"Sir, may I offer you some honey with your barbed wire?" When spitting out some of the most heartbreakingly personal lyrics ever written, it softens the blow when said lyrics are delivered by an artist with some of the finest pipes in the business.
Producer of the Year: Todd Terje
On It's Album Time, Terje manages to employ (and master) such an incredibly diverse array of sonic awesomeness that it's absolutely frickin' amazing the record doesn't sound scattershot and spread terribly thin. (It doesn't, and it's one of the year's best.)
Guitar Performance of the Year: Adam Granduciel (on The War on Drugs' Lost in the Dream)
Never flashy, always classy with his "beer commercial lead guitar shit," Granduciel manages to evoke both Tom Petty *and* Mike Campbell throughout The War on Drugs' sprawling masterpiece.
Best Album for a Lazy Sunday afternoon: Beck - Morning Phase
Much more appropriate for this purpose than, say, Midnight Vultures, which is only good for dispersing crowds filled with people who have good taste in music.
Best Workout Album and Best Driving Album: Earthless Meets Heavy Blanket - In a Dutch Haze
One track, 53 minutes; all manner of ridiculous guitar solos, mindbending riffs, and galloping rhythms. Perfect for my drive from Brooklyn to Long Island (almost to the minute), and equally perfect to listen to while crushing some cardio and losing some L B's, you fat slob.
My Most Listened-to Album of the Year, According to iTunes: The War on Drugs - Lost in the Dream
It's only fitting that I'd award the Album of the Year trophy to the one with most listens (spoiler alert). Still immensely rewarding, 23 full listens in.
My Most Listened-To New Songs of the Year, According to iTunes:
1.) Guided by Voices - "Littlest League Possible" - 49 plays 2.) Guided by Voices - "Planet Score" - 47 plays 3.) The War on Drugs - "An Ocean in Between the Waves" - 41 plays 4.) Floor - "Sister Sophia" - 39 plays 5.) The Men - "Pearly Gates" - 38 plays 6.) Dum Dum Girls - "Little Minx" - 36 plays 7.) Mogwai - "Simon Ferocious" - 35 plays 8.) Beck - "Morning" - 34 plays 9.) The War on Drugs - "Burning" - 33 plays 10.) (tie) Bobby Bare, Jr. - "Don't Stand at the Stove" - 31 plays 10.) (tie) The Raveonettes - "Endless Sleeper" - 31 plays 10.) (tie) The Men - "Different Days" - 31 plays
Quote of the Year: Jon Fishman, 7/27/14 Merriweather
"The workers have come back from their day in the fields Jennifer Dances - and she cooks me a fuckin' meal That's all the words I know to this song Jennifer..... MY DONG!"
Assholes of the Year: Scott Stapp (and his fans)
Of course, the usual suspects (Dave Mustaine, Ted Nugent, Varg Vikernes, Exene Cervenka) would be worthy choices in pretty much any year, but Scott Stapp's recent descent into homelessness and insolvency is the freshest "what an asshole!" moment in our minds.
But should he be fully blamed? At best, he's a minimally talented, totally delusional, semi-literate Tea Party-level moron with a fucking messiah complex to boot. Mocking Scott Stapp is like stealing candy from a quadruple amputee. This is a man who would've never been anything without the legions of tone-deaf whiskey tango morons that made Creed a multiplatinum band.
(or watch one of the *two* videos I shot of this song before Tomorrow's Hits was released)
Todd Terje - Swing Star pt. 2
The Austerity Program - "Song 32"
Death Vessel - "Island Vapors" apparently hasn't been uploaded to YouTube, so instead watch this live video of homeslice performing "Block My Eye" (from the previous Death Vessel album) live in studio.
Holy schnikies, has it been nearly five months already since my last Jalepzerz post?! Sure, time has passed, seasons have changed, and adult beverages have been consumed en masse, but honestly I still have no friggin' clue how often I'm going to be able to write for this blog going forward. Sobeit. Regardless, this past weekend, when it's disgustingly humid out and I'm dealing with the tail end of a nasty case of WookFlu, might as well fire up some of the ol' keyboard tap-tap-taparoo.
Oh, yeah - I should have a bunch of show reviews from Summer Tour coming up in the weeks ahead, but for now I'm'a try to tackle some of the best non-Phish stuff of the year. As such, here's the 10 best albums of the year, in approximate best-to-least-best order. There's obviously a ton of potentially great albums coming out over these next few months (Death From Above 1979, Melvins, Perfume Genius, etc.), so it's pretty likely this list will look much different at year's end, yadda yadda yadda.
The 10 Best Albums of 2014, So Far.
The War on Drugs - Lost in the Dream -- An outstanding rock record, during an era in which such things are increasingly rare. Although Adam Granduciel's Tom Petty fetish is evident throughout, Granduciel has an uncanny ability to avoid sounding clicheed in a domain that seemingly has little virgin territory. Beyond his songcraft (and even his singing voice), this is Granduciel's greatest debt to Petty.
Earthless - In a Dutch Haze -- As the story goes, at the last minute Earthless guitarist Isaiah Mitchell was unable to make it to the show at which this was recorded, allowing Heavy Blanket's J Mascis (also of Dinosaur Jr, natch) and Graham Clise the opportunity to save the day. What results is nearly an hour of pure, explosive, unbridled improv, even more berserk and unhinged than a typical Earthless live joint. Yes, there's some sloppiness and spinning of wheels on here, but the peaks on this match the most frenzied jamming from Earthless' proper catalog.
Beck - Morning Phase -- Taken as a companion piece to 2002's Sea Change, Morning Phase manages to deal with similar topics (heartbreak, loneliness, growin' old) without being as overbearingly morose, actually winding up with a vaguely inspirational overall tone.
The Raveonettes - Pe'ahi -- While little has changed in the way that Sune Rose Wagner composes his melodic surf-noir mini masterpieces, his willingness to experiment with varied instrumentation gives Pe'ahi a different flavor than all previous Ravonettes releases. This time around, the subject matter touches on the recent passing of Wagner's estranged, alcoholic father, giving some of the material (in particular "Summer Ends") a caustic bite.
The Men - Tomorrow's Hits -- Although a few of the moments on Tomorrow's Hits seem a little bit trite (the horns on "Another Night," in particular) these shape-shifting (former??) Brooklyn punks can credibly add "70s FM Radio" to their list of conquered genres.
The Austerity Program - Beyond Calculation -- Infinitely more intense, furious, and generally awesome than two geniuses with a drum machine have any right being.
Todd Terje - It's Album Time -- To me at least, it's high praise to mention that several of these songs could be easily mistaken for alternate backing tracks from Gorillaz' excellent Plastic Beach album. It's Album Time is relentlessly diverse, reimagining the best work of contemporary electronic artists (Holy Fuck, Maserati, Ratatat before they jumped the shark), tipping its cap to classic '80s synthpop sounds, as well as indulging in other assorted playful goofiness.
Bobby Bare, Jr. - Undefeated -- The perennially underrated alt-country lifer finds songwriting inspiration in heartbreak (in particular, the dissolution of his relationship as depicted in the documentary, Don't Follow Me (I'm Lost)), interminable, low-reward touring, and the inherent sadness of absentee fatherhood. But it's not all doom and gloom; "North of Alabama by Morning" is a tale of dogged perseverence, and album closer "Don't Stand at the Stove" is an undeniable barn-burning rocker.
Sharon Van Etten - Are We There -- Three major features set Sharon Van Etten apart from generic confessional coffeehouse claptrap. First, her lyrics are so deeply evocative and self-deprecating that hearing them can, at times, be uncomfortable. Second, she possesses a singing voice gorgeous enough to swath her pointed words in soothing honey. Third, she has an uncommon gift for pop songwriting unmatched by other current artists with the dreaded "singer-songwriter" tag (this album would be worth it for the incredible "Tarifa" alone).
Guided by Voices - Cool Planet -- basically a toss-up here between Cool Planet and GbV's *other* 2014 release, Motivational Jumpsuit, this one gets the nod due to superior contributions from GbV second-fiddle Tobin Sprout. Yes, GbV's musical landscape is dotted with all manner of in-jokes and throwaways, but to those who have the necessary patience, that just makes discovering their diamonds in the rough all that much more rewarding.
Honorable mention: Guided by Voices - Motivational Jumpsuit; Haunted Hearts - Initiation; Floor - Oblation; Swans - To Be Kind; Pelican - Arktika; Low Fat Getting High - Poor Circulation; Mogwai - Rave Tapes; Death Vessel - Island Intervals.
After hearing The Men's new Tomorrow's Hits LP, it's not unreasonable to be at least a little bit concerned that the album's decidedly AOR direction would have some sort of effect on the band's live show. On the other hand, The Men have been a live powerhouse up until this point (I've seen them onetwothreefourfivesix seven times since late 2012), so why mess with a good thing, nahmean? Regardless, fear not, The Men still rule.
With the exception of the mini acoustic set at the Sandy Benefit concert and the occasional horn accompaniments at other shows, The Men's live formula has always been large, heaping portions of RAWK, whether they're channeling Neil Young, Dinosaur Jr., Spacemen 3, the Buzzcocks, the Stooges, the Stones, or all of 'em at once. This show featured plenty of that good, good stuff, with the setlist drawing from each of their full-lengths except, oddly, 2012's excellent Open Your Heart. Highlights for me were the Fun House-tastic "Supermoon" (see above for video) and the kraut-punky "If You Leave..." (see below for video).
This was the record release show for the aforementioned Tomorrow's Hits record, which came out just a couple weeks ago. I'd suggest checking that shit out - I'm enjoying it nearly as much as last year's very good New Moon album. At the present time, the Men's European tour continues through the end of the month, before they make their way back to the US in April for another few weeks of club shows. Their next NYC area show is May 10th at The Wick - get tickets for that show here. Listn to the first single from Tomorrow's Hits (and my crappy iPhone video of a live version of the song from last year here.
First single from The Men's newest album, Tomorrow's Hits, which comes out today... tomorrow night I get to see them play at Bowery (YEAH!!!). Check below for a live version of this song from their show last May at Union Pool.
Whew. Whatta year, amirite?! Yes, new music may have been a bit lacking, but fortunately the one constant that remains is that there's a shit-ton of great live music coming through NYC year-round. When I moved to Williamsburg in '08, I did so almost entirely because of the proximity to so many music venues; nearly 6 years later, that remains my biggest motivation for sticking around.
In fact, my show-going affliction reached new heights this year - I did a rough count last week, and if I wind up going to the New Mastersounds afterparty following the Phish show on December 29th, I will have seen a robust *98* distinct concerts in 2013. According to Jalepzerz' / MeatBox archives, that's a personal record (although I've eclipsed 90 shows in several other years), and as proof, I uploaded literally hundreds of videos to my YouTube channel, effectively documenting my own crime spree.
So, here I sit on Christmas Eve, workin' on my final post of the year for this blog; a post that focuses solely on the highlights of my showgoing for the year. In 4 evenings, Phish NYE Run starts, and if some notable, epic shit goes down, several of these lists could be (at the very least) a bit out of whack and (at most) completely irrelevant. I welcome that. :->
See you in the new year, everyone!
Best Live Show of the Year - Phish at Hampton Coliseum, 10/20/13
Top 10 Phish shows I personally attended this year:
10.) 10/25/13 DCU 9.) 11/1/13 AC 8.) 8/4/13 BGCA 7.) 11/2/13 AC 6.) 7/6/13 SPAC (fuck off, I loved this damn show) 5.) 10/19/13 Hampton 4.) 7/14/13 Merriweather 3.) 10/27/13 Hartford 2.) 10/26/13 DCU 1.) 10/20/13 Hampton
The best three non-Phish arena shows I saw in 2013:
16.) Split Open and Melt at SPAC, July 6 15.) Rock and Roll at BGCA, August 3 14.) Crosseyed and Painless at Holmdel, July 10 13.) Twist > Under Pressure at AC, November 1 12.) Theme from the Bottom > Shaft theme at AC, November 2 11.) Drowned at Worcester, October 26 10.) Harry Hood at Merriweather 9.) Runaway Jim at BGCA, August 4 8.) Stash at Merriweather, July 14 7.) Carini at SPAC, July 6 6.) Carini at AC, October 31 5.) Golden Age at Hartford, October 27 4.) Piper > Taking Care of Business at Hampton, October 20 (yup, this is cheating) 3.) Light at Merriweather, July 14 2.) Seven Below at BGCA, August 2 (in spite of the butchered composed section) 1.) Carini at Hampton, October 18
Yeah, this one's not even close. After being fortunate enough to attend 12 shows during Summer Tour, then 9 of 12 shows on Phish's Fall Tour (and couch touring the other three), I have to say that these sonsabitches haven't performed / improvised at this level since the legendary Fall Tour '97 / NYE Run '97 / Island Tour '98 era. With '13 NYE Run just 5 days away, we can only hope that they deliver something close to what went down from late October thru early November. STOKED BRAH.
In Russian Circles' sonic arsenal, the atmospherics are the glue that binds their whole bag of tricks together. Curtis, formerly of Secret Machines (and a touring member of Interpol), has helmed the last three (excellent) Russian Circles albums, helping to shape the band's evocative, dramatic music into something that's entirely lyrical despite being totally wordless.
This one's kinda a dark horse. It's loud and fast, which will help you keep the RPMS up. But the fact that it's scary as fuck will want to make you outrun it like it's a relentless methed-up boogeyman who's looking to get some tail. (Yours.)
1.) SONG OF THE YEAR: Palma Violets - "Last of the Summer Wine"
Just like countless other great rock n' roll songs, this one's greater than the sum of its parts. Yeah, the intro's too long on this song. And so's the outro. The lyrics are moronic. (The "official" video is absolute garbage - see above.) And the chord progression isn't exactly original but... there's just somethin' about the classic guitar tone and the finesse they play the lick with and the sweet, sweet melody that slays me every time.