We're approximately 40% of the way through 2015, and nary an album review to be found on this sadly neglected, mildewed, has-been of a blog. At the time of this writing, we're finally in the thick of summer; a summer which will be characterized by oodles upon oodles of adult beverages, live music, travel, and nuptials. Oh, right, and stamps. Don't forget the stamps. I can't stress this enough people, NEVER FORGET THE GODDAMN STAMPS.
As of this moment, I've seen approximately 37 shows during the calendar year 2015, and I've heard about 36 albums / EPs, give or take. Naturally, I haven't spent enough time with all of those albums to have formulated a coherent, snarky opinion on each of them, but what say we talk about the ones that I have, hmmmmmm?
THE BEST (AND WORST) ALBUMS OF 2015, pt. I
Blanck Mass - Dumb Flesh-- this solo outing courtesy of one of the dudes from Fuck Buttons (not the guy who did the 8-bit thing earlier in the year) has a sound not dissimilar to his main gig. The maximalism and noisiness remains, but much of the epic melodicism is replaced here seemingly by a pervasive vibe of general uneasiness. I like it. Grade: B
Bop English - Constant Bop -- White Denim's main man James Petralli steps out on his first "solo" release, leaning heavily on many of WD's influences - namely blue-eyed soul, yacht rock, folk, dad rock, and other genres that don't really, y'know, "rock." What results sounds an awful lot like a kinda watered-down, less punchy version of what a normal White Denim record sounds like. Grade: B-
Built to Spill - Untethered Moon-- Initially, it was Doug Martsch's goal to record each successive BtS album with an entirely different lineup. Maybe it took trading his longtime rhythm section (as happened during the Untethered Moon sessions) for a pair of young bucks to rejuvenate the band's sound during the lengthy layoff following 2009's solid-if-at-times-lugubrious There Is No Enemy. Untethered Moon is the peppiest, liveliest, and downright funnest album of Martsch's career. Grade: A-
Crocodiles -Boys -- When I first saw Crocodiles live in a tiny room in 2009, the "band" somehow managed to make two dudes playing along to a backing CD seem bratty, punky, and ballsy. Now, five full-lengths into their career, Crocodiles seem to have settled into a rut of cranking out inessential (if pleasant) power pop recordes every year or so, entirely lacking the vitality of their earliest releases. Grade: C
Dan Deacon - Gliss Riffer --If anything, Dan Deacon is known less for his songwriting and more for whipping crowds of sweaty hipster kids into a frenzy with his irresistable DIY electronic goofiness. Gliss Riffer bears the most legitimately catchy moments of his career, "Build Voice" notwithstanding. Grade: B-
Delicate Steve - Live in Las Vegas -- As I witnessed personally when seeing Delicate Steve open up for Tame Impala last November, this is a band that is best appreciated live. At their best, they manage to approximate the enthusiasm and chops of the mighty Fang Island while reminiscing about a distant time when guitar heroes like Joe Satriani, Steve Vai and Gary Hoey could get their songs played on pop radio. #rememberthenineties Grade: B+
Godspeed You! Black Emperor - Asunder, Sweet and Other Distress -- Continuing Godspeed's post-hiatus resurgence, here's another undeniably massive slab of fire and brimstone, veering glacially from terrifying to gorgeous. Grade: A-
Inventions - Maze of Woods -- Is what's created by this Explosions in the Sky side project technically, "music?" Don't care, doesn't matter, shaddup. What it is is the single most immersive, relaxing album I've heard since Earth's outstanding The Bees Made Honey in the Lion's Skull. Grade: B+
Jon Spencer Blues Explosion - Freedom Tower -- These guys' ironic sneer has, at long last, collapsed under its own weight, which leaves JSBX with this, a limp, overly goofy ode to "old" NYC. Haven't really loved anything they've have done in some time now. Grade: C-
King Crimson - Live at the Orpheum -- Crimson is arguably the poster child for sacrificing genuine feeling for technique. Of course, this is absolute hogwash, perpetuated by critics who brand mastery of one's instrument beyond a Shaggs-ian level to be wankery. (In particular, the Wetton and Lake eras of Crim excelled onstage, as revealed in such live documents as the Epitaph and Great Deceiver box sets, as well as the Nightwatch and USA live albums.) However, I found this newest, three-drummer (!!!) iteration of the band to be dull and mechanical when I saw them last year, and Live at the Orpheum does little to sway that opinion. Grade: D
Plenty more albums to go - maybe I'll get to them soon, maybe I won't. TTFN.
Heheheheheheh. Ah, 2014: another year where I tell myself 'this is the year my obsessive show-going addiction ends;' another year where I see more shows than anyone I know who isn't employed at a performance space / venue. WHEEEEEEEEE!!!!
A quick list of locations where I've seen shows this year:
--Brooklyn (double natch)
--on a boat circling Manhattan
--Commerce City, CO
--Miami (in 7 days!)
As of this very moment, I've seen 93 concerts this year, and I've got at least three more coming up - Uncle Ebenezer at Knitting Factory Saturday night, Television (first time seeing them) at Irving Plaza on 12/28, and a little up-and-coming rock band who I think are called Assface in Miami on New Year's. The following is my totally subjective, largely meaningless, and wholly amusing (to me) recap of the best stuff I saw in '14.
Oh, and Happy Holidays to all!
The Ten Best Phish Shows I Saw All Year:
1.) Phish, 10/31/14 MGM Grand Garden Arena, Las Vegas
2.) Phish, 7/13/14 Randall's Island, NYC
3.) Phish, 7/27/14 Merriweather Post Pavilion, Columbia, MD
4.) Phish, 8/29/14 Dick's Sporting Goods Park, Commerce City, CO
5.) Phish, 11/2/14 MGM Grand Garden Arena, Las Vegas
6.) Phish, 10/22/14 Santa Barbara Bowl, Santa Barbara
7.) Phish, 7/26/14 Merriweather Post Pavilion, Columbia, MD
8.) Phish, 10/28/14 Bill Graham Civic Auditorium, San Fran
9.) Phish, 7/11/14 Randall's Island, NYC
10.) Phish, 8/31/14 Dicks Sporting Goods Park, Commerce City, CO
Although I eventually came to love a lot of their music, I walked out of my first Built to Spill show. Touring in support of their pretty-damn-good You in Reverse album, they played at Warsaw in Brooklyn ("WHERE PIEROGIS MEET PUNK!!") in October '06, but I left early, dogged by a bad back and disappointed at the band's energy level. "Built to Spill are the ultimate cock-tease band," my buddy Sluggo rationalized as we exited the venue. "They get SO close to rocking, but never actually *rock*."
However, my appreciation for the band's live prowess grew approximately 1,000,000% during their headlining set at the Siren Festival in '09 at Coney Island, which was EXCELLENT. At that show, Built to Spill delivered their tunes skillfully and confidently, tacking gorgeous, melodic instrumental breaks onto some of their best songs ("Virginia Reel Around the Fountain," "Strange," "Conventional Wisdom," etc.) and performing a set worthy of the several thousand-strong crowd. Finally, I was hooked, and the next four shows of theirs I saw during '09 / '10 were all in the very-good-to-great category.
For this recent tour, Built to Spill has re-emerged from a period of dormancy featuring a new rhythm section. I have no idea if it can be blamed on the personnel change, (or the shitty venue, or the oddly quiet concert sound, or the setlist choices), but this show was closer in energy level to the underwhelming Warsaw show from several years back than the highly enjoyable BtS shows I've seen since.
Not that it wasn't without its highlights, though. The show opened with a spot-on version of "Goin' Against Your Mind," giving the three-guitar attack plenty of room to stretch out. "Strange" is always a welcome hear, and this one included the unnamed instrumental coda that has accompanied it for the last several years (see below for video). The Beefheart cover ("Abba Zaba") was sung by guitarist Brett Netson, and featured Netson climbing to the top of the side stage area that's connected (uh, sorta) to the balcony. And any encore that includes both Blue Oyster Cult classic "Don't Fear the Reaper" AND the crowd pleasing "Car" is going to lead people out into the streets feelin' sat-si-fied.
Had a weird week, with an unexpected late night occurring Wednesday following some beer drinking and dominoes. Followed that up with the free Superchunk / Versus show at South Street Seaport on Friday and was hoping to have a decent-size crew assembled for the Siren Festival on Saturday, which frustratingly didn't happen... some folks had (legitimate) prior commitments while others decided to just flat out fucking blow me off. So, long story short, as it turned out my only company at the festival would be my own peen in my hand. Meh.
Got to Coney Island about quarter to five and walked around, getting the lay of the land (not going to harp on this too much, but going to festivals alone is a straight BEATING any way ya slice it), walking past the Stillwell Stage where Future of the Left was performing. Didn't stick around for much of their set, but I liked what I heard... kind of mathy and alty and shouty. Walked up onto the boardwalk and back around before settling on a large lemonade and some BBQ Pork with pad Thai, which I wolfed down while waiting for A Place to Bury Strangers to take the stage. 5:30 sharp, they ripped into their first song, one of the newer ones not found on their self-titled record from '07. I stuck around for the first few songs before heading over to the W 10th Ave stage to catch The Raveonettes' set.
Wormed all the way up to the front, hoping to hear some of the new songs the Raves have been working on for their new album, which didn't happen... a few songs in Sune mentioned that since the new album was just recently completed they didn't have enough time to practice the new ones. Minor bummer, but whatevs, live Raves is always rad, no? Not exactly. This turned out to be one of the least enjoyable sets I've ever seen by them, hindered by Sune's guitar being practically inaudible as well as some real jackass hecklers behind me. Or maybe the Raves are just vampires and they wilt in the light (first time I've ever seen them outdoors, and a friend of mine who saw them at a Euro festival in the day last summer said the same thing). Never mind. Decent, but not up to their usual awesomeness. Here's the set list:
Hallucinations Dead Sound Let's Rave On Here Comes Mary Young and Beautiful Attack of the Ghostriders My Tornado Expelled From Love Black/White Love in a Trashcan Red Tan Lust Blush Aly, Walk With Me Twilight
By this point, my back was pretty trashed and, I'm not gonna lie, I wasn't looking forward to Built to Spill's headlining set in the least. I'd seen them once before in '06 atWarsaw on their tour for You in Reverse, and walked the fuck out because it was so boring. At the show my pal Sluggo commented that "Built to Spill is the ultimate cock-tease band because they get so close to rocking out but they never do." After the Warsaw show I had to agree.
Anyway, by this point I had the choice to head back home possibly in order to see another show elsewhere (La Otracina at Union Pool or Oxford Collapse's final show EVER among them) or stick around for the BTS set. I came to the conclusion that the hour-plus trainride would only further my embittritude, so after futilely chewing on a $2 shish kebab made of an undeterminable meaty substance, I walked back to the W 10th St. stage. Weaseled my way up as far as was comfortable and parked myself. Awesomely, the first song I caught was probably my favorite BTS song, "Strange," which led into a cool jam. Mood improving!! As the set went on, it became pretty obvious that BTS is, in fact, totally fucking awesome, a notion I wish I'd realized years ago. Seriously, riffs galore, sick solos and plenty of sweet jamming. Highlights for me during the 90 minute set were "Virginia Reel Around the Fountain" and a tripped-out version of "Conventional Wisdom," although to be perfectly frank I'm not familiar with anwhere near the entire BTS catalog. There was a ton of great shit I'd never heard before which I'll have to make myself familiar with tout de suite.
OK, laundry time. A quick scan of Oh My Rockness reveals few interesting shows until the amazing Harvey Milk/Torche double-bill at MHOW next Sunday, which is going to be frickin' unreal. Jalepzzz.
FINALLY I'll get crackin' on this sum'bitch. Between working 60 hours/week and dealing with moving into my new apartment, spare time has been fleeting. Oh, yeah: plus, my dad died, so there's that. But as I sit here unable to sleep before trudging off shortly, I realize I'd better fire this shit up before it becomes totally irrelevant (i.e. last year's "Best of 2005 List" which I didn't post until like June).
The only rule is that reissues are not included, so that eliminates TimeLife's excellent 10-CD "Malt Shop Memories" compilation. Fortunately, this rule has little bearing on the Chavez retrospective, because Chavez just isn't good enough to make the list anyway.
Disclaimers: I've heard about 50 albums that were released in '06 proper, including a bunch of the usual crap that you'll find on many other year end lists (The Hold Steady, TV on the Radio, The Raconteurs, etc.). Again, to be sure, these albums are excluded from this list not because I didn't hear them, but because they're terrible.
THE BEST ALBUMS OF 2006
20.) Thom Yorke - The Eraser -- This sounds exactly the way you'd expect a Thom Yorke solo joint to sound, which is not such a bad thing. But buyer beware: it's ultra monotonous, which is not such a good thing. Oddly, it sounds *kinda* like Radiohead, but still has its own singular identity: The Eraser is not as experimental as Kid A orAmnesiac; not as RAWK as The Bends; not as violently spotty and uneven as Hail to the Thief, and nowhere near as good as OK Computer. Although it is a "solo" release, Yorke wisely kept ace producer Nigel Godrich behind the boards -- his mastery of dynamics conjures a "new Floyd-for-the-do-it-yourself-digital-age" vibe. Best song: "Analyse."
19.) Keene Brothers - Blues and Boogie Shoes -- solid-if-unspectacular collaboration between Tommy Keene and Robert Pollard, crammed to the gills with competent powerpoppage. Almost a little bit too "mature" (as Bob himself would say) for my tastes, but it's obvious that Bob went out of his way to fire up some decent melodies on this one, as opposed (for example) to his downright shabby efforts on the Airport 5 records, which is a shame, because I prefer Airport 5's musical bedding (supplied by former GbV second fiddle Tobin Sprout) to that of the Keene Brothers. *sigh* Tobe deserved better. Best songs: "Death of the Party" and "Heaven's Gate."
18.) Howlin' Rain - Howlin' Rain -- side project from Comets on Fire frontman Ethan Miller. After the first three Comets records (this was released prior to Avatar), the, um, "restraint" on this one is super obvious (i.e. no echoplex freakouts, no Keith Moon-on-crack drum breaks and no harsh-as-nails processed vocals). And it's easy to dismiss this as a full album of CoF castoffs, but so fucking what, it's still some mighty fine good listenin'. Best song: "Calling Lightning with a Scythe."
17.) Beck - The Information -- I'm torn re: Beck. Half of me wishes that he had quit/left/died/whatever after Odelay, while the other half of me is happy that he's able to keep pumping out serviceable-yet-totally-inessential records to give my ears a brief respite from the usual metal/punk/postrock/indie stuff that I listen to these days. Since I have absolutely no tolerance for the robotic monotony of beat-centric electronica and I openly revile hip-hop culture, Beck's blue-eyed and funkified junk sculpture is pretty much as close as I get to either of those genres. In other words, what he lacks in melody, cohesive lyrical content and substance he more than makes up for, well, by sounding absolutely nothing like anything else I appreciate. On The Information, he re-ups with Sea Change producer/Radiohead guru Nigel Godrich, who no doubt provides most of the bleeps, bloops and sound effects. Has Beck shat out Guero II (or, just as accurately, Odelay III)? Probably. But just as long as he's not subjecting me to faux-earnest whinefests like Sea Change I'll keep on listening. Best song: "Cellphone's Dead." Does Herbie Hancock get royalties from this? 'Cuz he should.
16.) Wolfmother - Wolfmother -- My God, there are so many reasons that, in theory, I should *HATE* these fucking guys. Musically, completely unoriginal/totally derivative. Prettyboy frontman. Questionable drumming. "Third verse, same as the first" aesthetic. Credential-free, meteoric rise to stardom. The same two-note riff in what seems like every fucking song. And, plainly put, the worst lyrics not written by Lenny Kravitz. But when you RAWK like these fellas, you make it fairly easy to overlook all that. Probably the Party Record of the Year (unless you're a heroin addict, in which case you'd probably favor Mogwai's Zidane soundtrack). Best song: WOO-MON!
15.) Ratatat - Classics -- This is officially the first electronic-related record I've enjoyed since the ketamine flowed like nostril-imbibable wine a few years back. To Ratatat's credit, instead of skewing the mix towards some absurdly banal beat as a given track's focus (as is predictably the case with most electronic artists), they put the emphasis firmly on melody. Yes, at times it sounds kind of Tetris-y, and it's as dangerous as a glass of milk, but hot damn are some of these jams catchy. Best song: "Tacobel Canon."
14.) Robert Pollard - Normal Happiness -- [insert yearly "well, Bob's probably not as good these days as he was around Bee Thousand/Alien Lanes, but he's still better than pretty much anyone else around/this album has some great ones and some really, really awful ones/probably not going to convert any non-believers but Pollard fanatics will eat this one up"-themed comment here.] Best song: "Top of My Game."
13.) Two Gallants - What the Toll Tells -- Got turned onto these guys when I saw 'em opening for Wolfmother (surprisingly awesome) and Gov't Mule (shudder) in September. They're about as irony free as you can get; in fact, if you can't stand ultra-earnest lyrics you're likely to have your head explode while listening to this record. Lots of songs about being an outlaw/rebel/misfit/outcast -- kind of in the vein of a more literate Mike Ness. However, where Social D base their trademark sound around a wall of crunchy-ass guitars, Two Gallants' foundation is vocalist Adam Stephens' raspy howl, which many may instantly find off-putting. Part of me wishes these guys would just bite the bullet and pick up a kickass rhythm guitarist, but on the other hand that could severely fuck up more delicate songs like "The Prodigal Son." Hmmm. What the fuck do I know. Best to leave well enough alone, I guess. Best song: "Waves of Grain."
12.) Built to Spill - You in Reverse -- I've always thought of BtS as kind of the ultimate cock-tease band -- they come so close to actually rocking that, at times, they can be mistaken for actually rocking. Other than that, this record is a tough one to pigeonhole on the "Is it Indie?" test. It's indie: two-chord songs. It's not indie: said songs occasionally last 8+ minutes. It's indie: crummy vocals. It's not indie: fancy guitar playing. It's indie: sounds kinda like Modest Mouse. It's not indie: sounds kinda like Neil Young. Best song: everybody says "Goin' Against Your Mind," but I'm going with "Conventional Wisdom."
11.) Boris - Pink -- Um, WTF? This album obviously came out in '05, but I've seen it on so many year-end best-of lists (i.e. those compiled by people more punctual than I) that leaving it out would be foolish. Musically, these guys cover pretty much all the appropriate "loud" bases: grandiose post rock, gritty speedpunky metal, noise, doom, you name it -- all kinds of great riffs. Plus I kinda dig not having any idea what the vocalist is singing about. Best song: "Farewell."
10.) Bobby Bare, Jr. - Nick Nacks and Paddy Whacks -- Live/tour CD by an artist who, until '06's The Longest Meow (which was recorded largely live in the studio) was definitely better appreciated in concert than on record. Bare Jr. just simply sounds better when presenting his songs with Pixies-ish instrumentation than he does on the subtler, rootsier album versions. The only thing keeping this out of the top 5 is the questionable omission of "Valentine" and "Motherfucker," which really defies all logic, considering that those are two songs which benefit most from the live treatment. Best song: Hmmm. Lotsa good'uns. I'll have to go with "Terrible Sunrise" since I already have several great live versions of "Flat Chested Girl from Maynardville."
9.) Robert Pollard - From a Compound Eye -- Again, with a few outstanding exceptions, the songs on this record are _not_ immediately accessible pop masterpieces, and at least for me, FaCE required practically a full year in my listening incubator thingy before I thought it was much good at all. And as with any of Bob's recent records, one's apprecation forFaCE will hinge largely on how one feels about Todd Tobias' production. To me, one of the greatest things about Guided by Voices in the pre-Tobias days was that their songs, even when primitively recorded, almost always were exactly as loud as they needed to be: no more, no less. That's obviously not the case on this album. The versions of songs on FaCE like "Dancing Girls and Dancing Men," "I'm a Widow" and "Love is Stronger than Witchcraft" are flat out limp, and come nowhere near rocking. On the other hand, it's difficult to imagine "The Flowering Orphan," "Cock of the Rainbow" or "50 Year-Old Baby" without the lush Tobias touch. Regardless, there are just too many great songs on this album to pass it up. Of particular note is "The Right Thing," in which Pollard gives the listener a window into the process by which he turns basement scraps into full-fledged songs. The track begins with a brief, repetitive three-note pattern, accompanied by non-descript, generic (probably improvised) lyrics before switching key, switching gear and rocking the fuck out. Fuck yeah! Best song: "US Mustard Company," also the best song of the year.
8.) Comets on Fire - Avatar -- When is a top 10 album still a disappointment? When you've started your career off as The Kings of the Hard Rockin' Freakout, challenging Mogwai for the Planet's Greatest Band crown, and then you drop an album that sounds as much like a Phish/Allmans hybrid as it does your earlier output. Face it, "Dogwood Rust" sounds like Phish's "Birds of a Feather," "Hatched Upon the Age" sounds like the title track ofBilly Breathes, and nearly everything else has at least one moment where you think, "damn, this sounds like" either "Whipping Post" or "Elizabeth Reed." Phew, at least there's no Rusted Root thrown into the mix! And were we really eager to hear what Comets sounded like playing ballads, for fuck's sake?! God, I know that may sound harsh; after all, this is still a really good album. It's nowhere near Comets on Fire or Blue Cathedral, any way ya slice it, however. Many of the songs feature wildman drummer Utrillo Kushner on piano (yeah, I know), which moves echoplex maven Noel Von Harmonson off his squallin' shriek machine onto the drumkit, which in turn leads to a decrease in noise, distortion, and overall unpleasantness. This is definitely not a positive development. The only song that really sounds like old-school Comets to me is the all-too-brief "Holy Teeth," which clocks in at about 3 minutes. Seriously, guys: NEEDS MORE ECHOPLEX. Best song: probably "Dogwood Rust."
7.) Bobby Bare, Jr. - The Longest Meow -- So this is what good alt-country sounds like! Having heard more than my fill of overrated / mediocre acts like Ryan Adams and Wilco had made me dismiss the entire genre as nuthin' but a bunch of talentless hacks and watered-down jamband-lite wankers. But fuck that, Bobby Bare Jr.'s the real fucking deal. On The Longest Meow, which was recorded virtually entirely live in the studio, Bare splits the difference between his alternative-ish past and his more country-grounded solo records with the Young Criminals' Starvation League, retaining both the grinningly clever lyrics and the RAWK heft. In closing, the fact that Bobby Bare Jr. is not insanely popular is all the proof you need to know that America is full of dumb assholes. Best song: "Stop Cryin'."
6.) Witch - Witch -- True meat n' taters stoner rock at its finest, with J Mascis (!) on the drumkit. Of course, the lyrics are a bit over-the-top generic (lots of burning pyres, funerals, magic spells, and even a succubus!) but c'mon, the blueprint for this (or any other great stoner rock) is Sabbath, so juvenile things-that-go-bump-in-the-night imagery is not simply given a pass: it's revered. The guitars are downtuned and fuzzy, and Mascis does as good a Bill Ward impersonation as anyone. My only real complaint is that the vocals are a bit too Claypool-esque for me. Minor complaint, though: make no mistake about it, this is a damn fine album. Grow yer hair out, bust out the air guitar, and thrash along to the opening lick to "Rip Van Winkle," you pussy. Best songs: "Rip Van Winkle" and "Seer."
5.) Tool - 10,000 Days -- If anyone needs me, I'll be listening to Alice in Chains and pricing Faith No More bootlegs on eBay. Best song: "Jambi."
4.) Russian Circles - Enter -- Now, this is some damn hot flashfingered instru-metal, done up post-rock style, and cheers to 'em on that. This album is meant to be enjoyed as a succession of linked mini-suites, and a continuous theme is definitely noticeable the whole way throughout: not in a rock opera-ish way, but more in an overall "this is our style, so deal with it you pansy" type display of manliness. At times slow and brooding, at times manically aggressive, just like any great metal record. Any chance Mogwai picks these guys up as openers on their next trek across the States? Pwease? Best song: "Death Rides a [motherfucking] Horse [vulgarity added]."
3.) Tapes 'N Tapes - The Loon -- See, since I grew up listening to Zeppelin, Guns N' Roses and Metallica instead of Pavement, Jesus Lizard and Morrissey I don't suffer from the jaded hipster tendency to bury every great new album under an insufferable game of "spot the influence." Presumably, this is why I like bands like Interpol, The Raveonettes, and all kinds of shit that others simply dismiss with a "meh, they're ripping off Gang of Four" and a cluck of the tongue. The Loon was easily my most-listened-to new album in 2006. It's the type of record that, at first, seems awkward and self-consciously self-conscious before you realize A.) these dudes can play, B.) they know what goes into writing some damn fine songs, and C.) said dudes really manage to RAWK without simply relying on excessive volume (make no mistake, that's really fucking tricky). "The Iliad" stomps, "Insistor" shuffles, and "Jakov's Suite" is the best rock n' roll underture not written by Pete Townshend. And you can't leave out the vicodin-and-comfy-chair perfection of "Manitoba." Good, good shit. Best song: "The Iliad."
2.) Robert Pollard - Moon -- As the old saying goes, "Everything sounds better live." In the case of the songs from this year's FaCE (see above review), this adage is proven true with the album versions fleshed out into fully-formed, beefier versions of themselves. For the uninitiated, Moon was recorded during Robert Pollard and the Ascended Masters' (goddamn, I love that band name) two-show stint opening up for Pearl Jam. Oy vey, who knew that they'd be able to make "Dancing Girls and Dancing Men" listenable? It's a real fucking shame that the ticket-buying public is such a bunch of clueless shiteaters, because if Bob could have sold out some of the shows on his tour supporting Normal Happiness, he wouldn't have had to bust up his excellent backing band (Tommy Keene on guitar/keys, Jon Wurstur on drums, Jason Narducy playing bass, and Dave Phillips on guitar). Of course, since I'm a scab-scratching nitpicker, I have a few bones to pick with the chosen setlist. For example, for Christ's sake, where the fuck are "US Mustard Company," "Denied," "I'm a Strong Lion" and "Recovering?" And if Bob was going to bust out some songs from Normal Happiness in front of the Dockers n' North Face set in the Pearl Jam audience, why not "Top of My Game" and "Rhoda Rhoda?" And couldn't he have squeezed a second GbV chestnut in there somewhere? Either way, and with all my petty bitching aside, this is a fantastic record, significant because it's really only the second proper live album Uncle Bob's released, and it seems, sadly, that his beer-fueled caravan won't be hitting the road for the foreseeable future, which is a shame. If you never saw a Pollard solo show, or never saw GbV live you really, really missed out. Best song: "The Right Thing." I AM HIIIIIIIIIIIIIGH!!!!!! "Conqueror of the Moon" is incredible too, though.
1b.) Mogwai - Mr. Beast -- If you think that YoungTeam is better than this, you're an asshole. Best song: "Glasgow Mega-Snake."
1a.) Oxford Collapse - Remember the Night Parties -- This might just be the finest summer album ever put out by anyone, and, on top of that, it's an indie album that actually RAWKS. These songs are packed with as much nostalgia and wistfulness as they are with huge, arena-sized hooks, and the songwriting is great enough to actually pull that tricky combo off without sounding insincere. Previous Oxford Collapse outings have been decidedly scrappier affairs, but on RtNP they're making no attempt to conceal that they're boldly swinging for the fences. Best song: gotta be "Burno" but there's no shortage of great songs on here.