#i listened to part one's ep in my friends basement and all three of us lost our collective minds

[vinylvacancy]

vinyls from my collection ( in no particular order ) 18 / dead horses

petals for armor ( 2020 ) by hayley williams

[crowdvscritic]

round up // AUGUST 21

Happy 2nd birthday to these Round Ups! For two years I’ve been making monthly pop culture picks, and they’ve included:

More than 200 movies

32 TV shows and specials, plus 8 different Saturday Night Live Round Ups

27 albums, singles, playlists, and more music picks

13 podcasts

12 books

2 concerts

There have also been articles, events, museums, social media bits, trailers, and a service that helps you find movies across streaming platforms. (Find all of them here.) This month I’m adding a few more, like: 

2 podcasts

2 albums

5 vampire movies

A conversation between two GOATs

A very funny dead guy

A terrifying Robert Mitchum performance

Another Dumb Rom-Com I Nevertheless Enjoyed

Here’s to another year!

August Crowd-Pleasers

1. Jungle Cruise (2021)

Indiana Jones meets Pirates of the Caribbean with a dash of The African Queen. I like all those movies, so sue me, I had a nice time! Crowd: 8.5/10 // Critic: 7/10

2. Deep Blue Sea (1999)

Genetically-enhanced sharks try to break free of their cages in an ocean research facility, chaos ensues for the characters, and it’s a delight for us. For no intelligent reason, I love movies that make me guess who’s going to get killed off next, so a big dumb shark movie starring L.L. Cool J and Samuel L. Jackson? It’s a particular brand of joy. Crowd: 8/10 // Critic: 5.5/10

3. Double Feature — Adam Sandler Comedies: 50 First Dates (2004) + Murder Mystery (2019)

Adam Sandler movies are little like IcyHot for the brain—that is, they’re the relaxing kind of mind-numbing. Thanks to a stressful month at work, I watched six Sandler flicks in August—which I don’t necessarily recommend but also don’t regret—and the Netflix original Murder Mystery (Crowd: 8.5/10 // Critic: 7/10) was one of the the best of the bunch. It’s a silly spoof of Agatha Christie’s work, and it’s a scenic two-hour European vacay. I also gave 50 First Dates (Crowd: 8.5/10 // Critic: 7/10) another try and was pleasantly surprised. Once you get past some of the gross-out humor at the beginning, you’ll find a sweet story all about how we need to keep showing up for the people we love.

4. Double Feature — SNL Comedies: Wayne’s World (1992) + Hot Rod (2007)

My love for Saturday Night Live is more than well-documented, so exactly zero mes were surprised that I loved these flicks from its alums. Wayne’s World (Crowd: 9/10 // Critic: 7/10) follows up with Wayne and Garth in the basement we first saw on late night. Now they have the opportunity to make it big on TV thanks to a sleazy exec (Rob Lowe). Brian Doyle-Murray and Chris Farley show up, and so do Laverne and Shirley? Hot Rod (Crowd: 8.5/10 // Critic: 6.5/10) follows Rod (Andy Samberg) as he tries to make it big as a stuntman and impress his stepdad (Ian McShane). Will Arnett, Bill Hader, and Chris Parnell show up, and now I can mostly forgive all those boys in high school who quoted this movie non-stop.

5. Weekend at Bernie’s (1989)

If those SNL comedies weren’t enough silliness for you, how about you add some Bernie to your lineup? Andrew McCarthy and Jonathan Silverman are wannabe-yuppies who think they’ve got their  career breaks when an exec named Bernie invites them to his vacation home for the weekend. What they don’t know is that Bernie (Terry Kiser) has been laundering money, is connected to the mob, and, is now, um, dead. The right thing would be to call the police, but then we wouldn’t have a 97-minute high-concept comedy, now would we? Crowd: 9/10 // Critic: 7/10

6. Twilight series (2008-12)

I mostly skipped the Twilight phenomenon at its peak, but I’m so glad I hopped on the train years later—this series of vampire vs. werewolf showdowns are ridiculous.  But major kudos to the filmmakers who somehow turned a dump truck of nonsensical gobbledygook and unhealthy teenage relationships into something insanely watchable. Also, major kudos to Billy Burke and his understated, curmudgeonly, sarcastic performance. Bella’s dad is the MVP with the only appropriate responses to all of the nonsense he's forced to participate in and the only tether this franchise has to reality. Be sure to watch with a friend so you have someone else to process this weirdness with. Series Crowd: 8/10 // Series Critic: 5/10

7. Seven Brides for Seven Brothers at The Muny

You know what’s great? Live theater! This month I made my first trip back to the stage at America’s oldest and largest outdoor amphitheater, the Muny in St. Louis. Their productions never disappoint, and these performers reminded me of Howard Keel, Jane Powell, and Russ Tamblyn in the best ways. 

8. Wimbledon (2004)

Paul Bettany and Kirsten fall in love at Wimbledon! Frankly, that premise alone should be enough to sell you on this very winning rom-com. Crowd: 8.5/10 // Critic: 7.5/10

9. Career Opportunities (1991)

This month’s Dumb Rom-Com I Nevertheless Enjoyed! Frank Whaley and Jennifer Connelly fall in love while stuck overnight at a Target—which honestly sounds like a dream scenario—and since it’s a John Hughes script, it’s got some heart beneath its thin premise. John Hughes directing would’ve made it better, but there’s enough Hughes in there to catch my heart. Crowd: 7/10 // Critic: 4.5/10

10. First Blood (1982)

Aka Rambo: Part I. Sylvester Stallone is a tough-as-nails Vietnam vet, and Brian Dennehy is the self-righteous sheriff who ticks him off. It digs a bit into PTSD and how we don’t take care of our veterans, but mostly, it’s just Stallone going ape with a knife and explosives. Oddly, also from the same director as Weekend at Bernie’s! Crowd: 8.5/10 // Critic: 7/10

August Critic Picks

1. TCM’s The Plot Thickens Season 2 (2021)

You know those movies that make you ask, “How on Earth did this get made?” This season of The Plot Thickens, subtitled The Devil’s Candy, is an attempt to answer that question. Pretty much no one thinks 1990’s The Bonfire of the Vanities works as a film—including yours truly—and reporter Julie Salomon documented many of its production troubles leading to the final product. A must-listen for anyone who loves hearing behind-the-scenes stories or just gets a kick out of schadenfreude. 

2. Gene and Roger (2021)

Gene and Roger, the summer series on The Big Picture podcast, is an overview and reflection on the work of Gene Siskel and Roger Ebert, starting with the launch of their individual careers in the ‘60s through their partnership that lasted into the ‘90s. Another must-listen for movie lovers, especially those who love digging into the history and criticism.

3. Gold-Diggers Sound by Leon Bridges (2021)

Chill vibes and cool groves to transition you from Summer to Autumn.

4. The Good, the Bad and the Ugly (1966)

Come for the Clint Eastwood, stay for the Ennio Morricone. Actually you can stay for Eastwood, too, because his humor is at his driest, and for Eli Wallach, whose Tuco is an insanely charming cockroach. It’s almost three hours, but this treasure hunt breezes by like a tumbleweed in the wind. Crowd: 8/10 // Critic: 9/10

5. AFI’s Master Class - The Art of Collaboration: Steven Spielberg and John Williams (2011)

Two GOATS talking about making some of the GOATs. They share clips and explain their collaborative process (including on projects like Jaws and Schindler’s List), and they take questions from film students at AFI. I’m only wishing it were 10 hours instead of 1!

6. The Night of the Hunter (1955)

Robert Mitchum’s terrifying preacher elevates this classic into more than just a standard crime thriller. Crowd: 8/10 // Critic: 8.5/10

7. Respect (2021)

While a few scenes indulge in melodrama, Jennifer Hudson’s killer performance—both in vocals and character work—more than makes up for it. This Aretha Franklin biopic hits the familiar beats, but it makes you feel like you’re in the room listening to Franklin sing , which is really all you want from a movie like this. Crowd: 8/10 // Critic: 8/10

8. Solar Power by Lorde (2021)

At first listen, this minimalist pop record sounds worlds away from the angst of Pure Heroine and the melodrama of Melodrama. At second listen, you realize it’s the Lorde you know and love, just with a Laurel Canyon influence. Carole King even gets a shout!

Also in August…

This month Kyla and I checked out Loveline, a call-in radio show popular during the run of Gilmore Girls.  Should our favorite Yale students give up dating OR call into the syndicated radio show Loveline? Should Dr. Drew Pinsky and Adam Carolla give strangers advice OR make fun of them? Oh, and Germany OR Florida? Listen to ep. 107 of SO IT’S A SHOW?

The '40s are coming! Reviews of 1940s Best Picture winners are on their way, and I kicked it off with an overview of the Academy that decade focusing on how they responded to World War II and their new prestigious reputation.

Photo credits: The Muny, The Plot Thickens, Gene and Roger, Leon Bridges, AFI, Lorde. All others IMDb.com.

[musicollage]

Lali Puna. Faking The Books, 2004. Morr Music.  ~ [  Album Review |      1) Pitchfork  +  2) Tiny Mix Tapes  +    3) Stylus Magazine  ]

1) Even now, amidst this international shitstorm of laptop-meets-okay-musician circle jerks, the Weilheim, Germany supergroups-- The Notwist, Ms. John Soda, Lali Puna-- have maintained fairly unique personalities. Let's oversimplify: The Notwist remains the camp's darkest shade, preoccupied with melancholy and perhaps the most electronically involved. Ms. John Soda straddles rock and pop equally, coaching chocolately sweet vocals and the camp's most peppermint hooks. By analogy, Lali Puna is to riffs what Ms. John Soda is to melodies-- this is Weilheim's face of rock, its most outwardly energetic outfit and the closest this town gets to sweaty basement shows and fucking shit up wholesale.

Which doesn't say much, as Lali Puna's idea of fucking shit up on their 2001 release Scary World Theory seemed to be, at worst, breaking into a building and rearranging the furniture. Still, at the time, the album's gruffest tracks offered the most aggressive sounds Weilheim's palatable pop spectrum had yet delivered. And then last year, Ms. John Soda released their heavily rock-oriented While Talking EP, which, though only marginally enjoyable, branched out into harder terrain. Now, with Faking the Books, Lali Puna snatch the Weilheim riffing crown back from Ms. John Soda-- and thankfully, even top their labelmates melodically.

After a pleasant but ultimately faceless title track opener, Lali Puna provide a double-shot of well-wrought rippers: "Call 1-800-FEAR" is the first, boasting a no-nonsense drive, tight instrumental harmonies and undistracting electronic loops that bolster the song's pulse. Atop it all floats bandleader Valerie Trebeljahr's underwater vocals, processed enough so as not to sound incongruous or (gasp!) bedroomy. "Micronomic", the album's second single, follows in similar temperament, and while not my favorite track on the album, speaks to Lali Puna's ability to cradle their listener gently in melody for one second, and to punch him in the face with a dirty riff in the next.

"B-Movie" and "Left Handed", however, are without a doubt the album's standouts, and maybe the best rock songs in Lali Puna's catalog. "B-Movie" pulls off the Kim Gordon sing/speak that Ms. John Soda attempted to lesser success last year: Trebeljahr just nails that been-there-done-that apathy which works so well with the song's contrasting manic rock groove and pointed bass pulse. The loud, guitar-heavy chorus of "Left Handed" steps further away from Weilheim's distinguished trademarks than the band's other material. Its roaring rock factor was a point of contention when it was released as the album's first single, but in the context of the album it doesn't seem out of place at all: The song sports similarly atonal-to-tonal lyric deliveries as "B-Movie", and remains anchored firmly by the nervous, high-pitched synth line that opens the song and rides it out to the end.

As for the rest of Faking the Books, it's pleasant, and hardly unrealized, but it falls just a bit too close to the IDM pop lark that takes up so much space on CD racks and FireWire drives. And on an album on which this band so beautifully exceeds itself with songs like "B-Movie" and "Grin and Bear", tracks like "Geography-5" and "People I Know", which are content to simply be pretty, are just further proof that the gimmick of pairing electronic and traditional rock instrumentation has lost its edge, and that the genre must now rely on stronger songwriting to succeed. That said, Faking the Books is a confident stride in the right direction, and proves that, even within the confines of a tired concept, a great hook still goes a long way.

2) The history of brilliant electronic efforts fronted by mind-altered, bot-driven avatars is not a short one. From Kraftwerk to Devo to Miss Kittin, electronic music has always had a soft spot for people who can sing just like computers can. And, admittedly, it is all pretty cool. There is a certain awesomeness in imitating computers, a turn of the tables from trying to get computers to act like humans (which has never worked out very well).

Problem is, Lali Puna's latest effort, Faking the Books, isn't really going for fun, and there is hardly a wink in Valerie Trebeljahr's vacant, utterly sterile delivery; not even a raised eyebrow. We're talking about corporate takeover in "Micronomic," political corruption in "1-800-Fear," and cheating (!) in title track "Faking the Books"; and that's just the first three cuts. In an album heavy on concept, it all comes off as a trick, utterly unconvincing and disturbingly jaded.

To be sure, Faking the Books is still a worthy effort, and contains some undeniably beautiful moments. A lean string section on "Crawling by Numbers" serves as perfect counterpoint to spare, haunting keyboards. The driving percussion of "B-Movie" is as close to a rock-out track as bastardized IDM has ever previously achieved. And throughout the album's twelve tracks, an unlikely confluence of sound often gives way to the kind of sonic landscaping that few electronic acts can approach.

It's just hard what to make of all of it. Listening to Faking the Books makes you feel utterly alone; and maybe that's the whole point. It's difficult to play the album through and not recall Markus Acher's striking vocals on The Notwist's Neon Golden (who also provides guitars here); he's sullen, fairly quiet and not particularly dramatic, but entirely convincing. I want to believe Lali Puna. I just need for them to believe, too.

3) Lali Puna is one of the myriad groups putting out consistently intriguing material without taking the final step toward a defining masterwork. Their first album, Tridecoder, was often sterilized by their Stereolab-worship, and though they progressed towards a Teutonic amalgam of their own with Scary World Theory, they were still hampered by peculiar translation barriers. Often the lyrics came out deadened and awkward, as though misled by a translator fond of cruel pranks (the title track and its allusion to the ‘cookie monster’ was particularly strange). On their newest album, Faking the Books, Lali Puna move one step closer to triumph. They touch greatness at several points, if never truly digging their nails in and grabbing hold.

Opening with the gorgeous stuttering vocal samples of the title track, Lali Puna establish the same vague working area as previous works, but there is a distance in the similarity. It’s as though you’ve just met a good friend’s identical twin, and he’s posing as your friend. His voice sounds different, and he parts his hair wider of center. He doesn’t use the same expressions, and there’s a gleam in his eye that tells you something’s up. The driving organic rhythms of “Call 1-800-Fear” remind of much of the first album, but just as you become accustomed to its propulsive thrust, the drums fade into quick-stepping electronic beats and a solemn piano muffles the song into a deep restless stirring. “Micronomic” uses a similar mechanical breakdown to cool down its squelched sax blurts and lively drums.

Perhaps the greatest difference is Valerie Trebeljahr’s improved emotional range. At times in the past, she was content to play the heroin-dead heroine, reclining with sang froid and cold Germanic grace into an emotional deadpan. On many of Faking the Books’ best songs, Trebeljahr reaches beyond this detachment to an impassioned query, giving the album a greater sense of depth and development. Suddenly, even in the face of vague uncertainty, Trebeljahr seems more confident, more willing to put her ego on the line and risk a sullen retreat. “Geography-5” finds her alluring and come-hither, and since the song is built upon one of the album’s simplest arrangements, her voice is the necessary focal point. Atop a simple bass-drum part and twilight chimes, she sweats out a sexuality that doesn’t bring to mind black leather, dog collars and torturous candle wax. On the gorgeous closer “Crawling by Numbers,” she similarly warms up the chorus with a beautiful reach—the juxtaposition of her voice with the song’s dirgeful strings making for a mesmerizing finale.

For the first time, Lali Puna’s control doesn’t seem so absolute. It’s possible that they aren’t cooler than you are (though it’s still likely). A few cracks have spread in their frozen facade, and that sudden vulnerability, glimpsed in the desperate “Do you?” on “Alienation” and the minimal aquatic squiggles and tribal drums of “Small Things,” makes the group that much more compelling. They work under the protective hush of simplicity at times, and this sparseness allows the broken-nosed shatter of their more propulsive material the intended effect. They aren’t there yet, but the maturity on Faking the Books serves as notice they may only be one album away.

[greekowl87]

Fic: It Must Be a Christmas X-File!

A/N: Post-ep ‘How the Ghosts Stole Christmas’ with mentions of ‘Christmas Carol and ‘Emily.’ I don’t think this is a stand out awesome fic or my best work, but I wanted to get something done for Christmas. I hope you all enjoy it. This isn’t how I imagined it turning out but with no real direction and written with less than 24 hours with holiday activities, I’m happy with it. Still, I hope you like it. Fluff. Implied smut but I just didn’t have time to get into it. P.S. No beta so apologies for crappy dialogue and typos :( I hope it doesn’t suck too badly.

Tagging @today-in-fic @suitablyaggrieved @improlificinsarcasm @baronessblixen

.....

Scully parked her car and turned off the ignition as Mulder leaned forward to glance out the windshield. The snow earlier had bee light and fleeting. Now, the snow came down in big flakes like cotton balls sticking to everything. She chuckled lightly and remarked, “So much for a white Christmas. I bet the weathermen were surprised.”

“They were calling for rain, it was thundering last night, it was just a flurry, clear today, and now a full-on blizzard,” he commented dryly. “Remember the blizzard of 95?”

“Don’t remind me and you’re not driving home in this weather either, Mulder.”

“Aw, Scully, I’ve already caused up enough time and ruined probably enough Christmases for you. Bill didn’t seem to happy to see my face this year. Your mother tolerated me at best. Tara was Switzerland. Your nephew was cute though.” He smiled. “But I have already overstayed my welcome.”

“Mulder,” Scully said, “I was glad to have you there with me. I told you this before, I wouldn’t want it any other days. Come on. You can crash on the couch tonight.”

“Scully,” he countered.

“I’m not giving you a choice. Apparently, we shot each other, I don’t want to shoot you again for not listening to my wisdom. Besides, I really don’t mind. It’s Christmas after all, Mulder.”

He glanced at back out the windshield as the snowfall conjured up harsh New England winters he had experienced as a child. “Okay.” Mulder bit his lip and smiled. “Let me go grab my overnight bag. I’ll meet you at your door.”

“I’ll see you upstairs.”

The snow crunched under their shoes as Scully made her way cautiously up the unshoveled walkway to her apartment, warily watching for ice. She unlocked the main door and rode the elevator upwards to her third-floor apartment. She unlocked the apartment door, turned on the foyer light, and dropped her keys onto the table next to the door. In the corner by her desk, a small Christmas tree sat lightly decorated. “At least the timer came on,” she murmured to herself.

Ever since her father’s passing on Christmas a few years earlier, she tended not to decorate as much for Christmas. The tree was enough, maybe a wreath if she felt like putting in extra effort, but for the most part, she had just kept up a tree. Even then the decorations seemed less and less each year. Scully kicked off her boots by the door and instantly lost three inches. She heard Mulder’s familiar footsteps. She opened the door slightly and he pushed it open.

“It’s really coming down out there, Scully. If it keeps up like this, we might have at least six inches by tomorrow morning.”

“See, it is a good thing you’re spending the night.”

He carried his overnight bag over his shoulder and smirked. 

“What?”

“I always forget how…”

“Short?”

“For lack of a better word?”

She was smiling at him and Mulder shivered. She locked the door behind him and nodded to the couch. “Go make yourself comfortable. It’s only seven. There’s still five hours of Christmas left,” she told him. “Maybe there’s something on television.”

“A Christmas Story? A Christmas Carol? The Grinch Who Stole Christmas?” 

“Go find something, G-man. I’m going to the kitchen to get us something special. Are you hungry at all?”

“I’m good.” Mulder dropped his overnight by the couch and spied the Christmas tree in the corner. “Looks like you decorated less this year, Scully.”

“I don’t see a reason too, ever since dad died. But I’ve always loved Christmas. Ahab would take down the tree first thing day after Christmas.” He could hear the sadness in her voice. “I rebelled in my own little way and kept it up until January 10th give or take.”

“It looks nice,” he commented. “I like it.”

“Thank you,” she called. “I got this bottle that a friend from Quantico brought back from Dublin, Ireland.”

“A bottle of what?”

“Genuine Irish whiskey,” she called in a sing-song voice. “Since you’re not driving anywhere and it’s Christmas, come have a drink with me.”

“Agent Scully,” he crooned. 

“Shut up, Mulder.”

He cast a secretive glance as Scully busied herself in the kitchen and made a quick dash to her small tree. He quickly dug out a small wrapped box that he had hidden weeks before so it would be in view when she would sit. He rushed back to her couch before she could carry the whiskey glasses over to them. “Snow is really coming down out there,” he remarked casually.

“You already said that. I could start a fire. It does get a little drafty in here.”

“I’m fine, Scully. You still have that space heater right?”

“I brought it to the basement after Thanksgiving. Remember when the heat broke?”

“Right. Well, I can show off my Indian Guide skills and do the fire for you.”

“Go right ahead, Master of the Flame.”

Mulder watched her kick off her boots and tuck her legs under her. She rested her arm on the back of the couch and sipped the whiskey amused. He could swear she was flirting with him.   He took a drink of liquid courage himself and started to build a little fire that he could feed the bigger logs into. “Thank you again, Scully, for today.”

“What part of it?”

“All of it. Coming to the haunted house, letting me spend Christmas with you and your family… thanks by the way for defending my maiden honor against Bill…” She laughed. “And now. I really, really mean it. It has been so long since I’ve had a...regular...no...nice, easy Christmas that I have actually enjoyed.”

“And you’re here now, safe from the cold. Baby, it’s cold outside,” she teased. “Come back here, Mulder. The fire started. Come enjoy your drink.”

He dusted his hands and jeans off before going back to the couch where Scully watched him with a little carefree smile he hadn’t seen in ages. He picked up his glass and sat across from her on the couch. “No place I’d rather be.”

“I wanted to thank you,” she said after a moment of contemplation.

“Why?”

“Why did you invite me out there last night? To a haunted house of Christmas Eve?”

“To investigate…”

“Mulder, you know better than to lie to me.”

“I wanted you there with me. I didn’t want...after last year...I didn’t want you to have to go through it alone.”

“So you used a guise for a fake x-file to get me out there?”

“I know you would come if I asked for your help,” he answered. “I wasn’t sure otherwise.”

Mulder swished the amber liquid in the glass and took a sip. Scully, touched by his gesture, took his hand and squeezed it. “Thank you.”

He relaxed and nodded. “Hey, I think Santa left you something under the tree. He must’ve visited you last night when you were over at my place.”

She narrowed his eyes suspiciously at him and turned to look at her tree. A small box with red wrapping paper and a gold bow. “What the hell?” She set her drink on the coffee table and got up to inspect it. “Mulder…” she said. “I thought we agreed not to exchange gifts.”

“We did and I now have an awesome book to read thanks to you. What does it say?”

She shook her head, a grin forming ear to ear as she brought it back to the couch to open. “To the world’s best G-woman, who continues to save my ass; Love, Mulder.” She sighed and shook her head. “You really shouldn’t have. I have nothing for you.”

“You do, every day.”

Scully took his hand and held it tightly. The air changed between them and she whispered, “Thank you, Mulder.”

“Now, open your present. I picked it out especially for. You myself.” She smiled and carefully picked at the taped edges to open it. Mulder smiled; she took as much time and precision as she did performing one of her autopsies. “Scully, just rip it open.”

“I don’t want to ruin anything.”

“You won’t, it’s in a box!”

Scully ripped the last bit open and she inspected the small silver box. “Mulder?”

“Just open it.”

She opened the box and gasped. “Mulder. Jesus, you really shouldn’t have.”

“I wanted to.” She inspected the two small earrings he had gotten him. Two pearls were surrounded in a thin layer of gold in the shape of a four-leaf clover. “I know you already own a pair of pearl earrings,” he started, “but I wanted to do something a little special.”

“Mulder, they’re lovely.”

“Really?”

“I mean that sincerely. You honestly didn’t have to.”

“I wanted to.”

She closed the box and set it aside. The air changed between them again. “I’m glad you’re here, Mulder,” she whispered. She took his hand again. “Honestly.”

Mulder, feeling emboldened, leaned forward and kissed her softly on the lips. “Sorry for the lack of mistletoe.”

“I’m not complaining.” She gave a small smile. “Except…”

“Except what?”

“I don’t know how I should take that kiss.”

“What do you mean?”

Scully tucked her legs back under her again and she sipped the whiskey contemplatively. “Well, we’re friends...partners?”

“Obviously.”

She licked her lips contemplating her next words. The past few months tumulated through her head: Diana, Antarctica, and  when he said, “You’re my one in five billion.” Those ghosts had assumed that they would be perfect for a murder-suicide because they appeared to be the perfect couple. What were they? His actions were confusing; the new pearl earrings had just given her added to her confusion even more.

“So, where does that leave us?”

“What do you mean?”

“Mulder, you drag me out to a haunted house on Christmas eve, you tell me you don’t want me to go through the holiday alone, and the earrings.”

He narrowed his eyes quizzically. “If you are going to continue to speak riddles and play twenty questions with me, Scully, I might need to get some whiskey.”

“I left it on the counter.” Mulder got up to get the bottle and Scully took the moment to examine the earrings he had just given her. Her heart warmed at the thought and the possibility it could mean more. “I really like the earrings,” she called.

“I’m glad,” he smiled.

She eyed the hefty amount of alcohol he had poured into his glass. “So back to my original question, Mulder. Where does that leave us?”

He watched her momentarily and bent forward to kiss her again more slowly this time. She savored the moment tasting the drops of whiskey on his tongue as he deepened the kiss. He broke away and smiled mischievously. “Does that answer your question?”

“It’s a start.”

“I like flirty Scully,” he remarked.

“I’m not flirty.”

Her cheeks glowed in firelight, either from embarrassment or the alcohol. “It’s both,” he said, seemingly reading his mind. “And yes you are. Whiskey.” He filled up her glass again. “A fire.” He nodded to her fireplace. “And snow.”

“And only one bed,” she finished laughing.

“I can take the couch.”

“Mulder,” she sighed lovingly. “What are we though? Really?”

“Anything you want,” he told her.

Scully tucked her arm behind her neck and rested her head on it. “Six years and you don’t want to go straight to that bed of years and make amazing love?”

“In time,” she said, holding up a hand. “You’re not going anywhere soon with this weather. It’s just...I’ve always wondered, Mulder and after so many years…”

“What?”

“It’s nice to be…”

“Desired? Wanted? Loved?”

“For lack of a better word,” she said. She took a long sip from her drink to hide her flushed cheeks. “I just...I’ve wanted the same thing too, Mulder. The hallway?”

His eyebrows rose, almost surprised. “It’s never too late.”

“I know,” she laughed. She watched him quietly and Mulder recognized the gaze. “So, Christmas miracles?”

“It’s a Christmas miracle,” he laughed. “Can I?”

“What?”

He kissed her again. This time, they abandoned both of their glasses in favor of indulging in the kiss. “Lucky number three,” Mulder whispered. He kissed her again. “You’re not helping if you want to relax.”

“Mulder, now you are just beginning to sound ridiculous.”

Mulder laughed, reaching for both of their glasses. “Merry Christmas, Scully.”

She took it and clinked it against his. “To a Christmas miracle.”

“A Christmas miracle.”

The glasses rang throughout Scully’s Georgetown apartment and they both downed it in one gulp. “Well,” he began, setting both glasses aside, “this honestly feels worse than high school.”

“So how do we…” They both laughed at the awkwardness of the situation. The alcohol only added to it. “Well, as a medical doctor, when a man and a woman…”

“Scully, shut up.”

“What?”

“Let’s finish this conversation elsewhere.”

“Did anyone tell you that you are horrible at innuendo?”

“Only you but I still win your heart right?”

“Always, Mulder.”

He discarded their glasses and offered his hand.

“How many near-deaths do we need?”

“Must need Good to smack us in the head. Come on, Scully.”

“It must be a Christmas X-File,” she mumbled to herself. “Let’s stay here, Mulder.”

“Your couch?”

“Seems fitting,” she whispered. She initiated another kiss. She pulled him closer. “Christmas miracle, Mulder.”

“Christmas miracle, Scully.”

He smiled, lounged back, and Scully opened her last present for that Christmas.

-End.

[gothambatsnews]

[Podcast 7: Clubs, Relationships, and Jason Todd]

[“Spoiler Alert Podcast” theme song plays. There are three taps of the mic before Stephanie clears her throat.]

[Stephanie:] “Goooood afternoon, ladies and gentlemen! Welcome to Spoiler Alert Podcast, your weekly dose of tea and drama from Gotham High. I am your host, Stephanie Brown! Joining me today, we have-”

[Jason:] “Me! The one and only, Jason Todd. Wink.”

[Stephanie:] “...Did you really just say ‘wink’?”

[Dick:] “I cringed. I cringed so badly.”

[Jason:] “Shut the fuck up.”

[Dick:] “Make m-”

[Stephanie:] “OKAY! Hahah, can we get on with it? Thank you. So yes, joining me is Jason Todd and Dick Grayson.”

[Jason:] “Yo.”

[Dick:] “Hey!”

[Stephanie:] “And today, actually, this episode will be centered around an ask we got from an anonymous, sent from our Tumblr inbox. Thanks Anon!”

[Jason:] “And this anon actually wanted me to appear much more frequently and even though I absolutely, 100% annoy your usual hosts-”

[Stephanie:] “YEP.”

[Dick:] [at the same time with Stephanie] “You’re not wrong.”

[Jason:] “-I’ll try to be a more frequent guest.”

[Stephanie:] “He winked by the way. There’s no camera, dumbass, they can’t hear you.”

[Jason:] “Ah. I see this is already a lost cause.”

[Dick:] “Thanks, Jay. Really.”

[Stephanie:] “Riiight. So, Anonymous asked, ‘What clubs are the Wayne kids in? Tim’s in Paranormal, Jason’s in Drama, what else? What about Cassandra and Damian? And Babs?’ Heh, I love how they didn’t mention Dick.”

[Jason snickers.]

[Dick:] “It’s okay, I’ll cry about it later.”

[Stephanie:] “Also, ‘Who’s dating who in the zoo and what do they identify as?’ We will cover moooooost of what the ask.. Erm, asks us about.”

[Dick:] “We actually asked them the question Anon’s ask was talking about. So these papers-” [sound of papers wiggling] “Have most of our answers.”

[Stephanie:] “Yep!”

[Jason:] “Starting off with Tim then? Since his name was the first to be mentioned? Tim’s answer: ‘Hey, Anon. Thanks for the question. I’m the captain of the Decathlon team, we actually have a match coming up next week at Brentwood Academy, so please make sure to support us.’ You know, if I would have known his answer would literally just be an entire half page of advertisement for his clubs, I would done the same.”

[Dick:] “No one wants to hear you go off about your Drama club, Jason.”

[Jason:] “It’s in the notes! THE NOTES!” [sound of papers shuffling] “And the ask! Anon asked!! And I shall give!”

[Dick:] “You LITERALLY go on and on and on and on-”

[Stephanie:] “And ooon and ooon and ooon-”

[Dick:] “And on about it for hours when you get the chance.”

[Jason:] “Speak for yourself, bitch, you do the same thing when someone asks you about Babs.”

[Stephanie:] “You know, I’m really gonna have to put ‘beep’s on future eps on top of every curse word you say, Jay.”

[Jason:] “Oh, so right now won’t count?”

[Stephanie:] “Wait no, THAT’S NOT WHAT I MEANT!”

[Jason:] [Taking a deep breath] “FUC-” [His mic gets turned off.]

[Stephanie:] “Can we continue? Please?”

[Jason:] [Heard by Dick’s mic.] “I was kidding, it was a prank, please put my mic back on.”

[Stephanie:] “If you try to do that again, I’m kicking you out of this podcast forever.”

[There’s a click sound.]

[Jason:] [Clearer, back on his mic] “Whatever, fine.”

[Dick:] “...Are you both done yet?”

[Stephanie:] [Sighs.] “Yes.”

[Dick:] “I’m gonna keep going. Tim’s also part of Band during school hours, he plays clarinet. But during after school, he’s in Symphony Orchestra with Cassandra, who plays violin. Jason, isn’t he also in the Robotics club with you?”

[Jason:] “Yeah, we’ve been working on a robot together for next month’s tournament. We’re certain Jay Jr. can win the trophy.”

[Stephanie:] “You called your robot ‘Jay Jr’?”

[Jason:] “It’s better than TD-1020. He was going for more Star Wars.”

[Dick:] “TD-1020?”

[Jason:] “TD for Tim Drake and 1020 ‘cause there’s 26 letters in the alphabet and he put my name as numbers.”

[Dick:] “Okay, but that’s cool.”

[Jason:] “I like Jay Jr better. But I’m also in the Debate team. I like to yell and tell people that they’re wrong.”

[Stephanie:] “Ah yes, you do that really well.”

[Jason:] “Right? Who’s next?”

[Stephanie:] “Damian. He’s in a lot of clubs, actually, but sometimes he hangs out in some clubs for the hell of it. Like Journalism. Dick’s in there too.”

[Dick:] “Not that the Anon cares, or anything.”

[Jason:] “Dick, could you get any more salty?”

[Stephanie snickers.]

[Dick:] “Nah, I can’t. That’s your specialty.”

[Jason:] “Yeah, but like, today it’s like you woke up on the wrong side of the bed and stepped on a wet puddle with your sock.”

[Dick:] “...THEY CANCELLED MY DRAMA, OKAY?” [Despair.]

[Stephanie:] “Aaand there it is.”

[Dick:] “WE WERE SO CLOSE. SO SO CLOSE. BENDITA WAS GONNA CHOOSE ROGELIO, I DON’T CARE WHAT YOU GUYS SAY-”

[Jason:] “Oh my god, yeah, we know. We know, you tell us about it every time.”

[Stephanie:] “You know, you never really say what drama it is.”

[Jason:] “Steph, please don’t-”

[Dick:] “IT’S FROM-” [his mic gets turned off, but he can till be heard to the side, picked up by Jason’s mic.]

[Jason:] “This is why we don’t ask Dick why he’s not okay most of the time. Can we keep going? Please? Before I hit him with his own mic?”

[Stephanie:] “Yeah. Damian. But the clubs he’s actually in is the Art Club, Astronomy, Sword Fighting, and sometimes he sneaks into Cooking Club, which I’m actually part of.”

[Jason:] “The best part is, he doesn’t even go here. They accepted him into several clubs. I think he scares them.”

[Dick’s still being heard ranting about his drama in the background, but it’s not actually intelligible when Stephanie and Jason talk over him.]

[Stephanie:] “I thought he hacked his way into the system and put his name into the roster?”

[Jason:] “That was at first, yeah. But you know, every time they tried to change the system and take him out, he’s always getting back in.”

[Stephanie:] “So they gave in and gave the brat what he wanted, huh.”

[Jason:] “Careful, he might hear you.”

[Stephanie:] “GOOD. LET HIM. HE STOLE MY LUNCH.”

[Jason:] “Waffles, again?”

[Stephanie:] “As if I eat anything else.”

[Jason:] “Should we add Dick back?”

[Dick’s just sobbing in the background now.]

[Stephanie:] “Give him a few seconds.” [She sounds farther from the mic.] “Here Dick, take a tissue.”

[Dick:] [Sounds farther too] “I just want them both to be happy.”

[Stephanie:] “I know, Dick.”

[Dick:] “And get married and give Bendita the best wedding.”

[Stephanie:] “I know, Dick. Pull yourself together, we’re on air right now.”

[Dick:] “Okay.”

[A click can be heard.]

[Stephanie:] “Dick’s back.”

[Dick:] [sniffles] “Hey.”

[Jason:] “...Are you good, dude?”

[Dick:] “Yeah, yeah. Where’d you guys leave off?”

[Stephanie:] “We left off with Damian. We were gonna do Babs next.”

[Dick:] “Right, okay. So she’s not in many clubs. She’s in the Writing club and the Programming club, but she’s saying that next year they probably won’t have a Programming club next year. There’s not many people that join anymore.”

[Jason:] “We’ve got lovely listeners here. You don’t have to be tech savvy to learn how to program, right?”

[Dick:] “Nope. She helps people who don’t really know what they’re doing. It’s for everyone to learn. And it’s not too late to join!”

[Stephanie:] “Moving on. We’ve got Cass. Ah! She’s in the orchestra as first chair violin!” [She sounds chirpy.] “And she’s doing so well! She’s also in cross country, but I think it’s more fun to watch her in ballet when she performs. She looks so so pretty.”

[Some silence from the boys.]

[Jason:] “Stephanie, are you dating Cass?”

[A beat of silence.]

[Stephanie:] “Nonsense. She’s my best friend!”

[Dick:] “Uhh, Stephanie? You hesitated.”

[Jason:] “Holy shit, you’re dating Cassandra.”

[Stephanie:] “I’m not dating anyone! You can’t prove tha!”

[Jason:] “IT’S ALL OVER YOUR FACE!”

[Stephanie:] “AREN’T YOU DATING ROY?”

[Jason:] “You’re dating Cassandra, holy shit.”

[Dick:] “I always knew something was up between you both. Even Babs had suspicions.”

[Stephanie:] “I’m not! What about Jay, he never denied he’s dating Roy!”

[Jason:] “Oh I’m not. I mean I’m bi, yeah, but Roy’s like a brother.”

[Dick:] “I thought you were hanging out with that guy from Liverpool?”

[Jason:] “John Constantine? Yeah, why? He can hold his booze pretty well, ‘course.”

[Stephanie:] “And?”

[Jason:] “‘And’ what?’

[Stephanie:] “That’s it?”

[Jason:] “Yes? Aaand that he’s fun to hang out with? What, you think I’m just gonna drop my pants for any guy cute guy or girl who comes along?”

[Some silence.]

[Dick:] “But you’re single right now right?”

[Jason:] “Yeah?”

[Stephanie:] “YOU HEARD IT HERE FOLKS, COME GET YA’LL JAY JUICE.”

[Dick:] “You do realize that’ll just attract the attention of that girl from his fanclub? The one that snuck in our basement twice already?”

[Jason:] “KATHY IF YOU HEAR THIS, CEASE AND DESIST OR I WILL BE FORCED TO GET A FUCKING RESTRAINING ORDER I SWEAR-”

[Stephanie:] “Jason, jesus, calm down.”

[Dick:] “Yeah, besides restraining orders don’t seem to do anything to them. Remember that guy with Cass?”

[Stephanie:] “Ah. Yes. Andrew?” [Tone sounds cold.]

[Dick:] “Yeah, him.” [Sounds like he’s highly unamused]

[Jason:] “Ah right. He snuck in once and Titus almost bit his di-”

[Stephanie:] “Anywaaay…”

[Dick:] “Right, we’re getting sidetracked, again.”

[Jason:] “What about Tim? So what, is he with Cassie S. or Kon or what?”

[Stephanie:] “Jeezus, please. That’s like an entire podcast in itself, there’s so much going on with that. But right now he’s with Kon.”

[Jason:] “So what about you, Dick? If Stephanie’s in no relationship, then there’s on point in talking about her.”

[Stephanie:] “Thanks, asshole.”

[Dick:] “Uhh, Babs and I are good.”

[Stephanie:] “Awesome, that wraps it up for Dick’s relationship.

[Dick:] “Wai-”

[Jason:] “Daaaamian’s not really interested in any of this right now, honestly. I mean, he’s made new friends with a girl in his middle school.”

[Dick:] “Maps, right?”

[Stephanie:] “Cute kid. Weird name. I know she listens to the podcast. Hi Maps! Hey, when you get here next year, join Orchestra, I know you play violin. Cassandra’s a great teacher. She’s amazing and talented and-”

[Jason:] [Whispers into the mic.] “And she says she’s not dating her.”

[Stephanie:] “What’d you say?”

[Jason:] “I said you smell like vinegar.” 

[Stephanie:] [A beat of silence] “...No I don’t?”

[Dick:] “Sidetracked again, please. Plus he has Jon, but Jon’s still in elementary. But he is gonna promote to middle school, he’s so grown up now.”

[Jason:] “Please don’t cry again, seriously.”

[Stephanie:] “Oookay I think I’m just about to end this podcast, we went over our limit for today and Jason, we’re late to Drama.”

[Jason:] “Oh shit.”

[Stephanie:] “Anyways, this podcast is brought to you by the ASB, the Associated Student Body. Theeeey sell hot cocoas in the mornings because it’s cold and they care about us.”

[Dick:] “And if you ask, they put little marshmallows in there!”

[Jason:] “That and they’re gonna be selling Sadie Hawkins Dance tickets soon, so make sure to save up for that.”

[Stephanie:] “Also, we’d be more than happy to have guests for our podcast, such as Jason, just go on ahead and drop us an ask or a message, or drop little notes in our lockers to request someone, and we’ll oblige.”

[Dick:] “After all, we’re a student-made podcast, so we’ll student-give.”

[Jason:] “Nice. And to the anon that requested me-” [a kiss sound] “That’s for you.”

[Stephanie:] “Yeck.”

[Dick:] “This has been Dick Grayson-”

[Jason:] “Jason, the Glorious, Todd-”

[Stephanie:] “-AND Stephanie Brown. As always, love and sparkles.”

[End of Episode 7.]

[madcapmoon]

Fugazi interview

by Jeff Clark, originally written for Stomp and Stammer in April of 1998

They stand alone, really. No other group that emerged from America's '80s hardcore scene that's still breathing - not Bad Brains, nor Bad Religion, nor any of a handful of other somewhat related bands, bad or no - has demonstrated the growth, commitment, and righteousness of Washington, DC's Fugazi. From the taut, grinding release of early albums and EPs like Repeater and Margin Walker, their music has steadily evolved with ever-expanding depth and complexity. A Washington Post article from 1993 stated it succinctly and perfectly: "Fugazi is the face of punk growing up." ·

Ian MacKaye turns 36 this month. He and his longtime friend Jeff Nelson started the fiercely independent Dischord Records in late 1980 to issue a single by their high school punk band Teen Idles. The band broke up; Dischord remained, and thrives to this day by issuing records from an impressive array of impassioned bands, most coming from the DC area. Jawbox, Nation of Ulysses, Dag Nasty, the Make-Up, Faith, and Shudder to Think are but of few of the groups the label has helped over the years, while at the same time offering distribution to many smaller, burgeoning DC indie labels. While Dischord began as a way to document a community, it could be argued that the label is the fuel that keeps that community burning.

Musically, MacKaye and Nelson continued on in the highly-influential hardcore band Minor Threat until 1983, and after brief alliances with Embrace and Egg Hunt, MacKaye hooked up with bassist Joe Lally, drummer Brendan Canty, and guitarist/vocalist Guy Picciotto to form Fugazi. While much is made of their strict integrity and work ethics - they don't charge more than five bucks a show, they won't sign to a major label, they won't allow stage diving, etc. - what ultimately makes Fugazi such a vital rock 'n' roll band is its intensely powerful music. With End Hits, their first release in nearly three years, they'll surely further confound close-minded punk purists - no surprise, really, since MacKaye has freely admitted to being a freak for Hendrix, the Beatles, and Cheap Trick, among other classic rockers. End Hits may not come across as immediately visceral as the band's earlier work, but the creative combustion is more than evident. Urgent, organic, explosive - it's music that's alive, and it makes the listener feel as such.

At the moment, MacKaye is at home in DC, doing administrative work for Dischord (the main office is housed across the street,) fielding constant phone interruptions, arranging a short May tour for the band (its first live dates since a ten-year-anniversary show in Washington last September,) and contemplating the future of Fugazi under some new circumstances. It's been a strange, pivotal couple of years for the band - MacKaye became extremely ill during an Australian tour at the end of '96; his chest inexplicably filled with fluid and a lung collapsed, all with no evidence of bacteria. He had to have surgery, followed by an extended recovery, knocking the band out of commission for the better part of a year - "Yeah, it was pretty bleak, to be honest with you," MacKaye understates, after describing the ordeal. Meanwhile Canty married and had a child with his wife, and Lally bought a house. Basically, punk grew up some more. But with the release of End Hits, and a comprehensive documentary film on the band currently being assembled by Jem Cohen, it looks to be one of the most exciting periods yet for one of the world's most exciting outfits. With the help of various titles from Fugazi's past and present, here are MacKaye's thoughts on matters of heart and mind:

Repeater: "I'm a working man. I wake up quite early, usually around 7:30 or eight. And I try to have some food, I do some stretching, I look at the newspaper, and then it's time [to work], and then it's dark, ha ha ha! In other words, I don't really have any sense of what my days are comprised of, because every day is very different. I sometimes struggle for routine, but there's so many details that change every day, that don't have real routines I don't pack boxes, per se, I don't order things. I have a lot of people calling me about things. I book the band, which is extremely involved. Generally speaking, I answer questions."

Long Division: "From my point of view, we started Dischord to document a particular community here in Washington. And I had no intentions at that time, nor do I have any intentions at this time, to be a rock and roll label owner. I never wanted to be in the record business, but, um, I kind of accepted a mission that made me put out records, and somewhat put me in a position where I am kind of in the record business. I kind of assumed it would be somewhat self-perpetuating, but I didn't think it would be permanently self-perpetuating. I have some dream that at some point it'll be clear that the community that I was interested in documenting will no longer really exist, and at that point I don't think the label will exist anymore."

Steady Diet: "The thing about Dischord, as a label, it's gotten bigger and bigger. We've been around for so long, primarily because of the Fugazi stuff, and also Minor Threat, and a lot more people have become kind of involved with the label as a sort of family. They work there, and there's a lot of activity, and a lot of stuff that Dischord is involved with that most people have no idea about. Particularly within distribution. We lend an awful lot of money out to a lot of local labels to help them get stuff done. I think that the label's sort of gotten bigger than itself at this point. So, when I think about stopping the label, it really means it's gonna stop an awful lot of things and people. And I have to be very, very thoughtful about it before I do something like that."

"From my point of view, we started Dischord to document a particular community here in Washington. And I had no intentions at that time, nor do I have any intentions at this time, to be a rock and roll label owner."

By You: "I think some people don't really understand the nature of 'Do It Yourself.' When you do it yourself, you have to do it. And it's a lot of work. And it's not just an issue of, you know, not participating with major labels, or whatever. It's about working. And, it's been a very strong ethic with us, with me, all along. And basically, my work has been sort of all-consuming for the last 17 or 18 years The people who are interested in our band, quite a few of those people are involved in projects, musical or literary or whatever, the kind of things that involve direct action, and interaction. So, I think that at the end of the day, though, when you do this work and you make these decisions, and you kind of cover this ground on your own, you don't have to answer for it later on. You can speak with some responsibility."

Blueprint: "From our point of view, we spend almost all of our time trying to write music which is interesting and challenging. We work very, very hard on our songs and our records. So it's a little discouraging when it's just like, 'Oh yeah, those are the guys that won't sign to a major label.' But at the same time, there are plenty of other people who, maybe they're aware of that, but they're into the band. So I think the people who can only think about us in really simplified terms, like what they perceive as our philosophy or our behavior patterns, that's just more representative of their kind of really tacit concept of the band."

Do You Like Me: "People have this really kind of, I think, bullshit rap about preaching to the converted. I don't know that I agree with that. There is incredible potential created when a band and an audience get into a room together. I mean, obviously I can have a lot of fun with people who don't like the band and wanna yell things, but it gets kind of tedious after awhile. So my sense is, as much as people use that 'preaching to the converted' thing in sort of a derogatory sense, people should re-examine the idea of that, and think about when you have complimentary forces, sometimes you can get a lot more accomplished."

Birthday Pony: "I don't know what to tell you, except that September 3rd, 1987, Fugazi played our first concert at a place called the Wilson Center, it's a church basement here in Washington, DC. And on September 3rd, 1997, Fugazi played the Wilson Center in the basement of the church. There was nothing more. There were 200 people at both shows, it was very small. But I don't think many bands have that opportunity, to play the same venue, ten years to the day, and we felt like it would be good for us. And it was. It was actually the last concert we played. We haven't played since."

Provisional: "There was a lot of discussion - 'Well, are we gonna play more, or not?' We had that really terrific ten year bookend kind of thing, but in any event, we booked some dates for May, so I think were playing. We're gonna do a week. It's a whole new thing, now. We've gotta figure out how to work with a family. We've got a baby on board. So, we're gonna start real lightly. There's a lot of other stuff going on in people's lives right now, in their personal lives, that needs to be sorted out, still. So, this is gonna be a really spotty year. I mean, I am very happy with this record, The band has been very busy, I have been working non-stop on the band. I just don't think we're gonna be able to get out and do that much touring."

End Hits: "It's such a good name. And I think when people listen to the record, if you pay close attention to it, that the title will come more in focus. I don't think it's quite as apocryphal as it sounds. We're not suggesting that the band is coming to an end."

Closed Captioned: "Jem Cohen and I went to Woodrow Wilson High School together here in Washington. He's been quite close to the band since the very beginning. He actually co-wrote the song 'Glue Man,' and he's been filming us, really, since the beginning of the band, in one form or another. And finally, in the last few years, we've been trying to kind of bring all this material together and get it into some kind of two-hour-long piece about the band We feel that as the band starts to kind of wane as far as playing live, we won't be able to tour as much, and obviously eventually we're not gonna be playing any shows at all, then people who are interested in seeing the band are gonna be reliant on video or film. We thought we'd create something that we were really comfortable with, and was aesthetically in keeping with the way we feel about the band."

Turnover: "We've all gotten older, and there's far fewer bands that I feel as passionate about. Which isn't to mean that there aren't good bands, there are plenty of great bands, it just means that they're not speaking to me in the same way. It's a much less cohesive community - however, we've managed to stick it out. We're all very close friends, and the music may not play nearly as much of a role as it did in the past, but I think at this point, even just our company is enough to get together. I think we're stuck to each other now. So, it would be inaccurate for me to say that it's the same, or it's as strong on certain levels, but I would say that we've grown up together, and the community is still intact. These are people I'll know for the rest of my life."

Burning: "I am very interested in what's going on with young bands and stuff, but I have found that as much as I like to go and check out bands, and all that, I don't feel welcome. It's a very small scene, and I'm not suggesting that I'm some big shit. I'm not. But just within this same scene, it is difficult. I feel uncomfortable going to shows, because I just think it freaks people out that I'm there. But within a certain context, it's good to know that kids who are 16-, 17-, 18-years-old, they need to do their own thing. And I don't necessarily have a place in that world. For me, it's all about trying to keep the fire burning. And to make things possible. And who knows what happens next year. When you keep moving, you stay warmed up, and I still feel warmed up."

Reclamation: "The longer we're together, the bigger our past is. One thing I've found out about music is that after you create a legacy, you have to spend time administering that legacy. Keeping your records in print and all that stuff. There's one more goddamned thing you've got to do. I wasn't lying when I said I spend most of my day answering questions. I'm answering questions about things that I have done, and that troubles me sometimes because I feel like I should be doing something."

Long Distance Runner: "I'm not sure I have a life outside of Fugazi or the label. I hope something happens that doesn't involve either one of those entities, but at the moment it's hard to say. I'll try to go take a walk now and then."

[futuresandpasts]

Futures & Pasts | MRR #419

1144 words in this column; most of them are about Mark E. Smith & the Fall, but early ‘80s femme-punk heroines UT & Helter Skelter also get their due. As seen in Maximum Rocknroll #419 (April 2018), which happened to be the issue that caused everyone to collectively flip their shit because they thought MRR wasn’t going to review bands with Bandcamp pages anymore. 

I don’t think that I can really get around mentioning Mark E. Smith’s passing a few weeks ago, given that I stole the title for this column from a FALL song, and that my feelings for that band are well-known enough that I had no fewer than five people send me messages right after the news hit, all saying something to the effect of “I immediately thought of you.” I’ve always openly admitted that there’s no way that I’d have learned how to play or even think about music in the way that I do now if it hadn’t been for having my entire consciousness flipped by Perverted By Language and Live at the Witch Trials and countless other FALL records, which helped me come to terms with the fact that it’s okay to write a song that’s just one single part repeated over and over again for its whole duration, and that it’s perfectly acceptable to get that same song out of the bare minimum number of notes (four is good, three can be even better), and that it doesn’t matter that you’re completely self-taught and that all of your “technique” is guided by invented patterns rather than any sort of concrete theory. But Mark E. Smith was also problematic as hell, particularly in regards to the verbal and physical abuse that he notoriously inflicted upon his bandmates, including a handful of his partners. Would I be as willing to listen to the FALL if they were a newly formed basement-dwelling punk group fronted by some asshole dude, instead of the band that essentially wrote the musical textbook that seemingly every DIY post-punk band from the past forty years has referenced at one point or another? Is it possible to acknowledge someone as being a brilliant artist while also recognizing that they’re an unequivocally shitty person? I was actually incredibly comforted to see so many of my friends grappling with that same dilemma as they spoke of how important Mark’s work in the FALL had been to them, because it’s something that’s weighed heavily on my mind for years, thinking back to every time I’ve pulled out “City Hobgoblins” or “Rowche Rumble” at one of my DJ nights, or when my band was recently crashing through a cover of “Big New Prinz,” or when I read Brix Smith Start’s The Rise, The Fall, and The Rise and Steve Hanley’s The Big Midweek, both of which chronicled the complex persona of Mark E. Smith in bluntly honest detail. When a co-worker friend dropped into my office on the afternoon that he passed, we talked about how formative of an influence the FALL had been on both of us as musicians, and I somewhat jokingly said that finding out about Mark’s death was my BOWIE/PRINCE moment, thinking back to how everyone in our workplace immediately went into collective mourning when they heard that those two had died. It’s really a much more fitting analogy than I had initially realized, though—in the midst of the posthumous narratives hailing BOWIE and PRINCE as creative geniuses, many people were rightfully pointing out some of those men’s past abuses and transgressions that shouldn’t be erased from the conversations surrounding their talent and cultural impact. The FALL were a truly mind-bending band, and Mark E. Smith deserves due credit for that, but as the man himself once said, “check the record / check the guy’s track record.”

No Wave heroines UT have just reissued their first two EPs (1984’s Ut and 1985’s Confidential) in a combined 2x12” collection on their own Out Records label. Although they started out in 1978 as part of the same community of New York City’s visual artists and avant-garde noisemakers who formed the core of the era’s downtown scene, the trio left for London in 1981 before releasing any proper recordings, which has left them somewhat disconnected from the commonly circulated histories that tend to center No Wave around the bands who were documented on the No New York compilation LP (TEENAGE JESUS and the JERKS, MARS, JAMES CHANCE and the CONTORTIONS, and DNA). One of the instigating factors for the group’s relocation was actually an UT cassette that fell into the hands of Mark E. Smith, who offered them slots supporting the FALL on their next UK tour, and it’s a historical footnote that I think provides some spot-on context for UT’s very FALL-aligned approach to dissonance and deconstruction through repetition. Sally Young, Nina Canal, and Jacqui Ham took turns rotating instruments and vocal duties on all of the band’s songs, with the various configurations of those roles (generally drums and dual guitars, but not always) and each member’s distinct performative approaches serving to refract the resulting sound from one track to the next in subtle but ever-shifting ways. On the self-titled EP, “Sham Shack” writhes at a slow but steady mutant disco pulse, dispensing with guitars altogether in favor of ominous organ, hypnotic tom-heavy drumming, and a loping, insistent bassline like BUSH TETRAS reinterpreting the more sprawling moments on Hex Enduction Hour, while the DNA-ish scratchy six-string strangulation and stammering vocals on “This Bliss” demonstrate UT at their most classically “No Wave.” By the time they had recorded the Confidential EP,  UT were charting a very similar course as their former New York peers in SONIC YOUTH and transforming their tangled squall and razor-edged scrape with an almost conventional pop-leaning bent (just check that acoustic guitar break in the otherwise martial drone of “Bedouin”), but without completely smoothing out the sharp angles that made their raw post-punk clamor so electrifying. A very necessary reissue. (Out Records, utmusic.bandcamp.com)

Yet another entry in the “unjustly neglected ‘80s femme-punk outfits” archive: HELTER SKELTER, a Sydney, Australia quintet whose recorded output is limited to a two-song 7” from 1984 on Hot Records that expertly twists together gauzy coldwave and jaggedly rhythmic post-punk. There seems to be little to no trace of the band’s existence to be found in the deep abyss of the internet, but I’m guessing that they spun out of the same art-damaged Sydney post-punk underground responsible for similarly-minded (but far less enigmatic) groups like PEL MEL and SARDINE. “Make Believe,” the A-side of that lone HELTER SKELTER single, sounds like some parallel universe SIOUXSIE SIOUX fronting an early ‘80s Factory Records band, with guitarist Diannah Levy’s dramatically icy vocals cutting through the clatter of electronically-treated drums and trumpet. On the B-side, “The Party” is essentially everything that made me so enamored with PYLON—cavernous, repetitive bassline pushed to the forefront, sparse and trebly single-note guitar stabs, Levy’s fiercely detached delivery of her oblique lyrics, total anxious dancefloor energy for the freaks and weirdos. If you’re only going to put out one record, it should be as good as this one.

[girlsbtrs]

Growing Up One Step Behind Lorde

Written By Lila Danielsen Wong. Graphic by Paula Nicole. 

It’s late July of 2015. It’s a little past two a.m. and I’m in the basement of my parents house. My parents left me home alone for a night, so I did what any newly 16-year-old would do; I got a bottle of cheap vodka from someone’s older brother and threw my very first small party. Two of my closest friends are sleeping inches away. Out of my cheap drugstore headphones come a slow synth build, sounding distant and underwater. It erupts into a pulse, just too fast to be a heartbeat. Lorde’s “Ribs” pushes on in all its teenage glory. “Mom and Dad let me stay home,” she tells me before confiding “it drives you crazy getting old.” In the next pre-chorus this morphs into the more tender, “I’ve never felt more alone, it feels so scary getting old.” 

Before a live performance of “Ribs” in 2014, barely 18-year-old Lorde tells the audience that she wrote this song about a big party she had when her parents left town when she was 16. She was with her best friend afterwards at 4 a.m. unsuccessfully trying to go to sleep. He asked her what was wrong, and she said, regarding the party, “There’s something really crazy about throwing a party like this and doing something this huge. It feels grown up, and it feels like a rite of passage, and that's cool. It's cool to do stuff for the first time, but it also really freaks me out because once you do something that feels grown up it's really hard to come back, and if you've only ever been a kid the thought of having to be an adult is really terrifying.”

Three years after Lorde had this conversation with her friend, I’m sitting in my own basement all the way across the world after my own party listening to that very song and letting every word vibrate through my entire self. It feels so scary getting old, but hearing a girl from suburban New Zealand say exactly what I was thinking makes me feel a little bit less “so alone.”

In 2013, Ella Yelich O’Connor wrote an EP called The Love Club with local musician Joel Little and put it on Soundcloud under the name Lorde. To the surprise of both of them, it blew up. After collecting 60,000 downloads, UMG released it commercially and it managed to hit the charts in New Zealand and Australia. However, it was the release of “Royals” as a radio single that put Lorde on the international radar. 

“Royals” was penned as a sort of wry defiance to celebrity culture and a call out to it’s disconnect from the general public. She noticed that many popular musicians based their clout on trashing hotel rooms and diamond watches, and this was so removed from her and her friends, at a house party not knowing if they would get a ride home. “Royals” and The Love Club EP were followed by Lorde’s debut album, Pure Heroine, a collection of songs about “the feeling of being [her] age” and “the weird social issues that come with being a teenager.” 

After her global success made her visible worldwide, those who would be attracted to listen beyond “Royals” and become fans were fellow teens at fellow parties who also were “counting dollars on the train to the party”. 

In 2017, Lorde released Melodrama. If  Pure Heroine is about what it’s like to be a teenager, Melodrama captures life as a fledgling adult. Lorde has said that Melodrama is an album about a break up. She also has called it a concept album about a house party, telling The New York Times “it’s a record about being alone. The good parts and the bad parts.” 

This release coincided with my high school graduation. It was the soundtrack of my final months of childhood and what I listened to through the transition to the next phase of life. 

I spent my first year after high school in my hometown. I remember sitting in my house in September after all my friends had left for college and listening to “Liability”. My parents had left for a weekend trip and I was home alone, this time with no one to invite over. “Liability” is the second single from Melodrama. It’s a stripped piano ballad about the depths of insecurity, driving people away until you find yourself startlingly alone. “Every perfect summer’s eating me alive until you’re gone,” she sings; getting older comes stark changes in social circles and lifestyles, some of which can leave periods of time in which you find yourself startlingly alone.

I related to these feelings of disconnect and isolation and felt the song intimately just as I had felt “Ribs” two years earlier. Whereas the loneliness in “Ribs“ was the feeling of distance from everything you know when you’re on the cusp of adulthood; this loneliness comes from the other side of this cusp, when you look up and everything has changed. Melodrama ushered me into adulthood, and Lorde was like a voice from the future reassuring me that this was normal. If two years ahead of me Lorde the international star was sitting in a taxi feeling the exact same way I was feeling, then perhaps this happens to everyone and is just part of growing up. 

The following summer, after a party I helped someone else host, I put on “Ribs” before I went to bed and was surprised to find that it didn’t “vibrate through my entire self” anymore. That stage of coming of age had come and gone for me. 

The parties in Melodrama had grown up too; we’re no longer worried about getting caught by our parents. “Green Light,” the lead single, Lorde described as a song about the girl at the party who is a crying mess but doesn't seem to care. “Sober” asks about the morning after; “But what will we do when we’re sober?” “Liability” is looking in the mirror and not feeling so great about who you are and where you are. Growing up is reframed as self-discovery, mainly through the common young adult experience of a house party. 

Sometimes, this is where I lose her. 

In “Sober II” she cites the “glamour and the trauma,” and my life is nowhere near “glamourous”. The desperate feverishness of these more grown up parties of Melodrama are not what my life looked like. At the end of the day, I was reminded that she’s a pop star who already has her life financially set for her, and I was a college student with a limited social life and a whole lot of homework. 

I wonder if I am just ready for the next album to usher me into the next phase of my life, or if this is this where our paths diverge.

Although the reception of “Solar Power” has been relatively positive, some fans noticed that the new single was missing some of the, well, angst of her previous catalogue. This is especially striking because for a lot of us this year has been somewhere on the spectrum of angsty to agonizing. Her most recent release, “Stoned at the Nail Salon,” ponders the nature of being settled. This second release contextualized not only “Solar Power,” but also why some fans may be feeling a little disconnected from her newest era. I listen to Lorde talk about how she loves her quiet, stable life, with “the vine hangin' over the door, and the dog who comes when [she] calls” from the corner of my sublet of someone’s living room, which I rent as I apply for yet another job that isn’t really hiring because of covid or is going to be taken by one of the millions of 2020 and 2021 graduates who got a serious delay on their quest for the peace and stability Lorde is talking about. This is not to say that me or any of her other listeners won’t relate to her new music, especially as she sprinkles in lines such “as all the music you loved at sixteen, you'll grow out of”, but it’s still up in the air whether or not the fact that she is a wealthy pop singer from New Zealand will finally effect her ability to “vibrate souls” of her younger fan base like she once did. 

Lorde’s fanbase is just enough younger than her that, so far, once she has written an album about whatever phase of life she just went through, they are on the cusp of experiencing it. Teenagers are known for their “no one understands me” angst, and growing up one step behind Lorde reminded me how deeply universal the feelings and experiences that came with growing up are. Whether it’s coming from a teenage girl from suburban New Zealand (who must have been way cooler than me because her first party topped mine by about 100 more people) or a full blown star crying in a New York taxi, Lorde captured the most intimate moments of youth, offered them as a preview of the next age to her young fan base, and gently reassured them that these glimpses of fear and loneliness are perhaps what unites us as humans who are slowly but somehow rapidly getting older. However, how much longer will her experiences be this universal? As an artist whose fan base is largely built around her ability to connect and relate, will she be able to maintain this intimate connection as her life looks significantly different from most of the people she entertains? Perhaps the appeal of the Solar Power era will be more in the preview of the growing security of your mid-late twenties. Perhaps none of the differences of her lifestyle and her fan base will matter, because she will continue doing what she does best, stripping memories down to their universal truths, and feeding them back to a slightly younger generation with just a bit of dramatic lighting. 

Sources:

https://en.wikipedia.org/wiki/Lorde

https://www.youtube.com/watch?v=88oR5GjjZ6k

https://genius.com/Lorde-royals-lyrics

https://www.washingtonpost.com/news/arts-and-entertainment/wp/2013/10/24/5-things-to-know-about-lorde/?utm_term=.1072aea0ec9c

https://www.nytimes.com/2017/04/12/magazine/the-return-of-lorde.html

https://www.thenation.com/article/lorde-grows-up/

[projectalbum]

177. “Hail to the Thief,” 178. “In Rainbows,” 179. “King of Limbs,” 180. “A Moon Shaped Pool” by Radiohead

Here we are. At that point where I have to defend my previous assertion that Hail to the Thief (#177) is closer to my heart than the widely-beloved Kid A. And here we go…

There are 14 tracks, far more than any other Radiohead album, and I only dislike one of them. And it’s not “We Suck Young Blood” (it’s “The Gloaming”). Like, “Blood” is a creepy, chain-rattling chiller with deliberately cracked vocals and that cool little jazzy breakdown between the verses. “The Gloaming” is like a ghost taking a nap.

Even stranger, my favorite songs are all in a little clump in the last third. Right after the aforementioned downers, this suite of winners begins with “There, There,” the lead single. Featuring one of the loveliest, slightly gritty guitar lines in the catalogue and a chorus lyric (“Just ‘cause you feel it, doesn’t mean it’s there”) that stings, if not like a knife in the heart, than maybe like a sharpened icicle in the lower abdomen. “I Will” is one second shy of 2 minutes, but there is beauty in the utter simplicity of gently-strummed electric guitar and three-part Yorke harmony. It’s the soundtrack to staring into a dying fire. And it transitions right into “A Punchup At a Wedding,” slinky and pissed-off at once, sitting next to “You and Whose Army?” as the straight-up coolest piano numbers. One of these days, mark my words, I will master it, because it’s just fairly repetitive chords. But the distinct rhythm of the pounding on the keys has always slightly eluded me.

The escalating tension of this killer suite boils over in crunchy, foreboding synth and aggressive drums on “Myxomatosis.” “I— don’t— know— why I— feel so— tongue… tied” is, I believe, the exact cadence of the chorus, and I can identify with those moments when the churning chemical processes make articulate expression impossible.

15 years on, Thief remains hard for people to pin down. Though there are a few “angry” songs, the material is not explicitly about political leaders or Blair or Bush. That title pun was read as a pissy, middle finger salute as on-the-nose as a Banksy, despite any statements made by the band members to downplay that interpretation. Unlike the albums that made their name, this collection of songs lacks an over-arching thematic focus, which may still hurt its legacy. But I will continue to argue passionately for the music’s inherent strength. The follow-up, released four years later, requires no such defense.

In Rainbows (#178) was my introduction to Radiohead. It has and will probably fulfill that same purpose for a lot of others. From 2007-2010, I was in college, majoring in film production and spending a lot of time in a windowless room filled with iMacs. I give you the range of years, because I’m not positive just how fresh the surprise late-’07 digital release of that album was when my friend Seth handed me the thumb drive in that iMac editing lab. College is a time to experiment with new experiences, you see, and I really only followed that credo when it came to dadaist TV comedies and ponderous rock bands. So in that sterile environment, when I should have been working, I put in earbuds instead.

“15 Step” began with clapboard beats played through a glitchy hard drive. Thom lamented another repeat of the vicious cycle. Then Jonny’s guitar came in, soft and inviting as your pillow, bolstered by Colin Greenwood’s nimble bass. A sample of schoolyard cheers, and then we stepped off the sheer drop. The rest of the album was what I saw as I fell and hit the ocean’s surface, a sort of “An Occurrence at Owl Creek Bridge” if the man dreamt of the noose tightening anyway. “Nude” is the haughty confirmation of the protagonist’s fear in “There, There”— “Don’t get any big ideas, they’re not gonna happen” is the lilting, falsetto admonishment. It shares DNA with R.E.M.’s “Tongue” from 1994’s Monster, to the point of sibling rivalry. But Michael Stipe’s feminine protagonist on that tune feels like an amusing pose in comparison.

To continue both the R.E.M. connection and the falling man’s dilemma, the split title of “Weird Fishes/Arpeggi” acknowledges the rapid, repeating guitar technique that that band’s Peter Buck made a staple, but here it sounds like water rushing overhead. I’m sinking deeper, but I’ve determined that the way out is through. By the time the clacking boneyard beat and flickering piano of “Videotape” laid the album to rest back in that college computer lab, I felt like I’d been through something. That some synaptic pathways had been rewired by a piece of art in that way that becomes neurologically harder and harder to achieve again as the years go by. The hypnotic draw of this series of songs is impossible to shake even after an ensuing near-decade of revisitation.

By the time The King of Limbs (#179) leaked onto the web in 2011, Radiohead had been taking over my brain one used CD purchase at a time. As I collected the discography, marveling at OK Computer and puzzling at Pablo Honey, the security blanket melodies and instrumentation of In Rainbows wriggled in ever deeper. So the murky production, polyrhythmic grooves, and murmured vocals of Limbs were not immediately arresting. “It’s a grower,” I gently warned people when handing them a burned CD-R. Meaning over multiple listens, not over the course of the album: at 8 tracks and 37 minutes, it’s as fleet as a couple of their EPs.

Opener “Bloom” is like the score to a Biblical epic as listened to through a glass pressed to a hotel room wall, all muted horns and a vocal that sweeps like sun rays. “Morning Mr. Magpie” and “Little by Little” are statements of Limbs’ groove-focused identity, and melody-wise tend to blend into each other with little resistance. Where the guitar on Rainbows was a hand to guide you, here it’s another rhythm component, along with the doubled-up drum kit: as the band took the songs on the road, they enlisted Clive Deamer to join long-time drummer Philip Selway. Four hands were better than two to create the beds these compositions required.

“Feral” jettisons pop song structure completely as a cut-up chord collage dashed against unstoppable train drums.  “Lotus Flower” is 2/3rds floor-rattling bass, 2/3rds hand-claps, and 2/3rds crystalline falsetto: as mathematically impossible as Yorke’s dance moves in the video. The album closes out with three pastorally pretty and almost terminally mellow numbers: the deep embedded roots of “Codex,” the treetop birdsong of “Give Up the Ghost,” the late Sunday morning wakeup of “Separator.” The melodies are sweet invitations, but I can understand if they sound, in their final produced form, like rock n’roll Ambien. The live arrangements, like those recorded for the “From The Basement” special, are generally thought to breathe extra life into the tunes. The recent Hans Zimmer/Radiohead reimagining of “Bloom” for “Blue Planet 2” makes that song’s cinematic ambitions more readily apparent, as well. But I’ve got a soft spot for any and all versions, and don’t feel any sting of disappointment that TKOL wasn’t In Rainbows Part 2.

The 4-5 year gaps between records has proven an energizing practice for the band’s members as they explore their own projects. Jonny Greenwood created an impressive body of work as Paul Thomas Anderson’s film composer of choice, Yorke (with producer Nigel Godrich in tow) collaborated with Flea on Atoms For Peace and indulged DJ-focused electronica on the self-released Tomorrow’s Modern Boxes. Where Rainbows had drawn inspiration for its sonic approach from the close-miked intimacy of Yorke’s solo record The Eraser (more on that next time), 2016’s A Moon Shaped Pool (#180) has Greenwood’s stellar orchestral composition work threaded throughout. 

Any hazy production cobwebs from TKOL are swept aside by the Bernard Hermann stabbing strings and depth charge bass line of “Burn the Witch,” the true paranoid opus of our surveillance state age. “Red crosses on wooden doors, and if you float, you burn,” Yorke hums and coos, deliberately juxtaposing his trademark vibrating falsetto against the dire warnings. “We Know Where You Live,” stated the cryptic postcards sent to fans, and it was true, because we’ve offered our whereabouts freely to whoever will listen. “Daydreaming” follows its own somnambulant trajectory, with piano that ambles along until periodically the notes catch a long wind, to paraphrase the Feist song, swirling like cel-painted animated leaves. The video closes the gap between Jonny’s prestige film work and his longest-running gig with P.T. Anderson helming a low-key gorgeous M.C. Escher puzzle of Thom moving purposefully through an endless series of doors, spaces, environments.

Before the album dropped, I saw a live clip of Yorke debuting “Desert Island Disk,” just he and his acoustic guitar. The studio version does little to distract from that simple backbone: it’s a sweet, dexterous garden party riff bolstered with gentle drumming and subtle synth washes. “Glass Eyes,” the shortest, most melancholy track, has taken hold like an itch in the mind. Watery electric piano and Yorke’s murmured phone message verses slip through like a dream you struggle to remember the details of, until suddenly the exact angle of a cold gray street corner sparks a complete deja vu, and the heart-rending string section swells.

I’ve taken to playing “The Numbers” at inappropriate volumes, lately. Symphonic rock is nothing new, but it’s rare to hear such a mid-tempo acoustic groove be so suddenly opened up by falling stomach cello courtesy of London Contemporary Orchestra. “We call upon the people / The people have this power / The numbers don’t decide / The system is a lie” is the undeniable political exhortation, and the strings are the wielded tools of revolution: if “Burn The Witch” was a warning against mob rule, “The Numbers” is a rallying cry for positive upheaval.

“True Love Waits,” and there’s no better evidence for that sentiment than the official release of this song from the era of “The Bends.” Live performances and bootlegs through the years featured variations on acoustic guitar or Rhodes piano. Repeated attempts in the studio every few years yielded nothing wholly satisfying. In its final version, closing the album, reverb-laden grand piano and Yorke’s ghostly yearning is joined by glittering ice crystal notes that steadily accumulate. In my head I see the scene from A.I. in which the artificial boy, David, patiently and gratefully beholds the Blue Fairy, as his systems freeze into a thousand years of sleep. Melancholy become manifest.

In the next entry, I’ll jump out of alphabetical order to revisit two of Thom Yorke’s extracurricular activities.

[toogoodmusic]

THE TOO GOOD TEN with Drew William

The Canadian Football Player and up and coming singer-songwriter Drew William follows up the early 2021 debut EP Room with the latest Message In A Bottle EP.

While playing music in coffee shops and restaurants for the past few years the athlete took advantage of the canceled football season last year to really dive into his musical passion. Now with six songs released, William has proven his ability to pull at your heartstrings with raw and honest songs that while personal to him can be healing and relatable to anyone who listens. A genuine level of intimacy blossoms in every song that gives way for his music to be both enjoyable alone or with close friends and family.

The latest EP release continues that level of intimacy that his fans have come to expect.The two song project features a brand new original release, “California Coastline” that gives ode to William’s home state while also paying respect to a song close to the singer’s heart with a cover of Post Malone’s “A Thousand Bad Times.” Find out more about Drew William and the latest EP by checking out his Too Good Ten below:

1. Starting from the beginning, when did music start for you? How did you realize you wanted to make a career out of it?  

DREW WILLIAM: The beginning is in a one bedroom apartment on Morley Ave. Some discreet little red building in a town most of the world has never heard of; Winnipeg, MB. I picked up the acoustic guitar three years ago in that apartment and have played it every single day since. I came into music naturally. Playing for friends, playing open mics, playing restaurants, pubs, and now going for it in the real music world. Have my first full-set show at Burt Cummings Theatre on April 20th. I feel this is my first big stepping stone.

DREW WILLIAM LIVE STREAM ON RED TIE LIVE’S FACEBOOK ON APRIL 20TH @ 8:00pm EST / 5:00pm PST. CLICK HERE TO WATCH.

2. You were born in California, went to college in Minnesota and now live in Canada. How have those three experiences make their influence into your music? Any of the (3) stick out as being most influential? 

DW: I like the surfer rock style a lot, that nostalgic almost drunk atmosphere that it places you inside. And when I moved to the Midwest it was a lot more folk and ballads. I guess I kind of have two sides to myself: this very twenty-six year old feeling his way through life and this old soul that feels like it’s already made the mistakes and is trying to come out and wisen me up. It’s an interesting mix of the two.

3. Congrats on the release of the debut EP, Room. What was the biggest learning from putting together and releasing a debut EP?

DW: To trust in my gut, and to not be so critical on myself. I knew that mixing and producing my own music was a risk, because It was a lonely venture into a world I was just learning about. I knew that I might not have the skills of a veteran who has been doing it for years. But at the same time, I wanted to enter music absolutely as myself. From the get go I wanted to share myself; no matter how rusty or beginner that sounded. I look at all this as a growth of music and a growth of self. I’m having to learn to let go of a lot of insecurities and fears, and for that I have to thank my own music.

4. And now fans have an additional taste of your music with the release of the Message In A Bottle EP.  What’s the EP title mean to you?

DW: “Message in a Bottle” came to me from a line in the lyrics: It says, “On that California Coastline / We’re fire and rain at the same time / I found a bottle on the sea / With a message on the inside / Is a tale about a lost love / From a boy who held these memories.” It’s this goodbye to a past version of myself, to the old loves and it’s this intimate goodbye because it’s more than just memory it’s a part of soul, too, that no longer serves. 

So the throwing of the bottle is this closure; a letter written and sealed by the same person. An opening up and a goodbye. This seems to be what growth feels like now. Maybe that will change in appearance, or feel differently, I’ll find out. But for now, this feels like a goodbye to an old self, with a mindset of growing up whilst not losing that child inside that makes all of this fun and freeing. 

5. You’re not only a musician but also a wide receiver for the Canadian Football League team Winnipeg Blue Bombers. How do you balance being both an artist and an athlete? What’s the biggest challenge of pursing both careers? 

DW: This past season was cancelled so it became a focus point to work on my music. This year as we anticipate a season, I have to tread carefully because it’s something I have never done, two things simultaneously.  I used to believe these two worlds had to be separate, music and football. But it has proven to be quite the contrary. It has opened the doors for my music to be heard, and I will continue to see them as supporting roles in my life.

6. As an athlete is it tough for you to show a more vulnerable side through your music? 

DW: It is. I’ll be straight up honest. There is a lot of insecurity on a football team. Egos, hyper masculinity, these things exist everywhere. But there are guys who are so much more than this sport. I hope to be an example to kids who are afraid to show their emotions, show them that you can be so many different things in life and still maintain your truest essence. I just live passionately, whether that’s on the field or on stage, I’m putting it all on the line.

7. Do you have any funny/fun/weird fan interaction stories you can share? 

DW: I was supposed to play this little curb-side concert, this family won it in a little raffle I held and when I showed up it was just one couple. The wife was wasted and the husband was 30 years older than her. Their son came in and out of the room where I half heartedly played for them (he was schizophrenic but was the most normal person in the house). And then there daughter came up from the basement wearing all leather like she was about to hit the corner. She was probably thirty-five, filming me on her phone.. I was very weirded out. The wife had made bacon pirogi's for me. I told her I was a vegetarian. She didn’t understand why someone would do that…. And she kissed me on the cheek when I left. I was very disturbed ha-ha.  

8. If you could headline a music festival – which one would be the dream festival? And who would be your choice for the other (2) acts that would headline the other two nights of the festival?

DW: I really think me, The Lumineers and Ziggy Alberts could all put on a nice little folk fest. I wanna play the Red Rocks Amphitheatre in CO. Just an unbelievable venue. Not sure if there is a festival there though! I’ll go to anywhere that will take me at this point!

9. If you could only listen to (5) artists for the rest of your life who would they be? 

DW: So basically my life anyway? Ha, I kid I kid. Truthfully: Mt. Joy, The National,  Angus & Julia Stone, Cat Stevens & Zella Day

10. What’s the rest of 2021 look like for Drew William?

DW:  A whole lot of learning, relationship building, collaboration, and diving deep inside and bringing out The best and truest art. I can feel my life changing before me, it’s frightening but exhilarating. Ready for this ride!

We’re ready for that ride as well! Shout-out to Drew William for hanging for this Too Good Ten. Keep updated with Drew by following along with the links below and be sure to tune TOMORROW, April 20th @ 8:00pm EST / 5:00pm PST right HERE. 

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The Too Good Ten interview series is dedicated to giving you a quick glimpse at some of the freshest voices in music. Ten Questions. One Artist. Too Good. Let’s go.

While The Too Good Ten is dedicated to just highlighting ten questions from an artist, Too Good Music was lucky enough to score an additional two questions from Drew...check them out below:

BONUS QUESTION #1: Congrats on the new releases of “California Coastline” and the cover of Post Malone’s “A Thousand Bad Times.” What surprised you/or what might people not know about the process of covering and releasing your own version of another artist’s song?

DW: The part I was focused on was really making it my own version. Something people know but don’t know, so it feels like an entirely different ride. I wanted also to pay my respects to the song. It meant a lot to me. I’m sure it helped a lot of people. It’s also a message I needed to hear, especially now. We all need this reminder. We’re all feeling something right now, no need to hide that. This is a very hard time. But we are resilient people and it’s been a gift to witness and a gift to make music that continues to carry this message of resiliency and strength.

BONUS QUESTION #2: Your Quarantine Campfire series on IG live – where you perform, do Q&A’s and bring along friend’s and guests – is awesome. How’d you come up with that concept and would be a dream guest on the series? 

DW: This was an extension of the in-person curb-side-concerts I was doing throughout the summer. Creating an intimate and safe place to share music, highlight some local artists and just have fun with the community. Man… My dream guest. Probably Zella Day cuz I got a lot respect for her music and I once saw her sing “Man on the Moon” on YouTube, all acoustic, and I was blown away. It would hit perfectly on my quarantine campfire.

[secretradiobrooklyn]

SECRET RADIO | 11.14.20

Secret Radio | 11.14.20 | Hear it here.

Artwork by Paige, liner notes by Evan except * for Paige

1. The Wizard of Oz - “Ding Dong” Suite

We were looking for a proper song to get this party started, and damned if it didn’t involve a bunch of delighted munchkins! As much as our hopes for the coming years are muted, the relief at not having to contend with a headlong dictator enjoying full-on democratic support just cannot be overstated. DING DONG Y’ALL!

2. David Bowie - “Look Back in Anger”

I’ve been practicing drums a ton during the pandemic, and I just realized that I’m going to have to spend some time trying to get at this pattern. It’s some of my favorite drumming ever, from one of my top 20 albums ever. In fact, this comes from a very special edition of Lodger, via Brian McClelland, wherein Tony Visconti took the original tapes and completely remixed the album as he always felt it should have been mixed if they weren’t be rushed. To someone who has listened to that record many many times, it sounds like I’ve been next door the album all this time, and I’m finally allowed into the room where it’s playing. So clear and focused and modern!

3. Frank Alamo - “Ma Biche”

A “biche” is a doe, we believe. “It’s something about ‘pretty eyes,’” Paige says, “which would make sense.” Further research, though, reveals that the song is about how much he likes her pretty dark eyeliner. I know the feeling!

4. (Not) Rom JongVak - “Monkey”

Well, this has been a learning process. There’s this great song that I thought was called “Twist (Dance Twist)” by Rom Jong Vak, that we played like a month ago — and then tonight I thought I was playing “Monkey,” by Rom JongVak. Buuut, as I look further, I’m learning that the first song was “Rom Jong Vak Twist,” by Pan Ron… And the song here is I guess called “Rom Jong Vak Monkey,” and I have no idea who it’s by! All of the text on the page is in just boxes where Cambodian text would go, so it’s bound to remain lost. Whoever it is, I sure do enjoy that first aggressive drum fill and the whole weird texture of this recording.

5. Luiz Visconde - “Chofer de Praça”

Paige: “The first times that I listened to this Angolan collection, I really just listened to Os Kiezos, because they did “Muxima.” But then I eventually spread out and found this song. It’s from Angola, between ’65 and ’75.”

6. The Velvet Underground - “European Son”

P: We would go to the Beechwood a little bar around the corner from us in Wicker Park, down the street off Milwaukee Avenue. They had a real jukebox, not a TuneBlast or whatever. It was just a great little dive. They had this record in the jukebox, and we would always put on this song. I suppose that could have been read as an aggressive thing to do, but we’d put on other songs too! It was a good way to stretch your quarters, and it loosens the bar up. And I figured, if they didn’t like this song they wouldn’t put it in the jukebox.

     Once when we were there on a busy weekend night, something was wrong with the jukebox. It was broken. And the bartender opened it up and put like a hundred bucks on it and said, “Everybody play whatever you want, three songs each. It was awesome. Everybody did take turns too, three songs each, all around the bar. It was a really cool night.

7. Fred Astaire - “No Strings (I’m Fancy Free)”

What a lovely piano intro! This song is from the 1935 film “Top Hat.” It’s one of those movies where the clever protagonist pursues a girl he has a crush on — or terrorizes a stranger until she submits to his will, depending on whose perspective you take. There are a lot of those — “An American in Paris” is another — and they’re fascinating to watch just by flipping that switch back and forth in your own head. Meanwhile, both movies are chock full of beautiful shots, fabulous scenes, gorgeous songs, and glowing stars. 

     Something about the quality of this recording — a new master or something? — makes it sound like it was JUST recorded. It feels so alive and contemporary, with a lovely little vibrophone solo in the middle. I just 

Martial Solal, “Breathless” soundtrack - “L’amour, la mort”

Note: I remember this story in the reverse, where the truckers announced this gleefully to each other as they marched merrily OUT the door and into the late afternoon, headed towards… what? Whatever it is, I hope they found it and everyone had a great time.

8. Johnny Hallyday - “Nous quand on s’embrasse”

Have you seen “The Wild One”? Can’t you see how much trouble could have been avoided if those leathered-up motorcycle dudes were able to rock out to songs like this one instead of trying to jazz their way forward? They should have been twisting the night away! Alas, instead they had to tear up bars and beat people up to get their kicks. Tough break, kid.

9. Lokassa Ya M’bongo - “Bonne année”

I found this while searching for something else, but it was labeled “l’Instant Vinyl” in the same format as our Assa-Cica record, so had to check it out. M’bongo is a Congolese guitarist — a rhythm guitarist specifically, which doesn’t normally get the love that lead guitar gets in this soukous form. Lokassa Ya M’bongo means “Lokassa the money man,” and he became a session man in demand. He was a big part of the “Congolo-Paris sound,” a phrase I just read that I’m going to have to look more into.

    Bonne année indeed! Still feeling that relief about hopefully getting out from under the thumb of that giant dummy.

10. Velly Joonas - “Stopp, Seisku Aeg!”

The image of Velly Joonas is pretty heart-stopping: she’s absolutely beautiful, in giant glasses and a striped shirt. The song is so confident and strange in its instrumentation, with keys, organ, fiddle, and a super-tight bass/drum combo. I feel like this could have been a big US underground hit in the ‘90s.

11. Eko Roosevelt - “Kilimandjaro”

Such a sincere song! Eko Roosevelt is kind of hit and miss with me, but when they hit, they get completely stuck in my head! The horn parts on “Me To a De Try My Own” do that to me, and so does the eternal chorus of this song. I love the notes in the bridge as they drop further and further down the scale like they’re descending from the mountaintop. And when he gets to the declarations of love at the end — “I love you, my home! I really do, I really do!” — that’s it, that’s the best.

12. Tonetta - “Yummy Yummy Pizza”

I warn you: look up this video (after you listen to the “broadcast” of course) at your own peril. Not because it’s terrible, but because it is fascinating, and it is just one of SO many. They tease you with tiny shreds of information about this Tonetta person, but never enough that you can get a sense of what the hell is going on with… him? Them? Maybe ask Matt and Brian from Tok about it — they got obsessed enough to record an EP of Tonetta songs, which is how I heard about this all in the first place.

13. Prewar Yardsale - “AU Base”

Paige: I was loading a five-disc changer at Jeffrey’s and something about the cover, the name sounded interesting. I put it on and it’s pretty freakin rad. It stood up to my blind listen expectations. I think this is produced by our friend Matt Mason. 

14. Eugenius - “Mary Queen of Scots”

Matt Mason and Jeffrey Lewis make me think of Schwervon!, which makes me think of the Vaselines who they toured with several times, and that brings me to Eugenius, headed by Eugene Kelly. This was a mainstay in Sean’s room when we all lived together, singing the harmonies and air-drumming along. It remains as satisfying as ever, I’m happy to say.

15. Wednesday Campanella - “Aladdin”

This song is sung in Japanese, not that you’d know from context clues. Tim Gebauer introduced us to this strange Japanese shapeshifter. It was hard to tell if I liked her music or was just amazed by her videos (which you should totally check out). Now I believe it’s safe to say we dig this song. I like how many elements of ‘70s international disco it has, while still sounding super modern. What is weirder to me is that I cannot tell if I would like this song if it was sung in English.

Breathless soundtrack

16. Letti Mbulu - “Mahlalela”

Originally South African, Mbulu managed to escape to the US in 1965 and had a hell of a career. She worked with Cannonball Adderley, Hugh Masakela, Harry Belafonte and Michael Jackson. Quincy Jones said this amazing thing about her: “Mbulu is the roots lady, projecting a sophistication and warmth which stirs hope for attaining pure love, beauty, and unity in the world.” Um, that’s really impressive.

17. Christophe - “Aline”

*Really dig this song, partially I think because it’s in a decent range for me to sing along. I love his desperate delivery and tone of voice. We just learned tonight that Christophe passed away this year at 74 after complications with COVID-19. 

18. Zap Mama - “Brrlak!”

Credit to my dad, Larry Sult, for bringing Zap Mama to our attention. He’s been heavily into marimba music, and played in a marimba band in Bellingham for many years; in fact, he spent many years making the instruments for the band in his woodshop in the basement of their home. Zap Mama is adjacent to that music, though certainly very different. This band comes from all over the world. The main gal was born in &&&&& but found herself in a Pygmy society for awhile, which seems to be where she developed some of those low-high yodels. We saw some footage of her playing, and she did this awesome thing where she held empty airplane bottles just below her lips as she sang, creating a resonance that you can hear here. I love that this whole composition is a cappella.

19. The Buzzards - “High Society”

Years ago, I was whiling away my time in Seattle and stopped into Orpheum Records, right there at the corner where Broadway turns into 10th Ave E. After a half hour of flipping through records I had to know what all the killer albums were that had been playing overhead. Turns out they were all from “The Sympathetic Sounds of Detroit,” a collection of Detroit bands put out by Sympathy for the Record Industry. It was recorded by Jack White and Jim Diamond and it’s full of topshelf tracks, but after all the years, this is the one that we turn out to actually enjoy, and quote, the most. 

    As far as I could tell, there isn’t a version of this song anywhere online, which I personally find disGRACEful!

20. Sleepy Kitty - “Buzzards & Dreadful Crows”

My favorite part of this recording is that I got to sing a couple of guitar parts that I reflexively sing along to on the original.

*This was from a 20th anniversary of “Bee Thousand” tribute show, and we made this recording with Jason Hutto at this studio off Cherokee Street and we recorded a couple others that we did that night. A small run of screenprinted downloads were made. 

Teddy Afro, “Mar Eske Tuwa” credit music

21. Ata Kak - “Moma Yendodo”

Some corrections to what I said in the broadcast: Ata Kak is indeed Ghanian, but I think he might have recorded this in Germany. His is a fascinating little story of determination. This recording comes from a tape that he made about 50 copies of total. It was found by Brian from Awesome Tapes From Africa at a roadside stand in Ghana. He loved it so much that he spent years trying to track Ata Kak down. When he finally did, they found that the original master tapes were all ruined, and Brian’s copy was the only one that they could make a new version from! So that’s what you’re hearing here. 

22. Spoon - “30 Gallon Tank”

Early Spoon is some of my favorite music ever. This is from “A Series of Sneaks,” an album that changed my life pretty much as soon as I heard it. Harvey Danger stopped at a lot of record stores on tour, and at one of them I managed to stumble upon both “A Series of Sneaks” and (I think) Guv’ner’s “Spectral Worship” — what a day! I put this album on in headphones in the van and just listened over and over and over again. Eventually, when our manager announced that we should spend a few weeks between radio festivals headlining a tour with a couple of support acts and asked if we had any ideas, I had a list with Spoon on top and Creeper Lagoon right below that. The tour that resulted was rough for Spoon — they’d just been dropped by their label and were having an understandably rough time — but a fucking thrill for me, because I got to see one of my favorite bands each night. That still stands as one of the absolute highlights of my time in Harvey Danger. Jim Eno is one of the top drummers in my pantheon because he’s such a great composer for the song, and Britt Daniels plays guitar the way I truly wish I did — which he did at the time all on distorted acoustic guitar! 

23. Patrick Coutin - “Fais-moi jouir”

*I meant to put on a different Patrick Coutin song but put this one on by accident and I was like, this is cool, and then I was like “I think he’s saying. . .I think this is pretty. . . explicit. Like Serge and Jane cranked.” As far as I can tell, it definitely is. They don’t teach you these words on Duolingo though. Ha! 

24. Dur Dur Band - “Yabaal”

I mean no disrespect to Dur Dur Band when I say that we didn’t dig the first several songs we heard by them, but this song is undeniable. The groove just digs in and doesn’t stop for anything.

25. Mel Brooks - “High Anxiety”

We’re stepping out on a mixed emotional note, but: we’re not out of the woods yet. I hope we can get through the next couple of months as a nation peacefully and productively, but Paige and I are both in a state of high anxiety about what still seems to be happening daily. Stay safe!

*yet staying optimistic! ’Cause we gotta. À plus tard!

[heff88]

20 albums and 1 EP: my 2017 in music.

Hello all and welcome to my favourite records of 2017!

2017 has been quite a year for many reasons and musically is no different, as this has been one of the strongest years for new music in some time (which may or may not have to do with the current president in the white house and for one of these at least, Brexit). It has been a particularly great year for female voices in music - just under half the acts here are, or include, women or at least are female fronted, with Björk surely to join them - and I'm not sure there has been a time where women have been so well promoted. It is a stupid thing to have to say of course, but it is at least encouraging that change is happening in a positive way. It is also encouraging given the latter half of the year socio-politically has largely been concerned with how much assault and sexism women have to put up with in a very public but important manner (although again, this doesn't seem to be deterring the president, yet anyway.)

This year, I have chosen 20 (and 1 EP because I like to cheat) albums to feature, something I don't think I've been able to do before. This probably has much to do with this being my first full year as a (semi)-professional journalist, something I feel I really marked properly this time last year when I was sent to Prague to interview The Lumineers, which was a fairly mad-yet-incredible experience. However, it's not like I wasn't paying attention before, and I have made a playlist including 50 different records from 2017 I have enjoyed in some capacity and a more concise one for this list.

Since that Lumineers interview, I've had the opportunity to cover from great events and records in 2017, as well as meet a whole load of very welcoming and great people to whom I must say thanks (especially as today is Thanksgiving). To Derek of Drowned in Sound, Tallah from The Skinny, Caitlin from Uproxx and many others, thank you for your continued support and friendship, I couldn't have done it without any of you. In 2017 I got to:

Cover the BBC6 Music Festival in Glasgow, which was a really rather special weekend in my spiritual home. Interview some really excellent people, including: Jeremy Bolm, Touche Amore Angus Andrew, Liars Barry Burns, Mogwai Alex Cameron And finally, Joe Casey of Protomartyr (twice) which was by far the most difficult one, but ended up being pretty great.

I also got to keep travelling in the name of music journalism (what a trip!) by covering Mikkeller and The National's inaugural HAVEN Festival in Copenhagen (a city long overdue a visit - I loved it!) and got to see Iggy Pop be the absolute boss-man, and drink SO. MUCH. GREAT. BEER.

And even more crazily, I got sent out to CALGARY, ALBERTA CANADA to cover Sled Island. There I got to see the likes of Low, Mono and Waxahatchee play in a church, Converge play in a weird British Union Vets centre, Wolves in the Throne Room and Daughters in a dive bar and I got to see The Rolling Stones' mobile studio (which my parents visited just before I was born.) It was an amazing week I will never forget, full of incredible music and new friends, and while I didn't find Bret Hart I did get to tour the city's rather amazing beer scene, which I'm still in disbelief about, to be honest.

I also got to see and have many special live experiences this year less further afield, such as The XX's triumphant show outside SWG3, Glasgow, getting to see City of Caterpillar (!) after all these years in Berlin, Julien Baker play one of my all-time favourite songs, St. Vincent transcend mere mortal status, Mogwai play in a famous Berlin gay club for TV and Thee Oh Sees play in a tiny, cramped basement this summer.  

And finally, I RELEASED MY OWN ACTUAL, PHYSICAL ALBUM THIS YEAR!!! It was tough and stressful at times, but I am immensely proud of it and owe so much to my boys Kenni and Joe Campbell who make up FRAUEN, as well as the people around us who supported it, including Lewis Glass, Gary Taylor, Kyle Wood, Sean Campbell, Louise Grace Kenny (& Owen) my wonderful partner Ann-Christin Heinrich, and everyone who put on shows and came out to see us in our favourite haunts of Glasgow, Manchester, London, Brighton, Leeds and Newcastle (to name a few!) put us up for the night, drove us, bought a record, said a nice thing and generally were awesome.

So, onto the list. As a result of my year, I've decided to order this in release order rather than ranking, although I will point out the top five. A quick glance at this suggests that September was an absolutely ridiculous month (it was) and no I didn't forget LCD Soundsystem, whereas I have nothing in May (Do Make Say Think and Slowdive were... fine but nothing special.) I am currently catching up on stuff I missed as I am writing this, so to Julie Byrne, Aldous Harding, Kelly Lee Owens, SZA, Big Thief, Idles, Sampha, Jlin, Jay Som, Lorde, Vince Staples and as mentioned, Björk you could all find yourself making up your own list in a month's time.

A glaring but now expected omission is Science Fiction by Brand New, which up until a couple weeks ago I ranked as one of my top three records of the year. While of course, everyone should be wary of what we read online, Jesse Lacey's frankly embarrassing and vague response to the matter has, quite likely, put a disastrous end to a previously remarkable and canonised career which was setting itself up for a glorious and perfect ending in 2018. Now, it's very difficult to separate the art from the idea that this is an unsavoury at best, psychopathic at worst, white male who took advantage of his status and the surrounding scene towards young girls and called it a "sex addiction" which is highly troubling. Even his movements towards a "perfect end" to the band now feels slightly chilling, and at the time of writing, it seems as though he will (rightfully) not be rewarded with that. What a horrible turn of events for an artist and a band who have meant so much to so many people for well over a decade, the one band many have kept with them since their adolescence only for it all to go up in flames in an instant. The one (pyrrhic) positive from all this is that the continued conversation is finally giving victims a voice, and that is the most important matter which should never be forgotten.

OK, that unpleasantness behind us, let's get on with the list:

Priests - Nothing Feels Natural (January) *4th

So, just to completely undermine my ordering here, I slept massively on this band and album until the summer, almost six months after release. Thankfully, I caught them just in time to see them play live in Hamburg this June shortly after moving to Germany (oh yeah that happened too, what a year eh?) after seeing they were playing that week at the legendary Hafenklang venue. I checked out 'Jj' and was immediately bowled over, something a completely new artist to me hadn't done for some time. There's a moment in that song, a couple minutes in, where the sensation of "lifting off" occurs both in the music and listening experience, it is a thrill, to say the least. The rest of the album thankfully stood up just as highly (especially it's title track) and I admonished myself for not checking out this band clearly designed for my exact tastes. Live they were a force of nature, each member bringing something exciting, while collectively they reminded me of a tougher version of ESG's "dance-punk". So while I may have missed the boat initially, this record has quietly grown and grown in my estimation, to one of the year's standouts, and will be excited to see what they do next.

Thundercat - Drunk (February) *2nd 

The absolute boy does it again. Anyone who knows me knows Thundercat is one of my all-time boys, he'd be in my wrestling stable without a shadow of a doubt. I've been largely obsessed with Stephen Bruner since his fantastic turn on Flying Lotus's Cosmogramma and he has just got better ever since. For the first half of the year, Drunk was comfortably my favourite album of the record, knowing it would take something special to knock it off its perch (it did, but we'll come to that later). This is, paradoxically, both his most cohesive and chaotic album yet, detailing the wide range of emotions a drunk night on the tiles can elicit while also being his most confident statement musically yet. On top of that, Kendrick Lamar returns the favour for that 2016 Grammy win Bruner played a part in winning for To Pimp a Butterfly, the legendary Kenny Loggins and Michael McDonald show up on the lead single, and in the album's clear highlight, Bruner completes his Tron suite with an ode to his cat of the same name.

Rolling Blackouts Coastal Fever - The French Press (March) - EP of the year, for whatever that's worth.

Australian music, from Melbourne especially, is in a pretty impressive state right now. Along with the above, Alex Cameron, Royal Headache, Julia Jacklin, King Gizzard & The Lizard Wizard and Total Control (to name a few) have in recent years created a formidable scene down under, making them a globally recognised force to be reckoned with in the music world. Despite the slightly annoying name, Rolling Blackouts Coastal Fever hit the BBC Radio 6 Playlists around March (though sadly not the Glasgow Music festival at the time) and with the song 'The French Press' turned many heads. The song gave 'Cause = Time' (a song somehow nearly 15 years old already) by Broken Social Scene a most welcome reboot while maintaining their own charming style. One would be forgiven for thinking this EP of the same name is just a vehicle for that one single, but no, to those who went out in search for more were rewarded with an excellent six tracks from top to bottom. This was only their second release after last year's Talk Tight so it will be very exciting to see what their first full-length LP brings us, hopefully, next year sometime.

Kendrick Lamar - DAMN. (April)

What can I say, it's Kendrick. Like Priests, I took a strangely long time to get round to DAMN. and not even really for any particular reason other than... just listening to other stuff and quietly knowing this would be great when I did finally come around to it. Though DAMN. for me doesn't quite meet the insanely high mark of Lamar's previous two albums, it's still a very, very strong album from one of the best artists of the generation. While this may have the bombast of Good Kid or the sheer scale of Butterfly DAMN. still shows Lamar's incredible skill as a storyteller, dropping the listener into a fully realised world, largely because it's his reality. On top of this, he manages to write a song featuring U2 and it not be the worst thing ever! Outside of that, however, James Blake gets to return on his sparse roots on 'ELEMENT.' ahead of their co-headline tour next year, which singles 'HUMBLE.' and 'DNA.' prove Lamar's chops as an artist able to step back from his bigger concepts and make his point in three-minute bursts.

Timber Timbre - Sincerely, Future Pollution (April)

One of the most perennially underrated bands out, Canadian creepers Timber Timbre had one of the most quietly solid records of the year with Sincerely, Future Pollution. I've never been sure why they haven't quite caught the wider imagination as some of their peers, such as Grizzly Bear for instance, who sonically have had a very similar trajectory from lo-fi "freak-folk" to a more electronic indebted sound. Whatever it is, in a year where everyone and their dog were (understandably) wanting to comment on the state of things in a post-Trump/Brexit world, Timber Timbre took a more subtle approach (a word that perfectly describes the band overall) as they brought up 80's, Reagan-era sleaze into a modern context, with a healthy dose of Lynchian nightmarish images and structures. Through 9 feverish trips to the classical image of the decaying (in this case, swamp-ridden) city, we see the toxic nature of contemporary Western society poisoning everyone who embraces it, all soundtrack to lounge-jazz samples. It is perhaps the darkest, most sinister record of the year, a prevailing sense of creepiness and uneasiness permeates every beat, every noise, every line of frontman Taylor Kirk's deadpan delivery in a completely different way to say, Alex Cameron's multi-coloured coke-ridden characters. As the album's alluring cover suggests, this is all your favourite black-and-white 70s paranoia films come to life.

Listen: Sewer Blues

Hey Colossus - The Guillotine (June)

Speaking of underrated, how the hell did everyone sleep on Hey Colossus this year? Perhaps they overshot themselves on their epic 2015 double albums In Black & Gold/Radio Static High, but this for me was the best British album of the year and one of the only to really address the mess the UK has got itself into. While the sludge/psyche rock act may not be quite as chaotic or as heavy as some of their earlier output, this is easily their sharpest to date, pinpointing the rage, anger, frustrating, sorrow and even humour in the current idea of being an "Englishman". This is a loose concept album, based on very similar themes and sounds as Timber Timbre's (albeit heavier) which skewers the current public conscious, but also provides genuinely breath-taking moments on songs like 'Calenture Boy'.

Englishman

Fleet Foxes - Crack-Up (June)

Robin Pecknold's triumphant return to music and to Fleet Foxes has been one of the major stories of the year, though he received mixed responses for it. In preparation for this album, Fleet Foxes' third and first in 6 years, Pecknold debuted a few of these songs, solo, supporting Joanna Newsom last year. At the time it was just good to know he was still writing songs, but the sheer ambition and kaleidoscopic scope of Crack-Up is incredible, for a band largely known for kicking off the folk resurgence in earnest. This record is rather like an intense, feverish, psychedelic vision in which Pecknold leads our hand, a singular voice in the void, while the music moves from madness to calm and back again across 11 beautifully composed tracks. The first time opener 'All That I Need' kicks in, it takes the listener completely off-guard, washing them away in the oceans and the incoming storm on the album's artwork sleeve, and the only hope is to try to ride it out and hope you survive. It is a genuinely impressive return to form, one I'm not sure many people thought Pecknold and Co still had in them.

Fool’s Errand

Sheer Mag - Need to Feel Your Love (July)

It's not often where a band, especially as politically fierce as Sheer Mag are, just consistently put a smile on your face and make you raise a fist and shout "YES!" But that's the Philadelphia punk-via-70s-radio-rock band do in spades. They manage to elicit a feeling in their music of so-called "simpler times" while simultaneously bludgeoning you in the face with the bullshit attitudes that were just as much of a problem in the 70s as they are today (in fact, an era partly responsible for them). Led by perhaps one of the best frontpeople in music today, Tina Halliday and guitarist co-writer Matt Palmer, Sheer Mag are the quintessential punk band in everything but their sound, one which the original punks would have openly mocked at the time. The irony, of course, is that those original "punk" acts, The Ramones, Sex Pistols, Clash etc. took largely from 70s glam-rock, they just sped up the songs and make the themes and lyrics angrier. Sheer Mag in many ways remind me of Fucked Up, another punk-band obsessed with 70s revivalism. Both bands understand with loving care and passion that to create truly great punk music, one has to look outside the obvious influences, while keeping an ear open for a catchy hook to couple with prescient themes on oppression, race, sexism, homophobia, police brutality which still plague us today. We need acts like Sheer Mag in these troubling times to remind us, there is another way.

Suffer Me

Waxahatchee - Out in the Storm (July)

Processing a rough break-up is one of music's classic tropes (hell I did it on that album I put out this year - I promise to shut up about that now) but if the recent re-evaluation of the early-to-mid Emo/Pop-Punk scene has taught us anything, it's that even these so-called "sensitive" boys can be just as much of the patriarchal problem as more aggressively "macho" acts out there (and in some instances, actually worse).  This is a round-about way of saying, traditionally, we rarely get to hear the female side of the story, and if we do, it is often met with patronising audiences of "poor little girl" syndrome. So what a breath of fresh air it has been to see Katie Crutchfield's Waxahatchee project break free of the shackles of a somewhat suffocating relationship that involved both her romantic and music life and create an album that deconstructs relationships and toxic masculinity in such brilliant fashion. Over the course of these 10 songs, Crutchfield proudly wears her battle-scars and reflects upon where she was and where she is now on Out in the Storm. I saw Crutchfield twice this year, first in the aforementioned church in Calgary, solo, essentially introducing this album to a new audience, and then later, all-female live band featuring her sister Alison (who also supported and is an excellent talent in her own right) and British guitarist Katie Harkin (Sky Larkin, Sleater-Kinney) who really helped make this album shine. Every song here is a stunner, but in 'Sliver' we have one of the best songs of the year, an anthem of defiance that neatly sums up this great, great album.

Silver

Grizzly Bear - Painted Ruins (August) *5th

One of the big narratives of music in 2017 was the "comeback" of mid-to-late 2000s indie-rock having a resurgence. Along with the aforementioned Fleet Foxes, we also had return records from The National, Wolf Parade, LCD Soundsystem and Liars, for instance, most of whom will show up later in this list (because I'm a nostalgic mark apparently). Grizzly Bear have been one of the most consistent acts in that world and with their 5th album Painted Ruins only continued to prove that. While I'm not sure they'll ever top my personal favourite, Yellow House, in fairness, the band made a statement that they were moving away from the more lo-fi, freak-folk and more towards chamber pop on Veckatimest. Grizzly Bear remain an amazing and consistently surprising act who reveal themselves with every listen, a tactic they've still not lost in over a decade. They can do a big pop song 'Mourning Sound' and the more subtle 'Neighbors' but they still after all this time have the ability to pull the rug from underneath you 'Three Rings', 'Four Cypresses'. While this certainly was a great year for "indie" music (whatever that really means) but Grizzly Bear remain the torchbearers.

Neighbors

Liars - TFCF (August)

I'll admit it, this album may have eluded me if I hadn't been commissioned to interview Angus Andrew this summer. I've never been a huge fan of Liars, but I've always liked their style and ambition to always try something new with every record, even if with varying results. But man, I am glad I had that experience with Andrew, because TFCF, striking artwork and all, is a mini-career benchmark for him. Liars is now just a solo act, after Andrew's partner in crime Aaron Hemphill suddenly departed from the band when recording sessions for TFCF began initially in Los Angeles. Andrew's world was turned upside down by this revelation, so his reaction was to move back to his native Australia, and become a hermit in the bush in New South Wales, outside of Sydney. The result is an album where Andrew fully immerses himself in his surroundings, using field recordings of the natural world he is currently living in as the background sound for him to write songs over. It's an intriguing experience, especially as I don't believe Liars' music have ever really been described as "emotional" before leading TFCF to sound almost like The Moon & Antartica-era Modest Mouse in places. This isn't the only characteristic though, as Andrew jumps around from genre to genre, all unified by this... buzzing of the bush that sits underneath it all. While not quite Andrew's peak of records like Drum's Not Dead or the self-titled album, this is a small renaissance in his career, and it will be interesting to see where he goes next.

Cred Woes

Mogwai - Every Country's Sun (September)

Yeah, it's another Mogwai album, which at this stage feels like a warm cup of tea and a hug, but there's no denying they keep on keeping on. In recent years Mogwai have slowed down their studio album production, favouring soundtrack work for TV and Film in recent years - such as last year's Atomic and Before the Flood, but they remain a solid act and for my money the greatest Scottish and further, British, act outside of Radiohead. Every Country's Sun is a mere reminder of the band's consistent greatness in a year where similar acts Godspeed You! Black Emperor and Do Make Say Think also had strong entries. While there are some familiar tropes on Mogwai's latest, their 9th studio album, they did add one of their poppiest songs ever 'Party in the Dark' and a more subtle use of the Carpenter-esque electronics that characterised Rave Tapes on tracks like 'aka47'. The best is indeed saved for last, however, as the album's excellent title track that closes the album is perhaps one of the band's most epic yet, one I wouldn't be surprised if featured at Celtic or Scotland games in the future.

Party in the Dark

Alex Cameron - Forced Witness (September)

Well, this one came from left-field. Again, like Liars, I may well have missed this one had I not been sent to interview him, and even then, my enjoyment wasn't assured given Cameron's retroactive sound and questionable lyrical content. However, when it quickly became apparent that Cameron is playing a role lampooning the toxic masculinity his characters exude which is seemingly openly everywhere in 2017. While some fans were disappointed Cameron moved away from his singular, lo-fi sound of his debut Jumping the Shark, his move towards 80s sleaze-pop, like Timber Timbre, is an excellent vehicle in which his rather pathetic characters exist. It's an intriguing idea, as rarely do musicians or artists "play the loser", something that only tends to exist in the world of acting. In many ways, Cameron is a performance artist, although in seeing him live (in his semi-hometown Berlin where he recorded the album) he unmasks and speaks about his songs candidly. Whatever it is, Forced Witness is an excellent album full of excellent, catchy ditties, especially his duet with Angel Olsen, who plays her own interesting role in the background of this album, that explore some fairly dark themes with a sense of humour and irony that stay, just about, on the convincing side.

Stranger’s Kiss (duet with Angel Olsen)

The National - Sleep Well Beast (September)

Another year, another solid National album. The National will, it seems, always have a spot on my list, though Sleep Well Beast didn't crack the top 10 when I was voting in my respective publications. Sleep Well Beast, The National's seventh studio album, sees the band try and mix things up with the seemingly inevitable turn towards electronic music that basically every guitar-based band eventually dabble in. The results are mostly successful, though in many ways this isn't as much of a departure as first suggested, remaining very much a National album. The one disappointment, in fact, is that it _doesn't_ go further in it's "electronica" as tracks like 'Guilty Party' prove there are some legs there, but towards the end, they become a bit over-reliant on pretty much one style which gets a little trying. In fact, Sleep Well Beast is probably their most piano-based record as opposed to guitars or electronica, which leads to beautiful opener 'Nobody Else Will Be There'. Meanwhile, the band step back into their older territory on tracks like 'Day I Die' and the somewhat unfairly maligned 'Turtleneck'. It's nowhere near the band's best, but The National are like a familiar friend you can not see for years and dip in with and catch up like no time has passed and will always be welcome to visit. (Fun fact, Ann and I were present for the shooting of the ‘I’ll Still Destroy You’ video as it was at their HAVEN festival, however sadly we didn’t get in!)

I’ll Still Destroy You

Chelsea Wolfe - Hiss Spun (September)

Chelsea Wolfe has slowly been getting better and darker throughout her career. Personally, I'm a little surprised Hiss Spun hasn't featured on more end of year lists, as it is a star turn from the still young LA-based goth, aided massively with Kurt Ballou's MASSIVE production and guitar chops from Queens of the Stone Age's Troy van Leeuwen. Perhaps its because she's fully embraced her "metal-side" that critics have been a little allergic to it, I'm sure there would have been a few raised eyebrows at Aaron Turner (ISIS/Old Man Gloom)'s roar at the end of the excellent 'Vex'. Either way, this is an album from an artist clearly in the ascendancy, and may well prove to be a stepping stone to a masterpiece in the future. Of all the artists currently out there, she's certainly got the most potential for it.

16 Psyche

Wolves in the Throne Room - Thrive Woven (September)

Continuing on with Metal, here is by far the heaviest entry on this list (though Converge, of course, run them close) from Olympia, Washington's Wolves in the Throne Room. I had the pleasure of getting to see the American Black Metal legends (I think we're good to give them that title now) this summer in Calgary and it was an overwhelming experience. To those who don't know, it may seem at odds to describe extreme, heavy metal as "beautiful" but that is Black Metal. Its atmosphere achieves a sensation that is transcendent when done right and WITTR are masters of it. From the second 'Born in the Serpent's Eye' begins, the listener is immediately fully submerged. From there on, this is yet another masterpiece in the band's already exemplary canon and it is good to have them back to winning ways after the disappointing left-turn 'Celestial'.

Born from the Serpent’s Eye

Protomartyr - Relatives in Descent (September) *1st place

Head and shoulders above, this is the best album of the year. Protomartyr have been quietly getting better and better with every record, and almost achieved a perfect record in 2015's The Agent Intellect, a record that has aged incredibly well since its slightly underrated release. Now, there's no avoiding it, the band's first album for Domino records is seeing a much bigger audience for the Detroit post-punk band who next year could well see themselves at the higher end of many festival slots. Simply put, Protomartyr are the most exciting punk act in the world right now. No one is doing anything as interesting, exciting, challenging as Protomartyr, their heavy, philosophical themes mixed with their highly original sounds. Just listen to the opener 'A Private Understanding' and see. Who else would dare open an album and a lead single with one of the weirdest drum-beats every committed, an off-key guitar line, frontman Joe Casey delivering the line "Not by my own hand/Automatic writing by phantom limb/Not with my own voice/Pleurisy made to stand on two legs". While Casey is pretty humble and coy about his band's success and journalists (myself included) who wanted to impose mad theories about "BUT WHAT DOES IT ALL MEAN?" when really the answer is "truth is a slippery thing, just listen to it." Sage advice indeed, when the music is this good.

A Private Understanding

Wolf Parade - Cry, Cry, Cry (October)

Wolf Parade's triumphant return last year with an EP and Tour was one of the highlights of 2016. Their show at the Scala was one of the best of the year, a renewed vigour that was clearly waning by the end of the previous run was back and they looked fresh and happy to be here. It is perhaps no surprise then that they were able to translate that to the follow-up LP, 'Cry, Cry, Cry' (which came out on my birthday this year). Yes, it's a cleaner more polished sound, but goddamn they can still write a song. In 'You're Dreaming' and 'Valley Boy' we have great pop songs from Dan Boeckner and Spencer Krug respectively, but it's when the album goes BIG that it really shines, on such epics as 'Flies on the Sun', 'Baby Blue' and 'Weaponized'. Of course, 'Cry, Cry, Cry' isn't close to their incredible debut, but that's an impossible standard to meet, so the band don't even try it, instead streamlining their later sound into something more confident and coherent (see: 'Am I an Alien Here') and it's a very welcome to have them back.

You’re Dreaming

St. Vincent - MASSEDUCTION (October)

A bit like Alex Cameron's Forced Witness, MASSEDUCTION is very much a response to celebrity and paparazzi. Though Cameron doesn't really sing about that (it doesn't really fit with the character) the title and artwork certainly do allude to it, while one of the major themes of MASSEDUCTION is on this. Annie Clark had a very public break up with Cara Delevingne which also takes up much of the record, but you can't really pin this album on any one particular event or theme, other than Clark's re-evaluation and sexual freedom. MASSEDUCTION is an experience worth seeing live, which made the album work for me, which I was initially a little tentative about. I saw glowing reviews but didn't quite match them up to the music. Then, seeing Clark "live" (which has caused much controversy), everything made sense. After a first half set where she ran through her greatest hits in release date order, the second half saw her perform the album in full and it really was a performance. Then everything clicked, in what could be Clark's best record to date, which is an already very high benchmark to clear.

New York

Fever Ray - Plunge (October)

Speaking of sexual liberation, (what a segue!) a couple weeks after St. Vincent's album, Karin Dreijer Andersson, better known as Fever Ray, surprised fans with a new album which plays on similar themes to Clark's. While Dreijer's not quite in the public eye the way Clark has become, she instead crafts an album about sexual politics which is dangerous-yet-endearing and seems particularly pertinent in this current spate of highly public reportage of sexual assault incidents currently ongoing. As ever, Dreijer proves why she is such a force of nature in composing these tracks, which are challenging and danceable, poppy and angry etc. with 'To the Moon and Back' she has a defining statement, a manifesto and a rallying cry, carrying on the theme's from The Knife's possible final record Shaking the Habitual perfectly.

To the Moon and Back

Golden Teacher - No Luscious Life (November)

One of Glasgow's best bands, Golden Teacher's debut full length has been waited on for some time. Really, this sextet are best experienced live, as every show immediately becomes a party. It can be difficult sometimes for highly-energised acts to capture that on record, but thankfully Golden Teacher manage it with the help of Emily McLaren & Stuart Evans at Green Door Studios. Golden Teacher are for me the quintessential Glasgow band. They exist in a liminal zone that links the city's art-punk scene with the world-famous electronic scene, hence their inclusion on the legendary Optimo's label. The record mix funk, world and electronic music with a punk energy and are an absolute thrill to experience, it would be impossible to not put this record and not feel the groove.

Spiriton

Converge - The Dusk In Us (November) *3rd Place

And finally, rounding out this excellent year are one of my all-time favourite bands, Converge. While I don't really listen to much heavy music these days, Converge are the exception to the rule in many ways. They exist in their own space within music that is fiercely inventive and original. I recently had an argument with a few people about what genre to classify Converge as and simply put, it's an impossible and unnecessary task. Converge simply don't fit into any easy genre classification, they are just Converge. What is a surprise was that, though Converge have never really had a dip in quality, the fact they have been able to produce such a career highlight this late into their salad days is nothing short of remarkable but also typically them? The Dusk in Us is an incredible achievement by all involved. It is perhaps Ballou's best production job to date, Newton and Koller's most controlled performance and, crucially, Jacob Bannon's most assured vocals to date. It seems ridiculous that the 25-year-old band keep finding ways to better themselves, but here we are. Kudos to you Converge for remaining such an inspirational figure not just in the heavier genres, but music as a whole.

A Single Tear

Thank you for reading! Have a happy new year and great festive season. 

[aryanarecords]

INTERVIEW WITH RYAN WISE

I have absolutely no idea where to start with this.  I have been thinking about how I would start this article for months, and now that the moment is here I still don’t know.  Not in a bad way at all, it’s just that the person I interviewed has changed the way I view the world, a lot.  There aren’t many words to describe it.  I guess I’ll start with how we met, which is also kind of hazy.  Bear with me. I was in the common area at the NYU hall I stayed at for two weeks over the summer.  I was trying to play pool when I saw two guys dressed in really cool clothes.  One had grey overalls with an orange polo shirt and yellow sweatband on.  The other one had a black tee, Comme Des Garcons sneakers, and a bandana with flames.  I guess it was the vibes they were giving off, but I somehow managed to approach them.  I learned their names were Justin Miller and Ryan Wise.  You’re probably thinking Justin Miller sounds really familiar. It’s because I interviewed him! You can read it HERE. (By the way, Justin was wearing the overalls and Ryan was wearing the bandana with flames.)  I don’t remember what we talked about, or how I even approached them, but I told them how a bunch of us jam out every night in the basement and they should come.  They did end up coming, and it was probably the best jam sesh we had.  We even ended up writing a song all together.   On my last night at NYU, I don’t really know how Ryan and I found each other, but I feel like that’s how we grew closer.  We ended up in the jam room together and he started talking about his experience at NYU and ended up showing me a song he wrote.  I fell so in love with it and I promised to share his music on here when it’s finally out.  When I went back home, I had some stupid drama going on and he was always there to listen.  In fact, he would share his problems with me too, which would become the basis for his EP.  I specifically remember talking about how NYU sick we were, and how we felt so at home there.  We felt like we belonged.  I don’t think my NYU experience would have been the same if I hadn’t met THE Ryan Wise himself.  This was honestly all over the place, but without further ado (can’t believe I just said that, OK), here is my favorite interview to date! 

Give us some basic facts about yourself!

Name: Ryan Alexander Wise Born Day: 9/13/2000 Sign: Virgo Favorite Food: Rice Favorite Color: Black Base: Central Ohio Nicknames: Whatever you want, but don't call me RyRy or nigga if you ain't black.

How and when did you start making music?

I wrote my first song when I was a toddler and my dad recorded me singing it and like put music behind and it and everything. It was hella extra. I've come up with songs for as long as I can remember, but I guess the turning point was when I was 11 and I got my grandma's old iPad. I downloaded GarageBand on there and started producing and have been going ever since.

Who are some of your musical influences?

I wouldn't be doing any of this if it wasn't for Michael Jackson. When he died I looked him up to see what all the fuss was about, and was literally obsessed with his discography for 18 months straight. My current favorite artists are Kanye West, Frank Ocean, and Childish Gambino, so I'm sure they have a big influence on me. However, whatever influences my art is really what I'm listening to while I'm creating it.

What have you been listening to lately?

I've been trying to broaden my scope and get away from hip hop a little more since that's been all I’ve listened to for like 6 years now. Willow Smith and Tyler Cole came out with amazing albums this year, especially for how young they both are. Hella inspiring. Speaking of the Smith family, “SYRE” by Jaden Smith has been in rotation since its debut. “Chamber of Reflection” by Mac DeMarco, “Lone Wolf” and “Cub” by Thundercat, and “Swell” by Archy Marshall are favorites now too.

What was your inspiration for your new EP, Room & Bored?

My time at NYU this summer. I was working on a different project going into my month long stay there, but I ended up writing some new stuff while there and as a reflection of my time there when I got back. I looked at what I wrote (R&B’s three songs in particular) and realized that I had something there. I dropped everything else and started making those, because I felt an urgency to get that out there. Through the help of people at NYU, like you Aryana, I finally had enough confidence to release a body of work. NYU influenced what I wrote about, how it sounded, its title, aesthetic, everything.

This is a picture I took of Ryan in the jam room on the last night.  He was performing one of the songs he wrote during his stay at NYU.  Bad pic, but high quality sentiment.

How long did it take you to write and produce R&B?

I wrote 227 in a couple minutes one day at the beginning of my stay in New York. Same with 908 but like two weeks later. 197 amassed itself over a couple of days after I got back and was eventually trimmed down from 9 minutes to 5. I then produced the bulk of it through August and kind of sat on it, making tweaks until I told myself I had to put it out and tweeted “november 1st” to hold myself to releasing it on that date. So all together a little over 3 months.

How did you think of the title, Room & Bored?

I'm still kinda iffy on the title. I like it, a lot, but not sure that it really connects with the story of the project much. It’s playing on Room and Board obviously, and I think it’s clever and fits within my aesthetic, but the EP doesn't really convey a sense of boredom. Maybe 227, since it’s about suggesting that fun should be had rather than describing the fun. I don't know. But since it was based on my experience at a college, I wanted that to be incorporated into the title. I wanted this to be a project where different people can experience it differently based on their relation to me. So if you just happen to find this on SoundCloud, you might think I'm a college student. If you know me, you probably know that I was at NYU for a part of my summer and will get that it’s a reference to that. If you were at NYU and were good friends with me, you might get more things: who the songs about, the events that inspired the songs, the room numbers’ significance, and the title plays into that.

Each song title is a number, what do those mean?

Each is a reference to a room that was significant to the circumstances that inspired the songs. 227 was my friend Anthony's room, and that's where we would hang out and party most of the time. Since that song deals with themes of not necessarily fitting in at the party, but wanting to because “she” does, I named it after the room where I felt that. 908 was another friend of mine’s room, where an interaction happened between me and someone else. To fully feel and release the emotions that were ignited as a result of that interaction, I wrote 908. I also learned that it was the room number of my other friend, on the opposite wing of the dorm, and coincidentally it applies to things that happened there too (coincidence = the universe stunting on you with Jay-Z double entendres). 197 has to do with where I live. Since I wrote it after returning home from New York and it was a reflection on my experience there, I named it after where I was at the time.

What’s your dream venue to perform at?

I'd love to say like Madison Square Garden, but that seems hella overwhelming. Maybe like the Roxy, because I'd love to be in a more intimate setting with people that know my music better than I do. I’d take a ton of those over one MSG performance where 60% of the people there only know that one song that charted.

What genre would you define your music as?

I'd love to say Alternative, which to me just means the industry doesn't know what to call this, but right now I'd say hip hop or alt hip hop. I'm still very much in that state of mind. My ear is farther along than my voice, if you pick up what I'm putting down.

What was the first record or CD you bought?

I don't remember the first song or album I spent money on (it was probably trash and definitely on iTunes), but the first physical album I bought was Jay-Z’s “Black Album” on vinyl. Didn't have a record player yet. Hadn't even heard the album in full. I just saw it and impulse bought it because I felt like it. Listened to it later, and fortunately, it’s amazing.

Who would you want to open for?

Opening for Kanye would be dope but I'd probably be crying too hard to perform. Opening for Frank Ocean would be dope but I know everyone would forget about it as soon as Frank walked on stage. Maybe Kevin Abstract. Yeah, that would be dope. But opening for any of them would be a privilege and I would be so geeked to do so.

Any advice you have for young/ local/ up and coming artists?

Keep grinding. Don't let people discourage you. Yeah, not everyone gets to be a star, but you'll never be one if you let that get in your way. Don't aim for fame, aim for happiness. At least that's what I'm doing, and I hope it works out. Making connections with other, artistic peers can be very helpful. I wouldn't have R&B if it wasn't for people like Aryana and Justin (JUM The Lover) and others that I've become close to. They’ll help inspire you, make you feel at home if you're in a place where people don't tend to think like you, and will hook you up if you can't think of another verse and need a feature.

Can we expect more music from you? Is yes, when!!??!

Of course you can, but I don't want to give a date that I most likely won't keep. When it comes, it will probably be another EP, but longer this time. I'm not ready to come out with a full album yet. I don't know why. I have enough material, but need a concept or theme to tie it all together. If everything goes as planned, my next EP will be called COVER and you should look out for it.

Is there anything else you want to add?

If you've listened to R&B thank you so much. Even if you hated it, at least you tried. If you haven't, please give it a shot. The whole thing isn't even 10 minutes long. Support young artists. Retweet, reblog, repost, share, like, favorite everything by the young artists you know. Even if it’s not that great to you, it might be to someone else who’s in your sphere and wouldn't come across it otherwise. Listen to Room & Bored, or don't, it’s your prerogative, and why be racist, sexist, homophobic, or transphobic when you can just be quiet?

You can listen to Ryan’s debut EP Room&Bored HERE

Rock On,

Aryana

[buttonholedlife]

Get to Know Tripnotic and His Aggressive Dubstep Style | EDM Identity

After several festival appearances in 2019, Tripnotic caught our attention and is a dubstep artist to watch closely in the future.

Since breaking onto the scene, Tripnotic has been working hard to develop his sound and make a name for himself in the dubstep community. He’s already leaving a lasting impression on listeners with a style that spans across multiple subgenres, from the deep dub track “Interference” to the harder vibes in his official bootleg of “Alien Invasion” by Moonboy.

This year, Tripnotic traveled across the country while showcasing his unique take on bass music with a big summer tour that included festival stops at Electric Forest, Imagine Festival, and Summer Camp. After stumbling upon his set at North Coast Music Festival in Chicago, I had to learn more about this up and coming artist and what he has planned for the future.

Following the biggest year of his career yet, Tripnotic is wrapping up 2019 with an appearance at Lights All Night and has more tour dates and track releases to look forward to in 2020. We sat down with Tripnotic to learn more about his influences, his production style, and his favorite memories from this year!

Stream EDMID Guest Mix 191 || Tripnotic on SoundCloud:

Hi Tripnotic, thanks for chatting with us today! Let’s start off by taking a look at your background in the EDM world. Who are some artists that first got you into the scene and what led to you making the aggressive style of dubstep that you’re known for today?

Yo, thanks for having me, I appreciate the opportunity to share a little about myself! To be honest I couldn’t tell you who the first artists I really listened to were, when I first heard EDM it was at “rave parties” in peoples’ fields, barns, and basements (I’m from the South if you can’t tell) but I didn’t even register it as EDM at the time.

One of my friends from those parties eventually convinced me to come to a real show with Flux Pavilion and after that, I was hooked. I started off listening to mostly bigger artists like Borgore, Pretty Lights, and of course Skrillex. I actually started off making more trap when I started producing almost three years ago but once I started to learn more I fell in love with making dubstep. I’ll make any genre honestly but with how dubstep has been evolving it’s just currently my favorite. I just make what I like hearing and if others like that too then it’s even better!

You just released “Gas Pack,” another collaboration with Infexzion. What’s your favorite part about working with him and how did that relationship start?

This one’s actually funny, a lot of people don’t know this but plot twist… Infexzion and I are actually twin brothers, so basically when our Mommy and Daddy loved each other very much is when that relationship began. We definitely butt heads at times being brothers and all but it’s a huge blessing to share the same passion with a sibling and chase our dreams together.

Some of your most recent releases are bootlegs of Griz and Subtronics’ “Griztronics” and “Illusion” by Bassnectar and Peekaboo. What are some production techniques you utilize when remixing someone else’s song and does that differ from your original work?

Bootlegs are a little different since I don’t have the actual stems of the track, I’m just working with the master WAV. For those, it’s a lot of finding pieces I can work with then resampling and post-processing to make it sound more like my own.

Depending on what I’m trying to do for the track sometimes I want it to sound really different like “Griztronics” and I’ll add more of my own sounds, drums, etc. With “Illusion”, I kept most of the core sounds the same.

What are some of your favorite parts about the production process, and do you have any favorite plugins or techniques that really enhance your sound?

Honestly, just the whole process of creating and playing with sounds and trying things out is something I love. There’s no real right or wrong to an extent, just what sounds good. I use a lot of the Waves bundles more than anything, Izotope Ozone a lot, and you really can do some cool stuff with Convolution Reverb.

Serum and Phase Plant are really my go-tos though I guess. I’ve really been really focusing on layering and just giving more depth and uniqueness to my tracks now.

This past summer, you performed at Imagine Music Festival and the GoodBus Stage at North Coast & Electric Forest, as well as other fests. How do you make your sets stand out when you’re playing for new fans at a festival?

I try to play a little bit of everything and give each person there a taste of something they might like, plus trying to expose them to new music as well… but honestly, at the end of the day, I just play tunes that I really enjoy and hope that means everyone else will too!

You played several shows over the last few months on the Synthesize Me Cap’n tour – can you share some of your favorite memories from those shows and this summer?

17 shows and 9 festivals was definitely a blessing. It really took the tour ending and looking back on the whole experience for it to set in, and it was just surreal. I met a bunch of new friends and had the best summer of my life.

If I had to pick a few I think playing Houston Grimefest was one of my favorite shows, I stood on the booth for the first time and the energy that night was insane. It also linked me with some of the most amazing people I’ve met on the Nocturnal Waves team that I’m working with now.

North Coast was probably my favorite festival set this year. Every festival was an amazing experience and I had a great time playing, but spending the weekend with all my Chicago homies on the GoodTeam is always a good time. Love that crew. Also have to mention the first show of the tour in Arkansas with the Hidden Sound team, even though it wasn’t huge it was special as the first show and my first tour and love the guys in that fam as well!

Thank you to all the dope promotion teams and hospitality for having me out, taking care of me, and friendships formed! Much love to all the photographers, VJs, and other artists I played and worked with. Y’all were amazing, keep grinding and I look forward the next time we work together on even bigger opportunities. Last but most definitely not least thank you to all my friends (fans) who came out or supported me making this all possible, I love you guys and had a blast raging with y’all! Most importantly I wanna give all the credit and glory to God though, without Him I wouldn’t be here doing any of this and I’m truly blessed for these opportunities.

If you could share one piece of advice with other up and coming producers looking to make their break in the dubstep scene, what would you tell them?

Make more friends than connections. Don’t compare yourself or measure against others’ progress, everyone has a different path. Work harder, it’s never hard enough. Establish a clear consistent brand, interact with your supporters, keep up with content. These might sound vague but honestly there are no “A, B, C” steps to this, you have to find what works for you but hopefully, these guidelines help some….I’m still figuring things out myself.

You recently gave a shoutout to EDM Twitter for helping to kickstart your career this year. What’s your favorite part about connecting with your fans on that platform?

All the EDM Twitter fam definitely holds a special spot in my heart. I’ve just received a lot of love and support from that community that helped get my name around for the tour. I got to meet and work with other awesome talented people from the community on tour which was amazing but I hate the word “fans”. Everyone has a part to play in this beautiful scene and none of us could do it without the others, I’m just grateful to have people to support my dream and share experiences together.

Looking towards 2020 and beyond, what does the future hold for Tripnotic? Is there another tour and more original releases on the way?

Oh yeah, I mean it’s cliche but lots of “big things” coming soon. I have a couple cool releases and event announcements to make closing out this year but 2020 is gonna be a new level. I’m wrapping up my first EP for a major label that I’ll build a tour off of but expect to see me on more than just one tour next year…maybe even as support for a top tier artist. I have to keep things pretty vague but there’s gonna be a lot of chances to see me play in 2020, some cool merch things, and a couple unique announcements. I can’t wait honestly!

Finally, what are some fun non-music related facts you can share with us?

Before DJing took over my life I was a Division 1 paintball player, sponsored competitive snowboarder, and published poetry writer. I have a “third set” of most of my teeth behind the adult ones so I’m part shark (lemme on a Bite Me tour, Jauz), I’ve been growing my hair out for four years, and I’m a black belt.

Thanks so much for having me and listening to ramble; I enjoyed letting everyone get a glimpse into my trippy mind…. and yes I go by Tripnotic for the exact reason you think I do. Much love and stay blessed!

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This content was originally published here.

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[INTERVIEW #244] The Canadian band Loving charmed us with their debut EP which was released in 2016. They are back in 2020 with their debut album ‘If I Am Only My Thoughts’ expected on January 31st. We asked them a few questions. /// Pour la version française, c’est par ici : https://bit.ly/2syD97d /// Could you tell us a few words about how you met? Jesse: My brother and I met David through a mutual friend. We were looking for a guitarist to join us for a few shows for another project and David came along. We ended up having a nice psychedelic time together at this funny little festival in the mountains; got a flat tire, swam in a glacier cold river, listened to a lot of Bill Callahan. Subsequently we all worked in forestry together and David and Lucas eventually became roommates. Since then those two have lived a in few houses together and David has had a basement studio in each of them. Your debut EP ‘Loving’ got released in 2016. You have been releasing three new singles in the past three months (Nihilist Kite Flyer, Visions and Only She Knows). When did you get back writing on these new songs? And did you have precise ideas of what you wanted? Jesse: We began writing songs for the new album in 2017 but the process was broken up by various other commitments and I don’t think we really got into it in a meaningful way until early 2018. I can’t say there was any method or unifying concept driving the project but I suppose we had a sound based off the EP that we were looking to develop or elaborate upon. Also, compared to the EP recording – which was really fast – we were much more committed to exploring composition and testing out different recording approaches. Which are the topics covered in these three songs, according to you? Jesse: Topically it’s fairly unified around existential themes – what am I doing here, who am I, a blah blah, that sort of inescapable thing. What is your process when writing songs, if you have one? David: for my writing contributions to the project, I’m usually tinkering in the studio untilI I happen upon a progression or composition that suits the mood of the other two’s lyricism. Alternatively, I love working with the others on their song ideas. It usually ends up being a subtractive process - we throw a bunch of instrumentation and parts on and see what works.

You have released two beautiful videos for the songs Nihilist Kite Flyer  and Only She Knows. Who did you do them? How were they made? David: We are lucky to have become friends with some incredibly talent filmmakers, Oliver and Will from Ft. Langley. They’ve made all of our video content to date (and more to come). For Nihilist Kite Flyer, Will had a bunch of super 8 film that he had shot on vacation in Mexico, so he ended up making that little video with that. For Only She Knows, they actually went out and filmed all of the shots that comprise the video and put it all together. We’ve enjoyed leaving them a good amount of creative agency, the works end up being more of a collaboration, their own visual interpretation of the songs. Where do the three artworks for these new singles come from? Jesse: The Nihilist Kite Flyer photograph was taken at my nan’s old place on Gabriola Island in British Columbia by our good friend Cayden Johnson. That shot was taken after one of the first days of recording, the power had gone out and we had a very make-do dinner affair with too many candles –  we’d love the classic still life quality of the photograph, and it’s a fine memory. The Visions photograph, also by Cayden Johnson, was shot during that same recording session. The Only She Knows photograph is by Jeremy LaChance, a talented photographer living in Montreal. No real story there, just a nice image that we felt resonated with the others. Do you have any specific relationship to France? Jesse: Hmm, not really. My brother Lucas and I were enrolled in a very poorly executed French immersion program when we were children. Unfortunately, we didn’t learn much and left the program before graduating. Unsurprisingly, I love a lot of French writers, artists, thinkers - there’s too many to list here and it would likely be predictable anyway. Could you please recommend us current bands that would deserve more attention? David: IceBerg Ferg! Loving’s debut album ‘If I Am Only My Thoughts’ will be out on January 31st! A&B

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Noah Gundersen’s Restless Heart

In 2014, Noah Gundersen released his first full-length album. The record in question, Ledges, was a masterclass in contemporary folk music, loaded with confessional lyrics, acoustic guitars, and fiddles. By all accounts, Gundersen seemed like a traditionalist. In 2015, Gundersen quickly followed Ledges up with his sophomore LP, the spiritually fraught Carry the Ghost. It was still a folk album, but Noah was fleshing things out, adding fractious electric guitar and other elements of full band instrumentation into the mix. It was clearly the work of a young songwriter who was yearning to grow. Between the fall of 2015 and the early winter of 2016, Gundersen did two tours in support of Carry the Ghost. The first was a full-band endeavor, presenting the songs on Ghost as they were meant to be heard. The second was a solo tour, where Gundersen played songs from both Ledges and Carry the Ghost on acoustic guitar, solo electric guitar, and piano. It was a stark, intimate presentation, and it showed off what made Gundersen so special: his vulnerable, fragile voice; his songs that could work well no matter how much he built them up or stripped them down; and his honest, forthright lyrics. But something was wrong. Gundersen was having a crisis of faith—not the same crisis of religious faith he wrote about on Carry the Ghost, but a crisis of faith in his own art. When I saw Gundersen on the solo tour for Ghost, he was pointedly reserved. He bantered with the audience occasionally, but during the songs, his eyes were cast toward the floor or closed entirely. And at the end of the show, when a condescending moderator led a Q&A session and suggested that Gundersen was “so young” and “couldn’t have possibly experienced what he sang about in his songs,” Noah seemed at a loss for how to answer—at least politely. When the Q&A ended, Gundersen headed quickly for the stage door. “Instead of my life up to that point flashing before my eyes, it was my future,” Gundersen says of that tour in the press materials for his new album, titled White Noise and out September 22. “A future of playing songs I didn’t believe in and pouring my soul out into a vehicle I no longer recognized or loved.” For those who have been following Gundersen for a little while, that statement may or may not be shocking. Gundersen, I’ve gathered, is the kind of artist who turns against his old work as he continues to grow and change. When I spoke to him in the lead-up to the release of Carry the Ghost, Noah explained the evolution in his sound by distancing himself from Ledges. “My taste and my aesthetic has changed since the writing of those songs,” he said. “I wanted to make something that was different, something that I would enjoy listening to.” While Carry the Ghost may have been something Noah would have enjoyed listening to then, though, it probably isn’t anymore. Just like he grew out of the Ledges material, Gundersen now views the Ghost songs with a similar level of detachment—like they were written by someone else instead of from his own pen. “I wish I knew why it happens,” Gundersen said, speaking of his consistent artistic restlessness. “It’s kind of a pain in the ass. I just think I’m perpetually dissatisfied, which can be really frustrating. But it also drives my creativity and my desire to do better and to make things that are better than what I’ve made in the past.” On Carry the Ghost, that desire drove Gundersen to take the contemporary folk sound of his debut and flesh it out. On White Noise, it drives him to take that sound and crash it off a cliff. Where Ghost felt like a natural evolution from its predecessor, White Noise feels every bit as restless as Gundersen seems in conversation. There are three songs that may have fit on previous records. The rest find Noah casting about and exploring new frontiers. He’s helped in his exploration by Nate Yaccino, the friend who Gundersen brought in to produce the record. (Noah self-produced both Ledges and Ghost.) “[Nate] pushed me sonically in a lot of ways that I wouldn’t have necessarily gone on my own,” Gundersen said. “I think having someone to push back against and have a dialogue with, someone who is creatively enhancing the experience, I think that’s really important. This record definitely wouldn’t be what it is without his contributions.” On first listen, some fans—particularly the ones who have been with Noah since the bare bones EPs he made as a teenager—will probably find some of those contributions jarring. Noah’s vocals get pitch-shifted, multi-tracked, and buried in reverb in the middle of “After All,” the 90s rock flavored opener. Laser-blast sound effects and other ambient noises canter around in the background of “Cocaine, Sex, and Alcohol (From a Basement in Los Angeles).” And “New Religion” builds from an organ-drenched piano ballad into a full-on psychedelic, Beatles-inspired bridge. Still, it’s fairly clear that Yaccino isn’t pulling Gundersen anywhere that he wasn’t ready to go on his own. That’s partially because Gundersen is far from the traditional singer/songwriter that he presented himself as on Ledges, but it’s also because he didn’t completely know where he wanted to go when he started making White Noise. “The early formation of the ideas for this record were kind of all over the place,” Gundersen said. “When I started writing it, there was a phase where it was going to be like a Nine Inch Nails record. I was listening to a ton of Nine Inch Nails. Then there was a moment where it was going to be more like a Nick Cave record. And then it was Radiohead’s OK Computer. And Paul Simon’s Still Crazy After All These Years was actually a really influential record for us, too. “So there were a lot of moments along the way where it was going to be something more specific. And then it kind of just morphed into an amalgamation of a lot of the different phases of obsession that I had.” White Noise sounds as scattered as Gundersen’s words imply. Lead single “The Sound” is a surging rocker with shades of Noah’s side band, Young in the City. Ditto for the cheekily titled “Number One Hit of the Summer.” The synth-heavy “Heavy Metals” recalls the 1980s ambient rock style of The 1975. “Bad Desire” is a bluesy pop song that wouldn’t have been out of place on John Mayer’s Battle Studies. “Sweet Talker” has shades of Coldplay’s X&Y and U2’s The Unforgettable Fire. And “Bad Actors” and “Cocaine, Sex, and Alcohol,” likely to be the record’s most polarizing moments, see Noah wearing his Radiohead influence proudly on his sleeve. The themes of the record are no less expansive. In his Facebook post announcing the album, Noah wrote that it was about fear, anxiety, desire, despair, hope, and joy. It’s also about alienation and division, caused by the simultaneous connection and isolation allowed by social media and by the hateful political landscape inspired by our current presidential administration. The statements here aren’t as clear as they were on Carry the Ghost. There, Noah was exorcising years of personal demons about how religion so rarely practices what it preaches. Here, he’s threading a more universal needle—a fact that pushed him to write more toward a feeling or vibe than a literal narrative. “I didn’t want it to be some kind of confessional on-the-nose angst thing,” he said. “I didn’t want to get up and literally say ‘Social media is destroying humanity’ and ‘Trump sucks’ and all this stuff. That feels so cliché and banal when you hear it laid out literally.” At the same time, though, Gundersen also didn’t want to hide his “confessional on-the-nose angst” behind irony or cynicism, in the way that recent records from the likes of Father John Misty and Arcade Fire have done it. He didn’t want to be afraid of his own earnestness—even if being sincere is rarely what moves the needle in music these days. “I’m not an ironist,” he said. “That’s never really been my style. Something that’s been a part of my music for a long time is trying to express human feelings in a simple way, but an intimate way. And I think [this album] is another side of human feeling. It’s something we’re all going through right now. Experiencing the world changing, feeling this sense of fear and anxiety and not really knowing what to do with it. I can only communicate that through the lens that I’ve experienced it, but it does feel like a kind of universal thing that’s been going on. So I think trying to express that, at least through my own lens, is my own little contribution.” White Noise doesn’t feature a single overt political statement, nor does it include any immediately obvious references to social media or subtweet culture. Still, Gundersen is a deft enough songwriter that you can feel those topics in his songs. “The Sound” resonates as a pointed jab at entitled internet goons who refuse to acknowledge their own ignorance. “How many times will you shit on what you’re given?” the song asks; “How many times ‘til you shut up and listen?” “Fear and Loathing,” meanwhile, was written before Trump got elected—Noah was playing the song on his acoustic tour in early 2016—but might be the perfect anthem for the feeling of dread that seems to have blanketed the entire nation this year. “Nothing changes much/The quarterbacks are drunk/The prom queen just gave up/In Fear and Loathing.” In a lot of ways, White Noise is a record about cutting ties with the past. “There’s nothing left for us here now,” Gundersen sings on “Fear and Loathing.” It’s a fitting lyric for one of the few songs on the album that sounds like his old style of music. Even as Noah turns away from folk music, he has to give it at least one more aching send-off. But Gundersen is smart enough to know that, no matter how much he experiments, his purest emotional fireworks still come when it’s just him and an acoustic guitar. That’s why the three songs that sound the most like Ledges and Carry the Ghost—“Fear and Loathing,” “Dry Year,” and “Send the Rain (To Everyone)”—serve as homecomings of sort at the end of the first and second halves of the record. Both “Fear and Loathing and “Send the Rain” build from slow, acoustic starts to big, full-band catharses. “Fear and Loathing” handles the build-up itself, painting the picture of a small town that’s falling apart—breaking its citizens down with it. “Dry Year” and “Send the Rain,” meanwhile, function almost like two parts of a whole. The former is the record’s sparest and most desolate moment, painting a portrait of a world ready to burn. “Some days the world feels like a building on fire/But everyone’s ignoring the smoke/You would vote for a comedian/If he could comfort you with a joke,” Gundersen sings on the record’s closest thing to an overt political lyric. The “dry year,” it turns out, is a metaphorical drought—the result of a world sapped of its values, its empathy, and the genuine human connection that used to keep it spinning. But Noah’s words aren’t judgmental or hateful. Instead, he hopes that someday, things will change. We’ll stop burning ourselves with political wars and stupid insecurities and let the rain save our ravaged world. Even if none of us live to see that day, Noah reckons we can be a part of the solution. When the audible sound of rainfall cuts through the end of “Dry Year,” he sings “Now the sky is giving up her child/To the dead grass of the back lawn/I hope she takes the water in my body when I’m gone.” And as the album’s final song barrels toward its epic climax, it’s to Noah’s repeated cries of “Send the rain, send my love/To everyone,” shouted over the noise of crashing guitars and pounding drums. The message, I think, is simple: in a world on fire, maybe we can all be somebody else’s rain. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/noah-gundersens-restless-heart/