2010: Good Enough to Acknowledge

I think it has been since either 2005 or 2006 that I even considered a top albums of the year list. 2010 has actually given me enough to think about.

I think in the past I had hesitated because I knew there was a lot I probably would like that I didn't hear at all, as well as some things that I haven't heard enough (at this point that being the latest No Age) and fighting my own impatience. The latter meaning that it's only December seventh, and let's not forget that there could be more releases. Seems unlikely but let's consider 2001 in which Jim O'Rourke's Insignificance was released the final Tuesday of the year.

Of course this year looked pretty bad at first with the death of Jay Reatard. It was enough for me to expect this whole decade to be a weak as the last. However things changed pretty quickly for many reasons, not least of all the reformation of some of the 90s greatest acts - Guided by Voices and Pavement.

Firstly, we had the formation of today's greatest live band who happens to be from right here in the Bay Area. If you still aren't up on Flash Gilmore and the Funbeatles this should let you know of their importance:


Then there's the albums. Here's a few I liked in No particular order.

Titus Andronicus - The Monitor

The subnormals weren't the only people with a good eye on Jersey this year and Glen Rock's young stars have made the new Born To Run. The album touches upon all the same themes you should expect from the garbage state such as rage, failure, constant fighting, destructiveness, pride, and of course, lots and lots of alcohol. Coupled with the Feelies' Crazy Rhythms this is how I could show anyone what it's like to be from that state. The energy and urgency is there and with an average song length of six and a half minutes it's nothing short of epic... just look at the cover!


Will Stratton - New Vanguard Blues

Hailing from a few miles south (though he can also claim the East Bay as home), Stratton's third is a bit further stylistically than Andronicus. The singer-songwriter continues growing not only in his musicianship, but also in his studio prowess. Stratton's minimal arrangements manage to sound full and powerful, well-complimenting his vocals and lyrics and proving that today's "folk" musicians don't need to resort to Sufjan Stevens' over the top arrangements to distinguish themselves.


Personal and the Pizzas - Raw Pie

Rounding out the Jersey section we have Personal and Pizzas who despite claims to be from Hoboken and survive and a diet of Benny Tudino's giant slices and Budweiser tall boys are actually from San Francisco. Regardless, they play the part well and it's a pizza party wherever they go. While it's very easy to dismiss them as a gimmicky novelty act the fact remains that Personal is just an outstanding songwriter who happens to work in the style of Ramones-style punk/pop. Unfortunately, though, this comes across better in live performance than record, not to say this isn't worth owning, though.


Deerhunter - Halcyon Digest

After years of meaning to get into this band I finally have, right at the time of their most solid album, one they really puts all their strengths to the front. Bradford Cox and company deliver a set of creative, well-written, and atmospheric songs with an exceptionally wide range of emotion. Halcyon Digest is one of those classic albums that sounds much like everything else that's been made to date but in its own way. This winner for best-titled album of the year proves that Deerhunter is perhaps the most important band today.


Ariel Pink's Haunted Graffiti - Before Today

Int he five or so years since Ariel Pink's name became known outside the freakiest of LA hipsters the post-outsider artist stayed pretty busy. He toured constantly, pushed his favorite artists, put a band together, got a record deal, and made many more people uncomfortable. However, he did not do much more recording until this year. With expcations as high as the curiousity about his jump into pro audio, Pink and his band delivered. His songwriting is as strong, and much more consistent than before and while his smooth 70s pop has lost a little of it's eeriness with the clean production, it hasn't lost any of its heart.


Beach House - Teen Dream

After thinking these guys were everything I hated about new music (still don't like their other albums) the inclusion of "Norway" on MOJO's dream pop compilation was enough to make me pick this one up. The rest of the album lived up with its slow, sensual, and yes, dreamlike, sound. With a massive budget, the Baltimore duo crafted a successfully big statement that will surely set the standard for the rest of their career.


Th Apples in Stereo - Travellers in Space and Time

The one that gave me hope. When I first heard this old favorite's more electronic turn I was not sure what to think at first. In many ways, it's Robert Schneider taking a cue from his own followers and, of course besting them. Unlike the Apples' career up to this point there is a bit more than sunny sounds beneath the surface and at closer look this is a heartbreaking divorce album. Luckily Schneider took a different route than Dylan on Blood on the Tracks and his pain manifests itself in an aspiration for pure ecstasy just like Brian Wilson would. Don't like the electronics and new members distract you, this will go down as one of the Apples' best.

A Necessary Evil, I Suppose

Still getting the hang of this again, more regular serious updates again soon, but for now here's my Halloween playlist. Starting tomorrow that's all I'll be listening to until I start driving up North.

1. "Trip Thru Hell, Part One" - CA Quintet
2. "Party Time" - 45 Grave
3. "Dub Housing" - Pere Ubu
4. "Mansion" - The Fall
5. "Halloween" - The Dream Syndicate
6. "Jack the Ripper" - Screaming Lord Sutch
7. "No Tears" - Tuxedomoon
8. "Big Empty Field" - Swell Maps
9. "Night in the Asylum" - Bobb Trimble
10. "Pajama Party in a Haunted Hive" - Beat Happening
11. "They Walk Among You" - New Math
12. "Graveyard" - Public Image Ltd.
13. "I Will Wait" - Pere Ubu
14. "It's Halloween" - The Shaggs
15. "Showing Shadows" - R. Stevie Moore
16. "Chain Saw" - Ramones
17. "Black Magic" - T.S.O.L.
18. "The Sleepwalkers" - Van der Graaf Generator
19. "Ghost Story" - John Cale

Spooky.

Standing Before King Everything

This was of course the kind of thing I would give my life for: Two nights in a row of Guided by Voices’ classic lineup in the two best places on Earth.

The first night at Los Angeles’ Wiltern Theater was a special occasion as I was joined not only by fellow GbV devotee Paul Igaz, but by two newcomer friends of ours (including a true Pollard). After a number of canned American macrobrews we were ready to head down the street for the show. Doors were at 7 that night and we arrived at almost 8:30. Missing Times New Viking was an unfortunate but doable sacrifice, but what was surprising was that had the schedule been followed to the T we would have missed some of Guided by Voices set. They started not much later, but as Uncle Bob and company entered the stage with “A Salty Salute,” we learned where out lateness was a mistake. Paul and my attempts to get closer were met with unpermissive security forced us into be the most enthusiastic fans in the middle sea of Hollywood poseurs.

However, as Mitch led us into “Shocker in Gloomtown,” the reassurance that we would have another chance the next night was enough to let it go. The band continued to lead us through all the classics from the obvious “I am A Scientist,” “Motor Away”) to the obscure (“My Impression Now”) with fantastic showmanship not only from the Fading Captain himself, but equally from cohorts Mitch Mitchell and the fantastically dressed Greg Demos. Staging hit its peak with the Tobin Sprout cuts – particularly the ones in which he was joined by Pollard and “Cut-Out Witch” (one of the few Under the Bushes Under the Sttars cuts played.) Bob hit us with all his classic moves – the windmills, the kicks, the hops, yet kept them in check to give his band the credit they deserve.

At San Francisco’s Warfield even more friends joined me after an invigorating drive across the Bay Bridge. This time Times New Viking confirmed their importance as one of today’s best bands leaving me, unlike the rest of my crowd speechless. They evoked not only their all-encompassing home state, but some of the cosmic power of Young Marble Giants with Beth Murphy reminding me of an awkward Chrissie Hynde and Adam Elliott as the greatest singer songwriter to sit behind a drum kit.

Then it really started. Was this show better than the one in LA? It is impossible to say, but what I can say is this: Being much closer to the stage surrounded by people who know every word to “Gleemer (the Deeds of Fertile Jim),” “Smothered in Hugs,” and the symphonic high of “Don’t Stop Now” one can only think of commercials for Christian rock compilations for comparison. You know, the ones where the massive audience throws their collective hands towards the sky in transcendent ecstasy. It was like that, but with a lot more motion in the body, a bit hard to stay on your feet, well, and beer, obviously. Likewise the new proximity to the stage allowed me to finally witness the legendary “crazy Kevin face” which was all its cracked up to be possibly due to, or perhaps despite the fact that Mr. Fennell had aged particularly well in spite of the worst substance abuse.

While the songs were the same, some things differed between the shows. Perhaps this was only due to the location of my party, but the SF show was much more male-dominated, yet despite all your outsider sneering had no apparent gay element to it. Obviously Guided by Voices, right? On a similar note, The Los Angeles show featured a long string of banter between Pollard and Mitchell on the topic of Los Angeles pussy, which I am sure was enjoyed by all single members of the group particularly Mitch. The Los Angeles show also featured a great rush to the stage on “Motor Away,” in which at least 30 people joined the band onstage to everyone’s delight. This was not repeated, but neither was Pollard’s improvisation on “Lethargy” which reminded us that no one in the band gives a fuck, so why should we?

With all the songs intact the band changed it up a little bit by switching from two encores into three, but both ended the same way. First a sing-along epic rendition of “Johnny Appleseed,” and the closer to end all closers “Weedking” in which Uncle Bob sends his fans home early with the right idea I am sure almost all of us followed.

That’s right you will be home early to give your own neighborhood a taste of the Monument Club where you can watch your newly initiated friends transform from child to Official Iron (Wo)Men. That’s all you’re getting. Gotta leave some surprises for you suckers on the East Coast.

But here’s one they certainly won’t be swinging in Boston: Mitch has maintained the cigarette with unfathomable constancy and at many point, so does Pollard.

Love Is Trust

Sorry I've been, like, dead, lately. Recharging my batteries as they say. Got some cool stuff you'll all see soon.



"This guy should be in GWAR"

-Beavis or Butthead.

Also, I just finally saw hype! which you all must. Even if you don't think you like grunge - this movie will change that. Perhaps, favorite rock doc.

Just a Symptom of the Moral Decay That's Gnawing at the Heart of the Country

Due to an M&M's TV spot, The The got perhaps their largest exposure in the US in 2007. The commercial utilized this album's "This is the Day" giving the audience a catchy piece of 80s indie rock. While cute, the commercial does not show the deep, dramatic and in fact life-affirming power of the song. After a long time of not listening all that much I put this on the turntable on a whim. Good call on my part.

The rest of the album is not far behind. I will be honest that I've listened to the first side much more than the second, but that is not to say it's only half-great, but that first side... fuggedaboudit. Anchored by "This is the Day," it starts off with the dark and intense yet insanely catchy "I've Been Waiting for Tomorrow All of My Life." At this point it is pretty clear that The The's pretty-much-only member Matt Johnson is a bit overly tragic in persona. However, either the conviction in his voice will make you believe it or his knack for songwriting will make you not care. Most likely it will be both. He's got a real skill for stretching out his songs too as only two songs are below 5 minutes in time. Not only do these secret epics remain interesting for up to over nine minutes (the appropriately-named "GIANT"), Johnson uses them as an opportunity to show off his diverse skills in his genre-bending solos. Likewise Side one closer "Uncertain Smile" featuring a piano solo from Jools Holland may even be the album's finest cut at nearly seven minutes that leave you still wanting more.

This is the album today's college kids are trying to make in their dorm rooms with their bootleg copies of ProTools and budget M-Boxes. Hence it serves as evidence that such technology is a bad influence on music.


The The - Soul Mining (1984)

Here's the original video for "This is the Day"


In other news, I think there was a problem with the original upload of the Chills/Van Dyke Parks collaboration "Water Wolves," so I fixed that by putting up the whole record on that very old article.

New Hope on Earth

Well, I just got back from another show at 5011 in Mid-City. A week and a half I went to see my friend Benefit Friends, but had to leave before he played. However it was still a good time thanks to Tubby Boots and the San Francisco band that preceded them. That band sounded like Ratatat with the guitarist from Tortoise if that rings any bells.

Tonight was an even better show, though. The first band - Furcast was amazing. They were like an epic goth-inspired Black Moth Super Rainbow... but no, that would be playing them off as a little bit more derivative, but shit, they were really great. Corridor may have been even better. Merely a heavily-affected acoustic guitar and drummer they had a very full sound.

Both bands I genuinely liked and fully endorse. I am sure they all have myspaces, but I don't really keep up with that kind of thing. Either way I think despite Jay Reatard's death we have a lot to look forward to again.

The Vaccine to Hearing Loss

Whether you love or hate Antone Newcombe this is going to make you feel stronger either way.


Now, despite what Newcombe says in the above video it is not as easy as you might hope to find all of his music on the internet. After struggling though, I did.

This release, I feel, is particularly important to share as the usual and understandable place to start with BJM is Tepid Peppermint Wonderland: A Retrospective. This album was recorded on TVT Records, which as we all know may function more like a major than any other indie. Though actually with even less patience as this was BJM's only record with them, and they were followed by an almost as brief period with GbV. Naturally, the label would not share these tracks for that wonderful compilation. It sure is a shame as the band was on a roll as much as ever and the record highlights many of the band's strong points.

Recorded during their time in Los Angeles, their sound is rooted as much in 60s psychedelia and the Velvets as ever. However, his album named after an 80s Bowie quote not only is the most typically 90s indie rock I've heard from them but also explored the subtle nuances of 90s psychedelia revivalists. There is no better example of this than the Elephant 6 (Specifically Gerbils-esque) pop of "Jennifer," besides maybe "Dawn" with Newcombe seeming emulating Wayne Coyne. Likewise the magnificent opener "Going to Hell" Newcombe gets in touch with his inner Dylan more than just musically to outstanding results. Tracks like "Nothing to Lose," "Dawn," and "Lantern," are typical BJM at their finest being the perfect medium between Spacemen 3 and Rain Parade. This album is a little more acoustic guitar and organ heavy than a lot of BJM's other work, but not of course with any less of Joel Gion's famous tambourine. Keep the revolution going!


The Brian Jonestown Massacre - Strung Out in Heaven (1998)

Days in Aftermath

Srsly Jay Reatard being dead. I can't believe it. I feel bad about not writing about it in the past few days, but I suppose this is where a positive attitude falls short. Great musician, great performer.

Believe Me!

It seems that over the past year Dara Puspita has become a familiar sound in hip circles, perhaps a mostly as a name to drop, but to be honest, not even this cynic sees it that way. That being said, I am a little late on this, but I should throw in my two cents as well, and perhaps as in such "dire economic times" two cents has more value than we have thought. Either way, I just want everyone to know they heard it here too, plus it's been a while since I've posted one of those girl groups we love so much.

So, Dara Puspita or, in English "The Flower Girls" were an all-singing, all-playing girl group from Java who in my opinion represented everything great about sixties rock. This well-coiffed quartet had the sass and presentation of America's finest negro girl groups, the songwriting of the British invasion, the energy and low fidelity of garage/proto-punk, and all with a delightful psychedelic tinge. Obviously it's a ton of fun. This is as pure as it gets as the forward-thinking West had yet to see such a perfectly self-contained X-chromosome unit and this pre-dates even the Kim Fowley-dictated Runaways by nearly a decade. Like much of the music I have posted it is catchy and memorable even when largely in a foreign tongue, so don't let that bother you on pop gems like "Bhaktiku" and the fantastic title track which demonstrates the finest lo-fi production prior to GbV's Propeller, and maybe even beyond. For those intimadated by the language barrier you may want to start with their beautiful cover of the BeeGee's "To Love Somebody," or their own work in "Believe Me." Regardless this aptly-titled album is a real pleasure from beginning to end.

In some ways, I feel like Dara Puspita will be to 2009 what Os Mutantes was to 2004, so get hip to them before liking them too much makes you seem a bit behind the curve. On the other hand, David Byrne has yet to champion them and their cohorts, so you may be fine. Either way, if you love fun pure, rock 'n' roll, especially from girls this is essential.


Dara Puspita - A Go Go (1968)

Going Where No One Else Can Be

"Sailor" had always been one of my favorite Brina Jonestown Massacre songs, so I am pretty ashamed to have not known it was a cover. Here is the original. More "complete" update later.

And HERE is a link to the album.

Choke on the Wonder of It All

Of course, first off I apologize for disappearing like that. I'll try not to do it again. I am tired as I jsut got back from a show in Mid-City I will likely write about this week.

So here is the first solo album from the one man whose hair outdoes Robert Smith's - Echo and the Bunnymen's Ian McCulloch where he proves the band may be different be he is not. After a substantial break since the masterpiece Ocean Rain he returned with a strong set that does not disappoint. It is another great piece of evidence in the Liverpool stands as one of Rock's greatest cities.

While I can assure any fan of Echo that they will be pleased this is not another album by that band. It's a little less moody and dramatic than them and the music is more akin to New Order even as the singer's voice remains as expressive and pleasant as ever. However, this is not to say that record is full of synth-dominated extended dance tracks. McCulloch is still about well-written poetic psych pop songs best fit for a lonely bedroom or romantic night than a crowded club. The opening track "The Flickering Wall" is sure to engage the most critical listener with it's dreamlike lyrics and production and sing-along chorus you will be glad to have stuck in your head for days. The lullaby-like title track is another standout as is the single "Proud to Fall," and the head-scratching "Horse's Head" with its Godfather imagery is delightful pretentious in that distinctly Ian McCulloch way.

Even if you are wary of solo records from leaders of legendary bands, this one really is a essential for any fan of 80s UK indie rock.


Ian McCulloch - Candleland (1989)