As I try to
somehow compile my Top 40 music releases of 2013, I find myself
struggling. It is beginning to dawn on
me that I really shouldn’t rank these.
There is so little difference in quality in my mind between #1 and #40 –
making the idea of ranking pretty silly.
The reason I post these little album breakdowns is in hope of
encouraging others to discover, as I have, and enjoy. But I am stuck in a world where we have to
rank everything. One day I hope to break
free, but in the meantime I will begin posting this mostly arbitrary countdown
over the next few days in installments, but first, I’d like to post a write up
of one of my favorites of 2013 that was actually released in 2012, along with a
few other really great records that somehow didn’t make the Top 40 today, or
this week. On a different day, many of
these may have reached the Top 20. If
any of this makes any sense, than you are way ahead of me.
Forgetters
Forgetters (2012)
(Too Small
To Fail)
Last April I
posted Ache - a sort of piece about Jawbreaker. It was an effort to show my appreciation of
their music from the early to mid 90s, without having to delve too deeply into
the many reasons why. It was during my
“research” for that piece that I found myself irritated and angered by the
weird backlash against that band’s songwriter Blake Schwarzenbach for a big
variety of “sellout” reasons. What is
the reason behind this? Punk rock
scenesters were always the worst, and the reason why, though I love much of the
music historically, I could never fully indentify as a “punk” – especially
within the narrow-minded realm of those who are so immersed in their little
worlds that they cannot see past their noses.
I also learned that Blake Schwarzenbach had formed a fourth band: the forgetters
(prior bands were the seminal Jawbreaker, Jets
to Brazil - whose 1998 debut was my #1 pick for that year, and the
short-lived mostly undocumented Thorns
of Life). Where have I been? This new three piece first released a double
7” EP back in 2010, which turns out to be a rough and ready group of songs that
were reminiscent of old Jawbreaker, but in November of last year the now two
piece (with original Against Me!
drummer Kevin Mahon) quietly self-released their debut album. This pleasant surprise was recorded by
Schwarzenbach’s punk contemporary J.
Robbins (from the also much-maligned, but amazing Jawbox) and it is epic in scope and takes many listens to
unfold. Sound wise, simply this probably
lands somewhere between Jawbreaker and the cleaner Jets to Brazil. This is the first album Schwarzenbach has
released in 10 years, after the JTB trailed off with, frankly, a really boring
album, so it is nice to hear some spark and vigor put back into his music. These 11 songs begin with the lo-fi “Strike,”
which makes for a quiet and modest introduction into what will unfold. It turns out Robbins’ recording is actually
quite bold, clear and deep. This is a
varied collection and despite their two piece status, these songs are adorned
with all kinds of subtle flourishes, including strings, piano, and
vibraphone. Many of these songs start
quiet and simple and build to amazing crescendos. Blake is, as always, excellent, at twisting
around phrases to evoke the power of strained personal relationships (“Hoop and
Swan” and the ballad “Turn Away”), but there is a stronger political slant to
these words, then his past work. “In America” is
powerful song taking on our country’s loss of innocence post 9/11, but also our
collective loss of perspective. Plus
their really choice cover of the Human
League’s excellent “Seconds” pairs well and really captures another time
when we, as a country, lost our heads.
The foot stomping builder, “Lie Artist,” at face value could be about a
troubled relationship, but I tend to believe it’s about our failed banking
system and the government’s reluctance to actually enact change. The other rocker is the buzzing “O Deadly
Death,” which reminds of Jets to Brazil’s Orange Rhyming Dictionary. Like
all of his prior work, this album is full of incredible lyrics and though the
album is heavy, there are definitely enough straightforward songs and hooks to
make this something to return to again and again. “I’m Not Immune” is probably the “single” of
the bunch. It’s the song that could
capture most of the fans of Blake’s varied past, but also grab onto a whole new
crop. He starts with the lyrical
refrain: “If you could see for once / one inch beyond the nose / that cuts the
air before your face / you would not sing, my dear, with such high zest / about
the wonders of this modern world” and continues to spout an angry tale atop
layers of guitars and a fist-pumping chorus.
There’s also the heartbreaking “Die by Your Own Hand,” which is
immediately thrust into his huge pantheon of deeply personal songs that are so
identifiable and painful and so cathartic.
It’s this personal connection that I have with so much of
Schwarzenbach’s music that has always made writing about it so difficult and
this is no different. He is such a
talented lyricist and with Mahon’s
tasteful percussion and precise drumming, these two have carved out an album
that needs to be heard.
Dinosaur Jr.
“Now the Fall” 7”
(Jagjaguwar)
January
brought us these two surprise previously unreleased songs from indie
veterans/pioneers Dinosaur Jr. These two
songs were recorded during the I Bet On
Sky sessions (their 2012 10th LP, my #22 pick seen here) and they really should’ve made the
album – though it was pretty epic on its own.
Both of these songs are highlight singles in themselves! The J Mascis led “Now the Fall” is simply one
of his numerous catchy three plus minute catchy yet fried out sounding pop
songs. The slow, meandering verse
blossoms into a very tasty, foot stomping chorus and bridge combination and
what sounds like a guitar/keyboard mesh that opens a new door to their
sound. The Lou Barlow led “Ricochet” is,
much like his two contributions for I Bet
On Sky, excellent. Some of his best
work fronting Dinosaur Jr. as is this.
Barlow’s lyrics are always a little more open and heartfelt sounding,
and this one is aggressive and memorable like his best work with Sebadoh, but with the bonus of Mascis’
shredding guitars. This is a must have
single for fans and even a good starting point for the curious. What can possibly be next for these guys?
Rose Elinor Dougall
Future Vanishes 7” EP
(You)
Last spring
Rose Elinor Dougall (who began her career as one third of the lovable Pipettes) issued a free three song
download with her then backing band The Distractions and it was simply
magnificent (my #18 pick of 2012 seen here). Those songs built upon her dreamy 2010 debut
album Without Why and infused it with
some added boost and band energy. This
is the first new material she has released since then and she’s still showing
off some serious songwriting talent and yet another mild stylistic change. The opening title track starts off sounding
almost exactly like OMD’s “Shame”
from their 1986 The Pacific Age, with
its light keyboard twinkles and airy flow before upping the ante with her
soaring vocals during the chorus. Next
up is “Poison Ivy” with its horror movie piano backdrop, rolling drums and what
turns into a highlight of this group.
The B-side opener, “Strange Warnings” is the big standout, as it comes
closest to the songs from last year’s release.
There is melancholia present, as with much of her solo work so far, but
with the repetitive mysterious guitar riff, some excellent drumming and her
vocals steeped in reverb, this hints at everything from 80s Cocteau Twins to Strawberry Switchblade. The
closer, “Sink Back into Blue,” is a dub style experiment with spoken word story
underneath some sound effects and a heavy beat.
This is another nice entry to her slowly building catalog. My only complaint is the hugely dated 80s
sounding production. It is fine to draw
inspiration from music of that time, but this has an odd, not-so-timeless sound
to it. I hope it ages better than it
seems like it will.
Girls Names
The New Life
(Slumberland)
The second
album from this Belfast
foursome is my introduction. The New Life is an album that would’ve
been a highlight of my teenage years, when I was just discovering and absorbing
music like this. Wow. This is post punk perfection – all the way
down to the black and white simplicity of the album sleeve. The bass as lead instrument, tastefully and
artfully provided by Claire Miskimmon, the reverb drenched guitar work, the
spare drumming and the washes of creepy organs and atmospheric keyboards make
for a sound that always tugs at my ears.
The album evokes those early years of the Cure (17 Seconds and Faith), The Sound, or the Comsat
Angels, or early New Order. After all of these years, it actually sounds
pretty fresh again, especially done so damn skillfully. They employ the extended instrumental
openings to songs, which has become a lost art in pop music. “Hypnotic Regression,” is the place to start
with its streamlined rhythm and catchy spiraling chorus, while still steeped in
reverb, vocalist’s Cathal Cully’s vocals are a little clearer and not so
distant. One can’t miss the heavy
pounding drums and spooky keyboards of “Occultation” or the dramatic “The
Olympia,” both of which recall the efforts of the otherworldly and mysterious
early Independent Project label
bands. Everything is in place and
appropriately dark and menacing. The
only aspect missing is that Cully’s vocals are a bit flat and very unemotional
and having them buried so deep in the echo chamber laden mix that some of the
songs lack a strikingly memorable hook.
This album is very well done, however, and definitely worth a listen if
you are interested with any of the previously mentioned artists. And oh, that bass is relentless and beautiful. The band has also issued and 12” single
featuring a cover of Brian Eno’s
“Third Uncle” (famously covered by Bauhaus),
along with a couple of remixes of album tracks.
Kids on a Crime Spree
“Creep the Creeps” 7”
(Slumberland)
The last two
to three years has seen me buying Slumberland Records at a similar rate to my
old days of mail ordering from them when they started out on the east coast and
were teaching us of the sounds of Black
Tambourine, Lilys and Velocity Girl. This little 7” single would’ve been one I
would’ve bought back then, if it had been available. “Creep the Creeps” is a reverb heavy classic pop song along the
lines of some of those early Black
Tambourine singles, or like the Amy
Linton fronted Aislers’ Set
filling our heads with handclaps, a simple guitar hook and a need to bounce
one’s head along throughout these two and a half minutes. The b-side “New Ex-Boyfriend,” takes the same
elements, but adds on some serious urgency and speed. This song is strums along nicely, but it’s in
the tempo changing chorus where this song really shines. This is the band’s second release, so maybe
their first album will be along soon?
The Primitives
“Lose the Reason” 7”
(Elefant)
After a
surprising return in 2011 when the Primitives graced us with four new songs (#30
pick seen here) after over a decade
apart, and then graced us with an album of obscure 60s covers last year (#39
pick seen here), they have once again
treated us to some new material in February of this year with this limited
edition 45. If you have been hesitant to
return to the Primitives fold, might I recommend this one as the place to
begin? The A-side, “Lose the Reason”
contains their signature woosh that the Primitives first burst onto the scene
with back in the mid to late 80s! There
are handclaps and ‘la-la-las’ atop washes of organs and guitars and a fresh
sing-along chorus, but the highlight is with the verses where Tracy Tracy asks
questions about the state of a relationship and Paul provides discouraging
responses (“Sift the ashes find a glimmer / Nothing glowing here at all”). It’s a fantastic piece of pure infectious
pop. “Always Coming Back” on the
flipside, is much more in line with the 60s vibe the band has been mining since
their return. It’s a good bouncy song,
but lacks the more modern urgency that I prefer. However, knowing that they still have songs
like “Lose the Reason” in their repertoire is a welcome sign!
Stars
“Wishful” (download single)
(self-released)
Too many limited
edition vinyl singles to track down anymore.
Canada’s Stars released a 7” last September as a lead in for a quick US
tour featuring two songs that apparently did not make the cut for 2012’s The North (my #21 pick seen here), but out of fatigue alone, I opted
for the digital download. At any rate,
these two outtakes are far more than that.
Amy Milan’s “Wishful” would’ve easily been one of the best songs on that
collection - fitting right in with “Backlines.”
It includes a nice mid-range bass lead during each verse before leading
into a frantic, splashing and soaring chorus.
It has all of the drama and verve that the best of Stars always
contains. The imaginary B-side is the
Torquil Campbell fronted “The Light,” which is also very solid. This one is more electronic and has a sparse
opening verse before blooming into an easy disco beat and tumbling electronic
rhythm. This is a tasty treat.
The Primitives 'Lose the Reason' is Great.......this Band amazes me with their Talent! Each new song a sheer GEM!
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