Of all the music I listened to in 2020, it's probable that no other artist played as frequently as Mayer Hawthorne.
I'd been a casual fan of Hawthorne's retro-soul for a number of years (Steve blogged about him briefly back in 2013), but it wasn't until he began dropping one-off singles last year that I really got hooked.
When the single, "M.O." was released last February, it instantly became a part of my regular rotation, and I found myself combing through his back catalog more than I ever had before, including his previous solo albums and work with his disco-funk duo, Tuxedo.
After "M.O." became my go-to, I realized that Hawthorne had already been teasing new music one song at a time for the prior 6 months. Whether on the Prince-like funk of "Over", or on the sexy Marvin Gaye energy of "Healing", Hawthorne has a gift for putting a modern spin on classic R&B music.
All of the songs have a delightfully nerdy, blue-eyed neo soul vibe, but Hawthorne's falsetto and abilities as a musician and producer sell the authenticity.
During quarantine, Hawthorne began hosting a weekly Thursday night Wine & Vinyl Hour livestream, where he'd pull records from his massive collection to play for fans. His depth of appreciation for classic and obscure music really came through during these livestreams, which also gave some insight into his musical inspirations.
In the middle of the Coronavirus pandemic last summer, Hawthorne released the single, "Rare Changes", which he dedicated "...to the brave people of planet earth who are holding hands and fighting for the rare changes". He acknowledged that the song was written pre-Covid but felt the message became more important than he'd realized at the time.
Fans, including yours truly, were wondering when any of the eight great singles Hawthorne had released online would eventually find their way to a physical medium. In December 2020, 1-1/2 years after first teasing new music, Hawthorne released the Rare Changes LP on CD and vinyl formats.
The album is a collection of 9 tracks, with only the short "Intro" track featuring previously unreleased music. The entire album clocks in at under half an hour, but for those fans who'd waited patiently, it's exactly what we wanted. There's no filler here--every song is fleshed out and feels cohesive as a compilation.
Rare Changes easily ranks as one of my favorite albums of 2020. To order a copy for yourself, visit: www.mayerhawthorne.com
Watch the recently-released video for the title track single, "Rare Changes" below:
The album is a dense mix of samples and original instrumentation, featuring a diverse range of guest performers, from Leon Bridges and MGMT to Tricky and Rivers Cuomo.
The album's 25 tracks are packed to the brim with short interludes and fully-formed cosmic pop songs.
An early standout for me is the song, "Reflecting Light", featuring vocals from Sananda Maitreya--formerly known as '80s hitmaker Terence Trent D'Arby (remember "Wishing Well"?).
The track also samples British folk singer Vashti Bunyan's stunningly delicate 1970 song, "Glow Worms".
"Reflecting Light" is a lush and achingly soulful song, accented by Maitreya's emotional vocal delivery, and interspersed with abrupt whistle stops.
The Avalanches printed an extremely limited run (12 copies) of the single on 7" X-ray film, as a tribute to the "bone records" of the Soviet era--a process where banned records from the western world were cut onto x-ray film and smuggled into the USSR, so as to avoid being caught by customs officials.
The X-ray pressing of "Reflecting Light" showed the dislocated fingers of skateboarding hero Tony Hawk, and Hawk himself gave away a copy for a fundraiser.
Listen to "Reflecting Light" in the YouTube clip below:
To listen to the original Vashti Bunyan song, "Glow Worms", sampled by the Avalanches, Click Here.
Elements of folk, indie-pop and electronica are continually front and center in the group's music, as highlighted in the single, "Ferris Wheel".
Allmusic's James Monger described the album as "...dance music for introverts", which is pretty spot-on. There's something charmingly awkward and genuine in the songs here.
The video for "Ferris Wheel" finds singer-songwriter Amelia Meath at a carnival, dancing in a variety of outfits in front of--you guessed it--a giant ferris wheel. It's a video full of fireworks and glitter and neon and the sweat of summer at the amusement park.
The lyrical content is fairly straightforward, but the coming-of-age nostalgia for simpler times resonates strongly in a year when everything has been anything but simple.
"When I'm slamming in my dancing shoes, Asphalt's hot, and my knees all bruised, It's the summer got a lot to prove, Can't wait to do it can you? (No!)"
Watch the video for Sylvan Esso's "Ferris Wheel" below:
What do you get when you put Prince, Throbbing Gristle and Tim Curry's demonic character from Legend into a blender?
Well, perhaps it would resemble something like this music video from breakout avant-garde pop artist, Yves Tumor?
Tumor's 2020 album, Heaven to a Tortured Mind, has achieved critical acclaim for its genre-bending intensity that's equal parts abstract and commercial.
Album opener, "Gospel for a New Century," comes out swinging with a seductive swagger that's both sexy and dirty--recalling the taboo attraction of early Rock n' Roll.
The song's best summed up by the lyric, "This ain't by design, girl, take it softer, You know I'm out my mind girl, don't make this harder".
As the song's title suggests, Tumor renews the rockstar archetype for the 21st century with a chameleonic persona that's glamorous, vogue, soulful, charismatic, and a bit scary.
Pom Poko is an idiosyncratic outfit hailing from Norway. Their debut album, Birthday, was previously nominated for the Nordic Music Prize and two Norwegian Grammy Awards.
'Like a Lady' is the second track on the band's latest offering, Cheater, which just dropped last week.
Comparisons to fellow Scandinavian rocker Bjork are all too easy, yet unavoidable. Lead singer Ragnhild Jamtveit's vocals are just as loveable and quirky as her Icelandic predecessor, while fused with catchy, grungy guitar that propel 'Like a Lady' into modern indie rock territory.
You can stream 'Like a Lady' in the audio-only player below:
Now, ambient music can be tricky. On the one hand, by its very nature, the genre must blend itself within the world or atmosphere it occupies. On the other, it cannot be so bland that it is dead upon arrival and easily forgotten, even when it is playing (See muzak).
The opening track from Ghosts VI - Locusts, 'Cursed Clock,' is enriching, yearning, pleading, and splendidly layered. No sound or note goes wasted. It is an audial demonstration of the tension between the persistence of time and the human psyche's capacity for monotony, amidst a global pandemic in which the world has come to a halt, while every single day seamlessly melds into the next without demarcation. (Damn that cursed clock!).
You can stream the audio to 'Cursed Clock' by Nine Inch Nails in the video player below:
Deftones' brilliant 2020 album, Ohms, was easily one of my favorite albums of the year--and likely my favorite from the band in the 20 years since 2000's White Pony (which also received an anniversary re-release and remix album, Black Stallion, this year)
The past year, despite a global pandemic, has proved to be a productive one for singer Chino Moreno.
Moreno's synthy side project with Far's Shaun Lopez, ††† (Crosses), just released their latest single, "The Beginning of the End" last week.
The track marks the first single since †††'s self-titled 2014 LP. The group's sound has always leaned more towards dreamy downbeats and melody than either of the two artists' respective Alt-Metal bands. This should come as no surprise to anyone who's followed Moreno's long career, as he's always worn his '80s influences on his sleeve: The Cure, Depeche Mode, Cocteau Twins, Duran Duran, etc...
As such, it also shouldn't be too shocking that the new single isn't an original tune, but a true-to-form cover of a 1992 electropop tune by Cause and Effect.
You can stream "Beginning of the End" below:
While Chino's side projects have always caught my attention, I'll admit that I was not expecting the latest solo album from former Dillinger Escape Plan frontman, Greg Puciato.
Dillinger earned a reputation through their relentless barrage of technically precise hardcore metal and wildly intense stage performances. Frontman Puciato has been known to breathe fire, bleed from his head and destroy equipment onstage during the band's crazy live shows that have developed a legendary status.
Puciato has also proved to have had an incredibly prolific year.
His "other band", metal supergroup Killer Be Killed includes Soulfly/Sepultura's Max Cavalera, Mastadon's Troy Sanders, and Converge's Ben Koller. Killer Be Killed released their aggressive new album, Reluctant Hero, in 2020--which is also recommended listening if you're looking for something heavy.
When my metalhead friend, Brad, recently recommended I check out Puciato's new 2020 solo album, Child Soldier: Creator of God, I was quite surprised to find an album packed with melodic electronic rock.
Child Soldier finds Puciato stretching his wings and blending genres throughout its 15 tracks. On standout songs like, "Temporary Object" and "A Pair of Questions", Puciato's Dillinger roots are nowhere to be found, swapped out for catchy synthpop and darkwave influences.
On "Evacuation", Puciato mixes melodic singing with snarls and screams for a heavy industrial rock mix that feels like it could have been written by Nine Inch Nails' Trent Reznor.
In a lesser artist's hands, this drastic shift in musical styles could be a huge flop, and alienate longtime fans, but Puciato's earnest approach feels sincere in his influences and successfully comes off as an engaging and collected experience--in the same vein of the aforementioned †††.
I've since gone backwards and become more familiar with Puciato's other project, The Black Queen, which is also much more in the synth-rock vein, and worth visiting if you enjoy his solo album.
As a fan of both New Wave and Metal, I'm all for more experimental crossover albums from the metal community. If you are, too, I'd highly recommend taking both Chino Moreno and Greg Puciato's side projects for a spin.
Watch the live video for Greg Puciato's "Evacuation" below:
The mid-90s (AKA: my formative years) was a time period ripe with angst and unapologetically flooded with alt-rock bands. It was a strange time--sandwiched between Grunge and Nu-Metal--where a diverse range of sounds were all competing to be the next big thing.
My local alternative station, 107.5 ("The Dot"), was always the place I'd turn my radio dial for the latest music. Not all of it was up my alley, or even destined for greatness, but the station wasn't afraid to play some weird stuff, which really opened my ears to a whole new world of music.
Seemingly overnight, the station switched formats, and those of us tuning in to hear the latest from Veruca Salt or Harvey Danger, were instead met unexpectedly with new bubblegum Pop artists like Britney Spears and the Backstreet Boys. It was truly the end of an era, though it didn't stop my affinity for Rock.
Here's a 107dot5 Spotify playlist I've pieced together from memory in remembrance of the station.
Of course, as I've often pointed out in my blog posts, a lot of great bands still flew under the radar, and I love rediscovering bands I missed the first time around.
Another such band was Kilkenny, Ireland's Kerbdog.
Formed in 1991, Kerbdog merged elements of alternative/college rock and metal for a sound that was both edgy and melodic.
While stateside radio stations were obsessing over The Cranberries, fellow Irish bands like Kerbdog and Therapy? were busy cranking out the riffs.
Kerbdog was pursued by at least 22 labels, and was signed to Mercury records in 1993.
Kerbdog's sophomore album, On The Turn, was released in 1997 and featured the singles "Sally", "JJ's Song", and "Mexican Wave". Unfortunately, the singles failed to catch a mainstream audience, and the band was shifted around during record company buyouts before being dropped entirely. About a year later, without a label, the band split up.
Two of the members would go on to form a new group, Wilt, for several years. Kerbdog has since reformed for various one-off performances over the past two decades, although they have not released any new albums.
On The Turn's enduring cult status has been heralded as influential by such bands as Scotland's Biffy Clyro, but is still largely under-appreciated and worth a listen.
Watch the videos for Kerbdog's singles, "Sally" below:
For those who appreciate Joni Mitchell, 'Wild Time' by Weyes Blood (a.k.a. Natalie Mering) may be right up their alley. Equal parts chamber pop and folk, the track's sirenesque vocals surreptitiously lull the listener into spurious bliss. Yet its choral hook all too quickly reminds the listener of the tragedy and chaos 2020 wrought.
Although 'Wild Time' was released on Sub Pop Records by way of Mering's Titantic Rising in 2019 (a full year before COVID-19 had infected its first human host, and America's original sin of racism was confirmed to have never truly been exorcised from the nation ala the death of George Floyd), the song's lyrics and foreboding spirit could not have been more prophetic or representative of the current milieu:
"Living in the rising tide
Our light, a feeling that's moving
Runnin' on a million people burnin'
Don't cry, it's a wild time to be alive
It already happened
Nothing you want to change more
Heaven found and the lights went down
Everyone's broken now and no one knows just how
We could have all gotten so far from truth"
You can play the enchanting 'Wild Time' in the video player below. (Note: The video may be NSFW due to some scenes depicting artistic nudity).
Recently, I received a delightfully-unexpected early Christmas present from my Lonely Note comrade, Steve -- the 25th anniversary double-vinyl edition of the Singles Original Motion Picture Soundtrack.
For anyone uninitiated, the Cameron Crowe-directed Singles and its accompanying soundtrack are legendary in the unfolding success story of the Seattle Grunge scene of the early '90s. It's one of the era's greatest movie soundtracks and still stands as an important document of American music history. It was the right soundtrack at the right time.
This review from Pitchfork covers a lot of ground in explaining the interconnectivity and rise of the local music scene in Seattle during that time period.
Bands such as Pearl Jam, Soundgarden, Screaming Trees and Alice in Chains all were prominently featured on the soundtrack right at the time when Nirvana's star was skyrocketing and Grunge was catching national attention.
Of course, for every major commercial success story, there are plenty of other great bands that unfortunately slip through the cracks and don't get the attention they desrve.
Truly was formed in 1990 by singer-guitarist Robert Roth, who had recently auditioned to be the 2nd guitarist in Nirvana (who decided to remain a trio) after the dissolution of his previous band, Storybook Krooks.
Roth was joined by Mark Pickerel, a founding member of Screaming Trees, and by Hiro Yamamoto, the original bassist for Soundgarden.
In 1991, the "supergroup" released their debut EP, Heart and Lungs, under the renowned Sub Pop label. The title track was featured in the movie Singles, but unfortunately didn't make the cut on the official soundtrack release. However, the 25th anniversary vinyl release does include a bonus CD chock-full of previously unreleased recordings from the movie, including "Heart and Lungs".
In 1993, as major labels were attempting to swoop up as many Seattle bands as possible, Truly was signed to Capitol Records. Their full-length album, Fast Stories...From Kid Coma, was released to positive reviews in 1995, but failed to catch on like some of the band's contemporaries of the time.
AllMusic gave the album 4.5/5 stars, calling it a loosely-based concept album, with songs that "...further the swirling, psychedelic sound present on the group's early Sub Pop EPs, but show an even more refined sense of songwriting and arranging."
Right out of the gate, the album's opener--"Blue Flame Ford"--comes out swinging, with a deep chugging riff and wall of psychedelia, met with Roth's menacing-but-melodic vocals. The song sets a tone for the rest of the album, which twists and turns in dense swirling layers of edgy rock that demand repeat listens.
Discouraged by the lack of support from Capitol, Truly departed back to an independent label, Thick Records, who released their follow-up album, Feeling You Up in 1997.
Although Truly stayed true to themselves and have continued to work together off and on for over two decades, they never quite found the mainstream or reached as wide of an audience as some of their Seattle brethren--which is truly a shame based on the quality of the band's songwriting.
Below, stream Fast Stories...From Kid Coma, the band's critically acclaimed debut, which celebrates its 25th anniversary in 2020.
If you're a fan of early 90s Alternative and Grunge, I highly recommend you download the full album from Truly's Bandcamp page, which also says to look for a remastered double-gatefold vinyl edition in the near future!
If 2020 was a person, it would've been named "Year Least Likely for a Dance Club Banger" in your high school yearbook.
This year, COVID-19 actively halted large gatherings, concerts, and--understandably--sweaty nightclub dalliances.
However, that didn't stop Dua Lipa from putting out one of the year's most (dare I use the term) infectious pop albums with Future Nostalgia.
Even the album's title nails the mood of 2020--remember back when we could just pack a bunch of random people into to a tiny room and dance it out, breathing in one another's oxygen without a care in the world? Who knew how much we'd take that for granted.
Lipa's major singles, like "Physical," have been blowing up the charts, even if her chants of "C'mon, let's get physical" seem weirdly out of place when you're manically bouncing around your bedroom by yourself. But, it's that innate human desire for personal connection that's still striving to break out from the confines of your socially-distanced lifestyle. So, in many ways, it's just the kind of album we needed.
Admittedly, I'm a fan. Sure, I'd say I most typically gravitate towards the Rock genre, but I've always had a soft spot for a catchy Pop song. That's why if you saw my Year Wrapped list on Spotify, you'd see Dua Lipa holding her own right up there with the new Deftones album.
Upon my first full listen to Future Nostalgia a while back, I instantly picked up on a familiar sample from my youth in her song, "Love Again".
I paused the song and thought to myself, "Wait. Is that White Town?"
That's right, White Town. Talk about some nostalgia... Dua Lipa had me going all Marty McFly back to the year 1997 when my little sister owned the album Women in Technology based solely on the success of the one-hit-wonder, "Your Woman". It's safe to say I've heard that song a few times, so I'd recognize that little trumpety sample anywhere. But, what I didn't recognize was the rich history of its use, until I went down the proverbial rabbit hole.
According to WhoSampled.com, the Dua Lipa song does in fact owe a nod back to White Town, but that signature loop actually dates all the way back to a 1932 big band rendition of Bing Crosby's "My Woman," as performed by Lew Stone & the Monseigneur Band feat. Al Bowlly.
Right off the bat, you can notice the familiar sample, which was originally performed by trumpeter Nat Gonella on the 1932 recording. Do you think Gonella would've imagined a bunch of millennials going nuts over his trumpeting in 2020?
After being picked up and repopularized by White Town nearly 65 years later, that memorable trumpet sample has continued to find an audience.
Just 3 years ago, it found its way into another dance anthem, "Fight Back with Love Tonight" by German electronica duo, Kush Kush.
Perhaps the Kush Kush sample more directly influenced Dua Lipa than White Town? After all, Lipa was only 2 years-old when White Town hit the charts (which subsequently makes me feel really old). Or, who knows, maybe Lipa is a closet Big Band aficionado...?
No matter the case, I always enjoy hearing a familiar sample and tracing it back to its roots. After all, passing along a song's rich history to a new generation is one of the true beauties of music. In fact, when taking something old and making it new, one could even argue the result brings about a certain... Future Nostalgia.
In a similar vein, I am here to present another, quite possibly, eccentric hypothesis.
Has anybody else noticed how the choruses of Mariah Carey's 'Can't Let Go,' and Mandy Moore's 'Walk Me Home' sound nearly identical? Take a listen to the chorus of Mariah's song at the 1:04 mark in her video; then, listen to the chorus of Mandy's song at the 1:12 mark in her video. Although the tempos and tones of the two songs are distinct, the remaining similarities to my ear are uncanny.
Now, I have done some amateur sleuthing on the internet to see if anyone else shares this view, including other blogs and forums, and apparently I am on my own island with this theory. Is there anybody else out there who agrees with me?
Check out the potential similarities for yourself by streaming the respective music videos in the players below:
Funneling the feel-good sounds of Sixpence None the Richer with the much more secular alt-rock affections of Letters to Cleo, Ratboys have created a heck of a bop with their single, 'Alien with a Sleep Mask On.' I can easily imagine early-nineties Liz Phair taking a crack at this one back in her indie heyday.
Ratboys claim Chicago as their homebase. They have been on the scene since 2012, when Swerp Records released their debut EP. The band has evolved throughout the years, originally starting out as an acoustic outfit, while incrementally adding electric distortion and fuzz to subsequent productions.
You can listen to 'Alien with a Sleep Mask On,' the opening track from 2020's Printer's Devil, in the YouTube player below:
Hotels has been described as New Wave Noir. 'Sides' by the Seattle band is consistent with that description: It is dark and mystical and strangely gorgeous.
Heart throbbing bass leads off the track, whereby it ushers in haunting synthesizer. The song's structure is a slow burn, plodding toward a worthy climax at the end of the composition. The real payoff, however, is the sublime vocals of lead singer Adra Boo. Her voice is just perfect: candid, plaintive, soulful, and fervent.
Adra Boo has been a fixture of Seattle's music scene for some time now. She was previously in Fly Moon Royalty, an electro-funk outfit. She has also performed solo works and as a featured singer for several notable artists. More information about this incredible vocalist can be found here.
A YouTube stream of 'Sides' can be found in the player below. Additionally, a video of her recent KEXP performance is featured below as well.
Additionally, a Spotify link to some of Hotels' latest work can be found here.
Beabadoobee is the stage name of Filipino-born Beatrice Laus. I first came across her work when I was listening to the KEXP Song of the Day Podcast. Her latest single, 'Sorry,' was featured on November 13.
The song's lagging yet forceful guitar sound, which materializes at the 2:06 mark, sells the song for me. In a time where contemporary music seems to all but completely ignore the six-string, 'Sorry' definitely brings back the 90s nostalgia of dark, moody lyrics intersecting with lo-fi fuzz.
It was a room smaller than my Grandma’s basement; dark,
concrete floored, and perhaps 800 total square feet.The shoehorned stage was just hefty enough to
fit some keyboards, a few pieces of audio visual equipment, and two, maybe
three people comfortably.Just above the
stage hung a landscape reproduction of the famous Johnny Cash photo—the one
where he cavalierly flips the bird.No
other photos or decorations adorned the chamber.
There were two total entrances to this space.One door led to and from the adjoining bar.The other door was located in the rear of the
room and had a stickered sign stating, “THIS DOOR TO REMAIN LOCKED DURING
BUSINESS HOURS.” (Which kinda meant it wasn’t much of a real door at all).It was easy to grow a little claustrophobic
standing in there.And possibly even a
little disenchanted.
This was the state of things while the crowd anxiously
waited for Sexy Sax Man Tim Cappello to appear for his one-manned concert at
The Fremont in Des Moines, Iowa on July 26, 2019.
Spirits began to lift, however, when Cappello discretely and
briefly came out to survey the stage, clad in a non-descript flannel.He gave his instrumental set-up a quick
once-over, smiled at the waiting crowd, and disappeared just as quickly as he
arrived.It was at this point, the
evening was about to get a lot more interesting.
Fifteen or so minutes later, Cappello burst through that
very back door that was supposed to remain locked during business hours, and
immersed himself directly into the crowd of one hundred or so.With his brawny arms oiled up, and his
still-lavish hair slicked back into a ponytail, Cappello blew his brass and
belted out the lyrics to “Only You,” the opening track of his latest release, Blood on the Reed.
Playfully approaching multiple members of the
crowd with his saxophone during this opening number, Cappello immediately personalized
the show for each member of the audience.You could feel that everybody understood from this moment onward, this
show would not be a boring recital of some has-been playing his famous song from
The Lost Boys.Instead, we all knew this was going to be an
unforgettable bash because the person putting it on demanded it be so.
And about that inextricable relationship between Cappello
and his cameo in The Lost Boys:The Internet has made much comical hay of that
movie appearance in recent years, propelling Cappello from reliable backing
band member to Millenial Folk Hero status, in the same vein as Sad Keanu or
Chuck Norris.Yet, what was most
impressive about Cappello’s performance was that, from the get-go, he
straightaway owned his identity, by admitting to the crowd he knew that Lost Boys was the sole reason most of them
were there.He didn’t beat around the
bush, trying to pretend to be something he wasn’t. When he decided to play a new, original song
he forewarned his spectators, humbly asking all of them to bear with him for
just a few short minutes while he floated his new creation out into the modern
ether.He would then assure everybody
that the song they came to hear was surely on its way.
Indeed, it was Cappello’s authenticity and candor which made
him all the more impressive.This wasn’t
a man bitter that no one realizes he played with Tina Turner, Peter Gabriel,
Ringo Starr, or that he was prominently featured on an episode of Miami Vice.No, this was a pure entertainer who seemed
genuinely grateful that he was lucky enough to gain just enough fame from a
vampire movie in the 1980s, with a song called “I Still Believe,” written by
The Call, to allow him the luxury to play music for the fun of it, on his own
terms, thirty years later.
When it finally came time for Cappello to play his magna
opus, he explained how “I Still Believe” almost didn’t happen.He first recounted how his own original composition
for The Lost Boys was rejected.Then, he advised that, since The Call were made up of practicing Christians, they wanted nothing to do with a movie about vampires.So, in a strange twist of destiny, Cappello
offered to cover the song for the film, gyrate his hips, and the rest is history.
Toward the end of the concert, Cappello certainly milked “I
Still Believe” for all it was worth, stretching the song to nearly fifteen or
twenty minutes.He even developed an
interactive dance based around female lead of The Lost Boys, Star, which assisted in ensuring the audience
remained engaged and motivated.
Finally, as “I Still Believe” wore down, Cappello playfully
called for all of us to request an encore.It was a tongue-in-cheek allusion to his unlikely ability to spare an
extra song. But despite the apparent lack
of musical stock, Cappello did in fact produce a magnificent encore by covering the rock standard, “Tequila,” with an electric clarinet.“Tequila”
is the song that Pee Wee Herman famously danced to in the motorcycle bar during
his Big Adventure.And just as Pee Wee
won over the stoic and antagonistic gangsters, Tim Cappello won over the hearts
of his crowd, prompting them to raise their hands and yell “TEQUILA” during the
iconic chorus of the song.Who knew that
an electric clarinet could wail so hard?
Following the encore and the conclusion of the show,
Cappello set up at a meet-and-greet and stuck around to talk to his fans.In the short time I conversed with him, I
found him to be one of the nicest and down to earth showmen out there.He was such a positive guy, that his
confident energy was contagious.For
those who get a chance to see this 64 year old sax player perform, I strongly
encourage you take the opportunity to do so.You are sure to have one of the greatest musical experiences of your
life.
***A special thanks to fellow contributor Tae who suggested
we attend this concert—a concert I wouldn’t have in a million years thought of
going to otherwise. ***
Below, here is the official music video to "I Still Believe" from The Lost Boys soundtrack:
The former front man for The Czars, John Grant released Love is Magic, his third solo record since leaving the aforementioned band, on October 12 of this year.
To say the album is quirky would be understating it.
Imagine the lead singer of Crash Test Dummies deciding to jam with James Murphy and the guys from Kraftwerk, and you will better understand the spirit of Love is Magic. Below are but just two stand out cuts from this wonderful LP.
Track 7 - "Diet Gum"
"Diet Gum" could be mistaken as a novelty track, but that would be oversimplifying it. The synths are mesmerizing, and the lyrics are clever and funny, so long as you allow all seven and a half minutes to develop in the way Grant intended.
You know, being with you was like a cross between Cannibal Apocalypse and Lassie 9
Except nowhere near as good as both of those movies were
It's still a personal conundrum of mine
How anyone can have such few of self awareness
Track 2 - "Love is Magic"
The title track, "Love is Magic," emotes a much darker tone than "Diet Gum." Out the gate, it addresses depression and medication and loneliness. But the chorus turns on a dime, whimsically offering the listener an escape from the darkness by instructing them to simply give love a chance because you otherwise have nothing else to lose. "Love is Magic" pleasantly surprised me with its ability to suck me in.
And this thing called intimacy
Is it what you always thought it would be?
Do you feel like you've experienced
What the word is supposed to mean?
Do you feel like you are in control?
Did you find out that there's really no such thing?
Bradford Cox's eccentric vocals have always been a welcome addition to Deerhunter's music, and 'Snakeskin' is no exception. The song exudes swagger and braggadocio throughout its arrangement, specifically in its jutting guitar riffs. And Cox takes a play from the Scott Weiland speak-into-a-mega-phone-a-la-Dead-and-Bloated playbook, which adds a delightful touch.
Watch the video to 'Snakeskin' from the band's 2015 album, Fading Frontier, below:
This band doesn't require any pomp from me; they have been racing up the charts recently and performed very well on SNL only a few weeks ago. But I will say that the music video does a great job of capturing the zeitgeist of the current state of the Internet Age.
Watch 'Love Me' in the player below: [Video removed due to request from copyright holder].
Oh how so happy I have been to finally see the pendulum begin swaying back toward the raw, guitar-heavy sounds that were once so prominent two decades ago. Yes, indie rock is starting to see a resurgence of Grunge-inspired bands and anthems, and I am a major cheerleader for such a development. (Refer to the relative success of Courtney Barnett if you remain unconvinced that there is a hunger for gritty, punk-inspired rock).
Previously, we had posted on Speedy Ortiz, whose sounds certainly embody the sounds of that time. Today, we present to you 'Time to Go Home' by Walla Walla-based (of course) Chastity Belt. And while Speedy's sound tends to gravitate more toward the Veruca Salt side of the grunge-revival spectrum, Chastity Belt bolts directly for Sonic Youth territory.
'Time to Go Home' starts off slow and moody, but quickly adds some rapidity to the mix, ending on a steady, accelerating gait.
