she will fall in love with a boy and believe him to be Prince Charming.

16. Read to her. Read her Dr. Seuss and Eric Carle. But also remember the power of Sylvia Plath and Robert Frost. Show her the beauty of words on a page and let her see you enjoy them. Words can be simply written and simply spoken, yet can harvest so much meaning. Help her to find their meaning.

17. Teach her how to love- with passion and kisses. Love her passionately. Love her father passionately and her siblings passionately. Express your love. Show her how to love with no restraint. Let her get her heart broken and try again. Let her cry, and gush, giggle and scream. She will love like you love or hate like you hate. So, choose love for both you and her.

18. Encourage her to dance and sing. Dance and sing with her- even if it sounds or looks horrible. Let her wiggle to nursery rhymes. Let her dance on her daddy's feet and spin in your arms. Then later, let her blast noise and headbang in her bedroom with her door shut if she wants. Or karaoke to Tom Petty in the living room if she would rather. Introduce her to the classics- like The Beatles- and listen to her latest favorite- like Taylor Swift. Share the magic of music together, it will bring you closer- or at least create a soundtrack to your life together.

19. Share secrets together. Communicate. Talk. Talk about anything. Let her tell you about boys, friends, school. Listen. Ask questions. Share dreams, hopes, concerns. She is not only your daughter, you are not only her mother. Be her friend too.

20. Teach her manners. Because sometimes you have to be her mother, not just her friend. The world is a happier place when made up of polite words and smiles.

21. Teach her when to stand-up and when to walk away. Whether she has classmates who tease her because of her glasses, or a boyfriend who tells her she is too fat - let her know she does not have to listen. Make sure she knows how to demand respect - she is worthy of it. It does not mean she has to fight back with fists or words, because sometimes you say more with silence. Also make sure she knows which battles are worth fighting. Remind her that some people can be mean and nasty because of jealousy, or other personal reasons. Help her to understand when to shut her mouth and walk-away. Teach her to be the better person.

22. Let her choose who she loves. Even when you see through the charming boy she thinks he is, let her love him without your disapproving words; she will anyway. When he breaks her heart, be there for her with words of support rather than I told-you-so. Let her mess up again and again until she finds the one. And when she finds the one, tell her.

23. Mother her. Being a mother - to her - is undoubtedly one of your greatest accomplishments. Share with her the joys of motherhood, so one day she will want to be a mother too. Remind her over and over again with words and kisses that no one will ever love her like you love her. No one can replace or replicate a mother's love for their children.

24. Comfort her. Because sometimes you just need your mommy. When she is sick, rub her back, make her soup and cover her in blankets - no matter how old she is. Someday, if she is giving birth to her own child, push her hair out of her face, encourage her, and tell her how beautiful she is. These are the moments she will remember you for. And someday when her husband rubs her back in attempt to comfort her...she may just whisper, "I need my mommy."

25. Be home. When she is sick with a cold or broken heart, she will come to you; welcome her. When she is engaged or pregnant, she will run to you to share her news; embrace her. When she is lost or confused, she will search for you; find her. When she needs advice on boys, schools, friends or an outfit; tell her. She is your daughter and will always need a safe harbor - where she can turn a key to see comforting eyes and a familiar smile; be home.

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draftno9000 · 6 years

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Lady Gaga’s Enigma: Inside the outside.

"Music is essentialy twelve notes between any octave; all any artist can offer the world is how they see those twelve notes.."

It's an understatement to say that Las Vegas is one of the most important cities for the music industry and entertainment, to the visitors it offers endless sources of multiple activities that take the daily routine and stressful daily life pressure away and bring lights, fun and even gambling to the table. But in this case, the city specially takes music performances and concerts to another level. For years, the streets of this city in Nevada kept in their hearts the talents of enormous and really iconic legends as Cher, Celine Dion and Mariah Carey, (just to mention some of them) and made them look like they were a gem needed of perpetuation and admiration that attracted millions of followers to one single place. On an artistic way, we should consider Las Vegas residencies as a museum of the most emblematic artists that are not afraid to build a mind-blowing show that could easily overshadow their scene domination and vocals skills.

On March 2018 Lady Gaga made official her Las Vegas residency starting on December 2018 until late November 2019, with a total of 74 shows. As the name was published, 'Enigma' quickly created a hot burning fuss around her loyal fans and set the record straight on aiming to give a premium quality show. As months went by since the show announcement, Gaga flashed on social media a bunch of pictures and videos that were able to get into the followers minds and grow inside the seed of high expectations and enigmatic elements that would make the attendants gasp and ask for more. It was already clear that the main objective was already fulfilled: entertain. But the game-changing factor about preparing a full pop concert for months is to go further than the expected.

It's really important to remember that music labels bet more than money on letting one of their artists sign an exclusivity contract with a single venue or hotel as Ceasar's Palace or MGM hotels when there are hundreds of safer reputation-linked options for an artist career. A residency is an ultimate risk: it could make a whole career that took years to be stablished among thousands of other singers or bands look like a forgotten artist ready to farewell, or add a priceless milestone to the ongoing performer.

As the main doors for general admission opened at 9:00 pm on December 28th for the opening night, Gaga's crew had already made a fucking big statement by letting people witness a breath taking simple stage that could only make you wonder: What is this? in a good way. When you hear 'Gaga' you can think of a million ways to descrive her, but I think the most accurate and simple word to break her down is: crazyness. Which is not helping her at all. Even if she wanted to sit on a chair with brown hair and make everyone shiver on their seats with her un-taming vocals, everyone would be asking for more. Because we're at Park MGM in Las Vegas, you'll demand to make every penny spent on your ticket worth it.

The lights turned off and a flying- full of light and mirrored-suited Lady came down the ceiling with a keytar attached to her guts and her hands, ready to unbelt a nailed opening track: Just Dance, followed by general public recognized bangers as Poker Face and LoveGame. At this point you already owe money to the backstage work made to wow you. The perfectly fitted outfit, the theme-according electric blue wig that remains flawless through original choreographies, and the sassy-attitude dancers beg for more than your attention, your live-experiences passion.

As the 'Venus' performer quickly changed her look from weave to heels, a set of fan-favorite hits were about to play. 'Dance In The Dark' refilled the fan base's hunger with a live perfomance of a song that she didn't sing since her 'Monster Ball Tour' on 2010; full of energy and obscene pop dance moves Gaga gave her little monsters the flashback moment of the night. As 'Beautiful, Dirty, Rich' and 'The Fame' blasted the speakers for a 5,000 crowd, the attendants were singing along to memorable non-single lyrics but the critics went to the doubt point as wondering if they were a wise choice to include on the setlist, which personally I think it wasn't.

With only 5 studio albums, an original soundtrack and 21 official singles, it gets complicated to dismiss songs that most of the people awaits and include long-time forgotten and underestimated tunes to bring a spin to the expected. 'Telephone' made the cut by closing the second act of the show while 'Applause' got to open the next one with no big excitement along. Choices.

The whole 2 hour show is narrated and story-told by 'Enigma' a digital high technology character that interacts with Gaga through the interludes and give an unnecesary story to the experience. As we know, the thin line between giving meaning to a concert's concept and making it hard to understand, was crossed with Gaga's abduction into another kind of paralel universe. When alienated Gaga is flying on a metal orbit above the crowd while singing Paparazzi we couldn't help but to enjoy the obligated awaited song and ask for more. But then, it happened.

The awkwardness swallowed the crowd into Gaga's versatility as writer, singer and performer while she sang an epic performance of ARTPOP's opening track Aura while her black-leather corset pushed her vocals and body moves to her finest. '..Enigma pop star is fun..', right?

Nobody asked, but she gave us anyway a recipe for jaw-drops: First, get back on stage while riding a metal-aracnic robot. Second, play a fake-german non-single for your most loyal fans: 'Scheisse'. And last but not least, rock a metalic and futuristic styled outfit that lights up your boobs while you command everyone to dance and sing their lungs out. Period. And, as a hardcore pop enviroment was flotating in the air, 'Judas' started playing hitting the high notes and a violent role-play for almost 4 minutes. For the third song of the act production could have wrote *Madness* on the setlist instead of spelling the track's title 'Government Hooker'. At the end of the segment comes a cover of David Bowie's 'I'm Afraid Of Americans' as a friendly reminder of two essential Lady Gaga's components: legends as inspiration and a political message hidden underneath colossal synths.

I will always stay true to the belief that when you have an integral timeless pop hit as 'The Edge of Glory' or 'Alejandro' all you need to do is sing and dance your talents off and you'll get to a most memorable moment on the attendant's memories than a full of props-already expected performance. The MGM Park venue bowed down to sing along the piano chords fully live played by Gaga while perfoming 'Million Reasons' and 'Yoü and I' with the tender and notorious comfort that she gives to every note just to achieve a moment of recognition that bleeds vocal maturity and passion.

The night was almost done when a latex-styled, blue-wiged and fearless Gaga performed her 10-year career anthems. 'Bad Romance' set the room on fire with an explosion of pop mixed with nostalgia just by standing alone underneath a bright light dancing it's iconic choreography that's been kept on our minds through the years. You don't need to be a fan to recognize that those dance moves were born with the melodies and brutal lyrics that made this tune a hymn. The encore wouldn't be as satisfying if she didn't put 'Born This Way' at this precise moment to remind once again that she's come a long way by staying true to her beliefs and fighting for them.

The last song threw us out off the deep end while Gaga performed 'Shallow' along a black simple shirt that belongs to her first moments on the industry and a squicky-clean-mirrored piano to reach the already legendary high note that everyone can now sing to make your emotions shiver and open your senses to a melody that will now, last forever.

Just as her versatility and mind-blowing open-hearted talent, there is no conclussion here. Enigma takes all the little things you expect it to be and bury them on the heated Vegas floor to make you understand that you just witnessed a well-thought show built around 21 songs that tell a story and make a statement that this is not retirement show, but instead, a big moment on the entertainment history in a city where anything can happen.

#lady gaga #journalism #enigma #las vegas #pop culture

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patternsintraffic · 3 years

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My 100 Favorite Albums of the 2000s: #30-#21

We're about to dip into the top quarter of the list. There's not much to say that hasn't already been said in my pre-list ramblings so far, so I'll save us both some time and get right into it! Enjoy!

30. Unwritten Law - Elva (2002)

Rock radio ruled my listening habits in the early 2000s. A lot of my earliest musical favorites came straight from the airwaves of 99.1 WHFS, and though I don't hold all of them in such high regard nowadays (3 Doors Down, Limp Bizkit, and Orgy come to mind, though respect is due all around) some of them still stand tall as the most formative bands of my life. Those days seem like a weird parallel universe when I look back on them now. The radio played alternative rock songs by little-known or up-and-coming bands? The rare times that I've tuned in to a radio station lately, it seems like all the airspace is taken up by established hitmakers without much in the way of chances being taken. If it wasn't weird enough to have bands like Unwritten Law on the radio, Elva's lead single "Seein' Red" cracked the TRL top ten! A punk rock band ten years into its career had a video on primetime after-school MTV. I bought the CD and was immediately captivated. The harder songs had edge but didn't take themselves too seriously, while the softer songs were perfectly tailored to my nice-guy persona. Elva doesn't feel quite as unique looking back on it in 2021, but I can't deny that these tracks are heaters all the way through.

29. Phantom Planet - The Guest (2002)

One of the closest friendships I've ever experienced was with a classmate and bandmate in high school. For a few years, we were absolutely inseparable, and we shared a lot of formative experiences. This friend was the first in our group to get a driver's license and a car, and even though he lived a few miles from our school he would drive 15 minutes out of his way to pick me up and give me a ride in the mornings. For a while - it seemed like forever but was probably only a few weeks - The Guest was the album most often blasting through the speakers as we enjoyed our first taste of freedom. I can remember anecdotes about every song where he would point out a moment he loved or turn up the volume to bask in a shimmering chorus. These are pure, sundrenched pop songs that are etched in my history as the perfect soundtrack for carefree summer drives. The possibilities are limitless and the music just enhances the moment. I wasn't even that crazy about the album when I first heard it, but by now it's earned an easy spot among my all-time favorites.

28. The All-American Rejects - Move Along (2005)

Move Along was released during the summer between graduating high school and going off to college. The infectious choruses of "Dirty Little Secret," "Move Along," and "It Ends Tonight" alongside the wistful ballads like "Dance Inside," "Straitjacket Feeling," and "Can't Take It" were tailor-made for those carefree months. I vividly remember the album blasting at my then-girlfriend's pool party, laughter and young love in the air as it seemed like everyone in our friend group had coupled up at the time. One of those idyllic, nostalgic-even-as-it-was-happening kind of moments. These songs still bring back those good feelings, and it's still hard to resist a singalong.

27. My Chemical Romance - Three Cheers for Sweet Revenge (2004)

This is the other "edgy" album that was pushed on me by my good friend shortly after its release. The harsh vocals and morbid lyrics weren't really my bag at the time, but my friend showed up at my house one day with a copy of the album he bought for me. A few listens after it was forced upon me, I was fully on board. The songs were raw and energetic, but also impossibly catchy and fun. Not long after, I was at my college freshman orientation and the video for "Helena" was playing on MTVU in the lobby of my dorm building. A few months into that freshman year, My Chemical Romance performed in our on-campus arena and all my friends came to visit for the show. It was an incredible performance and still the only time I've seen the band live. It cemented Three Cheers for Sweet Revenge as the peak MCR album for me, even if their popularity hit its zenith with The Black Parade.

26. Keane - Hopes and Fears (2004)

I was way into the Britpop craze in 2004, and I was way into any rock band that featured a piano, so naturally I ended up buying Keane's Hopes and Fears after hearing "Somewhere Only We Know" and "Bend and Break." I loved the album then and listened to it a ton, but my appreciation for it has only grown over the years. As most of these albums are steeped in nostalgia and elevated by the fact that I was discovering so many sounds for the first time, Hopes and Fears is aging like a fine wine. I recently got the album on vinyl and it is one of my most-played records. With a wife who doesn't much appreciate the heavier end of my musical taste spectrum and two baby girls in the house, everyone can enjoy this album. Maybe I'm just settling into easy listening territory as I enter the dad phase of life, but this album just clicks, all these years later. That falsetto on "She Has No Time" is the stuff middle-aged dreams are made of.

25. Linkin Park - Meteora (2003)

I'm sure there are many people with similar stories, but Linkin Park was my gateway into rock music. In 2000, I was in middle school and had my radio tuned to the Top 40 station, where I was bombarded with boy bands, teen pop stars, hip hop, and Eiffel 65. No disrespect to those genres (maybe a little to Eiffel 65), but that music was never more than enjoyable background noise. My friend, who is appearing quite a bit near the top of this list due to his propensity to push me out of my comfort zone, literally changed the course of my life by coaxing me to tune into the local rock station, 99.1 WHFS, to hear "One Step Closer." I liked the song, though I wasn't used to such aggressive music. I changed the dial back to Top 40 once my friend left my house, but a few days later I was banished to dust my room and decided to spice up the activity with an edgy soundtrack. The first song out of the speakers after changing the dial was Bush's "The Chemicals Between Us," and I was immediately caught up in the energy and attitude of the track. I've never become a huge Bush fan, but that song will always hold a special place in my heart. (The last "chemicals" that hangs in the air when the band cuts out at the end of the last chorus? Music goals to this day.) From then on out, I was strictly a rock radio listener, and Linkin Park ruled the airwaves that year. I stayed up late watching MTV just hoping to see their music videos. I got Hybrid Theory that Christmas and listened to it on repeat while playing The Legend of Zelda: Majora's Mask on Nintendo 64. What a time to be alive. It's hard to put Meteora on this list over Hybrid Theory (I'd say it's a virtual tie), but with Linkin Park as my first favorite rock band, Meteora was my first highly-anticipated follow-up album. I remember when the first singles started trickling out before the album's release, and being blown away by the bit of progression in the band's sound while ultimately just being amazed that they'd done it again. The three-year wait between albums seemed insanely long at the time, as I hadn't followed specific bands for long enough to be used to the normal album cycle (plus, that was like a quarter of my lifetime). Meteora surpassed all the high expectations I had for another Linkin Park album and didn't leave my Walkman for months.

24. Jimmy Eat World - Bleed American (2001)

The first time I listened to music through the wonder of the Internet, I was in my mom's office staring at the homepage of Jimmy Eat World's website on a 30-pound monitor. The desktop speakers were blaring the title track to the band's upcoming album Bleed American, and despite the poor connection making the song play in fits and starts, it blew my mind completely. It felt like I was getting away with something, being able to just listen to a song on my PC whenever and however many times I wanted? Was this allowed? I was hooked. The moment was enhanced by the energy of the song, which was just as intoxicating as the thought that I was getting my first taste of the future of music distribution. Of course, I purchased the CD as soon as possible and "Bleed American" was joined by "The Middle," "Sweetness," and "Get It Faster" in a smorgasbord of uptempo rockers. Add the heart-on-sleeve emo of "Hear You Me" and "My Sundown," and you have a modern classic.

23. Hot Rod Circuit - Sorry About Tomorrow (2002)

"The Pharmacist" is one of a handful of songs that I loved, unequivocally, the first time I heard it. As soon as I could, I picked up Sorry About Tomorrow and Hot Rod Circuit immediately sprung into the upper echelon of my favorite bands. "At Nature's Mercy," "Radiation Suit," "Cool for One Night," and "Let's Go Home" were more of the tunes that just seemed to get me. Hot Rod Circuit didn't sound radically different than the other hundreds of pop-punk acts of the time, but Andy Jackson's songwriting chops made these songs sound so sophisticated and specifically tailored to my tastes. They've been leapfrogged by a number of other more unique bands over the years, especially as Jackson's output got more uneven after Hot Rod Circuit's breakup in 2007. But when I put this album on it still feels like I'm in my bedroom at my parents' house, marveling at how a band can so perfectly deliver on what you're hoping to get out of music.

22. Ambulance LTD - LP (2004)

In 2004, I heard and loved "Primitive (The Way I Treat You)," the single from Ambulance LTD's first and only full-length album LP. The track had this swagger and groove that wasn't present in most of the self-deprecating and angry emo rock of the time. However, the elements that made the song unique also kept me from exploring more of the band's output. Five years later, when I had some disposable income and an expanding taste in music, I remembered "Primitive" and decided to check out the full album. LP didn't leave my car CD player for weeks, as I listened on repeat nonstop to and from work every day. The album is a unique blend of indie rock and shoegaze and absolutely nails the feel/vibe/what-have-you that it's going for. It's a shame that legal troubles with their record label spelled the end of the band before a follow-up could be released. A couple more albums in the same stratosphere as LP could have given Ambulance LTD the distinction of being one of my all-time favorite bands. Instead they are probably my favorite hidden gem. A band that only needed one album to make a lasting impression.

21. Lovedrug - Everything Starts Where It Ends (2007)

Lovedrug burst onto the scene in 2004 with their debut album Pretend You're Alive. While many regard that album as the band's best work, to me their sophomore effort Everything Starts Where It Ends is bigger, better, more cohesive, and more fully realized than its predecessor. It comes out of the gate with the dual alt-rock anthems of "Happy Apple Poison" and "Pushing the Shine" before succumbing to its more fragile side on the beautiful "Castling" and "Thieving." As great as the first half of the album is, it's the second half that cements it as an all-timer for me. "Ghost by Your Side" is the emotional centerpiece of the album. "Casino Clouds" and "Doomsday & the Echo" perfect the Lovedrug formula of haunting verses that give way to ripping choruses. "Salt of the Earth" combines glass-shattering percussion (literally, as far as I can tell) with a gorgeous chorus to form my favorite Lovedrug song. "American Swimming Lesson" is the highest-energy track on the album, and the nearly eight-minute title track closes Everything Starts Where It Ends in epic and fitting fashion. This album is more than the sum of its parts, but each part is incredible in its own right. One of my favorite full-album journeys to take. What a ride.

#albums of the decade #best of the 2000s #countdown #top100 #nostalgia trip

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